The Currents is an Argentine film, following a woman named Lina. It opens on her in Switzerland, receiving a prestigious award, which she promptly tosses in the trash can before going for a walk around town. When she comes to a bridge, she jumps off into the river below. She survives, and when she returns to Argentina, mentions nothing about her suicide attempt to her husband. It is obvious she is depressed though, and has developed a severe anxiety about running water, refusing to take showers and quivering in fear when she tries to wash her hair in the sink. She eventually confides in an old friend, who uses gas to put Lina to sleep before giving her a sponge bath and washing her hair, in a ritualistic way implying she’s done this before. It seems Lina’s fear of water existed before her dunk in the water. It all starts to make sense when Lina visits her own mother near the end of the film, a woman who suffers from her own mental illnesses. A really beautifully made picture, but it tested even my patience, and I’m known to sit through 4+ hour movies (or more) with ease. ★★½

I usually stick to new-ish movies (or classics) but I stumbled upon Sunshine in a blog somewhere and decided to give it a go, mostly because of its writer, Alex Garland (big fan). This is the movie director Danny Boyle and Garland made after their first hit, 28 Days Later, and I was not a fan. And shame on me, because Sunshine is more like it than Garland’s hits that would come later. A team is on a space mission to the sun, which has been growing dim for a decade, throwing Earth towards a worldwide winter which will kill off humanity. A first mission launched seven years prior failed, with its crew never heard from again, so this is round 2. They must get to the sun with a huge nuclear payload, which is supposed to “jump start” the energy in the sun to start producing again. There are plenty of emergencies along the way, including a heart-stopping mission about 30 minutes in that will keep you on the edge of your seat, but overall the film fails for me, for many of the same reasons as 28 Days Later. In the final act, it becomes a hack-and-slash film with a 28 Days Later-esque disfigured bad guy trying to kill the surviving crew members, complete with the same dumb camera tricks used in that movie that I hated so much. A few moments of brilliance portending Garland’s growing writing skills, but not a memorable flick. In the end, just kind of silly. ★½

Omaha is a fantastic small independent film starring John Magaro, a very recognizable face from his busy schedule in the last decade, though I can only remember him as a lead in Kelly Reichardt’s First Cow (liked it a lot). It opens on him, as Martin, as he bundles up his 6-year-old boy Charlie and 9-year-old girl Ella into a dilapidated car early one morning. They are leaving their home for the last time, as they’ve just been foreclosed on, and Martin says only that they are going to Nebraska. Ella is old enough to know something isn’t adding up and asks a few questions, which Martin vaguely answers or ignores completely, but Charlie is young enough that he’s just along for the ride, whatever the destination. It is clear to the viewer that Martin is flat broke, and money gets tighter over the few days as the family continues their road trip. At first Martin is counting dollars, but by the end of the film, he’s counting cents, and we wonder if he has any plan to provide for his children. I initially thought that he had a job lined up and they were heading towards a new life, but the reality will hit you like a ton of bricks. Magaro is fantastic as a man at the end of his rope, and I know it’s a tiny low budget film, but how did it not get more attention? Really powerful movie. ★★★★½

Tuner is a heist film about a young man named Niki, an apprentice piano tuner to an aging man named Harry Horowitz (Dustin Hoffman). Harry has run his family business all of his life and loves to tell stories, many of which revolve around how he found little Niki, a former piano prodigy and the best player he ever heard, and convinced him to follow him in the piano tuning business. Niki is always carrying around ear plugs and heavy noise cancelling headphones, due to a condition called hyperacusis; loud noises cause him unbearable, debilitating pain. But he does have good ears, making him ideal for this job. It also makes him good at some less savory jobs, as he soon learns. When Harry forgets the combination to his wall safe, Niki puts his ear up against the safe and turns the dial until her hears the tumblers fall, and is able to crack it. His newfound skill earns him some shady friends, who employ Niki to start robbing rich houses in the area. Niki uses the money for good, paying Harry’s ongoing medical bills and whatnot, but when things go south (and you know they will), it will be Niki left holding the bag. Parts of the film are very good, but overall it felt contrived and unsatisfying. Doesn’t help that I’ve got nutcrackers in my house less wooden than the actor playing Niki. ★★½

Don’t Say Good Luck is a musical drama, starring Adam Sandler’s daughter Sunny in the lead as 16-year-old Sophie. Sophie is into musical theater and is auditioning for her school production of Waitress (the Sara Bareilles hit from a few years ago). She’s hoping for a secondary character but ends up nailing the lead. Should be an exciting moment in her young life, but her home life is in tatters. Her mother Elizabeth (Melanie Lynskey) beat cancer a few years ago but it has aggressively returned, so while Sophie is rehearsing, Elizabeth’s condition continues to worsen. The musical numbers are performed quite well (no idea if that’s really Sunny singing or not, but if it is, she’s got talent) but until she actually makes a name for herself, I can’t help but hear “nepotism” ring in my head. And Lynskey is a one-trick pony who hasn’t performed well in a movie or show (I’m looking at you Yellowjackets, despite the early hype) in a long time, maybe ever. The movie is just fine, and completely forgettable once the credits roll. ★★★

Hollywood Shuffle is fantastic satire from actor and first-time director Robert Townsend, released in 1987. He plays another “RT” in the film, lead character Bobby Taylor, an aspiring actor in LA struggling to land a meaningful role. As he laments, black actors only get to play jive-talking gang members, butlers, or slaves. The movie is mostly told in sketch comedy-like scenes, where Bobby envisions things he overhears or ideas that come to mind, like a school (full of white teachers) teaching young black actors how to talk jive, or a black version of Siskel and Ebert pointing out how ridiculous white movies can be but how they see the nuance in a movie about pimps that rove the streets as zombies preying on working girls. When Bobby does get a callback for an audition, he learns that the (again, all white) movie team wants an “Eddie Murphy type” actor (since that is currently bankable). Hollywood Shuffle is a comedy but its satire hits hard, showing time and again how right Bobby is, and it hits home when he reads a note from his younger brother stating that the kid wants to be an actor just like Bobby when he grows up. Bobby then envisions the little guy as a stereotypical pimp, one of the only roles available to a black man. The movie drags a bit in the end (which says a lot, as it’s a short film at under 80 minutes), but the writing is spot on. You can see the influence of cowriter Keenan Ivory Wayans, who had met Townsend doing standup a few years earlier; he would start In Living Color’s sketch show just a couple years later in 1990. ★★★½

