The stories from WWII are limitless and screenwriter Simon Burke brings Alan Judd’s novel “The Kaiser’s Last Kiss” to life in “The Exception,” starring Lily James, Jai Courtney, and Christopher Plummer.  As Capt. Stefan Brandt (Courtney), a young and rebellious German soldier, is assigned to protect Kaiser Wilhelm (Plummer),  he meets and falls in love with a woman who may be a Dutch spy.  It’s a classic love story which pits a man’s love for a woman against his loyalty to his country.  His decisions are never easy, keeping you on the edge of your seat awaiting the story’s end.

WATCH THE TRAILER HERE

“The Exception” brings us into the world of war seen from a different perspective, giving humanity and insight to characters previously only known in clear black and white viewpoints.  While the story is fictional, the realistic components are beautifully portrayed in both the situations and real characters.  The unexpected love story between Brandt and Mieke (James) creates an unorthodox encounter in the beginning.  As the connection intensifies, the two expose themselves for who they really are, to not only one another, but also to Wilhelm.  Trust and loyalty are in opposition and only then do we really understand these complexly beautiful characters.

Plummer, although being type-cast in his later years, is exquisite in this role.  Giving a deeply thoughtful performance, we understand his character’s background and grow to truly care about “Wilhelm.”  He’s filled with regrets, longs for more, yet understand his part in life.  His interaction with “Meika” is genuine and sweet, yet cautious.  Courtney’s character is initially unlikeable, but he allows  “Brandt” to grow, shedding the layers to reveal a conflicted yet caring young man.  James shines in her role creating a strong yet shattered woman who fears for her life and seeks revenge.  Eddie Marsan has a small, yet vital role as the visiting “Heinrich Himmler” and it is his chilling and menacing performance that gives greater credibility to the story.

Directed by David Leveaux, “The Exception” skillfully weaves together truth and fiction to give us a gripping love story filled with mystery and intrigue.  Emotional components within these aspects provide the background stories that complete each character, allowing us to know who they truly are.   It’s a finely tuned romantic thriller that transports you back in time through cinematic genius, a rich story, and stellar performances.

You can see “The Exception” on VOD (Video On Demand) on Amazon.  Go to Amazon

Edgar Wright’s (“Shaun of the Dead”) much-anticipated film “Baby Driver” which premiered at the SXSW Film Festival has crashed into theaters everywhere this week.  This fast-paced, high intensity crime thriller takes you on the ride of your life with every moment accompanied by an amazing and fitting song.  While it’s not a musical, it frequently comes close.  There’s even a sweet love story amidst the shooting, killing, and robbing.  In other words, this movie has it all!

WATCH THE TRAILER HERE

Doc (Kevin Spacey) is the intimidating leader of the pack, employing “experts” to carry out bank robberies with the getaway car driven by a young and very talented boy affectionately known as “Baby” (Ansel Elgort). His unique style isn’t endearing to the rest of the team, but while plugged into his music playlist, he proves himself irreplaceable.  Doc’s impeccable care and coordination of his constantly changing teams brings him a situation to reunite Buddy (Jon Hamm), Darling (Elza Gonzalez), and Bats (Jamie Foxx) with Baby to pull off the ultimate heist promising to release Baby from his debts to Doc.  With trust always an underlying issue, things go awry as the crossing and double-crossing for money and love keep the story going at warp speed.

“Baby Driver” is breathtakingly captivating from the very first scene as Baby plugs in his music and we are privy to his world as he perceives it.  Driving the getaway car, being chased by a myriad number of police cars, his flawless maneuvering of the stick shift sports car makes you slide in your seat as he careens around every corner.  The music is as much of a character in this film as the actual people.  Wright carefully selects songs from decades past to present to add to the tension or to do the exact opposite—make you laugh.  It’s truly odd, but in the best way possible.

The story centers around Baby and his hearing impaired grandfather who Baby cares for.  Their relationship is absolutely endearing, particularly as we get to know Baby and his background.  On the other end of the spectrum are the degenerates Buddy and Bats whose intellect is compromised as are their morals and scruples.  This makes for hilariously disturbing banter and dialogue among this strange group of thieves.  This type of humor interwoven into astonishing chase scenes that make your pulse skyrocket and action-packed fighting that is as gruesome as a Tarantino film is what makes this movie so different from any other crime thriller.

“Baby Driver” has plenty of car chase scenes, but they never become repetitive.  In fact, you not only anticipate the next one, you look forward to it.  And you can’t wait to hear what song will be played next!  The pacing of the interaction is just as remarkable particularly when Spacey’s “Doc” is in the scene.  He’s menacing and unpredictable, using sarcasm to cut quickly and deeply while making you laugh at another’s expense.  The film is filled with juxtaposing concepts and stories and it is Baby’s innocent infatuation with Debora (Lily James), the waitress, that creates yet another interesting component to this mind-blowing film.

The cast of “Baby Driver” is stellar.  Elgort’s portrayal of “Baby” is going to make him one of the most recognizable rising stars in Hollywood.  This kid can act.  Hamm, Spacey, and Foxx have a chemistry together that is explosive and James’ understated performance is exactly what this film needed for balance.  Wright writing and direction of these talented actors along with amazing cinematography to bring the viewer into the action and tension gives the film heart.  We actually care about the criminals and root for the bad guys, although there are levels of “bad.”

“Baby Driver” is an impressive and highly stylized love story/crime thriller, combining  music, violence, action, and unique characters that will have your heart racing as fast as the Subaru Impreza WRX STI.

*Warning—it’s very violent

4 Stars

LIMBO

Written by:  Will Blank and Richard Kaponas

Directed by Will Blank

Starring Raul Castillo and Sam Elliott (voice)

“Limbo,” co-written by Will Blank and Richard Kaponas and directed by Blank, is based on the comic  by Marian Churchland. The story  delves deeply into one man’s innermost feelings of regret and what’s truly important to him.  Blank sets his story in the dry, hot, and desolate desert where a young man has stopped his car to hurl a phone blinking with a text message not yet opened at a Renaissance painting on a billboard.  The irony of where the phone will remain for eternity is not lost.  The man wanders, leaving his car and his phone, and recollects his recent past and the decisions leading to this regrettable journey.  When he stumbles upon a dying dog who will grant him a single wish, only then does he realize what is truly important in life.

“Limbo” is a type of film that takes a while to sink in as it is filled with so much more meaning than initially meets the eye.  Blank’s attention to detail is extraordinary—visually and auditorily—to create an environment that completely envelops you.  We hear the wind whistling, the fly buzzing, the sizzling of the hot pan, and the labored breathing of a distressed dog.  The sounds are frequently the primary focus, accentuating his experiences.  Blank balances this cinematically as he captures the desolate, lonely, and unwelcoming desert with the utmost skill.

