It’s the holiday season, and this film offers family-friendly entertainment that appeals to a crowd . There’s action. There’s comedy. It’s pro-family. So, once everyone has had their fill of holiday food and just wants to lie around on the couch, keep this film or its sequel, Family Plan 2, in mind.

It’s really good! Watch it.

This band of MI5 misfits shows real promise. All have backstories, with the leader of the crew showing the deepest scars of past wrongs. His assistant is haunted by tragedy with some sort of entanglement. There’s an assortment of others, including a team builder type and a digital guru extraordinaire. But it’s the two youngsters in the group– dashing and darling– who will engage the viewer the most.

After a bit of a dry spell, this series is one to look forward to for that hour of after dinner viewing!

I’m usually critical of comedies, but I can recommend this one. Deep Cover follows three characters who meet in an improv class and gradually get pulled deeper into the street drug network, all under the guidance of an undercover cop. Orlando Bloom plays a manic actor-artist, Bryce Dallas Howard embodies the sharp-tongued former head girl turned mom-coach, and Nick Mohammed takes the brunt of the square punchlines.

But the story isn’t just about comedy—it’s about self-discovery. Each character is searching for a way forward in life, and the chance to step into another world allows them to see themselves from a fresh perspective. It’s the classic tension: the difficulty of truly facing oneself. Through improv, they begin to uncover truths about their own lives and the people around them.

Of course, the act of going “undercover” soon feels too real, and while they’re tempted to bail out, each turn forces them to go deeper. That push-and-pull creates both the comedy and the revelatory moments. By the end, they find their way back to the safety of their old world—bruised, a little wiser, and leaving the audience thoroughly amused.

This Scandi noir cop series from 2000 features a strong cast and solid plotlines. But that’s not what makes it interesting. The special investigation team works out of a mobile trailer, which travels to the location of the crime. Any travel enthusiast will appreciate the insights into towns, villages, and the larger cities all over Denmark. A viewer might even take to referring to Google Maps at the start of each episode as the investigation becomes apparent.

The changing roles of women and household composition also thread through the background of each episode. It’s hard to remember that it was a big deal for a woman to be made head of the homicide unit just twenty-five years ago. Whether in conjunction with women’s advancements or not, the flagrant mate swapping verges on humorous. There are absolutely no traditional family structures. Flirtations and infidelities and reunifications are the going thing.

This 2007 made for TV series started slow. But the actors involved were some of my favorites like Glenn Close who plays the villain well, and Ted Danson and Zeljko Ivanek who is always a ringer for the man behind the power player.

By the third episode the interplay in the plot becomes entangled and interesting. Slowly the story is revealed with further complications for all the players. Back and forth the favor seem to switch from one party to the other.

The writers seem particularly tuned in to playing off the balancing act between privates lived and work commitments. The whole ‘how wealthy people live in expensive cities’ add a dimension to this. The videography of Manhattan is fun.

This legal drama series is worth your time!

This Slovenian series is quite good. And best of all, it’s very local. I didn’t even have a good grasp of where this country, with a population of just over 2 million people, was situated. The star, Sebastian Cavazza, plays the moody, ever-searching lead detective of a band of four. His co-workers are a bit quirky and a lot loyal. A new girl joins to stir in some romantic interest.

The story holds, but what makes the whole thing interesting is the glimpse into a new country with all its subtleties and unique characteristics. Even the lead-in music feels Slovenian.

Woke killed comedy for more than a decade. It’s coming back now, but it’s been a long dry spell. So, I’ve turned to Cheers for a bit of light viewing, and it is much better than I remember. Or I am in a better position to appreciate the skill and nuance of Sam, Diane, and all the regulars.

In Season 1, Episode 18, we see Diane gradually being brought out of her lofty principles. At first, the decisions are calculated. By the end of the episode, she relents in sheer pleasure.

And to top it off, national icon, Speaker of the House Tip O’Neill, starts off the show.

Need a break from all the serious stuff? Consider this new series from Netflix. The characters are exaggerated in all the right ways. There’s a sense of mystery and potential for bodily harm. And there’s surprising depth to the display of human flaws, loyalties, and emotional baggage. Although just when you are sure you think you’ve recognized a familiar storyline, the writing takes you elsewhere.

This five-episode series is worth your viewing time.

This movie is sure to make you smile, and most probably laugh out loud. I’m a tough critique of comedy, but this was a home run for me.

Don’t let the foreign language with subtitles issue dissuade you. At least fifty percent of the humor is visual. The visuals are beautifully done, actually. Interesting. Piquant.

There’s depth in the variety of stories, as told through all the different players. Their stories are revealed yet not dwelt on and pounded down. The audience gets it without needing to hyperextend the human frailties.

This is the best film I’ve seen in a while.

Jens Moeller of the Copenhagen police is stumped by a journalist’s disappearance after a ride on a mini submarine. The craft’s pilot is held on suspicion for murder but all their leads are going nowhere.

I’m enjoying this Danish detective story. The focus is on the investigative side of events with the audience only finding out outcomes as they present to the police.

It’s been an above average show so far!

Once you’ve spent a bit of time on police dramas, it can be fun to compare by country. Watching For Life with subtitles reminds one how different Norwegian is from the latin based European languages. It’s rare when you can pick up on the words. There are only a few Anglo words remixed with an accent.

