Reviews

Ru was theatrically released in Fall 2023 and should soon hit CraveTV in 2024.

I was lucky to see it in theater where director and. Writer of the book the movie is based on thanked us for seeing it in the big screen. The cinematography is stellar in many scenes.

This Quebec production shines in many ways with good acting, set design, custumes and more. This late 1970 period piece shows beautiful vibrant city and nature landscape in Canadian snowy winter. What shines even more is the source material and adpated screenplay that showcases trauma, human atrocity, adaptation, acceptance and awkard cultural exchanges. Some dialogue will reaonate long after the viewing and same goes for the imagery.

The directing and editing are fluid and make us feel the inner worlld of a caring, yet scared, confused and lost, growing teenager trying to make sense of the world and her place in it.

Many characters bring depth to the story while a few remain superficial yet crucial to the whole picture. The journey does not have a clear end. Life itself is but a journey, but it does have some key awakenings and realizations. Resilience, gratitude and humbleness in this both cruel and giving world.

The video montage near the end is very impactful as well as the music throughout. A movie about family, immigration, hospitality, life circumstances, survival and transendence.

"If you appreciate the nuances and shades of the blue sky, you appreciate life..."

"Los colonos" (aka "The Settlers") is an international production with a solid screenplay and measured directing by Felipe Gálvez Haberle. It may not be the best film of 2023, yet it deservedly won several international awards and is a haunting social commentary on colonialism to raise consciousness with an artistic flair. You would be hard pressed to find a more impactful movie in the last few years about indigenous atrocities. Even Martin Scorsese's superior "Killers of the Flower Moon" fails to express so viscerally and intellectually the lingering injustice and the inherent flaws of the system that prevails to this day.

The recent trend to, only when confronted, publicly acknowledge aspects of the world's most horrific genocide and culturicide in recorded history still lacks real solutions, salvation and changes necessary to avoid these types of atrocities in this new century. We are still faced with largely sanitised native history with selected omissions or distortions making there way to the classrooms and overall culture. Many think natives died of disease because of weaker or unprepared immune system and long time ago. This film shows 20th century history way after massacres like the Bloody River in St. Kitts, where roughly 2000 Kalinago natives were massacred by British and French forces in an unlikely alliance in the 17th century. We also now know that tens of thousands of native children were taken from their parents for "reducation" in Canada and hundreds massacred in a system that was active as late as 1996!

"Los colonos" forces us to look at our collective colonial past and present. The editing is poignant and the sudden switch in the narrative to a future with a more benevolent and supposedly peace-seeking politician, after the fact, to salvage the reputation of the government, inquire, blame and benefit is sublime. Doctrines of violence or pacification with docile "allies have always had the same aim: to solve the troublesome "problem of the savages on their ancestral land" that the colonisers claimed and simply took. This film's depiction (and deception) is marked with nuances and relates to current climate of "truth, reconciliation and inclusion" which has to date failed to produce tangible or real results.

Felipe Gálvez Haberle said in an interview that the history of cinema is also stained with blood in terms of what has been shown and how. Here, he examines this systemic colonial mindset that seeps into every aspect of our lives without much afterthought or questioning. He uses a 4:3 aspect ratio that is much less gimmicky than Bradley Cooper's "Maestro" and more aimed at providing a claustrophobic and time-capsule atmosphere, like perhaps the beautiful "The Lighthouse" from Robert Eggers in another genre of movie-making. Haberle and cinematographer Simone D'Arcangelo still manage to capture breathtaking Patagonia scenery along with some intimate interior shots and more graphic gut-wrenching scenes. It is not however overly graphic and let's the dialogue and unsaid or unseen events creep into the viewers mind as the story unfolds and is expertly exposed with a few satisfying and surprising twists.

A must-see for cinephiles, teachers and school children!

(8/10)

Even with its 4 strong nominations at the Golden Globes (Picture, Director, Actor, Actress), I must say my appreciation of Cooper's new film is not as stellar, as organic and fantastic as A Star Is Born (2018) - 8 Oscar noms.

Netflix's firs real Oscar contender was Alfonso Cuarón's Roma (2018) which won 3 of its 10 nominations. Last year's Germany's remake of All Quiet on the Western Front (2022) was nominated for 9 Oscars and won 4. My all-time Netflix favorite is Noah Baumbach's Marriage Story which I rewatched recently. It is much better than that year's Best Picture co-nominee Martin Scorsese's The Irishman (2019) which was still as solid movie. Neither won and Netflix's overall 8 Best Picture nominees did not win since a decade at the Oscars.

