MATERIALISTS (2025)

Written & Directed by Celine Song

Where & When: AMC The Grove 14, Los Angeles, CA. June 14, 2025 3:30 PM

The filmmaker, Celine Song dazzled us with her debut feature, "Past Lives", a compelling drama lightly inspired by real events in her life which went on to be critically acclaimed and awarded, receiving two Academy Award nominations including Best Picture.

With her follow-up, "Materialists", Song has once again focused on a love triangle, this time involving a woman who struggles between the familiar comfort of her financially struggling, former boyfriend and the enticing qualities of a handsome, extremely wealthy financier. This dramatic romance offers enlightened observations on the complications in trying to find love and intimacy in today's money-driven world. Yet "Materialists" is strangely designed like a romantic-comedy without actually using the formula, leaving us puzzled by what exactly is this film trying to be?

Lucy (Dakota Johnson) is a professional matchmaker who works for the dating service, Adore. And while she's very good at her job, Lucy is perfectly content being single herself with no interest in a relationship, having decided that if she ever marries, it will be to a man with a lot of money. During the wedding of her ninth successful match, Lucy meets Harry (Pedro Pascal), the groom's brother. Rich, attractive and captivating yet still single, Lucy only sees a potential new client. But Harry wants to go on a date with her which she promptly declines. After managing to get Lucy to go out with him, Harry seduces her with his considerable charm and financial assets that leads them to a romantic connection.

Also at the wedding, Lucy runs into her ex-boyfriend, John (Chris Evans), a struggling actor who is working as a caterer at the reception. They hadn't seen each other in some time since they broke-up and as they reconnect, the attraction is still quite palpable. During their five years together, Lucy and John were both trying to be actors yet she gave up on that profession and the relationship, deciding she no longer wanted to struggle and fight about money. And while this still remains true for Lucy, she begins to consider that money might not be the only solution to a perfect partnership.

I have heard some refer to "Materialists" as a romantic-comedy yet there's not a single joke nor comedic moment to be found in the film. What I think might lead people to believe this drama could be labeled as a rom-com is "Materialists" delivers the familiar trappings of the genre; ridiculously attractive people with a vast amount of wealth who are unable to find love with the ideal match, living in a New York presented with a glossy sheen (shot by Shabier Kirchner who also filmed Song's debut feature) that anyone who has ever been to the city knows does not exist. In fact, Carrie Bradshaw and her pals would fit quite comfortably in this world. This film would have actually benefited with a few pointed laughs and greater sense of fun, with the story at times becoming overwrought and far too somber. There is one disturbing, traumatic moment that happens to one of Lucy's clients, shifting the tone enough that nearly derails the film. But "Materialists" manages to recover enough to get us back on track to it's main objective with a stern yet light-hearted examination of love connections.

I have previously expressed my thoughts on the performative abilities of Ms. Johnson but I will just say that while the actress does deliver a serviceable performance here, she does not display the magnetic presence required that would have us believe that these two men would do almost anything to win her over. Evans and Pascal have built their careers as actors who captivate with their considerable charms and they do not disappoint here, creating some sense of chemistry with the woman in the middle.

"Materialists" might be a somewhat, dark drama in rom-com clothing yet still captures the difficulties of dating and relationships in these modern times with a smooth touch. The film offers thoughtful and thought-provoking views about the contractual nature of marriage and calling out the silly notion that monetary comfort is not that important in a relationship as long as you have love. It reveals that because men don't want to marry a woman over thirty and a woman won't even consider dating a man under six feet tall is exactly why there's so many lonely, single people out there, misguided in feeling that the use a matchmaker will actually help them find a potential partner.

THE HERO (2017)

Written by Marc Basch & Brett Haley


Directed by Brett Haley


Where & When: Arclight Cinemas, Hollywood, CA.  June 12, 2017


Sam Elliott has always been one of those underrated actors that have effortlessly uplifted many films with his reliably solid supporting performances. Following a string of television bit parts and dead-on-arrival shows at the start of his career, the actor got his first break as a lead in the 1976 sleeper hit feature, "The Lifeguard", a perfect fit for the West Coast-born actor. With his rich baritone voice, thick bushy mustache and handsome yet weather-worn mug, Elliott has played more than his fair share of cowboys, ranchers, bikers and detectives throughout his time in front of the camera.

