2019 In Review: Music

**** Electric Light Orchestra - From Out Of Nowhere
**** Ex Hex - It's Real
**** Hatchie - Keepsake
**** Jenny Lewis - On The Line
**** Juliana Hatfield - Weird
**** Ladytron - Ladytron
**** New Pornographers - In The Morse Code of Brake Lights

*** Allah-Las - Lahs
*** Cranberries, The - In the End
*** Diane Coffee - Internet Arms
*** Fascinations Grand Chorus - Presentations of Electrical Confectionery
*** Flasher - Constant Image
*** Girl Ray - Girl
*** Keane - Cause And Effect
*** Lolas - A Dozen Or Seven Tapestries
*** Lolas - Bulletproof
*** Muffs, The - No Holiday
*** Nick Lowe - Love Starvation
*** Ocean Blue, The - Kings and Queens-Knaves and Thieves
*** Pernice Brothers - Spread The Feeling
*** Pete Yorn - Caretakers
*** Piroshka - Brickbat
*** Raconteurs, The - Help Us Stranger
*** Shonen Knife - Sweet Candy Power
*** Steve Hackett - At the Edge of Light
*** Tacocat - This Mess Is A Place
*** Temples - Hot Motion
*** Vampire Weekend - Father of the Bride
*** Who, The - WHO

** Barrie - Happy to Be Here
** Brian Jonestown Massacre, The - The Brian Jonestown Massacre
** Cate Le Bon - Reward
** Coldplay - Everyday Life
** DIIV - Deceiver
** Dido - Still on My Mind
** Dream Syndicate, The - These Times
** Jess Ribeiro - Love Hate
** Le SuperHomard - Meadow Lane Park
** Marika Hackman - Any Human Friend
** Pure Bathing Culture - Night Pass
** Seeker Lover Keeper - Wild Seeds
** Son Volt - Union
** Strand Of Oaks - Eraserland
** Swervedriver - Future Ruins

Cats (2019) *

The source material is not strong enough for a film and the director doesn't help by cutting it as an action flick. Also, could somebody get Jennifer Hudson a tissue please!

The Aeronauts (2019) **

Terrific aerial action scenes (with seamless CGI) are the draw here as the rest of the flick is laughably misguided and poorly executed.

The Man Who Came to Dinner (1942) *

Apparently a laugh riot in its time, it's not only not funny it's cruel and vicious.

The Irishman (2019) ****

A trio of superb performances makes the 3.5 hours fly by. Epic masterpiece.

The King of Marvin Gardens (1972) **

Oddball character study ends with a redeeming bang. Terrific support from Mr. Crothers.

Comfort and Joy (1984) *

Pointlessly quirky and bizarre which ends up supremely annoying. It's a shame because Bill Paterson is terrific as always.

The Letter (1940) **

Ms. Davis is in fine form, as is the entire cast, but it seems a superficial take on the source material.

Track 29 (1988) *

Well cast misfire is too manic for the viewer to care much.

Clint Eastwood’s Richard Jewell: Atlanta Newspaper Sends Legal Plea – Variety

“The film literally makes things up and adds to misunderstandings about how serious news organizations work,” said Riley. “It’s ironic that the film commits the same sins that it accuses the media of committing.”

Riley did not personally know Scruggs and was not at the paper during the time of the bombing. A recent article in the Atlanta Journal-Constitution talked to people who knew and worked with Scruggs and who felt that her portrayal in the film “veers from reality.” It quotes Ron Martz, who co-bylined Scruggs’ initial story on Jewell being a suspect, with saying that no one associated with the film reached out to him.

“If they had actually contacted me it might have ruined their idea of what they wanted the story to be,” Martz told the paper. “It’s obvious to me they did not go to any great lengths to find out what the real characters were like.”

The Hollywood biopic strikes again. Look, if you're going to monetize your claims of veracity you MUST be accurate. If you can't do that, CHANGE THE NAMES! It's not that difficult.

Dodsworth (1936) *

Soapy Hollywood melodrama about the leisure class.

Marriage Story (2019) ***

Uneven divorce story has a number of scenes that strain credulity and annoy, and others that are pitch perfect and strongly resonate. An actor's showcase with a fine cast especially Mr. Liotta who nearly steals the picture.

