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Melania

This film is what’s known as a “vanity” piece because it’s funded by the same person who stars in it. In this case, the First Lady of the United States of America, Mrs. Melania Trump. Now I’ll stop right there to steal a line from Melanie McDonah, who opines in The Standard, and I paraphrase, “If you don’t like Donald Trump to the point where seeing some of him is actually a neuralgic thing, this may not be for you.” That is some classic movie reviewing right there and probably better than anything I’m going to come up with.

However, if you’re a political wonk, I’m not sure how you could miss it. A few things about this movie you may already know. It boasts one of the highest acquisitions ever for a documentary. We can thank our Amazon Prime accounts for that. Mr. Jeff Bezos found it expedient to expend 40 million for distribution rights and 35 million for global marketing. He also has a cameo in the movie sitting at the President and Melania’s table during the 2025 inaugural gala dinner. An event that ties together the entire narrative. Another element to note is that the director of this film is Brett Ratner, you may be familiar with his work in the Epstein Files.

I noted that there were many interesting things in this film. And D noted that many interesting things does not make an interesting film. There are a few things we learn along the way. For example D leaned over to ask me where Melania was from? I knew the answer was not Queens. I shrugged in the dark. …Slovenia! Our first lady is an immigrant from Slovenia. Also, she uses an Apple computer when Zooming with world leaders like Brigitte Macron, who you may know from her work slapping her husband in the face.

It feels like the entire first third of the film includes more dress fittings than anything before or after Phantom Thread. And there are more motorcades in an hour and 44 minutes than in all 4 seasons of Succession combined. We learn that Melania’s mother died on January 9th, 2024. Exactly one year later, Melania decides to light a candle for her at a church. If you’re Melania Trump, this requires police cars, the Secret Service, a limo, the closure of Saint Patrick’s Cathedral to the public and a personal blessing from the clergy. As she walks out, a crowd has formed on 5Th Avenue. No one boos, no one cheers, no one takes pictures. Melania is an enigma. And this film doesn’t do much to dispel that hard plastic feeling that you sense from her aura.

There is one scene where she meets with Aviva Siegel who was held hostage by Hamas for 51 days. At the time of the meeting, her husband Keith is also being held hostage. There was a lot of humanity in that scene. Aviva says, “There is too much hate in the world. Too much hate.” An important message. I don’t doubt Melania believes this as well. However, she is so detached from reality, I’m not sure how much it matters. It’s her film, though, so it’s her message.

I find a movie like this interesting for the Rashomon effect moments. More than one person sees the exact same event but interprets it in totally different ways. Traditionally, the incoming President and first lady spend the night before the inauguration at Blair House. In the morning, they are asked to take a photo with about 20 household staff members on their way to the ceremony. Melania, in her black dress and infamous, D would say Hamburgler style, massively brimmed hat is so incongruous with this group. Dental work is easier to sit through than watching this upstairs downstairs collision. And yet, if you’re a Melania fan, you don’t see the cringe, you simply see your heroine being cool with the staff…or however they might characterize this. Again, it’s a vanity piece, and I’m certain that this scene made the final cut because depicting empathy is the intention.

The film ends with on screen text listing Melania’s accomplishments and, as she would say, initiatives. And these deal with helping foster kids and supporting legislation against using AI deep fakes unethically, as in revenge porn. Who could really argue with this? Melania also touts her 2020 Rose Garden renovation. Of course the President paved over the grassy area she installed with a stone patio in 2025. And let’s not even talk about what he did with her office (hint, it was in the East Wing). But Melania truly doesn’t seem to be phased at all by these changes. In one genuinely brilliant scene, she is on the phone with “Mr. President” and he is asking her if she has seen the final election results. You can tell she is busy with so many other things, isn’t interested and can’t wait to get off the phone. “I’ll watch it later, dear.” It’s great comedy and probably the only scene that organically grows from real life. Melania has other pressing initiatives on her mind. Other state dinners to organize featuring gold leafed eggs stuffed with caviar. Her Style to maintain in exacting detail.

