Tag Archives: LGBT

The Calling

Navigating a dark world of pain and murder in the Great White North, Susan Sarandon (3 Generations) leads a solid suspense story (if a bit flawed in the police procedure). Of course, I am partial to good serial killer tales, if you hadn’t noticed, so I’m in the target audience for this one.

Sarandon is supported by a surprisingly well-heeled cast: Gil Bellows (Ascension), Topher Grace (The Big Wedding), Ellen Burstyn (The Age of Adaline), Donald Sutherland (Hunger Games), and Christopher Heyerdahl (Hell on Wheels). Their abilities and experience keep it all fresh and intriguing. 

What makes this particular story a bit different is the efforts by director, Jason Stone and writer, Scott Abramovitch; both having their first time at bat for a feature. In the script and the direction, the characters all act just a bit different than you expect. The plot, even when obvious, still has some very nice reveals. I will admit that the final moment, probably from the original material, is a tad eye-rolling, but not unanticipated, and it doesn’t diminish all that came before. It simply is a bit too, for lack of a better word, cutesy. 

If you like good suspense tales (and this is more suspense than mystery), it is worth your time investment. The driving purpose and the path to the resolution are really very clever. It would have made a great mini-series, but it manages not to feel too rushed, even in a two hour format.

The Calling

Speech & Debate

If you ever spent time in a fringe club in High School or, in particular, worked for the school paper, in drama, or on the forensics team, this movie will ring many bells for you. Even if you haven’t, it captures the frustration and sense of awakening that everyone goes through at around that age, and, for some, the need to act. It is on that point where the reality of this tale gets delightfully stretched…but only a little.

The three young leads that carry the film are an unlikely crew thrown together by need. Their surety and fearlessness tested at every turn, they simply move forward until they can’t.

Sarah Steele (Adult Beginners), reprises her role from the original stage production while Liam James (The Way Way Back) and Austin P. McKenzie (When We Rise) join her to complete the group. They are all endearing and frustrating in their ways, and each has their own challenges outside the main plot to overcome. Together they find a sense of strength and belonging, as you’d hope.

This film began life as a well-received Stephen Karam play before he adapted it for this film version. As a credit to his writing, you’d never know it started in a different medium.

The adults in this story are definitely secondary characters with small, implied storylines of their own. Kal Penn (Designated Survivor), Janeane Garofalo (Wet Hot American Summer: First Days of Camp), Skylar Astin (Pitch Perfect 2), suggest rich, unseen interactions in particular.

This is a funny and painful romp through old memories and the new ways of the world (and how they haven’t really changed). Or, if you’re contemporary to the characters, a reminder that everyone is struggling through the same junk and can do so in quiet or with style. Regardless, watch through the end of the credits for an amusing coda.

Speech & Debate

Song to Song

Calling this a movie is a bit of a stretch. It is more of a tone poem than a traditional story, which is somewhat appropriate given the title and Rooney Mara’s (The Discovery) comments in her voice over. There is a tale to be gleaned from the visuals, dialogue, and brief scenes, but it isn’t straight forward. The result feels like an extrapolation of Eyes Wide Shut, but with a more complete result.  At 2+ hours, that is both an impressive achievement by writer/director Terrance Malick (Knight of Cups) and a lot of effort for the audience. I’m not sure it is effort that is well reimbursed.

Whether or not you like Terrance Malick’s style, he can surely put a cast together: Michael Fassbender (Assassin’s Creed), Ryan Gosling (La La Land), Natalie Portman (Jackie), Cate Blanchett (Carol), Holly Hunter (Top of the Lake), Bérénice Marlohe (Skyfall), Val Kilmer (Twixt), Benicio Del Toro (Sicario), Linda Emond (3 Generations), Tom Sturridge (Far From the Madding Crowd). Then there are music icons like Iggy Pop (Gimme Danger), Florence Welch, Patti Smith, and others.

In other words, a whole heck of a lot of talent went into the creation of this piece. It is also down to Malick’s editing of the moments that the story becomes at all apparent. But as a movie it is middling and as an entertainment it is lacking. Basically, you have to love these actors or Malick to want to spend over two hours to get to the point and resolution. So this one is up to you…I had to respect the film making, but I can’t say I really enjoyed the experience enough to recommend it unreservedly or even with enthusiasm for anyone who isn’t more interested in craft than they are experience.