“Limbo” is rather unusual as it uses a talking dog, voiced by the unmistakable deep and gravely voice of Sam Elliott.  It is this voice that immediately gives depth and credibility to this strange and meaningful character.  Raul Castillo’s understated performance as the man captures the myriad number of emotions in a short time period.   With little dialogue and his thoughts conveyed through voice-overs, Castillo finds just the right pace.

Blank’s ability to create such power and meaning in an 8-minute film is exceptional.  He portrays the beauty in life through the recreation of death and desolation, the backdrop of the story.  Conceptually and cinematically, “Limbo” is a film to watch several times, paying close attention to every detail Blank has so painstakingly painted for us.  It’s an ironic tale that reminds us of what we should cherish in life.

To watch this film go to LIMBO on Vimeo.

Maudie

Written by:  Sherry White

Directed by:  Aisling Walsh

Starring Sally Hawkins and Ethan Hawke

Nova Scotia folk artist Maud Lewis may not be a name you immediately recognize, but it soon will be.  Born in the early 1900’s with rheumatoid arthritis, a severe degenerative condition, this rather sickly and awkward looking woman struggled in every aspect of her life.  But her struggle became a story that inspired the new film “Maudie,” written by Sherry White and directed by Aisling Walsh.  The film is cinematic splendor as Sally Hawkins recreates Maud and  co-star Ethan Hawke portrays Everett in one of his strongest performances yet.  This unusual love story tells an equally unique life story filled with courage, strength, inspiration and beauty.

Maud’s physical differences have always brought judgement upon her, not only from outsiders, but sadly, from her own family as well.  She is dismissed, feeling worthless, but this bright and witty woman strikes out on her own, yearning to prove them all wrong.  There is a sense that there is another deeper, more sensitive story bubbling just below the surface, but that has yet to be revealed.  Answering an “ad” posted at the local store for a housecleaner, Maud meets Everett (Hawke), the local fishmonger.  He reluctantly hires her and the man of few words attempts to keep her at a distance.  Over the course of time, Maud is allowed to blossom which in turn creates a connection and courtship between the two.  To say it is an unusual situation and “dating” process, is to put it mildly, creating wonderful humorous moments.   The pair is odd, but the beauty from within easily becomes the only thing visible.  Their relationship, however, has some very rocky parts, as all relationships do.  As we witness this journey seen primarily through Maud’s eyes, we feel her pain and her anger, but also laugh and cry with her as well.

“Maudie” explores this creative woman’s trials and tribulations to become one of the most recognizable folk artists in the area, but it also presents what it must feel like to be judged by an outwardly different appearance.  Maud is exceptionally bright, organized, and has a wickedly sarcastic sense of humor that those around her find the verbal sword to be quite sharp.  We truly get to know who this woman is and what she has endured, particularly within her family.  While there is heartbreak, there is also laughter.  It’s an extraordinary slice of life that reaches your very soul, allowing you to experience everything that Maud feels and does.  Rarely do you find such a compelling story with well-rounded characters that you immediately understand and connect.  In fact, you are lost in their world, forgetting that you are watching a movie.

It is under the direction of Walsh that Hawke and Hawkins create such captivating characters.  Both actors seem to connect whole-heartedly with their rather unorthodox roles as they beautifully reveal their personalities.  Hawkins embodies the character of Maud, exhibiting with finesse a body riddled with arthritis.  Her ability to convey the myriad number of emotions and wounds not yet healed from past tragedies is simply exceptional.  Her delivery of parenthetical quips and demonstrating that she doesn’t buy into gender inequality as she goes against the grain of the locals just endears us to her even more.  Casting Hawke opposite Hawkins is a choice that pays off as he becomes this tight-lipped, uneducated and unsocialized loner.   Hawke exudes power not seen before in other films as he becomes this sometimes unlikeable and other times lovable very real person.  Together, Hawke and Hawkins play to one another’s strengths and catapult this story to the highest level.

The film is also cinematically stunning, bringing you through the rolling, desolate country roads near the sea.  We are transported to a bygone era that is dusty and primitive, influencing and inspiring the very art that Maud will forever be known for.  “Maudie” orchestrates every element in filmmaking to create not just an entertaining film, but also a meaningful and  magical one.

Experience the magic of “Maudie” and travel the trails of Maud Lewis’ past, riding an emotional roller coaster ride filled with unusual and richly layered characters.  “Maudie” is a timeless love story that will leave you breathless, speechless, and inspired.  You can’t ask for more than that in a film.

*Bring tissues

The stakes are high when it comes to the inability to have children and Amanda Micheli, Academy Awarding documentarian, explores the personal and financial toll it takes on a couple as they vie to win a chance at a round of IVF (In Vitro Fertilization).  It’s an emotionally raw journey as couples bare their souls and share personal stories of the need to complete their family…no matter the cost.

Watch the trailer here

Micheli spoke with me about her background and personal association with the project.  Her unique insight allows the film to unfold in an unbiased and informative way while still unveiling the emotional layers just under the surface.

Reel Honest Reviews (RHR):  Tell me how you first became interested in filmmaking.

Amanda Micheli (AM):  I started out in still photography.  In high school, I was the photo editor of my high school newspaper.  That’s where I cut my teeth and learned to navigate the somewhat terrifying world of high school .  But it was great because I was able to be the photojournalist and cut though a lot of cross sections of that culture.  I just really felt comfortable with a camera.  It gave me license and a purpose.

RHR:  You went to Harvard for film studies—I don’t usually associate Harvard with filmmakers.

AM:  I’ve always loved movies and have had that desire to lean that direction, but I wasn’t sure what it meant.  I never would have expected to go to Harvard for film, for undergrad.  It’s not a department that gets a lot of notoriety.  Most of the professors focus on documentary work. It’s a hidden jewel, a well-supported program that’s not really known and you’re able to make a movie as your undergraduate thesis.  So I dove in and made an hour long documentary as my undergrad thesis called “Just for the Ride.”

RHR:  Your film went on to win a Student Oscar, travel film festivals, and have distribution on PBS!

AM:  I don’t think I realized at the time how amazing that was!  I thought that was what happened when you made a film.  My sophomore effort was a lot harder when I woke up to the reality of what it costs to make a movie in the real world and how hard it is to get distribution.

RHR:  What drew you to the topic for your film “Vegas Baby?”

