Author: jbg

ALL OVER THE GUY (2001)

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Directed By: Julie Davis

Written By: Dan Bucatinsky 

Cinematography: Goran Pavicevic 

Editor: Glenn Garland and Mark Morrisey 

Cast: Dan Bucatinsky, Richard Ruccolo, Adam Goldberg, Sasha Alexander, Lisa Kudrow, Andrea Martin, Joanna Kerns, Christina Ricci, Michael Harris, Doris Roberts

While the flame of Jackie and Brett’s attraction intensifies, Eli and Tom, the unlikely pair they attempt to bring together, appear destined to spiral out of love rather than make any sort of progress toward becoming a genuine couple.

I can remember seeing bits and pieces of this film before I don’t know if I’ve ever watched it from beginning to end, but now that I have watched it from beginning to end, I have quite a few thoughts and things to say

The way this film is edited for some odd reason. The cuts seem to be perfectly made for a TV movie, which shows you how deep the film gets.

This is ironic, considering this is a gay romantic comedy that has a couple in it that I am guessing helps certain audience, members or allies feel a bit more comfortable in the film or seems to want to parity or be irony of how gay relationships are in straight, romantic comedies where they’re given Very little to do except either be support Relief or help set up the main couple and get them back together in general.

Hear the Straights portrayed by Sasha Alexander and Adam Goldberg feels so predictable in their own way and stereotypical playing the straights or the street best friends of the couple at the heart of it seems to be intentional

This film is filled with irony as it either condemns or criticizes, other gay romantic comedies at the time that are more mainstream while itself being kind of light when it comes to the material that at least gets deeper into the characterization and sex lives of its gay characters 

Maybe, because it takes place in Los Angeles major city it seems like none of the films is all that controversial everybody accepts everybody for who they are. There is no prejudice, which is nice as it has a positive supportive message while working that is obviously taking place in the 90s, maybe early 2000s and all of the culture of that time is on full display if it had been made modern-day and at that time it would be accused of over saturation of a time. Because this is totally a time capsule, including the leads and the situation they find themselves in OK because it’s supposed to be a comedy so it works within the perimeters. It doesn’t get too deep, but it is entertaining for what it is.

No color whatsoever like an Ally ship movie it’s written and produced by its star Dan Bucatinsky and a lot of the big-name members seem there to help fill out the cast list, but obviously seem here more for support or doing a favor someone associated with the film because it’s their roles are pretty much cameos as they are not too much to shine in except for maybe Lisa Kudrow And Andrea Martin, who seems to can’t help but be funny when she’s in a film or show, though she has a big role that most of the other big names and she ends up being the most memorable part of the movie. S they get the best material. Especially Doris Roberts’s monologue near the end 

No, I am highly critical of the movie watching it through modernize. I’m sure at the time it made its Mark as it was one of the few mainstream, independent gay romantic films back when that was still considered either controversial taboo or strictly for the art housing oh, how the times come, even though the material feel so basic.

The only depth of the film seems to be in one character’s alcoholism, which is more dealt with in the background, than as a major part of the film.

Not to mention a bit of top culture in the form of the Planet of the apes obsession, which gives it a kind of Tarantino tint, and also just helps the geek culture

What are the problems with this film? Is that one character seems to of course, be the more manly and messed up character from years of alcoholism and his family, and not getting along with his parents, or as the other one more uptight, even though his parents have been nothing but supportive, and this is the usual character type in romantic movies, everybody, obviously everybody has a reason for why they are who they are but yet, once a couple seem to be attracted to each other and their basic personalities or even at their worst, but must go through before they can be happily together, which is probably the truest part of these films. 

look everyone deserves love, but it’s not that interesting watching too such bland characters. Take their time and finally come together and get their issues in order to try and accept love and have a romance. it seems like you’re asking for much with this film and maybe it’s just me. I just really found these characters not that interesting.