Crossing Delancey is a very typical 80s romcom. Knowing that going in, I knew what to expect and the film delivered what I was looking for: nothing complicated, but a cute love story, and in 80s fashion (and still popular today), from an unexpected source. Isabelle runs in intellectual circles and is a bit of a snob because of it. She tries to tell people that she doesn’t need a man in her life and is happy single, but she secretly wants companionship (often settling for sex with a married man for occasional flings), and her very Jewish grandmother is constantly trying to set her up. The matchmaker comes around one day with a new potential man, Sam, but Isabelle is put off by the fact that Sam owns a pickle store. While a respectable shop in the Jewish community, Isabelle wants a learned man, and has been pining away for local author Anton. We all know where this is going and the film doesn’t disappoint. It’s a delightful film with truly equal parts romance and comedy, about a woman who is lonely but “too intelligent” to admit it to herself, and turns a blind eye to where the love could be found. The city itself is a main character too, full of the buzz an bustle of 1980s New York. Not a complicated film but a charming one. ★★★★

Smithereens also showcases the city, albeit a grittier side, as it follows a young woman named Wren. She’s fled her home in New Jersey to live the punk rock scene in New York, only to find that most of it has since moved to LA. She latches on to rocker Billy, who was in a band called Smithereens with a one-hit-wonder years ago. Billy keeps dropping hints that he’ll take Wren to LA, but is just as likely to ignore her when she comes around, in favor of any other interesting woman who may be near. While Wren keeps following Billy like a lost kitten, she ignores the potential match right in front of her: Paul. Paul is homeless and living in a van, but he truly cares for Wren, no matter how badly she treats him. After getting evicted from her apartment, Wren takes to sleeping in Paul’s van, but will take off anytime she thinks she has a chance to connect with Billy. There’s no happy ending in this film. It isn’t all that deep, and the acting from a bunch of never-was’s is pretty rough, but just like Crossing Delancey, the feel of the city is great. It’s the best redeeming quality of this film. Honestly not sure what the film was trying to convey. It is trying to get me to feel sorry for Wren? Because I don’t; she takes advantage of people and is given a pass because “she’s punk.” ★★½

Choose Me is a straight up romance, though does have a few funny moments here and there. The three main characters are Mickey (Keith Carradine), Nancy (Geneviève Bujold), and Eve (Lesley Ann Warren). Mickey is recently released from a mental hospital and has come to LA to find an old flame, Eve. He goes to a bar, Eve’s Lounge, but the Eve tending bar isn’t the Eve he remembers; turns out this Eve bought the place after the original owner killed herself. Eve is a former prostitute who knows how to please a man, but not how to keep a man. She can never get herself in a good, healthy relationship. As such, she follows a popular local radio talk show hosted by Nancy Love, who serves relationship advice nightly. Despite being an expert on the radio, Nancy is shy and reserved around men in real life, and in an odd turn of events, ends up as Eve’s roommate (though Eve doesn’t know this is the Nancy she listens to every night). Into this twisted affair comes Mickey, a very confident man who is either a crazy liar or has done it all, admitting to having flown helicopters and photographed all around the world and knows martial arts. He doesn’t come off as a braggart, is just very matter-of-fact, and he is looking for a woman to marry. At turns, he falls for Nancy and Eve, but is somehow pulled into an affair between Eve’s current boytoy (a married man and pretend-gangster named Zack) where he has to defend himself with brutal force. There’s a lot going on there, but the heart of the story is about finding the right person in this crazy thing called life. Who doesn’t love a good love story, especially when there are occasional fisticuffs? ★★★½

A Dry White Season stars Donald Sutherland as Ben Du Toit, a born-and-raised South African in Johannesburg in the mid-1970s. Ben lives a carefree life and is unaware of the political strife shaking his country. When his gardener, a black man named Gordon, comes to him asking for help because his young son was arrested on trumped-up charges and caned as punishment, Ben brushes Gordon off, thinking the boy must have done something to deserve it. Soon after, the boy is caught up in a protest against apartheid and killed. Ben “makes a few calls” but doesn’t do too much, until Gordon is also arrested and evidence comes out that he is being tortured, eventually dying in custody. Ben can’t turn a blind eye anymore, and starts to get involved. For Gordon’s widow, he hires a lawyer (a later career role for Marlon Brando) and sues the police, but they ultimately lose the case with a heavily stacked court system against them. Ben then makes it his mission to get the news out on his own. The papers that describe the police brutality are often run by black Africans, and are dismissed by the white populace, so Ben wants to tell a story that his fellows will actually listen to. But doing so will turn the police against him and his family. A very powerful film, all the more so because it takes place not all that long ago. In fact, though it takes place in the 70s, it was released in 1989, and at that time, apartheid was STILL going on. It’s almost impossible to believe that a country like South Africa could carry on such blatantly racist practices for so long, but it’s a reminder that these things can still happen today. There are certain people in our government who like to say that race is no longer an issue, but we should remember that it is, and always will be if we are not vigilant to injustices. ★★★★

• TV series recently watched: Visions: The Ninth Jedi (series), Lost (season 5), Race Across the World (series 4)
• Book currently reading: Bloodline by Claudia Gray

Starting off today with a couple really good indie dramas. Mad Bills to Pay follows 19-year-old Rico who is a man by age, but still a boy by deed. He spends his days selling homemade cocktails on the beach outside New York City and his evenings getting hight and drinking with his friends. Not a whole lot of ambition there, despite the good example of his extremely hard-working single mother, an immigrant. Rico’s going to have to do some growing up quick though, when he knocks up his 14-year-old girlfriend Destiny. Destiny expects him to take care of her and their child, moving in to the small apartment Rico shares with his mom and younger sister (who is older than Destiny). Like a lot of expectant mothers no matter their age, Destiny knows the import of what is coming and starts ragging on Rico to start taking this seriously, but it is going to more than nudging for him to realize how much his life is about to change. A raw, completely riveting movie about a guy who’s just not ready to grow up. Rico keeps taking one step forward, two steps back, no matter how much he “wants to be a man” and be everything that his own jailbird father never was. ★★★★½

Due West is not a deep movie (not nearly as deep as it wants you to think it is), and isn’t as thought-provoking as the above film, but it has emotional heft that is hard to ignore. An unnamed woman (her name is never given, purposefully I’m sure, to imply that this could be anyone you know) lives in a small west Texas town. She is texting mysteriously with someone telling her to meet tomorrow at a city a couple hours away, and to bring $700 or don’t come at all. For a long time, we don’t know what for, but if you read any description of the movie, you know it is for an abortion. The secrecy surrounding the woman trying to come up with the money and get to the meeting is because abortions are very illegal in Texas now, and she, along with anyone aiding her, would face prosecution. The woman hasn’t made this decision lightly though. It’s not because she wasn’t careful, it’s not because she’s too young or too old or any practical reason. The woman was raped, and if you think that’s isn’t awful enough, just see the trials and tribulations she has to go through to try to move on from that terrible event in her life. A movie that makes you see both all of the good and all of the evil in mankind, in equal measures. ★★★★½