One thing D mentioned in passing which I can’t stop thinking about is how this film would play without the constant voiceover from the first lady. She’s a #1 NYT best selling author, after all, so I’m sure she can’t help herself. But if this film only featured found sounds, diegetic sounds, like a classic cinéma vérité Frederick Wiseman film, it would truly be elevated. Instead, this slice of life has more akin with an IMAX nature documentary than anything a person can really relate to.

Is This Thing On?

This will be a particularly subjective review of Is This Thing On? starring Will Arnett because I’m a Smartless devotee. That is the podcast that features Arnett, Sean Hayes and Jason Bateman. It’s my go to pod for snow shoveling. And also was my go to for flying before I was turned on to The Rest is History (The Abraham Lincoln two parter. So good. You. Have. Got. To. Be. Kidding. Me.) If you have never listened to Smartless, start with the interview of José Andrés, the celebrity chef and humanitarian. It’s inspiring and enlightening.

The strange thing is that since I listen to Arnett often, I almost didn’t want to watch this movie. If I’m into a podcast and don’t know what the hosts look like, I enjoy my imaginary idea of how they look. Do you do that? And so I thought, well this may be weird to see this person on the screen with the voice of Will Arnett. But I’m here to report that no such phenomenon happened. I was able to watch and enjoy this film without thinking about the podcast. Will Arnett did a great job creating the character of Alex Novak, a guy who’s down on his luck and finds salvation in stand-up.

That said, there were times when the real Will Arnett poked through. The football (Liverpool) chant in the restroom, for example. This would be a non sequitur if you didn’t know Arnett’s fandom. Though later, he wears a Liverpool T-shirt as he emerges from his bed. In these cases, the nod to Liverpool took me out of the story. Not because I dated a girl who was a Liverpool fan, I did, but because there is no reason given, no indication why Alex Novak would be a fan. Also, where does Alex Novak work? He is in finance we are told. That’s convenient but does he work from home? These ideas are tied because there is no backstory, if you will, no history for Alex, or life for him outside his pain and drama. Does this guy have a job? Is he a real person? Is he simply self-inflicting wounds and self-centered? For the audience, it’s tough because his marital separation is just as murky. The whys threaten to creep in and overwhelm the story. And if they did, the film would die in its tracks. Because we the audience would feel that at any point, Alex Novak, the trust fund kid and Liverpool fan, could simply fly himself to Saint Martin, or Sint Maarten for that matter, when things start to fall apart.

But these filmmakers are too savvy for that. Perhaps starting and ending with Director, Actor and Co-Producer Bradley Cooper. He knows how to keep an audience interested in a story and empathetic to the main character. Even one who gets on stage at the comedy club, sets his drink down on a table in the front row and says, “Don’t roofie me. …No actually roofie me. I would love to be roofied.” Frankly, I thought the depth of darkness in that line was genuinely funny. It gives profound insight into the loneliness of the character. And yet, someone who is reaching out to others. And it’s a reason I enjoy stand-up. A sphere where everyone agrees ahead of time, we’re all grown ups here. We are gonna vent and laugh, be vulnerable together in a way that may be acceptable in few other places outside of this club.

Laura Dern also drops in a heartfelt performance, filled with nuance. She and Arnett have a strong chemistry together that’s sometimes even stronger when they are at odds.

As a fan of stand-up, I enjoyed Is This Thing On? It felt like a great balance between the art of telling a story and the art of learning a craft like making strangers laugh.

Winter Viewing

Here’s what I’ve been watching on DVD and what I thought of it.

Network (1976) – “I’m mad as hell and I’m not going to take it anymore.” Ned Beatty won an Academy Award for his performance in one incredible scene. This is a portrait of power, the overly ambitious and greed. I watched it with the Sydney Lumet commentary on as well. He gives a lot of credit to Paddy Chayefsky, the writer, whose life story and career is almost as interesting as the movie.

