Film Award Picks

Doing things a bit differently this year.  Going to provide general reviews of the film, a summary of the TV shows and then list my votes.

Every year there are themes or styles which seem to resonate between the films, no matter how disparate.  The past remains popular with the 1920s and 1960s/1970s being the most prevalent.  This year the trends are movies which look like art – every scene is like a painting in a museum, even when the subject matter is ugly.  That being said this year’s batch of films are not always intelligible.  Storylines are misty and muddled, disjointed.  Timelines are unclear, narrators are unreliable.  The films this year seem to be more about metaphor and symbolism than clear-cut stories.  Endings are sometimes enigmatic as are characters.  Dialog is minimal and cameras pan over faces full of emotion (or not).  Smiles hide feelings the viewer is never quite sure of.  It’s a hazy, distanced view of the world, as if we are all inside of our own prisons, looking out at something we can’t reach.  If there is an impact from the isolation of Covid on the art world, this is it.  It’s not a gloomy bunch of films but there is little connection to anything palpable with the exception of the three family films:  Belfast, CODA and King Richard.

Being the Ricardos – There is a lot of positive things to say about this film.  It’s a great concept and a very good story.  It’s well-written and beautifully directed.  The supporting cast is terrific and there are significant points made about women in a male-dominated industry.  On the flip side, there will be a struggle for those who loved I Love Lucy, and Lucille Ball, as it shows this icon at her worst and pulls back the veil to see an underbelly to the hugely popular series.  The fatal flaw, however, is in casting.  Hollywood insists on names for leading roles.  And so we get Nicole Kidman and Javier Bardem.  They aren’t bad.  Actors this good can’t be bad, and Bardem impresses with his musical skills.  If this had been purely a fictional tale they would have been fine.  But it’s not.  They are recreating incredibly well-known people.  Kidman and Bardem fail at truly inhabiting these two “greats.”  You never forget that it is not Lucille Ball and Desi Arnaz on the screen.  This is driven home when they recreate famous scenes from the I Love Lucy show, like the grape-squishing scene.  It just reinforces the idea that these two actors are fine but they are no Desi and Lucy.  It’s enjoyable as a film, its only mistake is in not creating something which feels true.

Belfast – This absolutely lovely black and white film is a study in contrasts.  There are everyday childhood dramas mixed with “The Troubles” of Northern Ireland, loving parents who don’t love each other, a broken home which is hard to leave.  It’s simple but not dumbed down.  Palpably real this speaks to anyone who had that crystalized moment in their childhood when the world beyond the playground became clear.  It’s just frickin’ brilliant.

Black Widow and Shang-Chi and the Legend of the Ten Rings – These Marvel movies don’t move too far out of the box but Black Widow has a nice Bond feel.  Florence Pugh is an excellent addition to the franchise and David Harbour is absolutely hysterical.  Shang-Chi is fresh with yummy lead Simu Liu.  Awkwafina as the girlfriend is an awesome choice.  I really like her in everything.  The return of royalty like Michelle Yeoh gives it gravitas and the Asian motifs, particularly in the final battle, are lovely.  Worthwhile ways to spend a few hours if you aren’t totally over the Avengers yet.

CODA – Young Emilia Jones is proving to be quite the triple threat.  In multiple projects at the same time she can act, sing, hide her British accent and spent nine months studying ASL to perform this role authentically.  Authenticity is the key here.  This is a family.  Like all families, there are issues.  Marlee Matlin, in describing the issues Emilia’s brother has with her, signs that “it’s complicated.”  And it is.  There are layers upon layers in this lovely, sad, sometimes funny film.  Kudos to the entire cast for working together so seamlessly and to the director/writer for making it clear that deafness is only one aspect of the dynamics which make up a family. 

Don’t Look Up – With a star-studded cast this one is billed as a comedy but it’s not funny.  It’s hugely sardonic and takes swipes at enough contemporary villains to get an appreciative grunt here and there but it’s not a laugh-fest.  And the ending.  Oh my.  It also runs almost two and a half hours which makes you feel a bit like being hit over the head with “the point”.  Written and directed by the same talent as Vice and The Big Short it has the same snarky tone but this being more fictional it takes on a darker edge.  Using possible world-wide destruction by a comet as a metaphor for climate change and making a clear comparison to the gross in competence of our former Baby-in-Chief, the anger is palpable with several characters devolving into open screams.  The President and her sycophantic son are too involved in politics to deal, the news is too focused on entertaining to address real news (particularly if it is negative) and the public is more interested in their Social Media streams than on impending world destruction.  Mark Rylance gets a shout-out here for his portrayal of a stilted, ineffectual billionaire.  Other than that the movie is not subtle, and despite the tremendous cast and heavy marketing, it’s not wonderful.  Sometimes rage doesn’t play well even if it’s justified.

Dune – There has been a lot of talk about how they finally made a decent Dune film.  There have been more than a few tries.  On a personal level, I like the miniseries and found the biggest deficit of the 80s version was the times rather than the production value.  So, here we are, 2021 and the tech has caught up, the audience more accustomed to a complex, layered narrative.  Yes, this is Science Fiction.  It is also politics and religion and sociology and a bunch of other things.  And yes, this film is good.  Timothee Chalamet, who is usually pretty awesome, has tremendous balance here.  He’s grown up since his early work.  And it shows.  There is a ton of depth as his character works through the overwhelming challenges he faces.  The relationship between him and his mother is as difficult and unusual here as it is in the book.  The biggest downside is that, of course, to get payoff you are going to have to see the second film.  I won’t mind.

The Eyes of Tammy Faye – This tremendously kind look at a well-known figure helps to take the cartoon out of the woman and show the real person behind all the mascara.  It’s a worthy effort even if it isn’t a great film.  Writing, etc is weak, but Jessica Chastain may have my vote for best actor.  Even knowing it was her I couldn’t see her.  I only saw this big woman who was, in a strange way, a real feminist.  The film made me think, which is saying something.  And I came away with a sense of dimensionality although I can’t respect what she and her husband did and am not sure I buy the whole “too innocent to realize it” excuse.  No matter.  She was a real person with a real life.  This film, glossy though it might be, shows us that it wasn’t all joy and rapture.

House of Gucci – Director Ridley Scott is going to do what he’s going to do.  Taking historical events and twisting them to sell the story he wants to tell is kind of his thing.  And so we have a significantly less-than-historical version of the relationship between Maurizio Gucci and his wife, Patrizia Reggiani.  Well-framed images don’t make the motives clear.  With the exception of Lady Gaga (who is very good) and Jared Leto (who is outstanding) there is a surprising lack of passion and focus for the characters.  Adam Driver, typically a gifted actor, is left swimming in poor dialog.  You are never quite sure of what he wants, why he wants it, or who the character really is.  It seems to change from one scene to the next.  He's not the only one.  This thing is a really long mish-mash.  It’s yet another star-heavy film this year which focuses on powerful white people but has very little to say.

King Richard – Engaging, well done on every level and hugely watchable.  The relationship between Richard and his wife, the family dynamics, it’s all delightful.  Given that the Williams sisters are Executive Producers on it, the film is a little on the sweet side, glossing over the dark, but in this case that’s okay.  It’s a feel-good piece which says what it needs to say.  Brava, Bravo.