Deep Water tries to be a disaster movie that covers the most bases but doesn’t succeed at any of them. In the beginning, as passengers are boarding a plane from LA to Shanghai, it has some Final Destination levels of ridiculousness, ominously showing all of the little things going on that could go wrong, giving you a sense of (quite silly) foreboding. Most of it is brought on by the stereotypically loud and obnoxious overweight American. When the catastrophe finally comes, the plane is forced to crash into the Pacific Ocean, with no land in sight. The pilots (played by Ben Kingsley and Aaron Eckhart) do all that they can, but the plane comes apart upon impact and the majority of passengers are killed or missing. The survivors band together to realize they are out of the frying pan, into the water, as the ocean is packed to the gills with the most ferocious sharks ever shown on screen. The movie devolves into a silly shark flick, and not even a good one at that. The scene when the plane goes down is as tense as it gets, but it is all downhill (or down the drain, if you like) after that. ★★

Normal is from writer Derek Kolstad, of John Wick fame, so you know what to expect going in. It stars Bob Odenkirk as Ulysses, who is serving as interim sheriff in the tiny town of Normal Minnesota, after its previous mayor recently died of a heart attack. Seems like a quiet town, but it has some idiosyncrasies. The sheriff’s office is loaded with high power guns and C4, there’s a new $18 million town hall going up, a little old lady has a long-range police scanner in her fabric shop, and other things that just don’t add up for such a small middle-of-nowhere town. The townspeople all seem to be a little too nice to their temporary sheriff. The opening scene of the movie, showing Yakuza in Japan sending some hoodlums to Normal, gives the viewer a clue as to what may be going on here, but it comes to a head when some out-of-towners attempt to rob the bank. Ulysses, unaware of what the town is hiding, steps in to diffuse the situation, but ends up on the shooting end of a town full of people unwilling to let anyone in on their secrets. Great action film with a lot more laughs than the typical John Wick movie. Doesn’t break new ground, but it doesn’t have to. ★★★½

Ian McKellen is one of the greatest living English actors, and he shines in The Christophers, playing a renowned artist named Julian Sklar. Most of Julian’s fame comes from two series of paintings he did 25 years ago called the “The Christophers,” where his muse is painted in portrait. A third series was hinted at by Julian, but he never finished or showed them. Now very old and still living off his former fame (he makes money by selling Cameo videos to fans), his adult children Barnaby and Sallie see a way to make some money once dear old dad dies. The two hire Lori Butler, a once-promising painter who hasn’t exhibited in a decade, to be Julian’s assistant and to finish Julian’s third series of Christophers behind his back, knowing that the paintings would each selling for millions upon his death and “discovery” in the attic. The brash and abrasive Julian doesn’t immediately warm up to Lori, but when she is forced to come clean about her motives, the two form a bond. Lori helps Julian move past some of the grief he’s been carrying over the real Christopher, a man Julian loved once (back before being gay or bisexual was “the cool thing” according to Julian) and Julian too can help Lori re-find her love of painting and overcome fear of rejection. You’ll laugh and be moved in equal measures, and McKellen shows that age has not slowed down his wit or expressiveness. ★★★★

• TV series recently watched: Agents of SHIELD (season 1)
• Book currently reading: Tides of Blood by Richard A Knaak

Exit 8 is a Japanese psychological thriller based on a video game. For a background, the game was developed in 9 months (an absurdly short time by game standards these days) as a way for the developer to “kill some time” between other, bigger projects. It went on to be extremely successful, and thus this movie. In the film, an unnamed young man gets off a subway while chatting on his phone with his recent ex-girlfriend, who has just told him that she is pregnant. The man is at a loss for words and isn’t paying attention to where is going, until he realizes that he is somehow going in circles, seeing the same signs again and again. He quickly realizes that he isn’t going in circles, but is in some kind of repeating maze. A note on the wall tells him to proceed if everything is normal, but if he see’s an “anomaly,” he is to turn around. The exit pointing the way out says “0” and every time he chooses right, it counts up until his desired exit 8, but if he misses an anomaly and continues forward, it resets to 0. Some anomalies are benign, like a different sign on the wall or an upside down letter, but others are either psychologically disturbing (often) or downright dangerous. And it gets harder and harder for the man (and others trapped down there too, as we soon learn) to know what is real and what is not. It’s a fantastically unsettling movie that will get your heart rate beating, and proof that you don’t need a big budget to make a very interesting and fun film. ★★★★

It’s already been 5 years since the Mortal Kombat film franchise rebooted, and a sequel has finally arrived. Just like the first movie, this is pretty much a direct video game adaptation, meaning lots of (bloody) fights and silly dialogue, but if you understand that going in, it’s a fun action flick. Emperor Shao Kahn and his gang of evildoers are ready to take over Earthrealm. His counterpart, Lord Raiden, has to put together 5 of Earth’s greatest champions to fight Shao Kahn’s forces in death matches (“It’s called Mortal Kombat for a reason you know?”) for the future of mankind. Their centerpiece is Johnny Cage, missing from the first film, and portrayed by the always-entertaining Karl Urban. There’s even a return for star actor Hiroyuki Sanada as Scorpion. Gore is over-the-top, just as you’d expect. More of the same from the first film, which is not a bad thing. ★★★½

Branching out from my usual fare and watched Obsession. I don’t do a lot of horror movies, but this one got such good reviews and a friend highly recommended it. Glad I gave it a go (even if I’d never watch it again!). Baron (“Bear”) has a big crush on Nikki, but the two are part of a circle of four long-time friends, and Bear doesn’t know if his feelings are reciprocated. His buddy Ian knows Bear likes Nikki, but warns him off. After a party one night, Bear drives Nikki home, and when given the opportunity to admit his feelings, he balks, and Nikki gets out of the car and walks up to her house. In an emotional fit, Bear pulls out a $5 toy he recently bought at a shop, a toy that is meant to grant a wish, and wishes that Nikki loved him more than anything in the world. As he is about to drive away, he looks up to find Nikki standing at the car door, the moonlight in her eyes. She tells him a story that her father is dying and she feels alone, so can she come over to his house for the night. Coincidence? Of course not! Before Bear knows it, Nikki is making a memorial out of his recently deceased cat to cheer Bear up, standing at the edge of the bedroom watching him sleep, and taping the door shut to try to keep him from leaving. It isn’t long before her adoration turns violent towards herself and anyone else who might stand in the way of her man. The reason I don’t often do the horror genre is they can get silly at times, and this one certainly does go overboard on the implausibly (even for such an outlandish premise), but it’s still a wild and entertaining ride. ★★★★

