Friday, February 3, 2017

Un Padre No Tan Padre [2016]

MPAA (PG-13)  CNS/USCCB ()  AZRepublic (4 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing
FilmAffinity.es listing*

AZRepublic (R. Cordova) review
Excelsior.com.mx (A. Ruz) review*

Un Padre No Tan Padre [2017] [IMDb] [FA.es]*(directed by Raúl Martínez [IMDb] [FA.es]*, screenplay by Alberto Bremer [IMDb]) is a Mexican / Spanish language "fish out of water" comedy about Don Severando (played inspiringly by Héctor Bonilla [IMDB] [FA.es]*) an "older gentleman" SO "OLD SCHOOL" / SEVERE that the upscale Mexico City "senior retirement hotel" that he's lived in for the last 20 years has finally had enough and asks him to leave.

Okay, but where to?   Well, NONE of his five grown children want him.  Only the youngest, Francisco, going by "Fran" for short (played again magnificently by Benny Ibarra [IMDB] [FA.es]*) who lives with his long-time girl friend (played by Jacqueline Bracamontes [IMDB] [FA.es]*) and teenage son René (played by Sergio Mayer Mori [IMDB] [FA.es]*) by another relationship in a small comune at the edge of Anglo-American expat haven, notoriously "hippie / liberal" San Miguel de Allende (think Berkeley, Key West, "Big Sur" / Santa Cruz / Monterrey) is willing to take him in, if temporarily, to see if it would work...

Well, needless to say, "much ensues ..." ;-)

I just loved this movie and think that it'd be worth it for A LOT of Readers here (both Anglo and Hispanic) to see it because it reminds EVERYONE of the cultural diversity that, if one thinks about it _at all_, so clearly exists in both Mexico and across Latin America.

BOTH "Don Severando" and "Fran" / Alma and their "artist commune" exist.  Where would Diego Rivera or Frida, to say nothing of the characters populating Carlos Fuentes'  or (Colombian) Gabriel García Márquez' novels, come from?

Just a joy of a film ;-)


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The Space Between Us [2017]

MPAA ()  CNS/USCCB (A-III)  RogerEbert.com (1 1/2 Stars)  AVClub (D)  Fr. Dennis (2 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (C. Lemire) review
AVClub (A.A. Dowd) review


The Space Between Us [2017] (directed by Peter Chelsom, screenplay by Allan Loeb, story by Stewart Schill, Richard Barton Lewis and Allan Loeb) is an at times _truly_ impossible teen-oriented "crush story" (seriously, there's NO WAY _in this universe_ that the story's two "star crossed lovers" could talk to each other (one on Mars, the other in Colorado) in an online chat, with even the speed of light at a mere 186,000 miles/sec, the distances involved, tens of millions to hundreds of millions of miles, are simply too great).  Nevertheless, putting aside this fairly elementary and yet (as of now) utterly insurmountable telecommunications problem -- our deep space probes operate using a mix of artificial intelligence / instructions sent to them ahead of time and report their findings back to earth minutes to hours after the fact -- it's _not_ an awful weepy teen-oriented "crush story." 

PARENTS SHOULD NOTE that there is a scene in which the two teens in question - the lankly Mars-born "Gardner" (played by Asa Butterfield) and the actually quite similarly rootless, shuttled from one-foster-home-to-another "Tulsa" (played by Britt Robertson) DO end up _sharing a sleeping bag_ together ... -- during a truly beautiful "starry night" out in the Arizona desert on their way to find "Gardner's" father (Gardner's mother, an astronaut only found out that she was pregnant 2 months into a mission to Mars ... and dies soon after giving birth to him on the red planet). 

Was that scene WISE or even NECESSARY? -- let's remember that Shakespeare settled his narrative problem of what to do with his two enamored "star crossed teens" in Romeo & Juliet by having them get married secretly by Friar Lawrence (and it would seem that Gardner's mother was married _secretly_ by an Arizona Shaman to Gardner's father before her departure to Mars ;-).  Still the film's wink to "Okay, teens it's okay to shack-up if only for one night, if the night is TRULY BEAUTIFUL / romantic" will irritate a fair number of parents ... and REQUIRE COMMENT (and condemnation) by a Church authority such as me (it's part of our job).

But okay, so the story's science is flawed and in the above point morally questionable.  Still, what a great teen romance: He from Mars, raised by astronauts who didn't necessarily expect that to be part of their job, she born and yet quite lonely here on Earth -- So what's a few hundred million miles distance when TRUE LOVE [TM] is involved ;-).

So all in all, it's NOT an awful sappy teen-age love story ;-) and with regard to _this film genre_ does one necessarily demand "more"?


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Monday, January 30, 2017

Gold [2016]

MPAA (R)  CNS/USCCB (L)  RogerEbert.com (2 Stars)  AVClub (C+)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (R. Abele) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (J. Hassenger) review


Gold [2016] (directed by Stephen Gaghan, screenplay by Patrick Massett, John Zinman) is a quite-engaging if thoroughly seemy "hard-boiled" / "gonzo-ish" story, loosely based on a 1990s mining scandal involving Bre-X a Calgary-based mining company founded by Canadian businessman David Walsh

Walsh's firm had a quite unimpressive track-record until ... he took a big gamble and on the advise of a geologist named John Felderhof set-out to develop a potential gold-strike in the jungles of Borneo, Indonesia.  The initial estimate of the potential of site, reported by the site's first project manager Michel de Guzman, a geologist from the Philippines, suggested that it could become one of the largest gold strikes in history.  That estimate, of course, proved to be a fraud and ... much, much intrigue (and litigation) ensued.  But with so many players -- optimistic and/or flat-out crooked geologists, a wannabee big-shot Canadian businessman arguably way out of his depth, all kinds of higher-flying investors from Toronto and beyond (read NYC), and then the requisite corrupt / corruptable wierdos that one would find the notoriously "crony-capitalist" state that was Indonesia under Suharto -- who (all) was scamming who?   Famed Rolling Stone journalist Hunter Thompson would have cut-off his right arm to tell _this tale_. 