The film offers no real surprises, but at least it’s fun

Grade: C+

GIVE ME PITY (2023)

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Written & Directed By: Amanda Kramer

Cinematography: Patrick Meade Jones

Editor: Benjamin Shearn

Cast: Sophie Von Haselberg, Cricket Arrison, Reshma Gajjar 

Sissy St. Claire graces the small screen for her first ever television special, an evening full of music and laughter, glamour, and entertainment. But Sissy’s live event quickly begins to curdle into a psychedelic nightmare.

This film is best not to know anything going in and discover before reading this write-up. As there are spoilers. 

Now this film will probably be compared to the film, LATE NIGHT WITH THE DEVIL, as they are similar somewhat in presentation. Only this film doesn’t show any of the behind-the-scenes action we just see the special as presented with no real backstory before or after. as both films are inspired by movies, such as DEATHWATCH.

this film is hard to exactly explain or identify. it takes place as a live TV special where the film stays in that perimeter for the remainder of the running time and it’s filmed in the same way

Though the special might be haunted or it might just be a collection of errors paired with the star, either overreacting or having a mental breakdown as she might be seeing things or the actual truth as we in the audience, wonder the same thing.

The Songs throughout are funny, but might also be autobiographical for the main character as throughout the special she seems to share a little bit too much with the audience over and overreact in the same way  

The film is brilliant as it is not necessarily quite a thriller or a horror film yet it stays entertaining and is almost a one-woman show for the star played by Sophie Von Haselberg all in front of the camera as she seems to break down.

The lead actress and special is almost a Bette Midler type star Sophie Von Haselberg’s character resembles, but also mixed with Ilana Glazer.

The film gets darker and more unsettling as it goes along, especially when it comes to what are supposed to be skits

The film is an example of how the main character’s past still haunts her, and his manifesting which she talks about early in one of her pieces and one, on ones with the audience

Writer-Director, Amanda Kramer has made another one-of-a-kind film. This one is definitely a classic and not one to ever be forgotten. 

As with most of her films, they are very inspired as she wears her influences on her sleeve, but she managed to make something so original and special with them that you can’t help but be amazed by the end. 

The film definitely has a style. not to mention tons of imagination and obvious skill that went into the making and performing in this film.

The film is psychedelic at times before reason and not annoying. It’s as it shows. It has more of an artistic side. Even in its own strangeness.

Grade: B+

PLEASE, BABY, PLEASE (2022)

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Directed By: Amanda Kramer

Written By: Amanda Kramer and Noel David Taylor

Cinematography: Patrick Meade Jones 

Editor: Benjamin Shearn

Cast: Andrea Risenborough, Harry Melling, Demi Moore, Karl Glausman, Ryan Simpkins, Jaz Sinclair, Dana Ashbrook, Mary Lyn Rajskub, Alisa Torres, Cole Escola

Newlyweds Suze and Arthur become the dangerous obsession of a greaser gang that awakens a sleeping quandary into the couple’s sexual and gender identities.

This film is certainly original. It plays like an homage to biker movies of the 1950’s a bit with the gangs of WEST SIDE STORY and THE WILD ONE thrown in. Though the film Dwells on the homoeroticism of the times while being a send-up and satire of them. That offers the characters not as misunderstood but actually very violent and unrepentant.

As the story of the film is a throwback that works. As a kind of lgbtq west Side Story 1950-inspired set. Though supposedly modern. That seems to be more about repression and a bit of fetishization. As well as being free of gender norms. Though showing the hardships of dealing with it in a supposedly repressed society. 

Where everyone seems to be doing it in the shadows themselves. While also seeming to take a look at and send up the time it depicts. Making it more of a camp romp. Though it seems like a farce it tackles these subjects head-on and in a brave and revelatory way. That goes a long way for representation and not as a fetish of any kind. 

We are with a couple who are witnesses to a murder by a street gang. Who seem to invade their lives and territory more and more. It awakens a wanting feminization for the male in the couple and more of an aggressive masochistic side in the female of the couple. 

Demi Moore has an extended cameo that comes out of nowhere but adds to the action. As her character becomes very important overall.