AM:  Unfortunately, I came to the subject matter through my own personal experience. My husband and I have been struggling with our own infertility story for about 5 years now.  When we first started [trying], I waited until later in life…we were both older when we got married and I would say woefully ignorant about our fertility. Then, unfortuantely, once we got a diagnosis that my husband had a low sperm count and nobody knew why,  everybody said we don’t have time to figure out why you just have to get moving because Amanda’s getting up there.  Then we found out that after our first failed IVF that my husband had testicular cancer so that kind of compounded everything for obvious reasons and derailed us because we were focused on health and his mortality…and that just intenisfied the experience to the “n”th degree.

We spent our savings on a round of IVF.  We were told that that was the only way we could have a biological child.  We wanted to give it a shot. We never thought we would be in that position. I think we had a lot of stereotypes and judgments around IVF ourselves.  We’re not THOSE kind of people.  I think when we stared trying, we were like if it works it works, and if it doesnt it doesn’t… all of sudden you have to get real and [think] what would I be willing to do to make this happen.  When it didn’t work and we were faced with the expense— over $20,000, getting our hopes up, and feeling invested and doing something outside our comfort zone, and just realizing that I was really uneducated about the odds of success [and] the costs— the emotional physical and financial cost of reproductive medicine.  As a filmmaker, I felt compelled to do something with that experience. It was actually when I was researching funding options for our second round of IVF … I came across an article in the New York Times about these clinics that were having raffles and contests for people who couldn’t afford treatment.  My first reaction was, this is insanity.  But when I sat and thought about it and what I had been through, I felt for these people and I felt like there was something to it.  If there was this many people who were willing to bare their souls on the internet for the hope, for the shred of a hope, to have a child, it felt like it was speaking something, it was like a zeitgeist.

RHR:  Your film addresses many issues about IVF.  What do you hope this film will accomplish?

AM:  I think for me there’s hope in starting the conversation around it and raising awareness about it and also education.  Hopefully the millenial generation is already more educated than I was.  I think I was specifically a post-feminist generation where my mom didn’t want me to feel pressured about having a family.  She wanted me to feel independent and free to pursue my dreams.   Even for people with medical diagnoses that aren’t age related, we have a lot to learn about this. Also just to raise awareness about the odds and the cost of what people are getting into…you have to go in with your eyes wide open and be your own advocate. And also… get really good mental health support.  That’s one of the things I really rallied about with the film is this is a medical problem, but it’s also a social problem and it’s also really a psychological problem.  It’s something that needs counseling to make an informed decision around and I don’t think that IVF doctors are necessarily the best person to advise you…

RHR:  Your film touches on many different adjacent topics using  a unique style.

AM:  There are so many layers to it and I hope that my film brings up questions that the audience can continue to think about and discuss…This isn’t pure “cinema verite,” but it certainly has an element to it…you’re observing as it’s unfolding.  You don’t have the filmmaker speaking, [but] you run the risk that people think you’re not being critical enough…It’s just a different approach where you’re asking the audience to think critically based on what you’re putting in front of them.

RHR:  The style also allows you to remain impartial, balanced.  Was that difficult to do given how personal of a topic this is to you?

AM:  It wasn’t hard to have a balanced point of view.  To me, that was critical to reaching our audience in the most authentic way.  People need to be educated, but it’s not for me to say how someone should choose this path or that path to build a family….[This] film uses the provocative premise of the contest as a way to make people look at the deeper issues beyond the topic.  What are the human desires and emotions that lead people to go to the lengths and move beyond the black and white, the good guy and the bad guy, who do we blame. I don’t think the world is that simple.

RHR:  Speaking of simple, it must not have been easy to gain access to the Dr. Sher’s infertility clinic to film.  Was it?

AM:  I made the pone call and I thought for sure they would say no, especially because the New York Times article was very critical.  They just said, ‘Sure.  Come on down.’  I was flabbergasted.  I would never usually do this, but I said, ‘You’re not concerned about getting negative press?  I want to be clear that you know that I’m going to have full control over this film.’  And they said they had nothing to hide.  I thought they were very courageous.  I really credit them…And I think I really lucked out that they were willing to take that risk to let me in.  I can tell you we tried to film in a lot of other clinics…and we didn’t have that success at any other location.

RHR:  With your personal connection, did you have difficulty in becoming attached to the subjects of the film?

AM:  It’s always an issue when you’re making a film…and I think in this case, even though we had similar experiences, we had pretty different backgrounds.  I don’t think that means being detached or aloof, but for me, the primary thing was making the film and trying, of course, to see their experience as empathetically as I could, but also with the eye of an observer…

RHR:  What surprised you most about making this film?

AM:  It’s the toll this can take on a marriage…it’s already hard enough to have a relationship and when you’re having something that’s affecting your most intimate [part] with your partner, your self esteem, your confidence, your sexuality, it’s incredibly layered and complicated what that can do to a relationship.

RHR:  What have you learned from making this film that you hope others will as well?

AM:  I just don’t want anyone to take their fertility for granted nor do I want people to quickly pass judgment on people…I hope the film will open people’s eyes to seeing [infertility] in a slightly different way.

FOR MORE INFORMATION GO TO vegasbabyfilm.com

“Vegas Baby” is now available on iTunes, Google Play, Amazon, and Vudu.  On June 27th, see it on PBS World Channel and on Netflix,  July 4.

(From the June 16, 2017 edition of Fete Lifestyle Magazine)

Obviously, every film has a location, but some films not only explore a story, they also take you on a scenic adventure into the land or setting.  “Maudie” is one of those films that creates a meaningful story based on the folk artist Maud Lewis while tempting you to visit the coastal fishing town of Nova Scotia, Canada.

Nova Scotia is located in the Canadian Maritimes, the French calling it Acadia, was first settled by the Paleo Indians more than 11,000 years ago.  The Brits called it New Scotland with the Scotts immigrating there in 1745.  Rum-runners, rogues, and rebels reportedly called it home, but then in the 1900’s, it became more of a fishing and maritime community.  In fact, the area recognized Bessie Hall as the most notable female mariner of the century.  The area appeared to be ahead of its time as it lead the way for  equality in race and gender—from 1894-1918, the Local Council of Women of Halifax worked to gain the right to vote;  and in 1945, Minister William Pearly Oliver founded the Nova Scotia Association for the Advancement of Colored People.

