Rivers Edge (1986)

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River’s Edge begins with Samson (Daniel Roebuck) sitting next to the lifeless body of his girlfriend, Jamie (Danyi Deats). He strangled her. Betraying no emotion, Samson later tells his friends, and brings them out to the edge of the river to show her corpse. Most of them are not moved. Hey, shit happens. But some of them, Matt (Keanu Reeves), Maggie (Roxana Zal) and Clarissa (Ione Skye) are hugely bothered by seeing their dead friend. They think the police should be notified.

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But others want to cover it up. Yea, it sucks that Jamie is dead, but John is their buddy, and they should protect him. This definitely comes into play when the group’s de facto leader, wild-eyed speed freak Layne (Crispin Glover) compels the group to keep the murder a secret, and thinks they should smuggle Samson out of the state before the cops figure out who did the horrible crime.

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Matt, Maggie and Clarissa go along for a while. But tensions begin to escalate, and these three are confused on what they should do. Should they go along with Layne and the gang? Or should they tell the police what Samson did? And if they do, what will be the repercussions? Soon they find out that Matt’s younger brother Tim (Joshua John Miller) not only knows about the crime, but also knows one of the friends has gone behind everyone’s backs to report Samson to the police.

Meanwhile, Layne and Samson become more and more at loose ends, and they take refuge at the home of Feck (the late Dennis Hopper), a one-legged, dope dealing biker. Incidentally, Feck killed his own girlfriend years ago. Now he lives with an inflatable sex doll . Oddly enough, Feck acts as a mentor and counsel to Layne and Samson.

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River’s Edge does not end things tidily. Black and white morals have become hazy grays of ambivalence, nihilism and detachment. One teacher admonishes a student on how the values of his youth have been destroyed. Ah, yes. the old boomer telling the X-ers about the good old days. Even Feck thinks killing his girlfriend was okay because, hey, it was the ‘60s maaan.

Most chilling about River’s Edge, is it was based on a true story. Also chilling is how these kids assume they have no future so they numb their feelings with drugs and alcohol. The teens in River’s Edge are 180 degrees away from the lovable, wacky suburban cherubs of John Hughes films. In those films, a kid’s biggest problem is a Saturday detention or having your family forgeting your 16th birthday. In River’s Edge, life is a detention, and parents pretty much forget they have kids unless it’s to accuse one of them of stealing her marijuana.

Written by Neil Jiminez and directed by Tim Hunter, River’s Edge boasts of some incredibly honest and brutal performances. It’s unflinching in its portrayal of a generation that when it wasn’t ignored was maligned. As one character states, “You know it’s gonna be like this all day, man. Teachers lecturing us about what kind of monsters we are.” These kids know they are considered losers, so why not act accordingly? River’s Edge is not a comfortable movie to watch, especially if you’re a Generation X-er. “Hey, I was never like that,” you might want to shout at the screen. Yet, if you’re honest you might think, “But of course, some people were like that.” And that’s what makes River’s Edge such a potent of a film.

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No Impact Man (2009)

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We recycle. We carry our groceries in cloth bags. We shop local farmers’ markets. And we’ve even traded our traditional light bulbs for long-lasting, energy efficient spiral fluorescent bulbs. We do the best to reduce our carbon footprint and be more ecologically-sound. Still, we know we’re making an impact on our planet. Could we possibly make no impact?

Colin Beavan, a Manhattan-based writer, decided to become more “green” and lessen his family’s impact on the planet. In fact, he wanted to make no impact at all, thus becoming “No Impact Man.” Beavan began his experiment in 2006 and blogged about it soon gaining media attention from both the New York Times and Good Morning America. And his (and his very patient family) journey is captured in the Justin Schein and Laura Gabbert documentary No Impact Man.

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Beavan’s experiment went a bit further than most of us would be willing in the pursuit of making no impact. He and his family lived without electricity, public transportation, driving, television, toilet paper (yes, toilet paper) and new clothing other than the bare necessities. Beavan rode his bike everywhere, bought local produce at the farmers’ market, walked up countless stairs instead of taking the elevator and composted food scraps.

Along for the ride is Beavan’s wife, Michelle Conlin, and their adorable toddler, Isabella. Not surprisingly, Michelle is less than thrilled with her husband’s grand scheme. She’s a writer for Business Week, and is a girl with a yen for Starbucks and retail therapy. But she loves her husband, and figures she can do this experiment for a year even as she goes through serious caffeine withdrawal, and expresses her desire for another child.

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Not quite sure what he’s getting into, Beavan embraces his experiment with giddy zeal. Using no toilet paper? How exciting! And it’s not long before his blog gets media attention. Though some people find his experiment intriguing and inspiring, many write him off as an affront to capitalism, abusive towards his family and a smug, humorless yuppie. Or as Michelle plainly puts it, “They’re calling us bourgeois fucks.”