Licorice Pizza – I really looked forward to seeing this.  Every year there is some small budget film which gets a lot of attention and this time it’s Licorice Pizza with all the chatter.  Unfortunately I found myself bored and ancy.  It’s yet another 1970s reflection of growing up.  Unlike The Tender Bar I didn’t find it charming.  More like a random collection of snapshots.  The scenes don’t have any kind of through-line, and the protracted scenes with Bradley Cooper playing Jon Peters are, well, kind of pointless.  For me anyway.  Even the title is unconnected to the plot.  Too much inside baseball.  It might have meaning for those who lived it but I wasn’t able to connect.

The Lost Daughter – Echoing the other films this year this movie is more about being atmospheric than it is about storytelling.  Tinged with a sense of isolation and loss we watch Olivia Coleman’s character, Leda, try to enjoy a vacation while being inundated with a large family which reminds her of the family she left behind.  It is part of a handful of films which are exploring the idea that motherhood is not innate to women and that many women who become mothers feel trapped and unfulfilled.  It’s not about judgement but about reality.  It’s good but lengthy.  As good a Coleman is I was more impressed and interested by the actor playing her younger self.  That’s the part where the character’s impossible decision is made.  The rest is just reflection. 

The Matrix Resurrections – There is nothing new here.  Like a TV show that has run out of juice it plays like a clip show with way too many references to the previous films.  It’s a sign that they don’t have anything new to bring to the tale.  Jessica Henwick and Neil Patrick Harris are fun and Jonathan Groff is terrific (dude, it’s Jonathan Groff, he’s always terrific) but that’s about it.  The two-and-a-half-hour film feels much longer.

Nightmare Alley – This star-studded film noir runs long and feels like it.  Not that it isn’t entertaining.  If you are into this style of film it’s kind of brilliant.  A dark morality play which goes where you figure it will go but is visually engaging and full of colorful characters.  It was enjoyable, but for me not  particularly memorable.

No Time to Die – Not a huge Bond fan I stopped watching the films long before Daniel Craig’s turn at bat.  So I was pleasantly surprised at this really layered, deep and emotional film.  I mean, yes, there are all the familiar Bond tropes but they are wrapped in good acting, a complex script and a real story.  Of course, there is a strange villain trying to destroy the world from an island (with a bunker which looks a LOT like the one from Indiana Jones and the Last Crusade).  The narrative, however, plays into love and loss and choices.  It makes the whole thing just a teensy bit relatable.  Before the inevitable explosions and such.  It’s worth the bulky two hours and forty-five minutes which flies by.

Passing – Any attempt to describe this layered, twisty film would fall flat.  It’s art.  It’s poetry.  It’s depression and grief and love and hate and jealousy and so many other things.  The weight of the emotional burden falls on actor Tessa Thompson.  In the dialog-light film the camera lingers on Ms. Thompson time and time again.  She is a figure in the background who is framed or blocked by objects in the foreground.  One stares at her tightly drawn face as she works through an uncounted number of emotions.  None of them are simple and none are clear-cut.  The sometimes-fuzzy point of view is that of her character.  The editing jumps from one point in time to another making the film feel like jagged snapshots of a life.  You are never quite sure of when and where you are but have an overwhelming sense of atmosphere.  Ruth Negga, who has gotten the lion-share of attention for her work here plays the flirtatious, fatalist flapper.  Her deception is the focus of the title but only a small part of a much bigger story of lives lived unfulfilled.  The enigmatic ending nags and pulls at you.  What does it all mean?  I’m not sure and viewers will undoubtably debate about it.  One thing I do know that you will be just a touch haunted long after the movie ends. 

The Power of the Dog – This must be the year when films aren’t what they seem to be.  This is not a western.  Not really.  It’s a psychological drama which happens to be set in Montana in 1925.  So, yes, there are horses and cattle and that’s important to the storyline, but it isn’t what this film is about.  With a surprising number of similarities to Passing this one focuses on people and their relationships with each other.  Some of those relationships are toxic.  Also told in snapshots without a clear timeline the vistas impress and the camera work by Jane Campion is as amazing as ever.  And yes, there is a piano although it is only an element of the tale and not the primary driver of action.  It’s a brilliant film but not an easy one.  And, just a warning, it will make some viewers cringe from time to time (mostly vegetarians).  That being said it’s my expectation that this one will be walking around with a good deal of hardware at award time.

Respect – I love Jennifer Hudson.  I always have.  That being said, a biographical film is always a challenge.  You are asked, in two and half hours or so, to encapsulate the totality of a complex and often very well-known life.  Jennifer Hudson is probably one of the few people out there today who can do justice to Aretha Franklin’s singing as copying the style and intonation of another singer is hugely hard.  Unfortunately the engaging singing is where any value to this film stops.  The storytelling is weak, the script even more so.  Ms. Franklin goes through huge changes in this tale but there just isn’t enough meat on the bone to explain how she grows and comes into herself.  Dark moments are glossed over, Jennifer Hudson goes from being shy to self-assured in a jarring instant.  When the credits roll at the end and you see the real Aretha Franklin, it’s a relief.  That’s not a good thing.

The Tender Bar – I get fidgety these days while I’m watching TV.  That wasn’t the case with this film.  From the beginning, when dialog is minimal, I felt myself roped in.  Every word was loaded, every expression hugely telling.  A look provides a dozen emotions.  It’s not a “grand” tale, just slices of very normal, everyday life.  But it’s sweet and a little funny.  It’s tremendously real.  Characters are hugely engaging, including name-actors who manage to just melt into the roles and leave ego behind.  It’s a quiet story which is very well written, well shot and well told.  Brava, Bravo.

tick … tick … BOOM! – A tiny, lovely jewel in this year’s film offerings I can’t say it’s the best (impossible to compare apples to oranges) but I can say it struck a (literal) chord with me and is a true favorite.  I thought I knew the Jonathan Larson story.  I didn’t have a clue.  This film, based on Mr. Larson’s second play (Rent was his third), is a biographical piece with a lovely fusion of brilliant songs and remorseful stand-up style monologues.  It’s just down-right endearing.  Snaps to Andrew Garfield who manages to step aside and let the character shine through and to Alexandra Shipp, who is effervescent in her role of partner/lover/ex for the Larson character.  Don’t blink as there are notable (like, really, really notable) cameos throughout, particularly in the “Sunday in the Diner” scene.  And yes, that is really a tape of Stephen Sondheim leaving a message on Jonathan Larson’s answering machine.  A close look at a life too brief, a man whose gift we only began to understand before he was taken.