This year, Scorsese produces Maestro (2023) with Spielberg, but his own slow burn of a movie Killers of the Flower Moon (2023) has more flair yet not a Netflix production (he produces it with DiCaprio). I think this year's Netflix better picture is Todd Haynes's May December (2023 - also nominated for 4 Golden Globes). So why did Bradley Cooper not exactly deliver?

Carey Mulligan's performance is certainly good, yet his directing lacks the creation of intimacy like he did with Lady Gaga in A Star Is Born. Most interactions are superficial, and you have to wait until the 75th minute to see the first powerful scene with strong dialogue and directing. The intro scenes are compelling up until the two main characters meet, but I found the rest of the first hour a mess. The second half of the film is surely better yet lacks urgency or dramatic tension in directing, even in the hospital scene. There is also a shortage of real wisdom or realisation in the script. We are left with a light and superficial understanding of the two main characters, even to the point where their respective love for music and acting and their love for each other is not really felt. Nolan's Oppenheimer (2023) was much more successful in that aspect and Emily Blunt's performance.

Cooper's acting also lacked some charm in my view, save perhaps a few scenes like in the end when he teaches a young conductor.

Finally, Cooper's directing choices for cinematography left the very talented Matthew Libatique with not much to work with. In Black & White, 4:3 aspect ratio or even 16:9 color, few scenes seem to tell the story like a more claustrophobic The Whale (2022) was able to with his Darren Aronofsky collaboration. Libatique was nominated for an Oscar for his work with Aronofsky's fantastic Black Swan (2011) and with Cooper's sublime A Star is Born (2018).

Better luck next time Coop! Good effort. 6.5/10.

We can still see growth, grit and gusto, but misses the mark as a whole.

Yamazaki's Gozkilla (Gojira -1.0) is Godsent, especially in a climate of so so super hero stories and poor monster movies. Tom Cruise can still put some action stunts (Top Gun and Mission Impossible) but not action movie with a story this strong since Avatar.

Ryunosuke Kamiki who himself had a brush with death in infancy plays the main character Koichi Shikishima with gusto and conviction. Shikishima is a Kamikaze pilot who failed to complete his mission and is guilt-ridden from his fallen comrades and perceived cowardice. Like much of postwar Japan he also suffers from general survivor's' guilt and struggles to find a place for himself to rebuild alongside the crippled country. The character is well-written and surprisingly well-played for a film heavy in special effects. The acting is poignant, emotionally charged, and both subtle and strong. Yamazaki's directing for him and the other actors is spot on, and the director's vision over all is what makes movies worth going to the theatre in this streaming era. Yamazaki also wrote the screenplay and directed the visual FX.

Noriko and the other supporting characters are also effective. The music and sound are riveting and accentuate tension and emotions. My senses were heightened most of the movie.

Now the story has some typical elements we expect, yet a few personal character arcs, philosophy and social commentary on war are strongly explored. The movie questions the need for war, patriotism and dying for your country. It asks who are the heroes, what is the price of war and the value of life.

The monster may not have been as much a metaphor as the original 1954 Honda version, yet the common threat it represents was utilized to examine the lessons learned by the losers of a costly war they initiated. The plot elements worked to support the suspense, narrative, action and likeable characters. The main disaster scene in Ginza's area of Tokyo is action and suspense at a high level with stunning visuals and innovative directing and cinematography. It has nothing to envy from the five Michael Bay's Transformers movies or the latest 2023 one with over 10 times the budget.

Even if the story is key, the visuals do not suffer and we are left with a complete package of drama, soundtrack, substance, suspense, and action.

This not the 1998 awful American version of starring Matthew Broderick. I did not think I could say monster movie and masterpiece in the same sentence but there it is. Best movie coming from Japan in a while along with The First Slam Dunk (2022). Godzilla Minus One (2023) gets a Ten.

New Amsterdam was a New Kid on the Block of Medical Dramas that all paled in comparaison to iconic "ER (1994)" which lasted for 15 solid seasons.

New Amsterdam Riveting Series Finale "How Can I Help?" even has a hommage to ER with Dr. Wilder's childhood hero being Dr. Ross (George Clooney). In New Amsderdam the ER is the ED and Dr. Bloom is in charge. She battles drug addiction and has a wealthy family (a bit like Dr. Carter in ER).

The show starts stronger than any other TV.medical dramas I have seen (Chicago Hope, Scrubs, House, Grey's Anatomy. Etc.) and offers 2 solid seasons albiet not perfect by any stretch. Characters and story arcs come to life and the personal traumas of Dr. Goodwin (and Luna) are equal to his on screen charisma. Solid writing brings characters to life, until season three tries to be a bit too PC, woke and make Dr. Goodwin a bit cartoonish and foolish.