Anthony Hopkins talks to Brad Pitt About Movies, Mortality, and Mistakes

HOPKINS: Well, it’s such a mystery when our first memories are made. I can remember that day on the beach with my father. I’d been crying, because I’d lost a little candy he had given me in the sand. And that frightened little boy—who was destined to grow up and be an idiot at school, clueless, alone, lonely, angry, all those things—I look at him and say, “We did okay.” And the fact is that one day we’ll be gone. Our parents are gone. Most of my friends I’ve known have gone. I was driving around Venice the other day, and I thought, “It’s all a dream. What a struggle it all is. It’s all an illusion, but it’s the glory of life, the sheer glory of looking for it in everything.” And I’ve become aware of that now, more than ever. It’s in there. It’s in my cat, it’s in my dog, it’s in you. How could it be otherwise? I watch my cat jumping to a little pinch on the fireplace. Now, he can’t write a book, he doesn’t know anything about philosophy or mathematics. But how the hell does he do that? That is totally awe-inspiring.

The Pawnbroker (1964) **

Screams "Serious Drama" from the get go and it's pretty bleak stuff to be sure but it's so close to parody it loses resonance.

Dolemite Is My Name (2019) **

By the numbers "let's make a movie" movie made a little bit better by Mr. Murphy and Mr. Snipes.

La tête d'un homme (1933) **

One of the first adaptations of Maigret is mainly a character study of the villain. Some nice scenes, plenty of innovative camera tricks and atypical shots. Not really interested in the whodunit aspects of the story.

We Have Always Lived in the Castle (2018) **

Literal interpretation of the source novel is well made, acted. Nice to see Mr. Glover back on the screen.

The Good Liar (2019) **

Enjoyable who's-conning-who flick is well made. Mirren is exceptional.

Why thousands of Amazon packages converge on a tiny Montana town - The Verge

The end result is a bizarre, looping supply chain. Some hair conditioner might get sent from a Walmart warehouse in Grantsville, Utah, to Roundup, then from Roundup to an Amazon fulfillment center in Joliet, Illinois. Finally, Amazon sends it out to a customer.

Or maybe it doesn’t. Maybe another seller buys the item and sends it to another prep center. The preppers are constantly getting packages from Amazon, which they unbox and repackage and send back to Amazon.

This is what’s called an Amazon flip. Sometimes it happens when one seller buys something from another seller who isn’t using Prime shipping, then marks it up and sends it back to Amazon in the hopes that the Prime designation will cause the algorithm to give them better billing. Other times, sellers will buy products from Amazon when the price drops, then send them right back.

Tideland (2005) **

It's very well made but this is one instance where the source material should never have been put on film to begin with. Not pleasant.

How the U.S. betrayed the Marshall Islands, kindling the next nuclear disaster - Los Angeles Times

Three years after Castle Bravo, U.S. authorities encouraged Joseph, her family and her neighbors to return to Rongelap.

U.S. government documents from the time show that officials weighed the potential hazards of radiation exposure against “the current low morale of the natives” and a “risk of an onset of indolence.” Ultimately they decided to go forward with the resettlement so researchers could study the effects of lingering radiation on human beings.

“Data of this type has never been available,” Merrill Eisenbud, a U.S official with the Atomic Energy Commission, said at a January 1956 meeting of the agency’s Biology and Medicine Committee. “While it is true that these people do not live the way that Westerners do, civilized people, it is nonetheless also true that they are more like us than the mice.”

The Lighthouse (2019) ***

Oddball flick that seems to be about the maddening effects of roommates. Along the way some good actors get to show their stuff as the craziness escalates.

The Laundromat (2019) **

Soderbergh directs the heck out of this flick, and the actors work their collective butts off but an avalanche of exposition kills the story. Banderas in particular should have asked to be paid by the word.

The Domino Principle (1977) *

Logically silly, ham-fisted conspiracy thriller has no thrills, just some nice exteriors of The Bay Area.

A Face in the Crowd (1957) ***

Probably considered too far fetched in its time, it's unfortunately proven to be too naive in its denouement. Terrific performances.