The film is exciting as you watch it. As the audience never knows what is going to show Next. So we are on our toes. The film is campy and avant-garde at the same time. As the film seeks to say something, but the message always seems a bit off. Yet never quite reaches a level of true awe. 

Grade: B-

PAUL DOOD’S DEADLY LUNCH HOUR (2021)

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Directed By: Nick Gillespie

Written By: Nick Gillespie, Matthew White and Brook Driver

Cinematography: Billy J. Jackson 

Editor: Tom Longmore

Cast: Tom Meeten, Katherine Parkinson, Kris Marshall, Kevin Bishop, Johnny Vegas, Mandeep Dhillon, Steve Oram, Alice Lowe, Pippa Haywood

A weedy charity shop worker is set on winning the big national talent show. But when the actions of 5 selfish people cause him to miss his audition, he sets out to seek deathly revenge. It’s 1 lunch break and 5 spectacular murders.

This film comes across more of a comedy of errors with macabre violence.

The film is a crowd-pleaser that gets you to root for the character right from the beginning. He tries to murder the characters but they are usually done by themselves or some mistake they make In fleeing.

The characters are over the top cruel and mean. So you really feel no sympathy for them and the nastier they are the gorier their deaths. That is where the film offers its surprises, in how the deaths happen.

The film ends up strangely heartwarming. That seems to want to comment on the predatory nature of social media. Though the films feel good premise of social media justice feels a bit like bad timing. As more and more mentally ill people commit mass murder. Using it to show their handiwork and try to be immortalized in infamy.

The film comes across as the lead character Simple and sweet. Though with a dark side. The character is pure yet the film is cynical. 

The film offers impressive practical special effects. Which is where it looks like most of the film’s budget comes from.

What seems like it will be a vigilante tale of revenge. As each character seems a bit off, It’s more a tale of karma and justice.

Grade: C+

THE STRAWBERRY BLONDE (1941)

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Directed By: Raoul Walsh 

Written By: Julius J. Epstein & Philip G. Epstein

Based on the play by: James Hagan 

Cinematography: James Wong Howe

Editor: William Holmes 

Cast: James Cagney, Olivia De Havilland, Rita Hayworth, Alan Hale, Jack Larson, George Tobias, Una O’Connor, George Reeves, Lucile Fairbanks, Edward McNamara, Helen Lynd 

Biff Grimes is crazy about Virginia Brush, but his “pal” Hugo Barnstead marries her himself and makes Biff the fall guy for his shady dealings. Though Hugo seems to have everything Biff wants, Biff learns that having what one wants and wanting what one has can be two very different things.

One of the reasons why I love this film so much is I have never heard about this film before. Now while I am a film fan I can admit to having blind spots especially when it come to older black and white movies which to me are considered classics at times because of the time period in which they were made. A peek into a bygone era . Where certain roles were set up and portrayed but even back then knew that everyone was more than what they were told to play and more savvy than they let on. 

This is truly the first James Cagney starring movie I have ever seen so while I have seen him in other films in smaller roles and heard about him. This is my first experience with him where I can see the talent and charms all on display. Even in playing someone not necessarily all that smart but watching him start to get the point and realize what and who is best for him. 

It’s also fun discovering a film that was out there and many never mention that is practically an undiscovered gem. As it’s a film that while you can beleive the dramatic and romantic moments. It feels like everyone is having fun in and with their roles and one another. It’s heartfelt and entertaining. It’s a show but you take it with you once it’s done. Even though you know It’s not necessarily close to reality. 

Part of this film’s charms is that it’s not a big story with high steaks, but more a character comedy that is charming and it’s own right Word not only the star shines, but the supporting characters help.

As the film is about romance and love, and what truly matters in it, so it is full, and we see its nurturing grace, with a note of the next stage, and never or rarely being disguised.

This was one of my first James Cagney films, and definitely my first James Cagney comedy, though not one of his more famous titles or not considered a classic amongst his other films. So far, it is one of my favorites of his, and truly shows he was a star who seemed to be able to do it all saying, dance act, he could be a hero or he could be a villain and quite scary.