Season 3 is still good TV drama. Then Season Four soars above anything else and offers a run of over ten 10/10 episodes!! The best season I have seen in a while in any shows. Season 5 was still high quality. Better than season 1-3, but not as good as 4.

Season 5 has lots of space to immerse ourselves in the world of Dr. Wilder who is deaf. The sign langage is often not translated and the ambiguity and acting creates an atmosphere of patience and nonverbal communication perhaps trying to non ASL-speaker. I personally liked it and thought of the brilliant film Sound of Metal.

The series ends on a high note with a high calibre episode, epic surgery and amazing surprise at the end of the show! ENjoy the next best thing after ER (331 eps). I could have done with 1 season more, yet it is a satisfying 89 episodes. Kudos to the writers, directors and actors of this top notch show!

The premise of the entanglement of tech and medicine, life with computers, robots, databaaea and drug prescriptionsnia interesting enough.

The threat of randsom, the conflict and prize paid to potentially save patients is well played until the end of the episode with a heart-wrenching punchline.

The most important part of the episode is when Iggy confronts a psych patient who had Aderal overdose, psychosis and loss of brain function and must confront his new self. Iggy's response is so poigant, philosphical and practical. Be present now and accept yourself. Mourn your past if ypu have to but be there and grateful. Brilliant!!

Best episode so far in many accounts and definetely best scene in 4 years with delectable dialogue.

WDE is hugely underrated by reviewers who miss the essence of the episode and get nostalgic of the glitter of the show. This episode lacks some of the iconic banter scenes, yet has 3 main strong points

-Chuck transformation and final scene of the episode glow after wise quasi-monologue

-Wag's baddass dealing with Winston in 2 scenes to redeem his mojo after feeling withering away

-Wendy's self-inquiry, doubt and real challenge about her role as a jailor in a capitalist threadmill and rat race with very good scene with competitive psychiatrist on a human scale. Amazingly well-written scene and setup.

Karem Abdul-Jabber's appearance is odd yet still works in the context of getting Chuck to see beyond and go forward.

Rewatch if you missed these 3 high level up moments of the show.

9.5/10

Best episode of season 7 (out of 7] so far. Billions is back!

Politics, media manipulation, environmentalism, war-mongering, social issues, airplanes are well explored. The wit is evident and the wordplay stellar. Delivery is slightly uneven in the middle as the words are much stronger than any physical comedy. Then George steps up the sarcasm about a rant of sensational media macabre reality and brings it home with the Save The Planet concept flipped around.

A precious standup with a few quirks and amazing content. Highly recommended. 30 years later it works well, except maybe for the fashion (lol). A timeless funny classic with lots of deep social truths!

Writer/Director July Jung was in attendance to present her film after over 20 hours flights to Montreal, Canada. She was humble and pleasantly surprised to receive the Best Director Cheval Noir Award in front of a packed Audience for the FantAsia Film Festival closing film.

NEXT SOHEE (Da-eum-so-hee) stars international star Doona Bae in probably her best performance as a determined detective and relative newcomer on the big screen Si-Eun Kim as a distraught dance-dreaming, hard-hitting high school student stuck in an inhumane system. Si-Eun Kim also shines in her difficult portrayal and we can imagine Jung's direction was crucial for both.

July Jung uses a true story to illustrate flaws in the system, in people, culture and mentality that are specific to South Korea, yet resonate with international audiences. She states that the purpose of the film is not necessarily to create reform, yet to start awareness and an awaking process of what I would call warped societal and personal values.

Is high performance more praiseworthy than peace or purpose? Where is the qualitative in the mostly quantitative economy and politics? Where do we have agency instead of acceptance, avoidance, anger and despair?

The movie is envisioned in two distinct parts with the second one being much better in my view, yet exploring aspects of the first one in new light. All 134 minutes are necessary in the end to tell the story of a person, of a generation, of a system and society in all its universality.

The final shot is primed with primal emotion, as well as intellectual realisation. Analysis concludes a very well constructed and executed narrative. This is a high achievement from South Korea cinema once again.

I feel privileged to have witnessed this hard yet crucial artistic creation in fine company.

FANTASIA FILM FESTIVAL 2022 SOUTH KOREA KOREAN W/ ENG SUB 134 MIN DIR.: JULY JUNG.

A dramatic alegory of human manipulation and pulsions. This movie contrats North Korea effect on people from idolatry to murdee and despair with a troubled Spanish family affair.

Suicide, murder, mothers and birth. Sickness and safety, comforr and failed liberty. The juxtapoaition of the two worlds and stories is innovative. It strikes both the dramatic chords and the humourous situations and dialog.