The art world was also well-represented as it is home to Canadian folk artist Maud Lewis.  She was no ordinary artist.  Born in the early 1900’s with degenerative rheumatoid arthritis, Maud spent much of her life being overlooked due to her outward differences.  “Maudie” written by Sherry White and directed by Aisling Walsh, stars Sally Hawkins and Ethan Hawke, tells Maud’s incredible lifetime story of pain, alienation, but most importantly love.  “Maudie” is in one of the most vivid and beautiful love stories of all time.

Go to Fete Lifestyle Magazine to read the article in its entirety

BEATRIZ AT DINNER

Written by Mike White

Directed by Miguel Arteta

Starring Salma Hayek, John Lithgow, and Connie Britton

Mike White’s (“Enlightened”) eloquence and intelligence shines like a beacon in his newest film “Beatriz At Dinner” starring Salma Hayek, John Lithgow, and Connie Britton.  It’s a complicated feature delving

into class distinction, “the 1%,” and the environment.  Beatriz (Hayek) is a holistic massage therapist, helping cancer victims with alternative treatments.  Her sense and intuition create powerful insight with everyone she meets.  After her car breaks down, she is stranded at a wealthy client’s home and she is reluctantly invited to stay for a high-powered and intimate dinner party.  The disparity between she and this group keeps you on edge as the evening devolves into a moralistic and ethical battleground.

WATCH THE TRAILER HERE

Beatriz is more than compassionate and kind, she understands the very nature of the balance of our world.  She is connected to the soul of the Earth, animals, and people, but when she encounters Doug Strutt (Lithgow), it takes everything in her to not speak her mind.  A few glasses of wine, however, releases the edit mode button and she begins to cross the border of being a gracious guest and attempting to enlighten one of the most disgustingly self-centered, greedy, and judgmental corporate leaders.

The film creates such stress and tension as we watch the story unfold.  Her relationship with Cathy (Connie Britton) is  a delicate balancing act as there is a feeling of gratitude and indebtedness from Cathy.  It boils down to employee, employer versus friendship—these are the lines that are balancing like spinning plates.  With the unknown variables of people’s responses, especially after drinking, the plates inevitable tumble.  The mess that is left is quite unexpected.

The characters in this film are wonderfully complex and layered.  The emotional performances tease out the subtle as well as the blatant differences among the guests with absolute precision.  Britton’s portrayal of Cathy as the conflicted yet  gracious hostess who has a  moral obligation to Beatriz, is exceptional.  She is pulled in two different directions—she is the middle ground upon which the remaining characters find their sides.  The gluttonous characterizations of those that have so much is beautifully and realistically rendered in “Beatriz At Dinner.”  The marginalization of our world and the effects of mankind upon it from this group’s perspective is at once revolting and enlightening.  But it is the complexity of the situation that drives this film forward.  Beatriz isa guest in someone else’s home, but she cannot allow Strutt to get away with such narrow-mindedness and selfishness.  It’s an intrinsically high-paced dinner with high stakes.

Lithgow has a performance to remember as Strutt.  He is the epitome of an egomaniacal power-monger.  He elicits a burning resentment and anger as he utters his self-aggrandizing viewpoints.  While Lithgow could have easily taken this role to the extreme, it is his skillful performance that gives Strutt a realistic persona.  We know this individual exists and his pride in killing big game is reminiscent of a dentist not too long ago.  His condescension paired with the remaining guests feelings of entitlement and total disregard for humanity is deplorable…but real.

Interspersed within the dialogue that is succinct and revealing is Beatriz’ spiritual connection as we are privy to her mindful images.  The symbolism portrayed is poetic as we see the world, her past, and her future through her eyes.  Hayek’s performance is magnificent.  Her gentle nature comes through to her character as she carries a very heavy burden.  The weight of the world rests on her shoulders and we feel her struggle to forge ahead, making this world a better place.

“Beatriz At Dinner” is one of the most eloquent and articulate films depicting our social issues and the consequences of greed.  The internal and external turmoil represented reflects our current political and environmental standing, poured out for all to see.  We get a real glimpse into the mindset of power, money, and the delineation of class.  It’s a tension-filled, gripping and magnificent story with exceptional performances that will impact you long after the credits roll.  Watch this and your next holiday family dinner will seem like a piece of cake.

THE HERO

Written by Brett Haley and Marc Basch

Directed By Brett Haley

Starring:  Sam Elliott, Nick Offerman, and Laura Prepon

Brett Haley, the daring and brilliant man behind the curtain of “I’ll See You in My Dreams” is back in action with “The Hero,” starring the renowned actor Sam Elliott.  The film is a character study of Lee Hayden (Elliott), a man waning in his career as he ages and is diagnosed with cancer.  Lee  wrestles with the legacy he will leave behind and attempts to reconcile broken relationships.  It’s a self-reflective, heartfelt, and often-times humorous film showing us how we are connected as we witness Lee looking out over the horizon of life.

WATCH THE TRAILER HERE

Haley and Offerman spoke with me at the SXSW Film Festival a few months ago.  The inspiration for the  film is all Sam Elliott, Haley gushed.   After working with him  in “I’ll See You in My Dreams” he said, “I’m inspired by him not only as an actor, but as a human being.  He deserved his own movie where he was in every scene and it was about him and he got to show off what an amazing actor he really is.”  He and co-writer Marc Basch came up with Elliott’s character as something “…he could sink his teeth into…and a non-Western where he’s not on a horse.”

Elliott’s character of Lee is incredibly real with the most raw and believable emotions that are true to life.  “The Hero” reminds us that time zips past us as we have neglected aspects of life that are most dear.   Haley identified with “Lee” even though he admits he’s still quite young.  “We are always looking back on our lives and what it means to make a mark.  He ends up really thinking about his personal relationships which, at the end of the day, are what really matters.”

“The Hero” allows us to see the world from Lee’s perspective—his hopes, his dreams and his failures—but most importantly it takes us inside his heart.  We feel the regret and the pain it has caused, but we also see the glimmer of love and life, never wanting to be extinguished, no matter how old the candles on the cake say we are.

Meeting and falling in love with a much younger woman, Charlotte (Laura Prepon), takes Lee on a fast-paced ride that he wasn’t quite prepared for.  Their relationship is simply beautiful as they both allow each other to see things differently.  Relationships are at the heart of this film and none is more painful than that of Lee and his adult daughter Lucy (Krysten Ritter).  As they bare their souls, the open wounds have obviously not healed, the resentment and remorse heartbreakingly shine through.  However, as in life, there is also humor in “The Hero.”  It’s more situational humor thanks to social media and Offerman’s character.  Haley added,  “He’s way more than Ron Swanson.  I wanted to give him something that he could do that was way outside of that box.  I didn’t have him do any woodworking or steak eating.  He plays a pot dealer and a very unique one!” Offerman and Elliott, on screen, are as comfortable with one another as two brothers as they live, reminisce, and support one another.