Song to Song

Beauty and the Beast (2017)

You’ve probably already seen this (I hadn’t) and nothing I’m going to say here will change your mind.

So, if you loved this film, power to you and move along, you’ll probably think I’m being sour and unromantic, but I’m not. I love this story, and am particularly fond of the Grimm’s version and the Cocteau film, which leans heavily on that source. I even like the TV version (but, hey, that gave us Ron Perlman and Linda Hamilton, not to mention George RR Martin). But this Disney version is simplified and just not as engaging.

Like all fairy tales, there is a base truth Beauty wishes to convey, to teach. There are many ways to get there if you want to do variations of the story, but to really get there, in all cases, you have to truly care for the characters and their situations. You need to feel their fear and see their changes. Disney’s offering is all distraction and almost no emotion. That doesn’t make it un-entertaining, it just makes it empty entertainment, however pretty. And, to be fair,  the production design (real and digital) is truly a thing of beauty and imagination. Also, the nods to Sound of Music and Esther Williams, among others, are a riot.

But the story itself is rushed and almost utterly without tension or sense of time. It all seems to happen over the course of, at most, five days. I certainly believe in immediate connections between people, but they don’t usually involve kidnap, threats, and imprisonment. That takes time to overcome. In this case, everyone walked in knowing what would happen and didn’t even try to pretend it wouldn’t…the closest feint was the faked, depressing ending which the Enchantress (whom we’ve been spotting hanging out all along) deals with silently and completely without comment.

Does it still work? In its way, yes, but not because it is on the screen, but because it is in your mind. That is not only a cheat, but ultimately unsatisfying. It didn’t really do anything new for us. Frankly, there was too much other stuff to allow there to be characters and acting so that we actually cared about Belle, the Beast, her father, etc., and not just about the “story.”

There were other annoyances as well. The forced amount of diversity in the cast, seemingly without purpose, meaning, or basis. The continuity gaffs with the horse who magically appears at either end of the journey as needed, with or without tack. Peasants that suddenly have fancy dress. And then there was the great “controversy,” which was over so fast I actually almost missed it. Man people are screwed up if that was what flipped them out.

Ultimately, this is an OK piece of distraction, but not a great or classic film; it is simply big and flashy. Sure, it’s worth a single watch, but there isn’t a single performance worthy of mention, nor specific results calling out.

Beauty and the Beast (2017)

Doctor Who (Series 10)

I have to say, despite how much I liked Sherlock, I’m glad to see Moffat quit of it so he could concentrate on Who and his final season of show-running here. While series 9 acquitted itself reasonably, and Doctor Mysterio was amusing, series 8 has still left a bad taste in my brain. Mind you, he is still not a great show-runner, but 8 suffered so badly from his distraction that having him focused was a better option.

Generally, there were a lot of echos from the first season of the reboot through the first half or more of this series. In some cases, clear steals and references, which was an interesting choice. There was also a clear purpose building through the season… though some of it was spread out rather frustratingly and sparingly. Given that The Doctor and Nardole are supposed to have been in their current positions for decades at the top of the season (which has some odd implications) the slow burn of the bigger arc is understandable.

The addition of our latest companion, Bill, was a nice choice on a lot of levels. She has attitude and smarts and, most interestingly, a life outside the Doctor in a way we’ve not seen before. But it isn’t a series that feels very complete, by the end. Despite some nice structures and some fabulous moments, as a whole it is middling. Peter Capaldi (World War Z) seriously attempts to elevate it all with his talents, which are considerable. But he was handed some very weak scripts, so he could only do so much. He and the, basically unknown, Pearl Mackie make a nice duet, with the returning and redoubtable Matt Lucas (Alice Through the Looking Glass) at their side. But there is an unfocused energy between them all that never quite finds its target.

Overall, it is an enjoyable season, but not brilliant. It tries very hard to be so, but falls short do to its ultimate trajectory. What follows are my reactions as the series ran, rather than as retrospective. As noted, they are spoiler rich, so watch the season first if you don’t want to know anything.

