Category: Arts and Entertainment

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Review: ‘Anaïs in Love,’ starring Anaïs Demoustier, Valeria Bruni Tedeschi, Denis Podalydès, Jean-Charles Clichet, Xavier Guelfi and Christophe Montenez

July 5, 2022

by Carla Hay

Valeria Bruni Tedeschi and Anaïs Demoustier in “Anaïs in Love” (Photo by Karl Colonnier/Magnolia Pictures)

“Anaïs in Love”

Directed by Charline Bourgeois Tacquet

French with subtitles

Culture Representation: Taking place in Paris and in Brittany, France, the comedy/drama film “Anaïs in Love” features a nearly all-white cast of characters (with a few Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A 30-year-old graduate student, who has a history of avoiding long-term commitments, gets involved in a love triangle where she seduces a much-older man and his live-in lover. 

Culture Audience: “Anaïs in Love” will appeal primarily to people who are interested in movies about people who have messy and complicated relationships.

Denis Podalydès and Anaïs Demoustier in “Anaïs in Love” (Photo by Karl Colonnier/Magnolia Pictures)

The title character of “Anaïs in Love” blurs the lines between being a free spirit and being a selfish flake. Whether or not viewers will like her or dislike her, Anaïs keeps people interested in seeing what she’ll do next. In this comedy/drama, 30-year-old graduate student Anaïs (played by Anaïs Demoustier) is someone who’s still got a lot of growing up to do, but her childlike playfulness is a huge reason why people are attracted to her. It’s a dichotomy that is entirely realistic to the way many people are, but it leads to a very messy personal life.

In other words, don’t expect “Anaïs in Love,” which takes place in France, to be a conventional movie about romance. “Anaïs in Love” (which had its world premiere at the 2021 Cannes Film Festival) is also a reflection of French culture, which tends to have more lenient views than American culture about open relationships, infidelity and non-monogamy. Not too many American filmmakers would want to make a movie about a young American woman who does what Anaïs does in her pursuit of love and sexual relationships.

Charline Bourgeois-Tacquet wrote and directed “Anaïs in Love” almost like an observational portrait of Anaïs, to show without judgment how Anaïs is living her life within a certain period of time. The movie takes place over the course of about one year. In the beginning of the movie, Anaïs is working on her thesis, she’s struggling financially, and the rest of her life is in a state of flux.

The opening scene shows Anaïs restlessly fluttering around her Paris apartment while her patient but frustrated middle-aged landlord (played by Marie-Armelle Deguy) is in the apartment and trying to find out when Anaïs will be paying her rent. Anaïs is two months behind on her rent, and she’s currently unemployed, but she tells the landlord that she’s getting unemployment benefits and might be getting a job with her thesis supervisor. After a few minutes of Anaïs avoiding the subject of paying the rent, it becomes obvious that Anaïs is one of the people who talks quickly with a big smile on her face, pretending that everything is okay, when everything is not fine at all.

In between rambling about things other than when she’ll have the rent money, Anaïs tells the landlord that she and her boyfriend Raoul have recently made a change in their relationship. Raoul used to live with Anaïs and helped pay the rent, but now he has moved out for reasons that Anaïs won’t tell the landlord. All that Anaïs will say is: “Raoul and I haven’t really parted. We just don’t live together right now.” Later, viewers find out that the landlord’s son knows Raoul.

As a distraction, Anaïs quickly changes the subject to talk about the landlord’s love life. “How do manage, after centuries with your husband?” Anaïs adds, “Do you think I have a problem? That I don’t know how to love? If I was in love, really in love, I’d be happy to see the other person every day, morning, noon and night.”

And then Anaïs asks the landlord if it’s “normal” to want to sleep in the same bed for years with the same person. The landlord, who is visibly uncomfortable with where this conversation is going, says to Anaïs: “There is no normal. We do what we can with what we are.”

Keep in mind that all the landlord wanted to do was find out when Anaïs would have the rent that she owes. Instead, Anaïs bombards the landlord with a lot of personal information about herself and a lot of borderline intrusive questions about the landlord. After a while, viewers will notice that Anaïs has a tendency to “overshare” about her personal life with people she barely knows, so she asks questions with no tact when expecting other people to “overshare” with her.

It’s the first clue that Anaïs doesn’t really care about personal boundaries. She says whatever is on her mind, even if she sees that it causes discomfort to other people. Over time, viewers will see that Anaïs applies this attitude to anyone she finds sexually attractive. She will express that attraction to them, regardless if that person is in a committed relationship or not. When she wants to start a sexual relationship with someone, she doesn’t really care if it might hurt other people.

Anaïs is also one of those people who always seems to be running late. People who are chronically tardy often can be considered irresponsible, but many people who have a bad habit of being late also tend to be narcissists who don’t respect other people’s time. They often like the idea that when they show up somewhere, they might have kept people waiting. People who usually show up late also want to give the impression that their lives are so busy, they’re doing people a “favor” by spending time with them.

One evening, Anaïs goes to a cocktail party in an upscale apartment, where she doesn’t really know anyone, but she’s at this party out of obligation to her parents, who know the party hosts. Most of the people at this somewhat stuffy party are at least 25 years older than Anaïs. One of the party guests is a book publisher named Daniel Moreau-Babin (played by Denis Podalydès), who is a 58-year-old divorced father of an adult son.

Anaïs and Daniel first see each other in the elevator on the way to the party. And when they’re inside the party, Daniel and Anaïs start a conversation with each other. It turns out that Anaïs and Daniel are indirectly connected. Anaïs’ younger brother Balthazar (played by Xavier Guelfi) is engaged to a woman named Rebecca, who attended the same college as Anaïs. Daniel is the book publisher for Rebecca’s father, who is an author.

Daniel mentions that the spouses who are hosting the party have downsized to this apartment, after living in a big house for years. Anaïs says that there’s no such thing as having a house that’s too big. This domestic arrangement leads Daniel to talk about his personal life. Daniel tells Anaïs that he and his ex-wife were married for 12 years until he decided to break up with her because he felt he outgrew the marriage.

Daniel has been living with a 56-year-old successful writer named Emilie Ducret (played by Valeria Bruni Tedeschi) for the past 12 years, but he says their relationship has now gotten too routine and stale for him. Daniel wonders aloud to Anaïs if 12 years is the maximum length of time that he can be in a committed relationship. He tells Anaïs all of this personal information while looking at her in a way that makes it obvious that he’s attracted to her.

Anaïs picks up on the attraction right way. And so, it should come as no surprise to viewers that the next time that Anaïs sees Daniel, it’s for a secret tryst at his apartment, where they have sex for the first time. It’s obvious why Daniel is interested in hooking up with a younger woman who’s pretty, but what is Anaïs getting out of this sexual relationship? Apparently, she’s having sex with Daniel just because she feels like she can.

But what about Anaïs’ boyfriend Raoul (played by Christophe Montenez), who is close to Anaïs’ age? What is he all about? Raoul says he loves Anaïs, but he remains somewhat of a mystery to viewers. Don’t expect much insight into what the relationship between Anaïs and Raoul was like before he moved out of their apartment.

Anaïs doesn’t tell Raoul that she’s sleeping with another man, but she does tell Raoul a secret that she’s been hiding for weeks. It’s the most obvious life-changing secret that a woman can keep from a man she’s had sex with but isn’t sure how he’ll react if he finds out the secret. Raoul’s reaction to this secret is a turning point in his relationship with Anaïs.

Anaïs and Daniel continue their clandestine affair. Over time, Anaïs sometimes acts very jealous and possessive, as if she wants more of a commitment from Daniel that he’s not willing to give to her. Daniel sometimes call Emilie his “wife,” but he and Emilie are not legally married and are in a common-law spousal situation.

Anaïs doesn’t seem to think too much about Emilie (who doesn’t know about the affair), until Anaïs meets Emilie by chance on a street. When Anaïs approaches Emilie out of curiosity, she pretends to be fan of Emilie’s novels and compliments her effusively. Emilie is polite but seems to be a little distracted because she says she’s on her way to an appointment. What catches Anaïs off-guard is how much she’s attracted to Emilie.

After this random encounter, Anaïs starts to become more interested in finding out about Emilie. She begins reading Emilie’s novels and finds an emotional connection to Emilie through Emilie’s writing. Later, Anaïs finds out that Emilie has decided to go out of her comfort zone as a novelist to adapt an opera called “Knight of the Rose” into a theatrical stage play, because Emilie needs the money. Anaïs’ attraction to and interest in Emilie seems to grow as Daniel and Anaïs quarrel even more, because he’s unwilling to tell her if he will leave Emilie to be with Anaïs.

It leads to a part of the story that is probably the most divisive thing about the movie. Anaïs finds out that Emilie will be a guest speaker at a writers’ retreat in Brittany. And so, Anaïs decides to go to this retreat too (even though she can’t afford it), with the intention of possibly seducing Emilie. It’s basically stalking, but don’t tell Anaïs that, because she thinks it’s a romantic gesture.

Anaïs’ intentions are also very manipulative, because even though she doesn’t tell Daniel about her plans to seduce Emilie, any adult with life experience can see that Anaïs has an ulterior motive of wanting to make Daniel jealous. Anaïs knows that Daniel will eventually find out that Anaïs wants to have a sexual relationship with Emilie. He already seems to sense it because of the way Anaïs has been recently been asking him a lot of personal questions about Emilie.

“Anaïs in Love” is somewhat scatterbrained and unfocused, just like Anaïs, because there’s a subplot to the movie about Anaïs’ family that doesn’t flow as well with the main story. Before going to Brittany, Anaïs spends some time with her brother Balthazar, who has a pet lemur named Gilbert, which provides some comic relief. The main purpose of Anaïs’ scenes with Balthazar is to show that Anaïs feels somewhat insecure that her younger brother has a more stable life than she does.

In a more serious part of the movie, Anaïs visits her happily married parents (played by Anne Canovas and Bruno Todeschini), who tell her some devastating news. Anaïs’ parents are briefly in the movie, but it’s enough time for viewers to see that Anaïs is insecure about being considered a “disappointment” to her parents for not really committing to any job or relationship. Anaïs’ way of coping with this self-esteem issue is to lean into the image that she’s a “free spirit,” even though her arguments with Daniel suggest that she wants more commitment in her life than she’s willing to admit to other people.

But does Anaïs really want a long-term commitment with anyone? Or does she just like the challenge of getting someone who is “hard to get”? Those questions can also apply to Anaïs’ intentions of getting closer to Emilie. Observant viewers can see that Anaïs doesn’t have any close friends. It’s easy to speculate that it’s because she’s wrecked a lot of friendships with her pattern of being a participant in infidelity.

The movie uses Anaïs’ financial problems for some comedic scenes. To help pay for her trip to Brittany, Anaïs rents out her apartment to a vacationing couple (played by Seong-Young Kim and Estelle Cheon), whose native language is Korean and whose knowledge of French is limited. Just like she does with a lot of people she first meets, Anaïs “overshares” by telling too much personal information when she shows the couple her apartment and they decide to rent it. You can bet that something will go wrong in the apartment while Anaïs is too far away to do anything about it.

Anaïs still doesn’t have enough money to go to the retreat for the entire duration. She’s about to get kicked out of the retreat, but she talks her way into staying by offering to do free cleaning and upkeep work on the property to make up for the portion of the retreat fee that she can’t pay. A handyman named Yoann (played by Jean-Charles Clichet), who’s an aspiring playwright, is assigned to be her supervisor. There are a few comedic scenes where Anaïs tries to spend alone time with Emilie while Anaïs hides from Yoann to avoid doing the work she promised.

When it comes to looking for love and sex, Anaïs can be whimsically charming but also frustratingly self-absorbed. A lot of viewers will be turned off by Anaïs’ nonchalant way of disrupting relationships to satisfy her own personal needs. The movie doesn’t try to excuse this awfulness but merely points out that heartbreakers like Anaïs exist in the world. In Brittany’s romantic countryside and beach setting, Emilie’s reaction to Anaïs’ seductive charisma is not surprising at all.

It’s to the credit of writer/director Bourgeois-Tacquet that she doesn’t present Anaïs as a hero or as a villain but as a flawed human being who doesn’t always make the best decisions for herself and ends up hurting other people in the name of “love.” Demoustier, Bruni Tedeschi and Podalydès portray the three people in this love triangle with considerable skill. These three people are presented with options, when it comes to love and sex. However, “Anaïs in Love” asks these provocative questions: “How much of this love and sex really makes them happy? And how long will that happiness last?”

Magnolia Pictures released “Anaïs in Love” in select U.S. cinemas on April 29, 2022. The movie was released on digital and VOD on May 6, 2022.

