Reviews

Shirley (PG-13) ★★★★

Here’s the best component of the movie “Shirley”—Regina King, the star who portrays Shirley Chisholm. Hands down, she embodies her actions, timing, and subtle nuances. Think Helen Mirren as Queen Elizabeth in her Oscar-winning performance in “The Queen.” Yes, she’s that good. And honestly, in a biopic, the subject has to be great, and here she is.

“Shirley” 2024 Chicago Screening, The Davis Theater

Oscar winner King won Best Supporting Actress in “If Beale Street Could Talk” (2007); here, she plays the first Black congresswoman, Shirley Chisholm, who in 1972 ran for President of the United States. In the film’s narrow time frame, we learn of her determination, as her performance garners honesty, power, and decisiveness to the legacy of Shirley Chisholm by delivering a captivating performance. Saying, “I’m paving the road for a lot of other people like me to get elected.”

“Shirley” 2024 (Regina King) with Robert Gottlieb, (Lucus Hedges)

Certainly, her statement holds true. Women wouldn’t be where we are today without those who broke barriers and blazed trails for others, and former Congresswoman Shirley Chisholm is undeniably one of those pioneers. In 1968, of the 435 elected representatives to the House of Congress, 11 were women, five were Black men, and none were Black women until Chisholm was elected. She had higher aspirations, and she made her dreams come true by compiling a group of people who would help her Presidential campaign.

“Shirley” 2024 (Regina King) with Arthur Hardwick (Terrence Howard)

Wesley “Mac” Holder, Lance Reddick, in one of his final roles, is her campaign advisor. He’s always looking on the safe side, while Shirley pushes him to take a risk. Their chemistry together is excellent to view. Stanley Thompson, Brian Stokes Mitchell, is her political strategist and campaign manager who questions whether she even has a chance at winning. Robert Gottlieb, Lucus Hedges, a former intern, is her youth coordinator, playing a wide-eyed newbie, who changes in strength and confidence as Shirley guides him to believe in himself. Lastly, Arthur Hardwick, Terrence Howard, a fundraiser and advisor to the campaign, is very supportive and her sounding board.

Director John Ridley blends in Chisholm’s family drama and her experiences with her strained husband Conrad, Michael Cherrie. Her sister Muriel St. Hill, Reina King, who is her actual sister and one of her toughest critics, is rude to her. We view her heartaches and stresses as she navigates her campaign, giving us a broader view of her as a person.

Director John Ridley keeps politics flowing as Chisholm makes deals with people in Washington. Walter Fauntroy Holland, a D.C. congressional delegate, is a question mark, as she never knows if she can trust him to secure more votes. King and André Holland are captivating to view, as their bogus smiles and chit-chat are all part of the game. We’re also reminded of the violence during that era, when Governor George Wallace was shot, leading herself and her campaigners with a new set of worries.

Upon finishing Shirley, you’ll be in awe of this trailblazing woman and the strength and courage she displayed in fighting tooth and nail for her place in the race. Ridley does a fine job of portraying a strong woman who can be considered a positive role model for all women. I appreciated her independent thinking and actions. Yes, she needed a team, but in the end, there was no male savior.

The Q&A afterward was insightful as actress and the film’s rising star, Christina Jackson, was in attendance. Also, the President and CEO of the Chicago Urban League, Karen Freeman-Wilson, Obama Foundation Executive VP/Chief Legal and People Officer Alfreda Bradley-Coar, moderated by WBEZ reporter Natalie Moore.

Cast: Regina King, Lance Reddick, Lucas Hedges, Brian Stokes Mitchell, Terrence Howard, Reina King, Christina Jackson.

Rating: PG-13

Genre: Drama, Biography

Director: John Ridley

Writer: John Ridley

Runtime: 1h 57m

Studio: Netflix

Sarah Knight Adamson© March 19, 2024

Hollywood 360 Radio Network Podcast: https://bit.ly/Shirley_H360_Radio  

Dune: Part Two (R) ★★★★

Once in a while, a sweeping saga masterpiece comes along, such as 1977’s “Star Wars,” retroactively retitled “Star Wars: Episode IV – A New Hope” by George Lucas or Peter Jackson’s “The Lord of the Rings trilogy” 2001-2003 or James Cameron’s (2009) “Avatar”— “Dune: Part Two” is most definitely in the same league.

It not only continues the brilliance of the first film it sets a new bar for just how good sci-fi films should be. With an engaging story and a cast at their very best, along with stunning visuals, this is a masterpiece. As with the Oscar-winning first installment, Villeneuve shows visual mastery of scale and scope, along with impressive cinematography.

Viewing the film in an IMAX theater with Dolby sound brought back memories of the prior films listed above. As a result, I recommend seeing it on the most giant screen possible. Based on Frank Herbert’s idolized sci-fi novel, some have said the movie could never be made due to the book’s complexities and the visual science fiction effects. I’m here to tell you it’s been done as director Dennis Villeneuve has succeeded in a colossal way.

Part two follows the journey of Paul Atreides (Timothee Chalamet) very closely after the first one ends, as he unites with Chani (Zendaya) and the Fremen, who are not free men. He’s also on a path of revenge against those who destroyed his family, with the help of a Fremen tribal leader named Stilgar (Javier Bardem), who is convinced that Paul is the chosen one. Stilgar believes the mythology points to Paul as the savior, the Emo King. Paul tries to blend with the Fremen, forming a relationship with a young warrior named Chani. He passes several tests given by the Fremen. He takes the tribal name of Muad’Dib, vowing vengeance against the Harkonnens for control of Arrakis and revenge for his father’s death.

During the combat scenes, watching bodies fall from the sky as colossal ships burst into flames appears virtually like an opera when looking at a film’s style. As Rabban Harkonnen, Dave Bautista is a wartime leader whose situation has exceeded his abilities, while Stellan Skarsgard has shades of Jabba the Hutt. I also enjoyed Bautista’s performance as he dug deep into the role, and it is eerily believable. You’ll feel immersion into vast worlds of endless sand that are only traveled with precise movements. Also, in a parallel scene, on another planet, Emperor Shaddam IV (Christopher Walken) and his daughter, a Princess, Irulan (Florence Pugh), speak with Bene Gesserit’s Reverend Mother (Charlotte Rampling) about the state of affairs. Irluan provides voice-over or narration to keep audiences up to speed on what is happening.

You may be wondering about Austin Butler’s psycho-path role as Feyd-Rautha, the evil villain and the star of the movie’s most haunting set, the Harkonnen’s home planet of Giedi Prime, shown in nearly all black and white with infrared imagery. There’s a Gladiator-style stadium that serves as an arena for maintaining his champion status as a butcherer of drugged-up prisoners. Baron Vladimir Harkonnen, the ultra-evil humongous blob, tests his worth by sending former Atreides soldiers to fight. Again, all of Butler’s scenes are filmed in black and white, delivering the feeling of everlasting doom and horror. He’s the sociopathic nephew of the Baron, who gives a realistic, organic performance.

I enjoyed seeing all of the famous stars in the film; Timothée Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Josh Brolin, Stellan Skarsgård, Dave Bautista, Javier Bardem, and Florence Pugh are all fantastic in their roles. Ultimately, Chalamet is the most transformed, taking on his new role of a leader with some surprises along the way. He rises to the occasion, speaking with astute confidence and determination; his transformation and stellar acting are exciting to view as Paul chooses between the love of his life and the fate of the known universe as he attempts to prevent a horrific future that only he can foresee.

Director Denis Villeneuve, Dune: Part One, and Dune:Part Two

On a side note, I was invited to a Zoom Press conference with director Denis Villeneuve, and found it very insightful. Especially when he was asked about the epic scope of the film yet keeping the emotional heartbeat.

He replied: It’s everything epic and the action, and that is not something that is that difficult to do. The thing that is difficult to do is to make sure that we don’t lose focus on the intimate relationship more precisely, the story between Paul and Chani. That’s the heartbeat, it’s like their relationship will unfold all drama of the film. Through the eyes of Chani and Paul, we feel the political pressure, the cultural pressure, the oppression. I really constructed the movie focused on the tension between them. I knew that and I kept saying to my crew, “If we don’t believe in their relationship, we don’t have a movie.” And that was my main focus during the whole shoot, to take care and to be as close to them as possible.

If you haven’t seen “Dune: Part One”, I’d suggest watching that first, as most of the characters are set up, especially Paul and his family’s transition. You will be blown away by “Dune: Part 2”, as it reminds you that a broad-scale blockbuster can be done with artistry and flair. You may also have flashbacks to other masterpiece-epic films of the past.

Directed By: Denis Villeneuve

Screenplay By: Denis Villeneuve and Jon Spaihts

Based On: The novel Dune by Frank Herbert

Produced By: Mary Parent, Cale Boyter, Denis Villeneuve, Tanya Lapointe and Patrick McCormick

Executive Produced By: Joshua Grode, Jon Spaihts, Thomas Tull, Herbert W. Gains, Brian Herbert, Byron Merritt, Kim Herbert, Richard P. Rubinstein and John Harrison, with Kevin J. Anderson serving as creative consultant

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, with Stellan Skarsgård, with Charlotte Rampling, and Javier Bardem

Studio: Warner Bros. Pictures

Rated: PG-13 for “sequences of strong violence, some suggestive material and brief strong language.”

Run Time: 166 minutes (2 hr 46 min with credits)

Sarah Knight Adamson© March 12, 2024

Click here to listen to the Hollywood 360 Radio Network Podcast: https://bit.ly/H360_Dune_2

 

Ordinary Angels (PG) ★★★½

Set in 1993, with flashbacks, Ed (Alan Ritchson), a hard-working roofer’s treasured wife, Theresa (Amy Acker), has died of a congenital liver disease, biliary atresia, which their youngest daughter Michelle Schmitt (Emily Mitchell)) also has; she’s in desperate need of a lung transplant. Her medical bills keep adding up, and her condition worsens. Sharon Stevens (Hillary Swank) is fictionally written as a repenting alcoholic with an estranged grown son.

Hilary Swank

Sharon, a hairdresser, is eager to change her drunken ways and find something more significant than herself to focus on and give up all her drinking. Living in St. Louis, she hears of a man who needs help with his medical bills and helps to find a liver transplant for his daughter. She immediately swings into action. There is so much to champion in the film, although for myself, viewing Swank in a vital female role, one who is a mover and shaker, thinks outside the box, with endless determination, is precisely the kind of woman role model that filmmakers should be looking to highlight. Not to mention the fact that seasoned actor Hilary Swank is incredible in the role of a sassy do-getter—she’s convincing and authentic, which are key critical elements in believability as an actor.

Sharon finds her purpose in helping Alan with his bills. However, he rebuffs her from the beginning. She’s the type that doesn’t say no, including her craving for ‘the drink’ in her past. Eventually, she becomes their lifeline, starting a fundraiser and crusading for financial breaks, corporate donations, media awareness, and helping Ed find more work as a roofer. The story serves as an example of how to help people with dire situations they can’t handle alone. The filmmakers display sincere intentions, not preachy, and it’s a beautiful public service announcement for organ donors.

Swank’s prior roles have prepared her for metamorphosing into literally a force of nature—she’s nonstop in her quest to save this child. Watching this damaged woman’s journey is inspiring as she doesn’t give up and restores her faith in herself and her community. Director Jon Gunn allows Shank to shine, directing her in all the right ways, yes, she digs deep within her acting abilities, and we are the benefactors.

“Ordinary Angels” is playing now in theaters, and I suggest you bring Kleenex, yup, it’s a tearjerker, in a good way.

Cast: Hilary Swank, Alan Ritchson, Nancy Travis, Tamala Jones, Emily Mitchell and Skywalker Hughes

Director: Jon Gunn

Run Time: 1 hour, 56 minutes

Sarah Knight Adamson©  March 10, 2024

Hollywood 360 Radio Network Podcast Review: https://bit.ly/Ordinary_Angels_H360

 

Bob Marley One Love (PG-13)★★★★

When Kinsley Ben-Adir brilliantly appears on stage during a concert as Bob Marley and the Wailers, it’s as if he was born to play the part. His lip-syncing is perfection, and his dancing to the music is nothing short of contagious. Yeah, Man, I found myself tapping, humming, and swaying in my seat during my big-screen movie theatre screening of “Bob Marley: One Love.” Being a fan of Bob Marley’s music and having visited Jamaica’s beautiful, lush country on two occasions, I was gleefully immersed in the film.

Before the start of the film, producer Ziggy Marley, his son, introduced the film, saying he hoped we’d learn a little more about his dad’s philosophies for his Jamaican people. As a fan, I knew a little of his messages of peace and to simply get along with each other. Although there were many aspects of his life I didn’t know, through viewing the film, I became enlightened. In particular, his wife, Rita Marley, portrayed by Lashana Lynch, is a singer and the mother of several of his children; Bob is known to be the father of 13 children, although Rita was his primary love.

Cedella, Rita and Bob’s daughter was instrumental in making the docu-drama as authentic as possible. She’d send footage to her mother and others to make comments. She said in the press notes, “We had people we could access to get their point of view on rehearsals, chilling, or having a party. People who had lived the story that made the story so right.

I knew of his “Rastafari faith” that is rooted in 1930s Jamaica as a response by Black people to white colonial oppression. The beliefs are a melding of Old Testament teachings and a desire to return to Africa. Its message was spread worldwide in the 1970s by Jamaican music icons Bob Marley and Peter Tosh, a friend and member of the Wailers. Therefore, what you see in the film is non-stop marijuana smoking by Marley and his band, known as ‘Ganja,’ native to the West Indies. A much more potent, hallucinogenic laced form of marijuana. Honestly, it’s not easy to watch anyone smoke non-spot these days, knowing what we know about lung cancer. Here, he does smoke non-stop, although it is part of the ‘Rasta’ lifestyle and a crucial aspect of his life.

Bob Marley’s music and philosophical teachings did command the attention of the world and his people’s plight. I enjoyed this love letter from his family to shed light on an important person in our world and what he did to send messages to a bureaucratic society—his message of Peace and Love.

Side Note: I remember when my first grandchild Calvin was learning to talk, my daughter played music to him all the time. He’d come over to me and say, “Play Bob, play Bob Marley.” He loved the song “Three Little Birds.”

