Tag: new york city

RELAY – Review

Ah, now here’s a real “under the radar” gem. Usually, the quirky modern-day ‘B” pictures are dropped into the multiplex in late Winter or mid-Fall. So, we’re almost past the Summer blockbuster season, the studio “wise men” (two words not often next to each other) are arriving well in advance of the December holidays with a gift for us. This one’s full of razzle-dazzle tech twists and intricate machinations, mixing in elements of crowd pleasers like THE EQLUAIZER (movie series and TV shows), THE STING, THREE DAYS OF THE CONDOR, with a sprinkling from the IMF team for a spicy kick. There are no big action set pieces, but there is plenty of tension when you dive into the wild world of RELAY.


Much as with a Bond flick or Indiana Jones, we’re dropped into the conclusion of a recent “operation” involving the lead character in the film’s opening moments. It seems that everything’s gone according to plan as he observes a rich CEO getting his “just desserts” while his former employee vanishes into the night. We’re then whisked away to the start of another case. A jittery young woman cautiously enters the towering home of an NYC law firm. Sarah Grant (Lily James) was a top researcher/scientist at a major “bio-agricultural” company. She sounded the alarm about a new “insect-resistant” wheat that has the possibility of dangerous, even deadly side effects. The company fired her and insisted she turn over all the research. Sarah left with the files, but is having “second thoughts”. She’s being harassed and threatened, spurring a desire to return the docs rather than “blow the whistle”. Now she fears that her old bosses will “tie up loose ends”.The lawyer who hears her declines to take her as a client. Instead, he scribbles down the number of a person who acts as an “intermediary” to broker the “info exchange”. When she calls the number, she speaks to a rep at the Interstate Relay Service, a company that translates phone calls for the hearing impaired. The messages are not recorded, nor are they kept on file. Typing in at another location is the “barterer,” who we later learn is named Ash (Riz Ahmed). They establish an ID “passcode phrase” (“Cash or credit?” “Check”) and he gives her strict instructions (do it right or I’ll walk away) on how to get the files to him, along with payment, and who to contact at her old job. He keeps a copy of the files forever in a secret safe and makes copies to send to the feds and media in case the company goes after her. But first, she’s got to move to a much safer place, namely an incredibly secure high-rise apartment building. Somehow her move leaks out, and a dark van is parked across the street. Inside is a well-armed “cleaner squad” headed by a man going by “Dawson” (Sam Worthington), who gets her client’s Relay calls from Ash. Will things go according to his elaborate plan? And what happens when the exchanges between Ash and Saeah take a more intimate turn?

In referring to this as a modern “B” movie, I didn’t wish to imply that the stellar cast is anything other than “A+”, particularly the two main leads. First, there is the interesting and intense Ahmed, who has been so great in supporting roles (NIGHTCRAWLER) and terrific as the main focus (acting students will study his work in SOUND OF METAL). For a moment, I thought he was following up on that film due to Ash’s use of the relay service, but it’s a way to avoid making a personal connection. Through those immersive dark eyes will look into the soul of an emotionally wounded, haunted man who must stay in control at all times. This quality doesn’t help him away from work as he sits silently at AA meetings. Ahmed wants to become invisible as he flits from one shadow to the next. But then someone flips the light switch, and we see his defensive cocoon slowly begin to crack. Taking a hammer to it is the ethereal charisma of Ms. James, who lets us see, in her vocal delivery and body language, Sarah go from vulnerable victim to staunch champion of her own destiny. She’s overwhelmed by dealing with the rapid, specific details from Ash, though soon she’s bobbing and weaving like a trenchcoated spy. Their engaging chemistry has us rooting for them to connect beyond the “case”. That’s complicated due to the dead-eyed killers headed by the gravel-voiced Worthington. Every line is spat out like venom, though we can get a glimmer of his reserved respect for his worthy opponent’s intellect. However, he lets us know that he’ll bash in that skull housing that brain, if he gets a chance. I should mention his also intimidating “second-in-command” Rosetti played by the captivating Willa Fitzgerald (who burnt up the screen last year in the fantastic STRANGE DARLING), who is both slinky and sinister as she pursues both Sarah and Ash.

As for the filmmaker who keeps “all the plates spinning”, here’s a big “Welcome back to the big screen” for David Mackenzie, whose last theatrical feature (aside from the Netflix showcase OUTLAW KING) was another engaging thriller, 2016’s HELL OR HIGH WATER. Working from an endlessly clever script from Justin Piasecki (no surprise that it was on the 2019 “Blacklist” of most-liked unproduced screenplays), Mackenzie almost turns the Big Apple into another character, as every street lamp or crowded walkway could lead to a fatal showdown. We’re guided to familiar locales made mysterious with bystanders giving the “stink eye” before possibly lashing out at Sarah or Ash, or maybe walking past. And even though they’re kept apart, Mackenzie and Piasecki convey the longing and yearning for contact that’s denied. Somehow, they make the relay service jargon somewhat “steamy” (at the end of every reply, rather than “stop” in telegrams, they say “go ahead”). I can’t give away too many details of Ash’s “playbook”, I will say that he uses state-of-the-art tech (lots of “burner phones” while making considerable use of the much maligned under-appreciated USPS. Yes, I’m talking about the post office, as Ash gets their tracking numbers, while dropping some unique postal trivia (when this film was shot, there were active post office service centers inside the gate area of a few major airports). As I mentioned, there aren’t elaborate stunt sequences, but many of the near-misses and “drops” will have you on the edge of your seat. That’s before you fall off of it during the stunning, whiplash-inducing finale reveal. There’s been little fanfare about this engaging entertainment (so many talk shows are taking early Labor Day breaks), so I hope that word will spread on this original film that takes its inspiration from so many classic thrillers (could Ash be a 21st-century spin on the Scarlet Pimpernel). Moviegoers will be well rewarded for their effort (it may be tough to locate at the multiplex) and time (clocking in at under two hours) with the cinematic and storytelling delights of RELAY.

3.5 Out of 4

RELAY is now playing in select theatres

HIGHEST 2 LOWEST – Review

Even though the sweltering temps haven’t abated, it seems that the 2025 Summer movie season is nearing an end with the return of one of the most acclaimed filmmakers working today. Yes, this is an award contender premiering in August. Oh, and this director is “doubling down” with a “re-working” of a film from one of the true “masters of international cinema”. And did I tell you that this is the fifth collaboration between the filmmaker and a two-time Oscar-winning actor? It all appears to get all the “boxes checked” for the big nominations and the critics’ lists. So, with this elite “pedigree”, just how does HIGHEST 2 LOWEST really “stack up” (is it more the latter than the former)?