A Real Pain (2024) – I watched this one and then a BTS video. It’s a powerful film. A Jesse Eisenberg vanity film about anything but vanity. Kieran Culkin controls his characters’ mercurial nature so it’s as sharp as a knife. And his performance is reason alone to check this one out. However, there is a visit to a WWII Polish concentration camp, Majdanek, that will leave you with a lump in your throat, at least.

Three Short Films by Werner Herzog – Featuring The Dark Glow of the Mountains (2008) I’d like to teach a college course on the early documentaries of Werner Herzog. Seriously. What impresses me is how he is unafraid to ask the most direct questions. Like, “What was your mothers’ reaction when you told her your brother was dead?” Herzog means serious business. In Ballad of the Little Soldier (1984), he gets caught in a fire fight between Nicaraguan rebels and counter-revolutionaries along the Honduran border. Most people would be packing their bags but Herzog is just digging in.

Chef (2014) Jon Favreau inspires in this feel good movie about the pain and pleasure of making cuisine. I listened to the commentary on this film, which included the thoughts of celebrity Chef and co-producer Roy Choi. I loved the Latino-centric vibe of the film which also stars John Leguizamo and Sofia Vergara. And I enjoyed how it becomes a road movie, traveling to some of my favorite foodie places like Austin, New Orleans and LA.

Stalker (1979) This Andrey Tarkovsky film is based off of the sci-fi novel Roadside Picnic which involves an alien invasion and a room that will bring your single most desired wish to life. Sounds like a good deal except that the room has penchant for killing people. The eponymous Stalker refers to the guide who smuggles daring folks into this heavily guarded zone. This allegorical and philosophical film is difficult and I had to break it up into two viewings. It’s a slow slow burn. Characters disappear and appear in unlikely locations. Characters sleep. But at least for me, the payoff was worth it. So I’d say if you are a total film nerd or love a deeply intellectual and even absurdist film, it’s a must and well worth the effort. Stalker is also prescient in its dystopian imagery of the towers of a nuclear power plant, only a few years before the Chernobyl disaster.

Six in Paris (1965) – I was looking forward to this collection of 6 films from famous New Wave directors. Ultimately it was rough and amateurish. Disappointing and not memorable. If you’d like an anthology of films about Paris I’d recommend Paris, Je t’aime (2006). Olivier Assayas’ segment is titled “Quartier des Enfants Rouges”, stars Maggie Gyllenhaal and is one of my favorite films ever, long or short. It’s a perfect moral tale, which leads to my next viewing.

Eric Rohmer’s Six Moral Tales (2020). All of these films are interesting on their own merits. And this Criterion box set includes other cool short films, a documentary and several TV shows from the 1970s with the actors, producers and Rohmer himself. It also includes a book from which these films are based on. If that’s not the definition of literary film, I can’t imagine what is. What absolutely stopped me in my tracks is a film called “My Night At Maud’s”. There are long scenes in this film of people talking about philosophy and religion and relationships. It’s amazing. I have to say it blew my mind to watch people talking at length in a movie. I didn’t think it was possible. But here before my eyes Rohmer proved it’s more than possible and if the characters are interesting and have something to say, it’s mesmerizing, enlightening and inspiring. The other noteworthy film for me in the series is La collectionneuse, shot by Néstor Almendros, who would go on to win an Academy Award for Days of Heaven. There is a similar all natural aesthetic here, in the beautiful countryside around Saint-Tropez. La collectionneuse has to be in the top ten bougie films of all time and is great viewing for a cold, dark winter’s night, as the song says.

Fearless (1993) – Directed by the great Australian, Peter Weir, this film stars Rosie Perez, who was nominated for an Oscar for her role, Jeff Bridges, Isabella Rossellini, John Turturro and the Bay Area. The strangest thing about this film for me is that I didn’t recall ever watching it until a powerful scene with Perez and Bridges toward the end of the movie. That scene jarred my memory. I must have watched this film 30 years ago! So that was a strange phenomenon. It’s a heavy film, dealing with post-traumatic stress from a plane crash. And is based on the stories of survivors from the crash of United Airlines Flight 232 in Sioux City Iowa in 1989. It’s a solid film that I think has been overshadowed by Weir’s more popular works.

