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[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

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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.

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  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

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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

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[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

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