Marva Nabili’s The Sealed Soil

Everyone keeps telling Roo-Bekheir that she is lucky because she can say “no” to her suitors—but they don’t think she should. At the advanced age of eighteen, she is considered an old maid by her provincial neighbors. For those of us living in the modern world, it might seem understandable that the teenaged girl simply is not ready to marry, but her traditional Iranian village assumes she must be possessed in Marva Nabili’s The Sealed Soil, which is now playing in Brooklyn.

The Sealed Soil is the oldest surviving Iranian film directed by a woman. That means it survived the Revolutionary Islamic regime that would take power not long after it was produced in 1977. Banned by the regime, it has never been publicly screened in Iran, even though it is not explicitly political.

Yet, ironically, it indirectly burnishes the much-maligned reputation of the Shah, who passed the reforms that allowed women like Roo-Bekheir to have a say in her marital status. She keeps exercising that right, by maintaining her spinsterhood. It so baffles her village, the chief comes to give her a talking to. Rather perversely, he reminds her that her own mother was married away at the age of seven and frequently ran away from her abusive husband when she was ten. Somehow, this pep talk is supposed to encourage to finally accept a suitor.

Weirdly, The Sealed Soil shares a kinship with Akerman’s Jeanne Dielman, 23 Commerce Quay, because it relentlessly captures the soul-crushing repetition and toil of Roo-Bekheir’s hardscrabble life. Much is made of the eventual exorcism, but many viewers would consider it over-hyped. The scene lacks the drama we would expect from a demonic horror movie, which is presumably why endures the ritual more as a hassle than an ordeal.

Frankly, an understanding of the film’s historical and cultural context probably helps the viewing experience. It is supposed to be a grind, because Nabili wants the audience to feel all the discomfort of Roo-Bekheir’s life. Seriously, she rubs our noses in it. Yet, her aloof tone keeps viewers at arm’s length.

Tornado, in Cinema Daily US

In many ways, TORNADO serves as a Revisionist Western for Scotland and the UK, but whatever you call it, the cast (including Koki and Tim Roth), the swordplay, and the puppetry make the genre-hybrid quite distinctive and memorable. CINEMA DAILY US review up here.

Bono: Stories of Surrender, on Apple TV+

If you are a celebrity, never let a good near-death experience go to waste. Much like Jamie Foxx did in his Netflix special, Paul David Hewson frankly discusses how his heart nearly did him in too. Of course, you probably know Hewson by his stage name, Bono. In 2022 (predating Foxx), he performed a run of sold-out one-man shows (with musical accompaniment) adapted from his memoir. The rest of U2 was not present, but their songs (mostly written by Bono/Hewson) form the meat of the Beacon Theatre show captured for posterity in Andrew Dominik’s Bono: Stories of Surender, which premieres today on Apple TV+.

Although absent, Bono pays tribute to his U2 bandmates, assuring the audience Larry Mullen, Adam Clayton, and The Edge, were, are, and always will be an important part of his life. In fact, he met them the same week he first became acquainted with his future wife, Ali. That was a good week, but the show devotes more time to difficult moments, such as his mother’s tragic early death, his own health scare, and his challenging relationship with his father, especially after Hewson pere’s cancer diagnosis. That is all heavy stuff, but Bono breaks up his confessional with about a dozen of U2’s biggest hits. There are no originals in Stories of Surrender, which is exactly what most fans would prefer.

Instead of The Edge’s guitar, Bono is backed by frequent U2 collaborator Jacknife Lee on keyboards, Kate Ellis on cello, and Gemma Doherty on harp. The instrumentation is unusual, but it really suits Lee’s arrangements of “Pride,” “I Still Haven’t Found What I’m Looking for,” and “Beautiful Day.” Ironically, the tie-in EP tunes, “Desire” and “The Showman” are not as grabby, despite Doherty’s electric power-harp.

However, Erik Messerschmidt’s cinematography—in glorious black-and-white, just like Phil Joanou’s U2: Rattle & Hum (mostly)—always works. As Bono notes, the staging for his solo show is not as elaborately grandiose as recent U2 stadium concerts, but the lighting effects are quite dramatic, especially when creating halo effects and boom flares, which look cool in a rock & roll kind of way.

Unfortunately, Bono’s soul-searching analysis is only applied to his relationships and never to his activism. Instead, he clings to simplistic slogans, like African debt-forgiveness, even though any college econ major will understand the continent’s perverse adherence to command-and-control economic models inevitably prevents any possibility of prosperity. Frankly, Bono often sounds rather defensive when discussing his political advocacy, with good reason.

The Better Sister, on Prime Video

Statistically, most murders are committed within families. The Mackintosh family is especially suspect, since the late husband was a lawyer and the widow is a journalist. Inevitably, they become prime tabloid fodder, because she married her unstable drug-addicted sister’s late ex-husband. Nevertheless, the estranged siblings must work together to save the young man they both consider their son in co-creators Olivia Milch & Regina Corrado’s eight-episode The Better Sister, adapted from Alafair Burke’s novel, which premieres today on Prime Video.

The murder of Adam Mackintosh is real. The break-in was faked. Unfortunately, the circumstances lead Detectives Nancy Guidry and Matt Bowen to Chloe Taylor’s step-son, Ethan. She is desperate to protect him, but, inconveniently, his biological mother Nicky Mackintosh now has custody. Their reunion is especially tense, because Taylor once agreed to sign her sister into straight-jacket-style rehab, to secure her future husband’s sole custody rights. It seemed like the thing to do at the time, but she starts to regret her decision as she learns more about the circumstances of her husband’s first marriage.

Guidry’s resentment of Taylor’s “privilege” makes her happy to focus the entire investigation on Ethan. Awkwardly, his lawyer, Michelle Sanders, shares her low opinion of the sister-mothers, but she has sympathy for their son and she is very good at her job, so they put up with her. She was referred to Taylor by Jake Rodriguez, her husband’s associate, with whom she was on the verge of having an affair. At the same time, he was closely assisting her late husband’s representation of a dodgy multi-national company, whose specialty seems to be constructing soccer stadiums in the Middle East, with suspicious rapidity.

So, clearly there are a lot of motives and conflicts of interest to untangle. Indeed, The Better Sister has several twists worthy of a Gillian Flynn adaptation, but the tone is way, way trashier. At least in this case, the soapy luridness is also entertaining. If you are looking for a hothouse fully stocked with family secrets and sneaky scheming, you will find plenty here.