A macabre undertone with well-written material hoñds the viewer entranced, shoked, unsure.. A choice of decor and colours tell a story with intelligence and litlle condescendence. Beautiful and successful diligence.

A worthy effort from Spanish writer/director in one of many fine Argentinian co-production.

80min Fantasia Film Festival 2022.

Writer/Director Antoneta Alamat Kusijanovic's debut feature is all it could be from a director who also used to dive in the film's idyllic Croatian coast setting.

This films builds on the director's underwater camera work in her enjoyable short Into the Blue (2017), and in acting and screen presence of actress Gracija Filipovic. This feature was in fact written with this teenage actor/non-actor in mind after the short. Gracia was 12 yr old then and showed promise and shines 4 years later in this character study.

The story has strong writing as it tackles teenage rebellion, family and relationship dynamics with evolving dreams of love, sexuality, freedom and purpose.

The father, mother and daughter relationships are complicated in this small village and when a wealthy, well-travelled long-time friend comes to spend some time with the family, much is revealed of the desires and dissatisfactions of all three family members.

The directing, cinematography and editing of this evolving drama are so strong that every shot of the 96 min movie is a pleasure. The acting is nuanced and elevated from the four leads. The underwater shots are beautiful and tell the story with images, sounds and occasional music. The first and final long shots of the movie tell a tight story visually that induce emotions viscerally and intellectually.

It is no surprise that the film won Camera d'Or at Cannes and over 20 other awards in 65 film festival worldwide.

Looking forward to Antoneta's next film which centers on a mother and daughter relationship and perhaps also catching some of her previous shorts, including If We Must Die (2016).

In short, this is a melancholic, beautiful drama with stunning cinematography and deft directing. A simple story with substance. Highly recommended.

Well-deserved Oscar win for a tight and touching screenplay in plain Irish English. "If you they don't understand, they are not listening" says the family patriarch. Both grandpa (Ciarán Hinds) and grandma (Judi Dench) were nominated for best acting in supporting roles.

Besides the best music and sound noms, the real winner is Kenneth Branagh for his screenplay and who also got nominated for best director and best film. His directing of actors, his choices of décor, location, costume, look, color (or lack thereof), and camera angles are simply amazing!

7 Academy Award nods but the surprise is perhaps the lack of nomination for cinematography. Every shot of this 90 is exquisitely beautiful in mostly B&W. My congrats to a recurring Branagh collaborator, DOP from Cyprus Haris Zambarloukos. He also did an interesting job in claustrophobic Steven Knight's Locke with Tom Hardy. In Belfast, he uses all the planes and makes the frame an invitation to "feel" part of the family, community and Belfast reality.

The realness aspect of a difficult life is constrated with great warmth and love of a 3 generation family and a resilience and unity without much negativity or complaining. A real example of best human nature traits, genuine love, communication and community rising above hardship. Many scenes exhibit this and are cumulative. By the end, we have lived their journey, understand, feel and move on with them.

From beginning to end, Branagh outdoes (and in much less time) his 1996 version of Hamlet (over 4 hours) as his undisputed best work.

After The Great Beauty (2013) Best Foreign Language Oscar and Golden Globe, with the exploration of Rome and life through the eyes of an older man, Paolo Sorrentino explores his native Naples and the discoveries of a virgin boy in The Hand of God (2021).

From abundant humour, bravado, sexiness and tension in the first act of the film, the movie evolves into a dramatic, philosophic and artistic quest of echoing loneliness and search of purpose in a sometimes-unforgiving world.

The main characters are confronted with challenges bigger than themselves, yet seek to find glimpses of hope, nostalgia and forward-looking momentum. Fabietto and Patrizia connect by going beyond their circumstances and Baronessa Focale imparts her wisdom in a unique way. Practical jokes and real consequences abound, while the tapestry of a town and quirky family coalesce.

Past his crazy family and his love for football, Fabietto meets two new friends who will embark him into two very different voyages.

A key scene at the theater and its aftermath are the mark of genius. Our main character is challenged in so many ways. His changing dreams start to take form. Will he have the courage to pursue them?

A charming tale with a historical backdrop, drama, creativity and unquestionably something to say, may be exactly what we need today.

Guts and gusto. Sorrentino, we are rooting for you like Maradona.

From a very strong start, the film finishes as distinctly.

Uncompromising cinema. Bravo!