Review: ‘Vikram’ (2022), starring Kamal Haasan, Vijay Sethupathi and Fahadh Faasil

July 4, 2022

by Carla Hay

Kamal Haasan in “Vikram” (Photo courtesy of Red Giant Films)

“Vikram” (2022)

Directed by Lokesh Kanagaraj

Tamil with subtitles

Culture Representation: Taking place in India in 2019, the action film “Vikram” features an all-Indian cast of characters representing the working-class, middle-class, wealthy and criminal underground.

Culture Clash: The leader of a black ops team goes on a mission to find a serial killer, who might or might not be a drug lord who is also being sought for arrest. 

Culture Audience: “Vikram” will appeal primarily to people who are fans of star Kamal Haasan and who don’t mind watching overly long action movies with messy stories and silly fight scenes.

Fahadh Faasil in “Vikram” (Photo courtesy of Red Giant Films)

At nearly three hours long, “Vikram” overstays its welcome, as it becomes more of a convoluted mess of plot holes and increasingly far-fetched action scenes. The movie’s biggest “mystery reveal” has no real surprises. “Vikram” is just a repetitive and mind-numbing loop of double crosses and fight scenes from people who often have secret identities. At least one hour of this movie didn’t need to exist.

Written and directed by Lokesh Kanagaraj, “Vikram” is a sequel to the 2019 action film “Kaithi” (another cops versus drug smugglers story) and is somewhat of a sequel to the 1986 movie “Vikram.” Because of all the twist and turns in the plot in the 2022 “Virkam” movie (most of these twists which are clumsily handled), there’s not much to say about the movie’s story except that it essentially revolves around three main characters:

  • Agent Amar (played by Fahadh Faasil) is an alpha male commander of the black-ops squad, which is unoriginally called the Black Squad. About five to seven men report to Agent Amar in this group. Amar has a generically overconfident personality and all the stereotypical actions of a black ops leader in a movie that’s more concerned about fight scenes and explosions than in creating characters with meaningful personalities.
  • Sandhanam (played by Vijay Sethupathi) is the leader of the Vetti Vagaiyara gang, which is involved in drug trafficking. And it goes without saying that Sandhanam is the movie’s chief villain. At least the movie made Sandhanam a colorful character with a lot of memorable quirks. Sandhanam is the middle of 24 siblings, he has three wives, and he’s described in the movie as “a bit of a psycho” and a “hardcore doper.” Sandhanam has bizarre plans to start his own government, which he wants to be funded by money he makes from drug trafficking.
  • Karnan (played by Kamal Haasan) is a mystery man who is shown murdered early in the movie, but his identity is crucial in unraveling the movie’s overly tangled mystery. Karnan’s murder is part of a series of murders committed by a roving group of masked terrorists who kidnap their victims, tie them up, and them kill them on videos that they send to law enforcement. Before each victim is murdered, one of the masked men snarls, “We declare war against your system.”

Karnan was one of three men whose murders were committed by this mysterious group of serial killers within a short period of time. The other two men were Narcotics Control Bureau official (and “Kaithi” movie character) Stephen Raj (played by Hareesh Peradi) and Narcotics Control Bureau assistant commissioner of police Prabhanjan (played by Kalidas Jayaram), who was Karnan’s adopted son. The video recordings of all three murders were also sent to law enforcement.

As far as the investigators know, Karnan was a civilian and not part of law enforcement. However, Karnan apparently had a seedy background as a drug addict, alcoholic and womanizer who frequently visited brothels. It might explain how Karnan was connected to the underground drug trade, but will that be enough information to solve these murders?

Predictably, someone in the Vetti Vagaiyara gang gets greedy and wants to betray gang leader Sandhanam. This traitor is named Veerapandian (played by Gowtham Sundararajan), who hatches a plan to team up with a member of rival gang to get a big drug shipment that has gone missing and deliver it to a mysterious crime boss named Rolex. Veerapandian’s partner in crime is Rudra Pratap (played by Aruldoss), and they both want to get the money from Rolex (played by Suriya) that would have gone directly to Sandhanam.

Amar’s supervisor is police chief Jose (played by Chemban Vinod), who has put Amar on this mission to find out who’s behind these terrorist murders. At the same time, Amar is also tasked with busting Sandhanam’s Vetti Vagaiyara gang of drug traffickers. It doesn’t take long for Amar to find out that Rudra Pratrap is the target of a murder plot.

All of this might sound like an intriguing story, but it’s handled in a sloppy and often nonsensical way. Viewers are expected to believe a lot of moronic plot twists and overlook many illogical story flaws. The last hour of “Vikram” is a steady pile-on of reveals until viewers feel like it reaches the ludicrousness of a bad soap opera. None of the acting in this movie is special or noteworthy.

As for the excessive violence in “Vikram,” it plays into the usual mindless stereotypes where the “hero” can, all by himself, take on and defeat several armed men at the same time without the “hero” getting any serous injuries. There are several heinous scenes in the movie where a toddler (played by Dharsan) is in the middle of the violence, and no one stops to get this child out of harm’s way. The baby is better off than most viewers of “Vikram” though, because the baby is blissfully unaware of “Vikram” being such a terrible movie.

Red Giant Films released “Vikram” in select U.S. cinemas and in India on June 3, 2022.

Review: ‘Hold Your Fire,’ starring Harvey Schlossberg, Shu’aib Rahim and Jerry Riccio

July 4, 2022

by Carla Hay

A 1973 photo of Shulab Abdur Raheem (now known as Shu’aib Rahim) in “Hold Your Fire” (Photo courtesy of IFC Films)

“Hold Your Fire”

Directed by Stefan Forbes

Culture Representation: The documentary film “Hold Your Fire” features a group of African American and white people from the working-class and middle-class who were in some way connected to a kidnapping/hostage standoff that lasted from January 19 to January 21, 1973, in New York’s City’s Brooklyn borough.

Culture Clash: There was racial tension in this crisis because the hostage takers were four young African American men, almost all of the police officers were white, and there was disagreement among law enforcement on how to handle this crisis. 

Culture Audience: “Hold Your Fire” will appeal primarily to people who are interested in watching true crime documentaries that go deep in discussing racial issues and hostage negotiations tactics.

A 1973 photo of New York Police Department officers in “Hold Your Fire” (Photo courtesy of IFC Films)

The compelling documentary “Hold Your Fire” has lessons that go beyond this chronicle of a notorious hostage crisis that happened in New York City in 1973. The movie shows how dangerous situations can be de-escalated with the correct communication. Directed by Stefan Forbes, “Hold Your Fire” takes the view that how this hostage crisis was handled was a turning point in getting the New York Police Department (NYPD) to rethink the “shoot first, ask questions later” automatic reaction to hostage takers. “Hold Your Fire” had its world premiere at the 2021 Toronto International Film Festival and made the rounds at some other film festivals, including the 2021 edition of DOC NYC.

Almost everyone who’s interviewed in “Hold Your Fire” was directly affected in some way to this hostage-taking incident, which lasted from January 19 to January 21, 1973, in New York’s City’s Brooklyn borough. It all started when four African American men—ranging in ages from 22 to 26—went into a store called John and Al’s Sporting Goods, with the intention of robbing the store of firearms and ammunition. John and Al’s Sporting Goods was located in Brooklyn’s Bushwick neighborhood, which in 1973 had a reputation for being a crime-ridden, low-income area. (Bushwick is still mostly working-class, but it has since been gentrified and “cleaned up” its “on the decline” image that it had in the 1970s.)

The four men who invaded the store were Sunni Muslims, who wanted the firearms and ammunition for what was later described as a “holy crusade” and for self-defense against recent attacks from Black Muslims. The robbers were Shulab Abdur Raheem (now known as Shu’aib Rahim), who was 24 years old at the time; Yusef Abdallah Almussadig (now known as Mussidiq), who was 23; Dawud A. Rahman, who was 22; and Salih Ali Abdullah, who was 26. Although all four men have been identified as being members of the Black Liberation Army (BLA) when this crime happened, in “Hold Your Fire,” Rahim (who was the leader of the robbers) claims he was not a BLA member when this crime occurred.

Contrary to what perceptions might have been, these four men were not career criminals at the time of this robbery and hostage-taking crisis. Rahim was a transit toll-booth worker. Mussidiq was a carpenter. Rahman was a college student. Abdullah was a TV repairman. Rahim and Rahman are the only two of the four robbers interviewed in “Hold Your Fire.” The movie’s epilogue explains what happened to Mussidiq, Abdullah and a few other principal people involved in the hostage crisis.

During the robbery, things quickly spiraled out of control. The police were called to the crime scene; there were shootouts between the police and robbers; and the robbers initially refused to surrender. Instead, the robbers stayed in the store, where they took 11 people as hostages during the standoff. In “Hold Your Fire,” Rahman says he wanted to surrender immediately, but he was outvoted by his other three cohorts, who at first wanted to flee the scene, but then decided to take people hostage inside the store when they found out that many cops were surrounding the store.

Not everyone made it out of this crisis alive. NYPD officer Stephen R. Gilroy was killed during the shootouts. The NYPD, much of the media and the state of New York blamed the robbers for the death. All four men were convicted in New York Supreme Court of murdering Gilroy, kidnapping and armed robbery. But to this day, the bullet that killed Gilroy was never matched to any guns. Some people in the documentary speculate that Gilroy was killed by an accidental gunshot from someone in the NYPD and that the NYPD covered up the evidence.

Much of “Hold Your Fire” includes vivid memories of what happened inside the store and outside the store, from the people who were there during this hostage crisis. The people who were inside the store who are interviewed in “Hold Your Fire” include hostage takers Rahim and Rahman; hostage Rosemary Catalano, who was 16 years old in 1973; and Jerry Riccio, owner of John and Al’s Sporting Goods, who says the robbers’ first big mistake was trying to steal more firearms than the robbers could carry. The police officers who were outside of the store who are interviewed in “Hold Your Fire” (and who are all now retired) are Al Baker, former NYPD captain; Jack Cambria, former NYPD lieutenant/sergeant; Al Sheppard, former NYPD patrolman; and Brian Tuohy, former NYPD police officer, who was a 27-year-old rookie at the time.

In addition, “Hold Your Fire” has archival interviews with NYPD commissioner Ben Ward and NYPD Commissioner Patrick Murphy. A few academics and legal experts weigh in with their perspectives, such as criminal defense attorney Gerald Lefcourt and Dr. Antoinette “Toni” Collarini-Schlossberg, who is chair of the criminal justice division of St. John’s University in New York City. And there’s an interview with Alice Buckner, the daughter of the late Fonnie Bucker, who was one of the hostage victims. Alice says that as a result of the hostage trauma, Fonnie (who was pregnant at the time) had a nervous breakdown and a miscarriage shortly after she was released.

In interviews to promote “Hold Your Fire” and in the movie’s production notes, “Hold Your Fire” director Forbes says that the biggest hero of this crisis was Harvey Schlossberg, a NYPD officer who had a Ph.D. in psychology and who was the chief negotiator on behalf of the NYPD. Schlossberg is interviewed in “Hold Your Fire,” where he gives a step-by-step account of why he felt that the best tactic was for the NYPD to not storm into the store and shoot the robbers, which would have been standard procedure. Instead, the three-day standoff consisted of tense negotiations, which resulted in many of the hostages being released and no one else being killed before the robbers surrendered.

Schlossberg comments on his philosophy in resolving conflicts: “I believe in talking. Everything is resolvable by talking.” But as the documentary details, this tactic was very controversial in the heat of the moment. Schlossberg got a lot of pushback, complaints and threats from the NYPD, members of the media, loved ones of the hostage victims, and other people in the general public, who all thought that verbal negotiations would take too long to resolve the crisis. Many people thought that the robbers needed to be immediately killed by the police.

This standoff between the cops and the robbers happened just two years after the notorious Attica Correctional Facility crisis in Attica, New York. Attica’s male prisoners (mostly African American and Latino), who demanded more humane living conditions and better health care, took over the prison and held several prison employees hostage from September 9 to September 13, 1971. Negotiations fell apart, and then-New York governor Nelson Rockefeller ordered state and local police (almost all who were white men) to employ war-like tactics to take back control of the prison. In the end, 33 inmates and 10 correctional officers and employees were killed in the violent standoff.

“Hold Your Fire” doesn’t gloss over the racial context of the very divisive debate over how the hostage crisis should have been handled at John and Al’s Sporting Goods on those fateful three days in 1973. Rahim comments in the documentary: “New York City has always had a hard, ugly relationship between the police and the community of color. All my life, the police have been killing black people.”