The Tragedy of the (Scottish Play) – I’ve seen a lot of Shakespeare.  A LOT.  So I’m picky.  This is visually stunning.  Art with a capitol “A”.  It’s a surrealist/Dali-esque portrayal of the famous play.  The big “but” here is that pretty-to look at doesn’t necessarily make for a brilliant production.  Joel Coen directs and I have some issues.  His heavy (heavy heavy) use of the “Z axis” is interesting at first but becomes wieldy and distracting.  Many of the lines are delivered in an almost deadpan way.  Emotion is muted.  Sentence after sentence is delivered in a whisper.  When Mr. Washington’s character has to make his tortured, fatalistic choice, he has the emotional equivalent of picking out white blinds or beige.  When asked by his wife to return the bloody knives to the sleeping bodies of King’s men, his general attitude is “ehh?”  He finally seems to wake up about half-way through but by then I have long since stopped caring.  I can’t help but feel that the actors were directed this way.  Early on there is some exposition and the film pivots to a mime of the action being described.  To me, it said that the director didn’t trust the words, which is critical for Shakespeare.  Also early on Alex Hassell gives a throwaway line great import but the rest of his speech is monotone.  Corey Hawkins was making it work as Macduff until his character’s family is killed.  And he goes flat.  I didn’t get it.  I also didn’t get the bizarre and distracting fake eyebrows on Bertie Carvel, who played Banquo.  A few actors were able to rise above.  Kathryn Hunter entrances with her gorgeously unique take on the witches.  Frances McDormand is a study in sly subtlety and steals every scene she’s in (which is saying a lot given that her scene partner is Denzel Washington).  Stephen Root made the most of his comic cameo.  Moses Ingram is absolutely lovely and grounded and real in her one scene.  The sad thing is, however, that this film as a whole is lacking in sound and fury and in the end, signifies nothing.

West Side Story – This is simultaneously a lovely homage to the original as well as a beautiful updating of a classic film.  Slightly longer than the 1961 version the songs and dancing are still there but this time there is more context, more foundation, to explain the inherent racism of the times.  Sadly this film still speaks to our current times where Americans are pitted against each other and have retreated into tribes.  It’s a wonderful adaptation and worthy of watching.

"Abbott Elementary"

Television, with all of its stories, has rarely been able to tell a good tale of teachers and schools.  The previous attempts have been too slapstick ("Bad Teacher") or too melodrama ("Room 222").  Until now.  "Abbott Elementary" does the impossible.  It takes the banal day-to-day, and using "The Office" mockumentary style, makes it funny.  But it also is grounded in something real.  Very real.  Huge credit here goes to creator and lead actor Quinta Brunson who has made something so authentic it reminds me of myself in those early years.  An idealistic new teacher hoping to change the world and jump in at every opportunity.  (The series also does a nice job of showing what teachers are like after they suffer through a few years -- still committed but very aware of the limitations of their roles).  I have laughed out loud, episode after episode, not only because of the funny but because of the recognition.  Yes, there are principals like this, broken schools and a lack of funding.  It's ironic, touching and maybe just a bit sad.  But I get it.  For the first time ever, I really do.  Worth watching, particularly at a time when teachers are feeling unappreciated.  

"Women of the Movement"

I was hesitant to watch this limited series because the previews made it look dour and preachy.  It wasn't.  The producers cleverly allowed this to be a story of people, humans, individuals.  It is the story of a mother and her son.  Adrienne Warren, as Mamie Till-Mobley, is entrancing.  You can't look away from her.  Her determination, her pain, they play across her face like an impressionist painting.  It's a rainbow of shimmering emotions.  Glynn Turman as Mose Wright, the uncle who takes Emmett to Alabama, is also a portrait of grief.  The directors, notably all women, allow the characters to linger in close-ups.  We see the minds of these people as they move through complicated and impossible issues.  Perhaps the most striking scene in the entire series is when Emmett's body is back in Chicago.  Ms. Warren, as Mamie, holds his foot, his hand, touching him and remembering him only the way a mother can.  It tears at your heart almost more than his gruesome murder does.  First and foremost this is a story about a child who was killed rather than the movement his murder inspired.  It's not 100% historically accurate.  The facts about Emmett's murder are unassailable but the surrounding timelines, the inclusion of adults in his family and friends are sometimes manufactured or manipulated.  In the last episode historical footage is included presumably to give weight to the narrative.  It's not necessary.  This is one of those times that the actors carry the story brilliantly, and it is enough. 

"The Electrical Life of Louis Wain"

This film should be good.  It has brilliant actors -- Benedict Cumberbatch and Claire Foy -- and a lovely story to tell.  And the individual scenes are fine.  But there is no thread holding it together.  The through-line is ragged, the motivations unclear.  There are even jump-cuts (poor editing) which is very unusual for a British-made production.  It's another one of those "giving us snapshots" movies which doesn't have a real direction to go.  And so it becomes a bit of a slog.  Under two hours it feels much longer.  The sad truth is that this might be a tale of a brilliant man with great dreams but ends up being a simple story of a failed visionary, an artist who painted cats and died in a mental asylum.  

"The Undocumented Americans" by Karla Cornejo Villavicencio

Ms. Villavicencio is angry.  It's obvious in the writing and it bleeds out through the pages.  There is the introduction, where the swearing is prolific.  And then she moves on to interviews of specific groups -- a chapter on day laborers in NYC leads to stories of undocumented workers who helped with the 9/11 cleanup and were then abandoned by the U.S. government.  There are women who lack medical insurance in Miami and in Flint, Michigan.  In Cleveland an undocumented father is taken from his family and in New Haven the author's own family struggles play out.  Ms. Villavicencio has reason to be angry and doesn't apologize for her rage, making it clear that she didn't write this book for people to like it.  But it is a worthwhile read.  With a tremendous lyricism she paints the portraits of Americans, so many Americans, who live a partial existance in this country.  The stories are visceral and haunting.  It's more than a little possible you might be a tad angry after reading about the supreme unfairness of it all.  It was a National Book Award Finalist and made the New York Times 100 Notable Books list in 2020.  Open your world and see through other eyes.  Being able to do this is what really makes us Americans.

Holiday Films

Must be “the season”. 

Peloton has an inappropriate series of commercials, Hallmark released a whopping 35 holiday films and I can’t walk into a store without Christmas Muzak playing.  I watched through a good number of the newer offerings on the aforementioned Hallmark networks as well as on Lifetime, Netflix and Amazon Prime but I barely touched on the ones from other networks.  There were so many holiday films (almost exclusively filmed in Canada) that some of the same actors appeared in multiple movies. 

Let’s face it, none of these are going to be It’s a Wonderful Life or Miracle on 34^th Street.  They are primarily designed for one thing … something to have on in the background to help get you in the mood while you are madly cleaning and decorating.  They all have predictable plots with sometimes iffy writing and/or acting.  They all have small towns and snow and a sugary meet-cutes.  There is enough hot chocolate and gingerbread to put one into a diabetic coma and often a contest of some sort.  There is also a manufactured crisis (usually involving some big evil corporate entity) which is miraculously solved on Christmas Eve.  Women are almost universally convinced ditch their big city corporate dreams and move back home.

Some of these are actually worth a couple of hours.  Some are not.  This year the best ones for me were the ones with known, experienced actors who managed to rise above the sugary sweetness to create a real moment here and there.   