Rent is late Jonathan Larson's musical masterpiece with a 12-year success on Broadway and excellent 2005 film adaptation (itself a modern homage to Puccini's opera La Bohème). Tik Tik... Boom is his semi-autobiographical Off-Broadway musical written before that came out after the success of Rent theater success in 2001. Lin-Manuel Miranda played the main role of Jon in 2014 after In the Heights and before Hamilton, both of his for which he starred and wrote the music and lyrics, before they were turned them into films in 2020 and 2021.

Lin-Manuel Miranda's sensibility to the role and material allowed him to make his directorial debut in cinema which is extremely well executed. He lets the music to be central anchor along with strong acting performances, with Andrew Garfield's vulnerability well displayed and directed. Steven Levenson adapts Larson's play beautiful to screen and the whole music department, especially Nancy Allen & John M. Davis as music editors are phenomenal.

Hamilton was the Golden Globes-nominated musical and perhaps movie of 2020 and Tick, Tick... Boom! Is a very close contender and should top many lists of Oscar Favorites for 2021. Acting, music, song, editing, adapted screenplay and even directing are all possible nominations, with Andrew Garfield as the most buzz, but also strong contenders this year with Will Smith, Javier Bardem, Denzel Washington etc.

It is different and perhaps better than Rent (2005) because more philosophical, personal and emotional, even if Rent will always be better musically. The only aspect I believe could be improved slightly is the Jonathan and Susan relationship. Rent character romances were much stronger. It is hard to say, but small shortcomings do not deter from the overall panache and powerful message of this movie.

Art and love versus vanity and money. Communication, purpose, fears, friends, struggles, memories and melodies. This movie elevates and asks more question than it answers.

Can Superbia be a metaphor for our modern society of zombies?

Very watchable and rewatchable cinema and memorable music.

We get to know these characters so intimately, we feel they are our friends and at the same time strangers we discover more and more. The 5 hours 17 mins are perfect and every minute worthwhile. I would even love to continue another 5 more hours and continue to see these interesting lives unfold.

It is my first Ryûsuke Hamaguchi film and surely not the last. His incorporation of art and amazing stories into the narrative with vignettes of every day contemplation mixed with big events and poignant scenes are masterful. A few standout scenes are:

A life-affirming course by an artist A writer reading a short story and sublime Q&A A stranger in the bus talking about her father An estranged wife unwelcoming her husband into her temporary home A couple dealing with their son's transgression A nurse scolding a younger nurse about life and death A woman talking to the sister of the man she likes about sex and love

At the center, there are often friends around a table with sublime dialog and lowkey acting. The nonverbal interactions are extremely effective at conveying intrigue, tension and sympathy. We understand the complicated lives of these four women and the people around them in great detail with non-judgmental equanimity. The story is poetic like Edward Yang's "Yi Yi", but not as funny. It also reminds me of Chang-dong Lee's "Poetry". It is however very much its own film and with its on pace and universe.

At times, it shows a somewhat bleak reality of failing relationships and discovery but with so much insight and artistic enhancement. A masterpiece in all aspects that never feels forced, by always allowing introspection and growth, and showing the complexity of life and people. It invites us to observe, it expands our boundaries slowly, it questions and reflects. The moving parts are so well woven together, and the attentive viewer never misses a beat or gets bored. We are there with the characters and events, at the table with them, in their homes or in vacation, at the tumultuous crucial reading and its aftermaths.

A movie that redefines movie-making in its impeccable vision and visceral journey.

I have now seen most of Andrei Tarkovsky's fine films including Ivan's Childhood and Nostalghia. The sci-fi masterpiece Solaris was surprisingly my least favourite and I enjoyed Steven Soderbergh's take on the famous Plish noel better. The fact that I didn't quite enjoy Tarkovsky's original film as much at first viewing may also mean I need to revisit it like Villeneuve's Arrival I appreciated much more the second time. In any case, as it stands Stalker and The Mirror were my favourite Tarkovsky movies until I finally got through the long 205 minutes if Andrei Rublev.

Andrei Rublev is not the best painter biopic ever made, Frida (2002), Mr Tuner (2014), Lust for Life (1956) or the 210min Edvard Munch (1974) would be better.

Andrei Rublev is however much more than a movie about a painter or painting. Instead, it paints a painful and powerful portrait of life of the fifteenth-century, Middle Ages or medieval period in Europe, which we now sometimes refer to as the Dark Ages. Russians were fighting with Tatar (Turko-Mongol) raiders and invaders and with their religious Orthodox Christianity dogmas cemented since the 10th century. Rublev was a religious iconography painter with undoubted artistic skills, yet he serves to also represent the power of institutional organized religion over the unconvinced and terrorized population as we see eloquently when a non-believing woman is chased by menacing men near a river. Atheism came into vogue in Russia during the Soviet era when this movie was made and released in 1966 so we can wonder what the reactions of the audience to a lot of the religious focus of the film were.