Elliott is simply extraordinary.  His small, yet vital roles in “Grandma,” and “I’ll See You In My Dreams” tipped us off as to this man’s true skills, but never have I seen such a passionate and powerful performance—certainly Oscar-worthy.  Offerman confided, “The ‘business’ would say to you, ‘Why don’t you have some younger, better looking people?’  And I would say to them, ‘There’s no one better looking than Sam Elliott.  People over 45 also have lives that we are interested in.”   Haley’s instinct to cast him as the lead truly allows this remarkable actor to show his depth of skill.  Elliott brings you directly to him, looking you in the eye, making you a part of the scene.  His emotions are palpable as you are connected with him and his situation.  We all have regrets in life, crossroads where we perhaps took a left turn instead of the right one and Elliott conveys this understanding with expert skill.

Offerman creates a  “unique” character with skill and charm.  There is no doubt that his character and Lee are long-time friends.  While he adds the comedic lift to the film, Offerman shows us he has the depth and understanding to give us this meaningful performance.  Prepon’s portrayal of “Charlotte” is equally as layered and complex, one that you don’t typically see for women her age.  Yes, she’s beautiful, but her character is also smart, well-read, creative, and wise beyond her years.  Seeing Katharine Ross, Elliott’s real-life wife, in this film as well as Ritter with her small but sublime performance as a dejected and hardened daughter gives “The Hero” the golden touch.

“The Hero” is a beautiful and sincere look at life, regrets, and the spark that flickers from within, wanting to continue to shine.  Haley has done it again.  He has created a film with heart about a character that is real and, get ready for this, is over 40.  In fact, he’s over 70.  My sincere gratitude goes to daring filmmakers like Haley who write films for older actors and then remind us of what’s truly important in life—our relationships.

To watch the interview at SXSW with Offerman and Haley check out YOUTUBE INTERVIEW

4/4 Stars

(Published in FF2 Media, June 12, 2017)

Now in its 20th year, the Los Angeles-based film festival, Dances With Films (DWF), lives up to its words of conception: a festival where ‘who you know’ doesn’t matter, but the quality of your work does. First-time writer and director of a narrative short film, German-born Monika Petrillo jumps into the filmmaking waters with Wink. Her film’s topic sounds a bit unusual—a frustrated and lonely suburban housewife and a goldfish—but Petrillo laughingly said, “How can you go wrong with a beautiful woman and a goldfish?”

The inspiration behind not only this film, but Petrillo’s decision to become a filmmaker was her godmother, Li Erben.  Erben’s late husband, Russian-born French film director Victor Vicas had written a story about a blonde, a winking goldfish and a bath.  After hearing that description, Petrillo could see the whole film. “I came home…and before I knew it, I had written the whole 12-page script.”

READ THE ENTIRE ARTICLE HERE IN FF2 MEDIA

(As published in the June 12th edition of FF2 Media)

Now in its 20th year, the Los Angeles-based film festival, Dances With Films (DWF), lives up to its words of conception: a festival where ‘who you know’ doesn’t matter, but the quality of your work does. To the Moon and Back by Susan Morgan Cooper is a heartbreaking look at two intersecting narratives about the Russian Adoption Ban leaving approximately 259 children, 75% disabled, stuck in limbo in their adoption process to American parents.  The reason?  Politics.

It’s a “chess game between Obama and Putin,” Cooper explained.  Cooper hopes that her film can help make changes in the lives of these children and in Miles and Carol Harrington’s lives, the blame upon which Putin placed this ban.

Cooper didn’t start out directing impactful and life-changing documentaries.  She began as an actress and had a small role in a Clint Eastwood film.  However, she says, “I just never had the passion for acting and one day someone took me into an editing room and all of a sudden, the lights turned on! You can manipulate an actor’s performance with timing and a reaction shot.  So I started being involved in editing.”

To read the interview in its entirety, go to FF2 Media

Listen to the entire Audio interview

Written and Directed by Ned Crowley

Starring:  Jim O’Heir and Andrew J. West 

The dark comedy “Middle Man,” written and directed by Ned Crowley, gives Jim O’Heir a very different look as Lenny Freeman, a stand-up comic who isn’t very funny—until he meets “Hitch” (Andrew J. West).  The two travel toward Las Vegas in the hopes of winning a stand-up comedy competition, but Lenny finds himself on a bloody journey; one that actually makes him funny.  The film bodes the question, “What is the price of fame?”

WATCH THE TRAILER HERE

Lenny is in a dead-end job when his mother passes away. Learning that she has left him nothing but mounds of debt and a ’53 Oldsmobile, he packs his bags and hits the road to become a contestant on the Stand-Up Stand-Off show in Vegas.  Coincidentally (or not), Lenny meets and eventually befriends Hitch who has experience in managing “talent.”  The two couldn’t be any more different and Lenny finds himself, at the very least, an accessory to murder.  Never giving up on his dream of becoming a stand-up comic, he goes up on stage in blood-soaked clothing only to find that his “material” is quite entertaining.  Always the gentleman and yearning for love, he also falls head over heals with Grail  (Anne Dudek) who is in an abusive relationship with T-Bird (Josh McDermitt).  Winning the girl and the contest while somehow dodging the police creates a wonderfully twisted, bloody, and entertaining mess.

Lenny is the perennial loser who has a certain sweetness and innocence about him.  You know he’s never had a girlfriend.  He’s a mama’s boy who spent every evening listening to the old time comic greats like Gracie Allen and Charlie Chaplin and the guy is stuck in a time warp.  Venturing off on his own is going to be very dangerous and it’s obvious from his first encounter with the wise-cracking waitress Evelyn (Jocelyn Ayanna) that he is ill-prepared for what’s ahead.  Hitch is the ultimate danger as he attaches himself to Lenny.   There are ulterior motives and driving forces behind Hitch that we later learn about creating a truly awful human being.  Their relationship spirals out of apparent control, plummeting Lenny into a murderous abyss while it catapults him to buzz-worthy local fame.

“Middle Man” is more than foreboding and dark—it’s ironic, shocking, and truly funny.  It doesn’t take long before you rid yourself of all preconceived notions that O’Heir is the lovable character from “Parks and Recreation.”  He quickly devolves into a self-serving murderer who somehow you still root for to win.  The situations are as desolate as the environment and every character augments that same inhospitable feel.  Grail, T-Bird, and Father Ricky (Tracey Walter) are all in the desert equivalence of hillbilly hell.  It’s as if once you enter, there is no escape.  Emotions run high, but the end zone of fame is never out of site for Lenny.