Sarah Knight Adamson©  February 24, 2024

Check out the Hollywood 360 Radio Podcast: https://bit.ly/BobMarley_H360 

Masters of the Air” ★★★½ Apple+TV (MA 15+) Series

Apple TV 9-Part Series, “Masters of the Air,” is a war drama centering on the actions of the 100th Bomb Group; you’ll also learn about the
Boeing B-17 Flying Fortress Bomber plane. The squad is led by Gale ‘Buck’ Cleven, played by Austin Butler, the star of “Elvis,” and John’ Bucky’ Egan, Callum Turner, the star of “The Boys in the Boat.” The series follows the airmen as they are sent on dangerous missions inside Nazi Germany. Based on the book “Air: America’s Bomber Boys Who Fought the Air War Against Nazi Germany” by Donald L. Miller.

You’ll see the intense realities of war, along with the friendships that are made. Yes, the realistic horrors of war, as well as the bravery. Steven Spielberg and Tom Hanks are the producers.

It’s been nearly a decade since executive producers Steven Spielberg and Tom Hanks brought the companion series “The Pacific” to HBO, and now they present the spiritual sequel “Masters of the Air,” a nine-part series airing on Apple TV+ that proves to be a worthy third chapter in the trilogy. This is a sprawling, pulse-pounding series that is augmented with spectacular modern-day VFX but also filled with the spirit, tone, and style of old-fashioned World War II movies.

The bottom line is I’m way in three and a half stars out of four. To be clear, this series would be rated R if it were a movie. It’s for adults and is a tribute to the airmen who risked and lost their lives fighting a dangerous air war during WWII.

Sarah Knight Adamson February 18, 2024

Check out the Hollywood 360 Radio Podcast: https://bit.ly/Masters_of_Air_H360

 

Gloria Gaynor: I Will Survive (PG-13) ★★★★

The final quote spoken by Gloria Gaynor in her new documentary film says it all: “I will survive and thrive.” If ever there was a role model for perseverance in the face of adversity, Gloria Gaynor could be the poster child. Her hit song, “I Will Survive” (1978), has served as an anthem of liberation, bravery, self-actualization, and faith. Here, we see many of the hardships and misfortunes she had in her life, not to mention the tremendous successes in her beautiful singing voice.


Director Betsy Schechter along with editors David Zieff and Kieran Healy weave the film through photographs, posters, archival video footage of the renowned ‘Disco Queens’ performances, we see so many of concerts, television appearances, and interviews. What you’ll discover is that she fell backwards while onstage during a performance and seriously injured her spine. The film gives us the early history of injury and the pain and suffering that would plague her throughout her life. It was amazing to see the footage from all over the world and how much her fans mean to her as vice versa.

As a bonus, we are privy to her comeback and her road to switching music genres as she’s determined to record a gospel album. We learn that breaking into the tight circle isn’t easy, although Gloria’s steadfast commitment to the project is nothing less than inspirational. We see the other musicians involved as her unwavering path to her goal is accomplished. The end result is the icing on the cake; I’ll leave that as a surprise for viewers. Let’s say that in her late 60s and 70s, she soared, just as she had in her early career.

In 1979, at the 22nd Grammy Awards, she won Best Disco Recording “I Will Survive.” In 2016 the Library of Congress inducted the song into the National Recording Registry. She enjoyed many accolades, yet her fall on stage plagued her throughout her life as the number of back surgeries was astounding. She speaks openly of being sexually assaulted at a young age twice by different people and the scars she carries from the abandonment of her father. She searched for approval and love while trying to be ‘good enough’ to deserve love.

Sarah Knight Adamson© February 18, 2024

Check out the Hollywood 360 Radio Podcast: bit.ly/Gloria_Gaynor_Bio_H360

 

 

Argylle (PG-13)★★½

Bryce Dallas Howard from the (Jurassic World franchise) is Elly Conway, the author of a series of best-selling spy novels. Her books center on secret agent Argylle (Henry Cavill) and his mission to unravel a global spy syndicate; the film gets interesting. When Elly is traveling by train with her cat Alfie, she meets Aidan (Sam Rockwell), a real spy, and the fantasy adventure begins.

Director Matthew Vaughn of the “Kingsman” movies creates a new chapter to his spy genre and his Kingsman: The Secret Service films. The latest spy character, Argylle, Henry Cavill, is excellent and lots of fun! He’s the archetypal spy with his gallant good looks, British accent, and the ability to, of course, conquer all. His team is ready to help behind the scenes to aid in his escape plan. John Cena and Ariana DeBose play them. He can escape any situation as he has for four different adventures that Elly Conway wrote. She’s out promoting her fourth novel while putting the finishing touches on the fifth book. Elly’s books have oddly predicted what happens in the real espionage world.

Getting back to Aidan, the spy is dressed like a homeless person. He tries to warn her she’s in grave danger and that an evil group is out to use her to predict where some dangerous codes and files could be located. Yes, she’s way over her head as life imitates art, and she has no one to trust except her cat, Alfie. Going into survival mode, her action scenes are incredible to watch as she fights for her life by robot kicking and punching her way out of each situation.

Unfortunately, the main problem is the action scenes need to be shorter, causing the movie to become boring. There’s potential for the film to become a franchise, as “Argylle” does keep you guessing until the very end. Although the less is, more approach would garner better results here. I did enjoy watching Bryce Dallas Howard and Sam Rockwell together, although they couldn’t save the film. The movie also stars John Cena, Catherine O’Hara, Bryan Cranston, Samuel L. Jackson, Ariana DeBose, and Dua Lipa.

Sarah Knight Adamson February 7, 2024

Gran Turismo: Based on a True Story (PG-13) ★★★

Here’s a tale of a British teen, Jann Mardenborough (Archie Madekwe), whose excellent gaming skills with PlayStation’s Gran Turismo landed him in a professional racecar competition. The title says it all, although the film should probably be named based on the hard-to-believe true story. In the hands of the excellent director Neill Blomkamp (“District 9”), he pieces together the facts by introducing us to a racing driver, Jack Salter (David Harbour of “Stranger Things”). Salter has had his own share of troubles with racing, which comes out later in the story, although he uses his experience in such a way that guides Jann through his nail-biting race.

Jann Mardenborough played by (Archie Madekwe), and Jack Salter (David Harbour).

Danny Moore (Orlando Bloom) is the executive who had the idea for Nissan to sponsor a contest among the best simulator drivers in the world for the chance to compete in a real race; the risks and liability are overwhelming. During a lengthy racing academy experience, he found the best of the best, a gamer who came from a working-class family, Jann, who really only wants to become an actual driver, notwithstanding pleas from his father (Djimon Hounsou). However, his mom (Spice Girl Geri Halliwell Horner) hopes he’d want to do something more practical and safer.

Viewing the film’s race scenes is my favorite part. They are riveting and realistic, sometimes more of a shock and awe aspect, although we learn what it takes mentally to be a winner in the sport.

I enjoyed the inspirational guidance of Salter as he guided the young, inexperienced driver to trust his instincts and believe in himself. Yes, the story is somewhat predictable, although the racing scenes are actually fun to watch. You can’t help but root for Jann as he’s living the dream of a lifetime by actually competing in a race against other racecar adult drivers.

Sarah Knight Adamson© February 4, 2024

Listen to Sarah’s Podcast of the film on Hollywood 360 Radio Network:

https://bit.ly/Gran_Turismo_H360

 

Mean Girls (PG-13) ★★★½

It’s been 20 years since “Mean Girls” starring Lindsay Lohan, Amanda Seyfried, Amy Poehler, Rachael McAdams, Tina Fey, and Tim Meadows debuted. The original screenplay writer, Tina Fey, based the film on the book Queen Bees and Wannabes by Rosalind Wiseman. The new 2024 film is also based on the book and the Broadway musical of the same name. The cautionary tale centers on the destructive force of high school popularity and its downfalls. I found the musical version both refreshing and comical. The opening scene, when Regina (Reneé Rapp), the Queen Bee of the ‘Plastics’ clique, is introduced, is worth the price of admission, as the upbeat musical tone and energy of the film is front and center.

Rapp reprises her role from the Broadway musical in which she starred. The musical opened in Washington D.C., New York, traveled to other cities in the U.S., and is scheduled to open this June at the Savoy Theater in London. With the success of the stage musical, writer-producer Tina Fey, with music by Jeff Richmond, returned it to the big screen for yet another film adaptation. Directed by Samantha Jayne and Arturo Perez Jr. and starring Rapp and Angourie Rice, “Mean Girls” once again follows the poor, clueless, homeschooled teen Cady Heron as she moves from the wild animal life in Kenya to the mean girl pecking order of North Shore High School.

Tina Fey plays Ms. Norbury in Mean Girls from Paramount Pictures. Photo: Jojo Whilden/Paramount © 2023 Paramount Pictures.

It’s so great to see Tina Fey and Tim Meadows reprise their roles as teachers and principals. Lindsey Lohan is in the film, although I’m keeping her cameo role as a surprise. The musical adaptation is lots of fun, with energetic choreography and filming special effects that enhance the musical experience. The film is hilarious, and I found myself laughing out loud at times. Fey has knocked it out of the park with this new film, as it’s entertaining and has great messages for all. I viewed the original film after my screening and enjoyed comparing them. I appreciated that many of the scenes are similar, although the 2024 version is updated.

Tim Meadows plays Mr. Duvall in Mean Girls from Paramount Pictures. Photo: Jojo Whilden/Paramount © 2023 Paramount Pictures.

Directors Samantha Jayne and Arturo Perez Jr. created an updated film for the next generation to ponder. Composer Jeff Richmond, Fey’s husband, and lyricist Nell Benjamin reworked their songs from the stage musical, while Richmond also composed the film’s score. I highly recommend seeing the movie in a theater as it’s a popcorn-munching great time.

Sarah Knight Adamson© January 18, 2024

Listen to Sarah’s Hollywood 360 Radio Podcast:https://bit.ly/H360_MEANGIRLS 

Rustin (PG-13) ★★★★

Returning to the civil rights march in Washington D.C. in 1963, director George C. “Rustin” boasts an embodied performance by Coleman Domingo as Bayard Rustin, the openly gay civil rights activist who orchestrated the famous march against racism. I screened the biographical drama film last August during the Telluride Film Festival. The Netflix film was shown at the Palm Theater; it presents the obstacles of the time with an all-star cast including Chris Rock, CCH Pounder, Gus Halper, Glynn Turman, Aml Ameen, and Jeffrey Wright. Thoroughly engaging, this historical recreation brings us to a time of extreme prejudice against Black people and those who were openly gay.

One can’t help but be moved by the strong performances and the direction of the seasoned George C. Wolfe. The Q&A afterward was hosted by Clayton Davis with producers Bruce Cohen and Tonia Davis producers and director Wolfe. The main takeaway was a quote by Wolfe: “Bayard Rustin inspired me to be a better version of myself.”

Bayard Rustin, a civil rights activist and close adviser to Martin Luther King, orchestrated the 1963 civil rights march in Washington, D.C. Although openly gay, he stayed out of the limelight. I met and interviewed Coleman Domingo this past December at a Critics Choice Awards red carpet press line event. He told me he was thrilled to be playing a person that historians tried to erase and that we all can learn from Rustin’s energy and determination to end discrimination.

The script is written by Julian Brēēce and Dustin Lance Black, telling the story of over 200,000 people who gathered in front of the Lincoln Memorial in Washington, D.C., on August 23, 1963, calling for an end to racial discrimination in the USA. Martin Luther King gave his famous “I Have a Dream” speech, and the singer and actor Da’Vine Joy Randolph portrayed Mahalia Jackson. Martin Luther King asked her to sing “I’ve Been ‘Buked and I’ve Been Scorned” and “How I Got Over.”

I’m all in on the film, as the historical reenactment of the march is wonderful to view. Coleman’s performance is one of the best this year. Other outstanding performances are shown in Chris Rock and Jeffery Wright. I highly recommend seeing it, especially for teens and adults.

Sarah Knight Adamson© January 21, 2024

The 29th Critics Choice Awards Honor a Wide Variety of Film and TV posted to Roger Ebert

The 29th annual Critics Choice Awards, held this past January 14th, moved to the Barker Hanger at the Santa Monica Airport, to accommodate the large number of critics that attend as well as the film & TV talent. Streaming live on the CW channel, the prior year’s host, Chelsea Handler, had everyone in stitches from the get-go. The bright sunny day added to the anticipation of a lively event. “Oppenheimer” won Best Film, also winning the most awards with eight. “Barbie” won six, including Best Comedy. Best Actor went to Paul Giamatti for “The Holdovers,” with Best Actress going to Emma Stone in “Poor Things.” Best director is Christopher Nolan for “Oppenheimer” with Best Adapted Screenplay Cord Johnson for American Fiction, and for Best Original Screenplay Greta Gerwig & Noah Baumbach, “Barbie.”

Paul Giamatti accepts the best actor award for “The Holdovers” on Sunday, January 14, 2024 Kevin Mazur/Getty Images

On the TV side, “Succession” scored the Best Drama Series, Best Actor, and Best Actress for Kieran Culkin and Sarah Snook, respectively, “The Bear” took home Best Comedy and won all its acting awards for Jeremy Allen White (Best Actor), Ayo Edebiri (Best Actress), and Ebon Moss (Best Supporting Actor).

Sarah Snook and Kieran Culkin Best Drama Actors Succession Critics Choice Awards, Jan.14, 2024

My evening began three and a half hours before the show on the Red Carpet outside the venue, where talent conversed with journalists while wearing the latest trends in fashion. Fantasia Barrino, a lead actor in “The Color Purple,” looked stunning in her white flowing silk dress and ultra-long feather cape.

America Ferrara of the film “Barbie” wore a gorgeous brown sequin gown that appeared to reflect gold when in bright light. Speaking of “Barbie,” Margot Robbie, Actor and Producer nominated for Best Actress, made a splash wearing a custom red column dress with roses bordering the off-the-shoulder look. Later in the show, she presented America Ferrara the SeeHer Award.