The relationship between the two lead detectives has a different strong-woman vibe than Mariska Hargitay in the long-standing US show Law and Order and is the total opposite of Brenda Blethyn, who plays Vera in the British sitcom of the same name. Then there is the very modern and Scandinavian relationship between lead detective Victoria Wolls and her older yet still teenage son.

But the fun is in the details like detective Wolls fabulous modular home and the snowy Norwegian landscape. It is a show which reflects its place of origin.

*Alert* not all genders will appreciate this film. I thought it was hilarious and purposeful.

It tackles difficult issues through artistic and creative means that not everyone will find effective.

I’ve taken to finding new viewing options by searching by actors. That’s how I found Prime Suspect, by searching the projects Helen Mirren has been involved in. And it does not disappoint.

My husband finds old movies tiresome. The dated sets and lack of technology leave him longing for more recent productions. I love seeing pleated trousers, blazers with shoulder pads, and feathered haircuts. It’s nostalgic, and I often remember owning just such a trench coat.

This story starts with DCI Jane Tennison running against the steady headwinds of 1990s sexism in the workplace. I find it invigorating to note how much a part of history’s overt disdain for women in leadership positions has become. Not gone, mind you. But certainly passé in most instances.

The quality of the scripts, actors, and productions is as strong as expected for a series that has won multiple awards. Helen Mirren is a gem set in an expansive and glittering piece of jewelry.

This is turning out to be a really good series. The writing holds. So many times the storylines start to repeat or are drawn out to slow the whole thing down. But the material here tumbles along and plays to the actors’ strengths instead of grating against them.

Mandy Patinkin, Claire Danes, and Damian Lewis are strong leads, with the supporting cast also interesting and credible in their roles. I love the way they play the idea that everyone is holding back something in their lives; everyone has a double life in a way. Claire Danes has the most opportunity with this material, and she guns it. As long as you can handle all the self-questioning, her performance has more depth than most things you see on the small screen.

Other plusses are the international themes and the DC lifestyle takes. Also, the dwellings of each of the characters are credible. The furnishings, the level of mess or trendiness, ring true in each house. Kudos to the prop people. They take their job seriously.

I enjoyed this historical series set in sixteenth century France. The sets and costumes are exquisite. The narrative stays close to historical facts. Instead of the emphasis on soldiers, war, and conquests, there is a particularly female perspective.

I hadn’t heard of this 1971 movie with Donald Sutherland and Jane Fonda. The neo-noir thriller is a movie of its time. The blocky framing in the cinematography provides a modern backdrop, while the lens still captures striking panoramas of skylines. Words like “freak” and “square” stand out in their use, which has been commonplace. Whereas when Fonda says, “It’s important to be able to let it all hang out.”

The cuts to Fonda’s counseling sessions with her psychologist are interesting in framing women’s issues of the time. Baby-faced Jane explains that prostituting herself is the only way to feel she is in control (over a man). The ease with which the actress becomes the activist face of women’s issues in the US is easy to understand.

Donald Sutherland is fantastic in this film. Fonda got the award nomination, but I doubt it would have happened without his strong performance. The scene where the two make some purchases at a fruit and vegetable stand is so well done. They feel like a couple.

On a sidenote, Ann Roth is responsible for the costumes.

I really enjoyed this movie, and it’s been a while since I’ve hit on a winner. Full disclosure, I’m a Clint Eastwood fan and found it by searching his large portfolio of films. I also like Laura Linney, who did a fine job. Gene Hackman, Ed Harris, and Judy Davis all came through in their performances as well.

The story is based on a book by David Baldacci and will keep your attention. I also appreciated the balance of enough show and tell to make a point without overt violence or gore. A little can be a lot, and certainly enough.

The Death of Stalin, set in the Soviet Union in 1953, is endlessly funny, but more absurdist than those earlier works. The story spins off from real events. When Josef Stalin suffers a stroke and collapses, guards are so fearful of entering his room that he is left on the floor in a puddle of urine for hours. In the aftermath of his death, his closest ministers, who once trembled at his every glance, begin their scramble for power. As they do, Iannucci masterfully blends dark humour about an authoritarian regime and farcical comedy performed with perfect timing.   

BBC

Purely by chance, I parked across the street from what turned out to film venue which specializes in vintage productions. There was a handy leaflet right under the red letters ‘cinema.’ So I grabed one, as old movies often appeal to me.

I prefer to watch a recommended film just to take some of the risk out of the time investment. A Brief Encounter was coming up as a summer viewing option. The screenplay was written by Noel Coward which sounded promising. The blurb suggested that it was one of the best British films ever made.

I didn’t quite see it that way and drifted off about half way through the production.

More qualifiers would be nice when people suggest something is the best of its kind. It seems that there are many layers of what a film could be. So what is this one the best at? Maybe more context is needed. That’s certainly the case when evaluating so many things.

This new series on Netflicks has a nice mix of rivalaries and atavistic responses. As in all good stories there are several story lines intertwined. Jeff Bridges and Diane Lane anchor the acting while a flury of lesser known actors flush out their roles. So far I’m happy to have clicked on this new offering.

After dabbling in a few more recent series and being disapointed, I decided to go way back to 1993 and try a classic. NYPD Blue was broadcast before TEVO or streaming so I’m sure I’ve only seen a handful of the episodes. It’s interesting to see how standards have changed in the last thirty years. Some issues are spot on the same.