By the Episode (with spoilers)

The Pilot
A strong and interesting opening with a lot of potential. The introduction of relative newcomer, Pearl Mackie, to join Peter Capaldi is not a bad one. She comes in whole cloth, but with enough mystery to drive stories and interest. She is energetic and intelligent. Interestingly, it also unabashedly echos a lot of Rose, the first of the series reboot from 12 years ago.  Perhaps the title is a subtle wink to that as well? Pearl Mackie as Bill has a lot in common with Piper’s Rose; primarily class, sass, drive. The use of the alarm clock sequence, in particular, evokes that launch explicitly. Adding some diversity to the new story was good, even if it feels a little forced (not just female, but black and lesbian). I think the most fun of the episode is the nods all the way back to the show’s roots with Susan’s photo making a prominent appearance (and doesn’t that raise possibilities).

The tale of the episode itself is minimal and, typical of Moffat, thin on reason, but it is clearly all about setting up the series arc. I can live with that if they pay it off. I’m certainly interested to see where it goes and what the heck is in that vault and why. Eventually, it would be good to know why the Doctor singles her out as well (wild guess is that she is Susan’s descendant). For the moment it has been dismissed, but I suspect it has a more pivotal aspect to it. And, one hopes, we’ll understand the reason for the retention of Matt Lucas’s Nardole as having a continued role in the Doctor’s life as the series continues.

Smile
Continuing with allusions to the original Rose arc, we are now in the far-future of humanity after starting with near term. However, with this episode, something new becomes clear. Where previous seasons were episodic, this series appears to be a single, long, unending story. Each, at least for now, tale picks up from the last moment of the previous. The original series did this often, and even some of the reboot, but usually as bridges into the new tale, not like they’ve just moved to the next line in the script. It will be interesting to see if this continues and how it develops. It certainly will affect the pacing.

The story of Smile is intriguing and fun. But another aspect of this series is exposed in how the tale is told. We aren’t really meeting the affected parties and getting to know them much. We are just focused on Bill and The Doctor. Sure they are trying help others, but in the first two episodes, no secondary characters really become important or take shape. It makes the stories feel thin and the pace feel rushed. It may still even out, but it is an interesting change from the recent past (classic often did this). Those secondary characters fill out each new world for us. We also seem to be back to the TARDIS is lost in space in time again, but that may be a short feint.

Thin Ice
With this episode, the series seems to be hitting its stride. We get a nice balance of secondary characters to invest in, and a bit more of the overall mystery of the vault, or at least a tease about it. Bill also gets to fast-forward through a lot of the Doctor’s reality regarding his past and the spectre of death that does seem to dog him thanks to the situations he puts himself in.  This aspect has been a main plot driver for several of the companions, stretched over a season.

The episode is still oddly locked to the Rose season, however. Rather than Dickens (in person) and ghosts for its third episode, we end up with Oliver Twist and monsters. I’m not entirely sure what to make of this quite yet, but I’ll keep tracking it. But there are certainly resonances with previous seasons, down to the last moment with the knocking (think The Sound of Drums and the final Tenant episodes).

Knock Knock
Wow, really? The only thing of value in this episode, other than getting to see David Suchet (Poirot), was the final tag back at the vault. But to the episode first. It is a bit of a stretch to claim the parallels with Rose’s first season continue. While they are tracking to time period (we’re back in modern London with Bill bringing the Doctor into her life as Rose did in Aliens in London), the tale is somewhat different, though the personal fallout might not be. The episode itself was a weird cross between The LodgerThe God Complex, with a bit of Ghost Light (from the Classic series). Really didn’t much care for the whole haunted-house-but-really-aliens thing. Far too overdone at this point and they brought little new to it. More importantly, this episode didn’t much advance Bill and the Doctor’s relationship, though he dropped some hints on regeneration and such for her sake. Not an unwatchable episode, but not a memorable one either. It makes me wonder why they bothered with the enhanced sound release of it… though interesting and well done, I can’t say it made it particularly better.

Back to the vault…So, guessing at this point at Missy or Susan in the vault (both for reasons unknown). We shall see.

Oxygen
There is some solid stuff in this episode, though it really all about working toward a rather hard to earn a solid (if cringe-worthy) pun: working for the suits. It is another, literally, breathless episode with the terror and danger starting near the top and driving through… mostly so you won’t think too much about the facts. In the midst of all that, we get some good moments, particularly with the blue alien, but we don’t really get to know any of the secondary characters (again) and the faked death of Bill was cheap, even if it was obvious. The episode is really more about Nardole and The Doctor debating about and sparring over the vault and his “duty.” Honestly, I’d prefer little end tags to pull this along as the embedded bits are feeling rather forced and tacked on to stories pitched in a vacuum to the larger arc.

