Here are my final picks for tomorrow's ceremony:
WRITING: ORIGINAL SCREENPLAY
Who Will Win: PARASITE
My Pick: ONCE UPON A TIME IN HOLLYWOOD
WRITING: ADAPTED SCREENPLAY
Who Will Win: JOJO RABBIT
My Pick: LITTLE WOMEN
VISUAL EFFECTS
Who Will Win: 1917
My Pick: THE IRISHMAN
SOUND MIXING
Who Will Win: 1917
My Pick: JOKER
SOUND EDITING
Who Will Win: 1917
My Pick: ONCE UPON A TIME IN HOLLYWOOD
SHORT FILM: LIVE ACTION
Who Will Win: THE NEIGHBORS' WINDOW
My Pick: NEFTA FOOTBALL CLUB
SHORT FILM: ANIMATED
Who Will Win: HAIR LOVE
My Pick: HAIR LOVE
PRODUCTION DESIGN
Who Will Win: THE IRISHMAN
My Pick: ONCE UPON A TIME IN HOLLYWOOD
MUSIC (ORIGINAL SONG)
Who Will Win: "(I'm Gonna) Love Me Again" from ROCKETMAN
My Pick: "(I'm Gonna) Love Me Again" from ROCKETMAN
MUSIC (ORIGINAL SCORE)
Who Will Win: 1917
My Pick: JOKER
MAKEUP AND HAIRSTYLING
Who Will Win: BOMBSHELL
My Pick: BOMBSHELL
INTERNATIONAL FEATURE FILM
Who Will Win: PARASITE
My Pick: PARASITE
FILM EDITING
Who Will Win: JOJO RABBIT
My Pick: PARASITE
DOCUMENTARY (SHORT SUBJECT)
Who Will Win: LEARNING TO SKATEBOARD IN A WAR ZONE (IF YOU'RE A GIRL)
My Pick: IN THE ABSENCE
DOCUMENTARY (FEATURE)
Who Will Win: THE CAVE
My Pick: HONEYLAND
DIRECTING
Who Will Win: Sam Mendes for 1917
My Pick: Todd Phillips for JOKER
COSTUME DESIGN
Who Will Win: LITTLE WOMEN
My Pick: LITTLE WOMEN
CINEMATOGRAPHY
Who Will Win: THE IRISHMAN
My Pick: 1917
ANIMATED FEATURE FILM
Who Will Win: TOY STORY 4
My Pick: TOY STORY 4
ACTRESS IN A SUPPORTING ROLE
Who Will Win: Laura Dern for MARRIAGE STORY
My Pick: Kathy Bates for RICHARD JEWELL
ACTOR IN A SUPPORTING ROLE
Who Will Win: Brad Pitt for ONCE UPON A TIME IN HOLLYWOOD
My Pick: Brad Pitt for ONCE UPON A TIME IN HOLLYWOOD
ACTRESS IN A LEADING ROLE
Who Will Win: Renee Zellweger for JUDY
My Pick: Renee Zellweger for JUDY
ACTOR IN A LEADING ROLE
Who Will Win: Joaquin Phoenix for JOKER
My Pick: Joaquin Phoenix for JOKER
BEST PICTURE
Who Will Win: 1917
My Pick: ONCE UPON A TIME IN HOLLYWOOD
~~~
Showing posts with label Tassoula. Show all posts
Showing posts with label Tassoula. Show all posts
Saturday, February 08, 2020
Parasite
On Thursday I saw Parasite, starring Jung Ji-so and Jo Yeo-jeong.
The Kim family is poor; the Park family is rich. The Park family needs assistance running their high class household and the Kim family sees an opportunity. Soon, in devious ways, all four of the Kims are employed by the Parks doing various tasks for them, though they don't disclose they're at all related.
Soon, they've infiltrated their entire world and begin to reap the benefits in healthy salaries and access to the mansion when the Parks are away (i.e. a camping trip).
Inherently, as a girl raised in an Immigrant-led, blue collar home, my gut almost always roots for the lower class in stories such as this ... but not here. The screenplay is so good that the characters are developed in a very complex way, making the Kims less sympathetic than the Parks, who are basically decent people being taken advantage of because they're naive.
After one big event that results in a twist I can't expect anyone saw coming, all hell breaks loose and this goes from being a black comedy to a borderline campy horror film. I couldn't look away, and was definitely entertained, but I never would have put this in a Best Picture category.
So then I wondered what I was 'missing' regarding the hype surrounding this film and the only reason why I expect it's gotten such universal praise is because it's different. It's not a film with a simple formula or predictable outcomes in any way, shape or form. It's inventive, it's fast-paced and it makes you think.
But it's also not the second coming of film.
~~~
The Kim family is poor; the Park family is rich. The Park family needs assistance running their high class household and the Kim family sees an opportunity. Soon, in devious ways, all four of the Kims are employed by the Parks doing various tasks for them, though they don't disclose they're at all related.
Soon, they've infiltrated their entire world and begin to reap the benefits in healthy salaries and access to the mansion when the Parks are away (i.e. a camping trip).
Inherently, as a girl raised in an Immigrant-led, blue collar home, my gut almost always roots for the lower class in stories such as this ... but not here. The screenplay is so good that the characters are developed in a very complex way, making the Kims less sympathetic than the Parks, who are basically decent people being taken advantage of because they're naive.
After one big event that results in a twist I can't expect anyone saw coming, all hell breaks loose and this goes from being a black comedy to a borderline campy horror film. I couldn't look away, and was definitely entertained, but I never would have put this in a Best Picture category.
So then I wondered what I was 'missing' regarding the hype surrounding this film and the only reason why I expect it's gotten such universal praise is because it's different. It's not a film with a simple formula or predictable outcomes in any way, shape or form. It's inventive, it's fast-paced and it makes you think.
But it's also not the second coming of film.
~~~
Monday, February 03, 2020
Documentary Short Film Nominees (Oscars 2020)
Yesterday I saw all five of the nominated films in the Documentary Short category. I'll present my reviews in the order the films were shown.
LIFE OVERTAKES ME (Sweden, USA)
A mysterious illness is breaking the hearts of refugee parents all across Sweden. This film shows real-life cases of Resignation Syndrome, where children effectively enter into a coma after a series of traumatic events renders their bodies unresponsive. Facing deportation, the parents often have to parent children not afflicted by the ailment and tend to every basic need of those who do while battling for asylum. It's devastating to watch and I found myself hungry for additional answers when it came to an end.
