My journey as a writer of screenplays, novels, poetry, and more. films as I see them. Enjoy!
Far from simple, this talking heads cartoon allows an x-ray view into the psychology of emotion. It’s honest and sweet. …of course I cried.
Change can be difficult and jarring. Ever wonder why? Pixar let’s you eat popcorn as you tour the brain on a fascinating and emotional journey of self-discovery.
Don’t miss this literal mind trip. There are no better tour guides through the imagination than Amy Poehler as Joy and Phyllis from The Office as Sadness.
It takes a special story to outlive its first telling, to become timeless. Mockingbird has become just such a story. I read the book by Harper Lee so long ago, I had forgotten that it was so emotionally wrenching. I sobbed through this film, shocked a number of times. 
I couldn’t believe the depth and youthful innocence that a young Robert Duvall gave his almost voiceless role of Boo Radley. Brilliant. And, I fell in love with Gregory Peck, who called Atticus his greatest role of all.
The opening sequence seems to show quintessential childhood – collections in a box, removed and replaced. Scenes from Amelie (2001) and The Fall (2006) echo as token tribute to this film’s classic opening. 
A child narrator can speak unfettered by adult inclinations toward between-the-lines political double-talk or gaged intentions. Scout tells it like it is. Innocence is allowed a voice that reminds the world to see people as only a child can and to care for all others unconditionally.
Fans for decades have named children after the beloved narrator Scout, her adventurous and caring brother Jem, and even the glowing knight father Atticus.
Despite kid show channels’ certain and obvious attempts at making grown-ups, especially parents, look ridiculous, this story gives the child’s perspective but makes the father the hero. This badge he wears with honesty, care, some sense of failure, and deep love.
Atticus is pensive. He cares for the common good. He is flawed and fragile to his kids at first, being older and refusing to shoot a gun. But when the mad dog saunters into town he proves “ol One-Shot” has still got it.
In a parallel portrayal, the real mad dogs of the town come to commit acts of citizen justice before the courts have a chance to free a black man accused of raping a white woman. Atticus stands alone in moral courage against the growling crowd.
Even as his Oscar fame faded to a distant echo, Peck remained a father figure to the little actress who played Scout. They always called each other by their character names, and kept in touch. Rare indeed.
Even more rare were the events shaping American history at that time. Martin Luther King Jr. wore the heavy burden of speaking to the world on the same matters of civil importance as found in Lee’s book. King spoke of Atticus. King’s message was the same as that of Lee’s novel: living breathing human beings should all be given the same right to live and breathe. Timeless truth.
Audrey month continues with Stanley Donen’s film Charade. It may look like a Hitchcock film, but it isn’t. Though suspenseful (and way too scary for children), it keeps the conversation light and romantic. And don’t miss the perfect score by Henry Mancini. 
Watch it for the sensational screen love between Audrey and Cary Grant. Their lines are shockingly modern, more “New Girl” than silver screen. Audrey’s delivery slices comedic, and Cary Grant is equally quick and savvy. Despite their age gap (which made Cary Grant almost refuse the role), they use playful banter for excellent on-screen allure.
It opens as the first Devil Wears Prada as scene-stealer Kay Thompson entices the world to “Think Pink.”
These filmmakers were way ahead of their time in creating art films. A visual collage in each scene, and this a backdrop for Givenchy’s designs including the classic “Audrey look” debuting in this film.
From New York’s quaint village bookstores to the picturesque streets and sights of Paris, each scene sets the stage for this film to show off the visual allure of the fashion industry while simultaneously preaching a unique feminism that attempts to promote brains before beauty.
While that non-traditional perspective for that era surfaced, Audrey played the girl with the “funny face” which made her eternally iconic.
Under the flattering pink glow of Parisian city lights, a romance with fashion and more so with the city itself flourishes.
It’s entertaining and lovely, classic and pure. Where the music fails to fit, Audrey’s class fulfills. Don’t miss this dip into Paris in the 50’s and catch all of its sights with the goddess of fashion. Audrey at the Eiffel Tower. Audrey fishing on the Seine. Audrey at the Louvre in that gorgeous red gown.
