Guilty Pleasure Movies: Rock ‘n’ Roll High School (1979)

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In 1979’s Rock ‘n’ Roll High School, Vince Lombardi High students love rock ‘n’ roll, but they don’t seem too interested in getting an education. The leader of these wayward students is Riff Randall played by PJ Soles (whatever happened to her?). Riff is a huge Ramones fan and would love for them to play at her school. Unfortunately, she has Principal Evelyn Togar (Mary Woronov) to deal with. Principal Togar hates rock music and vows to keep it out of the hallowed halls of Vince Lombardi High. After all, how can students concentrate on studying for finals when they’re too busy cranking up the Ramones to ear shattering decibels? Principal Togar recruits horrified parents to burn the offending records, which inspires Riff and the rest of the students take over the school. They are joined by the Ramones who are made honorary Vince Lombardi High students. Finally, the police are summoned and they demand the students evacuate the school, which leads to one hell of a finale. Hmm, my high school years certainly weren’t this explosive.

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Rock ‘n’ Roll High School is loads of fun and boasts a kick ass soundtrack. It’s the perfect guilty pleasure flick for anyone who has wanted to stick it to the man, or in this case, the principal. When you wanna rock, reading, writing and ‘rithmetic can wait.

Saving Face (2004)

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In writer/director Alice Wu’s inter-generational family comedy Saving Face, Michelle Krusiec plays Wil (short for Wilhelmina), a medical resident without much time for a life let alone romance. The only social life Wil seems to have is at Chinese-American gatherings in Queens where people try to set her up available young Chinese-American men.

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However, Wil has a secret. She’s a lesbian. And at one of these gatherings she meets Vivian (Lynn Chen), another lesbian who is also a dancer. Sparks fly between the two women, and slowly their flirtation turns into a romance. However, Wil isn’t quite ready to come out to her family so the romance has to remain a secret much to Vivian’s chagrin (and it doesn’t help that Vivian’s father is also Wil’s boss at the hospital).

In Saving Face, Wil’s mother (Joan Chen) also has a secret, but it won’t stay a secret for long. She’s in her forties, widowed, living with her parents…and pregnant. And she’s not exactly too forthcoming on the man who fathered her child.

Bringing shame onto the family name, Wil’s mother (known as Ma) is kicked out of her parent’s home. Knowing nowhere to turn, she ends up on Wil’s doorstep, and Wil takes her mother in, wondering how she’s going to keep her romance with Vivian a secret and deal with Ma’s impending late in life motherhood.

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As Ma’s belly grows, Wil learns more about her mother, seeing her more as a flesh and blood woman with her own desires and needs. However, this doesn’t exactly inspire Wil to come clean to her mother, and she tries furtively to keep her relationship with Vivian a secret. To be knocked up out of wedlock is one thing; to be a lesbian is quite another. What will the neighbors think? Actually, it’s one of Wil’s neighbors who tries to get her to face herself and Ma.

But will this happen soon enough? When Vivian announces she’s been offered a chance to dance in Paris, Wil realizes she needs to make a decision. Come clean, and admit her romance with Vivian, or remain closeted and let Vivian go. In other words, save face (yet lose someone she truly cares about).

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And Ma must also make some major decisions. One is opening up about who’s the father of her child, a man that superficially, might not seem suitable. And this decision must be made soon before Ma makes the disastrous mistake of marrying someone she doesn’t love just to give her unborn child a name.

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Saving Face examines how we balance the old world (when Wil is with her grandparents she speaks in Mandarin) with a “modern society” (unplanned pregnancy, homosexuality and careerism). And in like any other family, the families in Saving Face are flawed, yet loving. Saving Face may remind viewers of the sleeper hit My Big, Fat Greek Wedding. And though Saving Face is a bit predictable, its good performances and sweet charm make it worthwhile viewing.

The September Issue (2009)

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To a lot of us, fashion seems like a fluffy and superficial profession. But to countless fashion insiders everywhere it is a deadly serious business. This is a business where people know the difference between puce and plum, and where hemlines and necklines are of utmost importance. And that cute handbag you just bought from Target? Quite likely it’s a knock-off of a pricier designer handbag a fashion editor claimed was the “must have” of the season.