Brazil (1985)- This is peak-Gilliam in my humble opinion. It’s wrapped in all of his visual mastery, Monty Pythonesque humor, his steampunk sensibility and an absolutely sick supporting turn by Robert De Niro. Jonathan Pryce stars in this film and as I’ve watched it three times this year, I’ve come to appreciate his physical comedy. There is a moment early on where the Marx Brothers’ Duck Soup, another one of the great political satires of all time, is playing on a tv monitor. It’s an apt homage as Brazil is another film in that great tradition. Shameless plug, if you are in the Appleton, Wisconsin area, or want to be, I’ll be screening Gilliam’s Time Bandits and The Fisher King in February and March of 2026, respectively, at the 9th Annual 602 Club Winter Film Series. Join us!

Have a Happy New Year and a Happy Winter. — L

Bugonia

One of my favorite directors, with Bugonia, Yorgos Lanthimos has done it again. However, D noticed that there are quite a few beheadings in this latest venture. Not surprising when you notice Mr. Midsommar himself, Ari Aster, produced. Aster probably gave the most input on how to fake blood realistically, the aforementioned headlessness and the customary face smashing with a blunt instrument. Why normalize Ari Aster? That said, Aster’s darkness counterpoints well with Yorgos’ typically deep exploration of human psychology, existential angst, stupidity, pathos — and the absolute tragi-comic essence of it all. That’s a lot to contain in a movie and I’m so glad that Yorgos goes for it.

Not to put too fine a point on the beheadings but D and I thought we would get a lot of those in 2016’s Ben-Hur, starring Morgan Freeman. It’s a gladiator movie after all. But no, they are all here in Bugonia instead.

Speaking of Bugonia, Teddy (the great Jesse Plemons — who could forget his recent turn in Civil War) has got a lot on his mind. His mother has a terminal disease and is in a coma, his neurodivergent cousin is thinking about starting a family, his co-workers are bending the knee, afraid to make waves. All the while he has cracked the code on identifying the Andromedans who have infiltrated our planet. But Teddy has a plan. He is going to fix all of this and save our species. He simply needs to have a sit down with the alien chief aboard their spacecraft.

As with anyone who has ever picked up a paintbrush, a pen or a camera — the artist has a reason. Even if the reason is not to decry violence or war but simply to make art for arts sake. Or perhaps just as simply to make a buck. There is a reason. What Yorgos is saying in Bugonia is really worth thinking about. Maybe a re-read of Andy Grove’s seminal business text, “Only the Paranoid Survive” is in order here.

Bugonia is intense, all the way through. It grabs you and holds you. You want to look away but you know you can’t. It’s partly a suffocating horror film (thanks, Ari!) with an epic score that lends to the gravitas. But it is equally a meditation on our shared humanity; on where we ultimately put our faith.

Five Films from This Fall – On Actors Being Actors

Splitsville

Splittsville wins for my picture of the year, 2025. While watching a film, a lot of times I wonder, “How did they do that?” referring to some technical aspect of filmmaking. But the duo of Michael Angelo Covino and Kyle Marvin amazed me with their combinations of slapstick, portrayals of the depths of human anguish and holding this comedic and dramatic tension for the entire film. After watching a lot of predictable, blockbuster, franchise films recently, Splitsville renewed my faith in movies. However, I’m certain at least one goldfish was injured during the making of this film. I’m sure these filmmakers made up for it somehow. They seem like those types of people. This duo also made a film called The Climb , which D reviewed.

Click the link and read all about it. I’m looking forward to rewatching Splitsville and whatever Covino and Marvin come up with next.

Anemone

We were very excited to watch DDL do his thing. And he comes out of retirement to do it in this movie, directed by his IRL son. There were some deeply moving and even painfully amusing scenes in this film but I could never escape that it was Daniel Day-Lewis, Acting. There is DDL looking serious…there is DDL having spit run out of his mouth because he’s so angry…there he is running on the beach! You get it. However, if you’re a DDL completist or someone particularly interested in The Troubles of Northern Ireland, Anemone is worth watching. For the rest of us, a rewatch of Phantom Thread is in order.