And so a fictionalized version is told here.  David Walsh of Calgary, Canada becomes Kenny Wells of Reno, Nevada (played quite inspiringly by Matthew McConaughey).  Geologists John Felderhof and Michel de Guzman are conflated into the character of Michael Acosta (played by Edgar Ramírez).  Together Wells and Acosta set-out, up one of Borneo's Rivers and come to a seemingly random location (literally revealed to Wells in a dream) and there they start digging, and digging and ... finding nothing.  Finally, after a month-long bout with malaria that nearly killed him, Wells wakes-up only to informed by Acosta that ... OMG they found GOLD!  Lots of it, indeed POSSIBLY the largest gold strike of all time. Wells goes back home to Reno to line-up investors and as the reports get Bigger and BIGGER ... soon even Wall Street wants a piece of the pie (and arguably pretty-much THE WHOLE PIE).  In the midst of all this "gold fever" the ONLY ONE with any sense seemed to be Wells' long-time Reno-barmaid girlfriend Kay (played by Bryce Dallas Howard) who warns Wells to just get out while he can ...

Well, of course, he doesn't ... and ... well ... when the "... hits the fan ..." there are A LOT OF PEOPLE who are ... "VERY, VERY UNHAPPY" ;-/.

When one thinks about it, even the very idea of going into a place like Suharto's Indonesia IN SEARCH OF _GOLD_ would seem like A REALLY STUPID IDEA.  Even if the gold was there, could they possibly extract it, make money on it, and LIVE TO TELL ABOUT IT? 

Certainly though it makes for one heck of a story and (one would hope) cautionary tale.  This was ONE HECK OF A "TIGER" that Matthew McConaughey's character was "petting."  Don't do this at home ...


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Saturday, January 28, 2017

A Dog's Purpose [2017]

MPAA (PG)  CNS/USCCB (A-II)  RogerEbert.com (1 1/2 Stars)  AVClub (C)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Walsh) review
RogerEbert.com (G. Kenny) review
AVClub (K. Rife) review


A Dog's Purpose [2017] (directed by Lasse Hallström, screenplay by W. Bruce Cameron, Cathryn Michon, Audrey Wells, Maya Forbes and Wally Wolodarsky based on the book [GR] [WCat] [Amzn] by W. Bruce Cameron [wikip] [GR] [WCat] [Amzn] [IMDb]) is a LOVELY, largely "can't miss" FEEL-GOOD FAMILY MOVIE unless one's some kind (perhaps any kind) of extremist -- the kind that would simultaneously be offended by the possibility that dogs would have souls AND that (to make dogs different from people) dogs would "reincarnate" rather than "go to heaven."  Anyone who's ever had a dog or loved a dog would know that "there's something in that dog" that's "a lot like us" and perhaps _better_ than us.  The other kind of extremist who'd get mad at this film would be of the PETA variety, who'd pretty much require that a dog write the screenplay and direct the film him/herself (and _that_ "would be hard" because they'd always get distracted by squirrels ;-).

So ... if you _just love dogs_ then this film will probably be for you ;-) -- and let the protesters (I was shocked when I heard that there were folks who have already verbally protested this film) be.

The film is about a dog, or the soul of a dog, (voiced throughout by Josh Gad) who's trying to figure out why he/she exists.  Being a dog is largely _fun_ but ... "there has to be more to it / life" than that.  And so we follow said dog cycle through various incarnations -- Bailey, Ellie, Tino, Buddy -- as he (and at least one time, she) tries to figure out "what it's all about."  The story goes full circle when he is incarnated as Buddy and ends-up incarnating in the environs of where Bailey used to stomp and becomes part of the lives of two humans, Ethan and Hannah (played as teenagers by K.J. Apa / Britt Robertson and as 50+ year olds and Dennis Quaid / Peggy Lipton respectively) again.  (Note that Bailey entered into Ethan's life when Ethan was 8 years old and is played by Bryce Gheisar as well).  Much QUITE PREDICTABLE but CUTE ensues ...

All told, I thoroughly enjoyed this film and would recommend it to most parents / families to watch happily together.


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Saturday, January 21, 2017

The Founder [2016]

MPAA (PG-13)  CNS/USCCB ()  RogerEbert.com (3 Stars)  AVClub (B)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (J. Hassenger) review


The Founder [2016] (directed by Jack Lee Hancock, screenplay by Robert Siegal) tells the compelling (!) if not necessarily pretty story of the origins of certainly the largest fast-food franchise company, McDonald's, in history.

While as yet hearing surprisingly _no buzz_ for this film, I'd certainly say that Michael Keaton simply DESERVES OSCAR CONSIDERATION for his role as Ray Kroc [wikip] [IMDb] the one-time traveling huckster / salesman from Oak Park, Arlington Heights, Des Plaines, Illinois (suburban Chicago) who turned the "one miracle stand" operation of the McDonald brothers - Richard ("Dick") and Maurice ("Mac") (played in the film by Nick Offerman and John Carroll Lynch respectively) - of San Bernardino, California into the multibillion dollar multinational McDonald's corporation.

How'd he do it?  He'd say ... persistence.  And one would have to say, a definite level of _meanness_, there were _definitely_ "some eggs" that were "cracked" to make _this_ "Egg McMuffin..."

But honestly, what a(n American) story!  Call it this year's rendition of The Master [2014] (a film inspired by the life of Scientology Founder L. Ron Hubbard) or Joy [2015] (a film about QVC / Home Shopping Network sensation Joy Mongano inventor of the "the self-wringing mop" ;-).  It's a story that's both trivial / _banal_ AND ... compelling / _worth telling_ ...

Excellent film!


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Split [2016]

MPAA (PG-13)  CNS/USCCB (A-III)  RogerEbert.com (3 Stars)  AVClub (B+)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (K. Jensen) review
Los Angeles Times (J. Chang) review
RogerEbert.com (C. Lemire) review
AVClub (I. Vishnevetsky) review


Split [2016] (written and directed by M. Night Shyamalan) is a quite disconcerting film that I have a fair amount of mixed emotions about. 

ON ONE HAND, the film's probably WAY MORE LURID than it needs to be: Three teenage girls, Casey (played by Anya Taylor-Joy) Claire (played by Haley Lu Richardson) and Marcia (played Jessica Sula), are kidnapped and held in some underground compound by a crazed man in his 20s-30s (played by James McAvoy) with serious multiple personality disorder.  Since teenage girls are involved the film-maker, while never crossing into R-territory, certainly "plays at the boundary" between the PG-13 / R-ratings -- while never having the three actresses undressed completely, the director does have them show about as much skin as the PG-13 rating would allow.  SO there's DEFINITELY a CREEPY aspect to this film that will PROBABLY "ick-out" (!) a fair number of adults (including myself...) that would go to see it. 