Baker has this counter-remark: “I know for a fact that cops aren’t racist, yet there was this perception that cops were going to brutalize blacks. Police are seen as oppressors, corrupt, brutal.” Sheppard, who was one of the cops on the scene of this hostage crisis, says that the kidnappers/robbers were looking for a violent fight: “They want a physical confrontation.” As for kidnapping/robbery leader Rahim, Sheppard adds, “A guy like that needs his ass kicked.”

Rahim does not try to excuse his heinous actions that day, but he does say that he never intended for anyone to get killed during this robbery and kidnapping. In the documentary, Rahim also denies reports that he was heard saying about slain NYPD officer Gilroy: “I killed that pig.” In “Hold Your Fire,” Rahim comments on Gilroy’s death: “I don’t know what happened. But it don’t really matter at the end of the day, because none of that would’ve happened if we weren’t there.”

Store owner Riccio refutes the NYPD claim that the cops aimed high when shooting into the store. “The police department won’t admit to a lot of things they did,” Riccio comments. Mussidiq, whom Rahim describes as the “loose cannon” of the four robbers, ended up being shot during the standoff, but he survived his gunshot wounds.

As the leader of the robbers, Rahim gets the most scrutiny and is the only one of the four robbers whose background is talked about in-depth. Rahim describes his mother, Gloria Robinson, as his “mentor” but also as an “alcoholic.” During hostage negotiations, Robinson wanted to talk to her son, but Schlossberg advised against it. Schlossberg says in the documentary that it’s generally not a good idea to involve family members or other loved ones of hostage takers in the negotiation process. “If they had a healthy family, they wouldn’t be in here [taking people hostage],” Schlossberg explains.

Rahim gets the most emotional and remorseful in the documentary when talking about Fonnie Buckner, especially when thinking about how her hostage ordeal resulted in her pregnancy miscarriage. He says that Fonnie Buckner had a chance to be released with some other hostages during the standoff, but she refused. “She didn’t trust the police,” Rahim remembers. “She wanted to stay with us.”

In hindsight, Rahim says in the documentary that he has come to understand over the years that what he and his cohorts did during those three days caused lifelong damage: “People who are hurt, injured and suffer—even oppressed—can become blinded by their own hurt and destroy the lives of so many people who did you no harm. That’s the tragedy of it all: when the victim becomes that which they fear.”

It’s mentioned several times in “Hold Your Fire” that one of the barriers with the NYPD that Schlossberg had to face in this hostage negotiation was he did not fit the image of being a macho cop. Baker comments on Schlossberg: “He didn’t look like a cop. He didn’t act like a cop … He was seen as fruity. Not a back slapper, ‘Let’s go for a beer’ guy.”

Baker continues in describing Schlossberg as “socially incompetent, academic, quirky. He has the Jewish sense of humor. A consummate Jew. He was a genius oddball, psychobabble type of guy.” In an archival interview, then-NYPD commissioner Murphy says Schlossberg “was hated, a bookworm, not a warrior.” Another reason why Schlossberg didn’t have the respect of many NYPD officials: He was mainly a traffic cop, which is a position that’s considered the wimpiest and least-demanding position possible for a police officer.

Whatever negative opinions that many influential members of the NYPD had of Schlossberg at the time, he stayed the course in the negotiations. And many people believe that he helped save the lives of the people who didn’t die in this crisis. Sadly, Schlossberg passed away in 2021. He was 85.

In “Hold Your Fire,” Schlossberg says that law enforcement officers often have this mentality during a hostage crisis: “They all believe that if you give me the right gun with the right bullet, I can put everybody out. But I don’t think it works that easily. That’s a Hollywood thing.” There is no Hollywood fantasy in “Hold Your Fire,” which is a no-frills, raw and impactful documentary that effectively shows how the right negotiations can prevent a bad situation from getting worse.

IFC Films released “Hold Your Fire” in select U.S. cinemas, on digital and VOD on May 20, 2022.

Review: ‘Mr. Malcolm’s List,’ starring Freida Pinto, Ṣọpẹ Dìrísù, Oliver Jackson-Cohen, Ashley Park, Zawe Ashton and Theo James

July 3, 2022

by Carla Hay

Ṣọpẹ Dìrísù and Freida Pinto in “Mr. Malcolm’s List” (Photo by Ross Ferguson/Bleecker Street)

“Mr. Malcolm’s List”

Directed by Emma Holly Jones

Culture Representation: Taking place primarily in 1818 (with a brief flashback to 1802), in England, the comedy/drama film “Mr. Malcolm’s List” features a racially diverse cast of characters (black people, white people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: London’s most eligible bachelor, who has a list of requirements for his future wife, becomes the target of a romantic scheme concocted by a socialite who was rejected by this wealthy bachelor and who enlists her working-class childhood best friend to seduce the bachelor. 

Culture Audience: “Mr. Malcolm’s List” will appeal primarily to people who are fans of Jane Austen-inspired stories about people in 1800s England who are preoccupied with social class and marriage.

Theo James and Zawe Ashton in “Mr. Malcolm’s List” (Photo by Ross Ferguson/Bleecker Street)

Obviously influenced by Jane Austen novels, “Mr. Malcolm’s List” is an entirely predictable comedy/drama romp that’s enjoyable to watch because of the entertaining performances by the movie’s talented cast. The movie hits all the expected beats of a story about class-conscious people in 1800s England who have schemes and misunderstandings when it comes to love and marriage. Most viewers will already know how the movie is going to end, but it’s a delightful ride along the way, filled with costume design, production design and cinematography that are gorgeous.

“Mr. Malcolm’s List” is the feature-film directorial debut of Emma Holly Jones, who also directed the 2019 short film “Mr. Malcolm’s List.” Both movies are based on Suzanne Allain’s 2009 novel of the same name. Allain wrote the screenplay for both movies. Jones is also a producer of the “Mr. Malcolm’s List” movies. These flmmakers clearly have a love of the source material, since the feature film “Mr. Malcolm’s List” does justice to the novel, with the added cinematic choice of making the cast racially diverse.

No one ever mentions people’s racial identities in the movie, but social class is at the forefront of the expectations, perceptions and disagreements that the “Mr. Malcolm’s List” characters have when it comes love and marriage. The movie (which takes place in England) opens in 1802, when two girls, who are about 13 or 14 years old, are roommates at a boarding school called Mrs. Finch’s Ladies Academy.

The scene is very short, but it says a lot about the personalities of these two girls. Julia Thistlewaite (played by Aisling Doyle) is bossy and extroverted. Selina Dalton (played by Tia Ann Jain) is easygoing and introverted. In their bedroom, Julia sees Selina reading a book and says to Selina: “Keeping your head in books all day will not create the marriagable mind.” Selina replies, “I have nothing materially to offer to a husband anyway.” Julia then says, “I have no loving father to offer me a match. A right pair we make.”

It’s later explained in the movie that not only do Julia and Selina have different personalities, but Julia and Selina also come from contrasting backgrounds. Julia is an only child from a wealthy family led by Julia’s widowed mother. Selina is one of several siblings whose married parents are still alive. Selina’s father is a low-income vicar who had a benefactor generously offer to pay for Selina to attend this elite academy.

During this conversation, it’s toward the end of the academic year, so the girls will soon be going their separate ways. Selina and Julia promise that they will always look out for each other. Julia goes a step further and says that after she moves to London and finds a man to marry her, she will find a husband for Selina. Years later, Julia and Selina end up reuniting, but not in the way that Julia thought it would happen during this childhood conversation.

The movie then fast-forwards to 1818. A wealthy heir named Jeremy Malcolm (played by Ṣọpẹ Dìrísù) is widely known as London’s most eligible bachelor. It’s explained that he inherited a vast estate from an aunt. And even though Mr. Malcolm is the younger son of an earl (who is now deceased), Mr. Malcolm has no royal title of his own. Even without a title, his wealth, charisma and good looks have made women eager to get his attention.

Julia (played by Zawe Ashton) is one of these women. And she’s managed to get a date with Mr. Malcolm, who takes Julia to see an opera performance. They have balcony seating all to themselves. Mr. Malcolm and Julia have very little chemistry together on the date. Julia tries too hard to impress him. She doesn’t have the intelligence that he wants in a woman, so it’s a turnoff for Mr. Malcolm.

A dealbreaker for him is how Julia reacts when he asks her what she thinks about the Corn Laws, which at that time were England’s tariffs and other trade restrictions on imported corn and other imported food. Julia’s response shows she has no idea what he’s talking about: “I believe that restraint in one’s diet is bound to have a healthy effect” she says with a forced smile. Needless to say, Julia doesn’t get another date with Mr. Malcolm.

Throughout the movie, there are two gossipy women named Lady Margaret (played by Danielle Ryan) and Lucy (played by Emma Lou Willis, also known as Emma Willis), who lurk around because they’re nosy about Mr. Malcolm’s love life. They’re first seen observing Mr. Malcolm and Julia on their opera date, because these two gossips are seated in a nearby balcony. Lady Margaret and Lucy make catty comments out loud to each other about the women whom Mr. Malcolm takes on dates. It’s comic relief that’s intermittent and fortunately not too much of a distraction.

Two other characters who are mostly in the background but make occasional comedic comments are a maid named Molly (played by played by Sianad Gregory) and a footman named John (played by Divian Ladwa), who are characters that are not in the “Mr. Malcolm’s List” book. John and Molly are dutiful to their wealthy employers. But when these employers aren’t looking, Molly and John show some exasperation at how these employers tend to live in a privileged “bubble” and are out of touch with the rest of society. For example, when Mr. Malcolm and his social circle have a pretentious discussion about how to fix social problems of the working-class, John snidely says to himself, “They could pay us more.”

Meanwhile, Selina (played by Freida Pinto) has been living in Sussex and has recently lost her job as a caretaker for an elderly woman because the woman has died. And just as Selina was in her adolescence, Selina is not as preoccupied as Julia is with finding a husband. Selina is seen politely rejecting the marriage proposal of an affluent man named Mr. Woodbury (played by Gerry O’Brien), who’s old enough to be her father.

Mr. Woodbury barely knows Selina, but he knows that she doesn’t have much money, and he can offer her a financially comfortable life. He’s stung by Selina’s rejection. Mr. Woodbury warns Selina about her refusal to marry him: “If you refuse, your prospects will be grim indeed.” Selina firmly stands by her decision. In other words, it’s the movie’s way of showing that Selina only wants to marry for love, not for money.

Someone else who’s not taking rejection very well is Julia. When she finds out that Mr. Malcolm doesn’t want to court her anymore, she’s determined to find out why. Julia’s agitation goes into overdrive when she sees a satiric illustration of Mr. Malcolm on a date with her, and the illustration has this caption: “Next!” Adding to Julia’s humiliation, this caricature has been published and distributed, so many people in London’s society have seen it.

Julia’s sarcastic cousin Lord Cassidy (played by Oliver Jackson-Cohen), who is a friend of Mr. Malcolm’s, tells Julia about a secretive list that Mr. Malcolm has compiled. This list has all the requirements that Mr. Malcolm wants in a wife because he doesn’t want to marry a gold digger or anyone who is shallow, selfish and less-than-smart. And apparently, Julia didn’t meet the requirement of the ability to converse in a sensible fashion.

A furious and offended Julia then comes up with a revenge plan to get Mr. Malcolm to fall in love with another woman, who will then reject Mr. Malcolm by surprising Mr. Malcolm with a list of requirements that Mr. Malcolm does not meet. Julia decides that her former schoolmate Selina, whom she hasn’t seen in years, would be the ideal person to recruit to be the seductress. Even though Selina is a kind, intelligent and physically attractive woman, snobby Julia thinks that Selina being “poor” makes it unlikely that Selina could marry someone of Mr. Malcolm’s status.

Julia makes a trip to Sussex to reunite with Selina and tell her about this plan. Julia makes it sound like Mr. Malcolm is a jerk who deserves to have this revenge. Selina is very reluctant to participate in this scheme, but she agrees out of loyalty to Julia and out of curiosity to go to London to meet Mr. Malcolm. To Selina’s surprise, Selina finds Mr. Malcolm to be pleasantly charming and attractive. And the feeling is mutual.

You know where this is going, of course. The more time that Mr. Malcolm and Selina spend together, the more he finds out that Selina checks all the requirements on his list. He has no idea that Selina was recruited by Julia to seduce him. Selina finds out that she doesn’t need to pretend to be interested in Mr. Malcolm, and she becomes less inclined to betray Mr. Malcolm. Meanwhile, Julia pressures a reluctant Lord Cassidy to continue to give Julia important information about Mr. Malcolm, so that Julia’s revenge plot can go exactly as she plans.

During the courtship of Mr. Malcolm and Selina, another confident and eligible bachelor arrives on the scene: Captain Henry Ossory (played by Theo James), the nephew of the deceased elderly woman who was Selina’s most recent employer. Captain Ossory meets Selina and Mr. Malcolm for the first time during a social get-together. Captain Ossory is effusive in his compliments to Selina, because he had heard good things about her from his aunt.

