ScreenFish

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Reviews

Finding You: It’s Just a [Celebrity] Crush

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Set in an Irish coastal village, Finding You follows young violinist Finley Sinclair (Rose Reid) who, after hitting a creative wall within her music, opts to travel abroad to a quiet Irish coastal village for a semester of study. Staying at a local bed and breakfast and working with the elderly, Finley settles in to get a fresh start and clear her head. However, all of her plans are turned upside down when she encounters Beckett Rush (Jedidiah Goodacre), a handsome young actor who happens to be in town to film another instalment of his immensely popular dragon film franchise. Though they seem an unlikely couple, a relationship sparks between the two of them and they challenge each other to look into themselves to find something (or someone) new.

Written and directed by Brian Baugh, Finding You manages to find its way to entertain the viewer. Featuring a noble prince, romance and lush countryside, the film does feel a little like a modern fairytale. While the plot is fairly straightforward for a young romance, the film manages to charm due to the strength of its cast, especially young Rose Reid and Jedidiah Goodacre. As teen heartthrob Beckett Rush, Goodacre brings all the charm and energy necessary to make him the lovable (but misunderstood) ‘bad boy’. His energy is counterbalanced by the more grounded performance by Reid and the two have some lovely chemistry together onscreen. It’s also worth noting that one of the brightest stars in the film is Saoirse-Monica Jackson (Derry Girls) who bounces around onscreen with endless enthusiasm. Though not a main character, Jackson often steals the scenes that she’s in with charisma and glee.

Set in the stunning Irish countryside, Baugh makes good use of his surroundings. Although the music, architecture and landscapes are used merely as visuals, Ireland almost becomes a character itself within the film (as it often does). Whenever it’s featured onscreen, there’s something mythical about Ireland’s lush green spaces that adds to the romantic atmosphere. There is such charm to the location that the sweeping nature of the landscapes (almost) covers any moments where the story may be lacking. (In fact, the locale even almost justifies the price of admission to see onscreen itself.)

Interestingly, the film does offer a bit of a commentary on the nature of celebrity. As one of the world’s leading stars, Beckett finds it difficult to go anywhere without being noticed. While this is hardly new, what is unique is the frustration that he feels with his career. Unfulfilled by being recognized as the leading man of ‘those dragon movies’, Beckett cares less about the big dollars and wants to have his life back. Held under contract by his father (Tom Everett Scott), Beckett wants to regain some control over his life once again. (In some ways, Beckett’s journey feels similar to that of Robert Pattinson who was once known only for the Twilight franchise and moved into the independent scene as he grew older.) Here, the film highlights the side of celebrity that many do not understand—having to live under the expectations of others. For Beckett, he is constantly under pressure to conform to an image that seems merely for the benefit of his fans. As a result, he has lost his sense of self and yearns for something simpler. 

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In this way, Finding You becomes a coming-of-age tale disguised as a romance. Though the relationship between Finley and Beckett drives the narrative, the most compelling journey that they both take is growing into themselves. As their interest in each other increases, the two challenge one another to process the issues that hold them back from… well… finding themselves. As Beckett struggles to live up to his father’s expectations, so too does Finley have difficulty living up to her own. Though she has incredible technical skill, her music suffers due to her inability to bear her soul when she plays. (“It doesn’t matter what the notes are but how you play them,” she’s told.) However, as the two become closer, they are able to challenge one another into standing up against their fear and step into their lives with renewed passion and vigour. 

Fun and somewhat fanciful, Finding You mostly works. Though there is little new in terms of story, the character and Irish setting create a sense of whimsy that blankets the film. In the end, Finding You manages to charm the viewer enough to feel like this is a trip worth taking in the end.

To hear our conversation with star Rose Reid, click here.

Finding You is available in theatres on Friday, May 7th, 2021.

There Is No Evil – Are We Monsters?

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“What kind of animal could execute someone?”