ON THE OTHER HAND, if one imagines THE TARGET AUDIENCE to be _precisely_ TEENAGE GIRLS ... then WOW, does this film _speak the language_ of _wide-eyed_ teenage girls telling _a scary story_ to freak-out their friends!  And that's, I suppose, the film's genius.  It's a story that one would imagine a group of junior-high early-high-school teenage girls would tell each other about "some really messed-up / deeply creepy dude." 

Now maybe the next time a film like this hits the screen, it'd probably be better if it was written / made by women as well...


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Friday, January 6, 2017

20th Century Women [2016]

MPAA (R)  CNS/USCCB ()  RogerEbert.com (4 Stars)  AVClub (B+)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (S. O'Malley) review
AVClub (A.A. Dowd) review

20th Century Women [2016] (written and directed by Mike Mills) is an excellent, well-written / well-acted indie piece that simply deserves wide recognition at the Oscars -- nominations for Best Picture, Best Original Screenplay (!), Annette Bening as Best Actress in a Leading Role (!), perhaps even Best Cinematography in a nice gentle indie sort of way.

Conceived as a tribute to writer/director Mills' mother (just like Beginners [2011], another simply _excellent film_, was a tribute to his father) the film is set in the California coastal city of Santa Barbara in 1979.  Both the time and place are perfect -- Santa Barbara is simultaneously beautiful, and 2 hours up the coast from Los Angeles toward the Bay Area, conceivably something of a "hippie-ish backwater."  Then the late 1970s were really at "the end of an era" (the "anything goes" lasciviousness of the 60s that with Disco / Punk extended into the mid-to-late 70s) and _just_ before the beginning of another (the 1980s / Reagan years).

So at this time, 1979 in Santa Barbara, "born during the Depression" Dorothea (played again marvelously by Annette Bening), now her mid-50s is faced the task of _finishing_ the raising of her teenage son Jamie (played by Lucas Jade Zumann) who she had "late" (at 40), because she "married late", because ... well ... she was never exactly "a cover girl."  Her husband, Jamie's father, was long out of the picture.  First, he had left and then he had died.

So how does one "raise a son" / "raise a man ... without a man"?  That's what this film is about AND TO ITS CREDIT the story _doesn't_ "look for a man" WHEN NO ONE REALISTICALLY IS AROUND TO STEP-UP.

So Dorothea decides to "make do" enlisting the help of two younger women -- Abbie (played by Greta Gerwig) a somewhat eccentric 20-something year-old boarder and Julie (played by Elle Fanning) a few-years-older than Jamie neighbor (on whom Jamie has a deep, deep crush).  She asks THEM to help her "make a man" out of her son.

And Readers understand here that she was NOT asking either of these young women to sleep with her son.  Instead, she was _asking_ THEM to _help_ HER to _make_ HIM into a GOOD GUY.

This is an _intelligent film_.  Indeed, if anything, this film is as subversive to the "values of the 1960s-70s" as it is to "traditional values."  (Discussion of) sex does come up, and the 17-18 year old Julie is "rather loose."  BUT she actually LIKED Jamie precisely because HE WAS THE ONE GUY that she could "keep at bay" and KEEP AS A FRIEND.  She confesses to him that with all her other sexual activity she'd _never_ had an "orgasm."  "So why do you have sex?" Jamie asks her.  She answers QUITE HONESTLY, because she liked "watching the guy," watching _his reactions_.  She might not get the orgasm but she liked seeing the other person happy.

Yes, there will be all kinds of Readers here who will have _any number_ of problems (or "problems") with that answer (and of course the Catholic Church teaches that any sexual activity outside of the context of marriage is _necessarily_, at least in part, A SIN) but ... HER ANSWER was NOT _selfish_ / _egotistical_.  Julie's answer was concerned about the Other (and yet, the ONE she did not want to satisfy was Jamie who she VALUED as a FRIEND).

This is one film that unambiguously declares FRIENDSHIP to be more important than SEX and expresses the opinion that it's possible to find HAPPINESS / FULFILLMENT in HELPING / SERVING OTHERS.  Remarkable.

So folks, this is not necessarily the film to take the teenager to -- I doubt they'd get it.  But it's a very intelligent film about the task of _raising someone_ to be a GOOD PERSON.

And remember Dorothea herself was not exactly "a beauty" ... but was of course trying to defend her own worth: If only "beautiful" and "popular" people had lives "worth living" where would the _vast majority_ of the rest of us be?

Certainly one of MY FAVORITE movies of the year!  Great job!


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Hidden Figures [2016]

MPAA (PG)  CNS/USCCB (A-III)  RogerEbert.com (3 1/2 Stars)  AVClub (C+)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Turan) review
RogerEbert.com (O. Henderson) review
AVClub (J. Hessenger) review


Hidden Figures [2016] (directed and screenplay cowritten by Theodore Melfi along with Allison Schroader based on the book [GR] [WCat] [Amzn] by Margot Lee Shetterly [wikip] [GR] [WCat] [Amzn] [IMDb]) is a well-made, crowd-pleasing (if then _necessarily_ somewhat "dumbed down") story about three Mathematicians (!), AFRICAN-AMERICAN, WOMEN who helped the U.S. win the Space Race of the 1960s.

This is EXACTLY the kind of film that one wants kids (especially GIRLS and CHILDREN OF COLOR) to see.  This is EXACTLY the kind of film that inter-generational families (of all races) ought to see together. 

If this film does not get Oscar nominations for Best Picture, Best Adapted Screenplay (!) and at least one of the three stars get a nomination for either Best Actress in a Leading Role (Taraji P. Henson) or Best Actress in a Supporting Role (Octavia Spencer or Janelle Monáe) then it will have been robbed and the Academy will deserve the #oscarssowhite disdain that it's received in recent years.  (What about Moonlight [2016]?  IMHO, it's not even close. Moonlight [2016] is a decent-enough edgy/starter indie-piece.  But to honor _it_ IN PLACE OF _SERIOUS_ films like Fences [2016] and the current film would actually be an _insult_ to serious / dedicated African Americans in the film-industry rather than some kind of renewed recognition of them).