LEARNING TO SKATEBOARD IN A WAR ZONE (IF YOU'RE A GIRL) (USA)
A group of young girls in Afghanistan get to experience school—and learn how to skateboard—in a special program that's empowered thousands. Not only do they gain the practical skills of basic education, but they gain a self-confidence not usual for girls in their community. An inspiring slice of hope for change ... that really goes on a bit too long. Shame about the lack of editing.
IN THE ABSENCE (South Korea)
In the spring of 2014, over 300 lives were lost when the MV Sewol ferry sank in the wake of an incompetent government rescue response. Those who did survive were largely saved by area fishing boats and commercial vessels who arrived and intervened before the Coast Guard showed up. Even worse, among the dead were hundreds of children who were on board for a school trip. This film superbly recalls the order of events of this preventable disaster using archive footage and audio mixed with recounts from survivors and the families of the dead. The strongest of the five, I was thinking about this one long after I left the theater. This is my pick to win.
WALK, RUN, CHA-CHA (USA)
A couple who escaped Vietnam during the war (facing certain death because they were Chinese), makes a new life in Los Angeles, bonded by the love for dance that started their romance when it was forbidden in their former country. We see them learning new moves, practicing for a formal performance and telling the history of their love story—all very endearing, but at times unfortunately a bit slow-paced and repetitive. My least-favorite of the five nominated films this year.
ST. LOUIS SUPERMAN (USA)
A young black man in Missouri, Bruce Franks, Jr., vows to ignite change after the Michael Brown incident happens, having grown up knowing violence first-hand after his young brother was killed in a gunfight being used as a human shield. He runs for office and wins—fighting for a bill that declares gun violence a public health risk. An excellent look at how change may take time, but is absolutely possible.
A young black man in Missouri, Bruce Franks, Jr., vows to ignite change after the Michael Brown incident happens, having grown up knowing violence first-hand after his young brother was killed in a gunfight being used as a human shield. He runs for office and wins—fighting for a bill that declares gun violence a public health risk. An excellent look at how change may take time, but is absolutely possible.
Saturday, February 01, 2020
Live Action Short Film Nominees (Oscars 2020)
Yesterday I saw all five of the nominated films in the Live Action Short category. I'll present my reviews in the order the films were shown.
A SISTER (Belgium)
We join the film as a woman in peril makes a phone call from the car she's riding in with who appears to be her date. A date that has gone horribly wrong. Next, we see the person receiving the call who tries to make sense of the situation. It's a tense, simmer-beneath-the-surface thriller that we're not sure will turn out the way we hope. I was glued to the edge of my seat.
BROTHERHOOD (Tunisia, Canada, Qatar, Sweden)
A Tunisian family's harmony is disrupted when the eldest son, who has been gone for a long time, returns home to introduce his new pregnant Syrian bride. His father doesn't approve of what he suspects his son has been up to during his hiatus from their community and tensions rise. Perhaps I have dysfunctional oppressive family fatigue, but I didn't feel like there was anything new in this one. My least favorite of the bunch.
THE NEIGHBORS' WINDOW (USA)
A New York family of five is going through the motions of life—Dad works, Mom cares for the kids, they're comfortable financially. One night after the kids are in bed, the couple notices a couple in the building across the way making love with no inhibitions or worries that people may see them (though they have no blinds on their windows). At first they laugh, but then they become borderline obsessed with watching this couple, who appears to have an active sex and social life. Then, something changes and the perspective shifts. Basically, this is a good "grass is always greener" tale that was inspired by a true story. I had no idea I'd cry at the end—but I did.
SARIA (USA)
In March of 2017, 41 children lost their lives in a fire at a safe home in Guatemala. This film recounts the days leading up to the fire, including a riot led by female residents (who suffered sexual abuse and torture at the hands of their caretakers), who briefly escaped only to be captured, beaten and locked back up. In that lock up, a fire broke out and those responsible for guarding the girls didn't unlock the door to let them out, resulting in mass fatalities. This film was especially hard to watch because at the time of the real event, I worked for a Guatemalan company and spent time in the city near where it happened just a month later. The citizens were still raw with grief and searching for answers. Unfortunately, justice has not yet been achieved for the victims; perhaps this terrifying glimpse into what it was probably like will help that.
NEFTA FOOTBALL CLUB (France, Algeria, Tunisia
The final film in the presentation was the only one that provided solid comedy, but for that I was grateful. The story follows two Tunisian brothers who find a donkey wearing headphones. Yes, you read that right—the donkey is listening to tunes on a mountainside, so the boys make the most of the encounter, listening to the music and stealing the contents of the donkey's load to take home to their village. What they do with those contents left me smiling and caused the audience around me to spontaneously clap. The most charming of the five films, this just may be this year's winner.
~~~
Tuesday, January 14, 2020
Just Mercy
On Friday, I saw Just Mercy, starring Jamie Foxx and Michael B. Jordan.
Walter McMillian (Foxx) is a black man, living in Alabama, running his own business clearing out trees and brush around town. He has a family, a clean record and is well-liked in his community. One day in 1986, a white girl is murdered at a local dry cleaning store. There are no obvious suspects, but after six months, they bring McMillian in and accuse him of the crime, mostly because he once had an affair with a white woman. They have no evidence to support their theory, yet he is convicted and lands on death row.
His saving grace is Bryan Stevenson (Jordan), a recent east coast transplant who is dedicated to helping those wrongly convicted with their legal cases.
In the film, Foxx portrays McMillian as calm, rational, patient and (justifiably) angry. He doesn't have a lot of faith when Stevenson materializes because he's been let down so many times in the past, but you can feel him wanting to trust; wanting to have hope in someone. Alternately, Stevenson can't believe just how unfairly McMillian and several others in the system have been treated and vows to vindicate them. Jordan conveys a determined, if at times naive, man driven to succeed.
Though the reality of what I was watching was hard to take (because the story is true and the film is accurate in its retelling), I enjoyed it thoroughly. The performances drew me right in as if I was a member of that community, watching for the sidelines, praying for justice.
The wins have you wanting to cheer and the losses will make you weep, but you won't look at your watch once, and if you stay through the credits you get to see photos and updates about all of the featured characters.