Beyond religion, Tarkovsky touches human themes of purpose and passion. He questions the human condition with loyalties and the vagaries of war, rape, plunder, and pillage. What does it that to raise a kid? A village? What does it take to murder nearly everyone in a village?

Maybe not so much. I am also thinking of Elim Klimov's soviet WWII masterpiece Come and See (1985) where villagers in the "Enlightened" Modern Ages suffer a similar fate in different times and context. Are we doomed to repeat this savagery today in different ways? Will 2022 be different than 1422?

Technically Tarkovsky manages exquisite visual scenes with trusted DOP, Vadim Yusov from Ivan's Childhood. This time he manages even more poignant composition, wide lens, motion and a mix of beautiful slow contemplative shots and actions sequences including invasion, fire, fighting, and horse falling, among highlights. The images are seriously superb and carry the story with immersive sensibility.

The images are stunning and stay with me, the questions too. A haunting reminder of humanity's penchant for masked or overt savagery with self-appointed superiority and rationalization of control of ideas, people and property.

This show has a good premise but even better witty writing and execution throughout. Yes it gets as convoluted as House of Cards with a power-hungry power couple that is perhaps more nuanced in character development and ethical dilemma.

Acting-wise, Oscar-nom (Cinderella Man) Paul Giamatti is superb as Chuck Rhoades throughout and his dominatrix wife Wendy (Maggie Siff) gets more and more likeable, nuanced and badass. Paul Giamatti had similar strong performance in the John Adams (2008) mini-series. Maggie Siff and the writers manage to make Wendy a tour-de-force as a corporate coaching mastermind and meaningful partner for both Chuck & Axe. She manages to influence much on the sidelines and keep two loyalties in the midst of clear hostility.

Opposite is Damian Lewis, who is brilliant as brainchild bully Bobby (Axe) Axelrod and his character journey is incredible and understandable. Season 3 & 4 sees less of his wife and more of the loveable Wags character (David Costabile) who gets more depth with time, formidable friendship and even funnier. Taylor Mason also gets more screen time which some viewers dislike, but to me it is exactly the type of excitement and change the show needed to stay fresh and look at new storylines.

Taylor is a complex, complete and compelling character. You may not like THEM for whatever reason, but it adds some spice and very different perspective. It is a character we have rarely if ever seen on screen and not because of their nonbinary aspect. Is it a robust robot with human flesh and feelings?

Another Oscar (twice) nominated, John Malkovich, also brings some amazing acting to another key mysterious character in Grigor starting in season 3. His deadpan, playfulness and veiled or not so veiled threats are nail-biting and rich.

Lastly, let's not forget Chuck Senior as a character and Jeffrey DeMunn's charisma as an actor to unstill chaos, love, loathing and wisdom in an unorthodox fatherly presence. Often funny, his lines are written and delivered to much delight.

All in all, for all the intrigues in Season 1 (especially last 3 eps) and even better Season 2, I find Seasons 3 & 4 to be exactly what the show could stretch and explore with us. Thanks for a solid series that delivers show after show.

Hope Season 5 doesn't resemble House of Cards' cowardly Season 6. If you have no good writing or cast, please stop on a high and say bye. As Axe may say "Don't short a position when there is momentum and fundamentals". Until then, I will be eagerly watching!

This episode carries 4 amazing storylines and execute them all above any expectation. Everything is heartfelt, conflicted and strong. Emotions are stirred at every corner.

1) Shulem and Nukhem difficult fraternal relations have ups and down. Nukhem & Nechama's happiness is palpable as they prepare for their small wedding. The value of providence, money, love, family, friendship, fame, generosity and humility are all explored with the dilemma of what to do with an unclaimed winning lottery ticket. Will financial concerns, greed, lust or justice corrupt this precarious harmony and happiness?

2) Akiva thanks Racheli for saving his daughter in front of the authorities from his past mistake, but their sham marriage that could be more is now in final jeopardy. Before the divorce, Akiva asks to paint his wife but cannot get his deceased previous wife, Libbi, out of his mind. He visits the art gallery to see the paintings of Libbi, but will have to visit her grave before the episode or the relationship ends. Racheli's reactions are real and supernatural at the same time, Akiva's acting is stellar as he struggles to love and let go. He will need personal deep dive and introspection, as well as a metaphor from his wise dad who tells him Racheli is HIS lottery ticket and he shouldn't let a once in a lifetime opportunity slip away from lack of sincere will beyond simply trying.