The writing is much sharper and less predictable than most series. The characters have more depth. But then, that’s why it had a 12 season run.

After devoting time to some movie duds, it was a delight to watch a comedy with a clever plot line. The film does a good job of contrasting the frivolity of distant social relationships versus the itimacy of the family. And in doing so says something about the value of the work necessary for such things.

The cast is impressive as well. But most of all I appreciated the laugh out loud moments.

I really enjoyed this girl-power sisterhood movie. It was humorous, entertaining and endearing.

The enthusiasm of the two sisters, played by Priya Kansara and Ritu Arya, is contagious and contrasts nicely with the controlled reserve of their Pakistani parents. The supporting actors are distinctive and play well to the ruse.

There are lots of laugh out loud moments. Some are old school slap stick. Some play off colorful facial expressions. Some mock all the slow mo clips from action films. There are lots of occasions to let out a guffaw.

The effects of the 2008-2009 downturn were still very much in play when this movie came out in 2011. And the overall greed is bad and Wall Street is all about greed themes hang heavy throughout this film. Still, I enjoyed reviewing what a day in 2008 meant to a firm full of traders. It must have been dramatic if not confusing.

There were many angles to the socio-economic inputs which resulted in the claoking of mortgage back securities as viable market instruments. This film steps in at the moment of realization that people – many more people than blue suited Wall Street types – had been swimming in a pool of self-deception. What unravels is directed by the actions of those who stay on message and continue to choose the cash over conscience. They sell off the firm’s entire portfolio by noon.

It is nothing but self-indulgent to pin the motivation-by-money blame on these worker bees. As if they only respond to monetary incentives. Yet each actor from Demi Moore to Zachary Quinto (who plays the calm savant rather well) to Kevin Spacey utter the words “I did it for the money.”

Overall the film is about an interesting event which is played out by excellent actors. One just needs to be prepared for all the messaging.

There are some houses that are better known than others. I bet 99% of the US population could identify the White House in a line up.

There’s the house that so dismassed Jimmy Stewart in It’s a Wonderful Life. The turn of the century home has aged over the years and Stewart finds the on-going maintenance a dispointment. Also from the silver screen is the gorgeous Home Alone Chicago residence of the McCallisteer family. Kevin (McCauley Culkin) is ingenious at rigging it up with all sorts of traps for the goofey thieves.

From the small screen, the Brady Bunch house- a cool 70’s split home comes to mind. How many times do those floating stairs carry the six kids up and down? The California suburban build’s features are a constant reminder that father Mike Brady is a hip architect. From sitcom comedy there’s Archy Bunkers house on All in the Family, and Roseanne Barr’s family spend a lot if time on the livingroom couch in Roseanne.

One of my favorites from earlier childhood was the log cabin in the big woods- home to Ma, Pa, Mary, Laura and Carrie Ingalls. Built by hand; heated with a wood stove. Family time was all the time in the one room structure with a loft. The scenes often would spill out into the barn just to keep some conversations private.

What about you? Which homes hover in your memory?

I finally got around to watching The Big Labowski and can see why it is a cult classic. The depth and variety of special characters in this film make it delightful and funny. But if it weren’t for Jeff Bridge’s hard-to-place ability to maintain a running continuity through a sequence of unpredictable events, the film could have been a wreck.

It’s not just the characters. The filming, especially the portraitures, is magnificent. Granted there were a lot of interesting faces to capture, but in addition to framing, music added flare, timing was spot on. It really does need to be watched several times to see just how the directors and cameramen/women worked the magic.

The Coen brothers grew up one suburb over, educated in the public schools there. It’s a nice thought that their creativity was nurtured just down the road.

I mean, how can you go wrong with a match-up of Robert Redford and Brad Pitt both sporting shaggy 70’s hair and aviator glasses? Redford still has the same twinkle as he did in The Sting even if his features are more rugged. And Pitt looks rediculously boyish. They both pull off the action scenes beautifully.

But interestingly enough this is an ode to the man of action versus the bureaucrat. It’s a tribute to those in the game, taking risks, collecting information and then proceeding on the next move. It doesn’t sugar coat the pitfalls. The wins are often not pubically celebrated. Acting under the radar and with superior efficiency, those who perform push the story along.

Addendum (10/26/23) The scenes from the situation room in the film keep rolling back through my memory. The director, Tony Scott, was truly masterful in the staging. Here are the bureaucrats, all dressed in outfits, encased in a steel and glass conference room. Through the glass, we are shown a control room with blipping computer screens and underlings running hither and yon. The bureaucrats have everything at their disposal: computer power, people power, resources.

Redford is part of the group yet not. He plays by their rules. Yet he has his means of reaching beyond the room for help. He is nimble, and independent, but never arrogant. He knows how to use the yearning of being included to motivate others to help him. He knows who to pull social levers and leaves the power levers to those in the control room sitting in their three piece suits.

Tony Scott is clever in showing off the workings of Redford by spotlighting him in the situation room.

This film needs no introduction. Nominated for eight Academy Awards, it is considered by some to be the best movie of all time. I finally got around to watching it and it does indeed outshines current films.

Here is are a few aspects to the film that struck me as very well done.