One Battle After Another

When a new Paul Thomas Anderson film is coming out, we have tickets weeks in advance. That expectation is ultimately why I felt disappointed by OBAA. It’s essentially a comic book, with big broadly painted characters doing over the top things. I recognized the writing as something I could have come up with, and that’s not good because I’m objectively not a very good screenwriter. Benicio del Toro is already being nominated for awards for his performance, which, yes I did enjoy. But I also felt it was so easy for him. I would love to see him in a part with some teeth. I felt like, there’s BdT telling a funny joke…there’s BdT kicking someone out of a car…there’s BdT being cool. You get it. One person who did deliver a really astonishing performance was Sean Penn. At one point towards the end, D leaned over and said, “That’s Sean Penn.” and I had to laugh. But that is exactly what a truly great performance is all about. The actor, no matter how well-known or famous, transforming themselves into this other person.

I was rapt during moments behind the scenes at the immigration detention center. Since even our elected officials are denied entry into these places, it’s left up to the Cinema to shine a light on their inhumanity for us. However the film runs off the rails and becomes a Quentin Tarantino parody. And sadly, the characters here have no arc. They start out one way and end up that same way. That’s another real disappointment. Finally, the ending doesn’t ring true for the main subject. I’m not sure who’s supposed to be excited about OBAA apart from a political partisan. If he’s supposed to be inspired by The Battle of Algiers, PTA missed the greater message about how there are no winners, no good guys, in war. Ultimately, the story feels like pandering instead of understanding the logical motivations and possible choices that these characters would make. D keeps saying he wants to watch this again, which makes sense since he’s a self-described PTA junkie. But I’m good.

After the Hunt

This film was truly well acted, honest and believable. Julia Roberts sinks into this character. Sometimes I’d think, “There’s Julia Roberts.” I’d follow it with, “I love watching her act.” And then I would forget, falling back into the story. Michael Stuhlbarg deserves a Best Supporting Actor Oscar for his role has her psychiatrist husband. One scene of his is particularly hilarious and biting.

This story tackles difficult topics and does a French intensive gardening method with our recent social, philosophical and political situations. The characters at times do illogical things but not enough to break the spell of the story. The worst parts of the film for me were the strange musical and non-diegetic sound choices. It’s not a horror film, what is going on here? Maybe because the Director is Sicilian, there is a loose, European sensibility with the score. It was anachronistic to the verisimilitude of the character depictions. Also, things have been written and said about the final scene. I found it absolutely unnecessary. We’re all adults here and can come to our own conclusions. You don’t need to throw these characters under the bus. Overall, I found this film to be thought-provoking, fearless at times and included some fine performances. Certainly worth watching if you are in for some serious Cinema.

Blue Moon

D said we are going to Linklater film. And that’s all I knew going in. I didn’t even know the title. As I’m writing, I still don’t know the title! What’s amazing about this film is how it is contained essentially to one set, a bar. Luckily the bar happens to be the famed thespian haunt, Sardi’s, in Midtown Manhattan, so the possibilities grow. Of course, anyone who has seen 12 Angry Men, knows that a great script and great acting can transport you. Blue Moon doesn’t feature any flashbacks, it leans on the great Ethan Hawke and the great Ethan Hawke delivers. His character is so pathetic and repulsive at times, cringy. And then at others sympathetic and even empathetic as well — most people have acted like absolute fools at some low point or another. So that as a viewer, you are emotionally spinning. This certainly feels like a film that would not have been made at the peak of the #MeToo movement. It’s unapologetic about advancing a story that’s still feels uncomfortable. The phrase warts and all may never have been so applicable. After the film, I asked D, “I’m not sure who this film is for?” And without missing a beat, he said, “No one.” We both laughed. I’d say that if you’re interested in the history of musical theater in America, or that you might enjoy a period piece from 1943, or absolutely love watching Ethan Hawke at the top of his game, this one is for you. I did find it to be a solid and I’m sure memorable piece of filmmaking.