What kind of person could kill someone? Could you? What if the reason is that it is your job? Could you be the executioner of someone given the death penalty? There Is No Evil from dissident Iranian director Mohammed Rasoulof won both the Golden Bear (best film) and the Prize of the Ecumenical Jury at the Berlin Film Festival. This is a film that doesn’t ask if capital punishment is just or moral. (I think the film assumes it is not.) Rather it looks at the people who must carry out the executions and what the cost is for them.

The film is made up of four vignettes. Each story evolves until it comes to a twist we may not have expected.

We watch a middle-class man as he goes through his day running errands before going to work in the evening. It all seems so very normal, until we see his matter-of-fact approach to his work. We see a conscripted soldier in the barracks struggle with being picked to hang a criminal. He looks for a way out, but he seems to be trapped. Or is he?

Another soldier is traveling to his fiancée’s birthday because he’s earned a pass. When he arrives, he discovers the family is in deep grief because a resistance leader friend has just been executed. Can this become a wedge in his relationship with his fiancée? Finally, we meet a doctor who has retired to beekeeping off the grid. When his niece comes for a visit the secret of his past comes out.

We come away from the film with a vision of the way taking part in such a practice corrodes the spirit. The film also serves as a statement about life under a repressive government such as Iran. (It should be noted that Rasoulof has been sentenced to jail for his films which were deemed to be “propaganda against the system”.) It is not just the participation in an execution that Rasoulof sees as harmful, it is the system that puts people in such a situation. As Rasoulof puts it, “Autocratic rulers metamorphose people into becoming mere components of their autocratic machines”.

Going back to the questions at the start of this review: What kind of person could kill someone? Could you? I expect most people would want to answer that they would not. Does the fact we live is a democracy protect us from such a “Metamorphosis”? Or are we just as susceptible to being changed by the systems around us? What about our participation through our citizenship? Is our silent acceptance of capital punishment a form of participation in the execution done in our name? Even if we are not the active executioners, we are the system that creates the evil.

There Is No Evil opens May 14 in theaters and on virtual cinema.

Photos courtesy of Kino Lorber.

Oxygen: Breathing to Remember

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While watching films of gripping intensity, we often feel as though we need to remember to breathe. 

But what about a film that’s wants you to breathe to remember?

Directed by legendary director Alexandre Aja, Oxygen tells the story of a young woman (Melanie Laurent) who awakens in a cryogenic pod. Without any memory of who she is or ties to her old life, the woman panics and struggles to break free. With her oxygen level depleted, the woman must crack the code of her memory and her mysterious tomb before time runs out.

Oxygen is an ambitious piece that will leave you gasping for air. An absolute nightmare for anyone claustrophobic, Oxygen keeps the entire film within its confined quarters. While there are very few examples of this type of storytelling, this is an ambitious task for any narrative. With a minimal cast and a tight location, it’s extremely difficult to keep the audience’s attention. (Ryan Reynolds’ pre-Deadpool film, Buried is another example of this.) While Oxygen doesn’t always manage to work, the film’s twist half way through the film is unexpected. Without giving anything away, Aja manages to open up the world so broadly that it gives the film the energy boost that it needs to remain compelling.

As the film’s central focus, star Melanie Laurent has the camera firmly placed on her the entire film and does her best to keep the audience engaged. (Although it’s also worth noting that the film does give some minimal breaks from the location via flashbacks.) The great challenge of a character such as this is that it removes the actor’s ability to truly interact with her surroundings and puts a greater emphasis on the script itself. Even so, Laurent does some good work here and continues to breathe life into the film. 

In many ways, Oxygen wants to explore the connection between memory and identity. Waking up with no recollection about her name and/or life, this young woman feels an even deeper sense of isolation. Although locked in her high-tech coffin, what is most terrifying to her is her inability to recall her life before that moment. In essence, because she can no longer remember anything, this young woman’s peril extends beyond her physical problems and seems to erase her from history. Without her memories, what defines her life?

Without a story, how does she know she matters?

While we don’t often associate our memories as the defining characteristics of our lives, Aja creates a compelling argument that our mind is the very thing that defines us. As she fleshes out her life, her story helps her to understand not only her situation but what makes her who she is. As a result, with each piece of her life she recovers, this young woman regains increasing motivation to live on. In this way, Aja uniquely connects our memories with our place in the universe. To him, it appears as though we know we matter because of the loving marks we’ve left on others along the way.

