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SOMETIMES, THE BEST WAY to tell one story is by telling a different story. That’s what happens in A Beautiful Day in the Neighborhood. In 1998, the editor of Esquire asked a particularly cynical reporter to do a short piece on Fred Rogers, aka “Mr. Rogers” for a segment on heroes. The interviews with Mr. Rogers changed the writer. The short piece changed into a full-length cover story and one of the most popular magazine pieces of the year (https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/).  Tom Hanks “became” Fred Rogers, and Jonathan Rhys (from The Americans) killed it playing Lloyd Vogel, the angry, edgy journalist. This movie made me want a “do-over” of at least a decade in my life. A lot of people are kind, but there are special

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  Bombshell is going to win movie industry awards. It would be more fitting if it won a Pulitzer. The performances were exceptional, and the story had all the ingredients of a mystery thriller. My eyes (and sometimes my mouth) were wide open as I watched Charlize Theron act herself into an Oscar nod. She played Megyn Kelly, star anchor who faced the top-down machinery of power, misogyny, and fear at Fox News—which informs the culture of many large companies and which dovetails with the male, tyrannical culture of the Trump administration. The movie is the real bombshell; it explodes the veneer and exposes the ruthlessness of power and influence inside the Western world’s most powerful media empire (and as the movie reveals, a powerful

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The Rise of Skywalker had a lot to live up to and mostly delivered. It had a powerful plot and an assuring conclusion, but it might be better appreciated for the relevant cultural themes than for the credulity; like its predecessors (and like the Marvel/DC franchises), each new episode has to ratchet-up the limits of the imagination in order to impress. For example, this one went farther with the concept of deus-ex machina (from Greek theatre when gods were brought down on stage) to resolve plot barriers: people are reincarnated, resurrected, or move between worlds more on a par with the Harry Potter series. I don’t wish to disparage the experience, however.  In a post four years ago about “The Force Awakens,” http://www.moviesmarketsandmore.com/not-long-ago-and-not-far-away/, I celebrated the

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She is Winter      by William Hecht Deep December night and she is spent. She is consumed–like the fields after a greedy harvest. She slumbers—as does the world. Only her essence is sentient, aware. It is a spell: cast in the light of the great moon, it will break with the first rays of the equinox sun. Her hair is black. It is a wave of boreal night that flowed through the glass, swept down her  cheek, and spilled on a pale shoulder.  Things made of night are smooth–and softer by far than anything made from day. She dreams—as does the world–of light and warmth, of aromas and twitching roots, the vibration of launching sprouts: calls to life. If I could dream with her, I would

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