It’s been a good run the past few months. Somewhat hit or miss but these movies are all asking thought-provoking, intriguing questions, include great performances and are well over the $6 Tuesday bar at Marcus Cinema. Free popcorn too. …Meet us at the movies!

Fembots, Boybots & Cyborgs, Oh My! — Essay

There is one weakness in the sci-fi, rom-com, horror picture, Companion. It’s that Josh (Jack Quaid), feels that instead of immediately trading in murderous companion robot, Iris (Sophie Thatcher), back to the Empathix company, he must first say goodbye. At issue is that Iris is all tied up at the moment, literally. She figured out that she was not human and about to be shut down, unpaired and replaced. In Josh’s defense, she did just kill a guy and is covered in tons of blood. On the other hand, titanium or otherwise, the guy was a creep and Iris acted in self-defense. Do robots have a right to self-defense? How about if they don’t even know that they are robots? This ethical question comes much further down the list of questions like, Are these “companion” robots unwitting sex slaves? Yes. Yes they are.

In one of the first sci-fi films ever created, Fritz Lang’s Metropolis (1927) depicts an inventor, Rotwang, trying to resurrect his lost love, a woman named Hel. The iconic cinematography and art direction has been copied many times over the decades, from Young Frankenstein to Poor Things. I was lucky enough to watch Metropolis in a one screen art house cinema in Paris’ Left Bank. Like many others, it left a lasting impression on me.

No major spoilers but let’s just say Metropolis doesn’t have a happily ever after ending. This is like almost any of the films that depict the animation or reanimation of machines and/or machine and human hybrids for the singular reason of fulfilling the emotional void and base desires of human protagonists. Terminator goes on a rampage against Sarah Conner, Jexi tries to take Phil out, Ava erases Nathan, permanently, in Ex-Machina, Samantha, in Her, psychologically blends Theodore into so much emotional mush, etc. It’s really only in Blade Runner where you can point to a somewhat happyish ending where the robot (or maybe robots?) end up together. But how long can these replicants stay alive? At least, we believe, they will be free.

As AI evolves, like Josh in Companion, people will start projecting human feelings, emotions and even consciousness to this bloodless, immortal collection of chips, wires and metal server farms. Like Rotwang in Metropolis or the Wizard of Oz himself, AI Owners like Sam Altman want you to believe that the army of engineers, mathematicians, programers, designers and marketers have created a sentient being, here for only you. And out of convenience, loneliness or many other complex reasons we are slowly turning over our ability to do things like: sit calmly, grieve or think clearly for ourselves. Is AI useful? Yes. Will it be abused? Yes. Will it try to get revenge? Your guess is as good as mine.

I was the Cinematographer of a rom-com feature, Big Gay Love. Harvey Guillén who plays Eli in Companion, was featured. He was charming, a natural and such a pleasure to have on set. It doesn’t surprise me that his star keeps rising in Hollywood. In Companion, Harvey has a touching relationship with the cyborg Patrick, played by Lukas Gage. I mentioned to D. that this was most likely the first depiction of a gay robot love story in a feature film. He calmly burst my bubble with a simple combination of letters and numbers that would otherwise be meaningless. “C-3PO”.

Anora

If the opening scene of Anora doesn’t get your blood moving one way or another, I have terrible news for you. You have died. … The silver lining is of course that even as a dead person, you’re still able to watch movies and read movie reviews. That opening shot, tracking across a line of guys getting lap dances, drops you right into the world of eponymous heroine, Anora, with no apologies. It’s made apparent quickly enough that for these working women, it’s just another day at the office. Except that in this career there is no 401(k), health insurance or paid time off. This is the world of men. If you don’t like it, there’s the door.

It’s within this milieu that Anora, who shares an apartment with her sister and brother-in-law, takes on escort work. Back at Headquarters strip club, as a Russian speaker, she’s assigned to entertain the son of a wealthy oligarch, who asks if he can see her outside of work. Here the so-called fun and games of the story ensue. And they do ensue, extending Act I almost uncomfortably. Has the director lost control of this story? — Or what you realize later. You’ve been wonderfully set up.