The now seventy-one year old Elliott made a dazzling impression a couple of years ago with appearances in two notable films; one was the Paul Weitz comedy-drama, "Grandma" which also put a welcome spotlight back on star Lily Tomlin. The other was "I'll See You In My Dreams" from writer and director, Brett Haley. This hit baby boomer, romantic-drama not only reminded audiences that Blythe Danner is more than just Gwyneth Paltrow's mother, it gave Elliott a chance to play something rather unexpected; a romantic leading man.

This success inspired Haley to write something specifically for Elliott and the result is "The Hero", a Hollywood-set drama about a down-on-his-luck, aging actor seeking one more shot at glory. Haley doesn't let him down with an engaging yet simplistic script that gives him the rare opportunity to carry a film. And Elliott rises to the occasion with an impressive performance that has him displaying a wide range of emotions he doesn't get to do to often.

Elliott plays Lee Hayden, a faded movie star cowboy whose career has become as obsolete as the westerns that used to be a popular Hollywood staple. The only jobs he can now find are lucrative yet creatively unfulfilling voice-over work for commercials. Lee spends much of his downtime drunk, high or both with his drug dealer, Jeremy (Nick Offerman) who was once his co-star in a failed television series, as they eat pizza and reminisce about the past.

After receiving some distressing news from his doctor that he has cancer, Lee's initial response is to tell his family which includes an ex-wife (played by the actor's wife, Katharine Ross who some old enough may remember from "The Graduate" and "Butch Cassidy and The Sundance Kid") and estranged daughter (Krysten Ritter) yet decides against it, preferring to repair his relationships without the distraction of sympathy.

Lee meets Charlotte (Laura Prepon), an aspiring stand-up comedian, when she drops by Jeremy's to pick-up some product. Sparks fly between them during a bit of flirting but after later running in to each other again (in very L.A. fashion) at a taco stand, the two begin to make a serious connection. That Charlotte is around the age of his daughter is a concern for Lee but she tells him to simply enjoy their time together.

The wide generational gap between Lee and Charlotte never comes across as creepy with the couple having an easy rapport and authentic intimacy. A Hollywood western appreciation organization wants to honor Lee with a lifetime achievement award and asks Charlotte to attend the event with him. She gives a nervous Lee something to help him relax before the ceremony and, in his very relaxed state of mind, delivers a highly irreverent speech that causes him to become a sensation on social media.

Mr. Haley is a modern filmmaker with a nostalgic spirit, making modest dramas with a great appreciation for admired talent that is no longer shiny and new. His approach, however, may be a little too low-key, offering no real weight to the story and fairly predictable plot developments. But despite this shortcoming, Haley certainly knows how to craft an expressive script and able to draw out some fine work from his actors. While his co-stars have brief opportunities to shine, this is clearly Mr. Elliot's show. Soft-spoken and understated, his character may not have much to say yet all of the hurt, frustrations and disappointments in his life are clearly expressed on his weary face.

On the surface, "The Hero" appears to be simply another take of a fallen star seeking attention and redemption before the final curtain closes. But at the heart is a fine, intimate, character-driven story filled with warmth and humor and a masterful turn from Sam Elliott who helps make this more than memorable.

PARIS CAN WAIT (2017)

Written & Directed by Eleanor Coppola


Where & When; Arclight Cinemas, Hollywood, CA. May 12. 2017 7:30 PM



The last time I saw Diane Lane on the big screen, she was being tortured (her character and her career) as Clark Kent's mother, Martha in the bombastic "Batman v Superman: Dawn of Justice". I was saddened thinking how this incredibly vibrant and sensual actress was being utterly wasted in this insignificant role that was way, way beneath her. Hollywood has never known what to do with Ms Lane as she has matured and while she had one great moment as a wife who has an adulterous affair with a younger stranger in "Unfaithful" which earned her a well-deserved 2002 Oscar nomination, most of her film appearances have been minor supporting parts.

With Eleanor Coppola, making her feature film directing debut at the age of eighty-one, she has offered Diane Lane  a-long-time-in-coming substantial role in her romantic-drama, "Paris Can Wait" where she is properly front and center. While this lightweight film is hardly perfect. it is certainly a step in the right direction.