Ringo Starr and Dave Grohl Interview: Beatles, Nirvana, Drumming – Rolling Stone

GROHL So I think that the sign of a great drummer is knowing who that drummer is within eight bars of the song. I think that’s the goal. I think a lot of it has to do with being self-taught, because you were just doing what came naturally to you, so you weren’t restricted by any of that stuff. To this day, when we’re in the studio — I’m sure every band in the world, if they want that fill — they say, “Hey, do a Ringo thing right there.”

STARR Well, that’s high praise coming from you, Dave. It’s like, not knowing has really helped me a lot. Even from starting, the kit was set up right-handed. I sat behind it, didn’t care I was left-handed. So I did it the best I could in a left-handed way, which, in the end, was great for me ’cause I suddenly had my own style. And the style was: There’s always a couple of seconds before I can do a fill. The only thing I do is write with my right hand. I’m a left-handed golfer.

GROHL [Laughs] That’s gotta be slang for something else.

STARR “Oh, you know, Ringo’s a left-handed golfer.” “Oooh! I thought he’d given all that up.”

Most Beautiful Island (2017) ***

Well made intense thriller about the dehumanizing effect of wealth and power. Tour de force for writer/director/actor Ana Asensio.

Annabelle Comes Home (2019) *

An appealing cast is the only redeeming feature of this tired sequel.

Coppola backs Scorsese in row over Marvel films

"When Martin Scorsese says that the Marvel pictures are not cinema, he's right because we expect to learn something from cinema, we expect to gain something, some enlightenment, some knowledge, some inspiration.

"I don't know that anyone gets anything out of seeing the same movie over and over again," the 80-year-old filmmaker said.

"Martin was kind when he said it's not cinema. He didn't say it's despicable, which I just say it is."

‘Big Lebowski’ Spinoff ‘Jesus Rolls’: Story Behind John Turturro Movie – Variety

As it happens, the inspiration for that memorable performance predates “The Big Lebowski.” Turturro first played a version of the character at the Public Theater. “It was a trilogy of one-acts, and the character I did was based on a person I had met through the writer, someone he knew. There was something kind of disarming about the guy. He had a very gentle voice, a high voice.”

Joel Coen and his wife Frances McDormand had come to see Turturro’s show. This was back in the ’90s, and according to Turturro, Coen was reminded of the character as he was writing “The Big Lebowski.” He and brother Ethan asked Turturro to take what the actor had done on stage and combine it with another person they knew. (Most of the characters in “The Big Lebowski” were based on the Coens’ friends: The Dude was inspired by indie producer Jeff Dowd, Walter exaggerates aspects of writer-director John Milius, etc.)

The Buccaneer (1958) **

Rousing old style Hollywood historical semi-fiction. You can't go wrong with Yul and Chuck!

The Old Dark House (1932) **

Spooky goings on at the house during a rain storm. Whale has the haunted house atmosphere down pat but Douglas is miscast here.

The Naked Truth?

Before his arrest, Bernard was considered 'armed and dangerous', and an intense manhunt was underway to find him. Eventually, police spotted Bernard, naked, running through the streets. In video taken by witnesses, Bernard can be seen running naked toward an officer wearing tactical gear. At one point the officer sprays pepper spray at him, but it doesn't seem to faze him. Shortly after, Bernard runs up to a church groundskeeper at his car and put his hands around his neck. The officer swings his baton at Bernard and he let go and ran away. A short time later, police later caught up with Bernard in a wooded area nearby and arrested him.

Olsen was dispatched and "when (Hill) saw the officer, he charged, running at the officer. The officer called him to stop while stepping backwards, drew his weapon and fired two shots," Alexander said.

I wonder what the difference was in these two instances?

A black woman was killed in her home by police performing a wellness check - Vox

At around 2 am local time on October 12, a neighbor of 28-year-old Atatiana Koquice Jefferson called a non-emergency hotline, saying that he was concerned about an open door at the woman’s residence and wanted to make sure she was okay. According to a statement released by the Fort Worth Police Department, officers arrived at the home at around 2:25 am, and after seeing the open door, walked around the perimeter of the residence.