We are drifting more from the direct season one framework, which is good. The essential of this episode is for Bill to realize just how dangerous it all is (about on par with when Rose comes to the same discovery). Of course, if you realize that this season will have only 12 episodes rather than 13, we are in direct sync (as this would map to Dalek). Perhaps I’m stuck too much on this idea, but it was such a strong parallel at the top, I’m not quite ready to give it up. Sound continues to be a challenge for me… between the speed of the dialogue and the timbre of their voices, a lot of what the Doctor and Bill say is getting lost. BBC sound mixing has always been a challenge for my ears, it is just more so with this series.

Extremis
Well, first: Yippee, yes it was Missy! Not that I’m overly thrilled to have the Mastress back in the game (though I do like Missy quite a bit) but I do like being right even if I prefer to be happily surprised. As to this set-up/reset episode, I guess I can’t blame Moffat for doing exactly what Davies did on his last run: put everything at stake. As we’ve drifted off the Season 1 structure fairly completely now (unless Bill is somehow a Bad Wolf surrogate and this new enemy is stands in for the Daleks which hit series one at this point) we are seeing more the compression of Davies first 4 seasons forced into a single series.

I do have to say that I object to the ongoing blinding of the Doctor. Feels like Moffat is trying to do a Death of Superman thing, but suspect it is more about redeeming Missy unequivocally through some form of major sacrifice or merging of the last two time lords (though they aren’t any more, are they?). In any event, it is a good and creepy sort of premise. Nothing new, but interestingly laid out even if the baddy allowed the Doctor to monologue and send his email (sloppy writing).  And I have to admit the opening teaser was a beautiful misdirect, though ultimately a cheat (it was just a dream… sort of). We’re halfway through and now we have what appears to be the major arc. We’ll see what comes next.

Pyramid at the End of the World
We’re finally into something new in this series. The vampiric Monks (or that’s how I think of them at present) are intriguing and creepy. The rules around them aren’t well known yet and this episode is very much incomplete, leaving Nardole dying, infected, on the Tardis floor and, of course, Bill having made a deal with the devil. And to that latter bit…it didn’t feel very real to me. One of the disadvantages of the pace of this season is that we aren’t getting the relationship building time and appreciation between the Doctor and Bill. She’s been very much on the outside of things due to the vault, etc. So for her to sacrifice not just herself, but the entire world on the assumption that the Doctor will get them back out of it? Nope, not buying into it right now. At least the Doctor can see again (somehow) but guessing Missy is gong to be necessary to free the Earth. All that said, there are some clever bits to the story, we’ll just have to see how it plays out and for how long… are they really going to stretch this to the finale? Or is Moffat saving Missy for something bigger down the road?

The Lie of the Land
This episode gets a huge pass for many of its faults for the climactic “Welcome to Fake News Central,” nailing home unequivocally its political agenda and commentary. Absent that, it is the few, spare moments with Missy that sell this tale (and the small tipoff to the series finale in the teaser), because the rest is rushed and so hand-wavy as to frustrate the heck out of me, though I did like the setup of Bill’s mum being paid off.  There is no real logic or good explanation of how the Monk’s machine works or how it is defeated. There is no explanation as to why or what the Monk’s get from conquering a world. There is no reason given why, after investing so much time watching the “threads” of possibility that they would stop doing that and be so easily defeated. I was expecting this thread to carry forward a bit longer, so now I’ve no clue what comes next, other than more Missy and the possible redemption of the Mastress. Clearly Moffat is going big for his final series…  With only four to go, I’m looking forward to seeing if he can pay it all off.

The Empress of Mars
I never really felt the need to revisit The Tomb of the Cybermen, but this Mark Gatiss (Denial) take on the idea with the Ice Warriors has its moments. Few, admittedly, but a few. One of the nicest aspects is the guest spot of Anthony Calf (The Man Who Knew Infinity). With very little screen time, he provides you a complete character and story. Frustratingly, no one else really does, including the Doctor and Bill. The final moment, and the return of Alpha Centauri (including the original voice of Ysanne Churchman), was a nice nod to the Peladon sequence, though I do wonder if this didn’t break that bit of history in some way. However, really the whole excuse of this episode is to get Missy out of the vault… and perhaps next week we’ll know why the Tardis went nutty when Nardole went into it. This is the breath before what I expect to be the final run to the series and Moffat finale. We’ll see if they can redeem Missy and give the Doc a good send-off (cause, even if you didn’t know it, it has become obvious he’s about to regenerate — nicely tipped at the top of the previous episode).