Based on a true story, Pressure tells the story of the preparation for D-Day from an angle not told before. It’s June 2, 1944, with the intent to launch for the beaches of northern France in 3 days on June 5. General Eisenhower (played fantastically by Brendan Fraser, continuing his film resurgence) brings in two highly respected meteorologists to give him the weather report that all will be good for the highly coordinated mission. One, the American Irving Krick (Chris Messina) has a sterling reputation in Hollywood for having predicted the red skies for the shooting of Atlanta burning in Gone With the Wind (and other films), and he says to launch of June 5, it will be perfect weather. The other man, British James Stagg (Andrew Scott), who’s there under the recommendation of Winston Churchill, says to wait. He sees a big storm in the Atlantic coming this way, and forecasts crashing waves, no visibility, and gusty winds, all of which would spell doom for the Allies’ invading force. Unfortunately, the next window for launch would be June 18, something that Eisenhower and the brass refuse to accept, as they know they can’t keep the cat in the bag from Germany that long. Buoyed by tremendous acting and an incredible script, director Anthony Maras keeps this film tense and fraught with an impending sense of danger throughout. Who knew a movie about the weather could be this fun?! ★★★★★

Blue Heron, a semi-autobiographical film from writer/director Sophy Romvari, follows a family of Hungarian immigrants moving to a new home in Vancouver, Canada. The kids have been in Canada long enough to have (mostly) lost their accents, but the parents still revert to their native tongue more times than not. There are 4 children, 3 younger (with the film mostly following daughter Sasha, playing the role of the director Romvari), and an older brother Jeremy, the mom’s son from a previous relationship. We immediately see that Jeremy is struggling with social issues. Sasha witnesses him stealing from a store one day, and he becomes withdrawn from the family. It isn’t long before he gets nabbed by the police for a petty crime, and the family turns to psychologists to see what is going on. The final third of the film moves forward 20 years to an adult Sasha, who is talking about her brother (in the past tense now, signaling something happened to him, with others, trying to figure out what made her brother the person he was. It shifts from a narrative film to an almost documentary-like approach. Didn’t care for this latter section, though the initial story of little Sasha living in a turbulent house was pretty good. Still, just because you set up a camera behind a child doesn’t mean the film is from her perspective, and the point-of-view moves too much to truly be a coming-of-age. Just a bit too all-over-the-place for me. ★★

• TV series recently watched: Race Across the World (series 3), Stargate SG1 (season 5)
• Book currently reading: Fallbacks Bound for Ruin by Jaleigh Johnson

As I said in my last Spider-Man film review, don’t worry about spoilers here. Because there’s some doozies if you can avoid them until you see it in person.

The latest in Marvel’s Universe is Spider-Man: Brand New Day. After the events of the 2021’s No Way Home, the world has forgotten Peter Parker, and that includes his best friends. Peter is alone, so for the last 5 years, he has been fighting crime and living solo, with no ties to the world. The only person he really talks to is a connection in the New York police department. The city’s newest threat, though, may be more than Spider-Man can handle on his own. A strange new villain has been attacking the city’s Damage Control centers, places that monitor superheroes and develop tools to help (or hinder) them. Along with an unlikely friend in the Punisher (yay for Jon Bernthal!!), Spidey must discover the identity of this new really bad badguy before more people get hurt. All while dealing with his own personal emotions of losing his best friend Ned and girlfriend MJ.

Absolutely fantastic movie, full of action, heart, emotion, and a couple great twists, continuing the trend of the recent Spider-Man films. Even though Marvel’s other recent films haven’t always taken off (I loved Thunderbolts*, but it didn’t exactly rake it in at the box office), Spider-Man has been a reliable draw. For the first 3 Spider-Man-centric films in the MCU, they progressed thusly: 1) $880 million at the box office, 92% Rotten Tomatoes; 2) $1.1 billion, 91% Rotten; and 3) $1.9 billion, 93% Rotten. That last one is good for third all-time domestically ($1.1 billion in the USA alone), and seventh all-time globally. That’s a whole lot of spiderwebs. Early tracking has Brand New Day with a shot to finish in the top two all-time domestic opening in the $325+ million range, and an outside chance of claiming the # 1 all-time spot from Marvel’s Avengers: Endgame, which sits at $357 million. I can tell you that I have not seen a theater packed like it was tonight since pre-COVID days. I went to a big 20 screen multiplex, and the parking lot was full to the gills. Not like Disney needs the money, but they’ll be bringing in the accountants for overtime next week. ★★★★★

The late 50s and 60s saw some Japanese films which were obviously heavily influenced by some of what was going on in American film at the time. Starting today with a trio of action noir films that could easily have come out of the USA. First up is Rusty Knife, released in 1958 and directed by Toshio Masuda (later did Tora! Tora! Tora!). It’s about an ex-convict who’s been trying to go straight for the last 5 years. He did time for killing the man who raped and murdered his girlfriend, but is now discovering that maybe he killed the wrong guy. Meanwhile, his former employers the yakuza are trying to bring him back into the fold, all while the police are also trying to recruit him to narc. Besides the main dude having done time for killing the wrong guy, there’s also a possible new love interest, who’s father seemingly killed himself but which also may be a case of mistaken murder. For a bunch of “professionals” they sure seem to get things wrong a lot. That being side, it’s pretty engaging, once you get all the characters (and whose side they’re on) figured out. 3 stars for a good ending that you do not see coming. ★★★

Cruel Gun Story is a movie starring Joe Shishido in the lead. He played a lot of villains in the 300+ movies he did in Japan (I’ve reviewed quite a few in this blog) and while he had a small role in the above picture, by the time this film came out in 1964 he was getting pretty well established. This one’s a heist film, and Shishido plays Joji, the ringleader. He is tasked with putting together a team to rob an armored car enroute from a horse racing track to the bank in town. Joji has his second, a longtime friend, but needs at least 2 more to pull it off, and the options aren’t good; he ends up with a needle pushing disgraced ex-cop and a has-been boxer who has taken a few too many blows to the head. Initially, the job goes as planned, until the security guards driving the armored car don’t fall for getting out when ordered, and remain safe inside their bulletproof vehicle. Joji and his team steal the whole truck with the guards and money still inside, but while deciding their next plan of action, are double crossed by the those that hired them. And then the team breaks down and starts double-crossing each other. I quickly got the sense that no one was going to survive this bloodshed, and I was right, after a Butch Cassidy-like finale. Not too satisfying of a conclusion, but it’s a fun ride getting there. ★★★½