And there is probably no more important fashion magazine than American Vogue. At the helm is the British ex-pat Anna Wintour and Vogue is the bible to fashionistas everywhere. And no issue of Vogue is more important than the mammoth September issue, chock full of fashion and beauty layouts, articles, celebrity profiles and yes, lots and lots of advertisements.

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Documentarian RJ Cutler (The War Room, which focused on the 1992 Clinton presidential campain) turns his unblinking camera lens to the creation of the 2007 September issue of Vogue in the documentary The September Issue. The September Issue follows Wintour and crew as the September Issue begins with some nuggets of ideas to a fully-formed magazine on the newsstand.

The September Issue begins with Wintour reflecting on the power of fashion and how it can make some people nervous. Known mostly for her whippet-thin figure, swingy bob and dark sunglasses, it was a bit jarring to hear Wintour speak. Sure, she’s not warm and fuzzy, but there is a reflective side to her that makes her quite human.

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During the film we see Wintour meeting with staff to discuss the issue. We see her jetting off to London, Paris and Rome to attend fashion shows and meet with designers. Wintour can make or break a designer with one raised eyebrow so I wouldn’t be surprised if even established designers like Jean Paul Gaultier and Karl Lagerfeld felt a bit nervous about meeting her. But when Wintour likes a designer she is behind that person 110%. Wintour was an early supporter of Thakoon (one of Michelle Obama’s fave designers). Her support of him, dare I say it, is almost sweet.

Wintour is also the editor that put celebrities on the covers of Vogue over models, and the chosen celebrity for this September issue is British actress Sienna Miller. Sienna comes to the Vogue offices and is outfitted in beautiful couture gowns, many which will end up in the magazine. However, the staff is flummoxed by Miller’s hair, which is growing out awkwardly, and not quite up to the magazine’s standards. Later, Wintour is not happy with Sienna’s photo layout shot by legendary photographer, Mario Testino, and the design staff scrambles to make a viable cover.

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Though Wintour is at the top of the Vogue heap, she is not alone in making Vogue what it is. In September Issue, we get to meet editor-at-large (literally) Andre Leon Talley, the cape wearing and Vuitton-loving male Auntie Mame who seems to be employed to kiss Wintour’s skinny ass. I can’t imagine what Talley actually does for the magazine, but he definitely added a fun element to the movie. If he didn’t exist, a Hollywood  would have to create him.

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And then there is the brilliant creative director Grace Coddington. Coddington started out as a fashion model in the swinging sixties. But after suffering a horrific car crash, Coddington turned her talents to fashioned a role behind the camera. Coddington is the yang to Wintour’s yin. If Wintour is all about commerce and wondering if it will sell, Coddington is all about art and creating beautiful and over-the-top fashion layouts that are all fantasy.

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Not surprisingly, Wintour and Coddington don’t always see eye to eye. As the issue is being put together, Coddington is creating a 1920s Parisian cafe society fashion layout inspired by the designer Galianos. Coddington’s vision is pure magic, yet Wintour is not pleased with one of the photos, and wants it deleted. Coddington is not happy. This layout is her baby. Yet, I could see both their points. The shot is gorgeous, yet it doesn’t quite work with the rest of the photographs. The offending photo is cut.

However, Coddington does get to make one final decision. During a last minute photo shoot for another layout, Coddington taps the documentary’s cinematographer, Bob Richman, to join the model in a photo. He happily obliges. Wintour takes a look at the resulting photo and wants to airbrush Richman’s slight pot belly. Coddington nixes the idea, saying, “Everybody isn’t perfect in this world.” Richman’s belly stays in the picture. Finally, after months of preparation, the September 2007 issue of Vogue is released. It weighs over four pounds and is over 800 pages, the largest issue in Vogue history.

RJ Cutler’s “fly on the wall” film making style is what helps make this movie so interesting. You get to see everyone in their element without film maker commentary. I was stunned to see the staff look at the mock ups on a huge wall where pictures and layout can be moved by hand rather than doing it on a computer. I was also pleasantly surprised to see how un-Botoxed and unmade-up the staff was even though most of them, like their leader, is very, very thin. Also, I was surprised how plain the Vogue offices are. I was expecting something ostentatious and grand, but the offices are quite non-descript.