~~~
Walter McMillian (Foxx) is a black man, living in Alabama, running his own business clearing out trees and brush around town. He has a family, a clean record and is well-liked in his community. One day in 1986, a white girl is murdered at a local dry cleaning store. There are no obvious suspects, but after six months, they bring McMillian in and accuse him of the crime, mostly because he once had an affair with a white woman. They have no evidence to support their theory, yet he is convicted and lands on death row.
His saving grace is Bryan Stevenson (Jordan), a recent east coast transplant who is dedicated to helping those wrongly convicted with their legal cases.
In the film, Foxx portrays McMillian as calm, rational, patient and (justifiably) angry. He doesn't have a lot of faith when Stevenson materializes because he's been let down so many times in the past, but you can feel him wanting to trust; wanting to have hope in someone. Alternately, Stevenson can't believe just how unfairly McMillian and several others in the system have been treated and vows to vindicate them. Jordan conveys a determined, if at times naive, man driven to succeed.
Though the reality of what I was watching was hard to take (because the story is true and the film is accurate in its retelling), I enjoyed it thoroughly. The performances drew me right in as if I was a member of that community, watching for the sidelines, praying for justice.
The wins have you wanting to cheer and the losses will make you weep, but you won't look at your watch once, and if you stay through the credits you get to see photos and updates about all of the featured characters.
~~~
Sunday, January 05, 2020
Labyrinth
Yesterday I saw Labyrinth, starring Jennifer Connelly and David Bowie.
Sarah (Connelly) is a teenager annoyed with the responsibility of babysitting for her infant brother. In a fit of anger, she wishes that the goblins would take him and they do. Soon the baby is being bounced around by the Goblin King (Bowie) and Sarah must navigate a complicated labyrinth to retrieve him.
Seeing this film on the big screen for the first time since the '80s was a real treat—the world created within the maze Sarah is sent through pulses with personality (and music) as she encounters each character. They're all the more effective when larger than life.
Jim Henson's puppetry work was underrated at the time, but thankfully the film's cult status has erased the initial negativity and made the film beloved as it so rightly deserves.
The print was shown in honor of Bowie's birthday this week and though we lost him four years ago next week, I doubt the world will ever be over his passing (I know I'm not). Still, it's a joy to watch him in his vibrant years, prancing about in a Tina Turner-like wig and capturing just the right amount of weird to be intriguing.
A welcome story to revisit on many levels.
~~~
Sarah (Connelly) is a teenager annoyed with the responsibility of babysitting for her infant brother. In a fit of anger, she wishes that the goblins would take him and they do. Soon the baby is being bounced around by the Goblin King (Bowie) and Sarah must navigate a complicated labyrinth to retrieve him.
Seeing this film on the big screen for the first time since the '80s was a real treat—the world created within the maze Sarah is sent through pulses with personality (and music) as she encounters each character. They're all the more effective when larger than life.
Jim Henson's puppetry work was underrated at the time, but thankfully the film's cult status has erased the initial negativity and made the film beloved as it so rightly deserves.
The print was shown in honor of Bowie's birthday this week and though we lost him four years ago next week, I doubt the world will ever be over his passing (I know I'm not). Still, it's a joy to watch him in his vibrant years, prancing about in a Tina Turner-like wig and capturing just the right amount of weird to be intriguing.
A welcome story to revisit on many levels.
~~~
Saturday, January 04, 2020
My Top 10s of 2019
FILM
- Once Upon a Time in Hollywood
- Joker
- Mystify: Michael Hutchence
- Toy Story 4
- Women of the Wild Buffalo
- Knives Out
- Harriet
- The Biggest Little Farm
- A Beautiful Day in the Neighborhood
- Little Women
Honorable Mention: Bombshell, Richard Jewell, Pavarotti
TELEVISION
- Killing Eve
- Catastrophe
- 9-1-1
- The Handmaid's Tale
- This is Us
- Grace and Frankie
- 90-Day Fiancé
- Doc Martin
- Queen Sugar
- Dead to Me
Honorable Mention: Stranger Things, Outlander, You, Harlots, Famously Afraid
~~~
Sunday, December 29, 2019
Judy
Today I saw Judy, starring Renee Zellweger and Finn Witrock.
Sometimes even the greatest of artists aren't given a fighting chance in this world and that seemed to be the case for actress/singer Judy Garland (Zellweger). On stage since she was 2 1/2, Garland's mother began supplying her with pills to ensure she was fit to perform before the age of 10. Once she was under contract with MGM studios as a child actress, it was reported they continued to supply pills, and further her dependency. This film shows the journey and result of her difficult path through life as an addict.
Garland is struggling financially when we join her on screen here, and is forced to take her two youngest children to their father's house in the middle of the night so they'll have a place to sleep. From here she must face the fact that she has to take the only job currently being offered to her to stay afloat, and that job happens to be a long way from California—in London. Though she loves the English city, she has a tough time leaving her children behind (though the stability is good for them) and continues to self-medicate to get through it all.
Her performances are both triumphant and tragic, and her audiences respond in kind. She's often late for her shows, so terrified to go on stage that she has to physically be pushed onto it to perform and often ends up swearing or storming off before it's over. In one instance, the guests are so angry with her behavior that they begin throwing dinner rolls at her.
In the midst of all of the chaos, she finds a fifth husband in musician Mickey Deans (Witrock), who provides her momentary happiness from the state of her fractured life, but he isn't enough to save her. Just months after her London tour concludes, he finds her dead of an accidental overdose.
The film shows a good representation of how addicts function, even in spite of huge commitments like sold-out concerts. There is a desperation in Zellweger's performance that left me exhausted, but that's a good thing because that's what being around an addict is like.
Zellweger's mannerisms, her voice, her speaking cadence—all very close to the real Garland who we can watch at will in the library of famous performances she left behind.
I was sad to see that most of the sequences in the film are based on truth simply because they're so sad, but perhaps we all need to see how influences, whether they be family or industry, can literally kill someone.
~~~
Sometimes even the greatest of artists aren't given a fighting chance in this world and that seemed to be the case for actress/singer Judy Garland (Zellweger). On stage since she was 2 1/2, Garland's mother began supplying her with pills to ensure she was fit to perform before the age of 10. Once she was under contract with MGM studios as a child actress, it was reported they continued to supply pills, and further her dependency. This film shows the journey and result of her difficult path through life as an addict.
Garland is struggling financially when we join her on screen here, and is forced to take her two youngest children to their father's house in the middle of the night so they'll have a place to sleep. From here she must face the fact that she has to take the only job currently being offered to her to stay afloat, and that job happens to be a long way from California—in London. Though she loves the English city, she has a tough time leaving her children behind (though the stability is good for them) and continues to self-medicate to get through it all.