So what's the current film about?  Well, it's about three African American women who grew-up in the still pre-Civil Rights Era (Jim Crow) South, who, as it happened in ethnic or racial community, happened to be very gifted in mathematics.  Readers note here have been at least three other films about intellectually gifted people-of-color that came-out recently -- The Man Who Knew Infinity [2015], Queen of  Katwe [2016] and El Jeremías [2016] -- all about the challenges (often loneliness and certainly lack-of-comprehension) faced by such pioneers.

Now perhaps if not for the advent of the space program (AND the nuclear arms race ... more on that later) these three would have been relegated to teaching advanced mathematics in, then necessarily, All-black Colleges in the South.  But since the same missiles that carried satellites and human carrying space-capsules into space / orbit could ALSO carry nuclear warheads, the U.S. was in a "fight for its life" as Al Harrison (played excellently, BTW, by Kevin Costner) one of NASA's directors at (then still segregated) Virginia's Langley Research Center noted. 

As such, the country needed _all_ its "best brains" (even from people-of-color _and_ a fair number of _immigrants_...).  So the three heroines of the story -- Katherine J. Johnson (played by Taraji P. Henson), Dorothy Vaughan (played by Octavia Spencer) and Mary Jackson (played by Janelle Monáe) -- found themselves working in the (still segregated) COMPUTATIONAL (then literally called COMPUTER) pool, helping to calculate _still by hand_ possible trajectories for Space Flights.

Okay ... I promised _above_ to talk little bit about nuclear arms race here, something, that while not totally ignored, was largely _glossed-over_ in the film:  IN MY FIRST YEAR IN THE SEMINARY, when I did my first year of Theology with the Servites at the then Franciscan School of Theology in Berkeley, CA, I MET A FRANCISCAN SISTER / PROFESSOR THERE who IT TURNS OUT was ALSO ONE OF THOSE human "computers" in the early days of the space program.  She ALSO was recruited and believed initially that she was doing calculations "to help America get into space / the moon" ... and YET, _she_ came to realize that the vast majority of the calculations that she and her colleagues were doing were _not_ for calculating trajectories for spaceships or satellites BUT rather for ICBMS to be launched possibly against the Soviet Union.  SHE TOLD ME that THIS WAS THE REASON WHY SHE LEFT HER JOB IN THE SPACE PROGRAM and BECAME A NUN ... TO _ATONE_. 

The current film actually HINTS AT THIS DARK SECRET because it shows the main character Katherine being _repeatedly given_ HEAVILY REDACTED (BLACKENED OUT) work-sets from which she was supposed to do her calculations AND KATHERINE COMPLAINED telling her supervisors that she couldn't do her work effectively WITHOUT KNOWING everything that needed to be known about her calculations.

Still while in real life the three women in the story _almost certainly_ did calculations that were about _more_ than just "putting Americans in space," at least _some_ of their work was about space exploration -- putting John Glenn (played in the film by Glen Powell) into orbit, etc. 

Now dear Readers if this feels somewhat depressing -- the realization that much of what was done _under the cover of the Space Program_ was really preparing for (and hopefully detering...) Nuclear War -- remember that the Soviets were doing the EXACTLY THE SAME THING:

Indeed, the Russians arguably "lost" the Space Race NOT because they "couldn't go to the Moon," but because more financially strapped they _chose_ to not continue further with their manned program than near Earth space AS THERE WAS NO FURTHER MILITARY REASON TO GO BEYOND THAT:  The same Vostok missile that put Yuri Gagarin into orbit (and various _unmanned probes_ to the moon / the near earth planets) was the Soviet Union's first generation ICBM.  (Similarly, the Atlas missile that put John Glenn into orbit was the United States' first generation ICBM...) To put people on the moon required larger rockets that no longer served any direct military function.  The U.S. had the money to spend on the "prestige project" of putting astronauts on the moon, Russia simply did not.  What the Soviet Union _chose_ to do with its money was building (in Khrushchev's words "like sausages...") THOUSANDS of essentially "Gagarin-class" rockets capable of raining tens of thousands of nuclear warheads on us.  Larger rockets that could have sent Soviet cosmonauts to the Moon would have no longer had any further _direct_ military utility ...

But "that's the way it was" ... And the three African American women in this story (and others like them) like Jesse Owens at the 1936 Olympic Games and the Tuskegee Airmen during WW II did the United States a service even as it did not particularly appreciate them at the time.

It is good to remember, however, that there are good people ... and patriots ... who come in all colors / genders.

All in all, while a little "dumbed-down" (on multiple levels...) this is a quite excellent film that does make one's spirit soar.  So over-all a good job with some very good acting / a very good story...


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Friday, December 30, 2016

Silence [2016]

MPAA (R)  CNS/USCCB (L)  RogerEbert.com (4 Stars)  AVClub (B+)  Fr. Dennis (4+ Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (I. Vishnevetsky) review


Silence [2016] (directed and screenplay cowritten by Martin Scorsese [wikip] [IMDb] along with Jay Cocks based on the book [GR] [WCat] [Amzn] by Shūsaku Endō [wikip] [GR] [WCat] [Amzn] [IMDb]) gives us a glimpse of the kind of film-making that COULD HAVE BEEN possible if not for the tragic and WILDLY COUNTER-PRODUCTIVE "protests" to Scorsese's screen-adaptation The Last Temptation of Christ [1988] [IMDb] [wikip].

Those protests nearly drove Scorsese to suicide, his abandonment of the current film (which he had already begun work on), and a _stunning_ near TWENTY-FIVE YEAR DROUGHT (an ENTIRE GENERATION...) of serious religious based films by Hollywood-- until the making / critical SUCCESS of Terrence Malick's Tree of Life [2011] breathed new life into the genre.  Talk about "Out of the stump of Jesse ..."

Fascinatingly, the current film is about ... the near expunging of Christianity from a culture -- 17th century Japan -- after a period of (probably to many Viewers and Readers here) surprising success.

The film notes the truth: St. Francis Xavier's mission in Nagasaki produced 300,000 Converts to Christianity in the decades that followed.  But by the time of the story, the Jesuits had been formally expelled from Japan and Christianity was being brutally suppressed.  What happened?