A definite standout was Colman Domingo, the lead Actor in “Rustin” and “The Color Purple” nominated for Best Actor for his role as Bayard Rustin, a civil rights activist in the 60s; he chose an all-mustard yellow suit designed by Valentino Haute Couture. A shimmering gold textured trench coat with a royal blue satin lining with a swivel design was draped over his shoulders. The Louboutin gold pointed statin boots completed the look. “Colman’s my buddy, we have a great time together sharing ideas,” said fashion icon, composer, and singer Lenny Kravitz.” He spoke with me about the historical drama film movie “Rustin” for which he was nominated for writing and performing the song, Road to Freedom.

Check out all of my coverage on Roger Ebert’s website:

https://bit.ly/CCA_29th_SKA

Sarah Knight Adamson January 18, 2024

 

 

 

 

 

Nyad (PG-13) ★★★½

The docudrama Netflix film centers on long-distance swimmer Diana Nyad (Annette Benning), who stopped swimming competitively after she turned 30 years old, although her failure to complete the journey from Cuba to Florida continued to plague her. Based on her autobiography book, Find a Way, Julie Cox adapted the screenplay.


Jodi Foster portrays her caring, good friend Bonnie Stoll, who helped Diana reach her goal. A goal that required tremendous help from others, as swimming in a shark and jellyfish-infested ocean for a 110-mile swim from Cuba to Florida without getting out of the water is not a solo effort. In full transparency, the movie is emotional, riveting, and motivating. However, upon further research for this review, I discovered that, sadly, Nyad requested that the World Open Water Swimming Association (WOWSA) ratify her swim from Cuba to Florida five years after the event. It took WOWSA four years to respond, concluding in 2022 explaining there was insufficient evidence to prove that Nyad never exited the water during her journey, so it could not recognize the accomplishment. Nyad’s event was also removed from the Guinness Book of World Records archives.

The movie takes us through her journey in 2010; at age 60, Nyad decided to finish the swim she started in 1978 without a shark cage. She began preparing for the swim that same year, and her second attempt at the swim occurred on August 7, 2011. After spending 29 hours in the water, though, Nyad, once again, encountered environmental issues and had to stop. In addition, she was suffering from shoulder pain, and her asthma flare-ups.

Nyad’s third attempt occurred a little more than a month later, on September 23, but she had to stop after 41 hours because of jellyfish in the water. She returned to Havana on August 18, 2012, for her fourth attempt, which resulted in her ending the swim after almost 42 hours because of jellyfish stings, storms, and the threat of sharks. One year later, on August 31, 2013, Nyad began her fifth attempt and was finally successful when she made it to Key West on September 2 after 53 hours in the water. As stated above, Nyad’s Cuba-Florida Swim is controversial because it was never formally ratified, despite Nyad claiming to be the first person to accomplish the feat. As a result, stated above, the Guinness Book of World Records removed it from its archives.

Given that “Nyad” is based on Diana Nyad’s autobiography, Find a Way, the 2023 Netflix movie appears to be as accurate as a film adaption. However, some of the facts were changed due to the filmmaker’s attempt to bring drama into the story. The film focused on a small group of people helping her, although it appears that she had about 40 people helping her. One would assume that if she had 40 witnesses, that would suffice in establishing the authenticity of the long-distance swim. Although, not sure why there was no official from WOWSA documenting the swims, especially the last one.

The bottom line is that as a docudrama movie, both performances by seasoned actors in their prime, Annette Benning and Jodie Foster, are award-worthy. Both are fabulous to watch; several scenes could easily be used as a study in filmmaking classes. I applaud both women, as this ultra physically challenging movie is not an easy task to re-create. I’m all in and can highly recommend this movie to teens and adults. Diana’s determination is fascinating to watch. Against all odds, she continued to follow her dream and never gave up! Truly an important life lesson for all.

Sarah Knight Adamson© January 14, 2024

Check-out my Hollywood 360 Radio Podcast: https://bit.ly/H360_Nyad_SKA

 

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Dune: Part Two (R) ★★★★

Once in a while, a sweeping saga masterpiece comes along, such as 1977’s “Star Wars,” retroactively retitled “Star Wars: Episode IV – A New Hope” by George Lucas or Peter Jackson’s “The Lord of the Rings trilogy” 2001-2003 or James Cameron’s (2009) “Avatar”— “Dune: Part Two” is most definitely in the same league.

It not only continues the brilliance of the first film it sets a new bar for just how good sci-fi films should be. With an engaging story and a cast at their very best, along with stunning visuals, this is a masterpiece. As with the Oscar-winning first installment, Villeneuve shows visual mastery of scale and scope, along with impressive cinematography.

Viewing the film in an IMAX theater with Dolby sound brought back memories of the prior films listed above. As a result, I recommend seeing it on the most giant screen possible. Based on Frank Herbert’s idolized sci-fi novel, some have said the movie could never be made due to the book’s complexities and the visual science fiction effects. I’m here to tell you it’s been done as director Dennis Villeneuve has succeeded in a colossal way.

Part two follows the journey of Paul Atreides (Timothee Chalamet) very closely after the first one ends, as he unites with Chani (Zendaya) and the Fremen, who are not free men. He’s also on a path of revenge against those who destroyed his family, with the help of a Fremen tribal leader named Stilgar (Javier Bardem), who is convinced that Paul is the chosen one. Stilgar believes the mythology points to Paul as the savior, the Emo King. Paul tries to blend with the Fremen, forming a relationship with a young warrior named Chani. He passes several tests given by the Fremen. He takes the tribal name of Muad’Dib, vowing vengeance against the Harkonnens for control of Arrakis and revenge for his father’s death.

During the combat scenes, watching bodies fall from the sky as colossal ships burst into flames appears virtually like an opera when looking at a film’s style. As Rabban Harkonnen, Dave Bautista is a wartime leader whose situation has exceeded his abilities, while Stellan Skarsgard has shades of Jabba the Hutt. I also enjoyed Bautista’s performance as he dug deep into the role, and it is eerily believable. You’ll feel immersion into vast worlds of endless sand that are only traveled with precise movements. Also, in a parallel scene, on another planet, Emperor Shaddam IV (Christopher Walken) and his daughter, a Princess, Irulan (Florence Pugh), speak with Bene Gesserit’s Reverend Mother (Charlotte Rampling) about the state of affairs. Irluan provides voice-over or narration to keep audiences up to speed on what is happening.

You may be wondering about Austin Butler’s psycho-path role as Feyd-Rautha, the evil villain and the star of the movie’s most haunting set, the Harkonnen’s home planet of Giedi Prime, shown in nearly all black and white with infrared imagery. There’s a Gladiator-style stadium that serves as an arena for maintaining his champion status as a butcherer of drugged-up prisoners. Baron Vladimir Harkonnen, the ultra-evil humongous blob, tests his worth by sending former Atreides soldiers to fight. Again, all of Butler’s scenes are filmed in black and white, delivering the feeling of everlasting doom and horror. He’s the sociopathic nephew of the Baron, who gives a realistic, organic performance.

I enjoyed seeing all of the famous stars in the film; Timothée Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Josh Brolin, Stellan Skarsgård, Dave Bautista, Javier Bardem, and Florence Pugh are all fantastic in their roles. Ultimately, Chalamet is the most transformed, taking on his new role of a leader with some surprises along the way. He rises to the occasion, speaking with astute confidence and determination; his transformation and stellar acting are exciting to view as Paul chooses between the love of his life and the fate of the known universe as he attempts to prevent a horrific future that only he can foresee.

Director Denis Villeneuve, Dune: Part One, and Dune:Part Two

On a side note, I was invited to a Zoom Press conference with director Denis Villeneuve, and found it very insightful. Especially when he was asked about the epic scope of the film yet keeping the emotional heartbeat.

He replied: It’s everything epic and the action, and that is not something that is that difficult to do. The thing that is difficult to do is to make sure that we don’t lose focus on the intimate relationship more precisely, the story between Paul and Chani. That’s the heartbeat, it’s like their relationship will unfold all drama of the film. Through the eyes of Chani and Paul, we feel the political pressure, the cultural pressure, the oppression. I really constructed the movie focused on the tension between them. I knew that and I kept saying to my crew, “If we don’t believe in their relationship, we don’t have a movie.” And that was my main focus during the whole shoot, to take care and to be as close to them as possible.

If you haven’t seen “Dune: Part One”, I’d suggest watching that first, as most of the characters are set up, especially Paul and his family’s transition. You will be blown away by “Dune: Part 2”, as it reminds you that a broad-scale blockbuster can be done with artistry and flair. You may also have flashbacks to other masterpiece-epic films of the past.

Directed By: Denis Villeneuve

Screenplay By: Denis Villeneuve and Jon Spaihts

Based On: The novel Dune by Frank Herbert

Produced By: Mary Parent, Cale Boyter, Denis Villeneuve, Tanya Lapointe and Patrick McCormick

Executive Produced By: Joshua Grode, Jon Spaihts, Thomas Tull, Herbert W. Gains, Brian Herbert, Byron Merritt, Kim Herbert, Richard P. Rubinstein and John Harrison, with Kevin J. Anderson serving as creative consultant

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, with Stellan Skarsgård, with Charlotte Rampling, and Javier Bardem

Studio: Warner Bros. Pictures

Rated: PG-13 for “sequences of strong violence, some suggestive material and brief strong language.”

Run Time: 166 minutes (2 hr 46 min with credits)

Sarah Knight Adamson© March 12, 2024

Click here to listen to the Hollywood 360 Radio Network Podcast: https://bit.ly/H360_Dune_2

 

The Bikeriders, a Motorcycle Club Film, Highlights a Positive Woman’s Role posted to Roger Ebert’s Website

Blending comedy, violence, and moments of tenderness while exploring the biker code of loyalty, Nichols creates an intriguing modern story of a gangster film told uniquely from a woman’s perspective in “The Bikeriders.” There’s so much to appreciate here. Kathy’s role as a strong woman and a role model is a reason to champion the film. The screenplay allows her to stand up for what she believes is right, making her own decisions, while solving her own problems without a male savior.

Clearly, this is a guy’s story focusing on a club or brotherhood that protects each other at all costs. The women in that era had very different roles; they usually rode on the backs of the bikes, prepared meals, and cared for the children, as they were not involved in the inner circle of the boys’ club or the decision-making. And they were less likely to be involved in violence. Kathy is written as a strong female character, one who serves as a role model for writing a progressive women’s character as self-sufficient.

During my Zoom interview with Jeff Nichols, I asked him why he wanted to tell this story from a woman’s point of view. He said that the ultimate truth is Kathy is the most interesting person in the book. He fell in love with the way she talked about herself, her relationship with Benny, and her relation to the club, including the biker guys. She was funny but also shockingly honest. There was no filter. It could be who she was then or because she talked into Danny Lyon’s reel to-reel tape recorder. Another reason she’s the perfect person to view this club and these people is that she is both an outsider by the benefit of being a woman and an insider because she is intimately involved in this club. So, with hindsight, only a woman could have this special kind of access.

Read more: https://www.rogerebert.com/features/the-bikeriders-a-motorcycle-club-film-highlights-a-positive-womans-role

 

 

The 29th Critics Choice Awards Honor a Wide Variety of Film and TV posted to Roger Ebert

The 29th annual Critics Choice Awards, held this past January 14th, moved to the Barker Hanger at the Santa Monica Airport, to accommodate the large number of critics that attend as well as the film & TV talent. Streaming live on the CW channel, the prior year’s host, Chelsea Handler, had everyone in stitches from the get-go. The bright sunny day added to the anticipation of a lively event. “Oppenheimer” won Best Film, also winning the most awards with eight. “Barbie” won six, including Best Comedy. Best Actor went to Paul Giamatti for “The Holdovers,” with Best Actress going to Emma Stone in “Poor Things.” Best director is Christopher Nolan for “Oppenheimer” with Best Adapted Screenplay Cord Johnson for American Fiction, and for Best Original Screenplay Greta Gerwig & Noah Baumbach, “Barbie.”

Paul Giamatti accepts the best actor award for “The Holdovers” on Sunday, January 14, 2024 Kevin Mazur/Getty Images

On the TV side, “Succession” scored the Best Drama Series, Best Actor, and Best Actress for Kieran Culkin and Sarah Snook, respectively, “The Bear” took home Best Comedy and won all its acting awards for Jeremy Allen White (Best Actor), Ayo Edebiri (Best Actress), and Ebon Moss (Best Supporting Actor).

Sarah Snook and Kieran Culkin Best Drama Actors Succession Critics Choice Awards, Jan.14, 2024

My evening began three and a half hours before the show on the Red Carpet outside the venue, where talent conversed with journalists while wearing the latest trends in fashion. Fantasia Barrino, a lead actor in “The Color Purple,” looked stunning in her white flowing silk dress and ultra-long feather cape.

America Ferrara of the film “Barbie” wore a gorgeous brown sequin gown that appeared to reflect gold when in bright light. Speaking of “Barbie,” Margot Robbie, Actor and Producer nominated for Best Actress, made a splash wearing a custom red column dress with roses bordering the off-the-shoulder look. Later in the show, she presented America Ferrara the SeeHer Award.

A definite standout was Colman Domingo, the lead Actor in “Rustin” and “The Color Purple” nominated for Best Actor for his role as Bayard Rustin, a civil rights activist in the 60s; he chose an all-mustard yellow suit designed by Valentino Haute Couture. A shimmering gold textured trench coat with a royal blue satin lining with a swivel design was draped over his shoulders. The Louboutin gold pointed statin boots completed the look. “Colman’s my buddy, we have a great time together sharing ideas,” said fashion icon, composer, and singer Lenny Kravitz.” He spoke with me about the historical drama film movie “Rustin” for which he was nominated for writing and performing the song, Road to Freedom.

Check out all of my coverage on Roger Ebert’s website:

https://bit.ly/CCA_29th_SKA

Sarah Knight Adamson January 18, 2024

 

 

 

 

 

Maestro Review and Interviews (R) ★★★★

I attended the “Maestro” screening in Hollywood during a press event hosted by Netflix in November of this year. Critics viewed the film in the luxuriously decorated Netflix Tudum Theater; the velvet scarlet seating brought back savored memories of the Steve Jobs Theater at PIXAR studios in Emeryville. Stars that appear to twinkle cover the ceiling are also similar, with the main difference being that PIXAR’s is much smaller. In the lobby, life-size costumes from the film and “Maestro” photos were on display.