Jessica Biel and Elizabeth Banks fully embrace the spirit of the material, diving head-first into the angst and melodrama. Similarly, Kim Dickens is one-person snark-factory as unabashedly abrasive and defiantly biased as Det. Guidry. Yet, nobody is more flamboyant than Matthew Modine as Adam’s sleazy, ambiguously villainous, and proudly out boss, Bill Braddock.

Tim Travers and the Time Traveler’s Paradox

He has a bit of a Looper complex. Instead of wanting to kill Hitler or attend a Coltrane concert, Tim Travers uses time travel to kill himself, so he can explore the resulting paradox. It is an ambitious but very bad idea that inevitably goes spectacularly awry in director-screenwriter Stimson Snead’s Tim Travers and the Time Traveler’s Paradox, which opens this Friday in theaters.

The titular paradox boils down to the notion that if you kill yourself in the past, your time-traveling self would still be alive thereby creating a paradox. It is a thought experiment that Travers takes to ridiculous lengths. Ill-advisedly, he also discusses his research with James Bunratty, an “alternate science” talk radio host. This will be a mistake, because it creates a trail for the hitman hired by the terrorists, whose plutonium Travers stole to power his time portal.

Fortunately, by the time Helter the assassin starts tracking Travers, he has already created at least a dozen other selves through time travel. He started by murdering his previous others selves, but then he started letting his selves from other times (merely one minute apart, but often enough to make considerable differences) live, so he could consult with himself. It also means Helter must keep killing every Travers he sees. To make things extra complicated, several of the Travers take time out for his/their date with Bunratty’s resentful producer Delilah, but it always ends badly, because neither of them is really suitable relationship material, especially him (all of them).

The loopy Looper-esque chaos of the first half is wildly entertaining. However, Snead has trouble maintaining the manic energy during the second half. It is also clear how desperately he was searching for an exit strategy—judging from the nearly incomprehensible speed of the double-talk. Nevertheless, Snead earns credit for developing a fresh take on time travel and for mining the science fiction material for a good deal of laughs.

The General’s Men, on MHz Choice

With the sudden rise of political assassinations in America—such as the Israeli embassy workers in DC and the United Healthcare CEO—and the disturbing support they have received from ideological extremists, we might soon need someone like Gen. Carlo Alberto dalla Chiesa. The senior officer in Italy’s Carabinieri (their military police with domestic jurisdiction) strategized the defeat of the Red Brigades and intended to employ similar tactics against the Mafia in Palermo. He was great for Italy, but came to a tragic end. The contemporary parallels are also tragic, but the Carabinieris’ service is edifyingly instructive in creator-director Lucio Pellegrini’s eight-episode The General’s Men, which premiers today on MHz Choice.

As dalla Chiesa explains midway through the series, he has only known war during his adult life. First, he served in the Army, but defected to the Resistance during WWII. Enlisting in the Carabinieri after the War, he waged a losing battle against the Mafia in Sicily before his appointment to head a new anti-terrorism task force to combat the Marxist Red Brigades’ reign of terror.

Some of his methods seem self-evident now, but at the time, they were considered radical by Italian cops. For instance, he recruited Corporals who looked like deadbeat student hippies instead of Corporals, even including a woman. Gone were their standard issue Fiats. He also played some bold gambits, like recruiting the former Liberation theology missionary Silvano Girotto, celebrated by the left as “The Machine Gun Friar,” to serve as an undercover plant. The Red Brigade were not amused, which entailed escalating danger for dalla Chiesa and his unit.

Everyone has heard of the Mafia, but Americans are woefully ignorant of the Red Brigades. Frankly, this series serves as a decent introduction to the violence and fanaticism of the terrorist group. Although the Corporals often express sympathy for the legitimate workers’ complaints the Brigades exploit (largely being working-class themselves), their terrorism is never presented in justifiable terms. In fact, it is often portrayed as quite sudden, brutal, and shocking.

Indeed, this is a terrific period piece that impeccably recreates the look and over-heated tenor of the 1970’s. Aptly, dalla Chiesa’s loyal lieutenant, Nicola Amato asserts during his voice-overs, the 1980s only really properly started in Italy with 1982, at which point the Brigade’s terrorism finally crested. Unfortunately, for dalla Chiesa, it would be a case out of the frying pan, into the fire.

Essentially, The General’s Men is three parts historical procedural and one part passion play—since we know from the prologue dalla Chiesa’s story ends with tears. However, it is all played with conviction by a large ensemble cast that completely look their parts, often in very uncomfortable ways (involving humiliating hair-styles and textiles that breath poorly).

Blue, on PBS

His iconic canine reportedly lent his name to the so-called “Blue Dog Coalition” of [mostly] Southern centrist Democrats that hardly exists anymore (ten and dwindling). More fittingly, George Rodrigue’s popular character has been pictured with many of New Orleans’ favorite sons, such as Louis Armstrong and Al Hirt. He has become a symbol of Louisiana, but before the Blue Dog, Rodrigue also preserved evocative images of his Cajun heritage. Sean O’Malley chronicles his life and work in Blue: The Life and Art of George Rodrigue, which premieres this Thursday on participating PBS stations.

Everyone knows the Blue Dog from national ad campaigns commissioned by the likes of Xerox and Absolut. He also hangs in major museums, but establishment acceptance took quite a while. Blue Dog just seemed like too much fun to be serious art. Yet, those big eyes have a haunting vibe.

Regardless, O’Malley and company rightfully take considerable time establishing the importance of his earlier work, depicting the everyday life of Cajuns, as well as their folklore. In fact, the Blue Dog originally came out of his folkloric output, originating as a depiction of the loup-garou for a book of spooky tales.

Arguably, the portrait that emerges of Rodrigue most likely conforms to the expectations of viewers and admirers. He came from modest means and overcame considerable adversity to become one of America’s most recognizable artists. He had a passion for life and New Orleans Saints football, but Hurricane Katrina’s tragic impact on his community sent Rodrigue into a deep depression.

Fountain of Youth, in Cinnema Daily US

It's not perfect, but Apple TV+'s FOUNTAIN OF YOUTH is entertaining as a low-stress retro throwback adventure, much like a cetain film-reviewer I might know. CINEMA DAILY US review up here.