Best of the Bunch

The Christmas House 2:  Deck Those Halls – I vaguely remember liking the first edition of this story a year ago, but, like so many of these tales, it didn’t really stick with me.  I have to say though, I can’t help but feel the latest installment is better than the first.  It’s a stellar cast and since we are past the “will they or won’t they” stage the tropes are left behind.  Instead we have a chance to truly explore the meaning of Christmas along with sibling rivalry, the challenges of parenthood and the impossible choices that come with blended families.  It’s good.  Really good. 

A Very Merry Bridesmaid – Emily Osmet and Casey Deidrick.  At their worst, these films feel forced and fake, as if they are just checking off items from a list of plot developments.  At their best, like this one, they feel real and grounded and have at least one or two story twists you may not see coming.  Admittedly, I like Emily Osmet, a lot, and Casey Deidrick ain’t bad either.  The whole cast is pretty good.  And yes, near the end I felt the slightest hint of a tear.  A real one, not one from being emotionally played.  Very entertaining.

Crashing Through the Snow – This one abandons every trope and focuses on the challenges which come with newly formed blended families.  It’s not tidy and it’s well acted (Hello Amy Acker!).  Brava, bravo.

Single All the Way – Michael Urie and Philemon Chambers.  Just like any other Christmas movie this one is tremendously watchable.  It’s also nuanced.  The love interests aren’t generally bad or good, just maybe one is better than another.  The mom wants to support her gay son but works so hard at it that she really doesn’t see him.  The crazy aunt is perhaps a sad alcoholic.  The teen girls, addicted to their phones, have some insight.  It is what you expect and not.  And I like that.

The Holiday Fix Up – Jana Kramer and Ryan McPartlin.  There is absolutely nothing original about this film but good writing, acting, even editing make it highly watchable.  With an HGTV twist and a fair amount of charm and chemistry, it works.

A Christmas Proposal – Jessica Camacho and Adam Rodriguez.  Pretty Woman allusions aside (there are more than a few) this is grounded by really decent actors – Ms. Camacho being a hugely watchable performer.  It suffers just a touch of The Sound of Music problem … Rodriguez is so convincing as a jerk that you really have to take a moment to buy into his transformation … but if you can make that leap it works.  And is just lovely.

“Princess Switch” movies – Vanessa Hudgens (and Vanessa Hudgens and Vanessa Hudgens).  This isn’t your typical holiday fare, more like a modernized Prince and the Pauper set at Christmastime.  They are light, fun, enjoyable and don’t take themselves to seriously.  Good popcorn movies. 

A Dickens of a Holiday! – Brooke D’Orsay and Kristoffer Polaha.  Here’s the truth – this is about a community theatre production and stars two actors I like a lot, one of whom I’ve had a crush on for a long (long) time.  So, I was always going to like it.  But I beyond all of that I do think this film has merit.  It’s not cute.  Not even a little.  Grounded and layered the script draws connections between Polaha’s superstar character and the isolation and emptiness of Scrooge’s life.  It’s smart and I wasn’t even tempted to look away.

An Unexpected Christmas – Bethany Joy Lenz and Tyler Hynes.  This one is actually well-written and plays just a little like some 1930s screwball comedy.  The dialog feels real.  Bethany Joy Lenz is well-named and just a pleasure to watch.  The family dynamics are both delightful and a bit torturous.  Like a normal family.  It works.

A Picture Perfect Holiday – Tatyana Ali and Henderson Wade.  Nothing particularly original here but it has, dare I say it – charm?  It’s fun.  The two leads do a great job batting the lines around with a kind of perfect tone.  It’s a playful tease with a lot more “I’m interested” than “I don’t like you.”  My only complaint is that it plays back on the theme so many of these films have, that hard-working women are inflexible and rigid and just need to get the hottie and loosen up. 

Reba McEntire’s Christmas in Tune – Reba McEntire and John Schneider.  ‘Nuff said.

Christmas Sail – Katee Sackoff and Patrick Sabongui.  Funny how you can have the same elements in dozens of films and sometimes it works and sometimes it doesn’t.  Strong actors, a slightly better script, a small twist here or there (this one takes place on a boat) and a predictable film is just less sappy and more grounded.  This one has all the strengths and few of the weaknesses of films of this type (and Terry O’Quinn doesn’t hurt, either).  There is sadness which seems pervasive in this year’s batch of holiday films but here it doesn’t take away from the hope.  Enjoyable watch.

Next Stop, Christmas – Polar Express meets Sliding Doors meets It’s a Wonderful Life in this clever holiday film.  Maybe you know where it’s going, maybe you don’t.  I really liked that it is fresh and Lyndsy Fonseca does a great job finding the balance between humor and going just a tad insane.  Terrific couple of hours.

Christmas at Castle Hart – Lacey Chabert and Stuart Townsend.  In a strange twist this film is almost identical to the new Netflix film A Castle for Christmas.  Both have great scenery of the actual locations, a grumpy nobleman, a castle in financial straits.  In both films our leads take bicycles to a local castle and end up with a private tour.  Weird.  And I swear, it’s not my heritage that says this film is better.  It’s just faster paced, has bigger stakes, more laughs and more energy.  It’s not perfect.  The age difference between the leads is palpable.  Ms. Chabert looks years younger than her 39 and Mr. Townsend looks every bit his almost 50 years.  And there is more than a little bad digitizing attempting to turn Ireland’s green into a snowy landscape.  That aside, it was very enjoyable.  I also can’t help but think that there were a few digs on the other film.  Ms. Chabert’s character makes asides about Scotland and knitting.  Maybe coincidence.  Maybe not.

The Bitch Who Stole Christmas – I truly don’t know where to begin.  Is it different?  Oh my, yes.  Refreshingly so.  Replete with naughty names, double-entendres, massive send-ups of Christmas films and meet-cutes this one left me smiling.  I had expected a longer version of some of the Drag Show skits.  Instead there was a real story and actual song and dance numbers, not to mention more than a few familiar faces.  It’s rude, crude, doesn’t take itself at all seriously and it’s a delightful change-up from the saccharin sop.

Decent

A Dance Reunion Christmas – Monique Coleman and Corbin Bleu.  This one would be a total loss based on every trope in the book, but the energy and downright charm of Ms. Coleman and Mr. Bleu allows it to exceed expectations (Kim Roberts as the mother isn’t bad either).  Unlike many of these films the scoring is thoughtful and adds to the narrative.  The dancing, and chemistry, is a delight.

The Christmas Contest – Candace Cameron Bure and John Brotherton.  Candace Cameron Bure is the undisputed queen of the Hallmark Christmas films and John Brotherton is just adorable.  There is nothing particularly original here but nothing cringeworthy.  I made for a nice hour and a half (if you speed through the commercials.)

Holiday in Santa Fe – Emeraude Toubia and Mario Lopez.  The least interesting part of this film is the so-called romance which includes every cliché in the book and a scary amount of Botox and filler on the face of Mr. Lopez.  The real story is that of the sister.  Aimee Garcia, fresh from Lucifer, steals the show with a storyline about finding oneself amidst grief.  She is energetic, joyful and very real.  She feels like a sister.  And the kid is cute, too.  Yes, you can make a holiday film without snow.  Brava, Ms. Garcia.