Her performances are both triumphant and tragic, and her audiences respond in kind. She's often late for her shows, so terrified to go on stage that she has to physically be pushed onto it to perform and often ends up swearing or storming off before it's over. In one instance, the guests are so angry with her behavior that they begin throwing dinner rolls at her.
In the midst of all of the chaos, she finds a fifth husband in musician Mickey Deans (Witrock), who provides her momentary happiness from the state of her fractured life, but he isn't enough to save her. Just months after her London tour concludes, he finds her dead of an accidental overdose.
The film shows a good representation of how addicts function, even in spite of huge commitments like sold-out concerts. There is a desperation in Zellweger's performance that left me exhausted, but that's a good thing because that's what being around an addict is like.
Zellweger's mannerisms, her voice, her speaking cadence—all very close to the real Garland who we can watch at will in the library of famous performances she left behind.
I was sad to see that most of the sequences in the film are based on truth simply because they're so sad, but perhaps we all need to see how influences, whether they be family or industry, can literally kill someone.
~~~
Tuesday, December 24, 2019
Bombshell
Today I saw Bombshell, starring Charlize Theron and Nicole Kidman.
The women who brought down Fox News executive Roger Ailes (John Lithgow) weren't always united, but they all shared a common problem in their workplace: him. This film traces the journey of three of those women (two based on real people; one a fictional composite) and what they endured to reveal their truths.
Charlize Theron is almost unrecognizable as she dissolves into the role of Megyn Kelly, arguably the biggest female star that's ever graced the Fox network. Kelly was harassed early in her career by Ailes, but kept quiet until it was evident his behavior had continued and worsened over the years. Theron's performance is what everyone is talking about and they should be for how frighteningly good it is, right down to the sound of her voice and the way she enunciates words. I was never much of a fan of Kelly, but this portrayal of how she handled the situation makes me dislike her a lot less.
Nicole Kidman is also strong as Gretchen Carlson, the woman who began the fight—and finished it by furnishing a series of conversations she'd recorded of Ailes saying vile things to her in the workplace.
Of course the creepy, disgusting source of everyone's pain had to be shown and Lithgow does a fine job of repulsing us with his inappropriate grunts and demands. This old, overweight villain is both terrifying and pathetic in equal measure.
There is a satisfying element in seeing Ailes brought down, but in retrospect, considering how comfortably he got to live out his life (as did/are others who were fired for similar offenses), it's truly bittersweet.
The fast pace of the film thankfully absolves us from seeing all of the horrors this monster inflicted, but reveals enough to remind men that those days are over and we're coming for them if they attempt this behavior going forward.
Girls, take all of the men in your life to see this film—especially your sons.
~~~
The women who brought down Fox News executive Roger Ailes (John Lithgow) weren't always united, but they all shared a common problem in their workplace: him. This film traces the journey of three of those women (two based on real people; one a fictional composite) and what they endured to reveal their truths.
Charlize Theron is almost unrecognizable as she dissolves into the role of Megyn Kelly, arguably the biggest female star that's ever graced the Fox network. Kelly was harassed early in her career by Ailes, but kept quiet until it was evident his behavior had continued and worsened over the years. Theron's performance is what everyone is talking about and they should be for how frighteningly good it is, right down to the sound of her voice and the way she enunciates words. I was never much of a fan of Kelly, but this portrayal of how she handled the situation makes me dislike her a lot less.
Nicole Kidman is also strong as Gretchen Carlson, the woman who began the fight—and finished it by furnishing a series of conversations she'd recorded of Ailes saying vile things to her in the workplace.
Of course the creepy, disgusting source of everyone's pain had to be shown and Lithgow does a fine job of repulsing us with his inappropriate grunts and demands. This old, overweight villain is both terrifying and pathetic in equal measure.
There is a satisfying element in seeing Ailes brought down, but in retrospect, considering how comfortably he got to live out his life (as did/are others who were fired for similar offenses), it's truly bittersweet.
The fast pace of the film thankfully absolves us from seeing all of the horrors this monster inflicted, but reveals enough to remind men that those days are over and we're coming for them if they attempt this behavior going forward.
Girls, take all of the men in your life to see this film—especially your sons.
~~~
Saturday, December 21, 2019
Knives Out
Today I saw Knives Out, starring Ana de Armas and Daniel Craig.
Harlan Thrombey (Christopher Plummer) is a wealthy novelist who is found dead of an apparent suicide. While his family swarms to line up for their inevitable inheritances, investigator Benoit Blanc (Craig) appears on scene with the cops to determine whether or not it was really a suicide.
All along, Marta (de Armas), Thrombey's nurse, has a painful secret she's desperately trying to keep under wraps, and the family's black sheep —who cleverly goes by 'Ransom'—(Chris Evans) is most certainly up to something, but we don't know what.
The film starts out as a straight whodunnit with all of the suspicious parties interviewed separately by law enforcement. After the presentation of a certain scenario, it's obvious what happened, so as an audience member you wonder why the reveal was done so early ... until you realize there is a twist. And then another. And then more after that.
All throughout, crackling dialog laced with hilarious listen-close-or-you'll-miss-them lines pepper the story with a strong dose of humor, making this modern mystery a lot of fun.
The only thing I could have done without was the vomiting. Future viewers: Tere's a lot of that, so be forewarned.
Otherwise, sit back and let the ride take you where it will—you won't be disappointed.
~~~
Harlan Thrombey (Christopher Plummer) is a wealthy novelist who is found dead of an apparent suicide. While his family swarms to line up for their inevitable inheritances, investigator Benoit Blanc (Craig) appears on scene with the cops to determine whether or not it was really a suicide.
All along, Marta (de Armas), Thrombey's nurse, has a painful secret she's desperately trying to keep under wraps, and the family's black sheep —who cleverly goes by 'Ransom'—(Chris Evans) is most certainly up to something, but we don't know what.
The film starts out as a straight whodunnit with all of the suspicious parties interviewed separately by law enforcement. After the presentation of a certain scenario, it's obvious what happened, so as an audience member you wonder why the reveal was done so early ... until you realize there is a twist. And then another. And then more after that.
All throughout, crackling dialog laced with hilarious listen-close-or-you'll-miss-them lines pepper the story with a strong dose of humor, making this modern mystery a lot of fun.