3) Yosa'le pure love for Shira Levi makes him confront his fiancé Shira Levinzon and his parents Giti and Lipa. All the scenes are high drama and romance with a Romeo & Juliet / Tristan and Iseult, forbidden and almost adulterous love. He confronts his father even though he is the only one trying to understand and help and Giti and Lipa's own tumultuous love and past is put into question. Yosa'le and the Shiras scenes are bittersweet and very human.

4) Unorthodox (2020) newest Netflix series' star Shira Haas plays a series of masterful monologues as Ruchami prepares tapes for her unborn baby, knowing full well she may not live through her risky pregnancy. Poignant moments and realization of life, death and parenthood.

Writing, directing and acting is exceptional with two masterpieces scenes of Akiva trying to paint Racheli and Akiva getting a loving sermon from his father. Imagination and reality mix with fire, fiction, facts and beautiful storytelling, Wow! Todah rabah.

This movie is often more a collection of scenes than an impactful narrative. It has some beautiful black ane white camerawork, fine acting and above all directing. After an hour or so of pleasantries and drama, the beat scenes come in the middle starting with Steiper's wife (at 1:16) inviting Marcello and you the viewer into a fantastic, funy and philosophical party of artists and intellectuals. Iris, the self-proclaimed alcoholic prophet, and others are charming and wise. Then Marcello's father arrives and makes a big impact to the storyline. Finally Magdelena's tour of the opulent and artitic grounds and the "room of serious conversation " offer exquisite dialogue, intrigue and beautiful setting. The ending and surprise arrival is especially poignant closing the movie's best offering. Lastly the outside and inside further exploration of the amazing decors and costumes lead to a sexy spirit conjuring scene to end the best hour of this almost 3 hours long multi-faceted film.

The next 35mins are slightly melodramatic and even the striptease scene and Marcello's sexually charged rant at Nadia's party can't save the lower level of interest endured.

The ending puts everything in perspective and closes with a high note. It is beautifully shot from the forest clearing to the beach. Marcello's spontaneous smile sitting on the beach says a lot and the nonverbal communication exchange over the sound of the agitated sea is beautiful to see. Happiness can be as simple as that

Even with its few flaws and less titillating moments, La Dulce Vita remains a masterwork and classic that must be seen and experienced.

Daniel Kaluuya delivers another amazing performance and Jodie Turner-Smith can definitely hold her own on the big screen. The chemistry between the two works, yet to me the biggest credit goes to Melina Matsoukas who manages to direct this good story and maje it great. She creates many memorable scenes including the visit to the uncle, the glock-curious clerk, many quirky car scenes, and the best sex scene I have scene in years - visually and emotionally. She creates moods, tension and characters who we come to care deeply about. Pete Beaudreau's editing, with Margin Call 2011) credit, for this 132mins cut is also to be noted. He shines in the sex scene/riot dual storytelling and many other moments to advance and tell the story with suspense and continued interest.

Writing-wise, Slim's story about the origin of babies is well-written and acted. The screenplay holds lots of gems and character-building. Beyond its numerous plot twist, t is profound and real. It can be excused for its few deus ex machina moments and black/white overpolarization at times.

The post-climatic scenes are very well done and the choice of music throughout is stellar and appropriate, from R&B to Pimp rap.

Well-done Bonnie&Clydesque tale with a conscious and purpose.

Jack and Rebecca crucial Romeo and Juliettesque romance with good acting from Elizabeth Perkins as Rebecca's mom. Mandy Moore is solid both as a young wide-eyed love-struck go-getter and as a proud and confused elderly. There are many teary-eyed moments and character struggles of bittersweet life moments.

The directing and editing and writing are all amazing and coalesce in a brilliant and coherent, funny, frustrating, real and poignant moments for the tripplets. Randall seeing his mom sick and having to confront hi stepdad, Kevin desperately looking for love and his own fairy-tale romance, Kate trying to save her marriage in the midst of strong storms and deception and baby Jack reaching for the light...

Even, the music by special guest star is sublime and matches the show's mood and intent. Throw in some well=placed humour and plot twists for a delectable dish good for your TV diet.

Wow, This Is Us is always very good, yet this episode stands above the rest in the season and dare I say the series. Transcending and making us realise how life moments are so precious and precarious.

Viggo Mortensens shines here before his seminal role in Green Book. It is his second Academy Award lead actor nomination. All the actors, young and old are very good as an ensemble cast. The real star however is Matt Ross who writes and direct a complex tale of exploring the limits and merits of thinking and actually living differently. His views on education, religion, death, humour, honesty, consumerism, entertainment, sex and nudity are very interesting and challenge the accepted social norms.