Tudum Netflix Theater Hollywood

While viewing “Maestro,” one becomes immersed in the world of the musical genius Leonard Bernstein (Bradley Cooper) as well as the love story between him and his wife, Felicia Montealegre, (Carey Mulligan). Having a background in teaching gifted students, writing gifted curriculum, and with the knowledge of the characteristics of a gifted person, I appreciated the script’s depth in terms of the subtle nuances in the film that show us Leonard’s genius. For this time in history, from the 50s through the 70s, it was remarkable that he could balance a family life and seek solace in his love of males. He led a dual life, which, surprisingly, Felicia approved if he kept his affairs a secret.

Tudum Netflix Theater Hollywood

As a composer/conductor/musician/educator, Leonard Bernstein is considered one of America’s most important conductors of his time; he was the first American-born conductor to receive international acclaim. He’s also one of American history’s most enormously talented and successful musicians. Bradley Cooper co-wrote, directed, and stars as Bernstein, a passion project he’d been planning for years. The attention to detail of authenticity is vital in achieving success in a docudrama, and Cooper has succeeded here. I was in the dark going in, but now I’ve become educated concerning many aspects of his life, including his supportive wife, Felicia Montealegre. To say that Carey Mulligan shines in the film is an understatement; through her outstanding performance, we learn so much about this famous, important person.

Tudum Netflix Theater Hollywood

Through Cooper’s study of his subject and his knowledge of visual story-telling, the scenes are filled with conflict, resolution, and love. The scene in which each sits back to back in a beautiful park filled with trees in an overhead shot is another one of my favorites. They are simply breathing in and out, taking in all the gifts they have to share, yet knowing they need each other to be complete. It’s a gorgeous scene and bound to be an iconic one attached to the film forever.

Maestro 2023

As not to spoil the details of the movie, as it’s best to see it without knowing the entire story, I won’t relay anymore concerning the elements. What I can say is that the film is in my Top Ten of Best films for 2023, and that I can’t wait to see it again. Below, you’ll find more information about the press conferences I attended after viewing the film, one at the newly restored Egyptian Theater and the other at a hotel in Hollywood.

Egyptian Theater Hollywood

Two press conferences were held, one with the wardrobe, production, and sound team. Due to my love of costuming, I was pleased to hear costume designer Mark Bridges speak about the help from the Bernstein family in visiting their home so he could see the actual clothes they wore and feel the different textures. Bridges said, “Chanel was so amazing to work with when designing Felicia’s suits; they sent mock-ups from Paris in the original fabrics used in the 60s and 70s. And yes, those fabulous Chanel buttons, they’d send those, and you know they are like pieces of gold.”

Egyptian Theater Hollywood Press Conference Maestro Sound, Costumes, Production Kevin Thompson (Production Designer), Mark Bridges (Costume Designer), Tom Ozanich (Sound), Dean Zupanic (Sound)

Dean Zupanic, the re-recording mixer, said, “I’d describe the mix as a reflection of Leonard Bernstein, as he has a dynamic personality yet is an elegant man. The mix also reflects the subtle scenes, the quietness at times, the bursts of wind, and the Ely Cathedral. Speaking of Ely Cathedral, one of my favorite scenes in the movie, I researched where it is located. My husband and I have traveled to many places in Europe, especially in England; it’s about an hour north of Cambridge, which I’ve visited several times. You can be sure Ely Cathedral is now on my list of places to see.

Egyptian Theater Hollywood

The press conference for Bradley Cooper and Carey Mulligan was held in a quaint space in a hotel in Hollywood. I sat in the front row and was about three feet from both. It’s always a treat to hear the talent speak about their projects in person, as typically, other stories are brought up in the conversation. Cooper had nothing but praise for Mulligan, as he felt she put in the extra effort that gave her the best perspective of her character.

Press Conference Maestro Bradley Cooper and Carey Mulligan

Cooper has said in interviews, “When I was growing up, there was always classical music playing in the house,” Cooper recalls. “So, because of the cartoons I was watching, I used to wave my hands about and pretend that I was creating the music that I was hearing. One Christmas, I asked Santa, and all of a sudden, I had a baton that I was able to wield.”

Press Conference Maestro Bradley Cooper and Carey Mulligan

Cooper also said during our press conference that when he began to research and write the script, he wanted to capture the nucellar power of the two main characters and make that into something special, just as “A Star is Born” as it was Lady GaGa’s voice that is so special.

Press Conference Maestro Bradley Cooper and Carey Mulligan

Carey Mulligan said it was a joy to be able to meet the Bernsteins’ children and to simply be on set every day with Bradley, as she learned so much from him as a director.

Press Conference Maestro Bradley Cooper and Carey Mulligan

I honestly didn’t know much about Leonard Bernstein and, to my surprise, enjoyed the movie immensely; the concert scene filmed in London at the Ely Cathedral is fantastic to view. I can highly recommend seeing this movie in theaters now. The film is also streaming on Netflix Dec. 21, 2023.

Press Conference Maestro Bradley Cooper and Carey Mulligan

Sarah Knight Adamson Dec. 20, 2023

Martin Scorsese Zoom Press Conference Killers of the Flower Moon

I was thrilled to attend a Zoom Press Conference with Martin Scorsese, on Monday, October 16, 2023 as I’ve been following the film since July of 2017 when Scorsese optioned the book rights. I’ve written two articles for Roger Ebert. com, one is an overview of the Osage Nation’s process in helping gather facts for the movie. Former Osage Chief Jim Gray, and the Osage Nation News website editor, Shannon Shaw Duty, are interviewed. The other is my Zoom interview with David Grann, the author of the book which serves as the source material. That link is posted at the end.

https://www.rogerebert.com/features/the-stories-behind-martin-scorseses-killers-of-the-flower-moon

My reactions to listening to Martin Scorsese were that he does care about the Osage Nation and their story. He changed his script and listened to how they wanted to be portrayed. The love story of Mollie and Ernest is the focal point of the story. I also enjoyed hearing his reflections on working with Robert Di Niro and Leonardo DiCaprio. Enjoy…

Sarah Knight Adamson…Zoom ready, Martin Scorsese Press Conference Californina

Introduction To Press: I wanted just to say welcome to the global press conference for Killers of the Flower Moon. And we are extraordinarily lucky and honored to have you with us here today, a man who really does not need presentation, as he’s one of the greatest filmmakers of all time, who has co-written, directed, and produced what, in my opinion, is a masterpiece.

LOS ANGELES, CA – OCTOBER 16 : Martin Scorsese, Director/Screenwriter/Producer, attends the Los Angeles premiere of Apple Original Films’ “Killers of the Flower Moon” at Dolby Theatre. “Killers of the Flower Moon” will open in theaters around the world, including IMAX theaters, on Friday, October 20, 2023.

Martin Scorsese [laughs]

Question: Mr. Scorsese, thank you from all over the world. Personally, it blew me away. I was not that familiar with the story, and now I can’t stop thinking about it and the movie. Congratulations once more.

MARTIN: Thank you so much.

Q: What steps did you or the production team take to ensure the Osage community felt accurately represented?

MARTIN:  Well, at first, it was very important for me as soon as I saw the book, and I said, “Well, if you want me to be involved with anything that has to do with indigenous people and Native Americans,” I said, “I had an experience in the ’70s where I began to become aware of the nature of what their situation was, and is, still is.” I had been blithely unaware of that. I was too young. I was in my 20s. I didn’t know. And it’s taken me years, and I’m fascinated by how do you really deal with that culture in a respectful way, and also is not hagiographic? It doesn’t fall into, I think, Rousseau-like, the noble native, that sort of thing.

MARTIN:  None of that, but how truthful can we be and still have authenticity, respect, dignity, and deal with the truth honestly, as best we can? Having said that, that story, when I read it, indicated to me that this would probably be the one that we could deal with that way. And particularly by getting involved with the culture of the Osage. And actually, placing cultural elements, rituals, and spiritual moments.

Is it realism, mystical realism, or something? No, this is real. You see the dream. The dream is real. The ancestors come. The owl is real, in a sense, in a way. And so, for me, I wanted to know how. I wanted to play with that world in contrast with the White European world.

MARTIN:  And I felt that this could’ve afforded us the possibility. Ultimately, what happened was that we were dealing with a script based on David Grann’s book, which is excellent. But the David Grann book also has the subtitle “The Birth of the FBI.” And, for about a year and a half to two years, I was doing Irishman, and Eric Roth and I were working. We took the story of the birth of the FBI as far as we could take it. I wanted to keep balancing with the Osage.

It was getting bigger and bigger and more diffused. And ultimately, this was supplemented by the times that we went out to Oklahoma and met with the Osage. My first meeting was with Chief Standing Bear and his group: Julie and Addie Roanhorse and Chad Renfro. And it was very different than what I expected. They were naturally cautious. I had to explain to them, and I’m just gonna try and deal with them as honestly and truthfully as possible. We weren’t going to fall into the trap. We think of the cliche of victims, the drunken Indian, or all of this sort of thing, yet tell the story as straight as possible.

Former Osage Nation Chief Jim Gray, his Great Grandfather Henry Roan was shot in the back during the Osage Reign of Terror.

MARTIN: What I didn’t really understand the first couple of meetings was that this is an ongoing situation, an ongoing story out in Oklahoma. In other words, these are things that really weren’t talked about in the generation I was talking to. In the generation above them, before them, I should say. It was the generation before them that this happened to. And so, they didn’t talk about it much. And the people involved are still there, meaning the families are still there, the descendants are still there. And so, what I learned from meeting with them, having dinners with them, Margie Burkhart, the relative of Ernest Burkhart. She pointed out, and a number of other people pointed out, that you have to understand, a lot of the White guys there, a lot of the European-Americans, particularly Bill Hale, they were good friends, you know? One guy pointed out, he said, “Henry Roan was his best friend, and yet he killed him.” And people just didn’t believe at the time that Bill [Hale] would be capable of such things. What is that about us as human beings that allows us to be so compartmentalized in a way?

Former Osage Chief’s son, Henry Roanhorse Gray, (of whom is named after his Great, Great, Grandfather), William Belleau, (Actor who plays Henry Roan), Jim Gray

MARTIN: Margie talked about the fact that one has to remember, especially after she saw Silence; that sort of made her a little more comfortable with me doing this. She said, “One has to remember that Ernest,” her ancestor, “loved Mollie, and Mollie loved Ernest. It’s a love story.” And so, ultimately, what happens is the script shifted that way. And that’s when Ernest Leo decided to play Ernest instead of Tom White.

MARTIN: We started reworking the script, and it became gritty. Instead of from the outside in, coming in and finding out who done it, you know, when in reality it’s who didn’t do it. It’s a story of complicity. It’s a story of sin by omission, you know? Silent complicity in cases, certain cases. This is why I had the opportunity to open the picture up and start from the inside out.

Question:  The film takes place in Oklahoma, and you were adamant about shooting the movie there. People are curious to know when was the first time you visited Oklahoma, and what was your impression? And how did you begin to visualize the film taking place there?

MARTIN: I think the first time was in 2019, I think. It’s a little confusing because of shooting Irishman, and doing the CGI on Irishman, which was a longer post-production: four months, five months. And then COVID hitting. But I know we were there before COVID. We had at least two trips there before COVID. And for me, you know, I am a New Yorker. I grew up in the Lower East Side of New York. I’m very urban.

MARTIN:  I don’t understand weather that much, or where the sun is when you’re on the set. I was very surprised to learn that it set in the west. That’s because I was driving down Sunset Boulevard one time about 30 years ago, and I saw the sun setting. And I said, “That’s great. It’s Sunset Boulevard. The sun sets in the west. Now I get it.” Anyway, when I got there, all I can tell you is the prairies are quite something. They open your mind and your heart. They are just beautiful. And especially, driving on these roads, straight roads through a prairie and on both sides, wild horses, bison, and cows. But the wild horses just out to pasture for the rest of their lives. And it was, like, idyllic. And so, I said, “Where do I put the camera at this point? How much of the sky? How much of the prairie? You know? Should it be 1.85, or should it be 2.35? We gotta go 2.35, you know?” I wanna see more of this land.” And then I began to realize that the land itself could be sinister. In other words, you’re in a place like this, and you don’t see people for miles? You can do anything, particularly, it turns out, a hundred years ago. For me, 1920 is, like, 50 years ago because I was born in ’42, so the 1920s are the way ’90s are now to younger people, the 1990s. When they told me, “Marty, this is a hundred years ago,” I kept thinking, “What? Are we making a period piece?” It’s like normal. I mean, yes, there were old cars, you know? So, I said, “Yeah, it’s not really a Western. It’s normal.” And they’re sayin’, “Marty, this is a hundred years ago.” But when I saw that, I realized this is a place where you don’t need the law. I mean, you have the law, but the law isn’t working that way. The law you can make the law work for you if you’re smart enough, as we know now. But what I mean by that is that it’s still a wide-open territory.

MARTIN: You have the law, but it’s wide-open territory, so the place, as beautiful as it is, can shift to being very sinister. And what I wanted to capture, ultimately, was the very nature of the virus or the cancer that creates this sense of a kind of easygoing genocide. And that’s why we went with the story with Mollie and Ernest because that’s the basis of the love. The love is the basis of trust. So, when there’s a betrayal that way, that’s deep.

Question:  To follow up on something you just mentioned, can you discuss how you created the vision? Also, how did you want to tell the story, both historically accurate but emotionally resonant?

MARTIN: This was a constant, the historically accurate. And I should use the word truthful. You know, you can have a ritual, and you shoot a ritual as the way it should be. But it may have been slightly different at the time. We had a lot of support from the Osage authority, the experts who were giving us the indication about how to go about these things: Johnny Williams a number of other people. And so, with them, we tested the accuracy of the rituals, the baby namings, the wedding, the funerals, everything that happened at the funerals, all of this sort of thing. And so, in some cases, there was wiggle room because, quite honestly, I think the last two generations of Osage forgot about or were taken out of their experience because they had to become, like, White European. They had to become, you know, Christians, Catholics, whatever. And so, they forgot about all that. In fact, there’s a new resurgence of learning of the language. And we had language teachers there, and Lily Gladstone learned the language, and so did Leo, and so did De Niro, who really fell in love with it, and wanted to do more scenes in Osage.