Sinners: Buddy Guy’s Box-Office Blockbuster

There is a long history of blues musicians confronting supernatural evil. In this case, vampires replace hellhounds, but they certainly follow an accepted uncanny blues precedent. Fittingly, it takes place in storied Clarksdale, Mississippi, where two notorious former bootlegging twin brothers have returned to open a juke joint. Unfortunately, a vampire also comes to town in director-screenwriter Ryan Coogler’s Sinners, which is still playing in theaters.

Even though they have been gone for seven years, half of Clarksdale still remembers the identical “Smokestack” twins, Elijah “Smoke” Moore and Elais “Stack” Moore—the black half. The town’s severe racial divide is only bridged by Bo and Grace Chow, who operate general stores on both sides of the main street.

The Smokestacks intend to open a new juke, so they recruit crusty old bluesman Delta Slim and their young up-and-coming guitarist cousin Sammie “Preacher Boy” Moore to supply the entertainment. However, there is sure to be trouble since Stack’s biracial-but-passing ex, Mary is coming. So will Pearline, an inconveniently married vocalist, who has been giving Preacher Boy the eye.

However, the real trouble comes when Remmick, an old Celtic vampire, and a recently-turned former KKK married couple try to crash the party. Wisely, the Smokestacks are reluctant to invite in freaky white weirdos, but the vampires can be very persuasive and deceptive. Smoke’s ex-wife Annie might also have some insight into the evil lurking outside, as a hoodoo practitioner.

Eventually, the great Buddy Guy plays an important part in this tale, but it would spoilery to explain how. Regardless, it is safe to say his role plays to his strengths and it some ways serves as a glorious capstone to his legendary career. It should be noted his main appearance comes soon after the closing credits start—and it is a scene that holds great significance to the film’s narrative. (There is also a post-credits stinger that is worth sticking around for, but does not impact the storyline to any degree.)

Frankly, Buddy Guy deserves to have his name above the title. That said, Michael B. Jordan’s already considerable star-power raises even higher with his tour-de-force performance as the Smokestack Twins. He is all kinds of fierce and dangerously charismatic. It is an unusually accomplished and memorable portrayals of twins, even though the Smokestacks are not as sharply differentiated as the twins played by Theo James in The Monkey or Jeremy Irons in Dead Ringer—but he is still at that level.

Yet, perhaps the cast-member most deserving an awards campaign might be Delroy Lindo for his understated but still scene-stealing work as Delta Slim. He channels decades of blues lore, while getting most of the film’s laughs with Slim’s dry—yet well-lubricated, if you know what I mean—wit.

Another virtue that sets Sinners apart is the wealth of fully developed supporting characters—at least a dozen’s worth. Li Yun Li and Yao are definitely two standouts as the Chows, who turn out to be much more than convenient devices to travel between Clarksdale’s segregated halves. Plus, Jack O’Connell brings the bravura flamboyance of his Rogue Heroes character, but he manifests it in a much more sinister manner as the vampire Remmick.

Kevin Costner’s The West, on History

Remember those commercials for the Time Life Old West books that hyped John Wesley Hardin shooting a man for snoring? So far, he has not appeared in this series. It is far more concerned with Manifest Destiny and the clash of cultures and civilizations than fun cowboy stuff. It is hosted by Kevin Costner, but he was obviously in a Dances with Wolves state of mind when he recorded his segments for the 8-part Kevin Costner’s The West, which premieres Monday on History Channel.

The intro to every episode starts with practically a land acknowledgement that the settlers were coming, but there were already people on the land they wanted. That is why the fourth episode (out of six provided for review), “Comancheria,” is rather refreshing, because it chronicles the rise of the Comanche Empire. They were not so peaceful either, considering they violently expelled the Navajo from their territory. From another perspective, it is also oddly satisfying to hear the Comanche recognized for their successful empire building.

Obviously, the events of Costner’s West occurred during the 19^th Century, a time when all great nations ruthlessly pursued their own interests. Just look at the wars that erupted throughout Europe. Of course, those worked to America’s advantage, because the need for quick funds prompted Napoleon Bonaparte’s sale of the Louisiana Territory to Pres. Jefferson.

Indeed, the series and its battery of commentators, including usual History Channel advisor and executive producer Doris Kearns Goodwin, do a nice job explaining the scale and the forbidding wildness of the frontier. The second episode, “Colter’s Run” conveys the boldness of the Lewis and Clark expedition, which was long feared lost. While the opening “Fallen Timbers” largely presents a narrative of American encroachment, it is refreshing to hear George Washington get credit for his tolerance and restraint with respect to the indigenous tribes. However, their alliances with the British ultimately forced him into a more “hawkish” posture.

The third offering, “Oregon Trails,” is probably harsher on missionaries than Book of Mormon. In contrast, episode five, a thorough exploration of Joaquin Murrieta’s romantic and ultimately macabre folk legend, makes “The Robin Hood of El Dorado” considerably more engaging.

Electric Vehicles: The Good, the Bad, and the Ugly, in The Epoch Times

Larry Elder enjoys the EV driving experience, but finds cause for concern in the CCP's ontrol over the necessary rare earth materials. His analysis of the trade-offs between electric and internal combustion is tough, thorough, fair, and well-paced. EPOCH TIMES review up here.

Onyx, on BET+

Maybe these three friends are not the absolute worst choice to handle first contact for the rest of Earth. Sam is a first-responder and Shannon is a veteran returning from her final tour of duty. As for Diane, she has a way of getting her way and she can be very “welcoming.” Regardless, the alien invasion comes smack dab in the middle of the friends’ getaway in Stefano Milla’s Onyx, which is now streaming on BET+.

Sam thought Noah might be the one, because he is also a fireman, but he turned out to be another lying dog of a good-for-nothing man. To cheer her up, and to celebrate Shannon’s homecoming, Dianne organizes a desert resort weekend. She has the horndog owner Cody eating out of the palm of her hand, so he comps them a bonus off-road excursion. Unfortunately, during their desert exploration, a mysterious force cuts off all cell service, GPS, and radio contact.

Given their limited provisions, the trio seeks shelter at the nearest man-made outpost, an old government radio-satellite installation converted into an airplane graveyard, which serves as the headquarters for “A.K.A.,” a conspiracy podcaster with a taste for questionable hip hop. Whatever happened, he sort of expected it. However, he cannot broadcast his scoop or call for help, because of the alien interference. Shannon might be able to restore communications, but fighting off the interstellar predators will be a tricker proposition.