O’Heir shines in this pitch black comedy as the straight man.  His reactions to the surrounding gruesome and gory incidents somehow create sympathy for him.  Without seeing a single scene of Lenny’s life before his mother dies, we know this sad sack.  He was doomed from the beginning, but human nature makes us root for the underdog.  West is simply stellar as the slimy sociopath who slithers his way into the mind of innocent victims like Lenny.  His exterior is convincingly just as dirty as his soul.  With both West and O’Heir, it’s all very subtle—nothing is over-the-top, keeping all the events in the realm of possibility.  The cast is in perfect harmony with one another which produces a stylized dark comedy.  While O’Heir and West lead the troupe, Ayanna is also a stand out in the film.  Her quick-paced delivery of remarkably witty material is jaw-droppingly and surprisingly funny!

The sharp dialogue, quick-wit, and unusual story-line with remarkable character actors give this film the life it deserves.  “Middle Man” is a wonderfully gruesome pitch black comedy the likes of Alice Lowe’s “Prevenge” and “Sightseers” or Pat Healy’s “Take Me” and “Cheap Thrills.”  It’s not for the faint of heart, but neither is getting up on stage and performing stand-up!

Jim O’Heir talks about his film MIDDLE MAN

I had the pleasure to sit down and talk with O’Heir about his film and his life.  Be sure to check back for the interview soon.

Dances With Films is well underway, but there are plenty of great films yet to make their world premiere!  “Wink,” a new short film by Monika Petrillo, is one of these exceptional films that comprises an extraordinary line up at this year’s festival.

Melanie (Caitlin Brandes) appears to live the perfect life in her perfectly kept house with a perfectly manicured yard in the perfect little neighborhood.   This is the epitome of suburbia.  Today is her anniversary, but the evening does not work out as planned thanks to her distracted, workaholic  husband.  Not allowing his negligence to get the better of her, she buries her emotions and continues on with her evening.  What happens the next day spices up her life in a most unusual way, but is this something she can tell her husband?  Or will this just be her little secret?

WATCH THE TRAILER HERE

“Wink” is a beautiful story filled with an array of emotions while using very little dialogue.  Brandes is exceptional as she portrays this bored housewife looking for and needing a little attention from her not-so-perfect husband (Michael Chandler).  Her eyes, with just a glance or a sudden twinkle, engage you and connect you to her.   Quite interestingly, there is a parallel life being lead by the little goldfish she is caring for…she, like the goldfish, seems trapped and confined.  As she gives this little guy a “change of scenery,” she also finds a way to add a little spice to her day.  And in a blink of an eye, we all share her secret.

The story itself is beautiful and rich, but Petrillo’s attention to each and every detail make this short film quite remarkable.  The set design is impeccable, carefully matching the personality of this young couple.  The colors are equally rich and the piano music playing in the background add a tasteful touch to every scene.  With this dialogue-light film, the body language and the extraneous sounds are used to augment  Melanie’s emotions— from the incessant twirling of a napkin ring to the tapping of a spoon on a tea cup, Melanie’s reactions are familiar and simply sublime.

Petrillo’s screenwriting and editing is so succinct that by the end of the film, you feel as if you are in on Melanie’s secret.  I dare you not to have a smirk on your face as you watch the final scene.  And I guarantee that you will never hear or utter the words, “How was your day?” the same way again.  While Melanie’s day was a very unique one, we are reminded to make each and every day a little special.

“Wink” premieres in L.A. at Dances With Films on Tuesday, June 6 at 5 pm as a part of the Fusion Shorts Program.  For more information and tickets, go to danceswithfilms.com/wink.  Follow “Wink” on Facebook at facebook.com/winkshortfilm

Be sure to check back for an interview with the filmmaker with FF2 Media in the coming days.

Devin Rice’s new film “Being Black Enough or (How to Kill a Black Man)” is an emotionally and intellectually  confrontational film addressing racism and perception. I had the pleasure of talking with Rice and his co-star/co-producer (and fiance) Jaqueline Corcos about the genesis of the film and how you create a big budget movie for less than $25k!  Their answers are just as enlightening as the film itself.

WATCH THE TRAILER HERE

“Being Black Enough” is based  upon Rice’s personal experiences of being told he wasn’t black enough.  As a youngster, after hearing this, he recalled feeling saddened by the words, but as he grew up, he generally shrugged it off as he knew there was no malice behind those words.  The character of Cody (Rice)  experiences the same thing as well as many other real life situations replicated in the film, but takes the reaction to a whole new level.   Cody is a young college student who was raised in a predominately white neighborhood.  He begins to question his identity as a Black man and what this truly means by seeking out his cousin Kyle (Bruce Lemon) who lives in the dangerous L.A. neighborhood of Compton.   Given all the privileges anyone would need to succeed, Cody tosses this to the wind, emulating his cousin and his gangster friends.    Kyle initially pacifies his little cousin, attempting to show him that this life isn’t for him, but Cody spirals downward quickly, grasping on to any sense of camaraderie and convincing himself that he’s fighting for what he believes is right.  The cost may be more than he bargained for.

“Being Black Enough” begins with a sense of humor as this bright young man listens to Tupac, singing along, and his mom observing unbeknownst to him. He’s embarrassed, as any kid would be.  His conversation with his mom is endearing, but there is a pain behind his words or perhaps an emptiness and he is looking to fill that void.  Cody’s attempts to become “more black” are also quite humorous as he imitates what he sees in mainstream media. Blurring the lines of his reality, Cody begins to sever his ties with one of his best friends—Serah, a white woman (Corcos) who is in the police academy—as well as his family.  As you watch Cody quickly become engulfed in this very dangerous world, you still hold out hope that he can come back from the edge of the cliff.

Talking him off that edge is his wise-beyond-his-years cousin Kyle.  He has seen it all and has experienced it all in his very short life.  His attempts to guide Cody are emotionally poignant and eloquent.  He is educating not only Cody, but the viewer as to what it means to be Black and what it means to be a Black man in this hostile environment.  Gang warfare is real.  The consequences are real.  And there are no winners.  It’s the truth of what’s happening every day in every city.  Rice shared with me the spark that ignited writing this film—a Youtube video about a young Black man who challenged the police to shoot him after stealing a bottle of liquor.  He said, “This has to be written because this can’t happen [anymore].”