Well PART of what happened is portrayed in this film: The Japanese authorities of the time decided that Christianity was a threat to Japanese identity / the public order and moved, fanatically, to suppress it.

But PART of the reason was ALSO SELF AFFLICTED (by the Catholic Church on itself) ... something, interestingly, NOT SHOWN in the film.  The JESUITS had enormous success in Japan because they had TRIED to adapt themselves to Japanese customs (as had other missionaries in earlier times as well ... St. Augustine of Canterbury famously "blessed the greenery" brought into homes by the still Christianizing Anglo-Saxons of his time from hence we get our Christmas trees... ;-).

In the case of the Jesuits in Japan, they had chosen to dress as per the Japanese custom of the time.  The DOMINICANS (who also headed The Inquisition at the time...) came to INSIST that the JESUITS _in Japan_ dress in conventional ROMAN garb (collars and all...) instead.  The result was that the Jesuits CAUGHT THE ATTENTION / GRATED the famously _xenophobic_ Japanese authorities in a way that they had not before.  Eventually, the Japanese authorities came to see the Christianity brought by the Jesuits as a "foreign cultural invasion" and moved (brutally) to suppress it.  (What I write here, I was taught in Church History course at the Servite Seminary (Mariamum) in Rome in the 1990s as an example of the tragic effects of _choosing_ to disregard local cultural sensitivities while trying to Evangelize / Preach the Gospel even today).

Eventually ...

To SAVE the remnants of their flocks (from certain if excruciatingly slow death) the Jesuit priests THEMSELVES had to _publicly renounce_ their faith AND SOME WERE THEN EVEN PRESSED INTO SERVICE BY THE JAPANESE AUTHORITIES to CENSOR ANYTHING COMING INTO JAPAN FROM THE OUTSIDE for "Christian Messaging" -- so even a Dutch porcelain plate with a little cross motif in the background was "censored" by these captive Jesuit priests as being "too Christian" to be allowed entry into Japan.

For their part, the Japanese Authorities WERE NEVER QUITE SURE that they had succeeded in destroying the Christian Faith in Japan.  (That's what happens when _any_ authority tries to coerce others to behave in one way or other).  So they _repeatedly_ demanded that both the previously baptized Japanese Christians and the formerly Jesuit priests RENOUNCE THEIR FAITH.  And after a while, ALL OBLIGED -- as the alternatives were truly hideous.

Thus, Christianity in Japan was SILENCED ... sort of.
  
An excellent and deeply prophetic film ... by a director who's long deserved more credit for his faith than he's received.


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AFI FEST 2016 - 3 - Kati Kati [2016] / Julieta [2016] / Wùlu [2016]


Among the films that played recently at the  2016 AFI Fest here in Hollywood, I was able to see the following: 


Kati Kati [2016] [IMDb] [CEu] (directed and cowritten by Mbithi Masya [IMDb] [CEu] along with Mugambi Nthiga [IMDb] [CEu]) is an imaginative KENYAN FILM with a supernatural / metaphysical theme about the souls of people, recently deceased, spending time at a quite comfortable Kenyan style resort while the loose-ends of their previous lives are sorted-out ... Progressively, as said loose-ends get sorted out, they disappear / move-on to the next world.  Call it a contemporary Kenyan vision of Purgatory minus the purifying flames.  Still, the vision was not without its pain.  Past sins, both large and small, have to be acknowledged and somehow paid-for (mostly by serving time) before the soul could move-on.  The soul of a Preacher who had abandoned his flock facing a Rwanda-style massacre had to pay for his cowardice / misplaced priorities.  The film focused however mostly on a woman, who initially did not realize that she was dead, and then only slowly came to understand / appreciate the circumstances of her death.  The film reminds us that death comes as a surprise and that it may take a while to fully understand (and therefore be able do deal with the effects of) the why.  Quite good / thought provoking film from a contemporary African perspective.  What does "Kati Kati" mean?  -- It means "in between." -- 3 Stars


Julieta [2016] [IMDb] [CEu] (screenplay and directed by Pedro Almodóvar [IMDb] [CEu] based on the short stories of Alice Munro [wikip] [GR] [WCat] [Amzn] [IMDb]) is Spain's submission to the 2017 Oscars for Best Foreign Language Film.  The film is about Julieta (played here by Emma Suárez [IMDb] [CEu]), a seemingly quite normal contemporary woman with quite normal talents / gifts and failings, who as her daughter reaches adulthood finds her life turned utterly upside down for reasons that defy explanation and yet is then forced to live with the consequences and the shame.  The film is a reminder to _all of us_ NOT "to judge" because we can never really know what happens in other people's lives / families, much less why.  What happened to Julieta, honestly, NO ONE DESERVES -- 4 Stars.


Wùlu [2016] [IMDb] [CEu] (written and directed by Daouda Coulibaly [IMDb] [CEu]) is a WEST AFRICAN (SENEGALESE / FRENCH)  crime story about Lagji (played in the film by Ibrahim Koma [IMDb] [CEu]) who is introduced to us, the Viewers, at the beginning of the film as a bored and ambitious bus driver in his 20s from Bamako, Mali (Mali's "Second City" ...)   Tired of spending his days simply driving random, seemingly "inconsequential" people (_just like_ himself) from one random town at the southern edge of the Sahara Desert to another, HE TAKES THE INITIATIVE to LOOK-UP "THE MOB" and _offer_ his "services" to help run cocaine and heroin in his "God forsaken" part of the world.  And HE becomes _quite good_ at this, lifting _him_ and all around him -- his family, his girlfriend -- out of both squalor and utter anonymity to a life-style and notoriety that ought to make most Western / better educated Viewers (who'd take this for granted...) blush.  This is, in part, a "success story," but ... "paid for" with an _awful moral price_ and since it is based on CRIME, it can't possibly end well.

Western viewers, who'd be interested, are paid many times over for the investment of their time / ticket price ... because one is offered entry into a world that one would have difficulty even imagining.  A scene simply at a random (and armed) border crossing between Senegal and Mali is priceless (something straight out of Star Wars [1976] or Blade Runner [1982]), as are Laghi's eventual dealings with various Al Queda figures (portrayed in the film as basically an Islamic version of Colombia's FARC -- militarized drug dealers who've attached themselves and their "cause" to an UTTERLY RANDOM if "locally credible" ideology to justify otherwise psycho-sociopathic actions that they would be doing _anyway_ ...).  A credit at the end of the film notes that Al Queda's over-running of Mali's "First City" Timbuktu a number of years back was financed in good part by ... drug money ... 