While Oxygen will not be for everyone, the film is hardly on life support. Led by some intriguing ideas about the meaning of our memories, Aja gives Laurent enough room to breathe to give the film life, even when other examples of the genre run out of air. 

Oxygen is available on Netflix on Wednesday, May 12th, 2021.

Together Together: What is ‘Together’?

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We live at a time when the meaning of ‘family’ continues to evolve withing our culture. But can you be together without really being together?

Together Together tells the story of Matt (Ed Helms), a single middle-aged man who decides that he wants to father a child and turns to a surrogate to make his dreams into a reality. In the process, he hires Anna (Patti Harrison), a young independent woman who is willing to take the job for the extra cash. As the months go by and the due date approaches, the two begin to experience a unique bond together which causes them to re-evaluate their perceptions of what it means to be connected, maintaining boundaries and the nature of love.

Written and directed by Nikole Beckwith, Together Together has charm and wit but never fully realizes its potential. To its credit, Helms and Harrison have a certain charming chemistry that keeps the film going. As Matt, the always affable Helms brings the sort of light-hearted humour that has made him a star. At the same time, Harrison does an excellent job as Anna, and serves as an interesting foil for Helms as his potential paramour. Together (together), they create an interesting dynamic with conflicting styles that allows the ‘will they/won’t they’ to work, even at times when the script lets them down. 

With unique twists and characters, Together seems has grand ambitions to change stereotypes of the rom-com genre. By flipping the tropes of the ‘young woman looking to have a child’ and the ‘independent male loner’, Beckwith has the opportunity to explore changing gender roles and cultural stereotypes. In this way, the film really creates some fascinating and unexpected interactions. Matt attempts to navigate life as a single man in a world that seems foreign to him. At the same time, Anna’s emotional and sexual independence causes conflict within herself as she struggles to connect with both the baby and Matt.

Even so, while it’s refreshing to see a film that breaks with conventions in so many ways, the script doesn’t always come into focus as a result. At times, Together feels like it wants to break the rules but doesn’t always know where it wants to go when it does. Although there are some interesting conversations to be had featuring a single-father family, the idea of potentially linking the two leads romantically feels like it could be transgressive. (For instance, if Matt begins a relationship with Anna, does that defeat the intent of showing his courage?) While the script does manage to (sort of) answer these questions by the end, it still feels slightly unsatisfying.

At its core, Together wants to explore the nature of community and, more specifically, the meaning of family. Both Matt and Anna live lives with varying degrees of isolation and shame. While Matt fails to live up to his parents’ expectations for attempting to be a single father, so too does Anna feel the full weight of her own family’s shame for her own past pregnancy. Estranged from their loved ones, the two are both looking for a relationship in order to feel safe and secure. (It’s worth noting that neither is actively searching for a romantic relationship. Instead, both seem focused on their independence, at least initially.) 

As their openness with one another begins to break down their barriers though, their professional relationship begins to melt into something that brings feelings of security and love. While romance is not off the table, neither is it the driving force here. (After all, they’re together… but not together together…) In this way, Beckwith’s story really challenges assumptions about what it means to be a family. In Together, Matt and Amy can become partners without having to fit into traditional family roles. Regardless of what takes place between them romantically, the two characters can still commit to caring for one another and creating a world where ‘Lamp’ is loved. This conversation seems to be the ultimate motivation behind Beckwith’s script and provides some interesting conversation points as the credits roll.

In the end, due to the strength of Helms and Harrison, Together Together makes for an evening of entertaining viewing. While the script does lose its way at times, the film creates some intriguing situations that makes it an enjoyable watch, whether alone or with your ‘together’.

Together Together is available on demand on Tuesday, May 11th, 2021.