Even by B-movie standards, Milla had to make do with a tragically tight budget constraint. The effects are conspicuous cut-rate, yet lack the cheesy charm of MST3K fodder. The alien invasion business is also rather uninspired. Pretty much the only positive for Milla and Damien Douglas’s screenplay is the sympathetic depictions of veterans and firefighters (arguably including Noah, who tries to redeem himself). Regardless, it takes Milla forever to get the film going, devoting the full first act to boring exposition.

Air Force Elite: Thunderbirds, in The Epoch Times

The aerial phootography is incredible in Netflix's AIR FORCE ELITE: THUNDERBIRDS, but the service and sacrifice of squadron members is even more impressive. EPOCH TIMES review up here.

The Last Rodeo, from Angel Studios

There is probably no more annoying expression than “this isn’t my first rodeo,” because most of the people who say it have never even been to a rodeo. This is definitely not Joe Wainwright’s first rodeo, but considering the state of his beat-up, broken-down fifty-years-plus body, it could very well be his final hurrah—period. However, he is not doing it for glory or vanity. He risks life and limb for family in Jon Avnet’s The Last Rodeo, which release tomorrow in theaters, from Angel Studios.

Wainwright is a former three-time bull-riding champion. Unfortunately, he did not walk away from his last ride. He was carried. In many ways, Wainwright’s life is like a country song. His beloved wife died, leading him to recklessly drink and bull-ride, which nearly killed him. However, his devoted grown daughter Sally helped patch him back together. In the years since, he has been sober and a model grandfather. Consequently, when young Cody is diagnosed with a rare and precariously positioned brain tumor, he takes it as hard as his daughter.

Their insurance will not cover the entire cost of the surgery (which quickly turns into surgeries), but the national bull-riding championship is scheduled for the coming weekend. Technically, all past champions are invited to appear. Of course, nobody expects them to compete and Wainwright never bothered to reply, but he can’t think of any better options. So, Wainwright convinces his old friend, trusted “bull-fighter,” and fellow Afghanistan vet Charlie Williams to help him mount his sudden comeback.

Sure, The Last Rodeo probably sounds predictable, but the same can be said for most films. Regardless, this is definitely a character study. Avnet and his co-screenwriter star, Neal McDonough show viewers what it is like for cowboys when age catches up with them. Rugged masculinity faces a tough challenge when faced with mortality. However, Avnet and McDonough still celebrate Wainwright for fighting the good fight.

In fact, Last Rodeo is notable and laudable for spotlighting three recognizable character actors in prime feature spots. McDonough has always been a reliably steely or flamboyantly villainous supporting player, but Angel has given him well-deserved opportunities as a leading man (following-up on Homestead). This could be his career-best performance, powerfully embodying Wainwright’s physical toughness and the painful feelings he has trouble expressing.

An Evening Song (for Three Voices), Inspired by Barbara Newhall Follett

Even though Barbara Fowler is transparently based on Barbara Newhall Follett, who was quite a literary sensation in her youth, her fictionalized pulp writer husband would probably be more famous today. Follett’s books are no longer widely available. Arguably, she is now best remembered for her mysterious disappearance (and presumed death) in 1939. Her strange fate directly inspired director-screenwriter-editor Graham Swon’s An Evening Song (for Three Voices), which screens this Saturday and Sunday at Anthology Film Archives.

Although not yet forty, Fowler’ literary glory days are behind her, mostly because she no longer has any artistic ambition. Nevertheless, her reputation far eclipses that of her husband, Richard Orloff—and they both know it. Their naïve, deeply devout housekeeper Martha Lund also realizes their unequal prestige. Yet, she is weirdly fascinated by both her new employers.

The feeling is mutual for all three, but not necessarily in sexual ways, although such overtones are never entirely absent. However, it is safe to describe their interests as unhealthy obsessions, partly rooted in their extreme differences of personalities and socio-economic backgrounds. For Orloff, his preoccupation with Lund also takes on fetishistic dimensions, due to his fascination with her burn-scarred skin.

Stylistically, Swon’s film shares an aesthetic kinship with some of Guy Maddin’s films, but it is far less accessible. It is a narrative drama, by any standard, but Barton Cortwright’s dreamlike cinematography and Swon’s reliance on disembodied voice-overs have a distancing effect far more so than in his genuinely creep experimental horror film, The World is Full of Secrets.

However, there is a subtle gothic element that steadily builds a sense of unease. While the strange triangular drama plays out within the house, we hear reports of a strange wolfman-like creature stalking the conservative Midwestern community. Evening Song clearly never aspires to Secrets’ moody dread, but the added macabre accents give it additional flavor.

Rematch, on Disney+

Garry Kasparov is a chess grandmaster, but he constantly battled Big Brothers throughout his life. First, he challenged the old Soviet regime and then he emerged as one of Putin’s most prominent critics. Along the way, he stood against nearly every totalitarian dictator on Earth as the chairman of the Human Rights Foundation. He was also seen as humanity’s champion during his matches against IBM’s AI supercomputer, Deep Blue. He easily won his first meeting with the computer then known as Dep Thought. However, their rematch was much more complicated. Creators Yan England, Bruno Nahon, and Andre Gulluni accentuate the controversies the six-episode “based-on-true-events” series, Rematch, which premieres tomorrow on Disney+ (after months of availability in international markets).

To this day, Kasparov probably remains the world’s most famous grandmaster, having eclipsed Bobby Fischer, whose years after his 1972 triumph were rather disappointing. Arguably, Kasparov’s victory over Karpov was an equal or greater victory for the free world over the Soviet regime. However, it did not come easy, as viewers eventually witness through flashbacks. Much to Kasparov’s annoyance, much of IBM’s gamesmanship away from the chessboard echoes the mind-games Karpov’s Soviet patrons tried to pull ten years earlier.

Kasparov considered his 1989 victory over Deep Thought to be an interesting experiment, but not particularly challenging, so he was not eager for a rematch. However, ambitious composite IBM exec Helen Brock recognized an opportunity to promote the brand (and the stock price) with the smarter, faster, more powerful Deep Blue. Of course, she had zero involvement with any of the actual programming. That was all the nebbish “P.C.” anonymously laboring for years in the metaphorical and literal basement.