In the story’s opening moments, we’re whisked around and about the gleaming towers of Manhattan. On the balcony of one of them is a man barking into a cell phone. Speaking of “stack”, he is David King (Denzel Washington), chief executive and co-founder of the music label “Stackin’ Hits”, and he’s putting all his “ducks in a row” in this life-changing “deal”. But first, there are family obligations. His beautiful wife Pam (Iifenesh Hadera) needs this year’s contribution to a local charity. Her “radar” goes on as David suggests just half the usual “check”, for now. Then it’s on to their teenage son, Trey (Aubrey Joseph), who goes with dad to his elite basketball camp (one of the coaches is Rick Fox). There, Trey meets with his BFF Kyle (Elijah Wright), who happens to be the son of David’s personal chauffeur, Paul Christopher (Jeffrey Wright). He’s late because he’s gathering the proper papers for the big business “play”. After “touching base” with other company execs, David returns to his lush penthouse apartment to share the big news with Pam. He’s taken out loans, set up several accounts, and called in lots of favors in an attempt to acquire sole ownership of his recording empire. As she processes this news, David takes another call, thinking it’s a possible investor. He’s stunned when the unknown caller informs him that he’s grabbed Trey, and ransom instructions will soon follow. The police are called, while Paul realizes that his son Kyle hasn’t returned yet and isn’t picking up his calls. As the NYPD set up a command center in the dining room, another call occurs. The voice informs David to put together over 17 million dollars in Swiss currency, with drop-off details to come. David assures Pam that he will pay, while a new development has the police scurrying. A patrol car has picked up Trey and is bringing him home. He tells the stunned group that Kyle was grabbed instead. When David gets a new call from the criminal, he boasts that his son is safe, that he has Paul’s son. Nonetheless, the “voice” still insists on the ransom money; otherwise, he’ll murder Kyle. Paul doesn’t have the funds, while David balks at paying, since it would almost wipe out the needed capital for his company’s takeover. Will he make this huge sacrifice for his old friend’s boy? His decision plunges the affluent David into the seedy, crime-ridden underbelly of the Big Apple…

In case we all needed to be reminded of true movie star charisma, Mr. Washington easily delivers that quality from that slow tracking drone shot in the film’s opening minutes to the final fade-out. As King contemplates his “power move”, Washington displays a jovial swagger as he prepares for that day. When it takes that awful turn in the evening hours, we see the darkness consume him as he strains to keep control as his life crumbles. And as a deadly decision weighs on in shoulders, Washington allows us a glimpse of King’s vulnerability as the world seems to turn against him. He then taps into all those qualities in the rousing finale, when David dives into the abyss to demand justice. He’s got a great rapport with the stunning Hadera, who makes the perfect life partner for David. She’s his sounding board and fierce beacon of empathy. They’re a true power couple, though the more volatile pairing is with the always wonderful Wright as Paul. He’s been beaten down by life after losing his wife and spending too many years in the system. Wright gives him an inspiring dignity, pushing back at the police who suspect him (such “side-eye”), while struggling against despair as his beloved son is taken from him. Kudos are also due to the main law-enforcement trio of John Douglas Thompson, LaChanze, and the surly, snarky Dean Winter (“Mayhem” in a superb TV ad series). The biggest “find” may be the fiery performance of rapper A$AP Rocky as fledgling “wannabe” Yung Felon. He’s got an unpredictable energy that gives Washington a chance to reveal another facet to King.

The entire cast is stellar, guided by an elder cinema statesman who is still a “firebrand” after nearly 40 years of films, Spike Lee. He, along with screenwriter Evan Hunter, has put a remarkable spin on a classic crime film from 1963 by Akira Kurosawa, HIGH AND LOW, which he adapted from the novel by Ed McBain, “King’s Ransom”. They’ve taken most of that story’s structure and used it as a reflection on current society, from hip hop culture to the smothering, all-surrounding online community. Lee is in full command as he makes use of a few of his stylistic tropes (the “slow-rolling close-up” is here), an eclectic music soundtrack (the opening song is a strange stunner), and background images that reflect and comment on the characters. Plus, he and cinematographer Matthew Libatique give us a very vibrant NYC, more vivid than most recent flicks. What may surprise most filmgoers is the humor that finds its way into a dark tale of teen kidnapping, while not taking away the “high stakes” involved in the terrible crime. It’s tough stuff, for sure, but Lee sprinkles in lots of levity, even as we worry about the fate of the Kings and the Christophers. For fans of the “source” film, Lee takes a sharp “left” from that story’s third act, which gives the drama and social commentary an added heft. My only problem is the use of the musical score as a smothering “blanket” for many of the pivotal plot sequences, hammering in the emotional “stakes”. It’s a minor quibble with such a thought-provoking and entertaining film, proving that there’s still lots of juice and enjoyment in the fifth collaboration of Lee and Washington. Now they’re truly “stackin’ the hits” with the compelling HIGHEST 2 LOWEST.

3.5 Out of 4

HIGHEST 2 LOWEST is now playing in theatres everywhere

A QUIET PLACE: DAY ONE – Review

After a weekend with some original (though nostalgic) content at the multiplex, we’re back with a new installment of a very popular SF-thriller franchise that’s now six years old. It’s the third follow-up, though not a continuation of the last one from 2020. That’s because this is not a sequel, but rather a prequel, giving us the “backstory” to the event of the original. And since there are no characters from that flick, this could be considered a “spin-off”. Not to worry as this is no confusing “hybrid” unlike a similar action blockbuster (which didn’t “bust many blocks” at the box office) from a few weeks ago, FURIOSA: A MAD MAX SAGA. While that one certainly tested many theatre sound systems, the decibel level should be much lower when in use for A QUIET PLACE: DAY ONE. Shhhh…

The setting for this cinematic “flashback” shifts to the Big Apple, although the opening scenes take place a few miles away, in the NYC suburbs at a hospice facility. A senior nurse, Rueben (Alex Wolff) conducts a group therapy session for several of the terminal residents. But one of them is not “into it”. That’s Sam (Lupita Nyong’o) who has no filter (“This place is s*#t”) and would rather just wait for the end with her beloved cat Frodo. Rueben thinks he can get her out of her “funk”. He’s organized a field trip into Manhattan for a (short) theatrical presentation. Sam strikes a deal that she’ll come along if, and only if, they grab some pizza in the city. On the bus ride there she observes several fighter jets zooming overhead. Finally, they arrive for a (oh no) puppet show. When Sam and Frodo duck out to grab a snack at a nearby bodega, sirens are heard. They run into Rueben as he tries to hustle everyone back on the bus as per the loud warning messages from several rapid military vehicles (no pizza). The trip is cut short as objects from the sky (maybe bombs or meteors) explode onto the street. Sam’s knocked down during the chaos and awakens back inside the theatre. The city is under attack, overrun by huge spider-like sightless creatures that destroy anyone that makes a sound. Helicopters using loudspeakers (agitating the monsters) blare out a message that all survivors should make their way, silently, to the south dock area where boats will ferry them to safety since the aliens can’t swim. As the throngs march quietly through the streets, Sam goes against “the tide” to Harlem for her favorite pizza. On her journey, she and Frodo become part of a trio when a lost British law student named Eric (Joseph Quinn) joins them, much to Sam’s chagrin. Does she have the strength to evade the invaders? And can she and Erik make it to the boats in time?