Ms Lane plays Anne, the wife of Michael (Alec Baldwin), a successful Hollywood producer. She had tagged along with her husband on a business trip to the Cannes Film Festival before heading to Paris for a romantic getaway. Michael has to make an unplanned flight to Budapest before they head to the city of lights but Anne, who is suffering from a severe earache, decides to go straight to Paris by train. However, Jacques (Arnaud Viard), Michael's friend and French business partner, offers to drive his wife to Paris. Anne reluctantly agrees to go on the eight-hour road trip with this virtual stranger.

Despite his bad driving and her protests to just get to Paris, Anne can't help getting swept up in his joie de vivre, escorting her to wonderful scenic views along the countryside and making stops for leisurely fine dining and conversation. Even when Jacques makes arrangements to stay at a hotel due to the late hour, Anne's concern quickly evaporates as he remains a gentleman by getting them separate rooms.

First seen as a sweet, talkative guy, Jacques eventually reveals himself to be more of a typical French lothario who has more on his mind besides simply providing taxi service to this lovely married woman. It doesn't take long for Anne to catch on herself yet doesn't mind the amorous attention, realizing it's been quite awhile since her husband has paid her this much romantic exuberance.

Mrs. Coppola has spent most of her career creating non-narrative films, mostly behind-the-scenes features of her husband's films with the most notable being "Hearts of Darkness: A Filmmaker's Apocalypse", which examined the turmoil during the making of "Apocalypse Now". While not much of a great surprise, this Coppola shares more of a film making style with her daughter, Sofia than her husband, Francis Ford. With "Paris Can Wait", she has created a breezy, intimate adult drama that American cinema no longer embraces but is still quite popular in Europe. Between the gorgeous scenery and the delicious looking food, this story focuses on two isolated souls trying to keep a brave front before allowing their guard to come down enough to make an emotional connection, confessing to each other their secret pain and loss. But the director's script drags down the film with uninspired dialogue and repetitive moments.

Thankfully, Ms Lane uplifts the movie with a warm and effective performance. Mrs. Coppola was quite familiar with her gifts as she has watched the actress grow-up from her early screen appearances as a young woman in her husband's films, "The Outsiders", "Rumble Fish" and "The Cotton Club" that helped launch Ms Lane's career. It's fascinating to watch her Anne, who may not necessarily want to end her marriage, blossom from a frustrated wife to a sensual woman having her eyes opened to other possibilities in her life.

It's hard not to see a few parallels between these characters and Mrs Coppola's own glamorous, movie business filled life but her motivation is definitely much smaller in scale and scope. The charming yet inessential "Paris Can Wait" is about slowing down, appreciating those precious moments with loved ones and enjoying the simple pleasures in life.

SOUTHSIDE WITH YOU (2016)

Written & Directed by Richard Tanne


When & When: Arclight Cinemas, Hollywood, CA. August 30, 2016  5:05 PM


 "Southside With You", the impressive first feature from writer/director Richard Tanne, turns the real-life first encounter of the future forty-fourth President of The United States and his First Lady in to a lovely and captivating drama. A kind of "When Barack Met Michelle". But this is not a light and breezy date movie. The film features a warm, urban romance, set during a hot summer in the South side of Chicago, that is urbane and astute, as we watch these two alluring young people spend a day trying to maneuver around career ambitions, civic duty, political bureaucracy and physical attraction.

The year is 1989 and Janet Jackson's "Miss You Much", which is the hot new song of the moment, we hear blasting through the car radio of Barack Obama (Parker Sawyers) during the opening credits. He's on his way to pick up Michelle Robinson (Tika Sumpter), a rising corporate lawyer at a firm where he is a new intern. Barack has managed to convince her to attend a community meeting with him but as his supervisor, Michelle was reluctant to go out with the attractive young man in any capacity. Since being the rare female African-American in a law firm run by mostly white males, she is very concerned about how it would appear if they found out.

However, the meeting won't begin for hours so Barack wants to take Michelle out, spending some time to get to know her better. While this was exactly what she was trying to avoid yet agrees as long as he's aware this will not be a date.