Beyond the media attention, things don’t always run smoothly. Beavan and his wife bicker about having another child. Milk gets spoiled when the family relies on using two clay pots for refrigeration. And remember, no toilet paper, which makes them subjects for ridicule.

But still, the family soldiers on in their quest to lessen their impact on the environment. It’s not long before they find out that some things about their experiment are pretty cool. They enjoy spending time at the park and riding their bikes together. Even an old-school games of charades turns out to be more fun than a night in front of the boob tube watching reality TV.

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No Impact Man can at times be exasperating (no toilet paper), but you can’t help but come away with some more awareness. It helps that Beavan (and his family) is rather likable, frustrating, yet likable. Sure, Beavan can be a bit rigid, but he’s no finger-wagging scold. He knows what he’s doing is experimental. Sure, Michelle whines at times (that must be the caffeine withdrawal), but she’s no bitchy shrew. In the end, you see a family that truly loves and appreciates each other, and you also learn a few things. Shop at local farmers’ markets? Why yes. Stop using toilet paper? You’ll get my Charmin Double-Ply when you take it from my cold, dead hands.

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Blame It On Fidel (2006)

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It’s 1970s France, and little nine year old Anna (Nina Kervel-Bey) lives a charmed life. She resides in Paris with her journalist mother, Marie (Julie Depardieu), lawyer father, Fernando (Stefano Accorsi) and little brother, Francois (Benjamin Feuillet). She is adored by her grandparents who make their home in a grand estate in the French countryside. As Blame It On Fidel begins, we see Nina at a family wedding, outfitted in an immaculate frock, and schooling her lesser cousins on the proper way to cut a piece of fruit with a knife and fork.

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However, Nina’s life is about to get topsy-turvy. Her father, originally from Spain, takes in his sister and her daughter after his brother-in-law disappears under Franco’s fascist regime. Doing this alters Nina’s parents’ priorities. Fernando begins to focus his new radicalized politics on his law practice. Marie, stops writing superficial articles for Marie Claire, and begins to write articles about serious women’s issues, including the thorny topic of abortion.

Nina doesn’t care about any of these things. She just knows her life has been changed completely. And she doesn’t like it. Her beloved nanny, Filomena, is let go only to be replaced by a string of different nannies (including one who provides the title of the film). Her family moves from their huge home to a cramped apartment. Bearded, smoking radicals are always around taking up her parents’ time. And Nina is removed from her beloved religion class at school.

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The movie is seen mostly through Nina’s nine-year-old eyes. She doesn’t care about what’s going on in the world. She just wants things to go back to the way they were. Sure, she’s self-absorbed, but so are most children. They want security and stability. They don’t care about “sticking it to the Man.”

And what makes Blame It On Fidel most effective is how it is shot at a child’s eye level. This is most evident when little Nina is dragged along with her parents to take part in a political demonstration. All Nina can see are legs, arms and feet. She is too small to see the faces of the protesting adults. And when things get out of hand, and tear gas fills the streets, you feel Nina’s fear and confusion.

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Blame It On Fidel is superbly directed by Julie Gravras, herself the daughter of lefty movie director Costas-Gravras. This is a film that could easily be grim and one-dimensional  but a has wry humor and a bittersweet sentiment. Nina’s parents may want to change the world, but their love for her will never waver. And perhaps once Nina gets older, she will realize this.

All the performances are wonderfully acted. But Miss Kervel-Bey is astounding as young Nina, her serious face and intense eyes conveying so much. With a lesser talent, Nina might come across as bratty and spoiled, but Kervel-Bey gives this young character a heart and soul the movie so richly deserves.

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Blame It On Fidel is not rated, and is in French with English subtitles.

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.

Tribute: Audrey Hepburn

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“I never think of myself as an icon. What is in other people’s minds is not in my mind. I just do my thing.” – Audrey Hepburn 

If she had lived, Audrey Hepburn would have turned 88 years old today. Sadly, we lost her over twenty years ago. She never had the chance to reach this milestone. Being a huge fan of Audrey Hepburn, I could continue to mourn her death but I’d rather reflect on why she and her amazing life mean so much to me.

I first became interested in Audrey when I first saw the movie Funny Face as a teenager. In this movie, Audrey plays Jo Stockton, a mousy bookstore clerk turned haute couture fashion model. I figured I’d love this cinematic fairy tale for the Parisian sights, Fred Astaire dance scenes, smart and subversive humor and Givenchy fashions. But I had no idea I would become besotted with a wide-eyed gamine named Audrey Hepburn.