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But most of all, I was surprised how much I didn’t despise Anna Wintour. Sure, she isn’t at Vogue to make friends, but she isn’t the vicious harpy the media makes her out to be. Yes, she’s reserved and exacting but so are a lot of people in any cut throat business. And I doubt any negativity thrown Wintour’s way would be applied to a successful man. But still, Wintour does show some vulnerability as when she talks about her siblings, all of them in more serious professions, who are quite “amused” by her career.

September Issue is a fascinating look at both a legendary magazine and the talented people who make it happen. It is the “must have” for both fashion and film lovers.

I Watch It So You Don’t Have To: Intern (2000)*

 

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If any industry seems perfect for satire and parody it’s fashion, especially the rarefied world of fashion magazines. Fashion doyennes decide where our hemlines will be this season with the same seriousness as preparing military readiness in the Middle East. Bulimia and anorexia are considered virtues. And Botox is as necessary as air and water. Ugly Betty was a successful television sitcom immersed in the world of fashion, and The Devil Wears Prada was a huge smash, so I had big hopes for the indie movie Intern. Sadly, Intern turned out to be as big of a Glamour fashion don’t as see-through jeans and pretty much every outfit you see on the Kardashians.

Dominique Swain plays Jocelyn Bennett, an intern at the fashion magazine Skirt. Jocelyn is apparently a photographer, though you never once see her take a picture, and she is fan of Skirt’s innovative layouts and photography. Sadly, in the brief moments we get to see Skirt, the actual magazine, you wonder if the layout was done by a third-grader on Power Point back in 1998. Yes, I know this movie was low budget, but you think someone could have tried a bit harder.

When Jocelyn isn’t making copies, faxing, running errands and cleaning up Skirt staffers’ desks, she’s pining away for the magazine’s art director, Paul Rochester (Ben Pullen). Paul is a fashion magazine rarity, a straight man. And he’s also allegedly related to Prince Charles. Paul is very fond of Jocelyn but at the moment he is involved with a bitch-on-heels fashion model named Resin (Leilani Bishop).

As Intern begins we find out a Skirt insider has been selling Skirt’s secrets to rival magazine. Jocelyn figures finding out who this insider is just might make her a hero at the magazine, and she goes about trying to find out which fashionista has betrayed Skirt. This also gives her a chance to get closer to Paul. Of course, mayhem ensues, blah, blah, blah. But by the time the movie reaches its dénouement, we really aren’t that invested.

I should have known this movie was going to be crap when it began with a cringe-worthy musical number. Most of the observances of the fashion industry, like when an editor makes herself vomit after finding out the milk in her coffee is 2%, not skim, fall flat. The dialogue is clunky, and when Paul tells Jocelyn that she has the whole world inside of her I audibly groaned. A majority of the performances are wooden; only Kathy Griffin as Cornelia managed to get a laugh out of me.

A lot of blame also belongs on Swain whose acting in Intern is amateurish. At times she rushes through her lines and she has no comedic skills. Her Jocelyn is supposed to be the heroine but in the end you don’t care about her and her future at Skirt. Plus, if Jocelyn is supposed to be so much in fashion why does she dress like such a frump?

A lot of fashion designers and other fashion insiders make cameos playing themselves, and I have to admit that I did have fun naming them. “Hey, there’s Diane von Furstenberg!” “Hey, is that Simon Doonan?” And Vogue editor-at-large, Andre Leon Talley seems to have the ability to poke fun at himself.

Sadly, those cameos can’t make up for a dimwitted film. Intern was written by Caroline Doyle and Jill Kopelman, two women who claimed to have worked at fashion magazines. Buddhist monks could have written a better script. If you want to watch the fashion magazine industry skewered to great effect, you are better off staying home and binge watching Ugly Betty.

*Not to be confused with the 2015 movie The Intern starring Ann Hathaway and Robert DeNiro.

To Die For (1995)

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Based on a novel by Joyce Maynard, with a script by Buck Henry, and directed by Gus Van Zant, To Die For combines dark comedy, traditional drama and “mockumentary” interviews to very entertaining results.

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Nicole Kidman plays Suzanne Stone, a local cable weather girl with huge dreams of finding fame and fortune as the next Barbara Walters. What Suzanne lacks in talent and intelligence, she makes up for in manipulation and ruthlessness, and nothing, including her marriage, will get in her way.