Their first stop is to the Art Institute of Chicago where they check out an exhibit of Afrocentric art. Barack introduces Michelle to the work of Ernie Barnes (that was used on the sitcom "Good Times" as the paintings of Jimmie Walker's character, J.J. which she never watched) and it's vivid depictions of African-American life. The couple spend a great deal of time trading stories about their lives, experiences and aspirations as they make the trek through the city towards their destination.

The focus of this meeting is on the building of a much needed community center with the people of this largely African-American neighborhood expressing their anger and frustration with the city's refusal to fund the project. Encouraged to offer some words of inspiration, Barack addresses the crowd, eloquently persuading them to consider finding alternative means to finance the center. After hearing him speak, Michelle finds herself entranced, just like the rest of the room, witnessing for the first time the moving and powerful effect he has on people.

While we know "Southside With You" is clearly a work of fiction based on true-life events, Mr Tanne, who spent much of his early career as an actor,  has managed to capture a believable essence of their story and of their lives. Taking a cue from Richard Linklater, Ethan Hawke and Julie Delpy's "Before Sunrise" film series, we spend a large part of this film just watching Barack and Michelle walk, talk and eventually fall in love. Since we know the outcome, there is no real suspense or tension to be found in the narrative. But what we do have is sparkling and lively conversation between two thoughtful and good-hearted people.

It would seem very difficult to convincingly bring to life two high-profile people still constantly in the public eye but our actors handle the challenge with poise and flair. With his first major film role, Mr. Sawyer may not share much of a physical similarity to our Commander-In-Chief but he delivers his confident swagger and makes him in youth far less guarded then he would ultimately need to become. Ms Sumpter (who also serves as one of the film's producers) is equally effective, displaying the steely resolve of the future Mrs. Obama that we're familiar with but also her softer side, particularly when Barack is able to soothe her at her most anxious.

After spending the afternoon together, Barack finally convinces Michelle to engage in a date-like activity. They go see Spike Lee's incendiary film, "Do The Right Thing". There is another flareup after the movie due to the unexpected appearance of one of her bosses but Barack and Michelle do eventually share their first kiss over ice cream.

Despite the inevitable predictability of the story, "Southside With You" offers something refreshing and rarely seen in American cinema; an intimate love story between two African-Americans that doesn't involve struggling in poverty, domestic violence, gang-shootings or raunchy humor.

FAR FROM THE MADDING CROWD (2015)

Written by David Nicholls


Directed by Thomas Vinterberg


Where & When: E Street Cinema, Washington D.C.  May 18, 2015  7:45PM


I have never read the classic novel "Far From The Madding Crowd" by Thomas Hardy but I'm sure it's no where near as lifeless and uninspired as this latest film adaptation. The director Thomas Vinterberg began his career as a co-founder of Dogme 95 (along with the notorious, Lars von Trier), a radical Danish movement that brought attention to getting back to the basics of story-telling by not using modern visual effects. Since his terrific Dogme debut, "Festen (The Celebration)" (which won a well-deserved jury prize at the 1998 Cannes festival), Vinterberg has pretty much abandoned this adventurous concept and has settled into more conventional film making. His last film was the understated but powerful "Jagten (The Hunt)" which earned the director a 2012 Oscar nomination for Best Foreign Language Film.  "Far" has a much larger budget and delivers a grand, sweeping style but lacks a more imaginative approach in telling this enduring love story.

The film looks ravishing thanks to cinematographer, Charlotte Bruus Christensen, production designer, Kave Quinn and the exquisite costumes by Janet Patterson. We also have on hand strong performances by the quite talented, Carey Mulligan taking on the fiercely independent, Bathsheba Everdene and the Belgium hunk, Matthias Schoenaerts as one of her suitors along with a fine supporting cast. But none of these wonderful elements come together to create the passionate romantic epic that was clearly intended. The result is more tepid at best with the colorless script by David Nicholls leaves the film feeling truncated and rushed.

Set in Victorian England, Bathsheba has a strong desire to remain unmarried, particularly strange for a young woman of this era. She is quite content working on her aunt's modest farm but catches the eye of Gabriel Oak (Schoenaerts), a handsome shepherd. They become friendly and soon Gabriel asks her to become his bride. Despite her hasty rejection, this decision seems to quietly inflame his desire even more for this odd beauty.