Osage dancers from the Grayhorse District prepare to enter the arbor for the Pawhuska Inlonshka in Pawhuska, Okla., on Oct. 18, 2022. Shannon Shaw Duty Photo Credit

MARTIN: But I suggested that maybe it’s too much for him. But [laugh] he just liked the sound of it. And so, they were all learning again to put their culture back together through this movie. And we were going with them, so if this person puts the blanket on this way, and the baby naming is that [way?], well, one person would say, “Maybe yes.” Another would say, “Maybe no.” Another one would say, “You have a little room here to play with it and have some creative license.” So, that’s the way we did it throughout.

Shannon Shaw Duty, Editor Osage Nation News

Every scene was done that way, and that was done a lot in pre-production and during the shoot. We had that as a basis. And there are ways that were never insistent, but there were ways they got to me certain information where it was Marianne Bower, for example, was one of our producers. And she’s, like, my archivist. And she was able to help keep it all together between myself and the Osage.

Question: Speaking of Lily Gladstone, who of course, plays Mollie, Ernest’s wife, I think people are going to be really impressed with her performance. Can you talk a little bit about the first thing that you shot with her?

MARTIN:  Well, I believe, you know, I saw her, Ellen Lewis showed her to me in Certain Women, Kelly Reichardt’s film. I thought she was terrific. And then COVID hit, and we weren’t able to meet. So after COVID, after the pandemic was calming down, we met on Zoom. And I was very, very impressed by her presence, the intelligence, and the emotion that’s there in her face. But you see it, you feel it, but it’s very, very — you know that it’s all working, something is working behind the eyes. You could see it happening. Also her activism, which wasn’t overtaking the art. In other words, the art was the activist, in a sense. So the art takes over, and in a way which we think then would be more resonant later on, after you see the movie, you may be thinking about it more, rather than a person preaching at you. And I think the first big scene we did was one of my favorite scenes, where she had dinner with Ernest alone. And she’s questioning him, a little bit of an interrogation. What are you doing here? Are you afraid of him? What’s your religion? All this sort of thing.

Mollie Burhart

MARTIN:  And then you begin to see there the connection between the two, and when she says, “Ha ha ha, Coyote wants money,” and surprisingly, he said, “That’s right. I love money.” This is the other thing. She knows what she’s getting into, and even her sisters later, which is also a scene that we put in with the Osage, with the Native American actors. They said, “What we’re talking about, the guys, well, they’re playing that game, and we’re talking about my husband and talking about that guy with the blue eyes likes you,” and, you know, “Well, I don’t think he just wants money.”  “Well, it doesn’t matter. He’s nice. He wants to settle down.” Why don’t we just show that that’s how it could happen?

MARTIN: That’s the way the script was ultimately created, by these moments. So, Lily, there was that scene, and of course, the scene where he’s driving her in the taxi, and it’s only one shot. And he says something about, you know, “I want to see who’s gonna be in this horse race,” and she answers in Osage. She says something in Osage. He goes, “What did you say?” and she says it in Osage again. And he says, “Well, I don’t know what that was, but it must have been Indian for handsome devil.” And that’s an improv, and you see her laugh for real. So that moment, you have the actual relationship, it’s actually between the two actors.

Leo and Lily in a scene. “KIllers of the Flower Moon” @Apple TV

MARTIN: You know, so these were the two moments we felt very comfortable with her. And also we had a feeling that, we needed her. We needed her to help us tell the story of the women there. We would always check with her and work with her on the script. There were scenes that were added, scenes rewritten constantly.

Question: So now let’s talk about some people that you have worked with before quite a bit. You’ve formed a 20-year partnership with Leo DiCaprio and a 50-year partnership with Robert De Niro. Why have you returned to them both so often over the years, and what has stood out to you most about their work on Killers of the Flower Moon?

MARTIN: Well, in the case of Robert De Niro, we were teenagers together, and he’s the only one who really knows where I come from, the people I knew, and that sort of thing. Some of them still alive. He knows them. I know his friends, his old friends, and we had a real testing ground in the ’70s, where we tried everything and we found that, you know, we trusted each other. It’s all about trust and love. It’s what it is. And that’s a big deal, because very often if an actor has a lot of power, and he had a lot of power at that time, an actor could take over your picture.Or a studio gets angry with you, the actor comes in and takes it over.

With him, I never felt that. There was a freedom, there was experimenting, and we were not afraid of anything. I just did it. And years later, he told me he worked with this kid, Leo DiCaprio, a little boy, in This Boy’s Life, and he said, “You should work with this kid some time.” It was just casual. But within a line, something like that, a recommendation at that time, I think in the early ’90s, is not casual.

MARTIN: He says it casually, but he rarely said that you know, rarely tell me. He rarely gave recommendations. And so years go by, and I’m presented with Leo, with Gangs of New York and we worked together in Gangs. He made Gangs possible, actually. He loved the pictures I made, and he wanted to explore the same territory. And so we developed more of a relationship when we did The Aviator. And towards the end of it, there was a kind of something happening, a maturity with him, not quite sure, but we really clicked in certain scenes.

MARTIN:  And that led to Departed, and then that became much closer. You know, that was a project where Bill Monahan and the other people were writing all the time and recreating the character that he played, Billy. And so during that time, we really found out that even though there’s 30 30-year difference, he has similar sensibilities. You know, he’ll come to me, and he’ll say, “Listen to this record,” and it’s Louis Jordan and Ella Fitzgerald. I grew up with it. He’s not bringing me anything new, but he likes it.

MARTIN: That’s interesting. Why is he bringing? He’ll call me and say, “You know, I had a cold, and I was looking at Criterion films, and, you know, I wanted to catch up on some of these classics, and I saw this incredible movie. It’s incredible. It’s a Japanese picture. It’s called Tokyo Story. Did you ever see it? This was last year. I said, “Yeah. I mean, it took me a few years to catch up.” I couldn’t even understand the Ozu style, seeing it the first time in the early ’70s ’cause we’re used to Orson Welles [kind of?] you know?

MARTIN: And this guy got it from watching it on a big screen TV. And that’s very interesting to me, to be open that way to older parts of our culture, newer parts of our culture, of course. And the curiosity that he has about other people and other cultures, and there’s a trust, there’s a trust. And even if we can’t get it right away, we know we’ll come up with something. You know, maybe other people have relationships where they come up with it faster. Well, we don’t. We just work it through.

MARTIN:  For example, the scene between Leo and Bob in the jail at the end. That scene ultimately was finally written, I think, a few days before we shot it, working with the two of them and working with Marianne and everybody because we had said so much, and it could have gone so many different ways. But what does the picture really need? How much more is there for them to say to each other after all that’s happened, you know? And so we went that way.

MARTIN: It’s really, you know, it’s trust. Particularly doing Wolf of Wall Street, by the way. He came up with wonderful stuff that was outrageous, and so I pushed him. He pushed me, then I pushed him more, then he pushed me, and suddenly [laugh] everything was wild, you know? And, yeah, it’s really quite something. And he had good energy, too, on the set. That was also important, very important, because in the mornings, I’m not really good, and I get on set, and then I’d see him or Jonah Hill or him and Margot Robbie, and Lily, and suddenly they’re all like, “Hey.”  I’d say, “Okay, let’s work.” [laugh]

Q: You mentioned music a moment ago. Your films have a musicality through your framing, camera movement, sounds, silences, and where you choose to cut the shot. What informed the rhythm of your work, and what music were you hearing in the making and execution of this book?

MARTIN:  The way I like to make pictures, for the most part, I’ve learned, or not intentionally, but I feel it, is like the pacing of music. The boxing scenes in Raging Bull are like the ballet scene in The Red Shoes, where everything is seen and felt from inside the ring, inside the fighter’s head, the way everything is felt and seen inside the dancer’s head, Moira Shearer’s, in Red Shoes. So the covering of the band, singing The Weight in The Last Waltz, doing it in the studio was very much according to the music, to the different bars of music and how a camera would move, etcetera.

MARTIN:  And sometimes I play the music back on the set. In the case of Goodfellas, the number of times the end of Layla, for example, was played back as we were doing the camera moves. And so for me, ultimately, the movie is more like I’m trying to get to, like, the movie being a piece of music. So that’s why I do these music films at the same time; I’m trying to get to the pacing and rhythm of something that can be played.

MARTIN:  For example, I don’t know, you play a symphony, and you live with it. How many times, oh, I heard the Beethoven Seventh. I don’t want to hear it again. No, you play it. Well, I like the third movement. I want to hear the second movement again. No. I mean, you live with it. You live with it. Or Baroque music. Bach, anything by Bach. So, you know, or Philip Glass, let’s say. And so in a case like this, very often I leave — if a film is playing on TCM, let’s say, I take the sound off, and I watch. It’s living with me; I live with it. And if it’s a Hitchcock or it’s a Ford or, you know, a newer one, whatever, I’m looking, and I can tell there’s a musical rhythm to the pacing of the camera, the edit.

MARTIN:  What I mean by the camera is the size of the people in the frame, the editing, and camera movement. You know, I could feel it. And so that’s how I exist, in a sense. So, for me, it’s really about getting the pace of music. And that’s done very carefully on set, but even more carefully in the editing. That’s why this picture is more like, somebody pointed out recently, like Bolero, where it starts slower and moves slowly in circles and in circles, then suddenly gets more intense and more intense, and suddenly goes more and more until it explodes, right?

MARTIN:  And so I felt it. I couldn’t verbalize how I am now, but I felt it in the shoot and edit. And a lot of the music that kept pushing me was what Robbie Robertson had put together, particularly, that bass note that he was playing when Ernest dropped her off for the first time at her house, Mollie’s house. She looks at him, she turns, and all of a sudden, you hear boom, boom, boom, boom, boom, boom. I said I wanted something dangerous and fleshy. And sexy, but dangerous. And that beat took us all the way through, all the way through.

MARTIN:  Then I added, like, he sent me some [hymn?], and I could pick the music from Harry Smith’s anthology of folk music, all this sort of thing. One particular piece called The Indian War Whoop by Hoyt Ming and His Pep Steppers was very important. Bulldoze Blues by Henry Thomas, which became Going Up The Country by Canned Heat. All of this, again, you know, Dark As The Night, Blind Willie Johnson, with the Flames.

MARTIN:  Oh, See See Rider, Ma Rainey. And, of course Emmett, Emmett Miller singing Lovesick Blues, which became the great Lovesick Blues by Hank Williams later on, but this was the first. So all that’s in there, but the drive of the movie is what Robbie put down, and we pulled it through that way.

Q: On that note, we could talk about this movie forever, Mr. Scorsese. First of all, congratulations. Thank you for making this movie that makes us feel, that makes us learn, that makes us live. It’s an absolutely extraordinary film; it blew me away, and I just can’t stop thinking about it. So congratulations on Killers of the Flower Moon. All the luck in the world. And thank you so much for the huge honor of having you with us today.

MARTIN:  Thank you.

My Zoom interview with “Killers of the Flower Moon” author David Grann:

https://www.rogerebert.com/interviews/keep-these-people-alive-david-grann-on-killers-of-the-flower-moon

Sarah Knight Adamson© October 16, 2023

Toronto International Film Festival TIFF 2023

Hollywood 360 Radio Network podcast segment of the Toronto 2023 International Film Festival:

Attending the Toronto International Film Festival in-person is always a treat, and this year is no different—in fact, this may have been one of my most memorable events due to an outdoor ‘Street Fest Concert’ we attended.

Nickelback Band Street Concert, Chad Kroeger lead singer
Photo Credit: Sarah Knight Adamson

Canada’s beloved rock band ‘Nickelback’ gave a live performance on the center stage during the festival to celebrate the opening of their new documentary, “Hate to Love: Nickelback,” which premiered at the festival. Scoring a table at a restaurant that had a patio on the right side facing the stage, we were in luck to view one of our favorite bands in an hour concert, on Friday evening.

“My festival began with “North Star,” in Kristin Scott Thomas’s directorial debut. Scarlett Johansson co-stars in a mother-daughter story, with Sienna Miller and Emily Beecham as the other two daughters, with billing as a comic-drama. It premiered at the Princess of Whales Theater, which has 2,000 seats! This is my 5th year attending; other than the COVID year, I still covered it that year from home. I always enjoy traveling to this beautiful city and viewing movies in theaters that are movie palaces!

“North Star”

With a great cast as mentioned above Kristin Scott Thomas revisits her childhood trauma. She directed and co-wrote the script based on her father, a Royal Navy pilot. He was killed in action when she was just six years of age; in a sad coincidence, her mother re-marries, and her stepfather was also killed while serving in the Royal Navy as a pilot when she was 12. Her mother, of which Scott plays the role, marries again for a third time—the film begins at this point. Scott’s story of two fathers who gave their lives for their country and the after-effects of the family are important to know, and her personal story is one all should see.

The three daughters live worldwide and reunite for their mother’s (Thomas) wedding. Upon their meeting and seeing their interactions, we clearly view a dysfunctional trio. Katherine (Johansson) follows in her late Dad’s footsteps as a Captain in the Royal Navy. Still, she experiences some troubles in her relationship with Jack (Freida Pinto), a north star who wants a family while Katharine pursues a military career. Victoria (Miller), is a movie star who’s obsessed with speaking publicly about her family’s tragic past despite the disapproval of her sisters. While Georgina (Beecham), is a palliative-care nurse whose unfaithful husband, Jeremy (Joshua Maguire), causes her much unneeded stress.

The three-day wedding weekend occurs at their childhood home as their mother prepares to marry husband number three (James Fleet). The sister’s past unfinished dealings of secrets and criticisms become front and center as they are all together. The pitfalls of a true story are keeping with a narrative enough, though it creates an uncomfortable vibe. The yelling, screaming, hurt, and anger were challenging to view, although love, family, and sympathy eventually win, which makes the film so interesting. Johansson gives a genuine and lovely performance. She has twice played Thomas’ daughter in “The Horse Whisperer” and “The Other Boleyn Girl. They have great chemistry together as the nuances between is warm and realistic.