“I don’t want to stop I like it. Take the picture. Take the picture!”
What Audrey and her famous dancing counterpart lack in romantic chemistry they somehow make up for in breathy swooning endearing moments which turn out rather “swonderful” in the end.
Moving in Mystery
Mounting in Myth
Wild with Wonder
This Sea Song a gift
Gasp at the color
Sigh with delight
Sob for the story
A motherless plight
The parallel stories
Of two frozen men
Whose hearts are stone-hardened
When love has to end
GrandMamas well-meaning,
Imprisoned themselves
In cages without feelings
So their hearts will not melt
A boy and his sister
The saviors reluctant
Head off on a journey
of purpose, importance
The selkies, the fairy men,
A magical robe,
The music, the bubbles,
The search for true home
Sorrow and laughter,
Color and grey,
The story seems simple,
The landscapes homemade.
Both screenplay and screenwork
Surpassed this year’s films
The heartbreak and artwork
Almost overwhelm
Director Tomm Moore
Deserves accolades
For this musical fairytale
So perfectly made.
Delve deeply in heritage
For the beauty you’ll weep
At this legend in masterpiece
Song of the Sea
Kenneth Branagh masterfully directs Disney’s newest live action adaptation of the beloved children’s classic fairy tale Cinderella.
In contrast to this year’s Into the Woods, no cheesy princes seek with fickle vengeance to woo winsome woeful indecisive scullery maidens. 
You need never flinch in fearful disgust. It’s appropriate for all ages but not so slapstick that adults can’t stand it. Marvel at the costuming and at Cate Blanchett’s truly wicked stepmother. 
Delight in each scene, drenched in artful Victorian symmetry which would do Jane Austen proud.
No longer just once upon a Time, it’s now once upon our time as Downton’s best take center stage. Lily James’s portrayal is demure, deliberate, ethereal. And Daisy of Downton is the perfect pompous step-sis. Already a fan of Agent Carter in her Marvel Fame, I believe Hayley Atwell was perfectly cast as the tragic mother figure. Shockingly, even Helena Bonham Carter underplayed her toothy froofy Godmother. The film as a whole was like a lovely well-paced waltz. Caring characters suffer loss but seek to prove always that bravery and kindness win the day for good. Well done.
Spend an evening getting swept up in the array of gowns and Swarovski’s best. Ah, the glass slippers! 
See Cinderella and believe in magic again.
Greetings from beyond the grave… Knock once for yes and twice for no.
Would you call this film one of Woody Allen’s best?
One knock.
We do write ourselves into characters, writing what we know, but don’t you think that the delightful, big-eyed Emma Stone is too many decades the junior to our flawed likable hero Colin Firth?
Two knocks.
True, Allen would have no trouble with the age-old question, so it could be good to note Allen’s perspective walking into this film. I believe that Allen’s accolades, well deserved, should not be withheld in lieu of his life choices. That’s taking personal vendettas too far. He is a brilliant filmmaker and writer. No question. He still pushes boundaries making viewers think. I have great respect for that skill as he puts it to use.
On a similar note, Allen girls rarely resemble Bond girls. Allen’s women are bold, conversational, talented, complex, sometimes quixotic but still intelligent, sexy, and confident. Allen paints women that women don’t mind watching and can relate to. Emma Stone is no exception. She is exceptional. Wouldn’t you agree?
One knock.
This film waxes Gatsby, doesn’t it?
One knock.
Lush 20’s sets, costumes, and lighting: perfect from every feathered hat to draping beaded gown. It’s silver screen smudged hues on golden twilight backdrops transport these modern actors into a golden age of Hollywood. You expect Cary Grant to attend the party and Grace Kelly to step into the scene for a quick visit at any point.