The movie commences with Suzanne marrying Larry Moretto (Matt Dillon), the biggest catch in Little Hope, New Hampshire. It’s not certain why Suzanne falls for Larry other than she thinks his close Italian-American family has mob connections, which can help her achieve her goals. Larry is lovable, albeit a bit dim, and completely clueless to Suzanne’s calculating ways. All Larry wants to do is settle down in Little Hope, run the family restaurant and makes lots of babies with Suzanne.

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Of course, Suzanne has different plans. Despite her lack of journalistic and television experience she’s able to charm a local cable TV manager in giving her a gofer job. She parlays this lowly position into a regular stint as a weather girl. It’s not long before she recruits some local teens in producing a subpar TV special called “Teens Speak Out.” Jimmy (Joaquin Phoenix), Russell (Casey Affleck) and Lydia (Alison Folland) are the hardly the type-A achievers you’d expect on a teen-oriented TV show. They’re inarticulate and not good students, but apparently being in awe of Suzanne is the only job requirement necessary.

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Larry gets a bit fed up with Suzanne’s ambitions and tells her it’s time to get busy with making babies. But Suzanne will have none of this. She tells her mother-in-law that being pregnant on TV is a career killer. Oh, if only Suzanne had waited a decade or so. Today, baby bumps and stupidly named off-spring are the “must have” for any celebrity. You can even become famous for simply having kids.

Suzanne realizes Larry, and his meddling family, is getting in her way of achieving TV success. There is only one thing she can do, recruit Jimmy, Russell and Lydia in bumping off her husband. Now having an affair with the devious, yet seductive Suzanne, Jimmy does the deadly deed. This local murder becomes national news making Suzanne the “star” she always desired and she revels in her tabloid notoriety. Not surprisingly, the hapless Jimmy is not so lucky.

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However, Larry’s family is very wise to Suzanne’s scheming ways and they make sure Suzanne gets her comeuppance. The mousy Lydia, who Suzanne disdained as “white trash,” tells her story in a television interview and becomes famous in her own right.

Every performance in To Die For is near perfection. Matt Dillon is very good as a man who’s happy to have the prettiest girl in town but really wants the homebound hausfrau. Illeana Douglas as Larry’s sister Janice is dryly sarcastic and figures out Suzanne’s BS early on in the game. Both Phoenix and Affleck show a great deal of promise early in their careers in their respective roles.

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But To Die For is truly Nicole Kidman’s film. With Kidman’s acting chops, Suzanne Stone is hugely self-absorbed but not very self-aware. Her calculation and cunning is as transparent as a plate of glass, but her telegenic beauty and media-savvy charm succeeds in drawing you closer. Despite ourselves, we want Suzanne Stone to be in front of the camera. Kidman won a very deserved Golden Globe for her portrayal of Suzanne Stone. She is simply a bewitching mix of evil and charisma, and Suzanne Stone is a person we recognize in everything from reality TV to national politics (ahem, or both).

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Both the film and the novel were inspired by Pamela Smart, a teacher and wannabe TV personality who convinced a young man to kill her husband. But instead of telling this story straight, the film takes a very satirical look at our obsession with celebrity, fame and notoriety. Merely entertaining when it was released over ten years ago, in our celebrity-entrenched culture, To Die For is a pointed take on a very interesting phenomenon, the desperate need for fame at any cost.

The Spotlight

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***There is a good chance there will be a writers’ strike via the WGA (Writer’s Guild of America) according to Variety Magazine.*** (H/T Tari Jordan)

Move ticket prices are getting higher, and Hollywood Reporter tells us why.

Summer of 2017 movie preview courtesy of Entertainment Weekly.

Women directed films that are must-sees in 2017!

Geena Davis celebrates the 25th anniversary of A League of Their Own’s release.

Salma Hayek’s Beatriz at Dinner sounds like my kind of film, one that connects with my “Power to the People” mindset.

Talent agent Sandy Gallin dead at 76.

New documentary Jeremiah Tower: The Last Magnificent celebrates the eminent chef and his connection to California cuisine and the renowned restaurant Chez Panisse.

Will Netflix end its mail order DVD service in the age of streaming?

Director John Waters new summer camp for adults, Camp John Waters.

 

 

 

 

The Soloist (2009)

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The Soloist portrays the importance of the printed word in the time of the decline of major newspapers. It also tells the story of the power of music and friendship.