The only thing I could have done without was the vomiting. Future viewers: Tere's a lot of that, so be forewarned.
Otherwise, sit back and let the ride take you where it will—you won't be disappointed.
~~~
Tuesday, December 17, 2019
Ford v Ferrari
Today I saw Ford v Ferrari, starring Christian Bale and Matt Damon.
Caroll Shelby (Damon) is a former race car driver who had to stop racing due to a heart condition. He has been tasked with helping the Ford motor company develop a new race car to beat Ferrari, who insulted them during acquisition negotiations.
Shelby accepts the challenge and brings his friend, British war veteran Ken Miles (Bale), who is an engineer and driver, along with him. The entire film centers around the building of this super-fast vehicle and the race that will determine certain victory for one of the rivals.
Chtristian Bale is predictably superb as a hot-headed, but good-at-heart racer who has a deep passion for his craft. Miles is also a family man who dearly loves his supportive wife Mollie (Catriona Balfe) and adoring son Peter (Noah Jupe).
Damon is predictably solid as Shelby, who wants to do right by his bosses, but usually personally agrees with Miles (though his behavior is sometimes wild).
The story makes the representatives of Ford very unlikeable, especially that of VP Leo Beebe (Josh Lucas), who, though based on the real man, is portrayed as a composite of every slimy corporate white-man-of-privilege any of us have had the displeasure of working with or for, and that's a bit much to take.
With few exceptions the order of events is followed faithfully to the climactic race that determines the winner. And the buildup to that is fun to watch, but the best parts of the film are the moments that examine the genuine friendship between Shelby and Miles and the genuine love between Miles and his family.
I enjoyed the film—mostly because of Bale's performance—but thought it could have been about an hour shorter.
~~~
Caroll Shelby (Damon) is a former race car driver who had to stop racing due to a heart condition. He has been tasked with helping the Ford motor company develop a new race car to beat Ferrari, who insulted them during acquisition negotiations.
Shelby accepts the challenge and brings his friend, British war veteran Ken Miles (Bale), who is an engineer and driver, along with him. The entire film centers around the building of this super-fast vehicle and the race that will determine certain victory for one of the rivals.
Chtristian Bale is predictably superb as a hot-headed, but good-at-heart racer who has a deep passion for his craft. Miles is also a family man who dearly loves his supportive wife Mollie (Catriona Balfe) and adoring son Peter (Noah Jupe).
Damon is predictably solid as Shelby, who wants to do right by his bosses, but usually personally agrees with Miles (though his behavior is sometimes wild).
The story makes the representatives of Ford very unlikeable, especially that of VP Leo Beebe (Josh Lucas), who, though based on the real man, is portrayed as a composite of every slimy corporate white-man-of-privilege any of us have had the displeasure of working with or for, and that's a bit much to take.
With few exceptions the order of events is followed faithfully to the climactic race that determines the winner. And the buildup to that is fun to watch, but the best parts of the film are the moments that examine the genuine friendship between Shelby and Miles and the genuine love between Miles and his family.
I enjoyed the film—mostly because of Bale's performance—but thought it could have been about an hour shorter.
~~~
Saturday, December 14, 2019
Richard Jewell
Yesterday I saw Richard Jewell, starring Paul Walter Hauser and Sam Rockwell.
During the 1996 Olympics in Atlanta, a domestic terrorist detonated a bomb in Centennial Park that killed one person and injured over a hundred others. The reason there was not a larger loss of life was due solely to the actions of a security guard on duty that night, Richard Jewell (Hauser).
At first the media—and the world—celebrated Jewell as the hero he was. He was interviewed by dozens of prominent journalists to tell his story of that night and appeared as a sincere, thoughtful man.
Then, the FBI needed a fall guy, so they decided Jewell was the easiest target. A local newspaper reporter got wind of their suspicions and blew the story up, making Jewell's life a living hell and shifting resources away from finding the true bomber (Eric Rudolph, who was caught years later).
This film tells the story of what was happening behind the scenes to Jewell and his mother (who he lived with). The acting is superb; especially from Rockwell, who portrays the attorney who stood by Jewell and ultimately got him cleared.
Watching it will make you angry, sad and disappointed in the pack mentality that seems to run rampant in our country, but hopefully will restore the reputation of a hero some still mistakenly think was responsible for a horrible act.
Too bad Jewell himself is no longer alive to see it.
~~~
During the 1996 Olympics in Atlanta, a domestic terrorist detonated a bomb in Centennial Park that killed one person and injured over a hundred others. The reason there was not a larger loss of life was due solely to the actions of a security guard on duty that night, Richard Jewell (Hauser).
At first the media—and the world—celebrated Jewell as the hero he was. He was interviewed by dozens of prominent journalists to tell his story of that night and appeared as a sincere, thoughtful man.
Then, the FBI needed a fall guy, so they decided Jewell was the easiest target. A local newspaper reporter got wind of their suspicions and blew the story up, making Jewell's life a living hell and shifting resources away from finding the true bomber (Eric Rudolph, who was caught years later).
This film tells the story of what was happening behind the scenes to Jewell and his mother (who he lived with). The acting is superb; especially from Rockwell, who portrays the attorney who stood by Jewell and ultimately got him cleared.
Watching it will make you angry, sad and disappointed in the pack mentality that seems to run rampant in our country, but hopefully will restore the reputation of a hero some still mistakenly think was responsible for a horrible act.
Too bad Jewell himself is no longer alive to see it.
~~~
Thursday, December 12, 2019
Die Hard
Tonight I saw Die Hard, starring Bruce Willis and Alan Rickman.
John McClane (Willis) is a New York City police officer who travels to Los Angeles to see his family for Christmas. His wife has taken an important job there, and things aren't so great between the couple.
McClane arrives the evening of his wife's company Christmas party and is away from the crowd when a German terrorist group, led by Hans Gruber (Rickman), begins to wreak havoc on the guests. Thus starts a cat-and-mouse game where McClane must save the day because the fumbling law enforcement that's collected outside makes a wrong step at every turn.
This Christmas classic never gets old.
It was thrilling to be able to see it on the big screen at a local indie theater because the crowd was just as into it tonight as they were in 1988. From the quotable one-liners that McClane delivers to the ever-evil posturing of the late Alan Rickman, it was nothing short of a pleasure to re-live. And boy, how it made me miss Rickman.
Until next year ...