The script brings a great challenge to the cast as they must communicate and express their emotions mainly through their eyes and body language, harkening back to the early days of silent cinema. And the compelling Ms. Nyong’o is more than up to the challenge, though she’s also terrific in the opening, pre-attack sequences as she verbally tosses snarky spears at nearly everyone around her (and then there are the eye-rolls as she discovers the type of show she’s agreed to see). Yes, she conveys the wide-eyed fear and panic, while never letting us forget that Sam is also pushing through agonizing pain as cancer ravages her body. Later, there’s her frustration as this “dufus in a suit” just won’t be on his way, which finally melts into admiration and real, and probably final, human connection. As her unlikely sidekick. Quinn also must temper the terror with his need to forge that connection and dissolve Sam’s “steel wall” of negativity. Plus he proves to be an unorthodox action hero as he ventures into the scary empty city in search of the meds that will ease Sam’s suffering (and discovers the monsters’ secret lair). Wolff is very good as the “by the book” official who secretly is amused by the defiant Sam. Kudos also to the impressive supporting work of Djimon Hounsou as the powerful father figure who’s the big “carryover” character in another part of the series. The scene where he must do the unthinkable to protect his son (while hoping that he’s not seeing it) is heartwrenching.

Aside from the new central characters in this entry, a big “player” behind the scenes has stepped away from the director’s chair. John Krasinski was busy with a more pleasant vision of the Big Apple full of friendly beasties in IF, so he’s handed over the helming reigns to Michael Sarnoski (PIG), though they teamed up on the script. Sarnoski captures that feeling of doom and dread, especially as we get several hints early on (jets in formation) that all Hell was soon “break loose”. When it does the city blocks are covered in white ash, almost as though a sudden blizzard has stopped everything (and reminding us of that fateful September morning in 2001). And while there are grand, epic “set pieces” of the aliens scurrying up buildings, Sarnoski really focuses on the folks at ground level. This is best highlighted in a mass exodus street scene in which the smallest noises alert the beasts who zip through the crowds, picking off the marchers with swift efficiency. It’s nightmare imagery, building on the hopelessness hinted at as the bridges to the city are taken out hinting that the feds think that our greatest metropolis is a “loss”. Yet amidst the carnage we’re really drawn into the dynamic of Sam and Erik as she finally finds something to live for just as everything seems to be over for humanity (and her rejoining it). Sure, it’s an “end of the globe” spectacle (with splendid CGI effects of the insect-like “rippers”) much like the variations of I AM LEGEND, but it’s the blossoming friendship that offers a glimmer of joy and hope in the truly original origin story at the center of A QUIET PLACE: DAY ONE.

3 Out of 4

A QUIET PLACE: DAY ONE is now playing in theatres everywhere

ROBOT DREAMS – Review

So it’s been long established that the Summer season is the “go-to” release time for animated features (along with the year-end holidays). Kids are out of school and parents need an air-conditioned refuge for the whole family. This season has begun at the multiplex with a fully CGI’d version of the “funny papers” feline, and we’ll soon get an ’emotional” reunion with a Pixar sequel and another visit from Gru and his minions. Ah, but “in between” we’re getting treated to something special and somewhat unique as it’s not part of a franchise, rather it’s based on an acclaimed graphic novel. Plus it’s done in the “classic” animation style, often referred to as 2D, much like the “hand-drawn” shorts and features (and TV shows) of the past. Oh, and it’s an Oscar nominee…from last year. Yes, it was one of the five nominated films in the March ceremony. And though THE BOY AND THE HERON took home the gold, this little gem more than deserved to be “in the race”. Now, at last, everyone will get a chance to be dazzled and delighted by some heart-tugging ROBOT DREAMS.


This story’s “waking life” begins in an anthropomorphic (much like ZOOTOPIA) version of NYC nearly forty years ago. The canine hero (known only as “Dog”) spends his nights in a walk-up one-bedroom apartment (perhaps in Brooklyn or Queens) in front of his tube TV. It’s hooked up to a “home gaming system” enabling him to play the classic “Pong” by himself (each hand holding a joystick makes it a new spin on Solitaire). Dog then switches his set over to basic cable, and pops a frozen “mac & cheese” dinner into the microwave. Setting up his “TV tray” he notices the windows of buildings across the street revealing happy couples enjoying life. And then a commercial inspires him. It’s an ad for the “Amica-2000” robot companion. Dog grabs the phone along with his charge card and places an order. After days of listening for a delivery truck stopped on his street, the big package arrives. After the driver (a bull) leaves, Dog quickly assembles his new mechanical buddy. Its steel noggin sports wide quizzical eyes and a broad smile. Soon Dog and “Robot” are inseparable, strolling down the street, watching TV (THE WIZARD OF OZ is a fave), playing video games, sharing a pizza, and even roller skating in the nearby park. As the temps rise, Dog decides they should hop on a bus to “Ocean Beach Park”. After some fun and food on the “boardwalk”, the duo ventures into the water. After a bit of trepidation, the pals finally engage in some undersea exploration. Afterward, they grab a bit of blanket space on the sand and bask in the sun. They doze off and awaken to a nearly deserted beach at dusk. Dog hastily begins gathering their things and takes Robot’s hand. But he can’t move. perhaps the seawater damaged his inner workings (could be rust). Dog then leaves his friend (assuring him he’ll return) and heads back into the city for his tool kit (and an oil can). But when Dog returns, a fence has been erected because the beach is now closed for the season, the sign stating it will be re-opened in June of next year. He tries to squeeze through the fence but the police gorilla hauls Dog away. Can these “best buddies” survive the separation? Could something happen to either one during the long months of waiting?