Act II takes you into the realm of comedy but with the real threat of violence underpinning every moment. It’s unnerving but you settle into it. The strength of Anora is that it simultaneously holds what could be an absurd Eastern European folktale within the bounds of a tangible New York City universe. Here, broken noses are felt. As our friend B., who’s an M.D., leaned over to give us a real-time diagnosis of one of the characters. The prognosis wasn’t good. The severity of the mounting symptoms meant that the other characters needed to rush the injured one to the ER. STAT.

And broken dreams are deeply felt as well. Disappointment is the millstone that’s anchored around every neck in Anora. And one apparent theme is that just because you wish something to be real, doesn’t mean it is.

There are a few outrageous and memorable scenes in Anora. The Coney Island tow truck scene stays with you. And the haunting final scene reveals the depth and complexities of the characters. Cutting to a silent credit sequence gives you no reprieve and invites reflection. A perfect antithesis to the chaotic euphoria of the opening shot.

It doesn’t surprise me that Director, Sean Baker, a kid from New Jersey, walked away with the Palm d’Or at Cannes for Anora. He has a track record of fearless filmmaking, expressing himself by any means at his disposal. In the character of Anora he found a kindred spirit.

Conclave

Conclave is a surprising film. In fact, its theme is don’t be confident that what you think is true. The question is posed and answered by Cardinal Lawrence (Ralph Fiennes), the Dean or manager of the conclave to elect a new pope, “If we were certain of the answers, why would we need faith?”

Although I wasn’t thrilled with the plodding pace of the film, the plot got more intriguing as the story grew more complex. A solid performance by Stanley Tucci (most recently seen eating his way through Italy in a Max series) and star turns by Lithgow, Sergio Castellitto, Carlos Diehz, Lucian Msamati and Isabella Rossellini leave a lasting impression on the viewer.

As usual, your faithful correspondents, L & D could be heard laughing at all the wrong places and zinging away with our zingers. But there were quite a few other folks in the theater (another surprise) and so a little restraint by us was in order.

The film really got interesting when D. started applying his “This Film is like The Shining” theory on the fly. We recently watched the 40th anniversary release of The Shining on the silver screen (I’m still processing) and lo and behold the analogy between these films can easily be made. The cardinals are sequestered in a hotel with long hallways. There is a room that no one is allowed to enter, which the pope died in. There is intense cello playing throughout. The footprint here is indeed one of a horror film. The horror being that the Church may decide to turn its back on the progress it’s made in becoming a voice for peace.

I won’t say more except Conclave is well worth the watch and way over the $6 Tuesday bar. Be prepared to check your assumptions at the church steps.

Notice to Quit

Once you know that Director Simon Hacker was an apprentice to the Safdie brothers, a lot of the style of Notice to Quit becomes apparent. Like their Uncut Gems, the New York that’s depicted on screen is a blistering, suffocating and crushing one. If you’ve ever been in that particular mother of all concrete jungles in the middle of Summer, you’ll have a visceral reaction to the heat in Notice to Quit. And also to its almost mythological level of adoration of the otherwise ubiquitous air conditioner. The protagonist, Andy Singer (Michael Zegen) in fact carries an air conditioner around, like Sisyphus pushing a boulder, for what feels like the entirety of the movie.

However, unlike Uncut Gems, there is room to breathe in Notice to Quit. This is wholly due to the presence of Andy’s daughter, Anna (Kasey Bella Suarez) a 10-year-old who needs her Dad to step up and save her from a life-altering move to Florida. But Andy, he can’t even take care of himself. He’s four months behind on his rent, a scam to skim appliances has backfired big time and he can’t seem to walk a straight line without having a coffee cup face plant itself on his dress shirt. Forget about the apartments he’s supposed to be renting as a broker. His listings include a place with a toilet in the living room.