Street Gang: How We Got to Sesame Street

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I spend a lot of time on the Internet. And if we are being totally transparent, I probably spend TOO much time on the Internet. More often than not I am on it for two main reasons:

  1. To completely disassociate from all that I left undone during the day and somehow seek to take back control of my brain (and life)
  2. Reading random articles about things

The second one tends to focus on the topic of life as a mom: What is this rash my kid has? How long does it take for a teenager to act normal again? What is “too much” screen time and how will it affect my kids? This last one in particular is increasingly relevant, especially in the light of a COVID world where caregivers have been left with few resources for engagement and learning for their children at home. And while I am well aware of the recommendations regarding screen time and that the topic often gets tense, I’m going to shine the light on what I feel like are the most valuable characteristics of devices: accessibility and representation. And for me it all begins on a street – Sesame Street.

Street Gang: How We Got to Sesame Street gives us the history of one of the longest-running children’s shows to-date. From the exploration of using TV as a form of education to the incorporation of what were considered “progressive” topics, Street Gang brings original backstage footage into the forefront with interviews and insight from those who were instrumental in revolutionizing access to education.

Because that was one of the original motivators for the creation of Sesame Street – accessibility. Growing awareness of the socio-economic disparity that minority children faced with regards to educational resources was the springboard for Joan Ganz Cooney and Lloyd Morrisett exploring the possibility of television as an answer. With the launch of Sesame Street, children not only had the opportunity to learn the basics of math and reading, they especially had the opportunity to learn about emotional maturity, and in a way that not only sounded like them, but looked like them too. And while characters like Kermit and Grover and Bert and Ernie didn’t exactly look like real people, children could relate to their stories and questions. Take Oscar the Grouch for example. Writer/composer Christopher Cerf explained, “Oscar the Grouch was created very much to show that somebody with a completely different view than yours could be your friend.” Who knew that an angry puppet in a trashcan could be a tool for dialogue and connection? Sesame Street knew, that’s who. And they kept going.

With the Civil Rights movement sweeping across the nation, the core Sesame Street creators brought a New York city street into every home with a television. They didn’t shy away from hard topics like race and death. They didn’t minimize the experiences of children and created characters like Big Bird that spoke and responded like a young child – regularly asking questions, needing additional explanations, learning about a world where people look and think differently. The goal was to “give kids tools to create the world they wanted to live in,” Sonia Manzano (Maria) shared. Blending the real with the imaginary – people with puppets – Sesame Street became a gateway for children to see themselves in a world that often overlooked them. When they tuned into the show, they weren’t just learning their alphabet and colors, they were witnessing community in the truest sense.

And I’ll be honest. After watching Street Gang: How We Got to Sesame Street, I think as adults, we need to find our way back there.

Street Gang: How We Got to Sesame Street is available on demand.

A Bump Along the Way: Rebirth from New Birth

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Set in a small-town in Ireland, A Bump Along the Way tells the story of Pamela (Bronagh Gallagher), a 44-year old woman who has her priorities out of order. Despite caring for her teenage daughter Allegra (Lola Petticrew), Pamela spends her nights partying and has difficulty making ends meet. When a one-night-stand results in a pregnancy, Pamela re-examines her life and attempts to make things right. Even so, after years of neglect, her relationship with Allegra has become strained and the two women must decide what it means to build a family moving forward.

Funny and charming, A Bump Along the Way is the perfect film for Mother’s Day weekend. Directed by Shelley Love, Bump pops along with enjoyable dialogue and engaging characters while also celebrating its female characters. In her first feature length film, Love spins an entertaining mother/daughter story that also highlights the importance of the people in our lives.

Though much of the cast does some solid work, its ultimately Gallagher that shines brightest. Taking centre stage as the broken but affable Pamela, veteran actor Gallagher thrives in the spotlight. Even in moments of sadness, there’s a strength and focus that comes through Gallagher that makes her a delight to watch. As Pamela, she has a spark within her performance that makes her relatable and she carries the film as a result.

In a lot of ways, the film is a love letter to those looking to begin again. Struggling to relate to her daughter and filling her nights with partying, Pamela’s life is a train wreck. Having alienated her daughter and struggling to pay the bills, Pamela has lost control of her life in almost every way. However, things change immediately after she becomes pregnant. Though unplanned, this seems to be the wake-up call that she needs and Pamela quickly works towards getting her life together. 