A Colt is My Passport is a spaghetti western in a yakuza Japan setting, complete with a western style soundtrack. Joe Shishido is back, as contract killer Kamimura. Kamimura is great at his job, one of the best, and his latest job involves killing a man named Shimazu. Kamimura has been hired by yakuza boss Senzaki to kill Shimazu, a former partner who has been found to be embezzling. Shimazu is always guarded and is too smart to leave himself vulnerable, rarely being seen outside his stronghold. But Kamimura is smart, and when next Shimazu and Senzaki meet, Kamimura has set up a block away on a tall building and fires with deadly precision. Senzaki isn’t pleased that the target was killed while he was near, landing him at the police station to answer questions, but there’s nothing to tie him to the killing, so he is let go. Not one to let loose ends lie, Senzaki goes after Kamimura. Kamimura expected this though, so he and his friend Shun are already trying to skip town. Unfortunately for the duo, Senzaki has powerful friends, and Shimazu’s son wants revenge too. It becomes a cat-and-mouse game, with powerful killers on both sides, and ending in a duel straight out of a Clint Eastwood flick. Outstanding action and a gripping plot all the way to its explosive (literally) conclusion. If the film sounds cool but you aren’t a fan of subtitles, be patient: it is currently being remade by Gareth Evans with a pretty strong cast. ★★★★

Shochiku was traditionally one of the biggest film studios in Japan, but by the late 60s, their movies (mostly dramas) were considered “old fashioned.” Facing the behemoth that was Toho studios (Godzilla), Shochiku responded with a series of horror movies. The X From Outer Space (1967) is a direct response to Toho, featuring its own gigantic monster. It takes awhile to get there though, too long in my opinion. A group of astronauts are charged with finding why spacefarers keep disappearing near Mars, and when they get there, they find huge spores that almost take out their ship. They bring one back for study, but when exposed to Earth’s atmosphere, it starts to grow, and becomes this giant chicken-looking thing that starts wrecking the place. This is a super boring movie, taking far too long to get to any action, with lots of frivolous scenes that do nothing to advance the plot. The characters are quite literally running in circles at times, bouncing from Earth to the moon base to Mars and back again (and again). And did I mention the monster looked like a giant chicken? ★

Goké, Body Snatcher from Hell followed in 1968, and is a better offering. An airplane is flying through a red hazy sky with bizarre happenings (birds flying into the windows with grisly abandon) when the pilot receives a bomb threat. While searching the fliers’ bags, one man pulls a rifle. As the shit is hitting the fan, a UFO flies past in the red sky, knocking out one of the plane’s engines and causing it to crash on a deserted island. The survivors gather, but the hijacker with the rifle runs into the jungle and encounters the alien from the UFO. It carves and entrance into his skull and takes over his body, turning him into a vampire-like being who starts to hunt the rest of the survivors, sucking their blood. As the movie progresses, we learn that this alien is just the lead in a force coming to Earth to kill everyone. Is it campy? Sure, but it also has some nice old-fashioned visual scares and is at least more engaging than the space flick above. ★★½

The Living Skeleton starts silly with some extreme over-acting, but it settles in to be a very good horror film. A group of deadly pirates have taken over a ship, and end up killing everyone on board, including the damsel-in-distress Yoriko. 3 years later, Yoriko’s twin sister Saeko is still in mourning when she starts to see visions of Yoriko. Looks like Yoriko’s ghost is out for revenge, as she starts hunting down members of the pirate gang. The movie is just vague enough that you don’t know if Yoriko’s ghost is doing the killing, or if she is inhabiting her twin’s body to do the deeds, or if something else sinister is going on. Sort of an update on the traditional Japanese ghost horror genre, or kaidan as they are called natively. The movie has it all, from identical twins to a mad scientist to a bad guy impersonating a good guy to get closer to the heroine. Not to mention a wild ending. Crazy film, and I was into it all. ★★★★

Genocide, as a film of the late 60s, plays up to the present fears of global annihilation. The gist of it is that insects, which fear their own deaths along with every other living thing on the planet because of mankind’s impending atomic wars, decide to rise up and take out humans. Some new strain of insect (which look a lot like bees) start biting people, and once bitten, the human goes insane, killing others before succumbing to the venom’s toxins. Sounds silly, and it is, but there’s some good subplots going on too that kept me interested. There’s a playboy getting it on with his girlfriend and an American woman (who turns out to be in league with the insects) and an American GI who was transporting a bomb when all this started, later gets bitten, and then goes off the deep end. The Japanese doctor trying to come up with a cure seems to be the only rational one of the lot. Zany movie, but entertaining! ★★★

• TV series recently watched: Widow’s Bay (season 1), ST Voyager (season 7)
• Book currently reading: Enemy of My Enemy by Alex Segura

Christopher Nolan is once again doing his Christopher Nolan-thing: giving us an epic movie on a grand scale. Something he’s done time and again, with films like Interstellar, Inception, and Dunkirk. And what better story than one of the grandest: Homer’s Odyssey. So what can Nolan, a man obsessed with perfection and accuracy, do with such a subject? Gives us a movie that needs to be seen on the biggest screen available.

No spoilers here, and you either know the story of Odyssey (or, at least, bits and pieces of it) or you don’t. The movie is 3 hours long, detailing Odysseus’s years-long journey home after the Trojan War, where he was a hero for coming up with the idea for the Trojan Horse. Along the way he battles cyclops, giants, sirens, maelstroms, and even the gods themselves, but through it all, he is determined to return to his love, his wife Penelope, and their son Telemachus. Telemachus has grown up without a father, and is bitter over the suitors who come to his home daily to woo Penelope in hopes of marrying her for a shot at the throne, in Odysseus’s absence. No one really believes Odysseus will return, except for his family and one trusted servant.