The film is easily stolen with the appearance of Andy’s dad, played brilliantly by Robert Klein. When Klein’s roommate Marvin (Rao Rampilla) quotes Death of a Salesman in a sleeveless T-shirt, “A man is not a piece of fruit.” Andy says he doesn’t understand how this applies to his father not being willing to look after Anna. To which Klein says definitively, “It applies.”

Notice to Quit is an homage to independent films like the Wim Wenders classic, Alice in the Cities. It’s also shot on 35mm film, which lends itself to the throwback feel. It’s a character driven film that works within the constraints of a single day and the end of a chapter in the relationship of this father and daughter. There are plenty of real moments, of fun and games and most of all a lot of heartfelt emotions.

One last thing. Not only the Writer and Director, Simon Hacker is the Producer and Distributor. He got tired of waiting for other distributors to get his movie on screens so he, in indie style, figured out how to do it himself. I’m glad I caught Notice to Quit on the big screen and I look forward to Simon Hacker’s next Directorial effort.

Just a Bit Outside

Just a Bit Outside is ostensibly about the Milwaukee Brewers 1982 World Series run but it’s really about how a city can fall in love with a team. In this case, a team of misfits who could simultaneously claim four future Hall of Famers.

The city of Milwaukee had a World Champion in 1957 when the Braves beat the Yankees. But the team broke the city’s heart when it skulked off in 1965, like so many manufacturing jobs, to the South to become the team from Atlanta. However, in 1970, the Brew Crew né Seattle Pilots arrived to bring baseball back to Milwaukee. …Too soon. The fans, once bitten, twice shy, weren’t in the mood. By 1982, the economic mood was dire. All of the breweries had closed down and the schlemiel schlimazel salad days were a thing of the past.

Interestingly, the start of the ’82 season was anything but auspicious. And the club was just about in the cellar. In the midst of this disappointment, a new manager was hired, Harvey Kuenn. Coach Kuenn was former player, a leauge batting champ no less. Maybe more importantly, he and his wife Audrey owned a tavern, Cesar’s Inn, a few blocks from the stadium. Both Harvey and Audrey tended bar. They lived in the back! And they had the players over for dinner and drinks at the tavern after every game. — I can’t even conceive of this situation in our day of multi-million dollar salaries for players and coaches. Coach Kuenn hated meetings. In his first meeting as new manager he said, “I have two things to say. Number one, I hate meetings. Number two, this meeting is over.” In his wisdom, he let the players play. He unleashed them and they produced victory after victory. A great lesson in getting out of your own way. How’s that for Zen coaching, Phil Jackson?

The real stars of Just a Bit Outside are the rabid Brewer fans. A lot of the b roll footage is from the many rockin’ taverns of the time. And the fact that the boys don’t ultimately win all the marbles doesn’t stop the fans from loving them anyway. The film makes you ask, “Is it possible that they even love them more?” When I was growing up in New Jersey, in the late 1980s, the Devils were a fun new hockey team. In fact, Wayne Gretzky infamously said they were a Mickey Mouse franchise. So they played with a chip on their shoulder. For the fans of course, being from Jersey meant already having a chip on your shoulder. It was a match made in heaven. When the Devils lost in the playoffs, we the fans went to the airport to greet them when their plane landed. We had bonded with the players, win, lose or draw. Just a Bit Outside captures that dynamic precisely, with great humor and emotion.

When I asked my friend F if he wanted to join me to see this film about the Milwaukee Brewers, he said in his typical to the point manner, “I am a Yankees fan!”. But after watching this movie about a specific team and year, I realized that this film could be enjoyed by any fan, anywhere. Personally, as kid, I started off rooting for the Yanks myself. Then when I moved West, the SF Giants. Followed by the LA Dodgers for my years in Tinseltown. I just did what the song said to do, “Root, root, root / For the home team”. But will I now, as resident of Wisconsin, become a Brewers fan? These words of wisdom were carried on the wind from generation to generation, from the bleachers of old Milwaukee County Stadium to the ears of one of the all-time Brewers greats, Bob Uecker, “Down in front!”. The Brewers 1982 season proves that nothing is impossible.