In essence, this unexpected bump in her life creates a moment of rebirth for Pamela.

Nevertheless, the damage has already been done in her relationship with Allegra, who struggles to see her mother as anything more than the sum of her past mistakes. For Allegra, Pamela has always been a poor example. Despite the sacrifices that her mother has made, Pamela’s self-destructive tendencies have been an embarrassment to her and an unplanned pregnancy feels like the final straw. 

Although Bump never loses sight of the value of its characters and reminds the viewer that they do not deserve to be judged by others. As we delve into Pamela’s backstory, we witness the verbal abuse that she receives from the men in her life. At the same time, Allegra’s journey reveals to her how complicated relationships can be when others only view you for your moments of weakness. As they attempt to navigate their lives, the characters highlight their value of the people, despite their actions. In a culture that’s willing to cut people off, this film reminds us that growing up (regardless of age) is difficult and that people make mistakes.

In Bump, everyone deserves a second chance.

At its heart, there’s a purity that drives A Bump Along the Way. With heart and charm, Love does a good job of helping us care for the broken journeys of its characters. Although they’ve made mistakes, both Pamela and Allegra show that sometimes a little bump is all you need to get things back on track.

A Bump Along the Way is available on demand.

Monster: The Angles of Truth

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MONSTER (L-R): A$AP ROCKY as WILLIAM KING (as RAKIM MAYERS), KEVIN HARRISON JR. as STEVE HARMON, JENNIFER EHLE as KATHERINE O’BRIEN. Cr: NETFLIX © 2021 

Admittedly, Netflix can be hit and miss with their dramas. Since they produce so much content, it’s completely understandable that there would be a great deal of films and series that are worth sleeping on. 

Monster is not one of those films.

Directed by Anthony Mandler, Monster tells the story of Steve Harmon (Kelvin Harrison Jr.), a promising, young high school student who lives in Harlem. At the age of seventeen, Steve is on the cusp of adulthood and seems to have a great deal going for him. He is adored by his girlfriend and family. His film teacher views him as a young man of integrity. However, his world is rocked when he is suddenly arrested and charged with felony murder. As he fights for his life in the court system, Steve also must come to grips with his own choices and pray that his life is not ruined by them.

MONSTER: JOHN DAVID WASHINGTON as RICHARD ‘BOBO’ EVANS. Cr: ANNA KOORIS/NETFLIX © 2021 .

Monster is a bold film that challenges our assumptions about others. Bolstered by an exceptional cast, the film features some extremely strong performances. Led by Kelvin Harrison Jr. and Jeffrey Wright, the film gives some small but important roles to such talent as Jennifer Hudson, Nas, Tim Blake Nelson, ASAP Rocky and John David Washington. (Any film that has the option to use John David Washington in a minimal capacity must have some incredible people on its roster.) While their roles are often brief, each actor has the opportunity to have their ‘moment’ and show their talent.

However, anchoring the film is another stellar performance by Kelvin Harrison Jr. (Waves). With each performance, Harrison has shown his ability to bring a sympathetic voice to his characters, even as they are involved with dangerous or violent actions. (Honestly, I don’t think it’s inappropriate to compare him to a young Daniel Kaluuya, if he continues to take on roles where he can grow.) In Monster, he allows Steve to remain somewhat murky in his motivations in that, while we root for his innocence, neither are we certain of it. Though still young, Harrison remains one to watch.

MONSTER (L-R): KEVIN HARRISON JR. as STEVE HARMON, NASIR ‘NAS’ JONES as RAYMOND ‘SUNSET’ GREEN. Cr. DAVID DEVLIN/NETFLIX © 2021

Using time-shifting to outline its narrative, Monster does an excellent job of keeping the audience guessing as to what really took place. Growing up in an at-risk community, Steve’s journey is one of complexity, even if the court case attempts to make it about right and wrong. With each character interaction, we get a more fully formed picture of the type of young man that Steve is and his role in the neighbourhood. To his teachers, Steve is seen as a highly intelligent, budding young filmmaker. To his girlfriend, he’s a caring young man who treats her well. To the more troubled characters on the street though, he’s a potentially good contact who may be worth using to their advantage.