The department said that while doing so, officers saw a person inside standing near a window. “Perceiving a threat the officer drew his duty weapon and fired one shot striking the person inside the residence,” police said.

That person was Jefferson, who was shot while standing in a bedroom. After firing, officers entered the home and began providing emergency aid, but the woman was pronounced dead at the scene.


There is a MAJOR crisis in the way police are being trained. The militarization of domestic police forces has got to stop.

Burn! (1969) **

Shoddy production values and casting errors mar an otherwise fine histo-pic about the bad things that happen when corporations and governments are in cahoots. Brando is fine, the script is good, direction poor.

Goodbye, Columbus (1969) ***

Romantic dramedy is very much of its time and that adds to the fascination. Stylishly directed and realistic.

The Love Witch (2016) **

Attentively crafted tale of a modern day witch playing a little too loose with her love charms. Part campy satire of 70's flicks but mainly a sober look at male-female power games.

High Life (2018) ***

Harsh, brutal at times but ultimately becomes what true sci-fi aspires to: a resonant comment on our life here and now.

The Seventh Victim (1943) *

Hard to believe 1943 audiences found this flick anything but laughable. A devil worshipping cult that vows non-violence? Their main threat is brow beating you into committing suicide? The suave, urbane and chain-smoking psychiatrist is also a hoot.

Rogue Male (1976) ***

Above average action flick benefits from a strong script and the star/acting power of Mr. O'Toole who is in fine form. It suffers however from shoddy 70's TV level photography.

Joker (2019) ***

Terrific performance by Mr. Phoenix in this well paced, beautifully shot, stylish film.

Black Moon (1975) *

Ambitious take on Lewis Carroll perhaps, but if you don't get it, there's really not much to maintain interest, despite a game cast and nice cinematography.

The Land of Steady Habits (2018) **

Fairly typical Holofcener film, directed well, featuring very wealthy folks having relationship issues with smart, witty dialogue. Ben Mendelsohn needs to play Tony Bourdain in the biopic.

Friends with Money (2006) **

A lot of disbelief (and disinterest in the 1%) needs to be suspended, but if you can it's an enjoyable, talky look at relationships.

Eva (1962) **

Ms. Moreau dominates with a terrific performance in this examination of male-female power dynamics from director Losey. Hampered by producer meddling that cut 52 minutes. Beautifully shot, mainly in Venice.

The Tall Blond Man with One Black Shoe (1972) **

Droll French comedy is well done, forerunner of Burn After Reading perhaps?

Saint Jack (1979) ***

Greene-ish tale of an American abroad and the things they do to the locals. Assuredly directed, nicely written and acted.

F for Fake (1973) **

Fascinating subject given the usual Welles style, seems to falter in the last third.

The Most Dangerous Game (1932) **

Decidedly "B" level but interesting as the first of the "human as prey" genre. Thankfully short.

Ready or Not (2019) *

Poor attempt at social satire is shot so darkly you cannot tell what is going on half the time. Also, not funny and a waste of the lovely Ms. MacDowell.

Scarlett Johansson Talks Woody Allen, Elizabeth Warren, 'Black Widow' | Hollywood Reporter

But it was Sofia Coppola's Lost in Translation at 19 that cemented Johansson as an actress whose subtlety as a performer matched her youthful allure. As her critical bona fides grew, so, too, did Johansson's box office power. Thanks largely to Marvel movies but also to other hits including the 2014 science fiction film Lucy ($463.4 million worldwide), she is the highest-grossing actress in the world and the third highest-grossing actor, period, with her movies having earned more than $14 billion at the box office worldwide.

Spirits of the Dead (1968) **

Poe anthology featuring three iconic directors displaying their signature styles. Pretty and colorful to look at, uneven.

Divorce Italian Style (1961) **

Droll satire of Italian macho codes, seems dated. I hope it's dated.

Reservoir Dogs (1992) ***

Tarantino at his leanest, much better than the bloated versions.

Tenure (2008) ***

Nicely done comedy about a well meaning prof struggling to make the next level. Plays with cliches, manages to subvert them.