Their lives take an unexpected turn as Gabriel loses his entire herd in a tragic accident, forcing him to sell what little he has left and leave in search of work. Bathsheba inherits an uncle's farm in a nearby village and becomes quite wealthy. Circumstances bring these two together once again but now Gabriel is hired to work for Bathsheba.

Bathsheba inadvertently attracts the attention of her neighbor, William Boldwood (Michael Sheen), an affluent bachelor after playfully sending him a valentine. Taking this quite seriously, the lonely Boldwood's heart is awakened after years of dormancy.  He asks for her hand in marriage, which Bathsheba regrettably declines, but he's patient and willing to wait for her to come around.

Another admirer enters Bathsheba's orbit, a charming young sergeant named Frank Troy (Tom Sturridge). With an act of seduction involving his sword, Bathsheba surprisingly falls under his spell and for the first time feels actual yearning. Fearful of losing the solider, she agrees to marry Frank. After the glow of matrimony dims, Bathsheba is soon introduced to the true man and with that, a dark secret surfaces.

As we witness Bathsheba's efforts to maneuver through as a steadfast woman, not wanting to lose herself in a decidedly man's world, we are shown how much our society has evolved and how much has stubbornly remained the same. Throughout all of Bathsheba's lapse of judgement, difficult adversity and tragic misfortune, Gabriel remained by her side, offering advice (whether solicited or not), guidance and friendship. She is the last to know what becomes obvious, that what you might be searching for has been with you all the time.

"Far From The Madding Crowd" is far from a bad film. It just doesn't feel necessary at least in the way it's been assembled. The film hits all of major points of the novel but it's cinematic structure is strictly by-the-numbers. With a lead character who was all about taking risks and facing challenges, it's surprising so little was taken here.

CINDERELLA (2015)

Written by Chris Weitz


Directed by Kenneth Branagh


Where & When: Vista Theater, Hollywood, CA. March 15, 2015 1:15PM


Since the Walt Disney Studios has seemed to run out of fairy tales to animate, the idea is to produce live-action versions of their classic films. First to arrive was "Alice In Wonderland" and it proved to be a global sensation, amassing over a billion dollars during it's run back in 2010. With that kind of success, "The Jungle Book", "Dumbo" and "Beauty and The Beast" are on a fast track to reach theaters but for now, "Cinderella" is the latest to be brought to life. While I wasn't overly impressed by Tim Burton's bombastic take of Alice's trippy adventures, what Kenneth Branagh has done with "Cinderella" I find to be inspired and magical. The director has made a spirited, straight-forward film, remaining fairly faithful to this timeless fable based on the 1950 Disney movie and the first written adaption by French author, Charles Perrault (and avoiding the unpleasant cutting off toes to fit in the slipper stuff like in the Brothers Grimm version). The graceful script by writer/director Chris Weitz has wisely kept the modern touches to a minimum which allows us to be swept away by one of the very first love stories.

Our tale begins with a little girl named Ella who is deeply loved by her much-in-love parents (Ben Chaplin and Hayley Atwell). Their idyllic life is shattered when her mother suddenly becomes gravely ill. Her final wish is for her young daughter to always display courage and remain kind to others, which Ella promises.

Ella grows up to become a beautiful young woman (now played by Lily James of "Downton Abbey" fame). Her uncomplicated life with her father is disrupted when he remarries a recent widow. Lady Tramaine (Cate Blanchett) arrives with her dimwitted, gaudy daughters, Drisella (Sophie McShera, also from "Downton") and Anastasia (Holliday Grainger) and a cat named Lucifer in tow. The evil stepmother is the showiest role in this story and without a doubt, the two-time Oscar winner makes it all her own, carrying herself like a fanciful peacock with arched eyebrows, blood-red lips and an icy chilliness that Joan Crawford would envy.

After Ella loses her father due to an illness while out at sea, she's left alone with these horrible women. Short of funds, Lady Tramaine dismisses the staff and encourages her stepdaughter to help around the house. Moved up to the attic and no longer allowed to eat with the family, Ella soon realizes she has become nothing more than a live-in maid. After serving breakfast covered in soot, her step-sisters cruelly rename her "Cinderella".