Captain Ossory finds Selina attractive too, and he asks her out on a date in front of Mr. Malcolm. Selina says yes. And now, Mr. Malcolm thinks he’s got some competition for Selina’s affections. More courting and scheming go on during lavish ballroom parties, banquets and romantic dates.

In addition, some family members have an effect on all these social encounters. Julia’s domineering and meddling mother Mrs. Thistlewaite (played by Naoko Mori) is desperate for Julia to marry a man who’s wealthier than the Thistlewaite family. Selina’s loving and laid-back parents (played by Paul Tylak and Dawn Bradfield) eventually meet Mr. Malcolm’s widowed mother Lady Kilbourne (played by Doña Croll), who is astute and perceptive about the people who come into her son’s life. These parents don’t have first names in the movie, by the way.

And in the last third of the movie, a ditsy and tactless woman named Gertie Covington (played by Ashley Park) arrives on the scene to give unwitting insults and cause a little bit of social chaos. Who Gertie is and how she knows certain people in the story aren’t handled very well, but the reveal of her identity further fuels some of the melodrama that happens around Julia’s vendetta. Gertie’s role in the story speaks to how people deal with the concept of how a potential spouse’s family members can affect a relationship or potential marriage.

“Mr. Malcolm’s List” delivers everything audiences can expect from lush period movies that take place in high society England in the 1800s. It’s the cinematic version of a romance novel that plays into fantasies of people living in a world where their biggest problems are about finding the ideal spouse or life partner. Even the “poor” people in “Mr. Malcolm’s List” look well put-together. Amelia Warner’s romantic musical score is perfectly suited for the movie.

All of the cast members give skilled performances that deliver the witty banter and emotional entanglements with believable charm. A character such as Julia could have been extremely irritating for the entire movie (and she does have plenty of annoying moments), but Ashton’s performance gives the Julia character a lot of realistic and occasionally amusing humanity. All of the other cast members portray their characters exactly how people expect them to act.

“Mr. Malcolm’s List” has some over-used romantic movie clichés, including a scene showing a race against time to confess true love. But those stereotypes can easily be forgiven when “Mr. Malcolm’s List” does such a good job of keeping people’s interest in these characters and how they handle their romance predicaments. “Mr. Malcolm’s List” takes place in the 1800s, but the movie shows in clever ways that the enormous pressures that many people put on themselves to find a spouse or life partner aren’t exclusive to a bygone era and still happen today.

Bleecker Street released “Mr. Malcolm’s List” in U.S. cinemas on July 1, 2022. The movie is set for release on digital and VOD on July 21, 2022.

Review: ‘The Year Between,’ starring Alex Heller

July 2, 2022

by Carla Hay

Alex Heller in “The Year Between” (Photo by Jason Chiu)

“The Year Between”

Directed by Alex Heller

Culture Representation: Taking place in Illinois, the comedy/drama film “The Year Between” features a predominantly white cast of characters (with a few African Americans and Asians) representing the working-class and middle-class.

Culture Clash: In her second year of college, an angry, bipolar woman drops out of school after she has a mental breakdown; she moves back in with her parents and two younger siblings; and she tries to figure out what she wants to do with her life while she instigates conflicts with other people. 

Culture Audience: “The Year Between” will appeal primarily to people who don’t mind watching movies where mental illness is irresponsibly used as an excuse for someone to be rude, selfish and emotionally damaging to other people.

Alex Heller and J. Smith-Cameron in “The Year Between” (Photo courtesy of Gravitas Ventures)

The misguided comedy/drama “The Year Between” is an irritating slog that offensively uses bipolar disorder as an excuse for the central character to be cruel and toxic to everyone around her. She would be an awful person even without a mental illness. Written and directed by Alex Heller (who is also the star of the movie and is in almost every scene), “The Year Between” is loosely inspired by Heller’s real-life experiences with mental health struggles. The movie had its world premiere at the 2022 Tribeca Film Festival in New York City.

Unfortunately, the tone of “The Year Between” misses the mark in both comedy and drama. Watching this dreadful mess is like being stuck for 94 minutes with a whiny, spoiled brat who acts like she can’t stand to be around other people because she thinks everyone else is annoying, but then she does everything in her power to get negative attention from the people she claims she wants to leave her alone. None of this obnoxiousness is depicted in a way that’s entertaining. In fact, it gets downright repetitive and boring.

In “The Year Between” (which takes place in Illinois), Heller portrays Clemence Miller, the hellish narcissist who spends a lot of her time and energy trying to make everyone around her as miserable as she is. The movie only shows a one-year period of time in Clemence’s life, but viewers can easily figure out from conversations in the movie that Clemence has been a mean-spirited troublemaker for a lot longer than a year, probably her entire life. Heller delivers Clemence’s lines of dialogue in a deadpan manner, in this movie’s failed attempt to make “The Year Between” a witty dark comedy.

Clemence’s bipolar disorder is just the movie’s pathetic way of creating scenarios where Clemence expects people to accept or enable her cruelty because she’s mentally ill. The movie has no balance in showing that not all mentally ill people are atrocious to other human beings. That’s why “The Year Between” is very much a vanity project from Heller, who might have intended to make a meaningful comedy/drama about mental illness, but “The Year Between” is just a bungled mockery of mental illness with a dull and predictable story.

A good movie isn’t defined by how “likable” the main characters are. A good movie is defined by how interesting the characters are and how the story is told. And that’s why “The Year Between” is a disappointing clunker in most regards. The movie has some members of the cast who show talent in their performances, but their characters are limited and stuck saying words from Heller’s messy and rambling screenplay.

“The Year Between” is essentially about a woman in her early 20s behaving badly, with a tone that she’s supposed to be a misunderstood anti-hero just because she has bipolar disorder. In real life, bipolar disorder causes extreme highs and lows in emotions. Bipolar disorder can bring out the worst in people, but it does not make someone vile and nasty if that person already had a tendency to be vile and nasty.

From the movie’s opening scene, it’s clear that Clemence is an emotional terrorist who takes other people as emotional hostages, and then she goes on rants about how everyone else in the world is terrible and uncaring to her. In other words, Clemence loves to play the victim when she is in fact the abuser. If Clemence is Heller’s semi-autobiographical portrait of herself, then it’s a very off-putting way to introduce herself to people.

In the beginning of the movie, Clemence is a second-year student at Western Illinois University in Macomb, Illinois. She storms into her dorm room and accuses her roommate Eliza of wearing Clemence’s shortcake-flavored Chapstick. Clemence then yells at Eliza by saying that their dorm room is a “pig sty,” when the room is actually neat and orderly, compared to a lot of dorm rooms.

Viewers never see the rest of Clemence’s meltdown, but apparently it got worse, because Eliza made a formal complaint to the school that Eliza feared for her safety because of Clemence’s continual and angry outbursts. It was then decided that Clemence would voluntarily leave the school for an unspecified period of time. The movie never shows Eliza making the complaint or whatever meetings took place with university officials that led to this decision. The next thing viewers see is Clemence being driven away from the campus by Clemence’s concerned and loving mother Sherri (played by J. Smith-Cameron), who owns and manages a home goods store.

Playing the victim as usual, Clemence announces to her mother and anyone else who’ll listen that she has no intention of going back to Western Illinois University or enrolling in any other college/university, because she thinks college life is just too stifling for her. As far as Clemence is concerned, a college education is just a waste of time for her because she doesn’t want to live by any college rules. In other words, she doesn’t want anyone to stand up to her and tell her to act like a decent human being.

After dropping out of college, Clemence has to move back home to Oak Brook, Illinois, where her parents live with Clemence’s two younger teenage siblings. Clemence isn’t happy about being in this living situation, so expect to hear a lot of whining from her about being stuck back in her childhood home with family members who get on her nerves. It’s quite the display of entitlement from a college dropout who has the privilege of having a family who will take her back into the home after being such a screw-up and troublemaker.

As Sherri drives Clemence back to the neighborhood where the family home is, Clemence makes a typical snide Clemence remark as she looks around the neighborhood: “Someone should bomb the place.” Clemence gets even more agitated when she finds out that she has to live in the basement because her parents turned her former bedroom into a home office. And when Clemence doesn’t get her way, look out: People will be the target of her wrath.

Soon after Clemence moves back into the family home, Clemence and Sherri are seen in an appointment with a psychiatrist named Dr. Lismoen (played by Waltrudis Buck), who has diagnosed Clemence with having bipolar disorder. Clemence has exhibited bipolar symptoms of hoarding, stealing, paranoia and extreme insomnia. Dr. Lismoen is empathetic but firm in how Clemence should proceed with taking medication to treat the bipolar disorder.

The doctor says that it might take a lot of time to find the right medication “cocktail” that works best for Clemence. Dr. Lismoen also warns that some of the medication side effects will be uncomfortable. It’s news that Clemence doesn’t want to hear, so she thinks the doctor is incompetent. Dr. Lismoen also tells Clemence that Clemence should see a therapist, so Clemence isn’t happy about that either.

Here’s an example of what a horrible person Clemence is: In the waiting room of Dr. Lismoen’s office, Clemence and Sherri are sitting near an obviously upset woman (played by Sarah Schol), who is sobbing about something. Clemence and Sherri have no idea who this woman is or what this woman’s personal problems are. When Clemence and her mother are called into Dr. Lismoen’s office, Clemence passes by the distressed woman and snarls at her: “Basket case.” (It’s a derogatory slur for a mentally ill person.)

And later, when Clemence has her first session with her therapist Dr. Madzen (played by Jon Hudson Odom), she has this to say about Dr. Lismoen, who is a German immigrant: “I call her ‘the German woman,’ to take away her power.” Clemence adds, “I don’t take life advice from mentally ill burnouts.” None of this is funny, of course, but “The Year Between” filmmaker Heller desperately wants it to be.

At home, Clemence complains and gives constant criticism to her family members for not being more accommodating to her. Sherri and her mild-mannered husband Don (played by Steve Buscemi) are admittedly unsure of how to deal with Clemence’s bipolar disorder. Don’s reaction is just to let Clemence mouth off and not try to get into any arguments with her. Sherri’s way of coping is ordering Clemence to do yoga with her.

Clemence’s younger sister Carlin (played by Emily Robinson), who’s 17 or 18 years old, is an overachiever in her last year of high school. Carlin is preoccupied with finding out if she will get into her top-choice university. Meanwhile, a jealous Clemence tries to discourage Carlin from going to college. Carlin and Clemence are opposites in a lot of ways, so Carlin is the person in the family whom Clemence clashes with the most.

Clemence’s younger brother Neil (played by Wyatt Oleff), who’s about 16 or 17 years old, has an easygoing personality and tries to stay out of Clemence’s way. When Clemence unapologetically eats all of the bread in the house refrigerator, and someone in the family gripes about it, Clemence angrily reacts as if her rights are being violated. And so, when Neil later wants to make a meat sandwich, he just eats the meat by itself instead of trying to get into what would be an emotionally exhausting confrontation with Clemence.

Clemence also manipulates her family by making alarming suicidal comments. She mopes around the house and sleeps a lot, which are all valid signs of depression. But then she says to her father Don: “Dad, if the house burns down, I want to sleep through it.” How is a parent supposed to react when hearing this disturbing comment from a child? “The Year Between” reprehensibly treats it like a joke.

Believe it or not, Clemence is capable of being nice. There’s a brief scene early in the movie where she’s walking the family dog Chauncey outside on a street, and Clemence says a polite hello to a neighbor. But that display of friendliness is short-lived and rare for Clemence.

As an example of how she still has bipolar episodes, there’s a scene in the movie where Clemence walks the dog but doesn’t come back until several hours later when it’s night, without telling anyone in her family where she was and that she was taking the dog away for hours. When she comes back home, with no explanation for her long absence, Clemence is dismissive of her mother’s worried feelings. Clemence is legally an adult, so she shouldn’t have to be treated like a child, but she often acts like a petulant child.

What’s so horrific about “The Year Between” is that it constantly makes a point that people shouldn’t really confront Clemence about her cruelty and selfishness because she has bipolar disorder. Clemence wants people to respect her, but she’s not willing show basic respect for other people. And her disrespect is not something that can be blamed on Clemence’s bipolar disorder, but the movie wants to make it look like her bipolar disorder is largely to blame.

Not long after moving back in with her parents, Clemence commits what she thinks is an act of rebellion: She shaves off all of the hair on her head. And so, for the rest of the movie, Clemence has “chip on her shoulder” reactions if people look at her strangely because of her bald head. When some teenage boys pass her on a street, she doesn’t like the way they’re looking at her, so she blurts out to them, “I eat ass!” This is what’s supposed to be pass as “comedy” in “The Year Between.”