This is quite an emotionally complex story for an animated feature, though told in a seemingly simple way. As I mentioned earlier, these aren’t digitally shaded characters with “pixel’d” strands of fur and whiskers. Sure there’s a “double color layer” to suggest a light source and guide the shadows, but the main duo would be right “at home” with the Flintstones, Jetsons, or the first seasons of the Simpsons, though Robot could be a distant cousin to Futurama’s Bender. The backgrounds also benefit from a smooth, slick design, with meticulous detail to the time period (from a couple of pop culture nods, I’m zeroing in on 1986). Plus the fact that Spanish craftsman could so convincingly recreate the Big Apple is most amazing. And the movement is quite impressive, as there’s no real spoken dialogue other than some “chirps”, grunts, and growls. Through body language we know exactly how the heroes are reacting and their “inner life”. Which touches on the universal adult feelings of loneliness and the joy of finally connecting with someone, even if you did have to build him. There’s a sense of that even as the duo are kept apart for months. Dog has a brutal “dust-up” with two nasty twin aardvarks, and later he begins a romance with an athletic duck. Even as he lies on the beach, Robot has some encounters, including a rabbit rowing team and a bird seeking a safe nest for its eggs. And he does dream, drifting into shattering fantasies of reunion and whimsy. It all builds to something beyond the usual cartoon “happily ever after” ending, instead, it’s a warm interlude bathed in melancholy. Surprising that these simple shapes could elicit “all the feels”. Even more startling is the director’s resume, as Pablo Berger is mainly known for live-action comedies and dramas (talk about hitting a homer the first time at bat). But then the source material he adapted, from graphic novelist Sara Varon, has plenty of both. So even though this is technically from 2023, ROBOT DREAMS is one of the best films, animated or live-action, that you’re likely to view, and be moved by this year.

4 Out of 4

ROBOT DREAMS is now playing in select theatres

MAESTRO (2023) – Review

The list of actors who have jumped behind the camera to sit in the director’s chair is very long. One way to shorten it considerably would be to specify which of their debut-directed flicks were both a critical and commercial hit. Yes, Orson Welles’ CITIZEN CAINE is lauded by film scholars but barely produced a ripple in that competitive “golden year” of 1941. Yes, it’s rare, but one actor really hit a “home run” in his first time “up to the plate” with a film that’s the third screen take on a beloved early sound classic, that packed the multiplex, made some top ten lists, and snagged some Oscar gold. Ah, but the actor was nominated for his performance (yes, he directed himself in that debut), but nothing for his strong cinematic storytelling. Now five years later, he’s back directing himself, for his follow-up. And though this is a biopic rather than a romantic drama, it is also set in the world of music. So, is this a case of “sophomore slump”? Well, after watching this effort, he could perhaps share the title of MAESTRO.

And just who is referred to in the film’s title? None other than Leonard (“Call me Lenny!”) Bernstein (Bradley Cooper), who, for many “baby boomers” was the “face” of classical music in America for several decades. In the opening scene, he’s well into his twilight years as he sits down at the piano for a filmed interview in 1978. Then the movie backtracks thirty-five years into dazzling black and white. Lenny leaps from the bed he shares with his lover David (Matt Bomer) in an apartment above the concert stage to take the most important phone call of his young life. Bruno Walter, the conductor of the New York Philharmonic is ill and Lenny will have to take the “baton”. And it’s that old cliche as “a star is born”. Lenny’s the darling of high society and the NYC art world. At one of the swanky parties he meets, and is immediately dazzled by a young stage actress Felicia Montealegre (Carey Mulligan). This begins a whirlwind romance over the next few years as Lenny establishes himself as a composer with the hit “On the Town”, leading to their marriage in 1951. The couple becomes the “toast of the town” and begins a family, despite Lenny’s wandering eye for both sexes. Felicia is aware and endures it with the proviso that he is “discreet” and won’t publicly embarrass her. Their unconventional marriage is severely tested and nearly unravels when eldest daughter Jamie (Maya Hawke) confronts her father, who flatly denies those “rumors”. Luckily his career continues its upward trajectory with acclaimed concerts and Broadway hits like “Candide” and the iconic “West Side Story”. But soon the issues of “cheating” are dwarfed by the health crisis that may finish off the Bernstein family.

Though originally seen as another handsome leading man, Cooper proves to be a gifted character actor as the artistic titan of the twentieth century. Bernstein is a complex role requiring Cooper to exude some of his screen charisma to draw in the masses during his concerts. The sequences of him conducting full orchestras, choirs, and combinations of both are truly dazzling with Cooper seemingly super-charged with the energy of the music muses. Much the same can be said of his creative epiphanies as his artistic zeal consumes everyone around him, especially his collaborators. But with those passions came the appetites for pleasure, giving us the impression that his ego was beyond earthly moral standards, with no interest in the impact of his indulgencies. Part of this leads to the great romance of his life and its near disintegration. Cooper has found the ideal screen partner for the love of Lenny’s life. Mulligan projects wisdom and strength giving Felicia a regal aura that masks her pain over her hubby’s often flagrant callousness. And as the demon of disease envelops her, Mulligan shows us her agony but also her determination to not “go gently into that goodnight”. In the supporting roles, Hawke projects the fizzy spirit of youth while dealing with some major parental confusion. And gifted comic actress Sarah Silverman flits in and out as Lenny’s glamorous, “smart set” sister Shirley, dopping “dishy” remarks.

Amazingly Cooper brings as much energy and creativity to his work behind the camera. He’s chosen to recreate the decades with a stunning switch in color, or lack of, as the 40s and 50s are splashed on the screen in shimmering strokes of black and white (big praise for cinematographer Matthew Libatique), then abruptly explodes with saturated colors for the swinging 60’s and 70’s (ah, the deep tans over Bernstein’s aging face). The vintage sets, props, and fashion keep right up the times. And they need to keep up with Cooper’s storytelling skills as a maze on stage suddenly switches to a full-on stage spectacle. Oh, and what sequences, the highlight being a breathtaking, jaw-dropping recreation of the presentation of Mahler at the Ely Cathedral which feels like one glorious supreme take. Luckily Cooper brings the same spirit to the more intimate scenes, particularly a nasty, verbal showdown over a beloved holiday. A similar technique is used to show the couple’s initial attraction as Lenny describes his new work about sailors on leave and is suddenly twirling and leaping with the “gobs”. Wisely, the movie’s superb score is all music created by Bernstein for various projects (there’s a great snippet from “West Side Story” while eschewing any theatrical recreations). Hopefully, this will inspire younger viewers to seek out his recordings, while for those of us who grew up with those “Young People’s Concerts” this will remind us of his fabulous legacy. And thanks to the talented Cooper, this MAESTRO is truly masterful.