1. The chase scenes through gritty NY streets are about one human hunting another. The most suspenseful cat-and-mouse chase occurs when Hackman is dogging Frog #1 through to the subway. This also foreshadows who wins in the end. (Best Director, Best Actor)
2. So often, the lens frames the characters in what could be a spectacular still shot. (Best Cinematography)
3. The camera picks up supporting characters long enough to tell a little story. There are two little boys in the window of the apartment building, for example, as Hackman edges around its foundation to stay clear of the snipper. They are having a grand time watching the action unfold. (Best Director)
4. The music. The orchestras used in the 70’s are superior to most contemporary film music. The sound is a strong contributor to suspenseful scenes. (Best Sound Mixing)

This is a movie I will probably watch again. There is so much quality in it, one can find new ways to enjoy it on a second go around.

American Sniper is an older (2014) movie that I failed to see when I was busy with my kids. I’m glad a little bit of time has passed and the Iraqi war effort is well behind us. It makes one appreciate even more how balanced this film is given the precarious nature of Americans at war abroad.

I’m not surprised to find out that Clint Eastwood directed it as he is a veteran at holding an audience while they navigate the conflicting emotions of violence and self-protection. There are depictions of violence but it only gets gruesome for short stints. There is male camraderie without the overblown chest bumping or creepy macho masculinity.

Bradley Cooper deserved all the praise he seems to have gotten. It was probably around this time that he was the latest name in Hollywood and I was trying to catch up and figure out who he was. In this film, he seems to be carrying a little bit fat compared to his lean look today. His preformance as a military man or a floudering husband are both well done.

I’m not a big fan of war movies. I have yet to see Saving Private Ryan, Full Metal Jacket, or Dunkirk. But I have no regrets about having spent two hours on this powerful and well-performed film

Business is often slow in August for lenders and realtors. People are distracted with plans; those they committed to months ago like weddings and family reunions, those in the moment like work golf outings and those hastily snuck in as the end of summer draws near. It’s not a productive time to hop on the phone and try to bring peoples’ attention back to business.

Which explains the extra TV time.

I gave this series a shot out of curiosity to see an older Christina Applegate. The actress gets kudos for creating a distinct persona for her performance as Kelly Bundy in Married With Children. Some of those sassy characteristics and hard edges appear here too. They are familiar, like an old friend, without being distracting to her new role Jen, the grieving widow.

Applegate is well-matched with Linda Cardellini who plays Judy Hale. They have contrasting personalities and traits providing moments of humor and sympathy. The story line puts the women on a rollercoaster ride. At times the audience is let in on parts of the secrets lurking in their lives. At times the audience is misinformed.

There is a nice range of female characters in the show. The police detective who is handling the hit-and-run case is quite humorous. The mom who lives across the street from Christina. The realtor’s mother-in-law. But it’s not just a chick flick. There is the handsome Steve Wood, the respectable Christopher Doyle, and quirky Pastor Wayne.

Like many sitcoms, there is redundancy and sometimes the action is slow. But overall, I’ve enjoyed the first season and plan to continue binging on the 30-minute episodes. Happy Summer!

Comedie has been underrated lately. But this series is a swing at bringing it back. It tackles the woke while poking fun at the aged. It subtly shows how people talk about race can be selectively filtered. It lays out in the light of day that life is complicated and warring interests make for messy outcomes.

But mostly this series will make you laugh about topics that have been held oh-so serious as of late.

This is a good movie! Watch it.

Watch it because it will make you laugh out loud. Watch it because the cinematography is precise and interesting. But watch it because the character Marisol will remind you of an old friend from a southern European country or Mexico. She plays her character to perfection.

I’ve had a dry spell in finding a series that holds my attention. I like to take in a show during that time of the evening, right after dinner, when you just want to relax and not think about much. But you need a story, some intrigue and some action. The Night Agent is coming through on all accounts.

Sure the power structure is familiar. And the who’s-the-good-guy and who’s-the-bad-guy back and forth is a staple. But the characters are engaging. The two lead actors have strong rapport which is important. Instead of just one assassin with a gun, there is a couple (a twofer). Washington DC as a back drop is sympathetic.

It’s a little heavy on the women-in-power theme. Thankfully not enough to make me look elsewhere for an hour of intertainment.

How can you go wrong with a movie starring Denzel and Jodie? You won’t with their performances in this bank heist thriller. You see much more of Denzel- and man, he is great, so talented. Jodie’s role is shorter but key to the story and she plays it well. There are many more interesting characters throughout the film and at the end the credits roll in conjunction with a clip- so you can actually place the name with a face.

The plot is good too. It starts a little slow and part of you worries that it is only a slight variation on a bank heist you’ve seen before. But wait. There’s more depth to this story.

Spike Lee directed this 2006 movie. He has a natural way of handling the NY vibe. He slides in some social commentary in a class act sort of way. Not at all it in the hit-you-over-the-top-of-your-head-with-a-beer-bottle way that is done today. I’ll have to revisit some more Spike Lee movies.

If you are a fan of Jack Nicholson you will love vintage Jack in this 1973 film. He’s very young and handsome. And all the traits that make him uniquely famous dance across the screen. The story line is a little slow. The footage of America in the 70’s, however, is interesting throughout.