Clemence isn’t a complete freeloader at home because she attempts to find a job. She applies to be a sales clerk at a discount clothing/furniture store called Big Deals, even though her people skills are horrible, she has no retail sales experience, and she’s very abrasive in her job interview. But lo and behold, she easily gets the job. It’s just more of Clemence’s privilege on display.

The Big Deals employee who’s been assigned to train Clemence is a sassy and intelligent woman in her late teens named Beth (played by Kyanna Simone), who tells Clemence that she will be quitting this dead-end retail job in the near future because Beth has a lacrosse scholarship to attend Duke University. Clemence is already annoyed that she’s being trained by someone who’s younger than Clemence. And when Clemence hears that Beth has plans to go to college, Clemence gets envious of Beth.

Still, Clemence has no friends, so she tries to become Beth’s friend. It won’t make Clemence look any less loathsome, because Clemence’s idea of a “friend” is to have someone listen to her rant about how much other people ignore or misunderstand Clemence. However, the scenes with Clemence and Beth are among the movie’s few highlights.

What doesn’t work as well is the movie’s subplot about Clemence’s love life. In a convenience store parking lot, she sees a guy named Ashik (played by Rajeev Jacob), who was a classmate in high school. Ashik and Clemence haven’t seen each other since their high school days.

Clemence and Ashik make awkward small talk and catch up on what they’ve been doing with their lives. After they exchange phone numbers, they flirt online and take tentative steps toward dating. Ashik is also drifting in life and lives at home with his mother. Unfortunately, Ashik is a hollow character with not much to offer to this movie, so the would-be romance between Ashik and Clemence falls flat.

“The Year Between,” just like Clemence, is very irritable, monotonous and aimless. It seems like the movie was made to create sympathy for whatever real-life misdeeds that might have inspired the awfulness of Clemence. Viewers won’t be entirely sure how much of the real Heller is in Clemence, but what’s shown in the movie is someone with a very heinous personality.

As for her bipolar disorder, Clemence doesn’t seem concerned about getting better. She just wants to wallow in her misery. And when someone else in the family has a major health problem, Clemence reaches new lows of despicable narcissism. Any attempts to redeem Clemence look very fake. Viewers will be left wondering why “The Year Between” was even made, when there’s really no point to the movie, except to show someone being chronically self-centered and emotionally abusive to others, with no maturity or self-awareness.

UPDATE: Gravitas Ventures will release “The Year Between” in select U.S. cinemas, on digital and VOD on March 3, 2023. Peacock will premiere the movie on May 1, 2023.

Review: ‘Carol & Johnny,’ starring Carol Williams and Johnny Williams Jr.

July 2, 2022

by Carla Hay

An archival photo of Carol Williams and Johnny Williams Jr. in “Carol & Johnny”

“Carol & Johnny”

Directed by Colin Barnicle

Culture Representation: Filmed in 2021 in Washington state, Texas and Nevada, the documentary “Carol & Johnny” features an all-white group of working-class and middle-class people discussing estranged spouses Carolyn Marie “Carol” Wlliams and John Madison “Johnny” Williams Jr., who famously went on a bank robbery spree from 1986 to 1994 (in Texas, California and Washington state), were sent to prison, and were eventually released from prison.

Culture Clash: After being released from prison, Johnny has trouble adjusting to his new life in Seattle, and he wants to get back together with Carol, who is living in Texas and has to decide if she wants to reunite with Johnny.

Culture Audience: “Carol & Johnny” will appeal primarily to people who are interested in stories about true crime and dysfunctional couples.

An archival photo of Carol Williams in “Carol & Johnny”

The absorbing true crime documentary “Carol & Johnny” keeps viewers guessing until the very end if two estranged spouses, who went on a bank robbery spree, will reunite after the husband gets out of prison. It’s a story that isn’t just about their crime spree, because the movie raises provocative questions about forgiveness and if ex-convicts can be redeemed after getting out of prison. Directed by Colin Barnicle, “Carol & Johnny” had its world premiere at the 2022 Tribeca Film Festival in New York City.

The two people at the center of the movie are Carolyn Marie “Carol” Williams and John Madison “Johnny” Williams Jr., who robbed 56 banks in Texas, California and Washington state, from 1986 to 1994, the year that they were arrested. It’s believed that the stolen money from these robberies totaled $879,357. At the time of their arrest, Carol was 34, and Johnny was 43. They have been married since 1979, and they have no children together. Carol and Johnny were both convicted and sent to prison for 27 of the 56 robberies. The other robberies were past the statute of limitations to be prosecuted.

Carol (who was born in 1960) got a lighter prison sentence of 20 years, because she was just the getaway driver in these robberies. Carol was released from prison in 2011. Johnny (who was born in 1951) was the one in this bank-robbing duo who actually went into the banks for the armed robberies, so he was sentenced to 92 years in prison. However, he got an extremely lucky break and was released in 2021, because his health issues put him at a more likely risk of getting infected by COVID-19. If not for the COVID-19 pandemic, it’s probable that Johnny would have spent the rest of his life in prison.

The filmmakers of “Carol & Johnny” wisely chose to interview only a small number of people for the documentary: Carol, Johnny, Helen Williams (Johnny’s stepmother), Cindy Hawkins (Carol’s sister) and former FBI agent Don Glasser, who worked in the Seattle area during the period of time that Johnny and Carol went on their crime sprees. The reason why it was necessary for the documentary to avoid being overstuffed with too many talking heads is because too many other people being interviewed would have been distractions to the “he said/she said” way that the movie is structured. Glasser, Hawkins and Johnny’s stepmother Helen provide their own perspectives, but the two people who inspired the title of this documentary are the main focus and get most of the screen time.

The beginning of “Carol & Johnny” (which was filmed in 2021) shows Johnny living in Seattle, not long after he has been released from prison. His entire family has disowned him. His stepmother Helen doesn’t mince words when she talks about Johnny: “He’s spent his whole life with his hand out, wanting something.” She adds that “he’s not welcome” in her home.

The movie shows Johnny living in a halfway house for ex-convicts called Pioneer Fellowship House. Just like any halfway house for former prisoners, Pioneer Fellowship House has strict rules for the residents, such as curfews and not doing anything that would violate their paroles. During a documentary interview, Johnny gets a phone call from his parole officer (a woman named Jennifer) and he’s seen briefly talking with her on the phone.

In a documentary interview, Johnny comments on his life out of prison: “I’m trying to put my life together. I’ve been separated from society for so long.” Johnny is still learning how to use a cell phone. He also mentions that he wants to go to a vocational school for computer technology. Considering that he has a prison record for felonies, he has health problems, and he’s at an age when most people have retired, Johnny is going to have major obstacles if he plans to look for a job.

He knows it too, which is why his experience of life after prison is much more difficult than an ex-con who is still young enough to have a better chance of being employed. Someone like Johnny might be less motivated to find a job with all these odds stacked against him. But does that mean he’ll return to a life of crime? It’s a question that will linger in a lot of people’s minds when watching this movie. When “Carol & Johnny” director Barnicle (who’s not seen on camera) asks Johnny if he’ll ever rob a bank again, Johnny has this response: “Oh, fuck no!”

As for Carol, the beginning of the documentary shows her living in her Texas hometown of Dallas and being a live-in caretaker for her 93-year-old aunt, who has dementia. Carol is living rent-free in her aunt’s home, but Carol would rather have her own home. She also says that she doesn’t like living in Dallas. But just like Johnny, Carol is considered “unemployable” by a lot of people. It’s implied that Carol and her aunt are living off of government benefits, including disability income.

That’s because Carol, whose nickname was Mad Dog when she was in prison, got a brain injury as a prisoner. As she explains it, she was given too much water to drink in prison. Water intoxication (also known as hyponatremia) results in low sodium levels in the body. Carol says the prison treated this condition by giving her sodium, but the sodium levels were too high, which resulted in her brain injury.

Carol’s hesitant and stuttering speech patterns are indicative of someone with a brain injury, but she is still articulate enough to formulate her thoughts and communicate. She also has vivid memories of her time with Johnny, whom she hasn’t seen in person since 1995. What’s interesting is how Carol and Johnny clearly remember dates, places and times of milestones in their relationship.

When an estranged couple has spent decades living apart from each other, those memories usually tend to fade. But not for Johnny and Carol. Johnny remembers the last time he saw Carol in person was January 20, 1995, before they were sent to their respective prisons. “There wasn’t much to say,” Johnny remembers. “I just told her that I loved her and that I was sorry.”

For most of the documentary, Johnny and Carol act like a couple whose relationship was put on “pause” because of the time they spent in prison. They are still legally married. And the reason why they haven’t gotten divorced becomes obvious after seeing this movie: They say that they still love each other. Now that he’s out of prison, Johnny wants to get back together with Carol, but she isn’t sure if she wants the same thing.

In the beginning of the documentary, Carol says, “I love John. That will make some people angry, but I can’t help how they feel. I’m not responsible for anyone’s feelings but my own.” In other parts of the documentary, the filmmakers show Carol and Johnny photos of what Johnny and Carol currently look like. Carol’s reaction: “He looks much older, but so do I. Does he still cry a lot?” Johnny does cry a little in the documentary, but is he crying for himself or for Carol?

Carol says she wasn’t prepared for Johnny to ever be released from prison. She never visited him in the 10 years when she was out of prison and he was still incarcerated. She doesn’t want to visit him where he’s living in Washington state. She expects him to come visit her in Texas. Will Johnny do it? And why does Carol insist that Johnny go to her?

It’s not really said out loud, but viewers can see it has a lot to do with the dynamics of their relationship before they went to prison: Johnny was the pursuer, the one to take the lead, the one to come up with all the ideas and plans on how their lives would be. Carol wasn’t completely passive in their marriage. In the documentary, she says several times that she takes full responsibility for her own decisions and her own actions.

However, as Johnny and Carol tell their stories about their respective childhoods, and how they met, fell in love, and got married, it explains a lot about how they ended up in a relationship that turned out to be unhealthy and dangerous for both of them. It’s almost a cliché of a “good girl” who fell hard for a “bad boy.” But there’s more to it than that.

It has a lot to do with how childhood abuse can have long-lasting effects on someone’s self-esteem and the choices they can make in life. It also has to do with how people can meet each other, fall in love, and make completely different choices about the relationship, depending on what stage of life they’re in and what they want to get out of the relationship. All of these factors are part of Carol’s and Johnny’s life stories.

Johnny remembers the day that he met Carol was August 8, 1979. Carol says they met in Dallas, at the apartment that Carol’s sister shared with a boyfriend, who was a friend of Johnny’s. Johnny describes this fateful meeting with Carol: “I was 11 months out of prison, and she was 15 months out of high school. And it was like being turned loose in a candy story as a kid. It was fantastic.”

At 28 years old in 1979, Johnny was by, his own admission, a thief since childhood. When he met Carol, he was on parole for armed robbery of a convenience store. Carol knew all of that soon after meeting Johnny, and they quickly began dating each other. Her parents disapproved of the relationship.

Carol says of her relationship with Johnny at that time: “I was happy.” But there’s more to the story. Carol describes having a domineering mother who repeatedly told Carol that she “wouldn’t amount to anything.” Johnny says that when he and Carol eloped, it had a lot do with Carol wanting to get away from Dallas. The elopement was the first time that Carol really defied her mother.

Carol’s sister says of Carol’s decision to marry Johnny: “She could’ve done a hell of a lot better—trust me—but she had no self-confidence.” Carol says of her parents’ feelings about Johnny: “They learned to love him, until all that ‘other’ happened.” That “other” was the life of crime where Carol willingly followed Johnny.

Johnny’s childhood was much more chaotic than Carol’s childhood. Johnny was born in Waukegan, Illinois, and his mother gave him up to live in a Catholic group home when he was 5 months old. His maternal grandmother and her second husband then took custody of him in California and raised him in Truth or Consequences, New Mexico. Johnny barely knew his father, whom he describes as a deadbeat dad and a gambling addict.

“I was raised by old people,” says Johnny. “They believed in whippings and retribution.” His maternal grandmother’s second husband was named Claude Havens, who was an ex-deputy sheriff. “He was a salty cuss, and he wore me out with a razor strap,” Johnny remembers. “I always got whipped for stealing, but I kept on doing it.”

Johnny’s grandmother and her second husband got so fed up with raising Johnny, they sent him to live with the grandmother’s ex-husband. Things weren’t much better in this living situation. Carol has this to say about how Johnny’s abusive childhood had this effect on him: “He was numb to sensitivity to other people’s feelings.”