The film ends fittingly with a poignant dedication in memory of Thomas’ “two fathers,” Lt Commander Simon Thomas Royal Navy and Commander Simon Idiens Royal Navy. All is forgiven as the redundant script and choppy scene work in the film is a personal project of Thomas,’ and we are merely along for the ride. I’d suggest seeing it as the performances of the main four women are a treat to behold. Beecham’s role is of the peacekeeper, which is not an easy job in this family.

Director: Kristin Scott Thomas

Screenplay: Kristin Scott Thomas and Richard John Micklethwait

Cast: Kristin Scott Thomas, Scarlett Johansson, Sienna Miller, Emily Beecham, Thibault De Montalembert, Freida Pinto, Joshua Maguire, James Fleet

Sales: CCA

Running time: 1 hour 35 min

An intriguing aspect of the festival were the films that were directed my actors who are usually in front of the camera such as Kristin Scott Thomas, Anna Kendrick, Michael Keaton, and Chris Pine, all of whom I viewed their films. The one I especially enjoyed was “Woman of the Hour,” Anna Kendrick’s true crime story of the 70s serial killer Rodney Alcala, ironically, he appeared on the TV show “The Dating Game.”

“Woman of the Hour”

The film centers on a struggling actor, Cheryl Bradshaw, played by Kendrick, who appears on “The Dating Game” as a contestant. A disturbing theme is the systemic misogyny that encourages violence, as women’s voices are silenced by law enforcement. This taunt thriller received a standing ovation and praise from myself and fellow critics. “Woman of the Hour” premiered at the “Princess of Whales” theater on September 8, 2023.

At the beginning of the film, we are introduced to killer Rodney Alcala as he seduces and brutally tortures and kills a woman in a remote part of LA’s desert. Daniel Zovatto’s appearance is altered to mirror Alcala’s creepy look; Zovatto is excellent in the film with his facial stares and nuanced scowls; he’s the glue that holds the film together. Bottom-line—he’s terrifying. Kendrick is excellent as always, as is the supporting cast. When she asks a co-director of “The Dating Game Show,” which one should choose?” She says, “Choose the one that won’t hurt you.” After she makes her choice, the woman says, “Oh, and I would be careful with number three,” after she watches him privately write something unsavory about a woman.

To not spoil the building mystery or end of the film, it’s better to go into it without knowing much. What I do know is that Netflix has picked it up, and it is slated to be released later this year. I also know that Rodney Alcala’s killing crime spree is projected at over 130 people. He was a registered sex offender when he appeared on “The Dating Game.”

 Director: Anna Kendrick

Cast: Anna Kendrick, Tony Hale, Daniel Zovatto, Nicolette Robinson

Screenplay: Ian MacAllister McDonald

Studio: Netflix

Running Time: 1 hour 29 minutes

“One Life”

On Saturday, I viewed the tremendous film “One Life” with Anthony Hopkins starring as Nicholas Winton as an English stockbroker in a true story. He helped save hundreds of children during the holocaust. The movie is based on the book If It’s Not Impossible, written by Winton’s daughter Barbara. Let’s just say there was no dry eye in the house during this beautiful, heart-wrenching, yet heart-warming film. The surprise during the Q&A afterward, about 20 survivors were in the audience, and all were asked to stand.

Winton is in his 80s and finds papers that tell the story of how he helped save hundreds of children living in the Czech Republic. What makes this story more personal for me is that I have visited there and taken a tour of the concentration camp Terezin, where thousands of Jews were held until they were sent to the death camps of Auschwitz and Treblinka.

Johnny Flynn plays younger Winton as a determined person on a mission similar to “Schindler’s List” (1983), played by Liam Neeson. Winton helped groups of Jewish children in German-occupied Czechoslovakia to hide and flee in 1938–39, just before the beginning of the war. He visited German-occupied Czechoslovakia, saying, “I have seen this for myself, and I can not unsee it.” He began by enlisting the help of his persistent mother, played by the talented Helena Bonham Carter, and other work colleagues, one saying, “Don’t start what you can’t finish.” Ultimately, he saved 669 children; of the 1,500 left, only 200 survived. It’s an unsung hero’s story and dedication to helping children and families.

I loved this movie! Every person in the photo above that is standing was saved by Nicholas Winton. Johnny Flynn did a fantastic job as the younger Nicholas, as did Anthony Hopkins. I strongly advise you to see this gem of a historical movie.

Director: James Hawes

Screenplay writers: Lucinda Coxon, Nick Drake

Cast:

Anthony Hopkins, Nicky Winton

Johnny Flynn, Young Nicky

Helena Bonham Carter, ‘Babi’ Babette / Barbara Winton

Lena Olin, Grete Winton

Romola Garai, Doreen Warriner

Alex Sharp, Trevor Chadwick

Studio: Warner Bros

Running Time: 1 hour 50 minutes

“Dumb Money”

 Stars Paul Dano as Keith Gill, a YouTuber whose hobby focused on Wall Street’s stock market, giving tips to followers on stocks he liked. In 2021, during the pandemic, he noticed that the brick-and-mortar store GameStop was losing money as in-person sales had dropped. He urged followers to invest their money into the stock and hold. We follow nurses, college students, and others who believed in Gill, holding onto their stock even though the numbers reached millions.

The story has been compared to the fable David vs. Goliath; in this case, at times, it’s a real nail-biter. The hilarious and crowd-pleasing movie co-stars Shailene Woodley, who plays his wife, and Pete Davidson as his brother. Seth Rogen also stars as a stockbroker millionaire. Paul Dano is fantastic in his portrayal as an employee of MassMutual Life Insurance company who by night and weekends becomes “Roaring Kitty” with is headband and kitty T-shirts, as I viewed YouTube videos of the real-life Keith Gill, and he nailed the part.

The director is Craig Gillespie of “I, Tonya.” and “Cruella.” Based on the book The Antisocial Networkby Ben Mezrich. The film opens in theaters, releasing on September 28. I’ve always admired Dano’s acting and met him last January 2023 at the Critics Choice Awards; he was great to talk with.

Director: Craig Gillespie

Screenplay: Lauren Schuker Blum & Rebecca Angelo

Cast: Paul Dano, Seth Rogen, Vincent D’Onofrio, America Ferrera, Nick  Offerman, Anthony Ramos, and Sebastian Stan

Running Time: 1 hour 44 minutes

Studio: Sony Pictures Entertainment

“Knox Goes Away”

Michael Keaton serves as director and stars as Knox, a hitman diagnosed with a form of memory loss that accelerates very quickly, in this case weeks. The film’s title cards read Week One, Week Two, etc., as the clock is ticking and Knox has an important job to finish. Knox has a decision to make when the job goes very wrong, and resigning from killing is one of them.

When his son, James Marsden, suddenly appears in an awkward transition that should have had some backstory, he has a big ‘ask’ of his estranged dad. It involves the death of a child-porn sleazy guy who lured his 16-year-old daughter to meet him, and he gets her pregnant. A dying Knox faces a chance for redemption with his son, and he moves ahead full steam. At one point, Keaton says to Al Pacino (Xavier), who plays his boss and serves as his guide to keeping him on track of his mission, “I feel like I’m getting worse every hour.”

Keaton always delivers excellent performances and is very good as a hitman seeking salvation; unfortunately, the script is disjointed with muddled lines strung together haphazardly. Marsden is fantastic as the vengeful dad in one of his best roles to date, as he usually stars in romantic comedies. The banter between dad and son is worth viewing, as is Keaton’s clock-ticking performance.

Director: Michael Keaton,

Screenplay: Gregory Poirier

Cast: Michael Keaton, James Marsden, Al Pacino, Marcia Gay Harden

Runtime: 1h 54m

Studio: A Film Nation, Brookstreet Pictures, Sugar 23 production

 “Origin”

If Ava Duvernay is directing, one can rest assured the film will probably surpass your expectations, which holds true for “Origin.” Here, she adapts Isabel Wilkerson’s novel “Caste: The Origins of Our Discontents,” into a docudrama retelling the ongoing story of Wilkerson’s journey in writing the book. Aunjanue Ellis-Taylor portrays her with intellect, warmth, and compassion in an award-worthy performance. When she encounters the question of race once again after Trayvon Martin’s death by the racial profiling of a neighborhood watch person, who was told by police not to continue pursuing him, she begins to study the core of racial injustice.

The Pulitzer prize-winning author’s racial injustice journey took her to Germany to study the Nazi’s systematic methods that were used to dehumanize the race of Jewish people, looking at the mandates that were imposed, the burning of books, the erasing of identity, the wearing of a star, then ultimately death camps. She also traveled to India to study the marginalization of Dalit “untouchables,” the lowest caste members of Indian society. In areas of India, the group is expected and assigned the worst work in cleaning latrine tanks by climbing in and changing filters. The images are heart-wrenching to watch, just as a sequence of America in the 1960s when a black child was not allowed into a swimming pool after his team won their state baseball game.

These explorations bring questions to one’s mind. Duvernay covers both sides of the argument. The delivery of Ellis-Taylor’s performance makes this film so powerful; by the time her mother passes and the same year her husband, played by Jon Bernthal, we are in tears as well. Playing her cousin Marion (Niecy Nash-Betts), of whom we learn the author’s inner feelings, she voices her concerns and encouragement, also adding levity, which is needed during the heavy concepts that are brought forward. Her supportive white husband, Brett (Jon Bernthal), provides the black/white blockades as they work through her writing assignments and theories.

I appreciated the docudrama’s format, as we are privy to Ellis-Taylor’s performance, which heightens the subject matter, providing a genuine look at the real-life person rather than a sterile documentary, as Roger Ebert once told me when critiquing a film, “How did it make you feel?” and do you really care about the person and or the circumstances. During the Q&A hosted by Toronto Film Festival CEO Cameron Bailey, DuVernay said Isabel Wilkerson’s big ideas inspired her; here, she is the risk-taker by taking us on a journey that leads to discussions and hopefully solutions in the future.

Director: Ava Duvernay

Screenplay: Ava Duvernay

Cast: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, Emily Yancy, Vera Farmiga, Blair Underwood, Nick Offerman

Running Time: 2 hours 25 minutes

Studio: Neon

“Poolman”

 

“Poolman” an American comedy mystery film directed, produced, co-written by and starring Chris Pine in his directorial debut. It takes place in sunny LA, California, and despite the rambling script, and uneven dialogue I actually liked the comical movie. Pine immediately reminded me of Jeff Bridges in the “Big Lebowski” his character as poolman or pooldude definitely has shades of ‘The Dude,” although I didn’t get to many catch phrases, maybe, “follow the water.”   The co-stars, Annette Bening and Danny DeVito add the comedic moments as DeVito never stops with the one-liners.

The scene I was waiting for is when the pooldude might put on a bathrobe and go outside into the city wearing it. Well, sure enough, midway through the film, he puts on a woman’s gold, shiny, silky bathroom and rides around at night on his motorcycle. That was one of the awesome scenes, dude! The general plot of an obsessed pool cleaner changes gears quickly as he becomes involved in a mystery concerning LA’s water supply, although that makes sense, right? He is, after all, the poolman, and a poolman is around water 24-7.

What I found condescending is the line, “You may be poolman, but you’re one hell of a detective, and you’re also my best friend, says DeVito. I felt that was a huge mistake in a comedy as putting down anyone’s job is not cool. Yes, the script does suffer a bit, particularly in the heated scene between the poolman and his later girlfriend, who cons him, saying, “I would never be with a poolman.” Again, it’s not cool, too meanspirited for a comedy. For the most part, I enjoyed the fun banter and seeing Stephen Tobolowsky on screen as his memorable performance in “Groundhog Day” is classic; here, it is very funny as well. I’d say check out the movie. 

Director: Chris Pine

Screenplay: Chris Pine, Ian Gotler

Cast: Chris Pine, Jennifer Jason Leigh, Stephen Tobolowsky, Danny DeVito, Annette Bening

Studio: AGC Studios

Run Time: 1 hour 40 minutes

Other films I saw prior to attending TIFF, that were shown at the Telluride Film Festival I reviewed in my article for Roger Ebert.com, they included “Wildcat,” “The Holdovers, “Perfect Days” “Daddio,”and “Rustin.” Telluride Film Festival 2023 Highlights by Sarah Knight Adamson

Press Release from Closing Night:

TORONTO — The Toronto International Film Festival® ― which concluded September 17, 2023 evening with the Closing Night screening of Thom Zimny’s Sly at the Visa Screening Room at the Princess of Wales Theatre and Roy Thomson Hall ― has announced its award recipients for the 48th edition of the Festival.

“We’re grateful to all the audience members, artists, industry professionals, and supporters who graced Toronto’s cinemas, red carpets, meeting spaces, and streets,” said Cameron Bailey, TIFF CEO. “As we recognize award winners today, we thank everyone who contributed to this glorious, collective gift.”

“From the most revered veterans to the freshest new voices, this year’s Festival played host to the diverse range of filmmakers Toronto is known for,” said Anita Lee, TIFF Chief Programming Officer. “And Toronto’s filmgoers turned up in huge numbers to be a part of the celebration. We’re grateful to our film jurors for their invaluable contributions, for championing emerging talent, and for enriching the film community with their expertise and passion.”

PEOPLE’S CHOICE AWARD

For the 47th year, the People’s Choice Awards distinguish the audience’s top title at the Festival as voted by the viewing public. All films in TIFF’s Official Selection were eligible.

The TIFF 2023 People’s Choice Midnight Madness Award winner is Dicks: The Musical dir. Larry Charles. The first runner-up is Kill dir. Nikhil Nagesh Bhat.
The second runner-up is Hell of a Summer dirs. Finn Wolfhard, Billy Bryk.

The TIFF 2023 People’s Choice Documentary Award winner is Mr. Dressup: The Magic of Make Believe dir. Robert McCallum.
The first runner-up is Summer Qamp dir. Jen Markowitz.
The second runner-up is Mountain Queen: The Summits Of Lhakpa Sherpa dir. Lucy Walker.

The TIFF 2023 People’s Choice Award winner is: American Fiction dir. Cord Jefferson. The first runner-up is The Holdovers dir. Alexander Payne.
The second runner-up is The Boy and the Heron dir. Hayao Miyazaki.

