Hope Gap begins with great promise: a movie about two aging characters whose marriage is fraying after almost 30 years They are both intellectual - he a teacher and she a writer currently creating an anthology of poetry written by the masters of English literature and dealing with emotional situations They live in a modest, comfortable home in England and are welcome prototypes of people who seem normal, upper middle-class and stable. We imagine that they will work out their problems with equanimity and restore the missing vitality to their relationship

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I can’t call this a review because I will admit that I cannot give a coherent plot line to this Rumanian film about crooks and cops and an ancient whistling language developed for sending messages across hills and valleys in the Canary Islands. I got that info from Joe Morgenstern’s review in the WSJ. He must have learned that from a helpful press release along with some other information that allowed him to sketch a thin line of action sufficient to find a “witty riff on Hitchcock” and a “surreal flow between reality and movie tropes.”

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I haven’t read Jane Austen’s original version of Emma since college, but judging from its latest incarnation, a title that better suits it is Much Ado About Nothing. By now, after so many treatments of the source, everyone must know that Emma is a privileged young woman who fancies herself a do-gooder, particularly vis a vis her friendship with Harriet Smith, a young woman missing everything Emma has - wealth, lineage, social standing and personality. Unfortunately, that last quality is not in evidence in either the screenplay or bland performance by Anya Taylor Joy. But, even if it were, it’s hard to see what the two women would ever have in common except the endless flattery of Emma herself.

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The quote was originally a response to Oliver Wendell Holmes Jr.’s request to Emerson to critique the paper he was writing about Plato for the course he was taking as a Harvard undergraduate Emerson, obviously concerned about the loose ends Holmes had left in the paper, gave the young student some strong metaphoric advice: Plato was the king and though Holmes had struck him, he had not successfully completed his arguments against him.

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If you’re sick of being accused of racism, white privilege, toxic masculinity, insufficient attention to Climate Change, MeToo’ism and the LGB alphabet; if you’re exhausted by the long-winded House Managers’ vitriolic performances and if you’re depressed by the diminution of old-fashioned flag-waving, anthem-singing patriotism - run to see The Last Full Measure.

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In order to succeed, satire and parody require a common understanding of what is being satirized. If the audience doesn’t have this, satire quickly degenerates into flat-tire. Sadly, 75 years after the liberation of Auschwitz, most Americans have little idea of the history of World War II and the extent of brutality that tortured and murdered six million Jews, one million of whom were children.

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One of the main handicaps in watching the latest incarnation of this classic novel is the difficulty in recognizing that any of these “girls” is meant to be truly young. Amy, the youngest sister, looks as developed and fully grown as Beth, Jo and Meg. Because of this, the audience has no way of contextualizing her behavior as that of the little girl who is frequently excluded from some activities because of her tender age. It’s impossible to understand her unforgivable and un-fixable act without recognizing that it’s driven by the uncontrollable impulse of a child, not yet a teenager. Serendipitously, the viewer has a chance to see what I mean by watching the 1994 version of Little Women which will be on Showtime Showcase at 7 pm tonite - Friday, Jan 3rd. Record it.

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Memo to writer, director and producer: Kadish the Hebrew prayer for the dead, is not pronounced like radish; it is pronounced like Kahdish or Coddish. Though this may seem picayune, it’s a word that comes up often in a movie about the Holocaust, and particularly one that deals with showing respect for murdered Jews, it’s inexcusable to hear it constantly mispronounced by the Jewish protagonist as well as others. Imagine a movie about French people who call their capital Parees - could we take it seriously?

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Blessed by serendipitous synchronicity, Clint Eastwood’s movie, eponymously titled “Richard Jewell,” concerns the FBI mishandling of the Atlanta Olympic Park bombing and opened two days after the release of the Horowitz Report found 17 omissions or incorrect commissions in the Carter/Page application submitted by the FBI to the FISA Court. It is startling to see the same malfeasance brought to public attention in 1996, including a sexual relationship with an officer of the FBI, as well as other unlawful behavior in the bureau’s interrogations and investigations. Beyond that unusual coincidence, the movie is noteworthy for its restraint, particularly considering that its producer and director was Dirty Harry at the beginning of his career.

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The Metropolitan Museum of Art was founded in 1870 and moved to its present location on Fifth Avenue ten years later. It has benefited from the work of many illustrious architects from the 19th century on - all adding to the elegance and majesty of America’s premiere neo-classical palace of Art. Its collections are priceless, ranging from ancient Egyptian, Greek, Roman, Assyrian, Chinese and many other cultures to contemporary painting and sculpture with an emphasis on international presentation of art in all its myriad forms.