Frustrated with trying to keep her promise to her mother, Ella rides off and stumbles across a hunting party. Among the hunters is Prince Charming (Richard Madden) who becomes so enchanted by this simple girl that he decides not to disclose his identity. Under pressure to marry someone royal, the Prince decides to select his bride at the upcoming ball but extends the invitation to all eligible ladies of the land with the hope of seeing Ella again. When the news reaches Lady Tramaine, she spares no expense at making sure her daughters will captivate the Prince. Ella announces she'd like to go too but her step-mother savagely removes that thought out of her head.

Once Helena Bonham Carter arrives as Ella's daffy fairy godmother to magically whisk her off to the ball, we know she will dazzle the Prince, dash off moments before midnight, leaving behind her glass slipper and then the future King will desperately search throughout the entire kingdom for the only woman that can fit in to this shoe.

Since we are very familiar with this story, the only way this would truly standout is in the way it's put together. There are no talking animals (although CGI has the critters believably engaging with Ella) and not a single note is sung but this "Cinderella" will keep your attention with vivid, candy-colored images. With a superb cast (that also features Sir Derek Jacobi as the King and Stellan Skarsgård as the conniving Grand Duke), the exquisite work of production designer, Dante Ferretti, the radiant costumes by Sandy Powell (both the winner of three Oscars) and expert camerawork from Haris Zambarloukos together makes this a breathtaking experience.

The charm of "Cinderella" is decidedly sweet and old-fashioned and that is certainly not a bad thing. During these cynical and jaded times, the simple pleasure that comes from the notion that good can triumph over evil (while still being able to forgive) or that happily ever after can actually happen is quite appealing.

FIFTY SHADES OF GREY (2015)

Written by Kelly Marcel


Directed by Sam Taylor-Johnson


Where & When: Arclight Cinemas, Hollywood, CA. February 18, 2015 5:00PM



Back in the early days of cinema, Hollywood movies would freely feature racy themes involving mature subject matter. Once religious zealots began to use their influence to put pressure on the studios to change their wicked ways, the Hays Code was born, designed to censor any undesirable activities from the silver screen. The code was strictly enforced by 1934 and American films would only feature a sanitized world where there would be no morally objectionable content or language and kisses could not last more than three-seconds.

Thanks to provocative foreign films and US film makers pushing the boundaries, the Production Code finally came to an end by 1968 with a rating system taking it's place. This leads to cinema telling once forbidden stories, particularly involving sexuality. The X-rated "Midnight Cowboy" (although very tame by today's standards) about a male prostitute won the Oscar for Best Picture in 1969 and porn films like "Deep Throat" and "The Devil In Miss Jones" became very chic during the early 1970's.

Sex in Hollywood films has cooled down considerably since then as the sexiest thing you might see today at your local theater is some super-hero wrapped in a very skin-tight suit. This is why I was thrilled with the prospect of a film being adapted from "Fifty Shades of Grey". This sexually drenched tale, based on the mega-selling novel by E.L. James, involves the kinky relationship between a domineering businessman and a somewhat compliant college student seemed to finally offer something for adults at the movies. This glossy film from director, Sam Taylor-Johnson disappoints as it may stimulate some from the waist down but it doesn't offer much to anyone from the neck up. The book is hardly revered as a great work of fiction but it's fans are quite vocal and rabid. The female team of Taylor-Johnson and writer, Kelly Marcel attempt to bring some substance to this light-weight erotica but there's only so much they can do with this material.

A mousy student, Anastasia Steele (Dakota Johnson) is filling in for her ailing roommate to interview the young billionaire, Christian Grey (Jamie Dornan) for the college paper. Overwhelmed by how attractive he is, Ana is flustered as she attempts to ask him probing questions. Mr. Grey, amused and intrigued by the student, flusters her further by putting on the charm.

It doesn't seem likely their paths would cross again but the two meet cute at a hardware store where Anastasia works. On a mysterious errand to pick up ropes and other restraints, Ana takes this opportunity to ask him if he would agree to a photo shoot to accompany the article. Mr. Grey complies, which he uses as an opportunity to ask Ana out.

After they begin their affair, Anastasia is mesmerized by the expensive gifts and lavish trips that Christian bestows upon her. But she is warned he doesn't do relationships and has particular requirements in the bedroom. Actually, a bed isn't even involved as Mr. Grey introduces this young lady to his idea of ultimate pleasure; complete sexual submission. The rest of "Fifty Shades" focuses on the pushing of Anastasia's limits, not only with Christian's unusual carnal desires but also with his lack of romance or commitment.