P.C. stands for “Pretty Cringe,” which is harsh even among computer geeks. His new chess advisor, Paul Nelson, has grown bitter and anti-social, even by chess standards. He and P.C. could make a good team, but they are not the ones calling the shots. Obviously, Team Kasparov is out-numbered, so his manager-mother Klara Kasparova hires elite Australian sports agent Roger Laver to negotiate with Big Blue, but even he is stymied by their hardball methods.

Clearly, England, who helmed all six episodes, invites sympathy for Kasparov, even though he and lead actor Christian Cooke emphasize Kasparov’s high-strung neurotic mind-set, to an excessive degree. Obviously, the series focuses on the Deep Blue match, which is quite zeitgeisty given he mounting unease regarding AI. Nevertheless, it is frustrating the film almost completely ignores Kasparov’s invaluable advocacy for freedom and democracy. It is sort of like hypothtical films that solely focused on the [American] football careers of Jack Kemp or Byron White. A lot of stuff came after their pro-sports years—and the same is true for Kasparov.

Nevertheless, the scripts were the scripts—and Cooke is truly magnetic as the tightly wound grandmaster. He also shows a human side, especially with his thorny family relations, which he comes to embrace as a strength rather than a weakness, which is a quiet corollary subtly baked into Rematch.

Warwick Thornton’s The New Boy

For a nun in the 1940s, Sister Eileen is surprisingly progressive. That seems especially so with regards to the indigenous orphans she cares for. Admittedly, the Australian government ripped them away from their families and culture, but at least she tries to provide a sheltering sanctuary for her charges. However, the latest arrival is quite mysterious (according to both the conventional and Catholic meanings of the word) in director-screenwriter Warwick Thornton’s The New Boy, which opens in select theaters this Friday.

It is clear from the opening scene that Sister Eileen does not approve of the outback copper transporting her newest resident in a burlap bag. It is also clear that she runs the show at her remote orphanage-school, not the unseen authority figure, Dom Peter, for whom she claims to speak.

Even his fellow students consider their new classmate a wild child. They simply call him “the New Boy,” which Sister Eileen also adopts until a better name comes along, perhaps through divine intervention. Maybe that would not be so impossible. The New Boy seems to have supernatural healing powers. He also shows a strange affinity for the antique crucifixion altar piece that arrives shortly after he does. It is not exactly reverent awe. It is more like a sense of empathy for Jesus.

Arguably, the film’s identity politics could have been even more didactic. However, the allegorical religious symbolism remains crushingly heavy-handed. Somehow, Thornton’s screenplay finds a way to be maddeningly obtuse and glaringly unsubtle. Nothing whispers in The New Boy. Instead, everything scrams—despite the attempted dreaminess of Thornton’s work as his own cinematographer.

Cate Blanchett labors as Sister Eileen to deliver the film through its aesthetic temptations and stifling thematic travails. However, the most interesting portrayal is that of Wayne Blair, as George, an indigenous convert, who clearly relates to the student-orphans in very complex but personal ways. Likewise, Deborah Mailman also adds a lot of humanistic sensitivity, as “Sister Mum,” another indigenous convert, who presumably took orders after the tragic deaths of her children.

Unfortunately, despite the uniformly strong performances, the third act is just an impenetrable muddle. It is not a case where viewers might have fun debating elements left open to interpretation. Rather, it is a murky mess that leaves Thornton’s intentions unclear—and consequently unfulfilled.

Murderbot, in Cinema Daily US

There are a number of cliches baked into MURDERBOT, but the snarky titular android is consistently funny driving the series. He stands tall as the show's main attracttion. CINEMA DAILY US review up here.

The Cinema Within: The Film-Editing Doc (sort of)

In film-editing, there are good cuts, like those made by Oscar-winning editor Walter Murch and bad cuts, like those made by Harvey “Scissorhands” Weinstein, made solely to reach a target length. Yet, this film rarely addresses the question of why cuts are made. Instead, Murch and several cognitive psychologists study how those cuts are perceived in Chad Freidrichs’ documentary, The Cinema Within, which releases this Tuesday on VOD.

At first, the act of film-watching is considered something very unnatural, because the experience of seeing two completely unrelated images in immediate succession was impossible before the invention of motion pictures. Yet, our brains did not explode.

Somehow, the accepted language of cinema, still paralleled the way human perception works. At least that is what Murch suggests, while quoting an archival interview with John Huston. Essentially, they argue humans rarely pan and scan from one object to another. Instead, we turn are heads and blink. As they often say in this film: “the blink is the cut.”

So, we as human beings intuitively understand the language of film-editing—unless we don’t. Sermin Ildirar tested the hypothesis finding an aging traditional community living in isolation in the Turkish mountains, who watched films for the first time in their lives as part of her experiments. Their heads did not explode either. However, each cut essentially created a new film for them, because they did not perceive them as part of the same continuity.

American Experience: Mr. Polaroid, on PBS

He made the original selfies possible. His company’s instant photography provided immediate gratification, but their photos were still developed on film, so people generally saved it for moments that meant something. His company gave Kodak a run for its money and remains fondly remembered. The entrepreneurial career of Edwin Land and the rise and fall of the company he created are chronicled in director-writer Gene Tempest’s Mr. Polaroid, which airs this Monday as part of the current season of American Experience on PBS.

Tempest almost immediately likens Land, a Harvard drop-out, to some of the tech titans who followed his example, like Jobs and Gates. The comparison is apt. Land started his company developing a polarization technique to minimize car headlight glare. Detroit was not interested, so he ap[plied his technology to other uses, including gun-sights, which led to major defense contracts during WWII. Of course, he knew (and hoped) the war would not last forever, so he started R&D on his instant photography concept.

Eventually, Land launched Polaroid’s first instant camera at a media event that had serious Steve Jobs vibes. At the time, it was big and bulky, but the news photographers were still dazzled. However, it took years before Polaroid refined the process into a handheld device. He also pioneered the more laidback corporate culture that continues to be associated with the tech sector. Yet, Tempest still found plenty of former employees to complain about Land’s policies.

Ironically, Land was unusually progressive for his time, especially in his efforts to hire and promote women and black recruits. Nevertheless, some employees were apparently resentful that Land did not completely adopt every single one of their political positions. Yet, he clearly had a greater social conscience than many of his contemporaries, while also serving as unofficial technical advisor to the U.S. government on aerial surveillance photography.