It was a mystery why Audrey grabbed me so much. Sure, she was beautiful, talented and charming, but so are plenty of movie stars. Audrey just had that “it factor” I couldn’t explain but I knew I wanted to see more of her movies and learn more about her as a human being. Who was the Audrey Hepburn beyond the flickering celluloid?

I began renting Audrey’s movies and watching them over and over again. Breakfast at Tiffany’s, Roman Holiday, Sabrina, My Fair Lady and Charade were just a few of Audrey’s movies I couldn’t get enough of. In these movies, she was both lady-like and spunky, at turns heartbreaking and strong, and so very Audrey. Sure, she made characters like Holly Golightly and Sabrina Fairchild household names, but she wasn’t afraid to court controversial topics like the possibility of lesbianism in The Children’s Hour or a nun questioning her faith in The Nun’s Story. And in her last movie, Always, she played an angel. Now she really is one.

And we can’t mention Audrey without discussing her impeccable sense of style with her friend and confidant, fashion designer, Hubert de Givenchy. Audrey helped introduce women to fashionable basics we now take for granted-big sunglasses, the little black dress, ballet flats to name a few. How empty our closets would be without Audrey’s influence. And she was always willing to give Givenchy the important credit for creating the “Audrey Look.” Audrey wore his clothing in her movies and her in personal life. She often claimed knowing what she’d be wearing in a movie helped her develop a character, and complimented Givenchy’s outfits for making her feel protected.

Like any other woman, Audrey had her share of joy and heartbreak in her life. Her parents divorced when she was a child, and she rarely saw her father afterwards. She nearly starved to death during World War II after the Nazis took over her homeland, Holland. As an adult, she was married and divorced twice, finally finding lasting love with the love of her life, Robert Wolders. Desperate to be a mother, Audrey suffered several miscarriages, finally giving birth to her first son, Sean, in 1960 with Luca following in 1970. Being a mother was Audrey’s greatest joy, and just like so many other mothers out there, she tried to achieve work/life balance and slowed down her career to devote time to her boys.

But Audrey’s care and concern went beyond her own children. In 1988, she got involved in UNICEF. UNRRA, UNICEF’s forerunner, helped Audrey at the end of World War II, and she wanted to pay them back. She became a Goodwill Ambassador and traveled around the world witnessing the atrocities of famine, drought, war, lack of education and how these issues damaged young lives. She took this new found knowledge and informed others, inspiring them to help.

It was during this time, I got to see Audrey in person. Before her untimely death, my friend Nora and I saw Audrey read from the Diary of Anne Frank, accompanied by the New World Symphony and conducted by the legendary Michael Tilson Thomas. Audrey was one of those people who spurned us to action, and to this day, Nora and I are involved in causes within our communities and abroad.

On a final trip to Somalia, Audrey fell ill. At first she thought it was a simple virus, but it was soon found out that she had colon cancer. And sadly, she lost her battle to cancer on January 20th, 1993. Nearly everyone mourned her death. Tiffany & Co. took out an entire page of the New York Times to memorialize her, and People magazine devoted a special issue in her honor. To this day, I can remember hot, sticky tears pouring down my face when Entertainment Tonight played “Moon River” from Breakfast at Tiffany’s as it showed scenes from her movie and her life.

After Audrey’s death, her sons founded the Audrey Hepburn Children’s Fund to commemorate her work on behalf of children everywhere. As for me personally, Audrey Hepburn has influenced me in countless ways. Probably the most important way is by improving my community and the world around us through self-education, volunteering, charitable giving, and donating my skills to causes I care about.

Audrey was like a lot of us, yet she compels us to aspire to things greater than ourselves. My life is richer because of her, and I know she will continue to inspire many others. You are missed my Huckleberry friend.

“The beauty of a woman is not in a facial mode but the true beauty in a woman is reflected in her soul. It is the caring that she lovingly gives the passion that she shows. The beauty of a woman grows with the passing years.” – Audrey Hepburn

A  Night in With Audrey Hepburn by Lucy Holliday

Audrey at Home: Memories of My Mother’s Kitchen by Luca Dotti with Luigi Spinola

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 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.

T2: Trainspotting (2017)

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Over 20 years ago, I saw a movie called Trainspotting, a movie about Scottish heroin addicts that couldn’t be more different than my life as an American more addicted to caffeine, potato chips and various TV shows than deadly smack. Nevertheless, Trainspotting became a cultural celluloid touchstone for me and many of people of my generation. My friends and I didn’t exactly condone the characters action but oddly understood why they acted in the way they did.