It sounds a lot like being a sociopath. And when you hear about the highly manipulative things that Johnny did to get Carol to do what he wanted, you don’t have to be a psychiatrist to reach that conclusion. Carol says that during their marriage, before they got arrested, “I was completely under his spell.” She also says that Johnny frequently got his way with her because he threatened to hurt her family if she ever left him.

These threats made Carol feel a warped sense of loyalty to Johnny. She explains her mindset at the time: “Protect my husband. Protect my spouse. That was my man, so that was my mission.”

In 1981, Johnny and Carol were working as independent carpet cleaners. In 1983, Johnny fell asleep behind the wheel of his truck, crashed it, and fractured his skull. After this accident, the couple couldn’t pay the rent where they lived. And it wasn’t long before Johnny decided to go back to stealing to get money.

In October 1985, he went to a library to read books about bank robberies. On April 3, 1986, the bank robbery spree began in Plano, Texas, with a robbery haul of $10,000. But there was a dye pack in the cash. The duo’s next bank robbery also had a dye pack in the stolen haul. By the third bank robbery, Johnny shot a bank manager, who fortunately survived. Johnny says the shooting was an “accident.” In 1987, during a bank robbery in Solano, Beach, California, he shot near a bank manager intentionally when she wasn’t moving quickly enough for him.

Carol says of the partnership that she and Johnny had in their crimes: “He’s the star. I’m just the associate. I was a damn good getaway driver.” Johnny and Carol got away with these bank robberies so easily, it became addicting to them. Johnny and Carol could steal more cash in a few minutes than what most people could make in a few months of doing honest work. Carol and Johnny eventually left Texas and moved to California. They decided early on in their crime spree that they wouldn’t rob banks that were very close to where they lived.

In their documentary interviews, Johnny and Carol say that they believe that they got away with their bank robbery spree for so long because they didn’t leave fingerprints at the crime scenes, because they meticulously planned everything, and because of Johnny’s signature bank robbery move of shooting his gun in the air immediately when he was in the bank. By shooting the gun right away, frightened potential witnesses would be more likely to avoid looking at the bank robber during the robbery, out of fear of getting shot.

The detailed planning included choosing banks that weren’t in crowded areas, finding out what time of day was the least-busiest when the targeted bank was open, and calculating the exact time each possible scenario would take to rob the bank and get away. Carol says that they always preferred a bank where the getaway car could be parked in a place nearby that was as hidden as possible, to make it less likely that any witnesses could describe the car. In the documentary, Carol describes each bank robbery as a “job” that she and Johnny took as seriously as a real job.

Because of Johnny’s tactic of scaring potential witnesses and averting their eyes by shooting a gun in the air as soon as the robbery started, witness descriptions of him varied wildly in the first few years of the robbery sprees. There were some images of him captured on surveillance cameras during robberies, but these images were often blurry, and he always disguised himself. The media came up with different nicknames for him, including the Bang Bandit, the Shootist, the Bang Man and the Lincoln Bandit.

As outlaws, Carol and Johnny used the stolen money to travel a lot, gamble, and dine in upscale restaurants. Carol says that before becoming a bank robber, “I never traveled very much.” She comments on all the vacation trips that she took: “It was fun. It was a learning experience.” She later says of this life of leisure funded by stolen money: “I got spoiled.”

During one of their vacations, Carol and Johnny went to White Sands National Park in New Mexico. It’s against the law to steal any of the white sand in the park, but chronic thief Johnny wanted to steal some sand anyway. Carol says she remembers feeling very nervous about stealing the sand. “It was against the law!” she says with horror. Oh, the irony.

And during this period of time of being an outlaw, Johnny actually made money by entering bowling tournaments. He created a fake identity for his life as a competitive bowler: Robert James Hall. If people asked Carol and Johnny where they were getting the money for their lavish spending, they would say it was through the bowling tournaments. And sometimes, Johnny would say to certain people that he was a drug dealer. Johnny’s stepmother Helen says, “We knew he was up to something, but we never dreamed it was robbing banks.”

The good times for Carol and Johnny didn’t last forever. By 1994, Carol says she was ready to quit robbing banks, but Johnny didn’t want to stop. And he got careless with his double life as a bowler. Someone called in a tip to law enforcement about Johnny using a fake name for his bowling tournaments. And that’s what led to him getting on the radar of law enforcement and his eventual arrest.

It’s not mentioned in the “Carol & Johnny” documentary, but according to a New York Post interview, Johnny says that the informant was a former acquaintance named Bob. According to Johnny, Bob was in talks with Johnny to do a home invasion of a bank manager’s home. The idea was to force the bank manager to give up security information that Johnny could use while robbing the manager’s bank. The plan for the home invasion fell through. Johnny says that Bob then turned on Johnny by telling law enforcement about Johnny’s secret life as a bank robber.

As one of the FBI agents involved in the investigation, Glasser comments, “I felt like I was a lucky guy to have that case.” Johnny and Carol were put under surveillance. Glasser says that Johnny and Carol were arrested without incident at a motel in Bothell, Washington, where they were staying after a bank robbery in Kirkland, Washington. Carol and Johnny paid for the motel room with a credit card with Johnny’s real name, which is how law enforcement found them. Once in custody, “Johnny confessed immediately” to the bank robberies, says Glasser.

Johnny and Carol don’t talk too much in the documentary about what their lives were like in prison. Instead, the biggest question that the documentary asks and what viewers will want to know is: “Will Carol and Johnny get back together?” There are a few twists and revelations in the movie, but they’re not too surprising. What makes “Carol & Johnny” fascinating to watch is it will also make viewers ask another question: “Should Carol and Johnny get back together?”

Review: ‘Cherry’ (2023), starring Alex Trewhitt

June 30, 2022

by Carla Hay

Alex Trewhitt in “Cherry” (Photo by Damien Steck)

“Cherry” (2023)

Directed by Sophie Galibert

Culture Representation: Taking place in Los Angeles, the comedy/drama film “Cherry” features a predominantly white cast of characters (with some Latinos and a few African Americans) representing the working-class and middle-class.

Culture Clash: A 25-year-old woman, who is drifting in life and has problems keeping a job, finds out she’s 10 weeks pregnant, and she only has about one day to decide what to do about this unplanned pregnancy. 

Culture Audience: “Cherry” will appeal primarily to people interested in an intimate and well-acted portrait about a woman who has to come terms with her views on family planning and what she wants to do with her life.

Alex Trewhitt in “Cherry” (Photo by Damien Steck)

With a realistic mix of drama and some comedy, “Cherry” presents a memorable portrait of a 25-year-old woman who has just one day to decide what to do about an unplanned pregnancy. As the movie’s title character, Alex Trewhitt gives a captivating performance. “Cherry” tells Cherry’s story without judgment but with plenty of charm and emotional authenticity.

Sophie Galibert directed “Cherry” and co-wrote the movie’s screenplay with Arthur Cohen. “Cherry” had its world premiere at the 2022 Tribeca Film Festival, where it won the Audience Award for Online Premieres, a category of movies that the festival only made available through the festival’s Tribeca at Home online programming. It’s more than a movie about an unplanned pregnancy. It’s also a movie about how this unplanned pregnancy has made Cherry rethink her personal relationships and what she wants to do with her life.

The beginning of the movie, which takes place in Los Angeles, shows Cherry roller skating around the city in a seemingly carefree way. At this point, Cherry doesn’t know yet how much her life will soon change within a few hours. Cherry isn’t roller skating just for fun. She’s financially broke and doesn’t have a car. Roller skating is the cheapest form of transportation that she currently has.

Early in the movie, Cherry is shown going to her job at a place called the Polka Dots Costume Shop, where she works part-time as a sales clerk. Some of her work at this costume shop also includes doing magic tricks for customers and occasionally handing out balloons. Her boss Roger (played by Joe Sachem), who owns and manages the store, is usually easygoing. But on this day when she arrives at work, he tells Cherry that’s he’s had enough of her chronic tardiness. “One more fuck-up, and you’re done,” Roger warns.

It’s the first sign in the movie that Cherry has a tendency to be flaky and irresponsible. Conversations that happen later in the story reveal that Cherry has a long history of drifting from job to job. She also does not have any life goals or plans. However, she has to think about what direction her life will take when she goes into the store’s restroom to take a pregnancy test. It’s how she finds out that she’s pregnant. Cherry doesn’t have much time to let this revelation sink in because she has to start her work shift.

Outside the store, Cherry is doing some store promotion for people passing by on the street. She does some magic tricks and balloon designs, in a way that that’s similar to what a hired clown would do at a children’s party. Two people who stop by are a preoccupied-looking woman (played by Samantha Barrios) and her son, who’s looks to be about 8 or 9 years old.

The woman asks Cherry to entertain her son while she quickly goes in the store. Cherry makes a balloon gift for the boy. Cherry says the balloon is supposed to be a make-believe sword, but it looks a lot like a penis. The boy notices it too and runs into the store with the balloon to tell his mother, who gets very upset. Roger fires Cherry immediately.

With no job and still reeling from the shock of finding out that she’s pregnant, Cherry (who does not have any health insurance) goes to a local health clinic to get another pregnancy test done. It’s a Saturday, which is a day when the clinic will see people by appointment only. Cherry shows up as the clinic is about to close, but through some persistence and begging, she’s able to see a doctor without an appointment.

The only doctor who’s on duty at the clinic is Dr. Amalia Garcia-Ortega (played by Sandy Duarte), who is, just by coincidence, about eight or nine months pregnant. After Cherry takes another pregnancy test, Dr. Garcia-Ortega (who is compassionate and patient) confirms that Cherry is pregnant. The doctor also tells Cherry that Cherry is 10 weeks into her pregnancy and will soon reach 11 weeks. How soon? In a few days.

In California, abortion is legal up to 24 weeks of pregnancy. But because Cherry doesn’t have health insurance, her options on where to get an abortion are limited. She will most likely have to rely on a low-cost clinic, such as the one she’s at now. Dr. Garcia-Ortega does not tell Cherry what to do about the pregnancy.

Instead, the doctor gives Cherry all of the options and tells Cherry that it will be Cherry’s choice on what to do. If Cherry chooses to terminate the pregnancy, the clinic offers a lower price ($500) if the abortion is up to the 11th week of pregnancy. Any abortion between the 11th and 24th week of pregnancy will cost more money than Cherry can afford.

While Cherry is absorbing this information, she asks to have an ultrasound, so that she can see and hear what’s inside her uterus. This ultrasound seems to have an impact on Cherry, as if she’s shaken by the reality that she has a tremendous decision to make. The rest of “Cherry” is about her making this very important decision that could change her life. The clinic is closed on Sundays, and will re-open on Monday, which Dr. Garcia-Ortega says will be the last day before Cherry is technically 11 weeks pregnant.

The father of the child is Cherry’s live-in boyfriend Nick (played by Dan Schultz), who is a musician in a band and a part-time event DJ. Some of his DJ work is at a local roller skating rink where Cherry likes to hang out. It’s never stated exactly how long Cherry and Nick have been together, but some of the movie’s conversations hint that Cherry and Nick have been a couple for less than a year.

Cherry and Nick live in a three-bedroom apartment with “four guys who smoke a lot of pot,” according to a comment that Cherry makes. If Cherry chooses to have this child, she doesn’t want to raise a child in this environment. Nick’s father was an aspiring musician who gave up his music career to raise a family. It’s something that’s brought up in the conversation when Nick finds out that Cherry is pregnant.

The movie never shows Cherry in the place where she lives. Instead, she goes to several other places during the 24-hour period when she makes her decision. When she tells Nick that she’s pregnant, it’s while he’s at a roller skating rink during his shift as a DJ. His reaction might or might not influence Cherry’s decision.

Cherry also visits some other people who have had an impact on her life, including a group of about four or five women called the L.A. Roller Girls, who are hired for events and have big plans to tour. Cherry used to be a member of this group but stopped going to L.A. Roller Girls rehearsals. She hasn’t recently stayed in touch with the group’s members, so they assume that she lost interest in the L.A. Roller Girls.

Ironically, the Sunday that Cherry has to make her big decision is on Mother’s Day. An enlightening part of the movie is when Cherry has a Mother’s Day brunch with her older sister Anna (played by Hannah Alline) and their divorced mother Carla (played by Angela Nicholas), who is worried about Cherry having such an aimless life. This scene with the Mother’s Day brunch gives a lot of insight into the dynamics of Cherry’s family.

Anna, who is a trial attorney, is married and has been unsuccessfully trying with her husband Jeffrey (who’s not in the movie) to get pregnant. Carla and her ex-husband Bob (played by Charlie S. Jensen) have been divorced for years, but the pain of the divorce still lingers. It’s eventually revealed that although Bob was a good provider for the family, Cherry thinks that Bob wasn’t emotionally available as a family man, and it bothers Cherry that he doesn’t call her. It might or might not explain why Cherry seems unable to commit to anything, but it definitely shows she has some “daddy issues.”