E.1027: Eileen Gray and the House by the Sea

This is the third film about architect/designer Eileen Gray—one for each house she completed. In contrast, Louis Sullivan, who built Chicago into the commercial city we still know today, only has two. However, Gray’s interior and furniture design work was considerably more prolific. She also let the exponentially more famous Le Corbusier suck her into a bitter, petty rivalry, which unfolds in Beatrice Minger & Christoph Schaub’s docu-dramatic hybrid E.1027: Eileen Gray and the House by the Sea, which opens today in New York.

As an Irish expat in Paris, Gray achieved acclaim for her interior design. She quickly fell in with the modernist movement, especially her future sort of lover, architect Jean Badovici. Working together, but mostly just Gray, they built the striking seaside modernist house, she dubbed E.1027 in their joint honor: “E” for Eileen,” 10 for “J,” 2 for “B,” and 7 for “G.” In a tragically ill-conceived error, she put the house in Badovici’s name, which led many critics to assume it was his design.

Of course, E.1027 was also influenced by the Bauhaus and Le Corbusier, so many also mistakenly attributed it to the alleged Vichy collaborator (who had also designed Soviet commissions)—a misconception he did little to dissuade. In fact, Le Corbusier tried to assert authorship over the lauded house, when Badovici allowed him to paint frescoes over Gray’s unadorned walls. Obviously, by that time, he had taken full possession and sole residency.

We see this play out in Minger & Schaub’s film—sort of. Their approach incorporates traditionally avant-garde techniques, including minimalist stagings (as well as scenes shot on-location), rendered in a deliberately stilted manner. It is all style and little soul. Additional historical context is also provided by conventional documentary interludes, including footage of the elderly re-discovered Gray, presented as a sort of summation.

The Unholy, Based on a James Herbert Novel

Late horror novelist James Herbert was often dubbed by critics “the British Stephen King,” but his American publishers were never able to translate those comparisons into sales for their editions. Believe me—I was once involved with such efforts. At least the book was good. Six film adaptations did not push him onto U.S. bestseller lists either, even though several were quite well-made. It opened to little fanfare, but the archetypal horrors resonate surprisingly deeply in director-screenwriter Evan Spiliotopouplos’s The Unholy, produced by Sam Raimi and based on Herbert’s Shrine, which airs tomorrow for service personnel on American Forces Network.

Gerald Fenn is a lot like many journalists, but he got caught fabricating his fake news stories. Ten years into his disgrace, Fenn survives by reporting on questionable occult phenomenon for a tabloid. Although a reported cattle mutilation is too bogus even for his standards, he finds a potential consolation prize when he unearths a kern doll on the farmer’s land. Unwisely, he smashes the head to make it look creepier.

The next day, the deaf-mute orphan Alice Pagett is miraculously cured. She claims she heard the Virgin Mary speak to her and then channels her divine power to cure others. Soon, Banfield, MA appears on track to become the next Lourdes. Boston’s Bishop Gyles assumes control of the scene, while Monsignor Delgarde from the Vatican investigates whether the reported healings truly qualify as miracles.

However, her guardian-uncle, Father William Hagen has visions of a demonic figure standing behind Pagett. That would be a very different Mary. Mary Elnor is a witch-turned-demon, who sold her soul to Satan, before the Puritans sealed her into the Kern baby during the prologue. Fenn botched this assignment even worse, but he valiantly fights to make amends.

Spiliotopouplos’s adaptation of Herbert’s novel embraces big, cosmic themes of good and evil, taking direct inspiration from the Biblical commandment against worshipping false idols. It also reflects a current split in the Church, represented by the smooth Cardinal Gyles and the more conservative Monsignor Delgarde. Regardless, the good Father Hagan is indeed a good Father, who might have been the most sympathetic priest portrayed in film during the entire year of 2021.

The film’s second great strength is its cast of character actors, very definitely including William Sadler, whose portrayal of Father Hagan is often quite poignant. Jeffrey Dean Morgan is suitably rumpled as Fenn, who perhaps fittingly loses his cynicism when confronting the horrors that unfold. Diogo Morgado (best known for playing Jesus in multiple projects) is a forceful, reassuring presence as Monsignor Delgarde, who demonstrates faith and intellectual rigor are not mutually exclusive. Cary Elwes (playing according to type) is amusingly slick and wily as the shortsighted Bishop.

The Old Woman with the Knife

She is the sort of greybeard you might work with at your company who knows where all the bodies are buried. In her case, it is because she killed them. It is all part of the job when you work for an assassination firm. The founder used to refer to their work as “pest control,” but the new management takes a more mercenary approach. Their clash of corporate cultures turns deadly in Min Kyu-dong’s The Old Woman and the Knife, which opens this Friday in theaters.

Ryu was a hired killer, but he had a keen sense of right and wrong. He and his wife took the woman he would dub “Nails,” which eventually evolved into “Hornclaw,” into their home when they found her near-dead on the street. He subsequently inducted her into his real business when—in self-defense—she shows an aptitude for it.

Over the years, Hornclaw became a folk legend among assassins, even after her mentor’s spectacularly bloody demise. She is still active, but the assignments aren’t what they used to be. From what she can see, the firm now mostly passes on the cases she and Ryu specialized in, opting for better paying but more ethically questionable gigs.

Unfortunately, Hornclaw’s age starts to catch up with her—almost fatally. Frankly, she would not have been a goner had Kang, a widower veterinarian, not taken the unconscious hit-lady back to his animal clinic for emergency treatment. In Hornclaw’s world, no good deed goes unpunished, especially if it leaves witnesses, but she is tired of compromising her principles. She is also already tired of “Bullfight” the reckless, borderline psychotic new assassin her boss recruited.

This is exactly the sort of nifty Korean thriller that Hollywood might option to remake, but would inevitably foul-up. Somehow, it manages to be simultaneously gritty and slick. Most of all, it is terrific showcase for veteran thesp Lee Hye-young as the Eastwoodesque Hornclaw. Her performance serves as a thoughtful contemplation on aging and all the bad karma that accrues over a lifetime.

Tehran Blues, on OVID.tv

Anyone singing in Iran, necessarily sings the blues. Music is strictly forbidden for women and highly discouraged for men. For obvious reasons, busking is a tough business for a poet and musician like Erfan Shafei, but he and his street musician friends carry on as best they can in Spanish filmmaker Javier Tolentino’s documentary, Tehran Blues, which premieres this Thursday on OVID.tv.