Eaters of Light
Easily the best episode of the season so far. It had characters, scope, depth, humor, and sure the crow thing was wonderful, surprising, and silly all at once, but it worked. And, yes, the time sense of in the portal and out got a bit mucked, but loved the idea and resolution. They even got the full regeneration statement in this time; so even if you didn’t know what was coming, you know what is coming now. This is the Doctor I miss. Great stories and characters. And even though the Missy bit was a little squeezed in, it was a wonderful scene. With only two left to go, I’m really hoping this is indicative.

World Enough and Time
Seriously, did you need any more hint than the title? OK, then the opening moments should have sealed it. How those moments relate to the story that followed…I’ve no idea yet. In fact, I was somewhat annoyed that we started there and then looped back. Again. OK, annoyance aside, the setup of the tale with the time dilation is fabulous. Great idea and it starts off wonderfully. Wasn’t crazy about Missy’s dialogue, funny as it was, because she just didn’t feel ready, so why would the Doctor have sent her out there with his companions? But conceptually it was great.

John Simm’s (Doctor Who 6) as, initially, the Zathras-like character is a hoot. Also, pulling off the reveal like the old Classic Master (the ripping away of the disguise) was also a nice touch. I do have to admit I was waaaaay ahead on where it was generally going having recognized the face coverings from the first incarnation of the Cybermen. I feel like this rewrites the history of Mondas, but I honestly don’t recall what the genesis story of them was. I’m sure some geek will dig it out and call Moffat out on it if it exists.

Of course, the top-line story here now is the 2 Masters. Not sure how I feel about that yet. Probably necessary to get Missy redeemed. She literally has to battle herself. And the fate of Bill is very much in the air as we know of no way to reverse the process she’s been through (based on 50+ years of the show).

So, we know what’s coming now, without question, in the next episode. These new elements raise the stakes and muddy the waters all at once. We are no longer just worried about Bill, Nardole, and the Doctor…the focus is primarily about the Doctor and the Master.  Certainly there were enough speeches about who Time Lords could be friends with over the last season (even if that is a feint). Hoping Moffat doesn’t pay for his surprise by blowing his final season by losing track of the heart of the Doctor. We shall see…

The Doctor Falls
And if the last titled show wasn’t enough, this makes it clear from the outset what is coming. And yet it wasn’t. I’ll come back to that. First I do want to say it was nice to see The Pilot come back, even if making her a Deus Ex Machina to save Bill was cheap and not provided enough foundation…and they’ve set up the Doctor to have a similar possibility. The rest of the episode, however, was so rushed.

We start again with a tease (different to the previous episode), loop back, and ultimately find ourselves unsatisfied and without an ending. There is no basis for Capaldi’s wonderful speech of “not wanting to change anymore.” The Masters, though they have a fun confrontation, don’t resolve Missy’s plot-line nor her redemption. The final moments of the Hartnell look-alike are just painful. And I’m pretty damned sure that the evolution of the Cybermen and the storyline violate galactic history as we know it.

Basically, it was a confused mess, even if it had some nice moments. You can’t keep teasing an audience with a regeneration and then not deliver. It is bad entertainment and breaks the contract. Now it seems we have to wait for the Holiday episode to see what and (W)ho happens next, which is a change as well. The holiday was usually used to bridge the series and, when needed, the new Doctors. I can’t say I felt fulfilled by this finale, but I will be glad to be quit of Moffat next year. He has never understood how to run an uber-arc in a story, even if his individual scripts can be quite good. And now he has really ticked me off and lost the last of my trust.

Doctor Who

The Discovery & 13 Reasons Why

Both The Discovery and 13 Reasons Why ask the same two questions: What is life? Why stick around for it? They come to roughly the same answers, though by very different routes.

The Discovery does this through the lens of science fiction. It asks: What if we knew there was something after death? And then it goes on to explore the impact, but tries to remained focused on the smaller stories. It is a rumination on “what if,” bordering on Eternal Sunshine of the Spotless Mind in feel.