Sister Swap:  A Hometown Holiday and Sister Swap:  Christmas in the City – Kimberly Williams-Paisley and Mark Deklin, Ashley Willams and Keith D. Robinson.  Real-life sisters Kimberly and Ashley provide a nice grounding to these paired films with few new twists.  Keeping with the theme of sadness in this year’s films there are some losses but the grief resonates without saturating.  The supporting cast, which includes the likes of Kevin Nealon and Jim Byrnes in relatively small roles, is strong.  In the first film the cute kid is partnered with a teenager making the kid less sugary.  In the second film the gay couple saves the day.  There is a little déjà vu as scenes between the sisters are repeated in each film.  The first has better chemistry between leads, the second has a more interesting storyline (IMHO).  Feel free to play it in the background while doing Christmas cards, as I did.

You Make It Feel Like Christmas – Mary Antonini and Michael Xavier.  Some uneven acting and a touch of sadness don’t dampen a pretty good film which breaks up all the suppositions you might have in watching a so-called “Christmas movie”.  The story is fresh, the energy real.  Relationships are muddy and people spend a good deal of time thinking through things.  Really thinking through things, not just glancing at one another over a hot chocolate.  Brava, Bravo.

Baking Spirits Bright – Rekha Sharma and Dion Johnstone.  What I like about this … Ms. Sharma’s character is smart.  She is, unfortunately, a little harsh but she’s not wrong in sticking to her guns, which she does for the betterment of her family business.  The script is so-so and there are some bumpy moments but it all works out okay.

Secretly Santa – Alicia Dea Josipovic and Travis Nelson.  A backwards Cinderella meets Sleepless in Seattle in this kinda fun, kinda boring film.  Interesting – the two leads know each other in two lives, one where they like each other … a lot.  Not interesting – their work competition/bickering.  It works out the way you would think and has lots of hot chocolate scenes.

Sugar Plum Twist – Jamie Gray Hyder and Laura Rosguer.  Including the romantic stuff as a secondary storyline this is a very authentic tale of two Hispanic women in the dance world (mentor and mentee) working to find their true selves.  It is miles away from the so-called “diverse representation” quotas in other films and comes off as something highly watchable and something you invest in.  You want these women to succeed.  It’s different.  In a very good way.

A Castle for Christmas – Snaps for leads Brooke Shields and Cary Elwes, who are incredibly watchable, along with a terrific supporting cast.  There are great shots of Scotland and a cute dog.  There is also some odd scoring, occasionally weird editing and a thin plot which was so predictable that the arrival of the afternoon crows outside my window was more interesting than the inevitable romance.  That being said, Brooke and Cary … worth it.

The Enchanted Christmas Cake – Erica Durance and Robin Dunne.  To be honest I was more interested in the plot for this than the characters.  It’s a bakery mystery with a lost recipe.  Erica Durance is a favorite actor who unfortunately has fallen into the injectable fillers trap, making her face, like so many others, look weird.  That aside, she’s genuine.  Robin Dunne would be forgettable if not for the fact that he chose to play the role with a high degree of awkwardness, which comes off as interesting and charming.  The film is very flawed – inconsistencies in the script mean that the “missing ingredient” is mentioned in the opening as having been tried and dismissed.  The climax is convoluted and comes out of nowhere.  That aside, there is a little something here.  But not a lot.

‘Tis the Season to be Merry – Rachel Leigh Cook and Paul Essiembre.  She’s great, he’s “meh”.  So that kinda describes the film.  Some of it is terrific, some it is fairly low energy.  But the script is decent, and in the hands of the stronger actors, it works.

Match Made in Mistletoe – Natalie Lisinska and Damon Runyan.  This is about as middle of the road as you get.  No surprises, a lovely job by Ms. Lisinska, a cute kid and some sketchy acting here and there.  It’s as “okay” as it gets.

The Nine Kittens of Christmas – Kimberly Sustad’s character seems perpetually depressed (and a little mean).  But you have Brandon Routh, Gregory Harrison and nine kittens.  NINE.  I mean, do I need say more?

Coyote Creek Christmas – Janel Parrish and Ryan Paevy.  This one uses every tired old premise in the book (hard driving woman who is an event planner, a snow-covered country inn which is about to be sold, a gay friend, a cute kid) but is saved by Ms. Parrish, who brings energy and warmth to her role. 

Open by Christmas – This one works because of seasoned actors who made a kind of slow, predictable tale work.  Thanks to them, and a very unusual plotline, there is emotional payoff at the end.  And let’s hear it for making the relationship between two women friends, and their search for “self” just as important as the romance.

A Fiancé for Christmas – Amanda Payton and Adam Gregory.  I liked Ms. Payton’s character, from the beginning.  Her character has a real career and she is grounded.  And funny.  And she eats.  Some of the acting is awkward.  Some of the story is awkward.  And the ending is really really awkward.  But it kind of works.  For an hour and a half, anyway.

A Christmas Treasure – Jordin Sparks and Michael Xavier.  Low stakes leads to low energy but Ms. Sparks and her potential beau are beautifully grounded.  Unlike so many of these things, this story feels almost real.  And you get to hear Jordin Sparks sing, so …

You, Me & The Christmas Trees – Danica McKellar and Benjamin Ayres.  There are achingly bad actors in supporting roles who really distract but the story isn’t overly sweet and the two leads build their attraction slowly and believably. 

A Kiss Before Christmas – Teri Hatcher and James Denton.  The script is painfully stiff at times but Teri Hatcher and James Denton together again is worth watching.

My Christmas Family Tree – A strong cast and a not-primarily-romance-based plot make this one watchable but it’s a little on the sad side with a hugely predictable twist and a manufactured crisis for the climax. 

Under the Christmas Tree – Elise Bauman and Tattiawna Jones.  A paint by numbers plot would make this one a pass but a terrific supporting cast, including Enrico Colantoni and Ricki Lake give it enough oomph to watch.  The leads aren’t bad either.  

Blending Christmas – Hayley Duff and Aaron O’Connell.  It’s not great but there is a slight interest for Brady Bunch fans as it reunites most of the original cast of kids (who are now all AARP recipients).  It’s an homage, complete with iffy acting.  So, if you enjoyed the original show, enjoy.  If not, it’s a pass.

An Ice Wine Christmas – Delightful Roselyn Sanchez brings the smiles and energy with hottie Lyriq Bent bringing the steam.  Unfortunately these two don’t make this predictable cookie-cutter film interesting.  It might make you crave Ice Wine but not more story.

It Takes a Christmas Village – Brooke Nevin and Corey Sevier.  She’s great, he’s dour.  And he kind of whispers every line (he started his so-so film career as a model … not a surprise.)  But he has puppy-dog eyes.  So it kind of works now and then.  But it has a sad undertone.  Like so much these days.

A Royal Queens Christmas – Megan Park and Julian Morris.  It’s not bad but not particularly good.  Hugely derivative with accents that are all over the place the acting isn’t bad, the story incredibly predictable and the Prince’s major domo is often more interesting than the leads.  It’s like smashing together a host of films you have seen before.  Films you like but this is, well, nice to have on in the background.