Nolan spent gobs of money to develop new techniques to make this film, and did the majority of it “the old fashioned way.” You won’t find buildings-tall green screens and layers of CGI. There’s tons of natural action scenes with real (not computer-generated) armies fighting to the death. All of the actors have been very forthcoming with how hard this movie was to make, but to a person they agree that there comes satisfaction with having made something that will speak to people, because it has themes that are as meaningful today as they were 2800 years ago. This is a movie that you can watch again and again, and probably catch something you missed each time. Brilliantly done with an absolute all-star cast top to bottom (even some of the bit-part extras are recognizable faces!). I don’t know how Nolan is going to top this one. Maybe he’ll surprise us and make a small indie film next? ★★★★★

I’ll admit that I didn’t run out to see Project Hail Mary at the theater, despite being a sci-fi nerd, because it looked a bit too silly to me. The trailers leaned heavy on the comedy (and in my opinion, there was too much of it, especially in the first half of the movie) but it’s still an awesome science fiction flick. Based on a book by the same author who wrote The Martian (another fantastic space film), it has the same kind of “man out in space on his own” kind of idea, but with a twist. Ryland Grace (Ryan Gosling) wakes up alone in a space ship in deep space with total amnesia, no idea why he is out there; the two other spacefarers died in their induced hibernation during the long trek. Grace starts to get his memories piecemeal, which we see as flashbacks, that give us the story. Some kind of alien parasite has been sucking energy from our sun, and if humans can’t figure out how to stop it, our sun will grow too weak to keep the Earth warm, killing all the plants and animals and thus all the people too. Looking out into space, scientists have found the same problem with all stars except one: Tau Ceti, 11.9 million light years away. Using those same little parasites, which can emit tons of energy, they built a ship to get Grace (and his now-dead team) all the way out there to see why this one star is surviving, and to bring that knowledge back. Except Grace will not be bringing it back, because there’s only enough energy for a one-way trip, and he’ll have to send the cure back on tiny probes. Thankfully, Grace isn’t as alone as he thought he’d be. When he gets to Tau Ceti, he finds an alien, which he names “Rocky.” Once they learn how to communicate with each other, they learn they are there for the same reason, to save their home worlds from dying stars. The exciting parts in this movie are exhilarating, edge-of-your-seat affairs, and the movie has a surprising amount of heart as Rocky and Grace look out for each other as they face death time and again. Could have been a perfect sci-fi movie if they’d just cut back on some those silly laughs, but still a thrilling movie. ★★★★

She Dances is a great little indie flick with a strong cast. The (almost always) underrated Steve Zahn plays Jason, an absent father (been doing a lot of films like that lately) who is tasked with chaperoning his daughter Claire on her latest trip. Claire has always been into dance, and there’s a new competition for her to enter with her longtime friend and dance partner Kat. Much of the humor of the film is provided by these two Gen Z’ers and the out-of-touch Dad, but there’s some seriousness to the movie too: the hanging specter of Jack. Jack was Claire’s brother and Jason’s son, who died a few years ago (cause never mentioned; I suspected suicide), an event that ripped the family apart. It ended Jason’s marriage and sent him spiraling into alcoholism and withdrawing from Claire’s life. Jason has been sober for awhile now, but still hasn’t faced the hurt Jack’s passing has left him. Jason is uncomfortable around Claire because she reminds him of Jack, and Claire is hesitant to open up to Jason because of what it may dredge up. Jason is, after all, a recovering alcoholic and honestly doesn’t recall much of that dark time. Ethan Hawk costars as a longtime family friend and Jason’s business partner, and Claire is played by non other than Steve Zahn’s real-life daughter Audrey Zahn, in her first role. ★★★½

Jackie Chan will always be known for his martial arts films, but over the last few years, time has obviously diminished his action roles and he’s been taking more dramatic films. Such is the case for Unexpected Family, where he plays the elderly Ren. Ren is suffering from dementia, and while he lives alone, he is well-liked by his neighbors who take turns looking after him. A young tenant moves in named Zhong Bufan, and Ren mistakenly thinks it is his long-lost son returning home. Seeing Ren brighten up, the neighbors convince Bufan to play along. Initially, Bufan wants nothing to do with it, but when he thinks he may be able to manipulate Ren into giving him some money, he agrees. It isn’t long before Bufan grows to like Ren too, and gives up is nefarious plot. Ren, a former weightlifting coach, coached his son to a gold medal many years ago, so Bufan and the neighbors decide to reenact that championship meet in an attempt to bolster Ren’s memories and spirits. Things do not go as planned. Lots of Chan’s customary silly humor in the beginning of the film, but it really hits its stride in the second half, where it becomes more dramatic. Chan has acting chops, and I dare you to keep the emotions in check when he confronts his estranged “son” in the end. ★★★

Two Prosecutors shines a light on what life was like under the Stalin regime in the Soviet Union during the Great Purge, when Stalin was removing dissenters. It begins in a prison in Bryansk, where a prisoner is tasked with burning letters written by prisoners, letters which will never see the light of day. He is stricken by one though, written in blood, and somehow smuggles it out. The letter makes its way to a young prosecutor named Kornyev, a staunch communist but also a young idealist, and he comes to Bryansk to try to interview the prisoner who wrote the letter. He receives all kinds of run-around. The powers-at-be at the prison don’t want anyone to know how they are treating their prisoners. When Kornyev finally does meet the prisoner, an old man named Stepniak, we see why: Stepniak shows plenty of evidence of physical abuse and is coughing up blood, in obvious poor health. Turns out Kornyev has been so adamant because he once saw Stepniak give a speech about Bolshevism at his law school, and Kornyev knows that Stepniak is no dissenter. He’s a proper party man, and wants to know why Stepniak ended up here. He tries to take Stepniak’s case up the food chain, but everywhere he goes he is met with red tape and blockades. The red machine is in full force, and is not ready to admit any failure; with them there is either for or against, and if Kornyev isn’t careful, he may end up “against.” Excellent slow-burn drama. One of those movies where not much happens, but all the intrigue is told “in between” the dialogue. ★★★½

From one dark period in our world history to another, with the German film Amrum. Based on childhood of the film’s writer Hark Bohm, it takes place in the eponymous village, on a tiny German island off the coast, in 1945. The war is winding down, which is great news for most but unbelievable to others, namely Hille and her son Nanning (the main character). Hille is a staunch Nazi supporter, while her husband is off fighting in the war, but the rest of the village, far removed from Berlin and its worries, is ready for the war to be over. This includes Hille’s sister Ena. Ena and Hille are from this village and are staying in their childhood home; Hille’s house in Hamburg was bombed by the allies. Nanning finds himself at the center of this weird crossroads. When he repeats what a villager said about being thankful that the Russians are only 50 miles from Berlin, Hille wants the villager reported to the local magistrate, saying she is disloyal to her country. Even most family members in the village (aunts and uncles) are not sure what the war was supposed to be about, and are happy that they will stop losing friends and loved ones to “Hitler’s war.” After Hille gives birth to a new baby, she falls into postpartum depression, and refuses to eat. She makes an offhand comment that she’ll only eat white bread with butter and honey, all items that are extremely hard to come by these days. Nanning begins an adventure to find, trade for, or work for these items, in hopes of lifting his mom’s spirits, but it will be a tough job with society crumbing around him. Extremely well-depicted coming-of-age film, and a reminder that while our leaders will always try to divide us into “them” and “us,” most people are just living normal lives like everybody else. ★★★★