The film explores a father's quest to elevate the lives of his children with love, knowledge and deep awareness, yet who is confronted with the clash of this idyllic utopia with the harsh realities of the cold world.

Filled with humour, sweet and smart moments, the movie shines and reminds me of some of Little Miss Sunshine (2006) with much deeper and relevant themes. The scene where "Noam Chomsky Day" is put against the attractive fairytale of Christmas as a child's point of you is poignant not only in the screenplays powerful points and messages but even more so in the family dynamic of openness and truth-seeking instead of accepting half-baked perpetuated ideas or stroking egos.

Another unforgettable scene is when the dad storms the church during a ceremony and makes an epic, no BS and relevant speech that rings true and "sticks it to the man". Enjoy this philosophical whimsical tale of the level of parenthood we should all hold ourselves accountable for.

Charlie Kaufman is one of the best and innovative writer in Hollywood for the past 2 decades with landmark films Adaptation, Being John Malkovich, Confessions of a Dangerous Mind and Original Screenplay Award-wining Eternal Sunshine of the Spotless Mind. He wrote and directed interesting Synecdoche, New York which is a bizarre, artistic, and heartfelt look at the theatre and acting world. He co-directed animated feature Anomalisa with mixed results. His writing is always transformative and inspiring, yet his directing capabilities like many writers turned director sometimes falls short in the subtleties, especially with visual and musical cohesion. Here Kaufman ups his game and creates one of the year's most evocative piece of cinema. His storytelling choices are excellent as a writer but even more so in his directing choices. From the aspect ratio choice to the visuals in the car in the snowstorm, the contrasting conflicted narrator voiceover, the dance sequence, to the use of the surreal, homey and creepy multilevel house as focal point, Kaufman finds many cues and hues to make cinematic gold.

I'm Thinking of Ending Things is an art film and makes no comprise about that. This explains the lack of enthusiasm from mainstream audience and I would not personally recommend this film to everyone. It has extensive dialogue about art (literature, cinema, etc), a spoken word poetry and asks the audience to be active and aware which sadly is not something most moviegoers are able or willing to do. There is no easy spoon-feeding here. I am thinking of some of David Lynch films like Lost Highway and Mulholland Dr. or Stanley Kubrick's Eyes Wide Shut as references which all have many layers of understanding, meaning, intrigue and transcendence and are prime for repeat viewing.

You can find many things in I'm Thinking of Ending Things if you look for them. The eerie ice cream stop in the snowstorm is so simple yet incredibly atmospheric. The perception of time, disease and death viewed through the metamorphose of the parents' conditions, the janitor perception of the world and an acceptance speech that may be an acceptance of life and the human condition. What Kaufman did here is go way beyond the writing and create an innerving, self-reflective prism of one's fears and dreams through a collage of exquisite scenes and a buildup of tension, focus and anticipation. Some dark humour is also found, as well as some philosophical, sociological and artistic questioning. There are already varied, insightful interpretations of the true meaning behind the surface viewing of this far-fetched yet simple tale. I believe it will remain a true and rare gem for those who can appreciate this kind of brilliant and troublesome endeavours that will stay with you long after the credit rolls and fade to black.

Go enjoy this "Thinking" film. I highly recommend Thinking of Ending Things for these reasons if you are willing to dig in with an open (spotless) mind.

One of Ingmar Bergman's very best after Scenes from a Marriage (1974) with a woman-woman (mother-daughter) relationship instead of man-woman one. Moreover the crucial central relationship played brilliantly by Liv Ullmann and Ingrid Bergman is immensely augmented by the husband's perspective and interaction, and slightly by the sister's plight. A thought-provocative, tough script full of monologues is brought to life spectacularly with top notch acting and directing. The two Bergmans are at the top of their art and the scene when the mother shares her different point of view on how to play Chopin's prelude is one of the best have seen in a long time. Truly riveting,smart,subtle and poignant. Many superior scenes hold the movie together and the narrative is finding and challenging. It makes us think, question, consider, understand and empathise different versions of their reality and by extension our own. Bravo Bergmans!

Nice episode off the heels of the best episode of lesser season 4, the Freaky Friday-inspired "Basic Human Anatomy". It has a well-paced and interesting beginning, some laughs and introspective about some character earlier days although I found the ending a bit sappy. The highlight for laughs for me was the short appearance of the origin of "Pop Pop". If you have been following the show, that was a quick and witty unexpected laugh in the middle of a dramatic action scene. Kudos for that little treat to the viewers. Although Community has stretched some wordplay and innuendos too far at times (annoying Changnesia for instance), That "Pop pop" Eureka moment hit the mark with a roar!