4 Out of 4

MAESTRO is now playing in select theatres

BROS – Review

So what if Valentine’s Day is nearly five months away, any time of the year can work for the right romantic comedy (or “rom-com’, its modern genre term). Actually many moviegoers would enjoy seeing an engaging couple meet cute as they try to keep warm on a blustery Fall afternoon. And that’s just what happens with this weekend’s big film release. Oh, things are a bit, no a lot, different this time. It’s not “boy meets girl”, but rather boy, no “man meets man”. Yup, it’s a gay rom-com, though they’ve been supporting players in past flicks, often the next-door neighbor (nuzzling a kitty) or the co-worker who’s cheering on the leading lady (“You go, girl!!”). Not this time. and as one of the film’s co-stars (and co-writers) has been telling talk show hosts and showbiz reporters, there’s a lot riding on this. The major studios are curious to see how the audience will react to a funny love story centered on two very mismatched BROS.

The first part of the duo we meet is the story’s narrator, a pessimistic outspoken podcaster (he’s the host of “The 11th Brick”, a reference to Stonewall), Bobby Lieber (Billy Eichner). He’s got many friends, but aside from late-night phone app “hook-ups”, he’s not found that special “one” (though he denies that he’s looking). And then he saw Aaron Shepard (Luke Macfarlane) dancing shirtless at a club, looking as though he just arrived from Mt. Olympus. Their first encounter is a bit awkward, But Bobby detects a “spark”, though Aaron seems to vanish like Claude Rains (look him up, kids). Eventually they exchange digits and begin a long series of texts to “feel each other out” while acting casual and indifferent. They both continue on with their lives as Bobby is one of the planners and organizers of a soon-to-open LGBTQ+ museum if the board of directors will agree on anything. And if they can score some big cash donations. Meanwhile, Aaron suits up for his 9 to 5 job as an estate planner. Eventually, the two spend the day together as Aaron enjoys Bobby’s snarky wit, while Bobby is dazzled by Aaron’s cocky confidence and that “eight pack”. Their relationship soars during a trip to Provincetown, then almost crashes when Aaron’s school days crush “comes out”. But can the couple survive the biggest “test”, the dreaded Christmas visit with Aaron’s somewhat stuffy parents?

In his feature lead acting debut, Eichner shows that there’s much more to his considerable talents than verbally “ambushing” unsuspecting New Yorkers (though that does take a lot of talent and chutzpah). Sure we’re expecting him to bring the laughs, which he does by the truckload, with scathing asides and gattling-gun barrages of “burns”. But his Bobby’s not merely a joke dispensing machine, he’s a man looking for love, and more importantly perhaps, respect. Eichner delivers a heart-wrenching monologue, offset by a lovely beach, all about growing up with folks who wanted him to “tone it down” and conform to the “norm” leading him to frustration as those with fewer gifts got much farther. There’s the professional longing offset with the personal ones, as he hesitantly decides to offer his heart to Aaron, played by Macfarlane, who also proves that he’s more than a handsome face atop an “etched in granite” body. This guy must project an aura of aloof “coolness”, but he too wants more than the “pleasures of the flesh” to just “hang” with someone interesting. But Macfarlane shows us that the “perfect ten” has his own inner battles, too. Aaron thinks he can’t keep up with Bobby intellectually, plus he has to deal with a touch of “self-loathing’ as he suppresses his true “career calling’ for fear it would re-enforce gender stereotypes. Happily, the duo is surrounded by a wonderful group of great comic actors. Bobby must deal with a terrific but bickering ensemble that makes up the museum’s board, with Oscar-winning screenwriter Jim Rash grabbing lots of chuckles as Robert, who thinks that bisexuals are short-changed (“Not enough ‘B’ in the LGBTQ!”). Then there’s the scene-stealing SNL star Bowen Yang as a petulant, flighty filthy-rich TV producer. Oh, and we’re treated to several stars playing themselves and having a great time skewering their public personas (I won’t spoil the surprise delights).

Oh, did I forget to mention that Eichner co-wrote the screenplay with director Nicholas Stoller (the NEIGHBORS flicks)? Well, consider that slight undone. Stoller keeps the energy flowing smoothly, avoiding the deadly mid-section “lull” of so many comedies. And he confidently hits the comedic “beats”, knowing when to cut in for a superb reaction glare from Bobby, and when to cut in with a quick satiric aside (Bobby’s disastrous audition to be part of a beloved TV quintet). But somehow the comedy doesn’t drown out the tenderness of the romance, perhaps due to that clever screenplay that teases but really embraces all the “romcom” standards: the swooning “meet”, the trepidation, the “city stroll”, the near “bust-up”, and the “declaration”. The terrific jabs at basic cable TV romcom were made better when I learned that Macfarlane had roles in so many of them. Some moviegoers may be more than a tad skittish with this new “twist” on the beloved genre, but considering the tepid recent entries, this new spin is just the thing to recharge the staple. Those who take a chance will be richly rewarded with the engaging and really funny love story all about these BROS.

3.5 Out of 4

BROS is now playing in theatres everywhere

BETTER NATE THAN EVER – Review

Rueby Wood as Nate in 20th Century Studios’ BETTER NATE THAN EVER, exclusively on Disney+. Photo by David Lee. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Much like Don Lockwood’s “Broadway Melody” hero in SINGIN’ IN THE RAIN, this title kid’s “gotta’ dance”. And sing. And, well, just be on the stage. Any stage, but one on the “great white way”…someday. Yes, this is another tale of a youngster following his “dream” while trying to survive small-town life. Plus he’s trying to keep that dream alive, protecting it from being crushed by those that just don’t “get it”. In this original Disney feature film, this dreamer’s determined to prove he’s got the “chops” because when his big breaks looms, everyone will realize that it’s BETTER NATE THAN EVER. And he’s not gonna be late.


So when we meet Nate (Rueby Wood) early on a school day morning, he’s prepping for the big cast announcement for his middle school’s big stage musical. Of course, his room is adorned with posters of hit Broadway shows past and present. His older brother Anthony (Joshua Bassett) is more concerned about his football team (and girls) while their parents Sherrie (Michelle Federer) and Rex (Norbert Leo Butz) really try to be supportive of both. Rushing to the school office bulletin board, Nate finds out that he has been cast…as a tree. Not “Honest” Abe (if there can be a Hamilton musical, then..). At least he can share his heartbreak with BFF and fellow “theatre geek” Libby (Aria Brooks). Oh, but she knows something that will lift his spirits. It seems that there will be open auditions this weekend for a stage musical of the film LILO & STITCH…in NYC. Oh, but Nate’s folks are going on a weekend getaway leaving Anthony in charge. Could he get past big bro and board an early bus with Libby to the Big Apple? Perhaps they might be able to pull off the “stay over switcheroo” (“I’m staying at Libby’s” “I’m staying at Nate’s”). And they can grab the early evening bus back home after the try-outs. Of course, they won’t run into Nate’s aunt Heidi (Lisa Kudrow), also an aspiring actress now estranged from sister Sherrie. But can they bluff their way past the show’s talent staff who require a parent or guardian to sign the releases (and hopefully a contract)? Really, can these obstacles possibly block the goals of these two “starry-eyed” kids?