The Last Detail is a 1973 American comedy-drama film directed by Hal Ashby, from a screenplay by Robert Towne, based on the 1970 novel of the same name by Darryl Ponicsan. The film stars Jack Nicholson, Otis Young, Randy Quaid, Clifton James, and Carol Kane. It follows two career sailors assigned to escort a young emotionally withdrawn recruit from their Virginia base to Portsmouth Naval Prison in Maine.

The Last Detail was theatrically released in the United States by Columbia Pictures on December 12, 1973. The film received positive reviews from critics, who praised the performances of Nicholson and Quaid, as well as Towne’s screenplay. It was nominated for two Golden Globe Awards, three Academy Awards, and four British Academy Film Awards (winning two).

Wiki

There’s a new romantic comedy out with some heavy-hitting actors like Eddie Murphy, Julia Louis-Dreyfus, Jonas Hill, David Duchovny, Nia Long and newcomer (at least to me) Lauren London. The film tackles all the social awkwardness around race relations when Jonas falls for Lauren and vice-versa.

It’s a Romeo and Juliet romance where the families serve to pull the lovebirds apart. One such scene occurs around the dinner table. Julia Louis-Dreyfus, Jonah’s mom, starts down the whole ‘our parents came to this country to work’ reasoning for success, and Nia Long, Lauren’s mom, challenges her with the benefits of heredity in the family profession.

As expected, Jonah’s father is a podiatrist, as was his grandfather and his great-grandfather. But what does the implication of this occupational lineage? In what does it offer an advantage? In a competitive situation, having access to information at any time or season has clear advantages. This may be knowledge about educational issues, school entrance requirements, course work, or internship insights. And not only can one tap a family member at any time, but there is also a stronger guarantee than with any other group that their response will serve your best interests.

This unconditional support is further enhanced through connections to others in the field who may serve to advance the student’s objectives. Favor trading within a group happens naturally. So a lineage of family members with contacts throughout the profession offers access to others who will also work on the child’s behalf. This reaching out to lend a hand may also occur with a sense of nostalgia- Remember when we were only twenty and had not a cent in our pockets?

It’s important to pull these tasks apart and take them on an individual level. Understanding how institutions work if it’s deemed important to get some outside blood into highly competitive professions.

As far as the movie goes- it was humorous, and that’s saying a lot given how worn out the black/white/wokeness dialogue has become in recent years. It made me laugh and I don’t think it’s a spoiler to say the girl gets her guy in the end.

Psychological thrillers are almost too creepy for me. And this one is no exception. Like a train wreck, however, something says not to look away. It’s hard to say too much without giving away spoilers. The actors were believable and alluring. The story is twisted in more than one sense.

In retrospect, the series also has a lot to say about addictions of various types, unhealthy interest in the affairs of others, and obsessions.

After feeling like I wasted two hours of my life watching the (supposedly) highly-rated Bullet Train on Friday night, I returned to an old franchise friend Mission Impossible. Mission Impossible 3 starring Tom Cruise was made twenty-two years ago, yet it was better on so many fronts than Bullet Train.

Japan’s bullet train is a cool vehicle, but that’s it. The producers don’t try to capitalize on any other geographic features of the surrounding countryside. The complete opposite is true in MI3. The last part of the film is all shot in Shanghai. If you’ve been following the development of this city, you will recognize the age of the film as it has since been developed even further than illustrated. But the producers do a cool job of street-level visuals of the older parts of town. This, of course, is while Cruise does all sorts of acrobatics and tricks through the streets and rooftops.

In MI3 the storyline has some subtleties, some twists, and some intrigue. Can’t find any of that in BT. There’s sloppy violence. I think it’s meant to be funny- but falls gruesomely short. And maybe I’m old fashion, but I expect the stras in an action-adventure film to be dashing, debonaire, or at least a little good-looking. Brad Pitt is a handsome man, except here where he takes on a hobo-type package. Again- not funny.

I want glamour and Cruise pull that off in spades. If you don’t believe me have a look at him here promoting his latest film, Tom Gun Maverick.

This movie is such an interesting melange. I was a little concerned in the beginning that it was one of those french films that is just a little too off for my tastes. The excellent Laure Calamy kept me engaged with her oh-so-typical french expressions and mannerisms. So charming. The tale starts from her perspective. And then we see it retold three more times from other vantage points, a technique that forces the viewer to confront how naturally narcissistic we all are.

The other actors do a superb job. There’s depth to the dimwitted farmer who misses his mother. There is grit and passion in the cuckolded husband who seeks love in the wrong places. There is a cruel frivolousness to the wealthy woman out for a fling. And then to keep us all alert, the frames cut over to West Africa where another crew of actors plays their parts.

It’s a little dark, and a little creepy in parts– but rich in affairs of the heart. And you’ll never guess the ending.

This 1998 Jackie Chan comedy is packed with good stuff. I’m not sure if I lost a lot of time getting to know the masterful Chan or if the serious lack of jest and comedy in today’s world makes him all the more valuable, but I really liked this movie. It is funny and smart and strong.

Within moments of the opening scenes, there is a flurry of completely inappropriate word choices. Wokeness be damned! Both actors (Chris Tucker is an excellent sidekick) are gifted in comedic gestures and facial expressions which simply amplify the use of cancellable verbal offenses. It’s so delightful.