Eight Gifts of Hanukkah – Inbar Lavi and Jake Epstein.  Despite the talents of the delightful Ms. Lavi and the switch-up from Christmas to Hanukkah, there isn’t anything new here.  It’s watchable but just barely.

Candy Cane Candidate – Jacky Lai and Jake Epstein.  He’s charming, and, given the plot, she’s a tone-deaf (w)itch.  The political plot doesn’t resonate in our current times and some of the supporting actors are painful in their inability to act.  But the leads have energy, which is something.  Not much.  But something.

Christmas CEO – Marisol Nichols and Paul Greene.  This one isn’t lousy but it barely made the cut.  The actors are fine and there is a cute kid but that’s about it.  The whole thing is “meh” … predictable and full of tropes typical to these kinds of movies.

Christmas Movie Magic – Holly Deveaux and Drew Seeley.  This one is so bad that it’s almost good.  Almost.  But not.  In an attempt to inject magical realism into these tired old plots there is a (movie) story within a story.  But the dialog and acting are so bad – stilted and off – that it’s hard to take anything very seriously.  (Honestly, a so-called journalist mispronounces “Pulitzer” in the first five minutes and the term “Happy Endings” is used a LOT … with no double-entres.)  Honestly, this one might make for a good drinking game, but that’s about it.

Nope

I could tell you what is wrong with each of these or I can just say one thing … “no”.

·       Nantucket Noel

·       Dancing Through the Snow

·       Making Spirits Bright

·       Christmas in Tahoe

·       Welcome to the Christmas Family Reunion

·       Say Yes to Christmas

·       A Christmas Together With You

·       Gingerbread Miracle

·       My Favorite Christmas Melody

·       The Christmas Thief

·       Boyfriends of Christmas Past

·       The Santa Stakeout

·       Maps and Mistletoe

·       Ghosts of Christmas Past

·       Toying with the Holidays

"My Life is Murder"

I'm falling in love with Lucy Lawless again.  No worries, her character in this murder mystery series is as different as you could get from her earlier role (yes, "that" role).  With almost her real hair color and almost her real accent this is a woman who is more comfortable in her own skin than Xena ever was.  The clothing is silky and flowing, nothing leather and constricting.  Her role, that of former police officer Alexa Crowe, is quiet, reflective, thoughtful.  (And yes, it is making my Alexa device go nuts).  The quirky humor and alluring blue eyes are still there but they are masked with some pain and loss in the character she is playing.  Sidekick Emily Vagulans is a treasure and a perfect foil for Ms. Lawless' subtlety.  And there are cats.  That's another story.  Set in Melbourne in season one the arrival of Covid caused a major change in season two.  Production moved to Aukland and many roles were recast.  Season two has a couple very notable guest stars -- William Shatner and Renee O'Connor.  The show is gorgeous to watch, beautifully filmed, but a tad light on plot.  The downside is that the mysteries aren't exactly clever.  It's not really about figuring out whodunit as much as watching the path taken to get the murderer.  By their own admission the producers (including Lawless) have said that they are just looking to make something which is entertaining to watch.  Murders aside, this show is full of light.  Not the least of all is the presence of a woman who both grounds and elevates so much of what she chooses to be involved in.  Brava, Lucy.  Let's hope that ACORN renews it for season three.

"Maid"

This top-rated show on Netflix deserves all the chatter but it is not an easy watch.  Based on the book by Stephanie Land the limited series covers a single year in the life of a very young woman.  In an attempt to leave an abusive relationship she hits one roadblock after another.  The tale makes it very clear that all the government programs designed to help those who are struggling often have impossible-to-scale walls.  It also makes it clear that an abusive relationship is not what we might think it is.  The lead character here has no bruises and doesn't believe she is "one of those women".  The series does a terrific job showing the complexities, and subtleties, between the abusers and their victims.  We often wonder how a woman can return to someone who has abused her.  Here, you see that there is no simple answer and yes, financial independence, or lack thereof, can play a role.  It's touching, thought-provoking and very well performed by the entire cast, including the mother-daughter team of Andie MacDowell and Margaret Qualley.  Stephanie Land got out.  It took sheer force of will on her part and making more than a few impossible choices.  One wonders, after watching this, how many women simply can't get there.

"Coco Before Chanel"

This french language film isn't just informative and interesting, it's downright charming.  Audrey Tantou does an absolutely lovely job of portraying the icon in her formative years.  A woman trying to fit in who knows she does not.  A woman with desires she can't achieve or doesn't understand.  In typical french filmmaking style there are a good number of sections with little dialog and lingering closeups.  Audrey shines in these moments as conflicted feelings dance across her face like ghosts haunting her psyche.  It's a film of seeking and becoming, of searching and sometimes finding that which you had never expected.  It's a woman's film but most of all it is a human film.  A terrific watch.

"The Umbrella Academy"

Took a while to get into this one.  There are lots of characters which means a lot of exposition.  It took more than half of the first season to get to some real action and then I guessed the big reveal at the end of season one.  I also don't like that this is one of those shows where the dialog is so quiet that you have to crank the volume, and then, when the (kinda awesome) soundtrack plays you have to pull the volume back down.  It's distracting and irritating.  That being said the show grows on you.  The acting is strong, the emotion real.  While you might have some idea as to what is coming you begin to care.  Which leads to watching the next episode, and the next, to see how things turn out.  It's worth it.  And the second season twist?  Delightful.

"Ghosts"

I kind of love this show.  One of those, "Yay, it's a new episode, I can't wait to see it" things.  The show is a UK remake and, unlike many UK imports, it doesn't seem watered down.  There is a terrific cast which just makes the whole thing layered and rich.  It's smart funny, which I like.  There are fast one-liners which will have you on the floor but you have to pay attention to them.  It's like watching a great sports game -- just keep your eye on the ball.  Absolutely a keeper.

"Coming 2 America"

This sequel, coming some 33 years after the first film, has been criticized as being a watered-down version of the original.  I would agree, but not.  What is seen as being watered-down is bringing it up to speed with the current atmosphere.  Quite frankly, much of what passed for funny in 1988 is seen as downright sexist today.  Without apology the sequel tells a similar story but flips it on its head, giving women not only power but a voice.  And yes, "Black Panther" definitely had an influence here.  That's okay.  With most of the original cast making appearances and those terrific barbershop scenes making a return (I've always wondered if Tyler Perry thought up Madea by watching them) it's entertaining if not racous and rude, like the original.  Did I like it?  Yes.  It was entertaining which is all we ask of this type of film.  For me, anyway.  If you watch the original and think it is the funniest thing on the planet this movie may not be for you.  If you liked the 1988 film but cringe a little here and there then you might like this ever-so-slightly more PC take.  Your call.

"Annie Live!"