The conflicts we see within the community are reminiscent of “West Side Story’s” the Sharks and the Jets.  There are leaders, retaliation, and a love that is forbidden.  Rice readily shared with me that West Side Story was a huge influence on the film.  He also admitted that there’s a 4 hour version of the film that fully utilizes all the parallel story lines found within that amazing musical.  While “Being Black Enough” in its 90 minute version is not a musical, music is a huge component and driving force behind the film.  Rice had originally written this story or a version of it many years ago while in high school when 50 Cent was all the rage.  The story grew to be more complex than the original because “…I really had more life experience…and with the way the music has changed in the last 10 years, rap music has gone in an even stronger direction.”  Tupac’s lyrics ring true to this young character as he embraces his every word.  The film also brings elements of Spike Lee’s “Chi-Raq” to the forefront as we see racism, lack of future hope, and police perception in this film, but as Rice explained, “We made the film before ‘Chi-Raq.'”

Rice expertly weaves together a complicated story of today’s racial imbalances and perception and then somehow portrays the innocence of love with the utmost of care.  No matter our race, we can empathize with Cody’s need for identity and longing for love.  How he achieves this is another story.  We see him innocently stepping into a war zone and we better understand the circumstances under which these young men are surviving.  They are not living; they are surviving.

Rice and Corcos are exceptionally strong as actors and the supporting cast is equally skilled.  Finding these unknown and unpaid actors speaks volumes to the story’s depth and importance.  Rice and Corcos passionately spoke about finding these exceptional actors as being a “magical” moment.  Corcos said, “Somehow they just came, all the right people.”  I would have to agree that all the right people were drawn to being a part of a film that has a powerful message, one that resonates with many and is applicable to us all.  Rice said, “I wanted people to realize that you can just be yourself.  You don’t have to destroy yourself and lose yourself…just because other people have this idea of what you’re supposed to be.  Don’t stereotype yourself…Expand yourself.  Use your culture to expand who you are and not limit who you are.”  Crocos supported Rice’s statement wholeheartedly and added, “It’s not just about this one race…Just be true to who you are…We really hope this movie can save some lives.”

“Being Black Enough” is shot with absolute precision.  The attention to every detail brings you into the scene so that we are as much a part of the film as Cody.  The range of emotions we feel, captured through the art of cinematography is extraordinary.  We feel the bond between he and his mom as they lie on the grass outside, chatting like friends.  We gasp and almost duck as the bullets come flying from every direction.  And we hold our breath as we see what might possibly happen next. Creating this high calibre of a film for the price tag of $23k seems impossible, but for Rice and Corcos, educating themselves in all areas of filmmaking enabled them to have this highly polished final product.  Rice wore not only the writer and director hats, but also the cinematographer.  Rice and Corcos “…watched all of Kubrick’s best films, Spielberg’s, and Quentin’s.”  Rice continued, “I wanted to see what the greatest movies looked like and I wanted to see a bunch of low budget indie movies like “El Mariachi” and “Clerks” [to see] what kind of mixed techniques from the two…we can use.  Corcos interjected, “Devin [said] we need to make this movie for a crazy low budget, but it needs to look like a huge Hollywood movie.”  It does.  Corcos also said with a huge note of gratitude in her voice, “With locations, I just basically asked people [and] got everything for free” including a cop car!  Crocos attributed the generosity of the community to the powerful message of the film.

The message of this film comes through loud and clear, but without the impressive story-telling skills of Rice, it wouldn’t have been so brilliantly bold and beautiful.  It’s a great story told remarkably well—exactly what a film is supposed to be.  To see this poignantly creative film, go to Dances With Films

As printed in the June 2, 2017 edition of The Daily Journal:

To read the rest of the review, click HERE

TOMORROW, MAYBE

Written and directed by Jace Daniel

Starring:  Robert Blanche, Bethany Jacobs, and Grant Davis

A father-daughter bond and relationship can be an important foundation in a young girl’s development.  Jace Daniel shows us what happens between his two main characters, Lloyd (Robert Blanche) and Iris (Bethany Jacobs) who have anything but an ideal father-daughter relationship in the new film “Tomorrow, Maybe.”  This beautiful depiction of a father’s attempt to redeem himself after spending several years in prison will premiere at Dances With Films on Sunday, June 4th.  

WATCH THE TRAILER HERE

Lloyd is not going to receive the Father of the Year award, there’s no doubt about that.  Going away to prison is the least of his transgressions in the world of fatherhood.  He was rarely a part of his daughter Iris’ life even before that time.  And now, being released from prison, Lloyd wants nothing more than to be forgiven by Iris and to be a part of her life.  Iris, experiencing marital issues of her own, is understandably reluctant to allow Lloyd back into her life, but that bond between the two still hangs on by a thread.  Her husband, Bobby (Grant Davis) is an abusive alcoholic who happens to be a police officer and the antagonistic behaviors challenge Lloyd to not cross any lines yet still protect the one thing he holds dear to him—his daughter.

“Tomorrow, Maybe,” creates a complicated story which typifies many of life’s possible situations.  Lloyd is an ex-con and having paid for his crime, he remains unwelcome in social environments as well as the work force.  He is a changed man, but leaving behind his past is impossible.  He truly wants to be a better father, but when is it too late?  The fallout that occurs when a parent isn’t there is sometimes irreparable. And the psychology behind our choices, first as daughters and then as women, can be greatly influenced by our fathers.  Iris is drawn to Bobby who is struggling with his identity which pushes him further away from Iris and deeper into his alcoholic hole.  This film beautifully weaves together all of these issues into a compelling tale of life, forgiveness, understanding, and redemption.

Bringing these complicated and realistic characters to life requires a talented cast and “Tomorrow, Maybe” resoundingly succeeds.  Blanche fits his character to a “t.”  We are immediately connected to this reformed man with a heart of gold and feel his pain and sorrow through his emotional eyes and body language.  Jacobs shines as his strong and independent daughter who is caught in a difficult situation.  Her struggle is evident and we feel her conflicted emotions regarding her husband and her father.  Davis is extraordinary.  His role has many layers which are revealed ever so slowly with absolute precision.  All of the characters feel real which also gives credit to the writing and directing of Daniel.  On the surface, the film appears simple, but the emotional complexities are boldly evident.  It’s a riveting drama with striking cinematography that captures and accentuates the emotional depth of the film.