Robert Downey, Jr. plays Steve Lopez, a columnist for the Los Angeles Times. While on a break from work, he hears the beautiful sounds of a violin. He looks for the source of the music, finding Nathaniel Ayers (Jamie Foxx), a homeless man and musical virtuoso whose two-stringed violin is his one comfort in the world as he plays it under a statue of Beethoven, his favorite composer. Though a bit hesitant about talking to a clearly mentally-unstable man, the reporter in Lopez sees a story. And soon he begins to write a column about Ayers.

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It turns out Ayers was a musical genius as a child, and later studied at Julliard. But it was at Julliard where the darkness of schizophrenia took a hold of Ayers, and before long he was on the mean streets of Los Angeles, pushing his belongings in a rickety shopping cart, trying to survive, music his only friend.

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Lopez’s columns soon make Ayers a celebrity among his readers. And in one pivotal scene, a reader sends a cello to the newspaper office for Lopez to give to Ayers. Ayers, who studied the cello in his younger years, is overcome with gratitude over this simple act of kindness.

Lopez’s relationship soon goes far beyond his byline, and he wants to help Ayers, not just write about him. Of course, wanting to help and actually helping do not always work out easily. Lopez tries to get Ayers involved in Lamp Community, a skid row homeless shelter for the mentally ill. The scenes at Lamp Community are about as far from the glitz and glamour of LA as one can get. The Soloist does not shy away from the ugliness of mental illness. The drug use and violence are very much on display. But The Soloist also gives these people their dignity, often letting them speak in their own words. And Nelsan Ellis, as the Lamp Community’s social worker, David Carter, is very convincing in his role. He is both realistic and compassionate when it comes to the people he is helping at Lamp Community.

Beyond getting Ayers help at the Lamp Community, Lopez also tries to get him medication and an apartment. He also acquires Ayers cello lessons with a local musician, and gets him into a Los Angeles Philharmonic rehearsal at Disney Hall. But not surprisingly, things don’t always go so smoothly. Ayers isn’t too happy about the apartment, feeling more comfortable on open streets of LA. Perhaps, the four walls of the apartment would only remind Ayers of the time he was in his New York apartment as a young man when the tormenting voices of schizophrenia took over his mind. And when Lopez sets up a recital for Ayers to entertain music patrons Ayers becomes overwhelmed and breaks down. Lopez becomes frustrated with Ayers need for him, and at the same time, his tendency to push him away. Yet, Lopez knows he can’t give up on Ayers.

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Both Downey and Foxx are tremendous in their roles. Downey is subtle, the straight man in the relationship. The reporter side of him is curious, but the human side of him is both patient and exasperated with Ayers. Foxx, as Ayers, is at turns paranoid, talkative, angry and fearful. His eyes and body language convey the terror of mental illness, and he often talks in a slipstream of jumbled words that seem to make sense only to him.

At times The Soloist falters like when it uses a light show to show how music affects Ayers. The light show looked right out of a middle school dance circa 1978 and cheapened the experience. I also didn’t like the liberties the movie took with Lopez’s personal life. In the movie, Lopez is divorced from his wife (played by Catherine Keener) who is also his boss, Mary. In real life, Lopez is still very much married to his wife. I have no idea why the screenwriter, Susannah Grant, had to do this. Maybe she did it to bring more drama to the film.

But The Soloist doesn’t need any extra drama. The relationship between Lopez and Ayers is strong enough. The Soloist never gets preachy or wrap things up with a treacly happy ending. Ayers will always be mentally ill, and Lopez will always have to find a story. And just a warning, if you do watch The Soloist, you might want to have some tissues nearby. You’ll find yourself shedding some tears.

In a Day (2006)

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In the charming and low-key British romantic comedy In a Day, Lorraine Pilkington plays Ashley. By day Ashley works at a London sandwich shop. She’s a fledgling pianist and singer, and the sandwich shop gig is supposed to just fill in the gaps as she gets the gigs that will lead to musical success.

One morning, while waiting for a bus, Ashley is verbally accosted by another commuter. The conversation starts innocently enough. The man asks her about the book she is reading, a book on jazz. Then he asks her about going back to her place for a quick shag. Not interested in having a booty call with a complete stranger, Ashley declines his advances. This does not sit well with the stranger and he begins to harass Ashley calling her horrible names, and finishing his rant by throwing his cup of coffee on her.