With an energy that could light up all of 42nd street, Wood is a most likable lead. His Nate is warm, endearing, but not overbearingly cloy though he does switch over to Disney cable channel emoting a few times. Oh, and he’s a pretty smooth crooner, matched by his often frenetic footwork. Brooks as Libby is the more calming influence, helping Nate get his feet back on the pavement as he reaches for those stars. Yes, she’s a bit sassy (the “tone” gag is overused) but Libby’s good heart shines through. Federer, Bassett, and real Broadway vet Butz make a solid family support unit. But the movie’s true secret weapon, its MVP is the dependable Kudrow who really gets to exercise her sublime comic timing while exposing her nurturing side as the adult who still hangs on to a bit of the dream that propels her nephew, though her hopes are bruised and battered. Boy, were we spoiled when we got to see this gifted pro on TV every week.

Making his feature film directing debut, Tim Federle (who wrote the screenplay adaptation of his own book) keeps the pace moving, propelling us through Nate’s bouncy glittery world. It really plays like a modern fable with NYC a dreamland with only a few sourpusses (they’ll smile when the singing starts). Here’s hoping families will watch this together so there can be discussions about the safety of secret bus trips (you won’t be a social media sensation). Federle does get in a few good digs at “stage parents and kids” behavior while showing the turmoil of cattle calls. But in the wake of other stage-translated Disney flicks would the main character have a full head helmet (more like a cowl/cap and a bit of makeup so the human face shows)? Despite the story’s often implausible twists and coincidences (look who’s at the auditions down the hall), this is a pleasant bouncy bit of fluff buoyed by the terrific Kudrow who truly helps BETTER NATE THAN EVER earn some kudos.

2.5 Out of 4

BETTER NATE THAN EVER begins streaming on Disney+ this Friday, April 1, 2022

SPIDER-MAN: NO WAY HOME – Review

MJ (Zendaya) prepares to freefall with Spider-man in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.

Who’s ready for a holiday road trip? Oh, the destination? It’s Christmas time in the Marvel Cinematic Universe! Yes, I know we’ve been there three times before in the last six months or so, from BLACK WIDOW to SHANG-CHI AND THE LEGEND OF THE TEN RINGS, and most recently THE ETERNALS, but this is more than a bit unique. First, it’s another co-production with Sony, one that somewhat completes a trilogy. And though it is a journey forward with our favorite “wall-crawler” it also takes a side turn down “memory lane”. In that way, it’s a bit of a celebration since he swung into the comic book world sixty years ago next August, and this coming May it’ll be his twentieth-year “thwipping” through the big screen. But for all that time, poor Peter Parker can’t seem to catch a break with his new amazing adventure, SPIDER-MAN: NO WAY HOME

As you recall from the mid-credits sequence of the last flick Ole’ Pete (Tom Holland) is in big trouble. Blowhard video-blogger J. Jonah Jameson (J.K. Simmons) has revealed his identity to the world while accusing him of murdering Mysterio and unleashing a horde of deadly drones. But the media and law enforcement also go after GF MJ (Zendaya), BFF Ned (Jacob Batalon), Aunt May (Marisa Tomei), and even ‘Happy’ Hogan (Jon Favreau). Of course, this news torpedos the high school trio’s applications to MIT. How in the world can Pete fix this? He can’t just “web it up”. And his big “alibi”, Nick Fury, is “off-world”. Hey, he’s just blocks away from the “sanctum sanatorium” of his “Endgame” cohort, the master of mystic arts, Dr. Strange (Benedict Cumberbatch). After much pleading, the doc decides to grant Pete’s request by casting a complex spell that will make everyone forget that he’s Spidey. Unfortunately, Strange is distracted by Pete’s “add-ons” (except MJ…and Ned…and…). But it looks like everything’s under control as Peter tries to talk with an MIT recruiter that’s stuck in traffic. Suddenly an armored tentacle bursts through the pavement. It’s Dr. Otto Octavius (Alfred Molina), who recognizes Spider-Man, but is baffled by his unfamiliar voice (he’s a stranger to Pete) Then a cackling green troll tosses an explosive pumpkin-like grenade. The Green Goblin AKA Norman Osborn (Willam Dafoe) is on the attack. Later Strange explains that the flawed spell has opened up multiple portals to other dimensions, unleashing many unfamiliar “super-villains”. Can Spidey and Strange, with assists from MJ, Ned, and Happy (who’s got some old Stark tech) capture these powerful “baddies” and send them back? With the Avengers scattered, can anyone else help them out?

Once again, the talented Mr. Holland slips into the dual lead role as though it’s a pair of comfy old sneakers (perhaps more like a pair of “web-shooters”). He retains Pete’s infectious energy and optimism even though his whole world seems to be collapsing in on him. More than in the last two films, there’s much more at stake as his alter ego intrudes on the lives of those he cherishes the most. Holland communicates that through his often halting line delivery, which speeds up as Pete formulates a strategy at “Spidey-speed”. He proves that the character does indeed work best as a high-schooler (but not for much longer). Zendaya’s MJ still has that endearing snark, tinged with her near-pitch-black sense of humor, now tempered with her affection for Pete and the need to support and protect him. Much the same can be said for Batalon as Ned, still loving his role as “the guy in the chair”, but eager to take on more (which happens “in spades”). Tomei channels more of May Parker’s generous empathetic soul, when she’s not in “mama grizzly” mode to protect her dear Pete. Favreau is still a funny lovable “schlub” who’s often Pete’s mentor and cantankerous “Dutch Uncle”. And on the opposite side, several screen vets seem to be relishing their return to villainy. Molins is a malevolent megalomaniac who is baffled by his new, but “old”, enemy. Ditto for Dafoe, whose Osborn is in almost constant battle with the scheming Goblin. Oh, and Jamie Foxx is back as Max/Electro who appears to love hurling insults alongside his deadly lightning bolts. Luckily Cumberbatch as the good doctor/wizard is there to reign them in while proving to be another great teacher/coach and father figure to Pete.