Chan is endearing as he draws a laugh through self-deprecation and physical faux pas– but don’t let his warm-up show fool you. His use of trips and slaps and fake punches is there to set the bubbly laughter adrift in his audience. Once everyone is relaxed and ready to let go of a noisy guffaw, giggle or snicker, then Jackie Chan will show off his real moves. And they won’t let you forget the strength of this martial arts performer.

He also holds the film together with a credible yet not wholly predictable plot and lively scenes across neighborhoods, Burroughs, and architecturally interesting buildings. I loved the clips from pre-China Hong Kong.

The Staircase is an HBO series based on the real-life story of the death of Kathleen Peterson (Toni Collette) and the subsequent trial of her husband Michael Peterson (Colin Firth). Before you commit to the viewing time be forewarned that this series will play in the shadowy crevices of your brain. The film brings out the fears and uncertainties of relationships and the strength of their bonds. Your mind will be mulling over the hour-long episode well into the following day.

Full disclosure, I’m a fan of Toni Collette; and Colin Firth for that matter. They do not disappoint. But there are far more producing and editing tricks done with this story which leave the audience in a persistent state of questioning. The splicing of events as members of the family review and question past occurrences reminds of us of the complexities of kith and kin. Timelines with a six-year distance between them are run simultaneously. The overlay of the documentary being filmed and produced in real-time creates a window upon the world effect. (Here’s the link to the documentary.)

There are several interesting collisions between the intended use of the justice system and economic incentives. One is pretty typical. An agency authorized to review forensic material for jury trials is not operating at an arm’s length from the prosecuting office. An outside organization proves the bureau both fails to report pertinent information as well as distorts its level of experience. Another ho-hum, let’s protect our buddies, incident occurs when a homosexual lover threatens to provide a complete list of his liaisons should he be called upon to testify. Something about the word systemic comes to mind in the ability of the district attorney to waive away this witness.

But the more intriguing, or perhaps nefarious, turn of events occurs amongst the kids. Of the five college-age children in the Peterson household only one, Caitlin, was Kathleen’s biological offspring. She is also the only child who broke with the others in their unwavering support of Michael’s innocence. After testifying against her step-father she successfully sues him for claims to a large insurance settlement and other assets. It seems like a jury should receive some sort of incentive disclosure eventhough this may seem cynical.

This series will remind you that life is complicated. But you may not be satisfied that you have been given any answers.

Just yesterday I dropped off my daughter at her choice of college, which happens to be my alma mater. The day felt like a time warp. Memories, long pushed aside by a busy life, kept setting up film screenings in my head. As I blathered on about some irrelevant fact or another, she gave me the most endearing look of tolerance. Remembering the past as the present unfolds does the trick of revealing the granular difference of what seems like just a few years.

The movie Presideo, an action thriller from 1988, had me drawing similar comparisons. The shots of San Fransisco are so good. What you see is a city growing past a rough go through the 70’s. There are many street scenes, the cityscape with night lights, a bustling China Town and various residential options. I couldn’t help but thinking how wonderful it was to visit San Fransisco through the 90’s. And now, 20 years on, it’s back to a struggling mess.

The famous military base, The Presidio, was dismantled in 1994. Perhaps there was some motivation to preserve a sense of it in the film. The theme of the old guard military of mid-century, represented by Sean Connery’s role, and the younger generation runs throughout. The aging military man strides around in full uniform while Mark Harmon and Meg Ryan both slip in and out of bomber-styled jackets.

True to this genre, there is only one (ok- two if you count the GI who gets shot in the movie’s opening scene) female role. As usual, the lead lady is irresistibly attractive, funny, daring, and rebukes only in a way that everyone knows is temporary. Meg Ryan shines with grown-up Shirley Temple curls gently swirling around a beatific smile and large doe-like eyes. At least if there is only to be one woman, the producers picked one above the grade.

It’s certainly not the movie of the century but it does offer strong entertainment value. The car chases are genuine and done back in a time before AI, so they really set them on fire. And you will smile when Harmon looks at his pager with delight, pulls over to the curb, and pops into the near phone booth to call his buddy. Aside from a few brief lapses in acting, the actors do a great job. And the plot has a twist to boot. The past can still keep you on your toes.

If you are a 007 fan, you will be pleased with the last appearance of Daniel Craig as the debonair James Bond. Staying true to the brand, it shows off all the great features of a sprint to save the world from treacherous evil. Car chases in fabulous cars across European mega-scapes. Amazing stunts. The intrigue of who is double-crossing who.

A notable change from Bond movies of decades ago is the number of interesting female characters. There used to be the devoted secretary playing support worker and the super attractive girl plunged in the midst of the action. That was it. For decades. This film has a spectrum of female characters from somewhat comedic, to tough but still female, to gorgeous and even motherly.

Settle in for a long film, it’s worth it. I found it fresh yet true to everything I love about Bond movies.

Rotten Tomatoes only gives this 1980 action-adventure film a 5.2 out of 10, but I really enjoyed it. It is Steve McQueen’s (1930-1980) last feature film and he plays up the role of a bounty hunter who isn’t as spry as he once was. He is also an hysterically poor driver. I find it fitting that the mega star with a garage full of a hundred classic cars leaves the stage playing a parady of himself.