Although "Fifty Shades" is being promoted to be about love and passion, it's message is clearly anti-romance. If Christian was broke and ugly, you can be sure that Anastasia wouldn't be conflicted over what to do about this unavailable, emotionally stunted man. Due to the subject matter, you would expect at least a certain amount of edginess and tension but the sexually inexperienced, Anastasia takes it all in stride, making the extreme bondage seem simply playful.

Ms Johnson shares in the appealing qualities of her famous acting parents, Don Johnson and Melanie Griffith. She's quite a compelling presence although it's unfortunate the actress is forced to rely on the silly act of biting her lip to express all of Anastasia's jumbled emotions. As for our Mr. Grey, I'm unsure of what to make of Mr. Dornan. The Irish model/rocker is perfectly handsome and brooding but he isn't able to reveal much behind those sexy, dark eyes. Jennifer Ehle and Oscar-winner, Marcia Gay Harden appear briefly as the mothers of the lead characters but these talented actresses are pretty much wasted..

I can't say I enjoyed "Fifty Shades of Grey" and I certainly wasn't turned on. Perhaps it wasn't made with me in mind (in fact, I'm quite sure of that) but I can't imagine who this film was actually made for. Are there really a large number of women out there who literally want to be dominated and punished by a man? Sure, many people bought the book and the story is played off as a naughty, sexual fantasy but for some women, it's a brutal, unpleasant reality that they wish they could forget.

BEYOND THE LIGHTS (2014)

Written & Directed by Gina Prince-Bythewood


Where & When: Arclight Cinemas, Hollywood, CA. November 17. 2014  8:45PM



"Beyond The Lights" tells the overly familiar story of a young woman desperately seeking fame and fortune as a performer and discovering after achieving this success how much of your personal life must be sacrificed. However, in the hands of Gina Prince-Bythewood, the writer/director best known for the cult film, "Love & Basketball", she offers a modern and fresher approach to this oft-told tale. Gugu Mbatha-Raw, who impressed earlier this year with her corseted role in the sleeper-hit, "Belle", plays the woman in question and dazzles once again as a Brit on the verge of breaking out in to pop super-stardom.

As a young child, Noni is given a life lesson from her ambitiously driven, single mother, Macy (Minnie Driver) after placing runner-up in a local talent contest. She tells her daughter to chuck the prize as she should never settle for that if she wants to become a winner. This advice seems to pay off later with Noni (Mbatha-Raw) as she eventually becomes a rising pop star. Following the lead of current popular female singers like Rihanna and Katy Perry, Noni performs scantily clad with a calculated image that is overtly sexual.

After winning a Billboard Award for the collaboration with her publicity-generating boyfriend, hip-hop artist, Kid Culprit (played by real-life rapper, Richard "MGK" Baker), Noni should be on top of the world. But after an alcohol-fueled limo ride to her hotel, she's in no mood to celebrate. For some unclear reason, Noni is suddenly ready to end her life as she dangles off the ledge of her balcony. Luckily, a handsome police officer, Kaz Nicol (Nate Parker) guarding her room is there to save her before she falls to a tragic end. There is a connection between these two in that brief instant but they quickly must return to their own lives. The media gets wind of this attempted suicide and Macy, now her manager, whips together a press conference to claim an accident with Officer Nicol reluctantly there to back the story up.

These two are now linked due to this deception and find themselves drawn even closer to each other. Noni and Kaz sneak away from the glaring eyes of the world, attempting to share some private time together but due to their hectic jobs, these moments tend to be not nearly long enough. Not everyone is happy about this burgeoning romance. Macy sees this police officer as an extraneous distraction to her daughter's career and an unpleasant reminder of the incident. Kaz's father, Captain David Nicol (Danny Glover) thinks his son should take advantage of this attention and pursue their future plan of a political career right now. But a girl like Noni would be completely unsuitable to have by his side.