This is only the third film of James Cagney that I have seen. I think I appreciate it because it’s not as talked about as his other films.

His performance, here is more as a romantic, and a man, with a quick temper, who threw out, seems to be taken advantage of by those around him yet never let his anger out on them but directed at Phantom threats and challenges whose ultimate goal is to become a dentist.

The way he plays it is genuinely his own as in most of his comedic performances it’s fast and he seems to get so worked up over nothing that the performance is grand, and half of it is watching his history as he gets himself more and more worked up, but gracefully, he also comes down or how much trouble his anger and fast-talking gets him into.

As he is such a force of nature that it seems like the film and characters, more or less revolve around him, and react only in this film, they all get their time to shine, even while he is huffing and puffing. 

As the one person who truly does care for him, and looks out for him, he is oblivious to Eventually he wakes up and opens his eyes as he realizes what he has, or what he could lose.

The best thing for him was not getting what he wanted, as it also showed him what was important, which seemed to be the moral of the story.

The film has an earnest story and it’s quite simple but gets so much mileage out of it that it’s no shock that it’s the James Cagney of his films and the Director of the film Raoul Walsh also says it’s his favorite that he made.

The intentional comedy of his character being a hothead, yet always losing fights until it truly matters is a quality the film seems to try to introduce subtly. This also showcases that his character is not that smart, but is good with quips. Is that the character who ultimately is the villain of the story? Did his actions seem intentional, but always seem to take advantage of Cagney’s character or lead his character to ruin.

This also leads to one of the few problems of the film is that his other friend played by Jack Larson, is not that good-looking nor charismatic, So it’s hard to believe him as his rival as the only thing that he seems to have over Cagney is maybe a certain smoothness, which I guess is what works as it is obvious and is really the defining point of his character.

Later, it seems like he envies his friend’s life but eventually can see why it’s best. He didn’t get the girl and had the fate of his friend. 

Rita Hayworth’s character is a gold digger but has a soft spot for James Cagney which is romantic, but troublesome as she is the one who has her husband get him a job that proves to be his undoing.

There is even a chance that the romance between him and Hayworth could have worked, but and wouldn’t have been ideal or true. She ultimately buries herself and her chances later in the film. She shows all the things in her character that his character doesn’t like in a woman, yet is more ravishing in her lead scenes physically, though always shows why her character and Cagneys could work especially early in the film when they go on a forced date.

James Cagney and Olivia de Havilland’s chemistry is not the flashes they have so much chemistry and Rita Hayworth is truly his even in comedic scenes with her talking about her ideals and her strange flirtation with some Lothario (Played by Herbert Anderson, who played the father on the show DENNIS THE MENACE) who keeps winking and she can’t help winking at them with Chelsea her character is looking for love and excitement and is just as open to making the wrong decisions.

Though it’s hard to believe that she’s so passive when finding out we’re figuring out that her married friend Rita, Hayworth kissed James Cagney and the lights-out spaghetti scene.

It’s one of those stories where one finds the perfect partner with someone they weren’t really looking at or for and that other person falls for them anyway. Despite knowing they are a runner up. Though making their way to truly being number 1 

Cagney’s character played by Alan Hale, is hilarious steals all of his scenes, and proves to have great chemistry with the star. As well as George Tobias, who plays his Greek friend, and who ends up being his only true friend, they are both hilarious. 

The film’s more comedic scenes aren’t as physical but more verbal and witty.  It is even lensed by legendary (not at the time) cinematographer James Wong Howe (THE THIN MAN, SWEET SMELL OF SUCCESS)

It’s a comedy with dramatic moments, but a heart for romance.