Moments later, Ashley is approached by an appealing young man named Michael (Finlay Robertson). He’s a frequent customer at the sandwich shop. To make her feel better about being assaulted, Michael offers to take Ashley out to lunch. Thinking her day can’t get any worse, Ashley decides to take Michael up on his offer.

Michael and Ashley end up at a pricey restaurant. Ashley enjoys the meal and realizes she also enjoys Michael’s company. Their “date” does not end once Michael picks up the check. He still wants to treat Ashley further so he buys her a nice outfit from a pricey boutique, and he also treats her to a new haircut at an upscale salon.

Ashley is touched by Michael’s kindness and generosity, but can’t help but wonder why a near stranger would be so nice to her. And when Michael later tells her that he’s actually pampering her on behalf of someone’s request, Ashley is further confused.

Lunch, new clothes, and a haircut aren’t Ashley and Michael’s only adventures. They visit to Michael’s sister’s home to wish her a happy birthday. Unfortunately, Michael’s sister is a sourpuss who can’t appreciate anything, and you can feel Michael and Ashley’s discomfort during the entire conversation.

But later things brighten up when Ashley mentions a musician friend of hers in need of a new saxophone. Michael agrees to buy Ashley’s friend the new saxophone, and the friend is overwhelmed by their generosity. This visit also gives a chance for Ashley to show off her skills and a pianist and singer, and Michael is truly impressed.

Ashley is still baffled by this mystery man and why he’s being so nice. And when Michael finally owns up to why she deserved to be pampered, Ashley is shocked and doesn’t quite know what to make of Michael’s confession, which brings up bad memories of her childhood. She’s upset, but will she be willing to let go of the past? At the end, we get the idea that maybe, just maybe Ashley can.

In a Day (written and directed by newcomer Evan Richards), goes at a leisurely pace but is never boring. Both Pilkington and Robertson are both very appealing in their roles. Rose Keegan nearly steals the show as Finlay’s shrewish sister, and gives great insight on his psyche. If you’re looking for a sweet little film that is a good escape from the real world and all the depressing news but isn’t the usual rom-com you can’t go wrong with In a Day.

Guilty Pleasure Movies: Grease 2 (1982)

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When we became “hopelessly devoted” to the movie Grease in the summer of 1978, little did we know we’d be revisiting Rydell High a few short years later. But Hollywood had different ideas. And in the summer of 1982 we got the sequel, Grease 2.

However, Sandy and Danny from the first film had long graduated. Olivia Newton-John (Sandy) was getting “Physical” and John Travolta (Danny) was in a bleak period of his career only to have a comeback with Pulp Fiction more than a decade later. Nope, Grease 2 featured a cast of unknowns (most of them stayed that way), and brand new shenanigans at Rydell.

As the school year of 1961 commences at Rydell High the T-Birds and the Pink Ladies still rule the school. Head Pink Lady, Stephanie Zinone (Michelle Pfeiffer) has just broken up with head T-Bird Johnny Nogerelli (Adriam Zmed). However, that doesn’t mean Stephanie’s loins don’t get all warm and toasty over a leather-clad, motorcycle-riding bad boy.

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Enter Michael Carrington (Maxwell Carrington) who just happens to be Sandy from the first film’s cousin. I guess Rydell has a special student exchange program with Australia. From the moment Michael lays his peepers on Stephanie he is smitten. But Pink Ladies can only date T-Birds, and Michael is way too clean-cute a wholesome for a bad ass like Stephanie.

Stephanie gives Michael the cold shoulder and tells him her feelings in the song “Cool Rider.” Not one to be deterred, Michael develops an alter ego to his goody-goody persona, a mysterious man on a motorcycle with only a helmet and goggles to hide his true self. Stephanie falls hard for this biker stud, and soon she and “Other Michael” are an item. “Other Michael” is sexy and brooding, and he’s got a bitchin’ motorbike. But he’s also kind and respectful towards Stephanie, exactly what she wasn’t getting from dating a T-Bird.

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Stephanie soon finds out it’s Michael Carrington who is her dreamboat on a bike because how much of a disguise are a helmet and goggles anyway? Not surprisingly, Stephanie is in an age-old dilemma: stay true to her high school chums or be with her one, true love. Can she possibly have the best of both worlds? You have to watch to find out.