• TV series recently watched: Star City (season 1), The Vampire Lestat (season 1)
• Book currently reading: The Winds of Dune by Herbert & Anderson

Today, looking at some works of a couple Swedish directors who got their starts (behind the camera, at least) in the 1960s. Bo Widenberg had already been critical of the more traditional narrative films coming out of Sweden, particularly those of Ingmar Bergman (how dare he?!), so his pictures were tagged with the label of the Swedish New Wave after their French counterparts. His first film, 1963’s The Baby Carriage, isn’t completely “new wave,”, but it’s OK. Britt is a young woman without a lot of prospects, and seems uninterested with life. She sleeps with her boyfriend Robban and gets pregnant, and when she tells him about it, he flies away faster than a hawk. Her mother urges her to end the pregnancy, but Britt decides to keep the child, perhaps as the one thing in her life she has control over. As her pregnancy progresses, Britt starts hanging out with a guy named Bjõrn, who comes off as snobbish and pretentious. Britt overlooks these faults, as she so desperately wants him to be “the one” after her experience with Robban. She doesn’t see Bjõrn for what he is until nearly too late. In the end, Britt needs to discover who she is and who she wants to be. I think the film tries a little too hard to be new wave, with a jazz soundtrack that doesn’t always fit as well as it does in Elevator to the Gallows. ★★★

Widenberg went with a more traditional narrative film with his next, Raven’s End. Taking place in the 1930s against the backdrop of the rise of Hitler in Germany, Anders (same actor as Bjõrn above, Thommy Bergendahl) wants to be a writer but doesn’t know if he’ll ever get there. He’s from a very humble background; his father is an alcoholic and long unemployed, drinking or gambling away his family’s income, and his mother barely scrapes by as a laundress. When a publisher in Stockholm sends an invite to Anders to come talk about a submitted work, Anders is elated and thinks he’s finally done it, only to have his hopes dashed when his book is ultimately rejected. Anders laments that he has no experiences outside of his provincial life, nothing of interest to write about. What’s funny though is that there is history and life around him, if he were to just stop and pay more attention. In the end it may not be enough. Good story. ★★★½

A few years later, Widerberg made Elvira Madigan, based on the life of a young woman who lived in the late 19th century. At the beginning of the film, we meet Elvira and her boyfriend Sixten. The two are obviously madly in love, and the film paints this picture of an idyllic carefree life, the kind where you get lost in your love and nothing else matters. Only, some things should matter. We are told early on that Sixten has deserted from the military and faces harsh jail if caught. 20-ish minutes into the movie, we also learn that Elvira (real name Hedvig, as Elvira was her stage name) was a renowned circus tightrope performer who ran away from home and her career to be with Sixten. OK, lovers do crazy things, but when we later learn that Sixten left his wife and two young children too, things start to feel a little murky. The couple bounces from hotel to hotel while on the run, leaving whenever someone recognizes them (their story is all over the papers) or whenever the bill comes due, as their finances are dwindling. When they get so hungry that they start eating flowers and grass, they finally realize that their love alone cannot sustain them, and make a suicide pact. On the surface, you think that Widerberg has abandoned his ideals since this seems like a much more traditional film, especially since it is based on a true historical story, but it was shot on a minimalist script, mostly improvised by the actors and with no rehearsals, so the director was still sticking to his guns, more or less. The movie became the director’s first international hit. ★★★★

Three decent-to-good films and then a clunker. Ådalen 31 is based on a true story again, but gets far too political for my tastes, and comes off as preachy. It follows a moment in Sweden in 1969, an event that is still infamous to this day in that country. The primary business in the town of Ådalen is a sawmill, but the workers there have been on strike for months, and the owner is getting tired of it. He brings in new workers from out of town, which gets the townsfolk riled up, and they attack the scabs. To protect them and his industry, the owner calls in the military, and in a stroke of insanely back judgement, the military shoot at the protesting townspeople, killing 5 including a teenage girl who was just a bystander. Terrible day in Swedish history? Absolutely. Do I need to have it hammered down my throat how bad capitalism is and how good Sweden became under the socialism that followed? Naa, I’m OK. ★½

After that hack job, I moved on to a different director, Widerberg’s contemporary Mai Zetterling. She started as an actress (first role was actually Bergman’s first film as a writer, 1944’s Torment) but moved behind the camera by 1964’s Loving Couples. Kind of a misleading title, because the couples in this film are anything but traditional, and the setting is certainly not wholesome. It takes place in a maternity ward in 1914. Three women are there: Angela, Agda, and Adèle. Through flashbacks, we get the stories of these three women, whose lives are all interconnected, and what brought them to the ward. Angela comes from money though she feels her wealth as a burden at times. Her father died when she was a little girl, leaving her this fortune, and others tried to manipulate her over the years. She’s in the ward to give birth. Adèle once had money too, but when her father died, he left her and her mother destitute from gambling debts. As such, Adèle grew up bitter at the world and has become a hateful person. She’s in the ward waiting for her body to expel the stillborn child inside her. The last is Agda, who was born poor and later became a maid in Angela’s household, but she always found joy in life, though her marriage (and non-traditional pregnancy, as we learn) were more pragmatic. Very intriguing story with lots of tangents that all come together in the end for a complete picture. Relationships intertwine, to the benefit of some and detriment of others. It’s a film you have ride out to the end to see how it all fits together. ★★★½

Night Games was the director’s next film in 1966, and has a seriously messed up theme. Jan is engaged and has brought his fiancee Mariana to his childhood home, a sprawling estate. In flashbacks, we see Jan and the chaotic household he grew up in. His mother was Irene, a wealthy socialite always surrounded by sycophants, and with a revolving door for a boyfriend/sometimes husband. Irene cares only for physical pleasure and ignores her son Jan (unless he is bringing her joy at that moment in time). The only real attention Jan gets is from his grandmother, who unfortunately is losing her mind. As such, Jan grows an oedipus complex for his mother. In the current timeline, the longer he stays in that home, Jan begins to take on characteristics of his deceased mother, especially her hedonistic lifestyle. In the end, he must decide which path in life he wants to follow. Not sure I particularly liked the movie too much, but it is a fascinating story. A funny anecdote: when the film was to be shown at the San Francisco International Film Festival, an adult Shirley Temple (in her late 30s at that point in time) was to be on the jury, but resigned, calling the film “pornography for profit.” It is far from pornographic but definitely is stark in its portrayal of Jan’s and Irene’s unhealthy relationship. ★★★

