[Author’s Note: Mom went to her rest on Dec. 14th 2022 at 90 years of age. I composed a tribute to her shortly after that; here’s the link: https://www.moviesmarketsandmore.com/paean-for-a-country-girl-or-faith-family-community-learning-and-little-baseball/ This piece, Mercy, is one of my favorites and Mom was the main character and the inspiration. Early this month and inspired by her example, I went to the nursery, inexpertly selected flowers,  drove to the cemetery and planted them  behind the stone for my parents’ grave. My grandmother and grandfather got some, too. At the time, her date of death was yet unmarked.  It wouldn’t bother me if it stayed as it is] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ IN MY MOTHER’S kitchen, and taped to the door of a cabinet where cups and plates are kept, is a laminated

THIS MOVIE HAS the distinction of being completely unpredictable almost from the very beginning. Because the theme is metaphysical or “multi-versal,” it draws from the infinite to introduce many zany, funny, curious or compelling alternate worlds in a two hour timeframe. There is martial arts fighting; it never seemed gratuitous, however, and at times it provided some fun. The film features a number of veteran Asian actors who now, finally, get the recognition they have deserved and been denied: Michelle Yeoh, Ke Huy Quan, and James Hong, have acted for decades each. Hong, for example, is 94 and acted with Clark Gable. At least two members of the cast have already won awards for best actor or best supporting actor, Michelle Yeoh and Ke Huy Quan.

  THIS MOVIE is directed by Sarah Polley, produced by Frances McDormand, and featuring a cast of acclaimed and powerful actors, predominately women. It is based on the 2018 novel by Miriam Toews which was set in a Mennonite colony in Bolivia that did (does) exist. The movie, however, is in English, and there are no references to location or country–there don’t need to be. As for the temporal (and just as with Banshees of Inisherin) it could have taken place a century ago though the year is 2010.My first reaction, because the movie does focus on intense debate among a group of women trying to reach a life-changing consensus (in part regarding justice), was that the style reminded me of the female version of

THIS IS A FUN SHOW. Natasha Lyonne’s character Charlie captivates the action with a virtuous brand of “superperception”—she can tell when others are lying. And so, as the series’ title suggests, this can have advantages in poker: no one can bluff you. But upon attracting the scrutiny of a Nevada casino mogul, her brand of talent leads to a prolonged road trip and sets the stage for forthcoming episodes. You see, in addition to the advantage it gave her in poker, her perceptive power often reveals clues to crimes, and her merely refined powers of observation and logic create no less than a charming nomadic “Columbo” with reddish blonde hair, a slightly raspy voice, and a sense of justice that won’t leave her at peace

[Note: I apologize for the late post as I watched the film two days before the Golden Globe Awards show. My only confident notion, having seen few of the nominated films, was that Colin Farrell would win Best Actor.] THIS DRAMA IS HARD TO DESCRIBE; it’s been referred to as comedy, tragedy, dark, dark tragi-comedy; labels are risky: you might miss the film for the wrong reasons (you might also see it for the wrong reasons). But the greater risk is to miss the movie. It takes place in a tiny village on an island off the coast of Ireland. The setting is probably 40 years ago, though without references within the film to hint at the era, it could have just as easily have

[Author’s Note: this year marks my 29th “anniversary.”] Until I saw the date, February 2, it hadn’t occurred to me that it was my “birthday” again. This birthday–which is more of an anniversary–marks for me the first day of uninterrupted sobriety 29 years ago. It hadn’t seemed like a very important day at the time; in fact, if anyone had asked then, I would have said it was the worst day of my life.  I was bloated and quaking. My eyes were yellow like a cat’s–from jaundice. And my store of courage was so low I had to be led around like a child. There’s no question that on that day, my second life began. It would help to note here that I am not

WHEN I SEE Christian Bale and Margot Robbie as leads in the cast, I am already smelling the popcorn, There are other  big names involved, including De Niro. It’s set after WWI, and in part based on real events. It’s light, funny at times, yet there’s an intrigue that builds; it takes a while to show up, but the action holds ones interest until it does. The director, David O. Russell (American Hustle, The Fighter, Sliver Linings Playbook), has a solid resume. Bale is the usual joy to watch, Margot Robbie keeps getting better (hard to imagine), and then you have John David Washington (Black Klansman), Rami Malek, Anya Tayler, and list of celeb cameos from, for one example, Taylor Swift. There’s not much else

  A Token of the Holly King By William Hecht Weekday afternoons at two o’clock, he began to look for her. Each time the little bell sounded to announce that the door to Ye Olde Coffee and Tea Shop had been opened, he would turn his head. As three o’clock grew near and brought with it the possibility that she wouldn’t arrive that day, he began to resent the other customers who instead appeared in the door at the sound of the bell. He imagined that she must have begun working at one of the neighborhood shops in mid-November, and that she probably arrived at work in late morning and took a break in the afternoons. Though it was nearly Christmas and she visited most

  LITERATURE AND SOCIETY dance a duet and take turns leading.  It isn’t always apparent that changes in Art are a response to changes in society and culture  or whether the order is reversed. Yet the very “ominous” poem, The Second Coming by Yeats was written just after WWI, the “war to end all wars” (https://www.moviesmarketsandmore.com/twilight-in-the-land-of-more/). And Orwell’s dystopian 1984 (published 1949) was a response to totalitarianism before, during, and after WWII (https://www.moviesmarketsandmore.com/orwells-1984-is-the-book-of-our-time-a-canticle-for-eric-blair/ ). In the Roaring Twenties, the male and privileged romanticism of Hemingway and F. Scott Fitzgerald were the rage. By the end of the Depression, the mantle of social authority was transferred to the destitute masses in Steinbeck’s The Grapes of Wrath or the more haunted existences of the Deep South revealed in

The French Dispatch is another of Wes Anderson’s superb films.Before any consideration of the story, the film has to be considered an exceptional viewing experience for the unpredictability (that he always brings), the richness of characters, and the uber-esoteric settings—mostly amid a Sahara of dry humor. Not to mention that the cast consists of a blend of top comedic and dramatic talent (while I am sure the actors view it as work in High Art, they seem to be having the perfect mix of challenge and fun). Some new (to his films) “star” faces are evidence of the allure of this filmmaker. The structure is a little unusual because it’s broken into segments, but it all conforms within the context of a newspaper founded and operated