In Monster, truth is never straightforward. Though people are often willing to make snap decisions about others based on race, age or social status, the film argues that there is always more to who we are than any particular labels. Like Steve himself, the story explores what it means to listen to the stories of others and allow that to flesh out our judgments of others. In Monster, labels limit our understanding. (In fact, the title Monster refers to the fact that the jury views him as only one way for his potential involvement in the crime for which he’s accused.) While the film never justifies what takes place, it’s emphasis on the full embodiment of truth does provide context to the events and create sympathy for those who were involved.

MONSTER: KEVIN HARRISON JR. as STEVE HARMON. Cr. NETFLIX © 2021 

Well-written and executed, Monster is an excellent example of the type of content Netflix can produce. It is willing to take risks its structure, features some incredibly talented performances and allows the story to ask some different questions. Though not a fun film to watch, Monster remains an engaging piece that feels honest about the way we view one another… and that’s the scariest truth of all.

Monster is available on Netflix on Friday, May 7th, 2021.

Jupiter’s Legacy: Processing The Power that We Leave Behind

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JUPITER’S LEGACY (L-R) LESLIE BIBB as GRACE SAMPSON, JOSH DUHAMEL as SHELDON SAMPSON, and BEN DANIELS as WALTER SAMPSON in episode 2 of JUPITER’S LEGACY. Cr. STEVE WILKIE/NETFLIX © 2020

The legacies that heroes leave behind are supposed to inspire people and give them something to look up to. But what if your own parent was one of these heroes? Talented ex-marvel writer Mark Miller’s comic book series ‘Jupiter’s Legacy’ uses the superhero setting to dive into the topic of family dynasties and the scars that they can leave behind. 

Jupiter’s Legacy takes inspiration from DC’s Justice League with its characters, and appears to be Netflix’s answer to rival Amazon’s superhero show, ‘The Boys.’ Coming to Netflix this May 7, can this live action series compete in this already overcrowded and competitive market that’s filled with big names such as Marvel, the Arrowverse, DCEU, and Amazon?

JUPITER’S LEGACY Episode 101 of JUPITER’S LEGACY Cr. COURTESY OF NETFLIX © 2021

In Jupiter’s Legacy, the driving force behind superhero group “The Union” is to uphold “the code” which they view as the core of what makes you a great hero (and a good person). The greatest hero is Sheldon (Josh Duhamel), aka the Utopian who stands by the believe that heroes don’t kill anyone no matter what, don’t govern politics, and try to save as many lives as possible. (Fairly standard superhero stuff, actually.) 

From the beginning of the first episode, there’s an obvious difference in ideology between the old guard and a new generation of heroes, including Sheldon’s son, Brandon (Andrew Horton). Expected to be a hero as great as his father, Brandon struggles with his own identity and feels the weight of the world on his shoulders as he’s pressured to take over his father’s position. In these moments, the show really portrays the impossible standard of being born into a family with such a high legacy to uphold. What’s more, Sheldon’s daughter, Chloe (Elena Kampouris) also has superpowers yet decides to go the opposite route, rejecting her family’s legacy and decides to party it up as a celebrity. (In this way, Chloe’s character draws a parallel between rich heiresses who have all the resources in the world but decide to rebel against all the family and societal expectations of their path in life.) 

JUPITER’S LEGACY (L-R) JOSH DUHAMEL as SHELDON SAMPSON in episode 3 of JUPITER’S LEGACY. Cr. MARNI GROSSMAN/NETFLIX © 2020

There’s also an interesting debate that takes place after Brandon watches his closest friends die at the hands of a villain. Tramautized by the event, Brandon ultimately decides to kill the villains in order to save his parents from becoming their next victims. Sick and tired of these villains, the public loves that Brandon kills them, which is strictly against the code of The Union. These events lead to The Union questioning whether their old ways still work anymore (and whether or not they ever did in the first place). These conversations are fascinating as they bring in strong points from both sides, such as the ideas that killing villains would prevent them from creating further death of innocents and whether it is doing more harm than good letting them live. On the other hand, the main counter argument is that nobody should be judge, jury, and executioner. To them, nobody should decide who lives and dies, especially those with so much power. This debate persists throughout the series and is incredibly relevant with today’s views on police brutality and how criminals are treated within the detention system. 