I was not aware of how rough a childhood Steve McQueen had endured. Raised by a handful of relatives, and beaten repeatedly by his mother’s new husbands, he found himself on the streets several times getting by with petty theft. He entered the Marines before he was eighteen and used the GI bill to pursue acting once he served his tour. In 1959 Frank Sinatra saw something in him and made sure the camera frequently found his close up in the movie Never So Few. By 1974 McQueen was Hollywood’s best paid actor.

If you lived through the 70s, and like cars, you will appreciate the array of vehicles throughout the film. The car chases are not edgy but they are fun. And there are plenty of stunts. The story takes you into some rough urban areas. When you see old footage of people living in buildings that are more or less slums, it is a good reminded of how far housing standards have come in most cities in America.

Lastly, you can’t help but notice the musical score. A full orchestra builds the auditory suspense and it is refreshingly original. Michel Legrad wrote the music; he wrote over 200 movie scores the most notable to me is “The Windmills of Your Mind” from the Thomas Crowne Affair (1968).

This movie could be a comedy to the right audience. Every identity is represented: immigrant, nerd, red neck, white male psychopath, victimized woman, and on it goes. A whole collection of cliche phrases clunk out of a beaten up tool box.

The takes on capitalism driving people only to care about money, money, money! Whereas the heroine is been coached by her white haired father to remember its always about the fight (or the struggle to some.)

There’s entertainment value, I guess, in keeping a scorecard for subtle and not-so-subtle messaging. And the physical fight prowess of the lead actress is impressive. If these don’t trip your trigger though- don’t invest the time.

Overall I rate this series a seven out of ten. Toni Collette carries the show but many of the secondary actors are also quite good. There is an interesting mix of social strata and ethnicity amongst the characters which helps keep the secrets that hold the audience’s attention in the first half of the series.

The story takes us to Belle Isle Georgia, an area of the US that is overlooked, to say the least. There is heightened intrigue when odd things happen in the most average of places. And the guessing of who has done what to whom continues well into the middle of the series. The end is a bit drawn out. Perhaps shortening the series to six or seven episodes would have kept the story crisper.

The relationship between a mother and her daughter explores some proven themes about mutual understanding across time. Not to the depth of a great literary novel, but as a reminder that few are perfect in their family roles. After all, this is an entertaining thriller, not a psychological inquiry.

It was a great weekend to take in two thrillers from the seventies. My husband was away and since he is not a big fan of vintage films, I took advantage of having full control of the TV. Three Days of the Condor (1975) and Marathon Man (1976) are both thrillers whose suspense relies on dishonest civil servants (thanks to Nixon I suppose). Both are better written than what usually presents itself on the screen. Both run quite a bit of interesting and creative footage of Manhattan. If you’ve been to New York lately you might enjoy comparing the then and the now.

The seventies are in full glory in both films. Who can wear a pair of jeans, aviation glasses, and a tweed jacket better than Redford? Cars are burly beasty things, there’s more garbage on the streets than we now expect, and business suits are more common than business casual. The runners who share the trail around the reservoir with Hoffman wear short shorts which have yet to have a fashion revival.

Both protagonists are intellectuals, not tough guys (although their tight abs both make a taught appearance). They are dupped or naive to the mechanics of greed and deception until shocked by the loss of life around them. Provoked, they put their smarts into solving for the villains. Alas, as per custom, there is only one female per film- gorgeous and seductive- in place to shine a brighter light on the lead character while making themselves available to aid and support the male lead as is required of them.

The ending of Three Days of the Condor was a little off for me (and ironic now some forty years later). Marathon Man is more gruesome but overall richer in the story and social context. I enjoyed them both but if only could pick one would recommend Marathon Man.

I’m three or four episodes in on this thriller-drama and am enjoying the intrigue. It’s one of those stories that introduces the audience to a variety of characters, only loosely linked at first. And then like a wide fishing net thrown over the water, it is drawn in tight until all the characters’ stories are touching. In the meantime, you are left wondering who means what to whom.

I was also attracted to the locality as the story takes place in Warsaw. Recently there’s been a photo cycling through Twitter feeds of Warsaw’s downtown skyline. It made me realize how little I knew about this city.

The characters are convincing. There’s some blood and gore but not too much. But most of all it’s fun as because it leaves you guessing.

Rewatching GoldenEye was a lot of fun. It takes the audience back to the West versus the Russians with all sorts of flair. My favorite visuals are the numerous arial scenes which are very well done. They don’t feel gimmicky or dated. Just about every other form of transportation is fit into a chase or explosion scene of some sort- including James driving down the villains in a tank. Q sets 007 up with a fabulous BMW convertible.

The supporting women have some depth to them. This is Judy Dench’s first Bond movie, and she is looking sharp in 1995. She blends beautifully the strength of the position with a parental caring for her prize agent. Femme fatal, Famke Janssen, pulls off the psycho-sexy armed and dangerous woman. She’s a soldier who enjoys her job a little too much. The glamorous nerd who wins James’ heart is played by Isabella Scorupco. Sure- she’s beautiful too, but her real skill to save the world is, wait for it, coding.

There’s quite a bit of humor throughout the movie. Most of it centers around poking fun at the philandering, cocktail drinking Bond. Laugh off the old to usher in a newer 007, I suppose. If you know the franchise, you will laugh along. The computers will also make you smile. They are deep desktop boxes the size of a small black and white TV.