To a lesser degree, Cherry is also insecure about Anna being considered the overachieving “golden child” of the family, while Cherry thinks she’s perceived as the unreliable screw-up of the family. Through bits and pieces of conversations during this Mother’s Day brunch, it’s revealed that Cherry has often received financial help from her mother Carla, who has gotten tired of Cherry being so indecisive about what Cherry wants to do with her life.

Later, in one of the movie’s best scenes, Cherry meets her father in the parking lot of an casual snack eatery. In the parking lot is a cherry red Volkswagen that’s owned by Cherry’s maternal grandmother, but Cherry sometimes borrows the car. The car has a dead battery, so Cherry has called Bob (who works as a security guard) to meet her in the parking lot while he’s on a lunch break, so that he can bring his car to give a battery jumpstart. Their conversation is realistically awkward, but it has an emotional resonance that is subtle yet impactful.

Throughout the movie, Trewhitt gives an immensely authentic portrayal of someone who suddenly has to make a momentous, life-changing decision. In movies where the protagonist has an unplanned pregnancy, there are usually a lot of melodramatic scenes or panicking, but Cherry is dealing with this decision in a way that doesn’t involve her breaking down in hysterics. She begins to understand she has the responsibility of making a decision that could affect her life in the long-term, when she has gotten accustomed to living her life “in the moment” and not thinking too much about her future.

“Cherry” also has incisive observations about how people often make parenting decisions based on how they were raised as children. A lot of Cherry’s fears and insecurities about being a “responsible” adult could be linked back to feeling like her life was shaken up because of her parents’ divorce. Children of divorce often have “abandonment” issues, especially if one of the divorced parents is more involved in raising a child than the other divorced parent.

What’s also effective about this movie is that it doesn’t present Cherry as a stereotypical plucky young heroine who’s supposed to be adored by everyone watching the movie. She has a friendly personality, but she’s the type of person who is unreliable and seems to want to avoid growing up. That doesn’t make her a bad person. It makes her a person who’s been indecisive and noncommittal about a lot things in her life. And she can’t be that way for this big decision about her pregnancy.

Through her conversations and interactions in the 24-hour period that she makes her big decision, Cherry starts to see how some of her own flaws and commitment-phobic ways have affected her relationships. Cherry has some resentment toward her father for not being the type of parent she wanted. However, she goes through some of her own self-analysis about how she might have let down people in her life too. Not everything is said out loud from the movie’s screenplay, which is why Trewhitt’s performance is stellar at conveying Cherry’s inner emotions and personal evaluation of her life.

A lot of movies about unplanned pregnancies want to make the subject matter sad and depressing, while other movies with the same subject matter want to turn the unplanned pregnancy into a comedic plot device. And other movies have an agenda to preach what decision should be made about an unplanned pregnancy. “Cherry” does none of that. Instead, this movie poignantly shows how in one 24-hour period, a woman’s decision about a pregnancy has made her re-evaluate her life and perhaps use that self-reflection to make changes for the better.

UPDATE: Entertainment Squad will release “Cherry” in select U.S. cinemas on April 14, 2023. The movie will be released on digital and VOD on April 21, 2023.

Review: ‘Minions: The Rise of Gru,’ starring the voices of Steve Carell, Pierre Coffin, Alan Arkin, Taraji P. Henson, Danny Trejo, Lucy Lawless and Michelle Yeoh

June 29, 2022

by Carla Hay

Pictured from left to right: Kevin, Otto, Gru (voiced by Steve Carell), Stuart and Bob in “Minions: The Rise of Gru” (Photo courtesy of Illumination Entertainment/Universal Pictures)

“Minions: The Rise of Gru”

Directed by Kyle Balda

Culture Representation: Taking place in the 1979, in San Francisco and in the fictional U.S. city of Springfield, California, the animated film “Minions: The Rise of Gru” features a predominantly white cast of characters (with a few African Americans, Asians and Latinos) representing the working-class and middle-class.

Culture Clash: In this origin story of “Despicable Me” supervillain Gru, he is an 11-year-old child who gets into conflicts with the Vicious 6, a gang of criminals that Gru admires.

Culture Audience: “Minions: The Rise of Gru” will appeal primarily to fans of the “Despicable Me” and “Minions” films, but others might be less charmed by the scattershot and uninspired plot of “Minions: The Rise of Gru.”

Stronghold (voiced by Danny Trejo), Belle Bottom (voiced by Taraji P. Henson), Wild Knuckles (voiced by Alan Arkin), Jean Clawed (voiced by Jean-Claude Van Damme), Sevengeance (voiced by Dolph Lungren) and Nun-Chuck (voiced by Lucy Lawless) in “Minions: The Rise of Gru” (Photo courtesy of Illumination Entertainment/Universal Pictures)

“Minions: The Rise of Gru” is an unfortunate example of how a villain origin story loses its edge when it’s about the villain’s childhood. This formulaic cartoon is nothing more than a hyper mishmash of uninspired scenes with stale jokes and very little suspense. The best movie villains are those who keep people guessing on what they’re going to do next. That’s not the case with any of the villains in “Minions: The Rise of Gru.”

Gru (voice by Steve Carell) is now just a predictable grouch, where all he really does to show his villainous side in “Minions: The Rise of Gru” is get annoyed with the Minions, the cutesy yellow mini-creatures that don’t talk like humans but spew noises that sound like a combination of chirping and computer blips. Pierre Coffin is the voice of the Minions in “Minions: The Rise of Gru.” Just as the name suggestions, the Minions are at the beck and call of Gru.

Gru (an easily agitated, on-again/off-again villain) was first seen in the 2010 animated film “Despicable Me,” which spawned the sequels “Despicable Me 2” (released in 2013), “Despicable Me 3” (released in 2017) and the spinoff-prequel “Minions,” which was released in 2015. “Despicable Me 4” is expected to be released in 2024. In all of the “Despicable Me” movies, Gru is an adult who is an ex-supervillain who doesn’t particularly like people. In “Minions: The Rise of Gru” (directed by Kyle Balda and written by Matthew Fogel), Gru (still voiced by Carell) is an 11-year-old brat. Brad Ableson and Jonathan del Val co-directed “Minions: The Rise of Gru.”

“Minions: The Rise of Gru” has a simple plot, but it’s so cluttered with disjointed scenes that it just becomes a hodgepodge of characters running around, sometimes while they’re being chased and occasionally cracking some very unfunny jokes. The child version of Gru is not someone who has any cunning wit or hilarious barbs that define who Gru is as an adult. He’s just a basic annoying kid that has been seen in numerous types of animated and non-animated movies aimed at families.

The essential plot of “Minions: The Rise of Gru” is that Gru steals something from a famous gang he wants to join, lot of chases ensue, and you can predict the end. Gru, who is an only child, lives with his unnamed single mother (voiced by Julie Andrews) in the fictional city of Springfield, California. People know that Springfield is in California because much of the action in the movie takes in San Francisco. The time period is circa 1979, based on the movie soundtrack’s overload of disco songs that were released in or a few years before 1979.

Don’t expect Gru’s mother to be big part of the story. She’s only in a few scenes, such as an early scene where Gru coms home to find his mother in a yoga session with a physically fit, young male yoga instructor. Later, when Gru gets kidnapped, he tells his abductors that it will be a waste of time to demand a ransom. “My mom will probably pay you to keep me.” It’s one of few barely funny lines in the movie.

Gru hangs out with lots of Minions, of course. The ones that get most screen time are named Otto, Kevin, Stuart and Bob. Otto, who wears teeth braces, is a people-pleasing new character introduced in this movie. Because Gru is such an unpleasant child, he has no friends. The Minions are the only beings that keep him company. Gru spends most of his time being bossy to the Minions.

Gru is a big fan of a famous criminal gang called the Vicious 6. They are led by a Wild Knuckles (voiced by Alan Arkin), a cantankerous senior citizen who is known for his fighting skills in several athletic disciplines, such as karate, boxing and jiu jitsu. The other members of the group have their own ways of fighting.

Belle Bottom (voiced by Taraji P. Henson) has a chain belt that she can make into a deadly disco ball of mace. Stronghold (voiced by Danny Trejo) has metal fists. Jean Clawed (voiced by Jean-Claude Van Damme) has a lobster claw for one of his hands. Sevengeance (voiced by Dolph Lungren) is a roller skating champ who uses his spiked skates as a weapon. Nun-Chuck (voiced by Lucy Lawless) is dressed as a traditional nun, which allows her to hide her signature weapon of nunchucks.

Through a series of events, Gru meets the Vicious 6 and asks to join their group. He’s emotionally crushed when they essentially dismiss Gru. Belle Bottom tells Gru during this rejection: “Evil is for adults, not tubby little punks who should be at school.”

Gru steals the Vicious 6’s most valuable possessions: the Zodiac Stone. Otto replaces it with a Pet Rock. And you know what that means: The Vicious 6 is out to get Gru and his Minions crew. Wild Knuckles is then ousted from the Vicious 6, which is just a lazy way for the movie to have two factions of villains instead of just one. And since Wild Knuckles is the Vicious 6 villain whom Gru admires the most, get ready for the predictable “grandfather figure to Gru” story arc that you can see coming long before it starts.

Along the way, the Minions end up in San Francisco to get karate lessons from a former karate champ named Master Chow (voiced by Michelle Yeoh), which lead to mildly entertaining but entirely formulaic scenes. An unnamed motorcycle rider (voiced by RZA) and a young Nefario (voiced by Russell Brand) have brief appearances that are mostly forgettable. Nefario is an evil inventor who is an elderly man in the “Despicable Me” movie, but his origin story is “Minions: The Rise of Gru” so weak and underdeveloped, Nefario might as well have not been in the movie.

There’s nothing wrong with any of the visuals or voice acting in this movie. The screenplay and overall direction just make everything so mind-numbingly trite. “Minions: The Rise of Gru” will make a lot of “Despicable Me” franchise fans want the adult Gru back. This child Gru needs to back to his room. Gru’s bratty pouting and whining are just one giant bore, making “Minions: The Rise of Gru” a step down for the “Despicable Me”/”Minions” series.

Universal Pictures will release “Minions: The Rise of Gru” in U.S. cinemas on July 1, 2022. The movie was first released in several other countries, beginning in Australia, on June 16, 2022.

Review: ‘Music Pictures: New Orleans,’ starring Irma Thomas, Benny Jones Sr., Little Freddie King and Ellis Marsalis Jr.

June 28, 2022

by Carla Hay

Little Freddie King in “Music Pictures: New Orleans”

“Music Pictures: New Orleans”

Directed by Ben Chace

Culture Representation: The documentary “Music Pictures: New Orleans” (which was filmed in 2020 and 2021) features a racially diverse (African Americans and white people) group of music artists and people in the New Orleans music scene talking about Irma Thomas, Benny Jones Sr., Little Freddie King and Ellis Marsalis Jr., who all participated in the documentary.

Culture Clash: Thomas, Jones, King and Marsalis were all in their 70s and 80s when this documentary was filmed, and they talk about the challenges they’ve faced in their personal and professional lives.

Culture Audience: Besides appealing to fans of these artists, “Music Pictures: New Orleans” will appeal mostly to people who are fans of New Orleans music and documentaries that celebrate music artists who were influential to countless numbers of people.

“Music Pictures: New Orleans” is not a definitive or impactful documentary about the New Orleans music scene. However, it’s a pleasantly entertaining, early 2020s snapshot of four influential artists in blues and jazz. These four artists are Irma Thomas, Benny Jones Sr., Little Freddie King and Ellis Marsalis Jr., who all participated in the documentary, which was filmed from January 2020 to April 2021. Marsalis died from COVID-19-related pneumonia on April 1, 2020. He was 85.

Directed by Ben Chace, “Music Picture: New Orleans” (which clocks in at a brisk 72 minutes for its total running time) has a straightforward format of giving each artist profile a separate chapter. “Part 1: The Soul Queen” spotlights blues singer Thomas. “Part 2: The Heartbeat of the Band” focuses on jazz musician Jones, the leader and snare drummer of the Treme Brass Band. “Part 3: Last King of the Blues” centers on blues singer/guitarist King. “Part 4: Modern Men” showcases jazz icon Marsalis. All of these artists have been vital to the New Orleans music scene and influential in their own ways to many people around the world.