Paper Mask (1990) ***

Suspenseful tale of a Ripley-esque ne'er-do-well posing as a doctor featuring the lovely Amanda Donohoe.

My Neighbor Totoro (1988) ****

Miyazaki's breakthrough film and one of his best. Pared down story, focusing mainly on realism and minimal plot enhances the fantasy.

Robin and Marian (1976) ***

Unsentimental look at the Robin Hood legend from the backend with nuanced, realistic characters. Excellent cast, well directed, as usual, by Mr. Lester.

Justin Hayward Talks About Life During and After the Moody Blues – Variety

There was a great lethargy around that album. Tony Clarke, our record producer, had personal disaster during that album [Octave, 1978] and didn’t finish it. And Mike [Pinder] couldn’t make up his mind whether he wanted to stay or not. I missed him terribly. I played a lot of the keyboards on it. It was in the time when nobody was showing any interest in anybody else’s songs [laughs]. It’s weird to be in a group like that. Graeme [Edge] was always sort of enthusiastic. But in the studio, in the Record Plant in Los Angeles where we recorded it — which, curiously enough, burnt down not long after we recorded it — there was this funny old little Farfisa organ. The track was going nowhere, people had lost interest, and so late one night, I asked the engineer to put it up. I just started playing that [sings organ groove], and then I thought, Hang on, I can just do this three chord thing all the way through the song, in this particular kind of syncopated thing.That’s the bit I like about it most.

Hard Eight (1996) ***

Directorial style in spades, a terrific cast, shot so well it makes Reno look good. The story is nearly there, just falling short of satisfying.

Mickey One (1965) **

Silly tonal swings and one or two "symbols" too many frustrate what could have been a fascinating and compelling Kafka-esque tale. Great art direction and casting.

Where'd You Go, Bernadette (2019) **

Very faithful adaptation of the novel, but not even Ms. Blanchett can make this character sympathetic. It's well paced and colorful but feels like a long way to go for not much of a reason.

Francis Ford Coppola | The Talks

Mr. Ford Coppola, do you see your influence in the work of other filmmakers?

You know, that’s a funny subject you bring up. When I was young, I wanted to be Tennessee Williams or Elia Kazan, so I would steal anything I could from them because that was my idea of greatness. And the truth of the matter is that if a young person is influenced by something I do, he’s welcome to it because there’s no way you can steal from another person.

Because ultimately it’s your version of that idea.

Right, you do it in your own way. Even as hard as I tried to steal from Tennessee Williams, it came out some other way. And that’s the purpose of art. It means you live on in somebody else’s work, which is something very pleasant as a thought. So if something I did influenced another film or if I had some small part in encouraging them, then I am pleased.

Art School Confidential (2006) **

Satire is extremely difficult to pull off on film and this one's no different. Comes close with some nice star performances.

Blondie & The Beastly E.C. Tour: 2019-08-08 Concord, CA

Blondie comes out the winner in this battle of the bands, thanks to an excellent sound mix and pleasing song mix. Elvis on the other hand, suffered from a very poor sound mix with massive drum/bass and almost inaudible vocals. This did not help his eclectic set list with some not so familiar tunes. Also, the man is losing his singing ability it is obvious. He can keep it together when he focuses but he was losing the melody quite often and strained in the lower registers. He can still belt out the high notes but not always.

Bay of Angels (1963) ***

Jeanne Moreau and the French Riviera in 1963. Both are spectacular.

Once Upon a Time ... in Hollywood (2019) **

Another Tarantino exercise in redemptive nostalgia. Enjoyable if you like vintage cars being driven in vintage LA while listening to vintage songs.

The Lion King (2019) **

The realism of the animation makes the talking and singing animals seem strange and surprisingly silly. Still, some impressively done CGI.

Vagabond (1985) **

In the mode of Wanda, a bleak, uncompromising look at an aimless young woman and her misadventures featuring a compelling central performance. Excellent use of non-actors and well composed shots.

Late Night (2019) *

Rigidly formulaic office comedy commits the most grievous sin: it's not funny. Disappointing waste of Ms. Thompson.