As you can see from the splash page from 1965’s Amazing Spider-Man Annual #2, the Stan Lee/ Steve Ditko creations have been teaming up for quite a while

Returning to the director’s chair is Jon Watts, who proves most adept at juggling the action, comedy, and drama, keeping the pace steady while still hitting all the emotional “beats” of the script penned by some more series vets, Chris McKenna and Eric Summers. It’s quite an impressive balancing act, since several action epics often lurch about, changing done as they speed to the next big action sequence. Mind you, the great stunts and VFX are here “a plenty”, but what stays longest may be the quiet moments as unlikely characters bond despite bickering. Best of all Spidey remains a beacon of light amongst so many “grim and gritty” masked crimebusters (though he’s put to the test many times here). He continues to cling to the hope that people can change. And while other film franchises try to ignore or even discard their past incarnations, this endearing romp embraces all the quirks and foibles of its forebearers. That’s heightened by the sprightly score from Michael Giacchino which seamlessly weaves in iconic melodies. And though many may see this tale as a conclusion (at least to the “home” subtitles), its finale announces a new start (buoyed by word that Holland and Marvel will continue with Sony for another trilogy). SPIDER-MAN: NO WAY HOME is a celebration of the past, a touching look ahead, and an affectionate nod to the faithful fans of the beloved character. Somewhere Stan “the man” Lee is flashing that big grin…

4 Out of 4

SPIDER-MAN: NO WAY HOME is playing in theatres everywhere

TICK, TICK…BOOM! – Review

tick, tick…BOOM! (L-R) ANDREW GARFIELD as JONATHAN LARSON in tick, tick…BOOM!. Cr. MACALL POLAY/NETFLIX © 2021

2021 could be remembered as a pivotal year in the history of movie musical adaptations. Of course, this synergy has been happening since cinema began to talk (which leads to the singing and the sounds of dance) over 90 years ago. Perhaps after being cooped up for much of last year, Hollywood has enlisted Broadway to get folks back to the multiplex. IN THE HEIGHTS kicked off the Summer film cinema, while DEAR EVAN HANSON stirred up lots of discussion, but very little box office. We’ll see Steven Spielberg’s take on a true stage classic WEST SIDE STORY in a few weeks. But what can tide the film song and dance fans till then? How about a flick that combines the talents of two Tony-awarding winning titans of the last thirty or so years? Yes, it’s a musical, but it’s also a biography (perhaps an autobiography, too). So what happens when you mix Lin-Manuel-Miranda with Jonathan Larson? Well, stand back before it goes TICK, TICK…BOOM!

And that’s the title of the intimate off, off-Broadway show/review that’s the framing device for this profile of Larson (Andrew Garfield). He’s on the tiny stage with a four-piece band along with two singers (who are also good pals) Karessa (Vanessa Hudgens) and Roger (Joshua Henry) as he tells of his life just months away from his 30th birthday (a biggie). He’s paying the rent (that show came a little later) by “slingin’ hash” as a server at the trendy Moondance Cafe in the Big Apple. Oh, his home is a cramped, falling-apart, sixth-floor walk-up. Luckily he’s got big dreams as he spends his post and pre-diner time creating the songs for his big stage musical, a futuristic fantasy/romance called “Superbia”. Even better, he’s getting love and encouragement from his dancer/girlfriend Susan (Alexandra Shipp) and his childhood pal, an aspiring actor turned very successful advertising exec Michael (Robin de Jesus). Unfortunately, Jon becomes too focused on the looming date for his creation’s workshop/showcase. And he has other options that aren’t as much of a gamble. Susan’s mulling over a teaching gig in the Berkshires (so far from NYC) and hopes Jon will join her. And Michael wants to help him get into the lucrative commercial jingle biz, even though he’s in need of emotional support from his BFF. It’s a choice between “fear and love”, as some encouraging words from Mr. Sondheim fuels Jon’s passion. But will that keep him going as the bills pile up?

Garfield proves to be one of our most versatile young actors by making a very successful dive into (for him) uncharted waters: song and dance. Despite his lengthy credits, singing was not an asset, something he can now amend on his resume. He performs with confidence, but he also captures the yearning of an aspiring, almost starving artist. We can see in his intense stare, that Jon is trying to take in everything and anything that can inspire and enhance his work. It’s to such a degree that others think he’s distracted, or, as girlfriend Susan believes, composing during interactions. But Garfield also gets the euphoria of the perfect blend of words and melody, which makes his agonized staring into the white void of his Commodore personal computer (ah, the 90s) worth it. Here a former Spider-Man seems more like Plastic-Man as Jon is mentally stretched between the “love and fear”. or really “glory and security”. This superb performance sends Garfield into the stratosphere. Luckily he works ver well with his main scene partners. Shipp is an ethereal beauty as the graceful Susan, but we see her shift from adoration to frustration in dealing with Jon’s career “waffling”. The latter is even more pronounced with de Jesus as Michael who’s caught between art and commerce. Unlike Jon, he can better straddle and even separate himself from the two worlds. He knows Jon will keep trying, while his dreams were dashed by too many dismissive “thanks yous” that cut him off in mid-song. Plus he conveys the heartbreaking of wanting so badly to share his fears with a life-long “brother” who can’t spare the space in his mind. MJ Rodriguez and Ben Ross are Jon’s cheerleading “work family” at the diner. We must also praise Hudgens’s musical “chops” who electrifies in a spirited exhausting duet with Garfield, “Therapy”. A couple of TV and screen vets score in smaller roles. Judith Light is Jon’s elusive agent Rosa who surprises him with a brutal, but needed, “wake up” call. And Whitford plays the acclaimed stage legend as a song “god’ who strolls casually down from Mount Olympus to fire a revitalizing bolt of encouragement toward Jon as he starts to wander from his path (he’s the mentor we dream of).

Miranda takes to filmmaking with the same energy and confidence that he brought to “boards’ on Broadway. The story’s flow is never disrupted by the bouncing between the stage review and the flashbacks to Jon’s struggles. The scenes flow from conversation to musical numbers naturally, never feeling forced or awkward. Much credit must go to screenwriter Steven Levenson who captures the clash between worlds (art and business) while giving us a harsh glimpse into the creative “clusterf*#k” (again that blank void that must be filled). As a bonus, we get some scathing satire directed at the current state of the stage when one number is set against an ever-changing backdrop of theatre posters (with titles like” The Mediocre Musical Stage Version of the Mediocre Movie”, “Song You Already Know”, and, maybe my fave “White Couple Arguing About Marriage”). Ouch, but so deserved! As scathing as that scene is, there’s also a lovely “love letter” to “stage show-biz” in the big number “Sunday” which showcases a dizzying array of true “Broadway Legends” (“look there’s….and there’s…”). Such infectious joyous moments help offset the sense of loss we get from the real story. The tunes don’t sugarcoat the reality, instead they give more focus on the fights and friendships. So, what happens when Miranda meets Larson? It’s an explosion of cinematic delight that follows the TICK, TICK…BOOM!