Annie has never been a favorite musical.  Other than two terrific songs it's always seemed, to me, to have a weak book and be light on plot.  One of those musicals where the only purpose of dialog is to get you from one song to the other.  That being said the recent NBC live performance was just lovely.  A few technical issues aside the undeniable star is Celina Smith.  She doesn't just have one of the best belts I've ever seen in a singer, much less a 12 year-old one, she simply lights up every scene with her smile and her energy (not to mention competing for attention against an adorable dog).  The company of girls playing the other orphans also deserves a significant nod.  They have the same high energy and pull off some breathtaking choreography.  It's definitely a show where the kids outshine the adults but that's the way it was written, right?  Another round for Ms. Smith who, I hope, has a terrific career in front of her.

"Flipped"

Not sure how I missed this Rob Reiner film which is already eleven years old.  I make it a point to see everything the man has directed and have never disliked a single film he's made.  This one is quiet and sweet.  Perhaps it was so niche that it was overlooked?  1957.  Bryce moves into a new home and is immediately repulsed by Juli, who forms an immediate crush on the boy.  Then, the movie flips.  And we see the first encounter from Juli's point of view.  It continues.  Into tales of school and trials and tribulations and growing up.  The story continues to flip from one point of view to the other.  It's fascinating and a little adorable.  I felt I couldn't look away.  Will Bryce and Juli ever see things the same way?  (Vision is an element of the tale).  Based on the Wendelin Van Draanen book this one is a keeper.  I just wish more people knew about it.

"Let Them All Talk"

This film has one of the most amazing casts we've seen in a good long while and the fact that it was shot, during Covid, mostly on a ship in about a month is equally impressive.  Typical Soderbergh, there are a lot of people sitting around talking.  Given that it is Meryl Streep, Dianne Wiest, Candice Bergen and Gemma Chan doing most of the talking, I'm fine listening.  It's a good way to explore the deep-seated issues between old friends and the problematic relationships of new ones.  The sticking point is that this kind of thing can only go so deep.  When we get to the "real stuff" in the film the emotion is muted.  Soderbergh literally pulls the camera back and distances the viewer from the emotional fallout.  In the end Wiest's character seems to have little relevance, Bergen's character doesn't get any resolution and even the sweet nephew, played by Christopher Fitzgerald, comes off as petty and a bit shallow.  It's interesting to watch for a time but I found myself asking, when it was over, what was the point?  In good literature a character makes a journey, physically, psychologically.  In Soderbergh's films people remain basically flawed, sitting at a table drinking and talking, musing about life but not really living it.

"Cruella"

As far as prequels go this one is top-notch.  It might not satisfy the action film crowd who crave explosions and violent action but it does create a complicated, nuanced explanation of why Cruella is just so darn bad.  Filled with twists and turns you may not see coming there are few places where Estella has a choice on the difficult path of her life.  When she does choose for herself it isn't the person society wants her to be.  And that's the reason I enjoyed the film, because it allows the character to be real even if it isn't pleasant.  An outstanding cast rounds out this very watchable movie.  Beyond Emma Stone's lovely perfomance in the titular role, be prepared to relish Emma Thompson as a really, really, awful human being.  She manages to do it with zest and avoids the tendency in these things to be a two-dimensional cartoon character (bad memories of Angelica Huston in "Ever After").  Enjoy!

"The Wonder Years"

This remake has heart and pathos and Dule Hill in probably the best performance of his life.  Not big on the comedy but huge on the soft, sweet feelings.  Nostalgia squared.  'Nuff said.

"Ordinary Joe"

One of the more complicated stories I've seen on network TV in a long time, this one is great but requires a massive amount of concentration.  Wonderful James Wolk plays the same man in three iterations of his life, each 10 years after his college graduation where he had multiple roads he could have travelled.  After clear delineations between the different storylines in the first episode you have to learn to recognize the sometimes-very-subtle shifts between the three men's stories.  It's made slightly easier by lighting and differences in the character "looks" (hair, dress, etc).  The entire cast, including Wolk, has to shift as well, slipping into slightly altered versions of the same persona.  It's not a small feat and the production does it as well as one can.  Our job as viewers is to follow along.  I am intrigued by the "what if" scenario.  Like "Sliding Doors" we always wonder what our world could have been if we just made a different call at a crucial point.  This show's major message is clear.  No matter what path you take there are challenges everywhere.  Turning right instead of left doesn't necessarily improve your life it just gives you a different perspective.  Worth the time.  A thinking person's show.  A real rarity in this day and age.

"The Big Leap"

So, of course, I'm not wild about the top new show ("La Brea") and the show I do like, "The Big Leap" is at the bottom of the ratings for the freshman pack.  I'm the first to admit it's not artful, but it doesn't have to be.  It's fun.  It's a terrific cast (Scott Foley, Piper Perabo and Teri Polo are joined by terrific fresh faces like Simone Recasner and Karen Rodriguez).  It's a great premise.  It has all the skeez of "UnReal" but is more PG.  Maybe the ratings are low because Americans like to believe that reality TV is, you know, real.  I don't mind the veil being pulled back.  It shows how we are addicted to the so-called drama of other people's problems and makes it clear that what we see on those shows is usually manipulated.  And it's got dance!  Worth an hour (or, you know, 42 minutes).

"La Brea"

The top new show of a lethargic fall TV season, I really want to like this more than I do.  I keep watching.  A little Sci-fi, a decent cast, but somehow it's not coming together for me.  For one thing, it's a little derivative.  With huge echoes of "Lost" and "Land of the Lost" there has been, so far, not a single plot twist which has surprised me.  It's also somewhat plodding.  Despite the urgency of the story there is not a lot of energy in dialog or action to deal with things.  Mostly, it's stuff like "planning" to fly into the mysterious rift, dealing with injuries and arguments about limited food stores, etc.  So, for me, this one is a current watch but I'm not making any promises for the long term.

"Cinderella" (Amazon, 2021)

Let's be clear, I love Cinderella.  Lo-o-o-v-e it.  I have no fewer than five versions of it in my home library.  This new take is ... well ...

"Pitch Perfect" meets any given Disney show in this mash-up which ditches Rodgers and Hammerstein for a series of pop songs.  Our Cinderella of the moment clomps around in some sort of equivalent to combat boots and dreams of working as a dress designer.  She couldn't be less interested in love or, you know, the Prince.  The songs mostly work.  Des'ree's "You Gotta Be" fits perfectly, Billy Porter slays Earth, Wind and Fire's "Shining Star" and Queen's "Somebody to Love" is a showstopper.  Throughout, the choreography (thank you Ashley Wallen) is outstanding.  Unfortunately that's all there really is.  The script is lame, the jokes don't land and the technicolor costumes look like something dreamt up after playing Candy Crush on an Ecstasy trip.  The infamous dress (you know, "the" dress) doesn't fit Ms. Cabello well and throughout the ball I'm watching with discomfort to see if the petite actress pops out of the too-large bustier.  None of the characters beyond Cinderella seem to have any motivation for what they do or why they do it.  Idina Menzel's considerable talent is wasted as her evil stepmother is all over the place.  Pierce Brosnan is so convincing as an awful person that his 5th act conversion is not believable and Minnie Driver's surprising singing gifts aren't revealed until the very end.  She is left making unhappy looks and passive-aggressive comments for most of the film.  When she finally gets a monologue to explain it all it's brilliant.  And doesn't feel like it fits in this particular film.  