All in all, an excellent West African "Scarface [1983]" of a film, well worth the time / ticket price for anyone lucky enough to find it. -- 4 Stars



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Thursday, December 29, 2016

Sing [2016]

MPAA (PG)  CNS/USCCB (A-III)  RogerEbert.com (3 Stars)  AVClub (C-)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Walsh) review
RogerEbert.com (Susan Wloszczyna) review
AVClub (J. Hassenger) review


Sing [2016] (screenplay and codirected by Garth Jennings along with Christophe Lourdelet) is a generally fun and well-made if not overly original animated "barnyard fable" / "juke box musical" about ... what is it about? ... standing-up and letting oneself ... sing.

Set in a city populated entirely by animals of all kinds, the film's focus is on a diminutive Koala Bear / "theater owner with a heart of gold" named Buster Moon (voiced by Matthew McConaughey) whose pride and joy was a Theater left-to-him by his venerable dad, which ... well ... was "going under" because NOBODY it seemed wanted "to go to the show" anymore ;-/.

 Well, ever the optimist -- has ANYONE ever seen _a depressed_ Koala Bear? -- he and his aging secretary Miss Crawly (an Iguana with one glass eye, voiced by Garth Jennings) come-up with a sure fire way to fill the seats:  They sponsor a "singing competition."  Okay, a typo in Miss Crawly's initial poster advertising the event (remember she has a glass eye) generates MUCH MORE ENTHUSIASM than the event probably warranted ;-) ... but yes, the two soon get a theater full (and out into the street and around the block) of potential contestants.

What follows is something of an updated "Chorus Line" type story (but with animals).  What's NICE is that there REALLY ARE NOT ANY VILLAINS IN THIS STORY.  All the characters, voiced by the likes of John C. Riley, Seth MacFarlane, Jennifer Hudson, Reese Witherspoon and Scarlet Johannson, "have their stories" but NONE OF THEIR STORIES ARE "MEAN" (or DEMEANING).

As such, this is a lovely "Koala Bear of a smile" story. 

My favorite characters in the film are the members of an apparently Asian-style ("Siamese Cat") "girls band" who come late to their audition, are told kindly (and repeatedly) that, as such, they _won't_ be performing, but just keep cheerfully showing-up anyway.  Again, this is a film that _can not_ but put a smile on one's face.

So even if this is NOT a particularly "original story," it's a well-done one and one that will make for an enjoyable time for one and one's family.  Good job! ;-)


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Wednesday, December 28, 2016

Fences [2016]

MPAA (PG-13)  CNS/USCCB (A-III)  RogerEbert.com (4 Stars)  AVClub (B-)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (K. Jensen) review
Ebony (D. Philyaw) review
Los Angeles Times (K Turan) review
RogerEbert.com (O. Henderson) review
AVClub (I. Vishnevetsky) review

BET coverage
Essence.com coverage
TheSource.com coverage

Fences [2016] (starring and directed by Denzel Washington, screenplay by August Wilson [wikip] [IMDb] based on his Pulitzer prize / multiple Tony Award winning (both in 1987 when it was first staged on Broadway and in 2010 on the occasion of its revival) stageplay by the same name) is an African American centric story that plays out in _thoroughly_ Chekhovian style in 1950s Pittsburgh (right at the dawn of the Civil Rights Era) that simply screams and _deserves_ OSCAR NOMINATIONS this time around (Best Picture, BEST ADAPTED SCREENPLAY, Best Director, BEST ACTOR, BEST SUPPORTING ACTRESS).  It may not get (or deserve) ALL those nominations, but it should get at least a couple of them.

The story focuses on a mid 50-something African-American Pittsburgh GARBAGE MAN named Troy Maxson (played wonderfully throughout by Denzel Washington - both he and Viola Davis who plays Troy's wife Rose played the roles in the 2010 Broadway revival of the stage-play). 

Troy is portrayed as seething with anger.  He had been a _great_ African American baseball player "back in HIS DAY" but ... born _just a few years_ "too early" ... he never had the chance to play in the Major Leagues.  So there he was, spending his days, day-in-day-out, lifting countless _garbage cans_ (remember, he's now in his mid/late 50s) dumping _other people's trash_ into a garbage truck, all the while "shooting the breeze" (often actually quite happily) with his BFF fellow, though lighter skinned, African American garbage man Jim Bono (played by Stephen Henderson), wondering "what could have been" if he had been _just a few years younger_, Jackie Robinson's age ...

Indeed, living every day with such small encased (fenced-off ...) horizons, at the beginning of the story, Troy set-out to "right" at least one smaller indignity that was driving him crazy: "Why", he asks his BFF Bono, "are all the garbage truck DRIVERS _white_ and those DOING THE ACTUAL HEAVY LIFTING _coloured_?"

So, at the beginning of the story he goes first to his Boss, then to the Union Rep, then back to the Boss ... demanding that _this_ be changed.  And during the course of the story, the "higher ups" at that "moment in history" (when History was _about to change_) LISTEN TO HIM ... and by midway through the story, TROY "gets his Dream (of sorts...)" ... and is offered the job of Garbage Truck DRIVER, BUT amusingly (and in TYPICAL CHEKHOVIAN FASHION ;-) there are unexpected problems / unintended consequences:

(1) Suddenly, both he and Bono realize that TROY _DID NOT KNOW HOW TO DRIVE_ ;-) ...  "No matter," he says, "DRIVING is just a matter of POINTING the truck in the direction of where you want to go..."  So he fakes it and this proves to not be an _overwhelming problem_,  BUT EVEN WORSE ...

(2) by BECOMING the Garbage Truck Driver, Troy's now SITTING _ALONE_ IN THE FRONT of the Garbage Truck, and LOSES CONTACT with his best friend Bono, who's still working (now with someone new / different) in the back.  Soon BOTH are "looking to retire" because BOTH find themselves LONELY.  
    