The Girls was Zetterling’s first (and arguably only) hit, though it took decades to be recognized as such. It bombed when it came out in 1968, despite an all-star cast (Bibi Andersson, Harriet Andersson, Gunnel Lindblom, Gunnar Björnstrand, and Erland Josephson). A meta film before its time, it stars its trio of ladies as actors in a traveling performance of an ancient Greek play: Lysistrata by Aristophanes, about women who withhold sex from their husbands in an attempt to force them into a peace treaty during the current war. In a tale of life imitating art, we see that the actresses are continually subjected to sexism, even from other women, who think these ladies should be home “taking care of their babies and husbands.” If they have a family at home and good looks (heaven forbid when that starts to go with age), then they should have everything they need to be happy, and there’s something wrong with them if they want something more. The more times change, the more they stay the same. There’s some subtle surrealism too, like one scene where one of the girls is trying to get her point across, but the only time men start paying attention is when they are all transported to a lounge and she starts taking her clothes off in front of them. The movie does have some grandstanding (including one scene where a woman is literally grandstanding) but that all-star cast is all on top of their game, and it is as timely today as it was in the 60s. Loses a little steam in the final third of the picture, but overall still great. ★★★★

• TV series recently watched: Dutton Ranch (season 1), The Agency (season 2), Enterprise (season 2)
• Book currently reading: The Winds of Dune by Herbert & Anderson

I saw Jackass: Best and Last the best way to watch it: with a couple friends, having just downed a couple beers, and in a good mood. As I said in my review of the last Jackass film, don’t go into this expecting great cinema, but if you just want to turn the brain off and laugh (often and loud), you can’t do much better. The audience in the theater was all having a good time. This is billed as the last of them (the surviving members of the original Jackass franchise are all getting a bit long in the tooth to keep putting their bodies through this), so go see it, relive your childhood, and have a good time too. ★★★½

13 Days, 13 Nights is the newest from French director Martin Bourboulon, whose duology of the Three Musketeers films was quite good. This one is based-in-a-true story, during the US withdraw from Afghanistan in 2021. A soldier at the French embassy is worried about getting some of his informants out before the Taliban completely takes over Kabul, as well as other innocent women and children who fear the return of the regime and their ensuing loss of rights. There are some tense moments as the lead guy tries to get people out safely, but I couldn’t shake the feeling that I’ve seen movies like this that were done better. Whether that’s writing or just a constrictive budget is anyone’s guess, but I didn’t connect with their plight as much as the filmmaker certainly wanted me to. ★★½

Cactus Pears, out of India, is one of those leisurely paced films that will test many viewers, but for those with patience, there’s a rewarding ending. Anand works in Mumbai but has come home to his rural village after his father’s sudden passing. He’s obviously lived in the city for a long time, because he has to be reminded by his mother and many extended family members about what is expected over the next 10 days of mourning. Everything is steeped in ritual and tradition, from when, how, and where Anand can eat, to what he can wear, to when he can bathe. One looming question over it all is when Anand will get married, because, again due to tradition, after his father’s death he must marry within a year, or otherwise wait 3 more, at which point he’d be over 30 years old (on the humanity! According to his mother anyway). But it is very obvious to the viewer that Anand has no interest in marriage, and it isn’t until he reunites with an old (male) friend that we understand why. But can Anand and Bayla (whose parents are also demanding he finally find a wife) find happiness together in this society? A very slow paced film that allows the viewer to feel each passing moment with its actors, it’s a tender film that is all about the nuance. ★★★½

The Plague is a coming-of-age film with a darker undertone than you typically find in this genre. At a water polo summer camp of 12- and 13-year old boys, Ben is more socially awkward than most, but determined to make friends and fit in. Unfortunately the crowd that he wants to fit in with is not the good crowd. They are led by Jake, the worst kind of bully who bestows ignorant nicknames to his “friends.” Jake is loud and cruel, the kind of kid that others are drawn to to appear cool. The group’s favorite target is Eli, a misfit who marches to the beat of his own drum (a huge no-no in 2003 when the film takes place, and at an age when most kids are trying their hardest not to stand out). Eli is the kind of kid though that will probably grow up to be the most interesting of all of them, if he can survive adolescence. That’s a big if, because he is constantly teased and harassed by Jake and his cronies, including, eventually, Ben, who doesn’t want to go out on a limb for Eli. Eli has some kind of skin condition, which the boys call “the plague,” and they never let up. As an adult, it’s easy to scream at the screen that the kindly Ben should stick up for Eli, but if you think back to those terrible early teenage years, it’s understandable that he doesn’t. It’s also easy to hate Jake, but his story is complicated too, as we eventually learn that his mother died awhile back and we see a glimpse of a turbulent, possibly violent home life. Ultimately we have to remember these are all just kids, though their actions have very real and lasting consequences. Excellent, tense film that slowly builds until a devastating conclusion. Joel Edgerton is the sole recognizable face, as the swim instructor. ★★★★

I think I’ve said it before, but not all interesting real-life stories need to be made into movies. Tow, based on the life of a homeless woman named Amanda (played by Rose Byrne), is one such film. At the beginning of the movie, Rose is already homeless and living out of her car in Seattle. Just as she lands a new job, her car (with everything she owns in this world) is stolen, leaving her with nothing. Thankfully, the police find it just a day later, but rather than saving her, this only adds to Amanda’s problems. The tow yard that retrieved the car from the police wants $200 to give Amanda her car back, and in her position, that might as well be $20,000 (which the bill eventually becomes as fees continue to get added on). Amanda finds help in a pro-bono young idealistic lawyer, who sues the tow yard and its rich, entitled owner, but the dude’s got the money to draw this thing out in the courts, which he does for over a year. All that time, Amanda is stuck living in a shelter with other women down on their luck. With a cast filled out with familiar faces (Ariana DeBose, Simon Rex, Octavia Spencer, and Demi Lovato), I expected more, but this film is BORING. Its attempts at humor fall flat, and it expects you to feel sorry for Amanda just because she’s homeless. Well, she doesn’t try too hard to help her own situation, and is generally a pretty unlikeable person, so good luck with that? ★½

• TV series recently watched: Lost (season 4), The Long Shadow (series), Dexter (season 2), This City is Ours (season 1)
• Book currently reading: The Force Awakens by Alan Dean Foster