Shafei’s get-together with other regional Iranian folk musicians feels more like a support group meeting than a workshop or a jam session. That does not suggest a great cultural state of affairs. Nevertheless, many of them discuss and perform music with tremendous passion, especially Golmehr Alami, whose vocal feature spot is absolutely hypnotic.

You might consider Shafei’s friends and colleagues the Persian or Iranian equivalent of Roots or Americana music. Many of them explore the neglected folk music traditions of their home regions. Often, you can blues-like undertones to their music. In fact, some of the instrumental solos even have a jazz vibe reminiscent of the Eastern-influenced drone-like recordings of artists like Coltrane and Lateef.

Toletino also follows Shafei on an unstructured, slackery tour Iran, in search of authentic regional music. It provides a fascinating reality check, revealing the genuine attitudes and opinions of working-class Iranians. A rugged fisherman completely upends expectations, expressing his intention to defy his country’s misogynistic two-parts-for-men and one-part-for-women inheritance tradition, because all his sons are idiots, while all his daughters have their act together. Indeed, he sounds quite progressive, albeit somewhat cautiously so.

Demon Slayer: Kimetsu no Yaiba--The Movie: Mugen Train, in Cinema Daily US

DEMON SLAYER: KIMETSU NO YAIBA--THE MOVIE: MUGEN TRAIN is a relatively accessible entry point and a massive payoff for franchise fans. It features impressively animated supernatural martial arts and a death scene worthy of Garbo. It was also the #1 global boxoffice champ of 2020, but if you missed it, because it was '20/'21, it reutrns to theaters tomorrow. CINEMA DAILY US review up here.

The Darkside of Society, Narrated by Julian Sands

Many horror movies, like Texas Chainsaw Massacre pretend to be “based on a true story.” Brian Yuzna’s Society actually was, but screenwriter Woody Keith, now known as Zeph E. Daniel, did not realize it, even though it was his story. He had just repressed the horrors he endured. It is crazy stranger-than-fiction testimony you might not totally believe, but you will never be bored by Larry Wade Carrell’s documentary, The Darkside of Society, which releases today on VOD.

If you know the cult classic movie, Daniel never claims to have survived the grotesque body-horror conclusion referred to as the “Shunting.” Instead, he explains how his parents, especially his mother groomed him to be the sacrifice of a satanic ritual, much like the lead character, Bill Whitney. That’s right, the much maligned “Satanic Panic” was in fact based in grisly fact.

According to Daniel, his mother was the chief architect of his torment, or at least her satanic witch personalities. She also had nurturing Christian personalities. However, her dark side nearly killed Daniel several times.

If any of this is true, Daniel deserves great sympathy and tremendous credit for overcoming such adversity. Also, his expression of Christian forgiveness sounds genuine and laudable. On the other hand, if this is an extended put-on to create a prequel to Society that is equal parts David Lynch and Andy Kaufman then hats off to Daniel and Carell. Either way, it is an eerily fascinating film that takes the so-called “Satanic Panic” seriously, instead of trying to laugh it away.

Indeed, Darkside is unlike any other horror movie documentary, in which the cast-members prattle on about how gratifying it is to be a part of something that still means so much to the fans. Aside from Daniel, the only major cast or crew members who appear in Darkside are Yuzna and special effects artist Screaming Mad George. However, horror filmmaker Richard Stanley (who is also an abuse survivor) appears to discuss the kind of ritualistic menacing Daniel describes.

Batman: Full Moon

He is a superhero with considerable affinity for the horror genre. He fought Dracula and a Lovecraftian evil that came from the Arctic. He is also known to have very “Long Halloweens.” This time around, he faces a werewolf, but you know it is going to get rough, because this limited series was originally published by DC’s more mature Black Label imprint. Regardless, you cannot argue with the bat vs. wolf concept of Rodney Barnes’ Batman: Full Moon, illustrated by Stevan Subic, which releases today in a hardcover bind-up edition.

It is hard dating Bruce Wayne, but Zatanna is unusually understanding, having apparently already had the secret identity talk. That is fortunate for him, because he will need her occult expertise when he tangles with a werewolf. Initially, he assumes it is just another superhuman beast, like Grodd, but it is savage in a mindless way, but also contagious.

Fittingly, the werewolf was once Christian Talbot, an obvious, affectionate reference to Lon Chaney, Jr.’s Larry Talbot. As a soldier, he generated the ill-karma that attracted the werewolf who bit him, while serving on a mission in Romania. He came to Gotham hoping Wayne Pharmaceuticals could devise a cure. The infectious disease specialist certainly empathizes with Talbot’s plight. Formerly a super-villain, Dr. Kirk Langstrom, a.k.a. Man-Bat, has been fully reformed, but he remains a recovering vampire. Slightly disappointed by the lack of results, Talbot trashed the Wayne labs in his lycanthropic form.

Frankly, Talbot is a foe Batman cannot beat-up. Instead, he relies on the aid of Langstrom, Zatanna, and her surly ex, John Constantine. The Hellblazer clearly isn’t over her yet, but that is why comic geeks are crazy for her. Of course, Alfred Pennyworth and his mordant wit are also as dependable as ever.

Barnes serves up an unusually angsty and moody take on werewolves, but that obviously suits the Dark Knight. He also cleverly incorporates the other familiar DC characters, especially Langstrom, into this Elseworlds storyline. Parents should note the 13+ age guideline is apt, mostly for language, but also for some mature references (albeit one that would hopefully be lost on younger readers, but these days, you never know).

Joan Rivers: A Dead Funny All-Star Tribute, on NBC

It is a healthy sign that the entertainment industry can finally pay tribute to Joan Rivers. It only took ten years (and change) after her death. It is obvious why it took so long. Personally, Rivers was a paragon of tolerance, but for her comedy was serious, take-no-prisoners business. Shrewdly, Rivers’ admirers celebrate her “thematic boldness” as well as her genuine stature as a feminist trailblazer in Joan Rivers: A Dead Funny All-Star Tribute, executive produced by her daughter Melissa, which airs tonight on NBC.

Sadly, Rivers passed away in 2014, but she lived to see the release of Rucki Stern & Annie Sundberg’s Joan Rivers: A Piece of Work, which helped put her career resiliency into proper perspective. Of course, nobody in this special mentions her victory on Celebrity Apprentice, but the 2010 documentary made it clear her Trump-related triumph helped reinvigorate her career, once again. However, Joel McHale does a funny bit about all the awful news of the last ten years Rivers was fortunate to miss. He also takes several shots at E!, where he met Rivers, which is suitably subversive, considering the network will rebroadcast this very special on June 5^th.