But just as in Chekhov's Cherry Orchard, etc, there's _much more_ going on "at home" than JUST "in regards to economy / work." Indeed, most of what's truly important in Troy's life plays out OUTSIDE OF / AFTER Work.  In fact, most of the Play / Story, plays-out on various FRIDAY AFTERNOONS, _after work_, AFTER Troy picks-up his weekly hard-earned pay envelope and goes home to "Hold Court," mostly in the little Backyard -- a baseball still tied there on a string to a branch so that he (or his 17 year old son...) could "practice swinging" at it -- of his Home. 

THERE in that backyard, Troy's life really plays out.  A good part of the story's title "Fences" derives its name from this reality.  Troy's wife Rose asks him to build a Fence around that backyard.  SHE wants The Fence there to actually keep Troy "in" (when he's home, he's "out of trouble" and almost by definition _with her_ ...).  HE likes the fence as well because it demarks HIS "domain."  OUTSIDE, there may be a harsh world, but INSIDE, "he's Boss" / "King."  And that he DOES see himself as "King" at home DOES cause him problems with his 17-18 y.o. son Cory (played wonderfully throughout by Jovan Adepo). 

There'd be much more to say about this story, but I _don't_ want to get into "spoiler territory."  Safe to say, Troy was _not_ a perfect character: Rose had _good reason_ to want to keep him "inside the fence."  But though he did like his life "Inside _the Confines_ of his Domain," it's clear that as an "old baseball player" he still aimed "for the Fences" at times, that is, dreamed of "Hitting the Ball out of the Park..."

All in all, this is an excellent, well-crafted story.  That the film's adapted from a stage-play is quite obvious and may hurt it at the Oscars -- stage-plays adapted to the screen are generally "far talkier" / far more "dialogue driven" than screen adaptations of novels and this is certainly the case here.  Still no one can deny that the play itself is excellent as were the performances.  Excellent job!


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Friday, December 23, 2016

Assasin's Creed [2016]

MPAA (R)  CNS/USCCB (O)  RogerEbert.com (1 1/2 Stars)  AVClub (C-)  Fr. Dennis (0 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Walsh) review
RogerEbert.com (S. Abrams) review
AVClub (J. Hassenger) review


Assasin's Creed [2016] (directed by Justin Kurzel, screenplay by Michael Lesslie, Adam Cooper and Bill Collage based on the video game [wikip] [acw] by Patrick Désilets, Corey May and Jade Raymond) like the video-game is a NAZI-like celebration "Honor", Blood, Esoteric Relics and, of course, Violence.

Parents should know that the Catholic Church, er "the Templars" is / are portrayed as Evil and the heroes in this film are of an age-old Order of Assassins who pass both their skills and memory of their "past" through their genes (and if you miss the point THROUGH THEIR BLOOD).  Himmler (actually fellow Nazi War Criminal Alfred Rosenberg) would have been proud.  Zero Stars.


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Passengers [2016]

MPAA (PG-13)  CNS/USCCB (A-III)  RogerEbert.com (1 1/2 Stars)  AVClub (C-)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Turan) review
RogerEbert.com (G. Kenny) review
AVClub (K. Rife) review


Passengers [2016] (directed by Morton Tyldum, screenplay by Jon Spaihts) is IMHO an excellent teen-oriented discussion piece even as it will INFURIATE and quite possibly OFFEND many viewers.

The premise is the following: The sleek and luxurious star ship Avalon is quietly hurling at 1/2 the speed of light, guided by artificially intelligent autopilot, on a 120 years voyage from Earth to another world called Homestead II, its 200+ crew and 5000 passengers to be kept in suspended animation for all but the last 4-5 months of the trip.

Well, 30 years into the voyage, the star ship encounters a freak meteor storm larger than its design specifications, partially damaging the vessel.  The ship's artificially intelligent operating system(s) quickly move to compensate, keeping the ship on-course for its destination and restoring, more-or-less the ship's other other functions, 'cept ... one of the passenger hibernation pods, that of Jim Preston (played by Chris Pratt) malfunctions, awakening him early ... 90 years early.   Soon to his horror Jim discovers that there's NO WAY for him to go back to hibernation.

So he finds himself alone on this sleek, ultramodern, glass-and-titanium, coffin-of-a-cruise ship/star ship with only an amiable android-of-a-bartender named Arthur (played wonderfully by Michael Sheen) to keep him company -- Robinson Crusoe [wikip] [IMDb] meets Lost in Space [wikip] [IMDb] ...

But, of course, Arthur's NOT "human."  (At one point, when Jim finds himself in an all-but-inevitable existential panic attack, the ever unflappable Arthur, calmly responds to his angst filled questions, noting: "Jim, those aren't robot questions, are they?")

This NEW _ADAM_ (Genesis 2:18), Jim is _increasingly tempted_ to ... wake-up one of the other passengers to give him company.  THIS IS, OF COURSE, THE BIGGEST MORAL PROBLEM WITH THE FILM ... BUT ALSO _EXACTLY_ ITS POINT.

He in GOD-LIKE FASHION _chooses_ to awaken a woman named Aurora Lane (played as ever wonderfully by Jennifer Lawrence) who would have been _out of his league_ in other circumstances (he a mechanical engineer, she a writer-socialite from a rich family).  By doing so, he, of course, CONDEMNS HER _TO HIS SAME FATE_.  SHE, like him, is now going to DIE on this ship before it arrives at its destination -- _HER_ DREAMS RUINED BY _HIS_ DECISION -- BUT HE will not be Alone.

The film asks, clearly, WAS THAT A LEGITIMATE DECISION?  And then, honestly, IS THAT SIN / TRANSGRESSION ... FORGIVEABLE?

It seems clear to me from a number of the reviews (above) that many would find Jim's action simply UNFORGIVABLE / IRREDEEMABLE.  But then without the capacity to forgive and perhaps setting-out (alone or together) to build a future different from the one that one had previously planned, perhaps we'd all find ourselves on a cold if perhaps comfortable COFFIN-of-a-star-ship inexorably hurling to ... NOWHERE / INEVITABLE DEATH.

IMHO, an _excellent_, thought-provoking film.