Sarah Knight Adamson© September 18, 2023

SEE MORE INTERVIEWS

Film Festivals and Events

Shirley (PG-13) ★★★★

Here’s the best component of the movie “Shirley”—Regina King, the star who portrays Shirley Chisholm. Hands down, she embodies her actions, timing, and subtle nuances. Think Helen Mirren as Queen Elizabeth in her Oscar-winning performance in “The Queen.” Yes, she’s that good. And honestly, in a biopic, the subject has to be great, and here she is.

“Shirley” 2024 Chicago Screening, The Davis Theater

Oscar winner King won Best Supporting Actress in “If Beale Street Could Talk” (2007); here, she plays the first Black congresswoman, Shirley Chisholm, who in 1972 ran for President of the United States. In the film’s narrow time frame, we learn of her determination, as her performance garners honesty, power, and decisiveness to the legacy of Shirley Chisholm by delivering a captivating performance. Saying, “I’m paving the road for a lot of other people like me to get elected.”

“Shirley” 2024 (Regina King) with Robert Gottlieb, (Lucus Hedges)

Certainly, her statement holds true. Women wouldn’t be where we are today without those who broke barriers and blazed trails for others, and former Congresswoman Shirley Chisholm is undeniably one of those pioneers. In 1968, of the 435 elected representatives to the House of Congress, 11 were women, five were Black men, and none were Black women until Chisholm was elected. She had higher aspirations, and she made her dreams come true by compiling a group of people who would help her Presidential campaign.

“Shirley” 2024 (Regina King) with Arthur Hardwick (Terrence Howard)

Wesley “Mac” Holder, Lance Reddick, in one of his final roles, is her campaign advisor. He’s always looking on the safe side, while Shirley pushes him to take a risk. Their chemistry together is excellent to view. Stanley Thompson, Brian Stokes Mitchell, is her political strategist and campaign manager who questions whether she even has a chance at winning. Robert Gottlieb, Lucus Hedges, a former intern, is her youth coordinator, playing a wide-eyed newbie, who changes in strength and confidence as Shirley guides him to believe in himself. Lastly, Arthur Hardwick, Terrence Howard, a fundraiser and advisor to the campaign, is very supportive and her sounding board.

Director John Ridley blends in Chisholm’s family drama and her experiences with her strained husband Conrad, Michael Cherrie. Her sister Muriel St. Hill, Reina King, who is her actual sister and one of her toughest critics, is rude to her. We view her heartaches and stresses as she navigates her campaign, giving us a broader view of her as a person.

Director John Ridley keeps politics flowing as Chisholm makes deals with people in Washington. Walter Fauntroy Holland, a D.C. congressional delegate, is a question mark, as she never knows if she can trust him to secure more votes. King and André Holland are captivating to view, as their bogus smiles and chit-chat are all part of the game. We’re also reminded of the violence during that era, when Governor George Wallace was shot, leading herself and her campaigners with a new set of worries.

Upon finishing Shirley, you’ll be in awe of this trailblazing woman and the strength and courage she displayed in fighting tooth and nail for her place in the race. Ridley does a fine job of portraying a strong woman who can be considered a positive role model for all women. I appreciated her independent thinking and actions. Yes, she needed a team, but in the end, there was no male savior.

The Q&A afterward was insightful as actress and the film’s rising star, Christina Jackson, was in attendance. Also, the President and CEO of the Chicago Urban League, Karen Freeman-Wilson, Obama Foundation Executive VP/Chief Legal and People Officer Alfreda Bradley-Coar, moderated by WBEZ reporter Natalie Moore.

Cast: Regina King, Lance Reddick, Lucas Hedges, Brian Stokes Mitchell, Terrence Howard, Reina King, Christina Jackson.

Rating: PG-13

Genre: Drama, Biography

Director: John Ridley

Writer: John Ridley

Runtime: 1h 57m

Studio: Netflix

Sarah Knight Adamson© March 19, 2024

Hollywood 360 Radio Network Podcast: https://bit.ly/Shirley_H360_Radio  

The Bikeriders, a Motorcycle Club Film, Highlights a Positive Woman’s Role posted to Roger Ebert’s Website

Blending comedy, violence, and moments of tenderness while exploring the biker code of loyalty, Nichols creates an intriguing modern story of a gangster film told uniquely from a woman’s perspective in “The Bikeriders.” There’s so much to appreciate here. Kathy’s role as a strong woman and a role model is a reason to champion the film. The screenplay allows her to stand up for what she believes is right, making her own decisions, while solving her own problems without a male savior.

Clearly, this is a guy’s story focusing on a club or brotherhood that protects each other at all costs. The women in that era had very different roles; they usually rode on the backs of the bikes, prepared meals, and cared for the children, as they were not involved in the inner circle of the boys’ club or the decision-making. And they were less likely to be involved in violence. Kathy is written as a strong female character, one who serves as a role model for writing a progressive women’s character as self-sufficient.

During my Zoom interview with Jeff Nichols, I asked him why he wanted to tell this story from a woman’s point of view. He said that the ultimate truth is Kathy is the most interesting person in the book. He fell in love with the way she talked about herself, her relationship with Benny, and her relation to the club, including the biker guys. She was funny but also shockingly honest. There was no filter. It could be who she was then or because she talked into Danny Lyon’s reel to-reel tape recorder. Another reason she’s the perfect person to view this club and these people is that she is both an outsider by the benefit of being a woman and an insider because she is intimately involved in this club. So, with hindsight, only a woman could have this special kind of access.

Read more: https://www.rogerebert.com/features/the-bikeriders-a-motorcycle-club-film-highlights-a-positive-womans-role

 

 

Rustin (PG-13) ★★★★

Returning to the civil rights march in Washington D.C. in 1963, director George C. “Rustin” boasts an embodied performance by Coleman Domingo as Bayard Rustin, the openly gay civil rights activist who orchestrated the famous march against racism. I screened the biographical drama film last August during the Telluride Film Festival. The Netflix film was shown at the Palm Theater; it presents the obstacles of the time with an all-star cast including Chris Rock, CCH Pounder, Gus Halper, Glynn Turman, Aml Ameen, and Jeffrey Wright. Thoroughly engaging, this historical recreation brings us to a time of extreme prejudice against Black people and those who were openly gay.

One can’t help but be moved by the strong performances and the direction of the seasoned George C. Wolfe. The Q&A afterward was hosted by Clayton Davis with producers Bruce Cohen and Tonia Davis producers and director Wolfe. The main takeaway was a quote by Wolfe: “Bayard Rustin inspired me to be a better version of myself.”

Bayard Rustin, a civil rights activist and close adviser to Martin Luther King, orchestrated the 1963 civil rights march in Washington, D.C. Although openly gay, he stayed out of the limelight. I met and interviewed Coleman Domingo this past December at a Critics Choice Awards red carpet press line event. He told me he was thrilled to be playing a person that historians tried to erase and that we all can learn from Rustin’s energy and determination to end discrimination.

The script is written by Julian Brēēce and Dustin Lance Black, telling the story of over 200,000 people who gathered in front of the Lincoln Memorial in Washington, D.C., on August 23, 1963, calling for an end to racial discrimination in the USA. Martin Luther King gave his famous “I Have a Dream” speech, and the singer and actor Da’Vine Joy Randolph portrayed Mahalia Jackson. Martin Luther King asked her to sing “I’ve Been ‘Buked and I’ve Been Scorned” and “How I Got Over.”

I’m all in on the film, as the historical reenactment of the march is wonderful to view. Coleman’s performance is one of the best this year. Other outstanding performances are shown in Chris Rock and Jeffery Wright. I highly recommend seeing it, especially for teens and adults.

Sarah Knight Adamson© January 21, 2024

The 29th Critics Choice Awards Honor a Wide Variety of Film and TV posted to Roger Ebert

The 29th annual Critics Choice Awards, held this past January 14th, moved to the Barker Hanger at the Santa Monica Airport, to accommodate the large number of critics that attend as well as the film & TV talent. Streaming live on the CW channel, the prior year’s host, Chelsea Handler, had everyone in stitches from the get-go. The bright sunny day added to the anticipation of a lively event. “Oppenheimer” won Best Film, also winning the most awards with eight. “Barbie” won six, including Best Comedy. Best Actor went to Paul Giamatti for “The Holdovers,” with Best Actress going to Emma Stone in “Poor Things.” Best director is Christopher Nolan for “Oppenheimer” with Best Adapted Screenplay Cord Johnson for American Fiction, and for Best Original Screenplay Greta Gerwig & Noah Baumbach, “Barbie.”

Paul Giamatti accepts the best actor award for “The Holdovers” on Sunday, January 14, 2024 Kevin Mazur/Getty Images

On the TV side, “Succession” scored the Best Drama Series, Best Actor, and Best Actress for Kieran Culkin and Sarah Snook, respectively, “The Bear” took home Best Comedy and won all its acting awards for Jeremy Allen White (Best Actor), Ayo Edebiri (Best Actress), and Ebon Moss (Best Supporting Actor).

Sarah Snook and Kieran Culkin Best Drama Actors Succession Critics Choice Awards, Jan.14, 2024

My evening began three and a half hours before the show on the Red Carpet outside the venue, where talent conversed with journalists while wearing the latest trends in fashion. Fantasia Barrino, a lead actor in “The Color Purple,” looked stunning in her white flowing silk dress and ultra-long feather cape.

America Ferrara of the film “Barbie” wore a gorgeous brown sequin gown that appeared to reflect gold when in bright light. Speaking of “Barbie,” Margot Robbie, Actor and Producer nominated for Best Actress, made a splash wearing a custom red column dress with roses bordering the off-the-shoulder look. Later in the show, she presented America Ferrara the SeeHer Award.

A definite standout was Colman Domingo, the lead Actor in “Rustin” and “The Color Purple” nominated for Best Actor for his role as Bayard Rustin, a civil rights activist in the 60s; he chose an all-mustard yellow suit designed by Valentino Haute Couture. A shimmering gold textured trench coat with a royal blue satin lining with a swivel design was draped over his shoulders. The Louboutin gold pointed statin boots completed the look. “Colman’s my buddy, we have a great time together sharing ideas,” said fashion icon, composer, and singer Lenny Kravitz.” He spoke with me about the historical drama film movie “Rustin” for which he was nominated for writing and performing the song, Road to Freedom.

Check out all of my coverage on Roger Ebert’s website:

https://bit.ly/CCA_29th_SKA

Sarah Knight Adamson January 18, 2024

 

 

 

 

 

Maestro Review and Interviews (R) ★★★★

I attended the “Maestro” screening in Hollywood during a press event hosted by Netflix in November of this year. Critics viewed the film in the luxuriously decorated Netflix Tudum Theater; the velvet scarlet seating brought back savored memories of the Steve Jobs Theater at PIXAR studios in Emeryville. Stars that appear to twinkle cover the ceiling are also similar, with the main difference being that PIXAR’s is much smaller. In the lobby, life-size costumes from the film and “Maestro” photos were on display.

Tudum Netflix Theater Hollywood

While viewing “Maestro,” one becomes immersed in the world of the musical genius Leonard Bernstein (Bradley Cooper) as well as the love story between him and his wife, Felicia Montealegre, (Carey Mulligan). Having a background in teaching gifted students, writing gifted curriculum, and with the knowledge of the characteristics of a gifted person, I appreciated the script’s depth in terms of the subtle nuances in the film that show us Leonard’s genius. For this time in history, from the 50s through the 70s, it was remarkable that he could balance a family life and seek solace in his love of males. He led a dual life, which, surprisingly, Felicia approved if he kept his affairs a secret.

Tudum Netflix Theater Hollywood

As a composer/conductor/musician/educator, Leonard Bernstein is considered one of America’s most important conductors of his time; he was the first American-born conductor to receive international acclaim. He’s also one of American history’s most enormously talented and successful musicians. Bradley Cooper co-wrote, directed, and stars as Bernstein, a passion project he’d been planning for years. The attention to detail of authenticity is vital in achieving success in a docudrama, and Cooper has succeeded here. I was in the dark going in, but now I’ve become educated concerning many aspects of his life, including his supportive wife, Felicia Montealegre. To say that Carey Mulligan shines in the film is an understatement; through her outstanding performance, we learn so much about this famous, important person.

Tudum Netflix Theater Hollywood

Through Cooper’s study of his subject and his knowledge of visual story-telling, the scenes are filled with conflict, resolution, and love. The scene in which each sits back to back in a beautiful park filled with trees in an overhead shot is another one of my favorites. They are simply breathing in and out, taking in all the gifts they have to share, yet knowing they need each other to be complete. It’s a gorgeous scene and bound to be an iconic one attached to the film forever.

Maestro 2023

As not to spoil the details of the movie, as it’s best to see it without knowing the entire story, I won’t relay anymore concerning the elements. What I can say is that the film is in my Top Ten of Best films for 2023, and that I can’t wait to see it again. Below, you’ll find more information about the press conferences I attended after viewing the film, one at the newly restored Egyptian Theater and the other at a hotel in Hollywood.

Egyptian Theater Hollywood

Two press conferences were held, one with the wardrobe, production, and sound team. Due to my love of costuming, I was pleased to hear costume designer Mark Bridges speak about the help from the Bernstein family in visiting their home so he could see the actual clothes they wore and feel the different textures. Bridges said, “Chanel was so amazing to work with when designing Felicia’s suits; they sent mock-ups from Paris in the original fabrics used in the 60s and 70s. And yes, those fabulous Chanel buttons, they’d send those, and you know they are like pieces of gold.”

Egyptian Theater Hollywood Press Conference Maestro Sound, Costumes, Production Kevin Thompson (Production Designer), Mark Bridges (Costume Designer), Tom Ozanich (Sound), Dean Zupanic (Sound)

Dean Zupanic, the re-recording mixer, said, “I’d describe the mix as a reflection of Leonard Bernstein, as he has a dynamic personality yet is an elegant man. The mix also reflects the subtle scenes, the quietness at times, the bursts of wind, and the Ely Cathedral. Speaking of Ely Cathedral, one of my favorite scenes in the movie, I researched where it is located. My husband and I have traveled to many places in Europe, especially in England; it’s about an hour north of Cambridge, which I’ve visited several times. You can be sure Ely Cathedral is now on my list of places to see.