~~~
John McClane (Willis) is a New York City police officer who travels to Los Angeles to see his family for Christmas. His wife has taken an important job there, and things aren't so great between the couple.
McClane arrives the evening of his wife's company Christmas party and is away from the crowd when a German terrorist group, led by Hans Gruber (Rickman), begins to wreak havoc on the guests. Thus starts a cat-and-mouse game where McClane must save the day because the fumbling law enforcement that's collected outside makes a wrong step at every turn.
This Christmas classic never gets old.
It was thrilling to be able to see it on the big screen at a local indie theater because the crowd was just as into it tonight as they were in 1988. From the quotable one-liners that McClane delivers to the ever-evil posturing of the late Alan Rickman, it was nothing short of a pleasure to re-live. And boy, how it made me miss Rickman.
Until next year ...
~~~
Wednesday, December 11, 2019
Marriage Story
On Saturday I saw Marriage Story, starring Adam Driver and Scarlett Johansson.
Charlie (Driver) and Nicole (Johansson) are a creative couple in the New York theater world, and they are divorcing. They share one son, whom they both adore, but struggle to work out the details of their new lives, though they mostly want the same things. It's a good exploration how even those with good intentions in situations like this can spiral out of control at the suggestions of others.
Like the characters toward each other, I have mixed emotions about this film.
On one hand, there are several incredible performances to note: Laura Dern, Merritt Weaver, Julie Hagerty and Ray Liotta all come to mind. They're supporting characters, but they're the folks in the film who feel real.
On the other hand, our two leads, Driver and Johansson are of course great actors and their performances here are no exception, but their delivery is nothing short of annoying (and I don't think that's their fault). I realize they're supposed to be stage actors in the film, but every one of their arguments or sad conversations is delivered as a monologue as if they were starring in a play. Instead of the raw, authentic way we see the others.
If only each scene didn't feel like a performance, I would have believed them.
~~~
Charlie (Driver) and Nicole (Johansson) are a creative couple in the New York theater world, and they are divorcing. They share one son, whom they both adore, but struggle to work out the details of their new lives, though they mostly want the same things. It's a good exploration how even those with good intentions in situations like this can spiral out of control at the suggestions of others.
Like the characters toward each other, I have mixed emotions about this film.
On one hand, there are several incredible performances to note: Laura Dern, Merritt Weaver, Julie Hagerty and Ray Liotta all come to mind. They're supporting characters, but they're the folks in the film who feel real.
On the other hand, our two leads, Driver and Johansson are of course great actors and their performances here are no exception, but their delivery is nothing short of annoying (and I don't think that's their fault). I realize they're supposed to be stage actors in the film, but every one of their arguments or sad conversations is delivered as a monologue as if they were starring in a play. Instead of the raw, authentic way we see the others.
If only each scene didn't feel like a performance, I would have believed them.
~~~
Friday, December 06, 2019
Elf
Tonight I saw Elf, starring Will Ferrell and Zooey Deschanel.
The modern holiday classic is always a joy to watch, but I had never seen it on the big screen until tonight. Thank you, Edmonds Theater!
Buddy (Ferrell) is adopted at the North Pole and raised as an elf in Santa's workshop, though his human qualities don't always fit in with his peers. He begins a quest to develop a relationship with his father, Walter (James Caan), and heads to New York City to do so.
There, Buddy is basically a bull in a China shop. He dresses as an elf and disrupts every environment he enters with his childlike behavior and naiveté. Though his father thinks of him as a burden, his stepmother Emily (Mary Steenburgen) and his colleague Jovie (Deschanel) see past his oddball tendencies and realize the sweet spirit that lies beneath.
It's a hilarious character that could only be executed by Ferrell in this way; for underneath the slapstick is a whole lot of heart. That, coupled with his chemistry with Deschanel (who, thankfully for us, gets to share her beautiful voice for a bit in this film) makes for a surprisingly sentimental holiday comedy.
I won't ever tire of this Christmas treat.
~~~
The modern holiday classic is always a joy to watch, but I had never seen it on the big screen until tonight. Thank you, Edmonds Theater!
Buddy (Ferrell) is adopted at the North Pole and raised as an elf in Santa's workshop, though his human qualities don't always fit in with his peers. He begins a quest to develop a relationship with his father, Walter (James Caan), and heads to New York City to do so.
There, Buddy is basically a bull in a China shop. He dresses as an elf and disrupts every environment he enters with his childlike behavior and naiveté. Though his father thinks of him as a burden, his stepmother Emily (Mary Steenburgen) and his colleague Jovie (Deschanel) see past his oddball tendencies and realize the sweet spirit that lies beneath.
It's a hilarious character that could only be executed by Ferrell in this way; for underneath the slapstick is a whole lot of heart. That, coupled with his chemistry with Deschanel (who, thankfully for us, gets to share her beautiful voice for a bit in this film) makes for a surprisingly sentimental holiday comedy.
I won't ever tire of this Christmas treat.
~~~
Monday, November 25, 2019
A Beautiful Day in the Neighborhood
Today I saw A Beautiful Day in the Neighborhood, starring Matthew Rhys and Tom Hanks.
The story is a simple one: cynical journalist gets fluffy assignment and the subject softens him. Sounds sappy, right? Well, it could have been, but it wasn't. This film, which tells of Lloyd Vogel's (Rhys) coverage of children's icon Fred Rogers (Hanks) several decades ago, gets the temperature right.
The star, Matthew Rhys of The Americans, was perfectly cast as the prickly writer who scoffs at his boss when she assigns him to interview Mr. Rogers. He's a Serious Journalist after all, and reporting on humanitarian "heroes" is well beneath his skill set.
But actually, it wasn't. The timing coincided with some personal conflicts the writer was going through and true to form, Mr. Rogers was exactly the salve his soul needed to resolve them. Of course, Hanks as Rogers is as good as it gets, him nailing the legend's slow cadence of speaking and mannerisms.
Really, the whole film, though quite sad in many sequences, was a pleasure to watch, both for its message and its reminder of a man who made genuine kindness his brand.
A welcome return to the neighborhood.
~~~
The story is a simple one: cynical journalist gets fluffy assignment and the subject softens him. Sounds sappy, right? Well, it could have been, but it wasn't. This film, which tells of Lloyd Vogel's (Rhys) coverage of children's icon Fred Rogers (Hanks) several decades ago, gets the temperature right.