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Saturday, December 17, 2016

Rogue One: A Star Wars Story [2016]

MPAA (PG-13)  CNS/USCCB (A-II)  RogerEbert.com (3 1/2 Stars)  AVClub (B)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (M. Zoller Seitz) review
AVClub (I. Vishnevetsky) review

AdoroCinema.com press*
AlloCine.com press*
CSFD.cz press*
filmibeat.com press
film-zeit.de press*
Kritikanstvo.ru press*


Rogue One: A Star Wars Story [2016] (directed by Gareth Edwards, screenplay by Chris Weitz and Tony Gilroy, story by John Knoll and Gary Whitta, based on the characters created by George Lucas) _promised_ "A Star Wars Story" OF A DIFFERENT KIND.  And even respecting the general arc of the Original Story, the possibilities were grand.  George Lucas' franchise had, after all, created a literally an entire Universe, er "Galaxy" of potential stories.  Did it succeed?  IMHO, yes and no.

Yes, the current story is notably darker (perhaps post 9/11, post-Hunger Games [2012-2015] darker) than the original Star Wars Trilogy (Episodes IV-VI) [1977-1983] which if placed in the arc of the Overall Star Wars Saga it immediately predates.  In the current story, the Empire was clearly Dominant, its Opposition still reeling, splintered, disorganized.  To put the Opposition down forever, the Empire was just building The Death Star, a fearsome weapon of truly Massive Destruction.  A defector from the project (played by Riz Ahmed) described it to still uncomprehending members of said disorganized Rebel Alliance as "A Planet Killer."  Only when a city near one of the bases of the Rebel Alliance was destroyed by it in a tsunami of earth and molten lava (the special effects here and throughout are simply outstanding) did both Rebel Leaders like Saw Gerrera (played by Forest Whitaker), the leader of a radical splinter group in the Opposition as well as several "smaller people" like Jyn Erso (played wonderfully by Felicity Jones) and Cassian Andor (played by Diego Luna) come to appreciate what was at stake.

What to do?  How to respond?  Well that's the rest of the movie ...

MY disappointment (somewhat) as I watched the current film was that it still ADHERES TOO CLOSELY to the OVERALL ARC OF THE ORIGINAL STORY.   Here was a GALAXY OF POSSIBILITY for _original storytelling_, and THIS STORY STILL CHOSE TO PUT ITS FOCUS ON "THE DEATH STAR."   I would have been much more impressed if the current film had been simply about "a small band of rebels" coalescing / fighting the Empire at some rather far / random edge of the Galaxy, with the "Death Star" given at most passing mention or NOT EVEN AT ALL.  PERHAPS the upcoming film about Han Solo [2018] will be more of that kind of a story ...

Still, that George Lucas' Star Wars Saga has produced this kind of "anthology film" at all, is quite impressive and bodes well for future storytelling as well.  I'd love to see still more done with the aforementioned Hunger Games series.  How did THAT fascist-like state come about?  And what of then the stories of any number of potential characters from any number of the "districts" in that story.  Similarly explorations of "Middle Earth" need not end with the exhaustion Tolkien's Hobbit and LOTR trilogy.  The story-telling possibilities there could be endless as well.

So over all, while I enjoyed the the current Star Wars "Anthology" film, I still believed "more could have been done" by _more boldly_ choosing to go off the already beaten path.

But I wish to end with mention of my favorite character in the current film, the blind Jedi monk Chirrut Îmwe (played by Donnie Yen).  A quite alone / scattered surviving member of the then persecuted / decimated Jedi Order, when in crisis, to give him courage, he would oft repeat to himself the mantra: "I am one with the force, and the force is with me."  To my Catholic / Christian ears, I hear the first line of Psalm 23: "The Lord is my Shepherd, I shall not want ..." which in the whole Judeo-Christian Tradition has been used for millenia _for exactly the same purpose_ (to give solace and courage) as well ;-)

Overall ... good / great job!


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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Thursday, December 15, 2016

Nocturnal Animals [2016]

MPAA (R)  CNS/USCCB ()  RogerEbert.com (3 1/2 Stars)  AVClub (B)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (G. Kenny) review
AVClub (I. Vishnevetsky) review


Nocturnal Animals [2016] (screenplay and directed by Tom Ford based on the novel Tony and Susan (1993) [GR] [WCat] [Amzn] by Austin Wright [wikip] [GR] [WCat] [Amzn] [IMDb]) is an extremely well written / well acted, R-appropriate thriller about a bored and unhappy middle-aged Los Angeles art dealer named Susan Morrow (played quite magnificently by Amy Adams) who is, one day, blithely surprised to get a manuscript for a novel in the last stages before being published from her first husband Edward (played by Jake Gyllenhaal) who she had left and not heard from for nearly 20 years.  Enclosed is a small card from said first husband, and turning to the first page of the manuscript, she finds that the book is dedicated to her ...

The novel, quite shockingly violent, about a random "Texas suburban folk" family in a several-years old Mercedes who find themselves harassed, stopped and, of course, worse ... by a trio of drunk / crazed rednecks in a beat-up rednecky muscle car on a lonely stretch of an interstate somewhere amidst the parched / dry land and tumbleweeds of West Texas one fateful evening, DOESN'T DIRECTLY CORRESPOND to Susan / Edward's "past history" together, BUT ... riveted, in a dread-ful(l) sort of way, Susan can't bring herself to put the manuscript down.

And as she reads said, awful(ly) violent, yet as utterly riveting as "a car-wreck on the highway" of a novel, we Viewers are treated to the interplay of three stories -- (1) that of Susan's current dreadfully boring and perhaps "PAST her prime" life where Susan's primary concern seemed to have been reduced to finding a way (if she felt there was a point...) to confront her still "quite-the-looker" salt-and-pepper-haired, the occasional wrinkle actually _enhancing_ the attractiveness of his smile, "Richard Gere" of a second husband named "Hutton" (played by Armie Hammer) on his more-or-less obvious infidelities towards her, (2) a recollection of the circumstances of how Susan and Edward, her _only now_ about to be published, 20-years-after-she had left him "aspiring novelist" of a first husband had met ... and eventually broke-up (again, it was she who had left him...), and (3) the story of this terribly violent nightmare of a novel.

Call it A SPIKE _driven_ into the Subconscious of a late-40 year old, this is _not_ a pretty story. Indeed, from the very first scene, it is a _quite ugly_ one.  But it is IMHO one _well written_ and _well acted_ piece.

NOT for ANYONE under 30, it's still one heck of a story.


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