There are so many things wrong with this production that it is hard to pinpoint one in particular.  The attempt to modernize, feminize and humorize the whole thing generally doesn't work, with the exception of the one scene in which James Corden and his fellow mice explore their temporary humanity.  Yes, there are talking mice.  This is Disney, after all.  The bottom line is this -- nearly every successful Cinderella film has two critical elements:  Charm and Romance.  This retelling has neither.  Particularly at the end (which ends not as you might think).  It's just a clutter of modern-day references which will age faster than milk on your countertop.  Tweens may like it for five minutes but other than that, don't think this one is headed for the "best of" shelf.

"Wilderness Tips" by Margaret Atwood

This collection of ten short stories may be the most personal thing ever written by the incredible Ms. Atwood.  Set mostly in the 50s, 60s and 70s there are tales of summer camp, of romantic breakups, of women and work.  The events of the stories aren't generally extraordinary but they are bathed in Atwood's rich prose and deep internal reflection.  There is often a slightly-but-not-overwhelmingly creepy thread.  This is also a hallmark for the author.  

For fans of "Handmaid's Tale" this is more of a slice of day-to-day life, but in the hands of Margaret Atwood, it is anything but ordinary.

"The Maid of the North" by Ethel Johnston Phelps

An interesting collection of tales from around the globe highlighting smart women heroines.  Some of the women are brave, most are clever.  All of the stories have been re-written by the author, which works better for some stories than others.  Dated more than you would think for a 30 year-old book, it is very clean and to-the-point, but you lose some of the flavor of the different cultures in this white-washed re-envisioning.  It's a throwback.  Today a collection of stories like this would be gathered from the works of existing, diverse authors.  That would have been better.  

These were entertaining and short (although sometimes abruptly so) but I can't recommend it for modern readers, who demand more authenticity in their "world" tales.

"Ender's Game" by Orson Scott Card

Yes, I'm late to the party but the book showed up in my Little Free Library and I needed something to read while traveling, so ...

I do know, as a librarian, this book never stayed on the shelf.  It wasn't just popular it was MASSIVELY popular, and now I get it.  Not that it's fabulous, it's not an incredible piece of great literature, but it has the kind of elements kids love and intertwines them really well.

What you will like about this story:  There is plenty of action, including videogames.  Ender is an intriguing, smart boy, and like so many protagonists in kidlit, he is an awkward outsider.  The battle scenarios are thoughtful, interesting and worth reading more than once.  The book moved and I got through it in two sittings.  Fairly engaging, I was happy to turn the page to see what would happen next. 

In some ways I was surprised.  I thought that this might be a complicated tale with undercurrents of Mormonism (Orson Scott Card is openly Mormon and the books have been called propaganda for the faith).  I found neither of these things to be true.  The book is fairly simple in terms of plot and fits into the mold of most fiction of this type.  I guessed the big reveal at the end and didn't find myself thinking of any deep moral questions when it was over.  And, while there might have been Mormon themes in the story I didn't pick up anything specific even thought I was actively looking for it.  (I'm told the Speaker series is more obviously based on Mormon beliefs).  The only subtext I saw was a real question about war, its purpose and its price.  I appreciated this given the unusual times we are currently living in.

The only element I didn't care for, which has been much talked about, is the age of the character.  I worked in schools for 30+ years.  Ender is six?  Nope.  But I just ignored that.  The film, which I haven't seen, had a sixteen year-old in the lead which fits better.  In my mind, as I read the book, I just aged Ender up.

In any case, a fun and entertaining novel.  Worth it (particularly on a longer flight).

"The Inkeeper's Song" by Peter S. Beagle

I love Beagle's writing.  Its descriptive and poetic, like strolling in a museum of odd, beautiful, disturbing paintings.

This work, like so many of his, has a kind of mystical, dreamlike quality.  Things happen, of course, and the multiple points of view make for a delightful sense of perspectives (one voice is that of a sentient fox).  There is magic and symbolism and a surprise or two.  It makes for an unexpected, fresh tale.  

My only complaint is that Peter Beagle rarely follows up with sequels after taking all the time to create these rich vistas.  By all means, dig in and let yourself wander through a very different world.

"A Royal Night Out"

What a surprise.  Recorded this 2015 film on a whim, thinking it was some sort of Hallmark/Lifetime romantic fluff.  SO wrong.  "The Crown" meets "Roman Holiday" in this light-hearted tale of a young Elizabeth and Margaret taking to the streets of London during the celebration following the end of WWII.  Based on a single rumor that the two young women snuck out for a few hours on VE day this quiet little movie explores some very real issues in a beautiful, subtle way.  Director Julian Jarrold allows the camera to linger, repeatedly, on the luminous face of Sarah Gadon, playing Elizabeth.  She runs the full gamut of emotions from utter joy at her new-found freedom, to confusion over a world she has never been a part of, to a kind of deep, resigned sadness at the reality that she will never have a "normal" life.  It's gorgeous and compelling.  The script is gentle.  It makes clear how clueless the two women are but doesn't make fun of that fact.  It just allows them to find their way as best they can.  In one of the many unexpected turns Elizabeth finds her power by the end of the film.  She is a depiction of Elizabeth the real royals would approve of.  She is smart, determined and confident.  Brava.  Accurate to the period and very British, only the two actors playing the King and Queen are household names.  I can see why it slipped by unnoticed but I'm glad I found it at last.

"Mama"

Having ENTIRELY too much time on my hands, I randomly decided to compare Mama Roses, from "Gypsy", singing "Rose's Turn".  (It's a fave).  Who was the best?  This is an impossible choice, given that the greatest names of stage and screen have played the role.  And yet.  

Here is my completely, utterly subjective take on the matter.

Patti LuPone -- My number one.  At its core, this song isn't just a song, it is an expression of some pretty powerful emotions.  Patty LuPone milks that for every inch, showing a vulnerability that is not typical of this powerful, complex woman.  Rage, grief, everything, it's just out there, bleeding onto the floor.  The song doesn't end on a note, it ends in a scream.  Brava.

Tyne Daly -- With a very different take, Tyne Daly comes in at my #2.  With moves that prove she could have been the star if things had been different she starts out with sheer fury then makes a discovery ... and pivots.  During the song.  You can't take your eyes off her.

Imelda Staunton -- Hard to say what it is with this performance from an actress who typically plays much more sedate roles.  You can't put your finger on it but it's a bubbling mix of emotions which explode halfway through the song.  

Rosalind Russell -- It's Rosalind Russell!  One of the people I want to be when I grow up.  She just has to be on the list.  The vulnerability isn't really there but she pretty much chews up the scenery in every scene she's in.  There's a reason she was chosen for this film role.

Bernadette Peters -- Let's face it, Ms. Peters hits every note with precision, grace and talent.  It makes it watchable.  But the recording I saw didn't have the depth of the other performances.

Bette Midler -- Who doesn't love the Divine Miss M???  Her performance is delightful camp.  It's entertaining.  But that's it.  

Chris Colfer -- Honorable Mention.  This wasn't your typical performance but the emotional notes were there in spades.  Infinitely memorable.  Bravo.