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The NYT rails against white privilege and purports to be the defender of public schools, champion of the homeless, illegals, petty criminals, ex-cons and other disadvantaged members of our society, especially on its editorial page. But if you check its advertising, you won’t find Chick -Fil-A or Target and if you go to its restaurant reviews you’ll find the truth that can’t be masked and certainly deserves mocking.

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The real measure of a clever script in a suspense film is the aha moment at the end when the viewer realizes that there were clues scattered throughout the film which were either missed or more likely misinterpreted. In other words, the writer or director’s talent was in pulling you in the direction he orchestrated and doing that so well that you failed to connect the dots that were there all along. Hitchcock spoke about providing the audience with a suggestion and sufficient information to figure out the rest. This is a challenge in film since the audience only sees what the director allows us to see but frequently, on second view, you will realize that a line of dialogue, or something in the background, on the night table or hanging on the coat rack might have helped to solve the puzzle.

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If, like me, you are an educated senior who watches the news on t.v. more than once a day, you may be as bewildered as I am at some big pharma commercials and their casual use of esoteric language. I used to pride myself on spelling and vocabulary but here are some examples that baffled me before I turned to google.

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This Israeli movie won the Golden Bear Award at the Berlinale Film Festival this year, also getting rave reviews from Manhola Dargis (NYT) and Joe Morgenstern (WSJ). Written and directed by the Lapids, pere et fils, it purports to be a movie about an Israeli soldier who has completed his service with a profound hate for the militaristic nature of his country and the determination to abandon it for France. Along with becoming an expat comes the decision to forego his mother tongue and speak only French, carrying a pocket thesaurus for assistance, hence the title.

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Parasite bears an immediate resemblance to Jason Peele’s US, a horror film in which underground tunnels are the habitat of dopplegangers cloned by our government in a failed experiment and condemned to live below eating rabbit meat. In the Korean film, things are a bit better - there is a window to the street above the basement dwelling but the view is of a repeat urinator who chooses that corner for his daily excretions. To summarize the plot, we have a family living in close quarters who manage to insinuate themselves into excellent jobs working for a wealthy family living in the most architecturally dazzling house in recent film history. That and the score are two sufficiently good reasons to see the movie but there are more.

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If you like your biopics of legendary celebrities reducing them to formulaic caricatures, here’s one not to miss. Think of Alec Baldwin’s skillful skewer of our president which gets a laugh in a five minute skit on SNL and then imagine it stretched out to a feature length film with familiar side characters who are mostly evil in ways that are now shopworn tropes. Louis B Mayer, head of MGM, here a huge man towering over a petite Judy Garland, lives up to his reputation as a tyrant who forces the teen-aged girl to diet and keep working till all hours of the night His assistant, a nameless version of Annie’s Miss Hannigan, is brutal in snatching away hamburgers from our hungry heroine and adding to the cruel atmosphere of “the studio.” If reality were added to the film, we would meet Judy’s most formidable enemy - her mother - who began feeding her pills at the age of 10 and who saw all three of her daughters as viable meal tickets for her own unsuccessful marriage and life. Louis B offered the multi-talented young Frances Gumm a new name and an opportunity to find a big life her own - something that Shirley Temple most famously achieved despite a childhood spent in similar circumstances.

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One of the more interesting aspects of the long-running television series was how skillfully Julian Fellowes managed the transition from 19th century British mores to the 20th. From the introduction of the automobile to the radical concept of a chauffeur marrying into an aristocratic familly, almost every episode had some element of gradual change in the lives of upper class gentry and glimpses of how the downstairs servants could begin to see their aspirations materialize, frequently with the support of their benevolent upper class employers. While all this was happening, we had the best-written character of Lady Grantham, played to perfection by Dame Maggie Smith to represent the other side of these “advances” with her clever and witty pronouncements of the old-fashioned way of thinking and doing.

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Here are some things you should know before skipping Ad Astra: It is very long and boring. As a substitute for characters and plot, it has space jargon, space gibberish, space clutter and Brad Pitt and Tommy Lee Jones as attempted compensation for all that. Neither one can save this movie from its emptiness and glaring inadequacies. Best to try to find 2001 and replay Part 1 of that to see what Stanley Kubrick was able to do with infinite space and limited time - even if you’ve seen it before, it will seem fresh compared to watching Ad Astra for the first time.
Since it isn’t possible to spoil something as dull as this, I can tell you that Ad Astra ends with the same heart-warming message as Wizard of Oz - without the music, talent and joyfull ebullience of course. Now if Brad Pitt had worn those spangled red shoes, this might have been a movie deserving of a real review. As it stands, I’ve sent you a warning instead - proceed at your own risk of feeling very stupid as you empty the theater and don’t dare say I didn’t tell you so!