Magic in the Moonlight is a talkie, but the lack of action is rarely felt. Audience members are allowed somehow to feel equal with the characters on-screen. Tricked and sung to, questioned and valued. The actors saunter from one room to another, adjusting bow ties pondering the weather and waxing philosophical. Allen unabashedly tackles common taboo topics like religion and politics. Perhaps like Scorcese whose seeming quest is to find himself redeemable, Allen’s obvious discussion on-screen mirrors this by asking questions of the afterlife. This film questions the existence of God, mankind’s purpose on the planet, the truth in daily living, and the romance of magic.
Is he perhaps squeezing the brain to make room for the heart?
Three knocks.
Wait – what does that mean? Don’t you know? Okay, spirit from beyond, one final question:
Do you think that since Woody Allen’s last two films took place in France in the 20’s, that we can dare hope for a trilogy of sorts?
One knock.
Wonderful! Thank you so much, kind spirit, for the interview from beyond. Until next time…
This comedic 80s mix tape romp through a new Marvel universe takes on the big dogs by standing strong beside the Avengers series. It paints the Avatar honey green, suffers classic daddy issues, gives Lee Pace a full body makeover, and offers Kirk from Gilmore Girls more face time than he even got on the show. Written and directed by his brother, James Gunn, perhaps Kirk (Sean Gunn) had more to do with the success of this hit hero flick than we think.
While Bradley Cooper continues to make his acting career more about his quirk than his face as the voice of Racoon Rocket, Vin diesel gets to make one line count as the new Chewbacca Groot. Yes, the quintessential Star Wars comparisons must be made, but I believe this new universe created a name for itself and a life of its own.
Chris Pratt takes center stage and owns every scene as the relatable, flawed, likable hero, still quirky like the kid from Parks & Rec. With more Star battles yet to come, we can expect Pratt to keep the physique for yet another season.
Learn your A B C’s:
A lways trust George Clooney.
B elieve in Bill Murray.
C ast Matt Damon in anything.
D on’t forget Cate Blanchett.
E njoy Bob Balaban as much in this as in Guffman or Moonrise Kingdom.
F eel the weight of loss when you realize that Hitler stole everything from people when he took their lives.
G reet Goodman, as ever, a force and a friend, like a grandfather you fear but can’t wait to see.
H ugh Bonneville, Downton’s Lord Grantham, stayed true to form in his stately address and attire.
I nnocuous as art may seem, when paired with the destruction of so much of Europe, its loss must have felt like insult to the injuries caused by war.
J oin ever sweet Jean Dujardin and the team in rescuing stolen art with their suave personalities and winning smiles.
K eep
L ooking though you
M ay
N ever clear the
O bstacles
P ervading your
Q uest.
R emember that your
S oul is
T he art of the
U niverse’s Creator who
V alues you, knowing you are
W orth treasuring, as
eX tingushable as
Y ou may feel.
NaZ i soldiers obeyed orders, feeling they were right, but Clooney’s troop of Monuments Men sought to remind all why we fight.
Peter’s pet project is a bit too precious to him, but who can complain…it’s Peter Jackson.
He makes big movies worth every lingering glance over every centimeter of middle earth.
We may presume that we would have removed those extra elfin arrow shots or that half of the dwarf scowls on the multiple could have been edited out. Jackson has built the mansion of the Hobbit trilogy, and despite it’s penchant to extended editioning, this second in the series is lovely indeed and feels more accessible than the first with the additions of human and elf characters in new locations like Laketown.
Hobbit 2 swings out from systematic book adaptation and includes information from other Tolkien books like The Silmarilian, and it adds a new character: Tauriel. 
This female elf heroine, a Jackson original, raises the standards as Kate from Lost glistens and fights and alights from tree to boulder with ease wielding weapons and sassing her companions. She asks pivotal questions of Legolas that will direct his future course and lead him, no doubt, on his road toward war between Middle Earth and Mordor.
But nothing trumps the dragon. Bets are off. Dinosaurs no longer frighten. Monsters look like house pets in the fiendish glow of the heated snarky Smaug the magnificent and terrible.
Splatter: on FILM 