The star, Matthew Rhys of The Americans, was perfectly cast as the prickly writer who scoffs at his boss when she assigns him to interview Mr. Rogers. He's a Serious Journalist after all, and reporting on humanitarian "heroes" is well beneath his skill set.
But actually, it wasn't. The timing coincided with some personal conflicts the writer was going through and true to form, Mr. Rogers was exactly the salve his soul needed to resolve them. Of course, Hanks as Rogers is as good as it gets, him nailing the legend's slow cadence of speaking and mannerisms.
Really, the whole film, though quite sad in many sequences, was a pleasure to watch, both for its message and its reminder of a man who made genuine kindness his brand.
A welcome return to the neighborhood.
~~~
Friday, November 22, 2019
Brittany Runs a Marathon
Yesterday I saw Brittany Runs a Marathon, starring Jillian Bell and Jennifer Dundas.
Based on a real woman who transformed her life, the film tells the story of Brittany, an overweight twenty-something who likes to have fun. Perhaps too much fun.
After an awkward doctor's appointment where she's basically diagnosed as being "fat," Brittany decides to take control of her life and does just that. She takes up running, leaves a troublesome friend behind, makes new friends and resumes dating. Along the way she goes through the natural ups and downs associated with life changes and finds herself in situations that result in some not-so-great behavior.
Jillian Bell is fantastic in this role because she makes you sympathize with her pain, yet get angry at her mishaps. She's also got perfect comedic timing, which keeps the dialog from getting formulaic. Her actions felt real and by the time the film was over, us audience members felt like an honorary friend who shared her journey.
I was a bit annoyed by her romantic partner and the predictability of their progression, but other than that, this was a sweet little film.
~~~
Based on a real woman who transformed her life, the film tells the story of Brittany, an overweight twenty-something who likes to have fun. Perhaps too much fun.
After an awkward doctor's appointment where she's basically diagnosed as being "fat," Brittany decides to take control of her life and does just that. She takes up running, leaves a troublesome friend behind, makes new friends and resumes dating. Along the way she goes through the natural ups and downs associated with life changes and finds herself in situations that result in some not-so-great behavior.
Jillian Bell is fantastic in this role because she makes you sympathize with her pain, yet get angry at her mishaps. She's also got perfect comedic timing, which keeps the dialog from getting formulaic. Her actions felt real and by the time the film was over, us audience members felt like an honorary friend who shared her journey.
I was a bit annoyed by her romantic partner and the predictability of their progression, but other than that, this was a sweet little film.
~~~
Friday, October 18, 2019
Joker
Today I saw Joker, starring Joaquin Phoenix and Robert De Niro.
Arthur (Phoenix) is a working-class clown who likes to make children laugh, cares tenderly for his elderly mother (Frances Conroy) and harbors an innocent crush on his attractive neighbor (Zazie Beetz). By all accounts, Arthur is a nice person just trying to life his life.
When he's attacked by some kids who steal the sign he's holding as part of his job, then beaten up by the same crowd when he attempts to retrieve it, it's easy to brim with sadness for him. Through a brief glimpse into one of his therapy sessions, we learn he's on a cocktail of drugs to aid in his mental health and that he dreams of being a stand-up comedian.
Arthur is also obsessed with a Johnny Carson-like talk show hosted by Murray Franklin (De Niro) and watches faithfully. He finally gets the chance to perform at a local comedy club and it doesn't go so well, but Franklin picks up clips from the disaster and uses them on his program, which leads to an invitation for Arthur to appear.
Meanwhile, a colleague gives Arthur a gun for protection, which he graciously accepts. You don't have to be a mathematician to realize that a mentally ill, constantly bullied man with a firearm is a bad idea ... but that's as far as I can go without spoiling.
I must say this, however: Joaquin Phoenix is nothing short of phenomenal in the role. Every expression, every ounce of pain Arthur experiences seeps from his pores onto the screen. When he aches, you ache for him, and when he rages; well—you sort of can't help but rage along with him.
It's truly an intense character study into the deterioration of the human spirit. Someone who could've had a shot at leading a decent life, but got kicked around too many times, and that coupled with other factors creates a monster, somewhat literally. The narrative got so intense I almost couldn't breathe, so I stepped into the lobby to take a moment. I can't remember the last time I film got to me in the same way.
Joker is tragic to claustrophobic proportions and more disturbing than it would be otherwise if our world wasn't presently so cruel.
Incredibly well done.
~~~
Arthur (Phoenix) is a working-class clown who likes to make children laugh, cares tenderly for his elderly mother (Frances Conroy) and harbors an innocent crush on his attractive neighbor (Zazie Beetz). By all accounts, Arthur is a nice person just trying to life his life.
When he's attacked by some kids who steal the sign he's holding as part of his job, then beaten up by the same crowd when he attempts to retrieve it, it's easy to brim with sadness for him. Through a brief glimpse into one of his therapy sessions, we learn he's on a cocktail of drugs to aid in his mental health and that he dreams of being a stand-up comedian.
Arthur is also obsessed with a Johnny Carson-like talk show hosted by Murray Franklin (De Niro) and watches faithfully. He finally gets the chance to perform at a local comedy club and it doesn't go so well, but Franklin picks up clips from the disaster and uses them on his program, which leads to an invitation for Arthur to appear.
Meanwhile, a colleague gives Arthur a gun for protection, which he graciously accepts. You don't have to be a mathematician to realize that a mentally ill, constantly bullied man with a firearm is a bad idea ... but that's as far as I can go without spoiling.
I must say this, however: Joaquin Phoenix is nothing short of phenomenal in the role. Every expression, every ounce of pain Arthur experiences seeps from his pores onto the screen. When he aches, you ache for him, and when he rages; well—you sort of can't help but rage along with him.
It's truly an intense character study into the deterioration of the human spirit. Someone who could've had a shot at leading a decent life, but got kicked around too many times, and that coupled with other factors creates a monster, somewhat literally. The narrative got so intense I almost couldn't breathe, so I stepped into the lobby to take a moment. I can't remember the last time I film got to me in the same way.
Joker is tragic to claustrophobic proportions and more disturbing than it would be otherwise if our world wasn't presently so cruel.
Incredibly well done.
~~~
Thursday, October 17, 2019
Countdown
Tonight I screened Countdown, starring Elizabeth Lail and Peter Facinelli.
A group of friends dare each other at a party to download an app that supposedly reveals your time of death and the person with the soonest fate has to drink the remaining drinks. Silly, right? Sure it is ... until that individual dies at the precise time that app said she would (and no, not from alcohol poisoning).