In fact, most of the presenter/tributer/roasters are rather funny, because they adopt Rivers’ fearless spirit. Nikki Glaser and Rachel Brosnahan pretty much go straight for the crotch (with ample precedent). In addition, Brosnahan notably gives Rivers credit as the model for Miss Maisel. Fittingly, Tiffany Haddish (who discovered her Jewish roots in adulthood) gives Rivers credit for serving as her Jewish role model. Of course, it also makes you wonder how the forceful Rivers would have responded to the current alarming surge of antisemitism, especially on college campuses.

Topakk, from the Philippines

If the gangs chasing the Warriors back to Coney Island blundered into a warehouse guarded by John Rambo, it would have gotten very bloody. This is the movie that proves it. Miguel Vergara witnessed guerrillas beheading the surviving members of his commando unit. He then killed each and everyone of them. Of course, he lives with tremendous guilt and PTSD. It all comes rushing back to him when two desperate siblings barge into the warehouse where he works as a security guard—in a way that will be very bad for the corrupt Filipino drug cops chasing them in Richard V. Somes’ Topakk (a.k.a. Triggered), which releases tomorrow on VOD.

Vergara’s best friend Leon Ramos had the bad judgement to announce his wife’s pregnancy right at the start of their operation, so we all know what will happen. His wife Jane clearly has not forgiven Vergara yet and neither has he. This will be his first night finally employed, at a creaky old warehouse that apparently stores inflammable material and enormous circular saws, so we know what that means.

Bogs Diwata got caught trying to steal from the drug operation his sister used to mule for, so she agrees to make runs with him to work off the debt. During their first pick-up (yep, you got it), the corrupt Mayor sends Romero’s Elite Squad-like unit to wipe out the potential informants who could tie her to the illicit drug trade. Of course, they cannot leave witnesses like the Diwatas, but somehow, they make it to Vergara’s warehouse.

Honestly, Topakk might be the bloodiest action movie of the decade. Somes and company never hold back or water anything down. These are old school no-holds-barred beat-downs. Frankly, there is good reason the stunt performers of Tag Team Stunts get such prominent billing, because they were clearly busy.

For most fans, only Tag Team’s work really matters, but Sid Lucero happens to be terrific as Romero. He is far more complex than the rest of the villains, as a veteran and family man, whose own family will be threatened by the drug kingpins he protects. There are also several flamboyantly nasty henchmen, like the duplicitous Aquinta and sadistic Sarmiento, portrayed with sinister glee by Cholo Barretto and Vin Abrenica.

Last Mile, on Delta

Regrettably, one of the best ways to damage an “Amazon”-like corporate behemoth, especially one that prides itself on its “customer-centric” values, is through those customers. Survivors tend to leave very bad reviews when their packages explode. That has been happening throughout Japan on the worst possible day, Black Friday, in Ayuko Tsukahara’s Last Mile, which is now available on some international Delta flights.

Despite its record high volume Amazon’s Daily Fast’s Kanto warehouse has a troubled reputation, so Japanese expat Erana Funado was dispatched back home from corporate HQ to whip it into shape—on the busiest day of the year. Her chief lieutenant, Ko Nashimoto does not seam to mind being passed over. Yet, he represents the only management team member still employed at Kanto since the incident to be revealed later.

It is safe to assume someone else still remembers and remains upset over it. That tragedy emerges as the prime motive in a string of Amazon Daily Fast shipments that were rigged to explode. Strategically, many of the bombs targeted shipments of Amazon’s Daily Fast’s new proprietary smart phone. Given the season, there are hundreds of temp workers clocking into the Kanto facility, but the security precautions make it nearly impossible to smuggle in explosions. Indeed, the cops are baffled, leaving Funado and Nashimoto the best bets to solve the crime.

It makes sense Delta chose Last Mile for their in-flight entertainment, because nothing is more fun than a thriller about concealed bombs while you are sealed in an airliner flying over the ocean. This one is just okay, but it is extremely zeitgeisty. Quickly, the investigation focuses on the Sheep shipping company, from which Amazon Daily Fast has extorted huge discounts, thanks to their monopsonistic buying power. Of course, those concessions naturally come out of driver compensation.

So, Last Mile (a reference to the final leg before a package reaches its recipient) might not turn up on Prime anytime soon. The two-hour plus running time is also excessive. Yet, Akiko Nogi’s screenplay clearly reflects the abiding Japanese interest in corporate culture and teams, as exemplified by kezai shosetsu Japanese business novels.

Fittingly, Funado is the most intriguing character, because her corporate loyalty is often open to interpretation. Her resourcefulness is also impressive. Hikari Mitsushima brings a lot of screen charisma to the lead role, without overplaying the cloying pluckiness. It is easy to believe the more laidback (but comparatively underdeveloped) Nashimoto could work with her.

Constantine: City of Demons—The Movie

In the DC Universes, nobody inspires more confidence than Superman, but magic represents his second greatest weakness after Kryptonite. Occult detective John Constantine is far less reliable or trustworthy, but he is still your better bet to exorcize a demonic possession. Unfortunately, his oldest long-suffering friend Chas Chandler must ask his help for exactly that reason in Doug Murphy’s DCanimated feature, Constantine: City of Demons—The Movie, which would make appropriate viewing today, even though it feels a little awkward to celebrate Constantine’s birthday if you know the sad circumstances of his birth.

Indeed, Constantine endured his share of trauma, which made him the miserable sod fans know and love. Having survived his tragic family life, Constantine embraced his magical lineage, but his first foray into dark magic ended in disaster. As a result, he was admitted to Ravenscar Mental Hospital, where loyal Chandler still regularly visited him.

Eventually Constantine’s swagger returned and his mastery of the occult arts grew. Consequently, Chandler understands his old friend will be more help than modern medicine when his daughter Trish falls into a supernaturally induced coma. Given their shared history, Constantine cannot deny him. Unfortunately, that is exactly what the responsible demon was counting on, as he explains when he lures Constantine to Los Angeles.

City of Demons might be the goriest DC movie ever (and it is hard to think of anything from Marvel that comes remotely close). Regardless, if you enjoy demonic horror, this film delivers. At least it is a film now. City of Demons was compiled and expanded from an original CW Seed series, but it never feels episodic.