Grease 2 features songs that make the original’s look like Cole Porter’s. However, they are rather catchy. “Score Tonight” combines bowling with a teen’s burgeoning sexuality. And in “Reproduction” the kids pay homage to doing it with lyrics like “Reproduction (reproduction)/Put your pollen tube to work/Reproduction (reproduction)/Make my stamen go berserk.” Sex is also heavy on the students’ minds in a patriotic “Do It For Our Country.” But things aren’t so sex-drenched with songs like “Who’s That Guy?” and “(Love Will) Turn Back the Hands of Time.”

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Besides featuring a cast of newbies, Grease 2 also featured stars including Eve Arden, Tab Hunter, Connie Stevens, Dody Goodman and Sid Caeser reprising their roles from the first Grease. As for the newbies, well, only Michelle Pfeiffer reached stardom. As for the rest? Well, I’m too lazy to look up their names on IMDB.com.

Grease 2 was a commercial and a critical flop, and didn’t quite live up to its predecessor’s glory. Besides in the summer of 1982 the monster blockbuster E.T. was taking over the cineplex, and another teen movie, Fast Times at Ridgemont High spoke more to the teens of the early 1980s than Grease 2.

Still Grease 2 had its cheesy charm. My sister and I saw it countless times once it hit cable TV. We knew it wasn’t cinematic art, but we enjoyed Grease 2 in all of its “so bad, it’s good” glory, and isn’t that what guilty pleasure movies are all about?

Caterina in the Big City (2005)

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Mix Mean Girls with a political satire that skewers both the left and the right, and what do you get? You get Caterina in the Big City, an Italian movie that is both a whip-smart comedy and poignant drama.

Caterina’s (winningly played by Alice Teghil) idyllic life is uprooted when her father gets a transfer from a small Italian seaside town where he’s a teacher to a bigger assignment in the capitol of Rome. Caterina’s father Giancarlo (Sergio Catellitto) has more on his mind than grading papers and passing out homework. Giancarlo sees himself as an intellectual and novelist, and believes being among the sophisticates of Rome will garner him the success he has always felt he’s deserved.

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Caterina’s family settles in a Rome apartment where her meek and under-appreciated mother (Margherita Buy) takes care of Giancarlo’s ailing aunt. As Giancarlo prepares for his ascent into the literary and intellectual world, Caterina tries to gain her footing at her new school and its confusing social mores. On the left are the alterna-chicks, the offspring of leftist radicals. On the right are the popular girls, the daughters of right wing movers and shakers. Both parties throw bitchy barbs at each other as Caterina sits at her desk wondering if she’ll ever make friends.

At first, Caterina befriends Margherita (Carolina Iaqueniello) whose parents are liberal activists. Before long Caterina is experimenting with drinking, smoking and attending street protests. Giancarlo hopes his daughter’s new friendship will help elevate his career. But Margherita’s parents reject him as a lightweight, and Giancarlo forbids Caterina from seeing Margherita and her other grungy pals. It’s just as well as these girls got Caterina drunk on cheap vodka and tried to give her a tattoo.

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The class queen bees, helmed by Daniela (Federica Sbrenna), soon take Caterina under their fashion plate wings. Daniela is the daughter of an extreme right wing politician and a mother who is usually nursing a hangover. Hanging out with Daniela, Caterina is transformed from a wholesome girl to a sex pot, and is also introduced to shoplifting, night clubs, and flirting with men nearly twice her age. Initially, Caterina is enthralled with this glamorous life, but soon grows despondent, especially after one of Daniela’s cousins rejects her for being low class And when she sees Daniela’s family sing fascist songs at a wedding reception, Caterina realizes with friends like these who needs enemies?

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By the end, Caterina gains some much earned wisdom and maturity. The best person to be is oneself, and the real Caterina is a pretty awesome individual. Sadly, for her father, this lesson comes a little too late, and he deals with yet another rejection.

Directed by Paolo Virzi, Caterina in the Big City is brutal in its skewering of the excesses of both the left and right, but it’s also an affective coming of age story that truthfully conveys wanting to belong is something we never quite grow out of.

Caterina in the Big City is unrated and is in Italian with English subtitles.