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If New York City taxpayers want to know how their money is spent by the Dept of Education, they can consider the program to train computer science teachers to help students see this subject connected to their own lives. You might guess that ordinary inducements such as doing better in school, doing better in an increasingly computerized job market, earning more money - all of which apply to all races and ethnicities - would be reason enough to be grateful for having computer science courses available in school. You might imagine that by the time a Muslim student is in school, it is no longer essential to capture his attention by the fact that he can make a 3 D symbol of Allah’s name in Arabic script. You would hope that infantilization would not be so rampant that a teacher would boast of making up a song similar to “the head bone connected to the neck bone” in order to stimulate interest in computers. These examples are from an article in today’s WSJ and make us wonder whether school is synonymous with Sesame Street and whether all we are really doing is encouraging the soft bigotry of diminished expectations (WSJ NYC Teachers Get ‘Culturally Responsive’ Training, 8/14)

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The NYTimes chose the following headlines to characterize the mass shootings in El Paso and Dayton “In Texas Gunman’s Manifesto, An Echo of Trump’s Language,” “Manifesto Posted by El Paso Gunman Echoes Trump’s Words,” “Mass Killers Emboldened by Rhetoric of President, Some Candidates Say.” (NYT 8/5/19)

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For moviegoers old enough to remember the sickeningly grotesque details of the Manson family’s massacre of Sharon Tate, her unborn child and the other victims in her house, it will be hard to believe that the alternate massacre in Quentin Tarantino’s latest film is greeted with gales of laughter throughout that sequence. The theater was full at the 4pm weekday screening, and I was shocked to see how many of the viewers were at least middle aged and could be expected to have at least read about this shocking mass murder that took place in 1969.

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Early on in this film about Argentina, we see a solitary man sitting at a table in a crowded restaurant. Another man walks in and stares at him unrelentingly, eventually telling the waiter that he should be given that table since he is ready to order while the man already seated is waiting for his late wife To tell you more about what happens next would be a spoiler except to say that most of it is unexpected and the degree of tension the director (Benjamin Naishtat) builds from this mild beginning is unnerving, brilliant and a sweeping foretelling of events to follow.

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Stimulated by the reports of federal prosecutors probing the nefarious activities of Jeffrey Epstein, I googled “online sites with nude girls” and was surprised to see that 874 million such sites are available to us. When I added “teenage” to the request, the number jumped to 1, 470,000,000 - it’s hard to say that number and much worse to believe. “Sexy pictures of children” fetches a mere 185 million sites, all of which are perfectly legal to look at. The only thing that’s against the law in our state is printing, downloading or stashing them. One would hope that faced with the enormity of underage sex trafficking online, our legislators would be hounding NY State for new legislation that would stop this public epidemic at its source. Yet the legislation currently being considered in Albany has to do with decriminalizing prostitution so that sex workers get more respectability as well as better compensation for their work.

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It’s cultural appropriation when privileged white people wear cornrows or braids or even sport sombreros. It’s fine for a Hispanic woman to refer to a detention facility as a concentration camp - and to use the phrase “never again” - a specific reference by Jews to the holocaust - to the congestion of illegal immigrants who have insistently forced their way across the border. The name of a raped woman must never be published by our newspaper of record but slanderous statements by the defense lawyer about the missing mother of 5 whose blood-stained clothes were found among 30 bags deposited by the husband and his girlfriend in 30 different garbage bins are freely published in the paper and broadcast on t.v. news. The trial of the husband and girlfriend has not even begun. A new law restricts landlords from de-activating rent stabilization from apartments whose tenants have moved out, thereby forcing landlords to continue to relieve the govt of providing its own housing for the indigent. Other businesses such as restaurants and stores are free to raise their prices without restrictive laws. State senators who passed the law that hogties landlords are scheduled to get large raises that would make their salaries the highest of any state.

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What a wonderful relief is was to watch a current movie that is meant for viewers who are articulate and appreciate a script that has not one vulgar four-letter adjective to precede every noun. After the rave reviews of The Long Shot, a film that is soaked in slime in which highly educated people sound like they walked off the set of The Sopranos, Tolkien was a return to inspiration from brilliant and creative characters whose dialogue matches their intellectual talents.