JUPITERÕS LEGACY (L to R) JOSH DUHAMEL as SHELDON SAMPSON and IRON ORCHID in episode 101 of JUPITERÕS LEGACY Cr. ADAM ROSE/NETFLIX © 2021

One of the things I most enjoyed about Jupiter’s Legacy was the fact that they took inspiration from the non-linear storytelling that made Arrow so enjoyable. By showing the origins of how The Union got their powers, what drove them and how that has shaped current character motivations and storyline the series fleshes out their characters well. A major concern that often takes place in superhero shows is that the action can get sloppy and, due to budget constraints, the scenes with powers look ridiculous. (Not to point fingers but Season One of Supergirl is a prime example of this.) No matter how good the writing is, laughably bad CGI and poorly choreographed fighting scenes can be detrimental to the immersiveness of any show.  Thankfully, Jupiter’s Legacy does not have that issue at all. Their effects and action scenes are done well and are comparable to movie level quality, which I find incredibly important in a superhero show in order to not to be taken out of the experience.

Overall, Jupiter’s Legacy is a very fun watch that is able to stand on its own. Though borrowing from the legacy of DC’s Justice League, Legacy dives into stories that viewers have not seen before revolving around superheroes which makes it worth recommending.

JUPITER’S LEGACY (L to R) TYLER MANE as BLACKSTAR, ANDREW HORTON as BRANDON SAMPSON, and TENIKA DAVIS as PETRA SMALL in episode 101 of JUPITER’S LEGACY. Cr. COURTESY OF NETFLIX © 2021

Jupiter’s Legacy is currently streaming on Netflix.

Eat Wheaties!: Finding Yourself in Others

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Everyone believes that they know the lives of celebrities from their social media. But what if you discovered that you knew one of them before they were famous and wanted to contact them again?

Written and directed by Scott Abrahamson, Eat Wheaties! tells the story of Sid Straw (Tony Hale), an everyman who is frequently shunned by his friends and family for being ‘weird’. When he stumbles onto an old college photo of himself and star Elizabeth Banks, Side feels rejuvenated and can’t wait to tell his friends. Unfortunately, they refuse to believe their relationship and Sid attempts to reach the actress via social media. However, when his quest to reconnect with Banks becomes public, Sid feels the fallout from those around him as they push him even further away.

Balancing silliness and sadness, Eat Wheaties! carries a charm and sweetness that works well. Built on solids performances by its cast, Abrahamson has fairly good impulses about when to let his them shine. Though playing smaller roles, veterans Paul Walter Hauser, Alan Tudyk and the vastly underrated Rizwan Manji all show off their comedic talents when given the opportunity. (Note to screenwriters though: the world always needs more Sarah Chalke.) 

Ultimately however, the success of the film rests on Hale’s shoulders. Regardless of what role he plays, Hale always brings an affability and purity to his characters (even his more villainous ones) and that certainly plays well in this role. As loveable loser Sid, Hale plays him with simplicity but never stupidity. Though frustrated and seemingly unable to connect with others, Sid remains intelligent and innocent and never goes ‘full Bluth’. 

Strangely, the best chemistry he has onscreen is with the elusive Banks as he attempts to reconnect with her. To write these scenes requires a delicate touch as they could easily come off as creepy yet Hale and Abrahamson keeps them from ever straying into that territory. In fact, there’s such an honesty in his online blogging that the film almost plays out as a ‘will they/won’t they’ scenario between Hale and Banks. While there is no romantic tension between the two characters, Wheaties! leaves legitimate question as to whether they will connect and builds anticipation for resolution.