Grade: A 

ONE, TWO, THREE (1961)

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Directed By: Billy Wilder

Written By: Billy Wilder & I.A.L. Diamond 

Based on the play “Egy, Ketto, Harom” By: Ferenc Molnar 

Cinematography: Daniel L. Fapp

Editor: Daniel Mendell 

Cast: James Cagney, Horst Buchholz, Pamela Tiffin, Arlene Francis, Lilo Pulver, Howard St. John, Hanns Lothar, Leon Askin, Ralf Wolter, Karl Lieffen 

C.R. “Mac” MacNamara is a high-ranking executive in the Coca-Cola company, assigned to the corporate office located in West Berlin. Mac’s dream are to climb the corporate ladder in the company to eventually become the head of Western European Coca-Cola Operations. One day, Mac receives a call from his boss, W.P. Hazeltine, to look after his 17-year-old socialite daughter, who is coming to West Berlin, while he is on a trip. Soon enough, Mac finds himself in the undesirable circumstances of trying to take care of this young whirlwind and manage all of the problems she causes.

The movie escaped me for many years as I missed seeing it and a recent Billy Wilder perspective at my local repertory theater. So finally getting to see this late Wilder movie was bittersweet even though I still have yet to see it on the big screen.

It’s a little more political than I expected. This film is still a joy only for the chaos that seems to be happening from the beginning to a comedic blizzard throughout. James Cagney’s character is the ringmaster. Who tries to keep it together and contained and usually bleeds into something else that causes another set of problems. 

As there are contained scenes that are filled with farce and all kinds of comedy from slapstick to physical to wordplay. That involves ridiculous characters who seem over the top but become endearing.

As James Cagney’s character is trying to get a promotion wishes as well seem to be a crumbling marriage, a dysfunctional family, a mistress who is his secretary, and other foreign dignitaries. All at once and once he has to babysit your boss’s daughter, and she sneaks out because of all sorts of problems he has to clean them up, especially when his boss decides to make a surprise visit. 

What are the interesting aspects that in all the people he tries to help even if it’s for selfish reasons. They always seem to battle against him even when it is for their own best interest. 

It truly is a film of its time. Wilder has never shied away from more of the controversial subjects and is maybe a bit bawdy. As well, it seems quaint. Now I can only imagine at the time this film, caused a mini uproar over the decision and the behavior of some of its characters.

At certain points, it does get a little bit too silly for its own good especially when it comes to the character of Otto. Cool comes off as more annoying and might’ve inspired Archie Bunker and Meathead a bit over a decade later on the sitcom ALL IN THE FAMILY. 

For me, the film is a laugh right as you’re just amazed that how much can go wrong and still work out not to mention how much how many plates can be spinning all at once in a scene and they may fall nothing ever seems to break and that is a perfect way to describe this film. There is so much going on, but you can easily follow it and it never truly lets you down.

It’s a shame that Cagney did not enjoy making this film, so much that he retired from acting after being in this movie and didn’t make another acting appearance until RAGTIME. which was his last role. It feels like we lost more performances From the man. Who is in top form here.

The film is fast-paced, and while there are all kinds of lunacy going on, if it were not for James Cagney‘s character being the ringmaster and handling all these disasters and trying to find an answer while putting out all these fires, the film truly would be lost.

Grade: B 

THE MAN WHO CAME TO DINNER (1941)

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Directed By: William Keighley 

Written By: Julius J. Epstein & Philip G. Epstein

Based On The Stage Play By: George S. Kaufman and Moss Hart

Cinematography: Tony Gaudio

Editor: Jack Killifer 

Cast: Monty Woolley, Ann Sheridan, Bette Davis, Jimmy Durante, Richard Travis, Billie Burke, Reginald Gardiner, Elisabeth Fraser, Grant Mitchell, Mary Wickes 

Sheridan Whiteside, an eccentric and acid-tongued radio lecturer, is disabled on the doorstep of a prominent Ohio family and must remain confined to the unwilling family’s home for a few days. Discovering what he believes to be problems within the household, hatches a plot to fix all of the household’s problems. 

Sherry then proceeds to find out that his leg is fine so he bribes the doctor to declare him unfit to leave for a few weeks so he can meddle with the lives of the members of the household. But has he made a mistake?

While you definitely notice the film’s theater origins as a play by George S. Kaufman and Moss Hart. 