13 Reasons Why does this from the 7th circle of Hell, otherwise known to most people as: High School. 13 Reasons tries to expose the realities of teenage perspective by offering up multiple stories and, potentially, the different variations of truth to them as we learn more. Ultimately, this is more a tale in the vein of Veronica Mars than it is a deep psychological expose, more structured as entertainment than open discourse, but it manages to make its points.

Their overlapping discussions of suicide make them a natural and topical pairing.

In The Discovery, suicide becomes a real, and less scary option for many people. Frankly, I think probably on a much bigger scale than the show posits. The script doesn’t try to simplify the risks or answer questions unequivocally, but it does nicely, if narrowly, follow enough characters to explore the idea.

Robert Redford (Pete’s Dragon), Jason Segel (The Muppets), and Rooney Mara (Lion) topline this intellectual thought experiment. With such a great cast, and a neat premise, it could have been so much more. But it is still engaging and thought provoking. And the ending is anything but passive for the viewer.

13 Reasons Why has a number of strong performances, but the primary standouts are Kate Walsh, Katherine Langford, and Dylan Minnette (Goosebumps). Walsh delivers a solidly heart-breaking performance of a mother dealing with loss and guilt. Langford lays out a progression of decisions and emotional fractures that help you follow her path, if not totally agree with the results–all the more impressive as it is her lead acting debut. And Minnette is a perfect “every kid” lost in the political tides of adolescence and inside his own head.

It is the confluence of these presentations that makes them so interesting to me. Either alone would have been something to notice. But two major releases, and even other shows like Transparent jumping onto the suicide depiction train (and there are many, many more, like Collateral Beauty), speaks to a subject in the air that needs dealing with in some way. Perhaps the documented rise of clinical depression over the last six months, particularly in women, is part of the explanation.

Regardless of the deeper zeitgeist, both of these streams deserve your time for their performances and their ideas. As to the bigger picture…time will tell.

The Discovery 13 Reasons Why

3 Generations

This is best thought of as a film about family rather than a story about a young trans man played by Elle Fanning (20th Century Women). It is primarily a tale about how this unique family inter-relates. And, in the end, this movie is really more Naomi Watts (Sea of Trees) story than it is Fanning’s.

But, truth be told, it is Susan Sarandon (The Meddler) and Linda Emond (The Family Fang) who steal this movie. Their characters and interactions are beautifully understated and comfortable. They throw away their lines like the old, partnered couple they are supposed to be but also manage to stay in the background. They take focus because of their quality, not because they are scene stealing.

There was so much controversy over this film as it came to screens. The MPAA tried to saddle it with an R rating due to its subject matter (learn more about the MPAA) and because Fanning was playing the role rather than a trans actor. Fanning (20th Century Women) does try to do her best, but I honestly never really bought her in the role both because the on-screen and script choices didn’t really fully jibe with my own experiences with people in transition.

The movie is simply, fundamentally flawed. Director and co-writer Gaby Dellal worked with Nikole Beckwith, but didn’t quite nail the story either in balance or action. Added to that, there is a forced layer of auteur visuals in the videos created by Fanning’s character that don’t feel at all on point or by him. And there is also a more metaphorical aspect of resampling and recreating music into something by that character. In neither case does the film pursue the threads, leaving them dangling, unfulfilled, and even distracting in some ways. And the men in this film, Tate Donovan (Argo) and Sam Trammell (The Fault in Our Stars), are somewhat pointless, but that is by design, though an odd message given the core focus.

Ultimately, there is entertainment and warm fuzzies to be had here, and a couple of the performances really are worth seeing. But as a movie it is middling in its success.

3 Generations

This Film is Not Yet Rated

Even I’m appalled that it has taken me 11  years to finally see this documentary about an industry that I’ve been part of most of my life. Especially so as I’ve always felt the ratings system was bogus (at best). Despite its early, stated intentions to end the censorship era, the advent of the MPAA and the rating system simply shifted and made shadier the efforts to control content by a minority band of self-appointed moralists. If that statement left you in the dust, then you definitely need to see this movie.