Pierce Brosnan isn’t my overall favorite Bond, but he does a good job in the film. It is a classic blend of dramatic scenes, chases, international destinations, and stunts. I thought it was well worth a couple hours of my time.

I can recommend this Netflix series to those who enjoy the action-adventure, spy thriller type of film. There are a whole host of bad guys and chases, good guys and fistfights, the ‘I’m not so sure if you are good or bad guys and break out of the handcuff moves. Fortunately, the cast is excellent in both the male and female categories. The actors make the series.

Lior Raz is great as the romantic tough guy who is betrayed by a beautiful CIA operative played by Kaelen Ohm. To make up for the cheating wife, there are two other excellent female roles. Sanaa Lathan plays a NY journalist who is vested in getting the real story out to the public. She skillfully juggles her doubting husband with her professional obligations. Moran Rosenblatt pulls off a credible performance (if sometimes a little amusing) of a very pregnant Israeli policewoman.

The plot suffers a little in parts. Although, I’m not sure I’m a very good judge of espionage realism, as I have no first-hand experience. The intrigue is spooled out slowly and there are plenty of surprises. There’s also plenty of hand-to-hand combat by both genders. Perhaps a little too much death and destruction- but it goes with the genre.

The episodes are usually about 50 minutes in length which matches up nicely with the time I want to devote to a little TV downtime. The setting jumps from Israel to New York so I get my cross-cultural fix. The nine episodes are showing on Netflix.

I was hoping to watch the series Tehran but since I was on Netflix the algorithms offered me this instead (Tehran is on Apple TV). It’s only one season with ten half hour episodes.

The film takes you to a variety of settings as the story plays out in Oslo and Israel and Egypt. The characters are also interesting as they represent different aspects of each of these areas.

The plot is suspenseful and for the most part believable. We’re about two thirds of the way through but it won’t take long to view the rest of the episodes as it’s top of the list for TV entertainment.

I clicked on this 1983 comedy with Walter Matthau and Robin Williams on a bit of a whim. It is not highly rated, but I’ve been curious about comedy and what I failed to see in it back when I was younger. Much of the humor is derived from subtle plays on social norms. If you are not from the area, or lack proficient language skills, or are not in tune with current political situations, the laugh often slips right on by you.

Walter Matthau is admirable (I am just realizing what a tremendous career he had!) and keeps the movie together. Robin Williams is not my favorite even though he pulls offs some great lines and gestures. But mostly what I found interesting is the harsh review of US bureaucratic services. This was a time of high interest rates and high unemployment, and a discouraging mood is present throughout. As a result, one does come away impressed with the speed and fluidity of the disbursement of Covid relief funds.

Steve Carell has grown on me over the years and his skills are in high gear in this comic yet action-adventure-themed tale of a married couple’s big night out in the city. In addition to Tina Fey and Taraji Henson (Empire) being strong supporting actresses, a very young Wonder Woman (Gal Gadot) makes an appearance.

There are a variety of ploys which will make you laugh, but the film is really an ode to couples who have been together for a while.

I’m a sucker for cop shows. I find a new series and watch it through to the last episode while sticking to a diet of no more than one a day. Bosch was a recent favorite; a grainy late age LA detective with the stomach for justice over politics. He had a great side kick in Jamie Hector (also know for appearances in The Wire).

I was looking for a new series while trying to switch things up a little bit, and found something fun and new in the BBC production of New Tricks (also on Amazon). It’s a little bit older having been produced in 2003, but that doesn’t take away from the interesting mix of detectives with their foibles or their unique skills. A snappy veteran cop is given a threesome of retired detectives and assigned cold case files.

The story lines are clever instead of gruesome. There are no car chases. There is a dose of unsavory behavior. And a dash of OCD mania. In other words it is very British and very un-Hollywood. A perfect replacement for Bosch. Happy viewing!

After I wrapped up Bosch, the story of a crusty police detective who hits the streets of LA to secure justice for the victims of crime, I was at loose ends for a replacement. I needed a new setting and a new protagonist. We had switched streaming choices recently which opened BBC up for viewing. That’s how I came across Unforgotten: Unforgotten is the critically acclaimed British crime drama series starring Nicola Walker and Sanjeev Bhaskar. 

Instead of the old-shoe-leather-worn-beat-policeman made detective, the protagonist is a mid-aged woman whose brain clicks through every clue and its potential like the wheels on a slot machine. She knows the odds are low for bringing to light the violent offender responsible for the skeletal bones under an old boarding house, but press on she does.

Her lighter step and softer expression is a nice contrast to the scowl of a graying cop who has seen more corruption than he cares to claim. Her compassion toward the mother of the lost son is displayed through action and not just words. She is interesting. She is sincere.

The story line is strong. Like any good mystery, part of the reason the audience cannot predict the outcome is because they are being denied information. But the plot in Unforgotten has you noodling right along with DCI Cassie Stewart and her partner DI Sunny Khan. They’re a good pair, contrasting yet supportive.

There’s a freshness about discoveries made due to new technologies or abilities, like pulling apart and refurbishing a diary. Although buried under a body for forty years, a little of this, a little of that, and the scientists are able to read the entries. And there is a dash of corruption to be sure there are plenty of gangsters in the mix.

Overall the series has everything I could ask for: interesting characters, thought provoking plot, sympathy to the victims (to take the edge off the violence), and super actors from across the pond. I recommend watching.