The highlights of the movie are the main character of the movie played by Monty Woolley. Even in a film with two female superstars of the time Anne Sheridan and Bettie Davis. He is the one who is given the most screen time and the best laughs.

Ann Sheridan at least gets chances for her character to join in on the comedy. Bettie Davis plays an important character but barely gets anything to really do. As she is more of a straight woman throughout. 

Woolley’s character is acid-tongued and insults almost everyone around him. He is an intellectual snob who believes he is better than everyone. While it is never particularly said he seems to also be homosexual. The film makes it seem that he is different in taste and class than his wealthy benefactors whose house he slips in front of and is forced to put up with him. While they put him up.

Throughout he causes all sorts of trouble for the family particularly the matriarch and in true selfish fashion. When his assistant played by David falls in love. He tries to sabotage it not because he is in love with his assistant but for her companionship. One could see it as he has been made to feel like an outsider all of his life because of his style, intelligence, and decor. 

So now he is taking it out on everyone who is considered normal and hetero to a degree. As no one is safe from his tongue lashings. Most accept them as they aren’t aware they are being insulted, others who do can only bluster as they know they can’t do anything about it. Those Who try to verbally spar often lose. Even his accomplices tend to switch sides or he turns on them at least once or twice.

He is technically the villain but also the centerpiece and most interesting character that you end up loving to hate him or hate to love him.

It might as well be a one-man show. As Monty Woolley shines in every scene and takes over. Most characters in this movie talk a mile a minute and so does the action and jokes at times. As it is a kind of screwball comedy. He is the main focus even telegenic the film tries to throw some sight gags and physical comedy in the mix it feels like leftover from the fresh and sharp dialogue. So that anytime it leaves him or focuses on another character. It slows down and becomes a bit dull.

The only other person in the film who truly steals scenes is Jimmy Durante and his antics who come into the film in the third act as another accomplice of Woolley’s He gives the film much-needed energy. As Durante on screen is so energetic it’s like he drank 12 lattes before each take. His appearance is a late great surprise. 

Ultimately the film is entertaining and can see why It’s Considered a classic. Though It’s not as strong as one would hope if it wasn’t for the main role. This film would feel rather basic. It might be the direction or presentation overall. 

Grade: B 

BUDDIES (1985)

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Written, Directed & Edited By: Arthur J. Bressan Jr.

Cinematography: Carl Tietelman

Cast: Geoff Edholm, David Schacter, Billy Lux, David Rose, Libby Saines, Damon Hairston 

The film follows a New York City gay man, in a monogamous relationship, becoming a “buddy” or volunteer bedside companion to another gay man dying of AIDS, and the friendship that develops. 

This is not only a monumental film, but a film of necessity to humanize gay characters, but also people who have and were dying of aids at the time. Providing them with representation and a voice in general and especially in media.

This was one of the first films that dealt with and talked about aids openly as a major release. that seems to have been forgotten. Overtime might be seen as outdated, but still is needed as it provides a look at the landscape of the time and the progression of the disease.

That it’s more minuscule observation and story. It still manages to pack a punch and put a face onto victims and on the characters and those suffering in general.

The film feels more theatrical due to the confines of what is being seen. As it was filmed in 9 days and rehearsed for 5 weeks prior,  that works as a time capsule of the times it’s unsettling and disturbing but human and truly shows humanity in kind.

No, the lack of other characters being seen only adds to the loneliness of the situation, especially after being diagnosed.

The performances are natural and have a ring of truth, despite minor missteps or two. 

As we learn more and more about each character, we discover that they are not just a statistic or a cause an actual person. This is a character theory that is now seeing the human side of the person and the torture of the disease. As it ravages its victims.

They debate one another on subjects and identities that are arguments and theories of the time. That offers no easy answers but declares the fact that we are all human beings and should be treated fairly no matter what our lifestyle or culture.

This is truly a film to experience more than just watch as it is hard to write about this film while it takes you on a journey even in its only limited space.

It’s a snapshot of the time it’s a small independent film that packs so much punch. Remind us of how far we have come, but also those who are out there and suffering.