A story for modern times, for sure—with all of the tech nerd cheap shots they can fit–that examines our obsession with Smartphones and attempts to provide some jumps and scares in the meantime.
After one of her patients passes away, also at the time the app says he would, Quinn (Lail), a new nurse, downloads the app to her phone. She's alarmed when the time of death is just a few days away and begins seeing and hearing things that make her think there's more to it. She does what any sane person would do and attempts to delete the app from her phone, but that proves to be impossible.
She soon meets another app "victim" and they become friends, seeking ways to rid themselves of their certain fates. They enlist the help of an almost cartoonish young priest who is new to the demon-fighting trade and the film turns from wannabe-thriller to unsuccessful screwball comedy.
Did I mention there's a whole #MeToo side story in there too? I was excited to see Peter Facinelli emerge as the slimy doctor (I always loved him in a similar role on Nurse Jackie), but really as a fine actor, he deserved more.
Overall, this wasn't terribly scary, didn't ever really solve why the deaths were happening (what motivated the "demons") and gratuitously set up the sequel at the end. Thanks, but I'll pass.
~~~
A group of friends dare each other at a party to download an app that supposedly reveals your time of death and the person with the soonest fate has to drink the remaining drinks. Silly, right? Sure it is ... until that individual dies at the precise time that app said she would (and no, not from alcohol poisoning).
A story for modern times, for sure—with all of the tech nerd cheap shots they can fit–that examines our obsession with Smartphones and attempts to provide some jumps and scares in the meantime.
After one of her patients passes away, also at the time the app says he would, Quinn (Lail), a new nurse, downloads the app to her phone. She's alarmed when the time of death is just a few days away and begins seeing and hearing things that make her think there's more to it. She does what any sane person would do and attempts to delete the app from her phone, but that proves to be impossible.
She soon meets another app "victim" and they become friends, seeking ways to rid themselves of their certain fates. They enlist the help of an almost cartoonish young priest who is new to the demon-fighting trade and the film turns from wannabe-thriller to unsuccessful screwball comedy.
Did I mention there's a whole #MeToo side story in there too? I was excited to see Peter Facinelli emerge as the slimy doctor (I always loved him in a similar role on Nurse Jackie), but really as a fine actor, he deserved more.
Overall, this wasn't terribly scary, didn't ever really solve why the deaths were happening (what motivated the "demons") and gratuitously set up the sequel at the end. Thanks, but I'll pass.
~~~
Saturday, September 14, 2019
Downton Abbey
On Thursday night I screened Downton Abbey, starring Dame Maggie Smith and Allen Leech.
We rejoin our beloved upper-class British family in 1927 when they are set to host King George V and Queen Mary for a night at their estate. As preparations for the royal visit progress, the staff is excited for the opportunity to serve royalty and the Crawleys themselves are anxious, yet pleased.
True to fashion, things don't exactly go as planned. Lady Mary (Michelle Dockery) is concerned that Barrow (Robert-James Collier) isn't up to the task of leading the team and requests that Mr. Carson (Jim Carter) come out of retirement to assure things run smoothly. Flattered, he agrees to do so. Then, the boiler breaks, and a sexy plumber (James Cartwright)—sort of a cross between Ben Affleck and Justin Hartley—arrives to save the day, making Andy (Michael C. Fox) furious with jealously, as Daisy (Sophie McShera) flirts up a storm.
Lady Edith (Laura Carmichael) is awaiting the delivery of her ball gown and has a secret to share with her husband. Violet (Smith) is ready to cause trouble when a cousin comes along for the visit and doesn't plan to name Robert as the family heir. Items around Downton also mysteriously start to go missing.
As usual, there's a lot going on.
In addition, Tom (Leech) maintains a prominent place in the family, still raising his daughter at Downton and managing the property with Lady Mary. He is part of two main storylines here, but I can't mention them in any depth without spoilers, so I'll just say his presence is welcome and he's better than ever.
At heart, this felt like a very satisfying extended episode of the show we said goodbye to just a few years back. There's drama, romance, mystery and comedy. But is there anything particularly cinematic about it? Not really, but that's okay. Downton was grand as a television show with lavish costumes and sweeping landscapes, and it's even more of a pleasure to watch them on a big screen.
The show maintains its usual charm and wit, especially in Smith's delivery, then goes for an emotional sucker-punch (that I personally didn't see coming) at the end. If you're like me, you'll both laugh and cry as you acclimate to the comfort of spending time with characters who already feel like family.
~~~
We rejoin our beloved upper-class British family in 1927 when they are set to host King George V and Queen Mary for a night at their estate. As preparations for the royal visit progress, the staff is excited for the opportunity to serve royalty and the Crawleys themselves are anxious, yet pleased.
True to fashion, things don't exactly go as planned. Lady Mary (Michelle Dockery) is concerned that Barrow (Robert-James Collier) isn't up to the task of leading the team and requests that Mr. Carson (Jim Carter) come out of retirement to assure things run smoothly. Flattered, he agrees to do so. Then, the boiler breaks, and a sexy plumber (James Cartwright)—sort of a cross between Ben Affleck and Justin Hartley—arrives to save the day, making Andy (Michael C. Fox) furious with jealously, as Daisy (Sophie McShera) flirts up a storm.
Lady Edith (Laura Carmichael) is awaiting the delivery of her ball gown and has a secret to share with her husband. Violet (Smith) is ready to cause trouble when a cousin comes along for the visit and doesn't plan to name Robert as the family heir. Items around Downton also mysteriously start to go missing.
As usual, there's a lot going on.
In addition, Tom (Leech) maintains a prominent place in the family, still raising his daughter at Downton and managing the property with Lady Mary. He is part of two main storylines here, but I can't mention them in any depth without spoilers, so I'll just say his presence is welcome and he's better than ever.
At heart, this felt like a very satisfying extended episode of the show we said goodbye to just a few years back. There's drama, romance, mystery and comedy. But is there anything particularly cinematic about it? Not really, but that's okay. Downton was grand as a television show with lavish costumes and sweeping landscapes, and it's even more of a pleasure to watch them on a big screen.
The show maintains its usual charm and wit, especially in Smith's delivery, then goes for an emotional sucker-punch (that I personally didn't see coming) at the end. If you're like me, you'll both laugh and cry as you acclimate to the comfort of spending time with characters who already feel like family.
~~~
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