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There are many adjectives that have been used to amplify anti-semitism — racist, bigoted, ignorant, evil - but never has a situation so perfectly demanded the word “ironic.” The UK Disabled Students Campaign which affiliates with the UK National Union of Students issued the following resolution at their annual conference: “We are proudly antiracist, anti-colonial, anti-Zionist and thus support the Palestinian struggle for their liberation.” Ironically, Israel is at the forefront of technological development to assist disabled and severely handicapped people throughout the world. Had the students bothered to google prosthetic devices or medical technology developed by Israel, they might have thought twice before espousing something that if successful, would end up shooting themselves in the proverbial foot with their knee-jerk intersectionalism.

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A film about the greatest male dancer of his generation should convey at the very least the speed and perfection for which he was known. Unfortunately, The White Crow, a biopic of Rudolph Nureyev, is too often a static production with too little depiction of the dancer in an extended ballet sequence and too much mooning at his yearning or irritable face - the default expressions the director has chosen to emphasize . We see short scenes of the dancer’s talented leaps and twirls and too many scenes of his petulant tantrums which become increasingly annoying with each escalation.

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Purporting to outline the current disease of hatred on both left and right “extremes,” the Times caption reads, “Surge of Anti-Semitism in Europe and U.S. as Economies Cool,” thereby solidifying one of the most heinous anti-semitic tropes - conflating Jews with money. As for the Democrat party, anti-semitism has jumped from its extremes to mainstream candidates for office and members of congress who consider it merely an example of freedom of speech.

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Purporting to outline the current disease of hatred on both left and right “extremes,” the Times caption reads: “Surge of Anti-Semitism in Europe and U.S. as Economies Cool,” thereby solidifying one of the most heinous anti-semitic tropes, conflating Jews with money. (NYT 4/5/19) As for the Democrat party, anti-semitism has jumped from its extremes to mainstream candidates for office and members of congress who consider it merely an example of freedom of speech.

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I can’t pretend to have caught all of Jordan Peele’s allusions in this horror film, but I am fairly certain that even younger, hipper culture junkies may not be successful either. Whatever intention the writer/producer/director may have had has gotten buried or obfuscated by an overly complicated plot that includes dopplegangers, flashbacks, prophetic warnings, subterranean caverns and overhead shots of an overly symbolic Hands Across America demonstration

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Despite being a late viewer of this film which has won the Grand Jury Prize at Cannes and was nominated for best foreign film in the US., I can’t miss the opportunity to inspire any other latecomers to see this immediately. Never before have I seen a film in which a baby deserves to have been nominated for best supporting actor, not to mention a Gold Pacifier for most onscreen time with no dialogue.

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This movie takes place in Hamburg in 1946, as Keira Knightley arrives from London to join her Colonel husband (Jason Clarke) who is in charge of dealing with the aftermath of a war that left the German city decimated. Though the Allies were permitted to take over the houses of wealthy Germans and evict them during their stay, the Colonel extends the gesture of allowing the father/daughter owner/residents to remain in the palatial mansion, occupying only the top floor while he and his wife live on the main floor. We learn that each family has suffered a tragic personal loss and we see the initial antipathy of the Colonel’s wife to all things German while her military husband insists that the war is over, the Allies have won and it is time for reconciliation.

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In an interview with the NYT six years ago, Lee Radziwill was asked about being the sister of Jacqueline Kennedy Onassis and her response turned out to be prescient: “Perhaps the most depressing part was that whatever I did, or tried to do, got disproportionate coverage purely because of Jackie being my sister. But you learn to deal with scrutiny, even the lies, as long as it’s not malicious.” That is sadly ” le mot juste” to describe her NYT obituary, penned by Robert D. McFadden with a heavy dose of nasty, inappropriate and irrelevant thrown in for good measure.

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Normally committed to a daily dose of Israel-bashing, the NYT outdid itself on Feb 6th with two front page articles in the News section and sourly in the Food Section. “Zaitoun: Recipes from the Palestinian Kitchen” by the Pakistani/Iranian author Yasmin Khan, offers recipes for roast chicken, cauliflower soup and spicy shrimp and tomato stew. Although these sound appetizing, the meat of the article is the opportunity to offer the following observation made about the West Bank when the author worked for War on Want, a British charity: “Seeing the physical apparatus of the Israeli occupation of the West Bank was very hard to witness.” We are told that in writing this book, she “made a point not to quote any Israeli sources..an absence that she hoped would send a message: Palestinian voices are not always heard. Listen.” Then, with unsated appetite, the Times journalist quotes Joudie Kalla, author of Palestine on a Plate: “If you look deep into the books, they are about keeping our heritage alive in a world that is so desperately trying to hide us away.”

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