In many ways, Wheaties! is a cry for both community and self-realization. As he struggles to find a place where he fits in, Sid becomes increasingly lonely. Completely undervalued by his family and friends, Sid is looking for anything that might awaken them to his ‘importance’. While the revelation that he was once friends with Elizabeth Banks brings back pleasant memories at first, the negative response that he receives from others taints the experience and causes him to fixate on it. To Sid, his past with Banks becomes a form of justification about his value yet it also drives others away who already viewed him as strange. (Incidentally, Wheaties! also becomes an interesting commentary on our own obsession with connecting with celebrities online. As we message celebrities and beg for retweets/likes, so too do we also reveal our own interest at touching fame, even if many stars pass off responsibility for their social connections.)

However, this social isolation also provides opportunity for Sid to begin to work on himself. As things begin to unravel around him, Sid begins to take charge of his life and break free from the self-doubt that has been holding him back. Though painful, his hardship provides a chance for him to grow and take control of his life for the first time. Meanwhile, he also grows in his ability to maintain healthy relationships. Emotionally healthy himself, he also begins to create a new community that is supportive of him (and that he can support). 

Though funny and charming, Eat Wheaties! also carries an important message. At a time when social networking drives our relationships, the film shows the need we have to connect with one another. However, as a result of Sid’s journey, Abramson’s script shows that there is a mutual need between self-growth and maintaining healthy relationships as well 

Eat Wheaties! is now available on VOD.

Selena: The Series, Part 2

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Family is everything.  But what if your family doesn’t quite understand you?  What if they think your dreams are too much for you to handle?  

Part 1 of Selena: The Series gave us an in depth look into the early years of Selena y Los Dinos, and a glimpse into their lives as they became more and more successful.

Season 2 goes full speed ahead with their lives in the public eye and explores not only their professional ventures, but dives deeper into their personal relationships.

selena

The cast playing the Quintanilla family and the remaining Selena y Los Dinos members continue to flourish as we see an even greater chemistry between them.  Unsurprisingly, Christian Serratos still nails her portrayal of the incomparable Selena, navigating the different sides of Selena as she matures.  Noemi Gonzalez and Gabriel Chavarria shine as they become more comfortable in their roles as Suzette and A.B.  And we get a more personal and vulnerable side to Chris Perez, played by Jesse Posey.

It was clear that Selena had much respect for her fan base and that they were very important to her.  She refused to be disingenuous to them despite certain pressures to do so.  It would seem that the fans saw themselves in her and she therefore didn’t want to contribute to a disconnect between them.  As we learned in the Part 1, people are brought together through Selena and the music.

Selena was obviously owning the game in her music career, but she had other dreams too.  She never hesitated to explore those dreams, like fashion design and her boutique.  Though the more Selena took on, the thinner she was spread.  She was doing so much on her own that it became too much.  But telling her to stick to singing was the wrong way to get through to her.  She seemed stubborn in the best way, refusing to admit that her dreams were too much for her to handle.

As Selena becomes more popular on an individual basis, we can tell that the rest of the band feels distanced.  This is confirmed when Abraham (Ricardo Chavira) absent-mindedly stated that Selena’s voice is all that matters and that’s why the people come to see the performances.  This clearly rubs the band the wrong way.  It’s interesting to see how the family and band navigate this new dynamic of Selena’s individual success.  In fact, Selena isn’t the only one who is exploring opportunities outside of Los Dinos.  This overarching individuality seemed to permeate the band.  They even began recording individually, causing more of a divide.  It was clear that a spark was missing.  Thankfully, the band realized that they must come together to produce the best product.  They thrive most when they are all in it together and show their support for one another.

We also see how marriages are affected by the music career and touring.  Suzette’s fiance is patient and tries to travel to see her whenever he can.  A.B.’s wife is stuck at home with two kids and even when he’s in town, he’s barely home, spending most of his time at the studio.  And Chris feels like Selena doesn’t have time for him because she spends so much of her time working.

As someone who does not speak Spanish, I appreciated the addition of subtitles during the musical numbers as it really gives a better feel for the story and what the songs are about. 

All in all, the second installment of Selena: The Series is very entertaining.  It’s exciting to binge watch, whether you’re a super-fan or not.

Selena: The Series, Part 2 is streaming on Netflix beginning May 4, 2021.