Trainspotting (based on the novel of the same name by Irvine Welsh) was directed by Danny Boyle, whose later film, Slumdog Millionaire, garnered quite a few Oscars, including best film and best director. Trainspotting also starred four unknowns who didn’t stay that way for long. Ewan McGregor who played Mark Renton has starred in critically acclaimed indies as well as a young Obi-Wan Kenobi in the Star Wars prequels. Both Robert Carlyle (Begbie) and Jonny Lee Miller (Sick Boy) come into our living rooms via their respective TV shows “Once Upon a Time” and “Elementary. Ewen Bremner (Spud) has starred in movies like Blackhawk Down, Pearl Harbor, and AVP: Alien vs. Predator. He will soon be seen in the latest Wonder Women movie this summer.

Now Renton, Begbie, Sick Boy and Spud are back in T2: Trainspotting, twenty years older, but are they wiser? Well…that is debatable.

When the first Trainspotting ended Renton had taken most of the ill-gotten monetary gains of some drug money (he did leave some of the money to Spud but stiffed both Begbie and Sick Boy). He’s made a new life for himself in Amsterdam working as an accountant. He’s off the smack and is fully into health and fitness. While at a local gym he has a health scare while jogging on a treadmill. Freaked out, Renton goes back to Scotland.

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Hoping to make amends with his old mates, Renton finds them still caught up in a life of addiction, crime and other assorted bad acts. Spud is still addicted to heroin and in a downward spiral that includes the possibility of suicide. Begbie is in prison, still scarily violent and about to break out. Sick Boy runs a pub, has replaced heroin with cocaine, and blackmails successful men by filming them in various sexual acts with hookers, one of them being a Bulgarian immigrant named Veronika (a terrific Anjela Nedyalkova). Sick Boy and Veronika are also planning to open a brothel with Veronika having designs on being the brothel’s madam complete with her own office. When Begbie escapes prison he tries to make amends with his estranged wife, which includes some less than satisfying sex (Begbie is suffering from what polite society calls erectile dysfunction). Begbie is also trying to get closer to his son who is in college studying hotel hospitality. However, Begbie’s idea of father/son bonding is a life of crime, something his son would rather avoid.

Once Begbie finds out Renton is back in town, he goes off the rails and pursues Renton in the only way he knows how, as a confirmed psychopath. These scenes of mad pursuit are both chilling and funny. I found myself both cringing with terror and trying to stifle the giggles.

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Renton also tries to make amends with Sick Boy to rather interesting results. Sick Boy is still ticked over being ripped off but the two of them make some kind of amends, which include criminal acts. One of these acts includes visiting a loyalist pub (loyal to the British and the Queen of England) to steal wallets. At this pub, the customers celebrate the year 1690 when a violent battle between the Catholics and the Protestants left the loyalist Protestants victorious and the Catholics defeated and many of them dead. The loyalists sing songs devoted to England and the Queen while celebrating the death of the Catholics. Renton and Sick Boy get caught up in the revelry and entertain the pub with an improvised song called “1690” the most notable song lyric being, “there were no Catholics left!” As someone who was raised Roman Catholic, and who even went to a Catholic college, I should have been offended, but instead I laughed so hard I almost dropped my bag of popcorn.

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Renton also gets closer to Veronika who has a lot more going on that she is given credit. Sure, she is a “hooker with the heart of gold,” but she’s also pretty smart and has a past that includes heartbreak all her own. Becoming a madam isn’t just a promotion; it’s a way to improve her condition and her life back in Bulgaria.

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Throughout T2 are scenes from the original recipe showing a much younger Renton and the gang, including the song “Lust for Life” written by Iggy Pop and the late David Bowie and sung by Iggy Pop (the song later became the theme song for several Royal Caribbean cruise line commercials).  Renton also revisits one of the coolest movie dialogue ever uttered in film “choose life.”

“Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, Choose washing machines, cars, compact disc players, and electrical tin can openers. Choose good health, low cholesterol and dental insurance. Choose fixed-interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisure wear and matching luggage. Choose a three piece suite on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pishing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked-up brats you have spawned to replace yourselves. Choose your future. Choose life . . . But why would I want to do a thing like that? I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you’ve got heroin?”

The lads turned middle-aged men often look at their youth with some nostalgia and wrong-headed pride only to realize they’ve made quite a few mistakes and haven’t come to their dotage fully clean and healed of addiction, violence and other deplorable acts that defined them when they were younger. And somehow they do manage to make some small acts of contrition that prove that they aren’t wholly awful people, the greatest being Spud’s act of simply keeping a somewhat messy journal of collective memories, ideas and opinions.

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Ultimately, I found T2 a fully satisfying and worthy sequel to its original, and one that stayed with me after the credits rolled. After I saw the film I discussed it with my fellow film goers and we all agreed that T2 tapped into the malaise that seems to define our generation no matter whether you live smack dab in the middle of the United States or somewhere in Scotland.

Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television. And choose to see T2: Trainspotting.

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.