For more information about “Tomorrow, Maybe,” go to www.tomorrowmaybethemovie.com

Written and directed by Christina Eliopoulos

Starring: Joe Cortese and Azhy Robertson

Dementia is not a normal part of aging, yet it affects an ever-growing population of elderly—roughly 47 million people worldwide.  Alzheimer’s Disease is the most recognizable form of dementia, but there are several other types.  What they all have in common is the catastrophic toll it takes on the brain, creating disturbances in perception and rational thinking and most importantly, confusion of time, place, and identification of people.  Understanding this progressive neurological disease from an affected person’s point of view is key in gaining not only knowledge,  but empathy.  Films like “The Father and the Bear,” “The Genius of Marian,” and “The Silver Tsunami” are a few films that touch upon this.  And now, thanks to filmmaker Christina Eliopoulos, we have a wonderfully creative story in “Tonight and Every Night” that takes us inside the mind of “Yianni” (Joe Corese) who wanders off and befriends a little boy he calls “Boss” (Azhy Robertson).

WATCH THE TRAILER HERE

Yianni appears to be the host of a popular late night talk show, Johnny Carson style.  He’s witty, charming and has an amazing array of talented guests on his show, from Charlie the Egg Man (Mark Gindick) to Lanetta (Tara Murtha) the waitress.  Yianni is roused from his wandering mind and back into reality when he meets a little boy who, as children tend to do, asks some point-blank questions.  Yianni has a special connection with this little guy and their conversations are telling of what each of them truly needs in their own stages of life.

“Tonight and Every Night” beautifully intertwines Yianni’s reality into the real world, two different places, and touches upon his most emotional memories.   The characters in Yianni’s mind are every bit as vibrant as the surrounding scenery.  It’s gorgeously shot, easily transporting us from the land of make-believe to the wide open expanse of confusion in reality. Eliopoulos’s use of the little boy in this film opens us up to the realization that we all understand a child’s development, but do we understand the degeneration of someone suffering from dementia?  With Corese’s stellar performance, we are able to get a glimpse inside this disease and gain that understanding as our loved ones decline.

The small and talented cast, sometimes performing multiple roles, give us a behavioral mirror into which to look.  Each of us connects with one another and that connection remains strong.  Supporting one another can be difficult at times, but the more we can walk in someone else’s shoes, the easier the load.  “Tonight and Every Night” gives us a well-fitting pair of shoes to try on.

“Tonight and Every Night” opens the door of dementia and holds our hand to lead us through the journey of understanding.  Rarely does a film create an empathetic viewpoint, but Eliopoulos skillfully does so.  It’s a poignant and meaningful film that is remarkably socially relevant in today’s world.

“Tonight and Every Night” is part of the Shorts 3 program at Dances With Films on Saturday, June 3 at 5 pm.  For ticket information, go to DANCES WITH FILMS TICKETS

For more information about this film go to www.tonightandeverynight.com

ELIZA SHERMAN’S REVENGE

Written and directed by Gregory Fitzsimmons

Starring: Jackie Geary, Kristen Miller, Kiva Jump, Mageina Tovah, Larry Bates, Jamison Haase, and Mike Rock

Dances With Films, the independent film festival taking place June 1 through 11, is providing viewers with some of the most creative and entertaining films of any festival.  “Eliza Sherman’s Revenge,” is no exception to this wonderful rule.  With a “tag line” of “forgiveness is overrated,” you know immediately that you are in for a hilarious and perhaps dark adventure.  When a film makes you laugh out loud non-stop while you gasp at some of the events, you know you have a winner.

Eliza Sherman (Jackie Geary), through a bizarre exchange at Coachella with a band member, now possesses a few super human traits.  Feeling wronged and bullied by her former roommates from 10 years ago, she’s about to set the story straight.  She invites the three women and their significant others over for a birthday party for a famous actor—Richard Grieco.  Enticed to meet this man, they all begrudgingly show up.  Their “party” just turned into a nightmare—they must apologize for their past wrong-doings.

There’s no warm-up in this film.  The opening scene is a launching pad into a no holds barred, fine-tuned comedy.  Rachel Fowler (Kristen Miller) is rehearsing how she will say hello to her long-lost “friend” with absolutely no sincerity in her voice or her eyes.  She is exactly the woman everyone loves to hate.  She’s beautiful, smart, savvy, and as emotionally deep as a puddle in the street in mid-summer.  The disdain in her voice as she greets Eliza at the doorway is palpable and already we are rooting for Eliza to win at whatever the game is going to be.  Bethany Higgins (Kiva Jump)  counterbalances Rachel’s personality with an overwhelmingly high-strung, jumpy, and overprotective “mom” mode.   She and her hubby, Tyler (Larry Bates) couldn’t be more opposite as she counts his predetermined quota of drinks for the night.  And then we have Jodi (Mageina Tovah) and her Tinder-swiped boyfriend, Aaron (Mike Rock) who is set on changing her personality to a clean-living, health nut.  Eliza’s distaste for her guests is evident, but with the promise of Grieco showing up, the guests talk amongst themselves, backstabbing Eliza incessantly while she cooks a “gourmet” dinner.  The mood is set and Eliza strikes—with salsa.  The group wakes up from their drug-induced sleep the next day to find that Eliza has trapped them using a force field and attempts to intimidate them with her lightning-striking fingers.  Apologize for their past transgressions or pay the price.  The truth of the past is revealed as well as their true personalities which quickly bubble to the surface.  There are even a few lessons are to be learned, perhaps the hard way.

Sound confusing?  It’s not.  It’s all remarkably clear and concise with a tight script and perfectly timed execution of lines.  It’s a crazy cast of characters played by  extraordinarily talented actors who have honed their comedic skills with the sharpness of the knife Rachel attempts to stab Eliza with.  The story plays out quickly, darting from topic to topic, taking you on this whirlwind of a ride.  The fast-paced tempo of the dialogue keeps you glued to the screen, not wanting to miss a single hysterical and often-times unexpected quip.  For comedy to work, it’s got to be smart and this is the Einstein of comedies.

There’s not a weak link in the group, but Jackie Geary is the lead as Eliza Sherman and she nails it as the “Carrie” type who is hell-bent on seeking revenge.   Geary uses her articulate and no-nonsense delivery  to lead the group, setting up the situations for the comedy of errors to unfold.  Miller is stellar as as “the worst” of all the former roommates and Bates simply shines as the bullied and controlled spouse.  The unexpected and wonderful surprise standout role is the pizza delivery guy who Craig Ricci Shaynak creates beautifully.  This small but extraordinarily talented cast with deft direction and succinct editing  give us a preeminent dark comedy that will keep you in stitches the entire time.

“Eliza Sherman’s Revenge” is a brilliantly funny film opening on Saturday, June 3 at 9:30 pm.   For ticket information, go to www.danceswithfilm.com/eliza-shermans-revenge/