3.5 Out of 4

TICK, TICK…BOOM! is now playing in select theatres and begins streaming exclusively on Netflix beginning Friday, November 19, 2021

SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) – Review

The big Summer holiday weekend is finally upon us, so it’s getaway time. Ah, but what if you’re still a bit leery of travel, what with that “variant’ sweeping through several states? Well, there’s always the movies, though that loud, dim-witted auto-atrocity is still taking up a lot of multiplex space. This new release offers another type of getaway, one of location and time. It can be a bit confusing, but this feature is somehow old and new. And we won’t need Doc Brown’s DeLorean to immerse ourselves in the ozone of long ago NYC, 52 years ago to be exact. That sizzling Summer was the time of the Harlem Cultural Festival, spread out over several Sundays. Iconic pop culture entertainers (mostly musicians, though some comedians were squeezed in) performed before delighted audiences (up to 300,000 strong) for free. Unfortunately, another music fest, about a hundred miles away in upstate New York, got all the media attention. Luckily it was all recorded, and after spending over half a century in a basement, we can finally experience that sensational SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED).

The doc begins quietly as we meet one of the greying concertgoers, then a grade-schooler, who attended the festival, but is concerned that his memories may be faulty. It’s then that the director shows him some of that long-forgotten footage. And it all comes back to him. We’re given a quick history lesson then, outlining the origins of the event. The “Big Apple’ was still cooling down over an even hotter previous Summer when the assassination of Martin Luther King, Jr. triggered many nights of rioting and destruction. Then mayor John Lindsey tapped a slick, smooth DJ and nightclub singer Tony Lawrence (his many wild fashion choices could warrant its own film) to organize a festival that would bring the Harlem community together and promote the politics of black pride. Lawrence even got a corporate sponsor, General Foods whose Maxwell House Coffee was always near the stage, to help foot the bill to bring an amazing array of entertainers to Mount Morris Park over many Sunday afternoons. The footage then puts us right in the center of the throngs as one incredible performer follows another. Stevie Wonder performs a rousing solo on the drums (not just a keyboard/harmonica guy). Then B.B. King makes his blues guitar talk. Current pop tunes are represented by the white-hot, chart climbers, The 5th Dimension, splendid in their glowing yellow/orange outfits and sounding so, so sweet. A near-teenaged Gladys Night (looking like she’s off to the big senior social) sings about that “grapevine”, getting perfect support from her perfect “Pips”, dapper in their turtleneck-topped suits, executing intricate dance moves, and always making it back to the microphone in the nick of time (and not “conking’ heads). Older pop is represented by former Temptation, now solo artist, David Ruffin (not sweating a bit in his fur-collared black tux). Different music styles were showcased in different editions. For gospel, there’s the Edwin Hawkins Singers with their current hit “Oh, Happy Day”, just before Mahalia Jackson captures the audience with a heavenly hymn. Then a bit of blues is thrown in by the Staple Singers (Pops’ guitar riffs surprised one of his daughters). And then the crowds get a Latin/Salsa day with the furious congo skills of Mongo Santamaria and Ray Barretto. Later, those 1969 music lovers get a glimpse into the future of funk/pop with the fabulous Sly (looking like an alien aviator) and the Family Stone. Wrapping up the doc’s fest-footage is a mesmerizing performance by jazz diva Nina Simone who captures the huge crowd in the palm of her hand (as though she was the ultra-cool teacher that the audience/class adores and admires). Soon, we’re back to the original spectator, who delights in saying that he’s not “crazy”, he didn’t dream it. That time happened and he revels in reliving it. And we’re right there with him.

So just who is the master filmmaker behind this impressive feature film? Well, it’s his first (after a few shorts), and you’re probably used to seeing him on camera…about five times a week. I’m referring to Ahmir Thompson, perhaps better known as “Questlove” the frontman for the “Tonight Show with Jimmy Fallon” house band, The Roots. It’s to everyone’s good fortune, that he was determined (perhaps his own “quest of love”) this footage (which we see on their decades-long shelf home, labels faded and peeling off of massive video cases) be seen on the big screen. That it was just as important as that other filmed concert of 1969, WOODSTOCK. Oddly, the original HCF helmer tried to sell the film to studios as “Black Woodstock”, but got zero takers. It would be more than enough just viewing these performances, but Thompson goes the extra mile in framing the songs with a bit of history utilizing rarely seen archival footage along with TV news reports. For the gospel section, we get an overview of the black communities church services and singers. With the Latin numbers, we’re told of the residents of East Harlem or “Spanish Harlem”, told by Lin-Manuel Miranda (he’s everywhere) and his pop. There’s lots of time devoted to that other big Summer event, the moon landing. Though it was touched on in FIRST MAN, it’s surprising to see the “man in the street” interviews with Harlem-ites, many of whom believed that the money sent to NASA would have been better used to feed kids and create affordable housing in their community (a certain Mr. Foxx even chimes in with a joke or two). A lot of the credit for these sequences must go to the film’s skilled editor Joshua L. Pearson. I’m guessing he also was instrumental in putting together the “present-day” interviews scattered throughout the runtime. We hear from a few more audience members and a surprising number of the on-stage talent. The 5th Dimension’s Marilyn McCoo is visibly moved by the footage, sitting with hubby Billy Davis, Jr. Gladys Night offers some great stories (she and the Pips rehearsed in a basement), as does Stevie Wonder, who knew that the Fest was a career-changer, losing the “Little” from his stage persona and going in new directions (Chris Rock chimes in about this). Then there are the political figures, like the Reverends Jesse Jackson and Al Sharpton, who discuss how “black” replaced “negro” in the culture and media (a newspaper reporter clashed with her editors on this). Happily, none of the footage has faded with age, so the flamboyant fashions burst with color, almost “popping” off the screen. It all adds to what Thompson has referred to as “black joy”. I’m guessing all ages and races will feel much of that joy taking a trip back to a faraway time that feels so alive, full of infectious energy and celebration. Like those original Sunday shows, the superb SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) is also cause for rejoicing and adoration. What a time. What wonderful timeless entertainment.

4 out of 4

SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) is now playing in select theatres and starts streaming exclusively on Hulu Friday, July 2, 2021.