Egyptian Theater Hollywood

The press conference for Bradley Cooper and Carey Mulligan was held in a quaint space in a hotel in Hollywood. I sat in the front row and was about three feet from both. It’s always a treat to hear the talent speak about their projects in person, as typically, other stories are brought up in the conversation. Cooper had nothing but praise for Mulligan, as he felt she put in the extra effort that gave her the best perspective of her character.

Press Conference Maestro Bradley Cooper and Carey Mulligan

Cooper has said in interviews, “When I was growing up, there was always classical music playing in the house,” Cooper recalls. “So, because of the cartoons I was watching, I used to wave my hands about and pretend that I was creating the music that I was hearing. One Christmas, I asked Santa, and all of a sudden, I had a baton that I was able to wield.”

Press Conference Maestro Bradley Cooper and Carey Mulligan

Cooper also said during our press conference that when he began to research and write the script, he wanted to capture the nucellar power of the two main characters and make that into something special, just as “A Star is Born” as it was Lady GaGa’s voice that is so special.

Press Conference Maestro Bradley Cooper and Carey Mulligan

Carey Mulligan said it was a joy to be able to meet the Bernsteins’ children and to simply be on set every day with Bradley, as she learned so much from him as a director.

Press Conference Maestro Bradley Cooper and Carey Mulligan

I honestly didn’t know much about Leonard Bernstein and, to my surprise, enjoyed the movie immensely; the concert scene filmed in London at the Ely Cathedral is fantastic to view. I can highly recommend seeing this movie in theaters now. The film is also streaming on Netflix Dec. 21, 2023.

Press Conference Maestro Bradley Cooper and Carey Mulligan

Sarah Knight Adamson Dec. 20, 2023

Critics Choice Celebration of Cinema and Television Honoring Black, Latino, AAPI Awards-2023-Posted to Roger-Ebert

Century Plaza this past Monday evening, Dec. 4, 2023, in Los Angeles, California. The celebration is typically a lively and joyous occasion, and this year was especially so due to combining several celebrations. There were smiles aplenty on the Red Carpet as presenters and honorees talked with journalists about their projects and appreciation for the event.

Colman Domingo, Da’Vine Joy Randolph, Edward James Olmos, Lenny Kravitz, Eva Longoria, Jeffery Wright, America Ferrera, Charles D. King, Greta Lee, Allen Hughes, Ruth Carter, Kemp Powers, Makoto Shinkai, Damson Idris, Jessica Williams, Oscar Montoya, Sheryl Lee Ralph and Charles Melton and more attended this illustrious event. The cast of “The Color Purple,” which included Taraji P. Henson, Danielle Brooks, Fantasia Barrino, H.E.R., Halle Bailey, Phylicia Pearl Mpasi, Colman Domingo, and Corey Hawkins, received the Ensemble Award for their performances in the upcoming musical based on the Pulitzer Prize-winning book by Alice Walker.

It was hosted by Nicco Annan, an actor, dancer, and choreographer known for the hit show “P-Valley.” His comedic wit and energic personality kept the show flowing on an upbeat note. When I met him after the show, I complimented his enthusiasm and told him he should host next year. He smiled with a huge grin and thanked me profusely. Meeting so many stars on the Red Carpet and chatting with them during dinner and between viewings of the awards show was truly remarkable.

Ken Jeong speaks with Sarah Knight Adamson bout is role in “The Hangover” and “Crazy Rich Asians”

Continue reading on Roger Ebert . com, my report: https://www.rogerebert.com/festivals/the-critics-choice-associations-celebration-of-cinema-and-television-honoring-black-latino-and-aapi-achievements-in-2023

Sarah Knight Adamson © December 4, 2023

 

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Dune: Part Two (R) ★★★★

Once in a while, a sweeping saga masterpiece comes along, such as 1977’s “Star Wars,” retroactively retitled “Star Wars: Episode IV – A New Hope” by George Lucas or Peter Jackson’s “The Lord of the Rings trilogy” 2001-2003 or James Cameron’s (2009) “Avatar”— “Dune: Part Two” is most definitely in the same league.

It not only continues the brilliance of the first film it sets a new bar for just how good sci-fi films should be. With an engaging story and a cast at their very best, along with stunning visuals, this is a masterpiece. As with the Oscar-winning first installment, Villeneuve shows visual mastery of scale and scope, along with impressive cinematography.

Viewing the film in an IMAX theater with Dolby sound brought back memories of the prior films listed above. As a result, I recommend seeing it on the most giant screen possible. Based on Frank Herbert’s idolized sci-fi novel, some have said the movie could never be made due to the book’s complexities and the visual science fiction effects. I’m here to tell you it’s been done as director Dennis Villeneuve has succeeded in a colossal way.

Part two follows the journey of Paul Atreides (Timothee Chalamet) very closely after the first one ends, as he unites with Chani (Zendaya) and the Fremen, who are not free men. He’s also on a path of revenge against those who destroyed his family, with the help of a Fremen tribal leader named Stilgar (Javier Bardem), who is convinced that Paul is the chosen one. Stilgar believes the mythology points to Paul as the savior, the Emo King. Paul tries to blend with the Fremen, forming a relationship with a young warrior named Chani. He passes several tests given by the Fremen. He takes the tribal name of Muad’Dib, vowing vengeance against the Harkonnens for control of Arrakis and revenge for his father’s death.

During the combat scenes, watching bodies fall from the sky as colossal ships burst into flames appears virtually like an opera when looking at a film’s style. As Rabban Harkonnen, Dave Bautista is a wartime leader whose situation has exceeded his abilities, while Stellan Skarsgard has shades of Jabba the Hutt. I also enjoyed Bautista’s performance as he dug deep into the role, and it is eerily believable. You’ll feel immersion into vast worlds of endless sand that are only traveled with precise movements. Also, in a parallel scene, on another planet, Emperor Shaddam IV (Christopher Walken) and his daughter, a Princess, Irulan (Florence Pugh), speak with Bene Gesserit’s Reverend Mother (Charlotte Rampling) about the state of affairs. Irluan provides voice-over or narration to keep audiences up to speed on what is happening.

You may be wondering about Austin Butler’s psycho-path role as Feyd-Rautha, the evil villain and the star of the movie’s most haunting set, the Harkonnen’s home planet of Giedi Prime, shown in nearly all black and white with infrared imagery. There’s a Gladiator-style stadium that serves as an arena for maintaining his champion status as a butcherer of drugged-up prisoners. Baron Vladimir Harkonnen, the ultra-evil humongous blob, tests his worth by sending former Atreides soldiers to fight. Again, all of Butler’s scenes are filmed in black and white, delivering the feeling of everlasting doom and horror. He’s the sociopathic nephew of the Baron, who gives a realistic, organic performance.

I enjoyed seeing all of the famous stars in the film; Timothée Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Josh Brolin, Stellan Skarsgård, Dave Bautista, Javier Bardem, and Florence Pugh are all fantastic in their roles. Ultimately, Chalamet is the most transformed, taking on his new role of a leader with some surprises along the way. He rises to the occasion, speaking with astute confidence and determination; his transformation and stellar acting are exciting to view as Paul chooses between the love of his life and the fate of the known universe as he attempts to prevent a horrific future that only he can foresee.

Director Denis Villeneuve, Dune: Part One, and Dune:Part Two

On a side note, I was invited to a Zoom Press conference with director Denis Villeneuve, and found it very insightful. Especially when he was asked about the epic scope of the film yet keeping the emotional heartbeat.

He replied: It’s everything epic and the action, and that is not something that is that difficult to do. The thing that is difficult to do is to make sure that we don’t lose focus on the intimate relationship more precisely, the story between Paul and Chani. That’s the heartbeat, it’s like their relationship will unfold all drama of the film. Through the eyes of Chani and Paul, we feel the political pressure, the cultural pressure, the oppression. I really constructed the movie focused on the tension between them. I knew that and I kept saying to my crew, “If we don’t believe in their relationship, we don’t have a movie.” And that was my main focus during the whole shoot, to take care and to be as close to them as possible.

If you haven’t seen “Dune: Part One”, I’d suggest watching that first, as most of the characters are set up, especially Paul and his family’s transition. You will be blown away by “Dune: Part 2”, as it reminds you that a broad-scale blockbuster can be done with artistry and flair. You may also have flashbacks to other masterpiece-epic films of the past.

Directed By: Denis Villeneuve

Screenplay By: Denis Villeneuve and Jon Spaihts

Based On: The novel Dune by Frank Herbert

Produced By: Mary Parent, Cale Boyter, Denis Villeneuve, Tanya Lapointe and Patrick McCormick

Executive Produced By: Joshua Grode, Jon Spaihts, Thomas Tull, Herbert W. Gains, Brian Herbert, Byron Merritt, Kim Herbert, Richard P. Rubinstein and John Harrison, with Kevin J. Anderson serving as creative consultant

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, with Stellan Skarsgård, with Charlotte Rampling, and Javier Bardem

Studio: Warner Bros. Pictures

Rated: PG-13 for “sequences of strong violence, some suggestive material and brief strong language.”

Run Time: 166 minutes (2 hr 46 min with credits)

Sarah Knight Adamson© March 12, 2024

Click here to listen to the Hollywood 360 Radio Network Podcast: https://bit.ly/H360_Dune_2

 

Ordinary Angels (PG) ★★★½

Set in 1993, with flashbacks, Ed (Alan Ritchson), a hard-working roofer’s treasured wife, Theresa (Amy Acker), has died of a congenital liver disease, biliary atresia, which their youngest daughter Michelle Schmitt (Emily Mitchell)) also has; she’s in desperate need of a lung transplant. Her medical bills keep adding up, and her condition worsens. Sharon Stevens (Hillary Swank) is fictionally written as a repenting alcoholic with an estranged grown son.

Hilary Swank

Sharon, a hairdresser, is eager to change her drunken ways and find something more significant than herself to focus on and give up all her drinking. Living in St. Louis, she hears of a man who needs help with his medical bills and helps to find a liver transplant for his daughter. She immediately swings into action. There is so much to champion in the film, although for myself, viewing Swank in a vital female role, one who is a mover and shaker, thinks outside the box, with endless determination, is precisely the kind of woman role model that filmmakers should be looking to highlight. Not to mention the fact that seasoned actor Hilary Swank is incredible in the role of a sassy do-getter—she’s convincing and authentic, which are key critical elements in believability as an actor.

Sharon finds her purpose in helping Alan with his bills. However, he rebuffs her from the beginning. She’s the type that doesn’t say no, including her craving for ‘the drink’ in her past. Eventually, she becomes their lifeline, starting a fundraiser and crusading for financial breaks, corporate donations, media awareness, and helping Ed find more work as a roofer. The story serves as an example of how to help people with dire situations they can’t handle alone. The filmmakers display sincere intentions, not preachy, and it’s a beautiful public service announcement for organ donors.

Swank’s prior roles have prepared her for metamorphosing into literally a force of nature—she’s nonstop in her quest to save this child. Watching this damaged woman’s journey is inspiring as she doesn’t give up and restores her faith in herself and her community. Director Jon Gunn allows Shank to shine, directing her in all the right ways, yes, she digs deep within her acting abilities, and we are the benefactors.

“Ordinary Angels” is playing now in theaters, and I suggest you bring Kleenex, yup, it’s a tearjerker, in a good way.

Cast: Hilary Swank, Alan Ritchson, Nancy Travis, Tamala Jones, Emily Mitchell and Skywalker Hughes

Director: Jon Gunn

Run Time: 1 hour, 56 minutes

Sarah Knight Adamson©  March 10, 2024

Hollywood 360 Radio Network Podcast Review: https://bit.ly/Ordinary_Angels_H360

 

Bob Marley One Love (PG-13)★★★★

When Kinsley Ben-Adir brilliantly appears on stage during a concert as Bob Marley and the Wailers, it’s as if he was born to play the part. His lip-syncing is perfection, and his dancing to the music is nothing short of contagious. Yeah, Man, I found myself tapping, humming, and swaying in my seat during my big-screen movie theatre screening of “Bob Marley: One Love.” Being a fan of Bob Marley’s music and having visited Jamaica’s beautiful, lush country on two occasions, I was gleefully immersed in the film.

Before the start of the film, producer Ziggy Marley, his son, introduced the film, saying he hoped we’d learn a little more about his dad’s philosophies for his Jamaican people. As a fan, I knew a little of his messages of peace and to simply get along with each other. Although there were many aspects of his life I didn’t know, through viewing the film, I became enlightened. In particular, his wife, Rita Marley, portrayed by Lashana Lynch, is a singer and the mother of several of his children; Bob is known to be the father of 13 children, although Rita was his primary love.

Cedella, Rita and Bob’s daughter was instrumental in making the docu-drama as authentic as possible. She’d send footage to her mother and others to make comments. She said in the press notes, “We had people we could access to get their point of view on rehearsals, chilling, or having a party. People who had lived the story that made the story so right.

I knew of his “Rastafari faith” that is rooted in 1930s Jamaica as a response by Black people to white colonial oppression. The beliefs are a melding of Old Testament teachings and a desire to return to Africa. Its message was spread worldwide in the 1970s by Jamaican music icons Bob Marley and Peter Tosh, a friend and member of the Wailers. Therefore, what you see in the film is non-stop marijuana smoking by Marley and his band, known as ‘Ganja,’ native to the West Indies. A much more potent, hallucinogenic laced form of marijuana. Honestly, it’s not easy to watch anyone smoke non-spot these days, knowing what we know about lung cancer. Here, he does smoke non-stop, although it is part of the ‘Rasta’ lifestyle and a crucial aspect of his life.

Bob Marley’s music and philosophical teachings did command the attention of the world and his people’s plight. I enjoyed this love letter from his family to shed light on an important person in our world and what he did to send messages to a bureaucratic society—his message of Peace and Love.

Side Note: I remember when my first grandchild Calvin was learning to talk, my daughter played music to him all the time. He’d come over to me and say, “Play Bob, play Bob Marley.” He loved the song “Three Little Birds.”

Sarah Knight Adamson©  February 24, 2024

Check out the Hollywood 360 Radio Podcast: https://bit.ly/BobMarley_H360 

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