“Music Pictures: New Orleans” (which had its world premiere at the 2022 Tribeca Film Festival in New York City) has some archival photos and archival footage of these artists, but the vast majority of the screen time consists of just documenting these four artists’ lives as music performers during the time that the documentary was filmed. Expect to see footage of them in recording studios or on stage, but don’t expect a lot of insight into their personal lives that hasn’t already been covered elsewhere. The movie is an easy watch, but it’s not particularly revealing.

Thomas (born in 1941) is shown recording songs for an album that has not yet been released, as of this writing. This album will be her first album of new recordings since 2008’s “Simply Grand.” Her “Full Time Woman – The Lost Cotillion Album” (released in 2014) was an album that she originally recorded in the early 1970s.

One of the songs she sings in the recording studio is “Don’t Go to Strangers,” which was the title track to Etta James’ 1960 album. Conga player Alfred “Uganda” Roberts and pianist Kyle Roussel are two of the musicians in the recording studio with her. Thomas is confident and relaxed in the studio, but she does say out loud that she’s very aware that this will be the first album she’s making in several years.

Thomas talks a little but about how she got started in the music business. When she was a teenage waitress, she got fired for singing on the job. Her boss was also a racist because he told her that he didn’t like her singing music from black people, and he used the “n” word racial slur. Thomas went from being fired from that waitress job to becoming a professional singer. Her first single, “Don’t Mess With My Man,” released in 1959, was a hit on the R&B charts.

She opens up about a few low points in her career, including being ripped off by a manager, whom she parted ways with in the 1970s. Her next manager was Emile Jackson, who also became her third husband. The couple got married in 1976. She jokes about her partnership with Jackson: “I found it cheaper to keep him. And I don’t want to train another one.”

Jackson is briefly interviewed in the documentary. He remembers the first time he met Thomas: “I didn’t know who she was.” At the time, Thomas had split from her unscrupulous manager and wasn’t actively looking for another manager. However, she says in the documentary that she told Jackson: “You can be my manager. And what you don’t know, we can learn together. And that’s the way it’s been ever since.”

The documentary’s segment on Jones (who was born in 1943) is perhaps the least interesting of the four, mainly because he doesn’t give much insight into himself and his career. Jones’ part of the documentary mainly shows him performing with his band. While playing music in a small nightclub, Jones says generic things, such as: “When I see people dancing, and I see a smile on their face, that makes my work much easier.”

King (born in 1940) has the liveliest personality out of the four artists. He’s quite the raconteur, as he tells stories about his life. He talks about how he was shot by his wife Amy (before they were married) with a .357 Magnum that he kept hidden in his garden. Despite this shooting incident, he married her anyway.

King’s segment also shows him performing at a nightclub and in the recording studio. Songs he performs include “Bad News,” “Mean Little Woman” and “Pocketful of Money.” Some of King’s associates are also interviewed, such as drummer/manager “Wacko” Wade Wright and harmonica player Bobby Lewis. Not surprisingly, they praise King for his talented musicianship and his resilience during tough times.

Although he is originally from Mississippi, King considers New Orleans to be his true home. As far as King is concerned, he thinks the most authentic blues artists are those who’ve experienced real struggles. King comments in the documentary: “The young don’t know what the blues is, because they didn’t live the blues, and they didn’t go through hard tribulations and hard times.”

This comment is a little dismissive of the fact that people of any age can go through hardships. Maybe he meant that young people in America didn’t have to grow up in an era when racial segregation was legal and enforced. It’s why this documentary probably needed an interviewer asking more probing questions. Some of of King’s commentary tends to ramble, so the documentary needed better editing for this segment.

Knowing that he has passed away, viewers will probably be the most moved by the documentary’s segment on Ellis Marsalis Jr., who is shown recording music with his son Jason Marsalis. (Ellis is on piano, while Jason is on xylophone.) Some of these recording sessions ended up on Ellis’ final studio album, “Discipline Meets the Family,” which was released in 2021. Jason’s daughter Marley (who was 15 at the time), who played piano on the album, is also in the documentary during these studio sessions. She is not interviewed and doesn’t say much.

The documentary also has footage of Ellis as a guest performer during a show that Jason headlined at the Snug Harbor nightclub in New Orleans. In a voiceover, Jason says of the footage in the documentary, “What I didn’t know at the time was that was going to be his last session and one of the last times we would play together.” Jason adds that he’s grateful these moments were recorded and that he collaborated with his father for Ellis’ last album.

The Marsalis family is the most famous jazz family from New Orleans. Ellis’ musician children (who are all sons) are Wynton, Branford, Delfeayo, Jason, Ellis III and Mboya Kenyatta. In the documentary, Ellis Jr. makes this admission, which might surprise some people: “I never wanted a family band.” It’s one of the reasons why Ellis Jr. would perform with most of his sons on special occasions, such as Jazz Fest, but not do albums and tours with the entire family.

If Ellis Jr. did collaborate with any of his sons in the recording studio, it was with one or a few of the sons at a time. Ellis Jr. comments on Wynton, the most famous Marsalis family member: “For me, to be in Wynton’s band is to date it, because what I learned is much earlier, and Wynton is still in a state of evolution.” Ellis Jr. offers this observation of Jason: “From [his] very, very young years, there were very few things that he heard that he didn’t have an appreciation for.”

Watching three generations of the Marsalis family in the recording studio is an undoubtable highlight of “Music Pictures: New Orleans.” And the movie certainly does touch on some of the struggles that these musicians faced in their lives. What’s missing from this very male-dominated documentary is any acknowledgement or exploration of how sexism affected who got the most and the best opportunities in the music industry when these artists were in their heyday. The fact that Thomas is the only woman interviewed in the documentary is a clear example of how women are often overlooked and sidelined as important parts of the music industry.

As for how the New Orleans music scene has changed over the years, the documentary includes some commentary about it, but none of it is particuarly new or revealing. The artists who comment on changes in New Orleans mainly mention Hurricane Katrina, which devastated the New Orleans area in 2005. Thomas says Hurricane Katrina “changed everybody.”

Jones also comments on the impact of Hurricane Katrina on the New Orleans real estate market: “After Katrina, people with money were buying property” and charging rent that was “sky-high.” And so, many of the people who were displaced by Hurricane Katrina who “want to come back can’t afford it, probably.”

According to Jones, the Treme neighborhood in New Orleans is still recovering from an exodus of artistic people who relocated because of Hurricane Katrina. He comments, “The music is back, but delivered in a different way, in a different neighborhood.”

“Music Pictures: New Orleans” keeps the focus solidly on these artists, but the documentary could have used some perspectives from other people besides a few of the artists’ family members or employee associates. “Music Pictures: New Orleans” will delight fans of these artists, but casual music fans might not think this movie is essential viewing. As far as documentaries about New Orleans music artists go, “Music Picture: New Orleans” is like a select buffet that’s satisfactory, but it’s not a full-course feast that people will be raving about for days.

Review: ‘Woman on the Roof,’ starring Dorota Pomykała

June 27, 2022

by Carla Hay

Dorota Pomykała (pictured at far right) in “Woman on the Roof” (Photo by Ita Zbroniec-Zajt)

“Woman on the Roof”

Directed by Anna Jadowska

Polish with subtitles

Culture Representation: Taking place in 2021, in an unnamed city in Poland, dramatic film “Woman on the Roof” features an all-white cast of characters representing the working-class and middle-class.

Culture Clash: A 60-year-old woman’s financial problems and depression lead her to commit a desperate crime that sends her life on a further downward spiral. 

Culture Audience: “Woman on the Roof” will appeal primarily to people interested in watching raw and realistic dramas that depict how mental health can affect how people cope with problems.

Dorota Pomykała and Bogdan Koca in “Woman on the Roof” (Photo by Ita Zbroniec-Zajt)

“Woman on the Roof” shows in stark and unflinching ways what can happen when people with mental health issues can suffer even more from neglect and denial. Dorota Pomykała gives a haunting portrayal of someone trapped in an emotional quicksand of desperation. This drama is an effective portrait of how depression can be stifling and often misunderstood. “Woman on the Roof” had its world premiere at the 2022 Tribeca Film Festival in New York City, where Pomykała won the prize for Best Performance in an International Narrative Feature.

Written and directed by Anna Jadowska, “Woman on the Roof” (which takes place in an unnamed city in Poland) shows right from the movie’s opening scene that 60-year-old Miosława “Mira” Napieralska (played by Pomykała) is very troubled. After doing some laundry, Mira is seen going up to the roof of her apartment building. She then goes to the edge of the roof, as the camera shows a close-up of her feet. It looks like she’s about to jump.

The movie then abruptly cuts away and begins showing what led up to this apparently suicidal moment. Most of “Woman on the Roof” consists of these flashback scenes to explain why Mira has felt so alone and desperate, she apparently wants to kill herself. The information is revealed in bits and pieces, like parts of a puzzle. Mira is very introverted and quiet, so many scenes in this movie have no dialogue when Mira is by herself. Whatever thoughts she’s having in these moments of solitude and isolation might only be indicated by her facial expressions or body language.

Mira’s living situation is an example of how someone can be with other people but still feel lonely. She lives in a three-bedroom apartment with her husband Julek Napieralska (played by Bogdan Koca), who calls her Mirka. Their adult son Mariusz Napieralska (played by Adam Bobik) lives with them. It’s never stated or shown what Mariusz does for a living or how long he’s been living with his parents. Mariusz is very mild-mannered and stays out of his parents’ marital problems.

Mira and Julek have a marriage where the passion has left the relationship long ago. It’s later mentioned that it was Mira’s idea for her and Julek to start sleeping in separate bedrooms for an untold number of years. Julek and Mira live like roommates who aren’t particularly interested in each other any more. Mira works as a midwife in a hospital maternity ward, but she doesn’t seem to have any passion for her work either. Mira is not close to any of her co-workers, and she has no friends.

On the afternoon of July 26, 2021, after buying some fish food at an aquarium store, Mira commits a crime that will take her down a very dark road of humiliation and shame. She walks into a small bank and nervously tells the bank teller Elwira Piatek (played by Dominika Biernat), who’s the only employee on duty, to give money to Mira because she’s robbing the bank. At first, Elwira thinks it’s a joke.

But when Mira pulls a kitchen knife out of her purse, Elwira says that she’s going to call the police. Elwira is so much in shock that this seemingly harmless-looking older woman is robbing the bank, she gives Mira multiple chances to change her mind before Elwira calls the police. Mira seems to be in a panic though and won’t put the knife away, so Elwira calls the police to report an armed robbery in progress.

When it starts to sink in to Mira that the police will be there at any moment, Mira quickly flees the scene of the crime and eventually gets on a crowded bus to hide. When she arrives at home, Mira acts as if nothing happened. She keeps this secret to herself. But it won’t be a secret for long, because a day or two later, two investigating cops show up unannounced at her apartment door when Mira, Julek and Mariusz are at home. About two-thirds of the movie is about the aftermath of this police visit.

Press materials for “Woman on the Roof” mention that the movie is partially inspired by a real-life story of an elderly woman who committed a bank robbery. The real-life woman’s name, where she committed the crime and when the bank robbery happened are not mentioned in the press materials. As time goes on in “Woman on the Roof,” it’s obvious that the crime that Mira committed is a sympton of her larger problem of being depressed.

However, people around Mira misunderstand that depression is Mira’s core issue, and they only want to focus on the crime that she committed as Mira’s biggest problem. It turns out that Mira is in debt for 100,000 złotsys, which is about $22,597 in early 2020s U.S. dollars. But even if Mira had the money to pay back the debt, it wouldn’t erase her struggles with depression.

One of the more interesting aspects of “Woman on the Roof” is that even though it’s a film about a very dark subject, the movie’s cinematography (by Ita Zbroniec-Zajt) is awash in bright light, even indoors. At times, the lighting gives the appearance that’s similar to film photography that looks close to being overexposed. In addition, most of the people in this movie wear very light-colored clothing. For example, Mira wears a lot of white and light blue outfits.

Viewers can interpret these filmmaker creative choices in many ways. However, it seems to be writer/director Jadowska’s way of showing how even during this bright and sunny summer and even when Mira wears light-colored clothes, Mira’s problems are like a dark cloud that she can’t escape when her life starts to fall apart. She’s so down and depressed, viewers will feel the weight of it, even on a sunlit and clear day that might lighten someone else’s mood, but won’t lift Mira out of her emotional rut.

In a compelling way, “Woman on the Roof” also points out then even when someone gets therapy for a mental illness, it might not be enough if it’s the wrong type of therapy, or if the therapy ends too soon. “Woman on the Roof” is definitely not the movie to watch if you’re looking for upbeat entertainment with a guaranteed happy ending. But if you want to see a well-acted movie that shows a richly layered interior life of a woman who’s teetering on the edge of suicidal thoughts, then “Woman on the Roof” might provide better understanding and some compassion for people who are going through similar struggles.

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