The sad truth, however, is that even after 11 years nothing has really changed since this Kirby Dick (The Hunting Ground) documentary hit screens. The MPAA hasn’t changed tactics or efforts at all. They are still beholden to the same masters (studios) and are secretive and capricious (and even bigoted) in their decisions. (See 3 Generations for a recent example. )

On the up side, the lay of the land around the industry, in particular with the rise of Netflix and Amazon Prime, has provided distribution avenues that didn’t exist at the time this docu was made. Also, the rise of “Director’s” and Unrated editions of films, only just coming to prominence when this docu was made, allows for the intended vision of films to find their audience. All of this doesn’t nullify the very real concerns or issues raised, but it points to potential ways around the gatekeepers from an artistic point of view. It would be a great follow-up to see how the financial landscape and decisions may be changing (though even Netflix is starting to scale back after years of risk).

Not Yet Rated exhibits Dick’s devotion to the truth as well as his sense of humor and commitment to his subject. It is a set of qualities that has garnered him several awards and nominations. This particular documentary struggles with its narrative, but not its entertainment nor its ability to inform. Which is to say that while it all comes together and there is a lot of information and revelation, the focus is a little soft. However, if you’ve ever wondered where the heck those letters come from on your entertainment, how they are selected, and how we compare to the rest of the world, you need to see this film.

This Film Is Not Yet Rated

Sense8 (series 2)

The first series of Sense8 was a mind-blowing experience. Its scope and inventiveness blazed new ground for the small screen. It challenged its viewers on many levels and managed to set up a world and set of conflicts that had you begging for more. Even if it wasn’t new material for readers of folks like Theodore Sturgeon, it was the best depiction of those ideas I’d ever seen in visual media.

Then came the holiday special, which was an important story bridge, but which also indicated a potential shift in quality. So it was with no little trepidation that I dove into the long awaited second series.

One of the first things that is immediately obvious is that one of the rich aspects of the show, the 8 languages, has been shifted to all English. It is a subtle change at first, but as the show goes on it definitely feels diminished and less credible. One of the fascinating and wonderful aspects to Sense8 was the multi-cultural breadth of the characters. It is part of its core message that people of all countries and creeds can work closely together, can love one another. Now, not only does it all sound the same, but some of the actors are struggling with the language, and subtleties, such as using English as a way to make others feel dumb or less, have been lost.

The scale of the show has also been pulled back. In some ways this was anticipated. Sense8 is not one of Netflix’s most successful shows in terms of sheer force. It will work for them for years, I’ve no doubt, but budgets aren’t typically planned on that hope. So I can forgive this, especially if it means we get more. However, there was at least one great addition to the cast (which I can’t discuss without blowing surprises), but I will say that Doctor Who fans will be pleased.

While Straczynski (Babylon 5), and Lana and Lilly Wachowski (Jupiter Ascending) are all still very involved, I was sad to see Tom Tykwer (Drei/3)disappear from the creative staff. There was a magic with all of them that seems just a little less without him there. And the rules of this world are somewhat fungible at this time… this could be because our main characters really are still learning about what they are or it could be that the writers are not staying consistent. Time will tell on that, but it does need to clarify how Sensoriums can reach out to one another and when/how someone can take over someone else.

OK, all of that said, this is still a fascinating and brave show. It is doing things and dealing with themes that no one else really is, and certainly not in this way. The end of this series, of course, sets up the next and it has definitely raised the stakes again.  So, yes, I am anticipating the the next series already. I hope it gets renewed and I hope it comes with a bit more of the original series feeling back into it.

[Updated 1 June, 2017: And this is why fans have such trouble committing to great shows: Sense8 is officially cancelled]

Sense8

Arianna

Over-examining this film is probably a mistake. It is, at heart, simply an impressive and effective coming of age film. Arianna’s story has resonance for anyone, regardless of their biological or gender identity. It is even more laid back than the similar XXY and much more focused on the core issue as well.

The success of this movie is very much on the lead’s, Ondina Quadri, shoulders. It isn’t just about her look or costuming, but also her subtle movements and quiet emotion throughout. She keeps you focused on the challenges and the internal turmoil of Arianna rather than the potential theatrics. Both Quadri and director Carlo Lavagna gathered up a number of awards for the results.

The film lays out its intent at the very beginning, but it does still come to a bit of an abrupt halt at the end. I didn’t find it a problem, but you may or may feel incomplete by the choice. I would argue that it fits the purpose and the promise well. However you feel about the end, it is still worth the journey and the performance.

Arianna