Ms Mbatha-Raw has all the right moves that makes her quite convincing as a pop singer and it's actually her voice you hear during the performances. She is one to watch and this role should certainly help her breakout. Mr. Parker is very appealing and has a nice, easy vibe with his co-star but his noble character is just little too good to be true. Ms Driver, a fine, underrated actress who many might forget received an Oscar nod for one of her early roles in "Good Will Hunting", is terrific as a mother whose better judgement is clouded by her relentless pursuit of stardom, seemingly for her child.

What Mrs. Prince-Bythewood has done with the highly entertaining "Beyond The Lights" is quite surprising. For what could have easily been a by-the numbers melodrama is elevated by her supple, well-crafted screenplay. While the script doesn't completely shake all of the camp loose (which is actually a good thing), it does succeed with a focus on rich emotions and an intimate love story. Prince-Bythewood displays such a steady, masterful hand as a filmmaker that it's utterly shameful that this is only her third feature in fourteen years. Sadly, it's quite clear that gender and choice of material made it very difficult for the director to get a project off the ground

"Beyond The Lights" is fizzy and fun, delighting with a glittering parable regarding the present-day  music industry. What makes this stand apart from other show-business yarns are persuasive characters and at the heart of the film, a credible romance despite the incredible circumstance that brings these two disparate individuals together.

LIKE CRAZY (2011)

Written by Ben York James & Drake Doremus


Directed by Drake Doremus


Where & When: Arclight Cinemas, Hollywood, CA. November 1, 2011 5:30PM


Do you recall the first time you saw someone across the room, your eyes meet, sparks fly and there is some sort of sense of a deep, magical connection from just that initial encounter? The romantic drama, "Like Crazy" attempts to recreate that special moment but the results end up being uneven and not exactly as moving and thrilling as you might like to remember.

Anton Yelchin plays Jacob, a cute young man attending college in Los Angeles who wants to design furniture. Felicity Jones is Anna, a pretty, British young lady who is attending the same college to become a writer. They notice each other in class but barely speak so, Anna boldly leaves a note on Jacob's car asking him out on a date. Intrigued and certainly attracted to her, Jacob accepts her offer. The two connect almost immediately as we see the romance blossoming through a series of dates and intimate moments.

Anna's student visa expires at the end of the school year which means she is supposed to return home but now she's hopelessly in love with Jacob and can't bear the thought of leaving him. After a romantic, farewell getaway to Catalina Island, she decides to stay throughout the summer to spend more time with the man she loves.

Anna later returns home to England with the intention of returning quickly as a tourist. However, a complication arises when she arrives in Los Angeles and she is denied entry because of her previous visa violation. Jacob and Anna try to maintain their relationship long-distance for a while but the difficulties of the time-difference, jealousy and frustration causes the couple to separate.

Jacob starts a successful design business and begins to date his employee (Jennifer Lawrence) while Anna works writing for an Internet blog as she goes out with her handsome neighbor (Charlie Bewley) but their feelings for each other never change. They soon reconnect with Jacob visiting England and Anna's family hiring an immigration lawyer to help untangle the legal matter but will this couple be able to survive the stress and strain of trying to hang on in order to keep their love alive?

"Like Crazy" has received plenty of critical praise and has won several awards including the Best Actress and Best Film Grand Jury Prizes at last year's Sundance Film Festival but I just don't get it. There is strong camera work by cinematographer, John Guleserian and the performances are well done but I didn't see anything particularly special or inspiring about this film to get so worked-up about.

Now, I realize it has been many, many years since I've been caught-up in the throws of young love and perhaps my memory is now just a bit foggy but I can't imagine it ever being this emotionally flat and uninteresting. There have been a large number of films that have documented the incredible highs and terrible lows of falling in love so we need to see something that strongly takes on a creative or inventive variation of this theme as much as possible and "Like Crazy", while it is a well-made, is lacking in that area. The apparently fresh idea that the major obstacles standing in the way of their happiness is their different nationalities and bad judgement is pretty thin and less than engaging.

Director, Drake Doremus and co-writer, Ben York James put together a sixty page outline with the lead actors improvising much of the screenplay and while the two young actors are able to bring some realism to their characters but with Yelchin at only the age of twenty-two and Jones at twenty-seven, there isn't a lot of life experience to be able to add compelling and meaningful dialogue.

Despite the efforts of a talented cast and crew, "Like Crazy" never rises above a fairly, standard love story and with a running time of only ninety minutes, feels over-extended and tedious.