The writer, Director Arthur J Bressan Jr., and lead actor Geoff Edholm both, unfortunately, from aids a few years after the film was released

Grade: A-

MUSICA (2024)

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Directed By: Rudy Mancuso

Written By: Rudy Mancuso and Dan Lagana 

Cinematography: Shane Hurlbut 

Editor: Melissa Kant 

Cast: Rudy Mancuso, Camila Mendes, J.B. Smoove, Francesca Reale, Maria Mancuso, Camila Senna 

A coming-of-age love story that follows an aspiring creator with synesthesia, who must come to terms with an uncertain future, while navigating the pressures of love, family, and his Brazilian culture in Newark, New Jersey.

This is an unorthodox yet familiar romantic tale. As it stays fun though it has very few or little stakes.

The film separates itself with its style of warmth, Goodwill, and positivity. its clear love of its culture.

The film is very surreal and an original inspiring musical. That is cultural yet universal, with him being the Co-writer, Director, and star as well as scoring the film, he is a one-man band that makes the film all the more personal allowing it to be imaginative and playful.

Special mention must be made for Camila Mendes is noteworthy here and a dynamic working actress seeing her in so many different projects recently. She is good and in each of them, she grabs her attention immediately, especially impressed with her range comes through despite the emphasis on her in certain roles. It’s all the glory for him but she is the one he chases and is inspired by. Who accepts him for who he is?

At times, the film looks like a dynamic avant-garde stage play especially in the middle, With many memorable and hilarious scenes that are heartfelt as well as identifiable.

The film plays with the tricky dimensions of the mind and obviously subtle comfortable ways that emphasize the lead character and imagination in the many ways to not only tell a story but illustrate one that might feel common sets itself as an individual.

The film’s strength is strong in the comedic, scenes. the romantic ones feel truly heartfelt and honest classic way made to be modern.

One Could complain about such extravagant use of such a small and simple story but one could also argue while pretty it’s what makes it so real that in life our stories might be small to others, but feel monumental to us in the moment and not only can be surreal, but what we see in our own minds, even if others don’t.

That you might wish would happen and you know you have found a connection when you are with someone who understands or speaks that same language and adds to it making memorable melodies yourselves

Grade: B

THE PERSIAN VERSION (2023)

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Written & Directed By: Maryam Keshavarz

Cinematography: Andre Jager

Editor: Abolfazi Talooni and JoAnne Yarrow

Cast: Layla Mohammadi, Niousha Noor, Kamand Shefieisabet, Bijan Daneshmand, Bella Warda, Tom Byrne, Shevrin Alenabi, Sachli Gholamalizad, Jerry Habibi

When a large Iranian-American family gathers, a family secret is uncovered that catapults the estranged mother and daughter into an exploration of the past, and to discover they are more alike than they know.

This film is a heartwarming tale of family relationships. While overall being a film about relationships.

It’s ultimately a tale of immigrants building themselves up, As well as their families. While seeking independence being able to find a connection.

So, based on a true story, the film has quite an imagination. As it feels like a storybook at times. It’s full of reality, though has a touch of fantasy. When there is even an early scene that breaks down to a musical sequence of introducing family and friends to the Cyndi Lauper song girls just wanna have fun 

The film is so rich you want to hear some more of her many brothers ‘ tales or more stories about the family overall, as it seems, there is some magical realism that is anchored by reality. so much so that this film almost feels like a mystical pilot for a television series.

The film is familiar, and some might feel this film has too much heart or gets lost a bit in sentimentality overshadowing other parts of the story lessons, the tone.

It actually works, it might leave others in the audience, wanting more grit in the dramatic part of the story. That feels overstuffed with tragedy and hardships that are wrapped up a little too nearly. Though this film is all about the heart. after all, it is a story about family and time. 

Not to mention, it already provides tragedy with peaks of drama yet plenty of humor.

Just like the main character, it might define itself one way, but it finds itself in many different ways that go against definitions.

Grade: B