Absolution (1978) **

Combination whodunit and Canon law exercise, maintains interest throughout with superb production design and a good, film carrying performance by Sir Richard.

The Lady Vanishes (1979) **

Ms. Shepherd is the only reason to watch this well meaning remake, but that's reason enough.

Bad Lieutenant (1992) *

A waste of the talents of Mr. Keitel.

Apollo 11 (2019) ****

Well directed doc about the Apollo 11 mission made with high def NASA found footage. Fascinating document of 1969 America and the incredible effort of thousands of people.

Bob & Carol & Ted & Alice (1969) **

Superlative showcase for the lovely Ms. Wood and a so-so social satire about changing 60's relationship mores.

Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019) ***

Three stars for the original footage of the Revue and the factual reconstruction of the time. However Mr. Scorsese adds a number of fictional elements and disguises the fact that they are fictional and only astute viewers with knowledge of 1980's era HBO will be in on it. This is probably in keeping with Mr. Dylan's attempts to obscure his own facts and fictions from way back.

Across the Universe (2007) ***

With any other songs this would be a hardly worth it flick. But it is worth it thanks to The Beatles and Ms. Taymor's directing abilities. Could have been cut by about 30 minutes though.

Kissed (1996) ***

Very well made character study about a young woman with unusual habits let's just say. Well paced and doesn't flinch from the logic of the story.

The Player (1992) ***

Altman is always good, but even better when he has a tight script and that's the case here thanks to Michael Tolkin. The only problem is Tim Robbins in the lead and since he has to carry the picture... Despite that, a terrific eff you to Hollywood execs and producers featuring many stars in cameos.

Autumn Sonata (1978) **

Bleak yes, that's to be expected of Ingmar, but so in the thrall of psycho-babble as to be laughable. Ms. Bergman is beautiful and wonderful as is also to be expected.

The American Friend (1977) **

Was all set to give this 3 stars then the last 30 minutes goes off the rails. Great role for Bruno Ganz and Mr. Hopper is used very effectively.

The Romantic Englishwoman (1975) **

If there was a "tell" between the film's reality and dream reality I missed it. Seemed like a straightforward romantic triangle tale of jealousy with a bit of thriller thrown in. An unsatisfying mish-mash but love the scenes of '75 Europe.

Bottle Shock (2008) **

Just when you think they can't top the last cliché, here comes another even worse. Poorly written but with an appealing cast and some lovely shots of Northern California vineyards. You'll be thirsty before it's over.

For Unk

Empty-handed I entered the world
Barefoot I leave it.
My coming, my going — Two simple happenings
That got entangled.
                              -- Kozan Ichikyo's Death Poem

Toy Story 4 (2019) **

Needless sequel is easily the worst episode in the bunch. Very strong feeling that you've seen all this before. Also the parent characters are extremely annoying. Still, you can get lost in the attention to detail in the background animation.

The Handmaiden (2016) **

It's beautifully shot, the story complex and an interesting twist on the con game genre, but it's too long, repetitious and needlessly over the top in parts.

The Hit (1984) ***

Unconventional road picture goes beyond itself thanks to Mr. Stamp and Mr.Frears.

Double Indemnity (1944) ****

Even with the lackluster casting and the Edward G. schtick, Chandler's screenplay is terrific and Wilder stays out of the way enough to let Fred work.

Youth Without Youth (2007) **

It's a Francis Coppola film so it is well cast and beautifully shot, but ultimately not entirely successful beyond that, at least not upon first viewing.

Let the Sunshine In (2017) **

A luminous Ms. Binoche (looking a good 20 years younger) keeps you rooting for her against a succession of lovers who aren't really interested in her as herself, which ultimately becomes tiresome.

BBC - Future - The poisons released by melting Arctic ice

Around 10% of the carbon that does defrost will probably be released as CO2, amounting to 130-150 billion tonnes. That is equivalent to the current rate of total US emissions, every year until 2100. Melting permafrost effectively introduces a new country at number two on the highest emitters list, and one that isn’t accounted for in current IPCC models. “People talk about a carbon bomb,” says Natali. “In geological timescales this is not a slow release. It is a pool of carbon that is locked away and is not accounted for in the carbon budget to keep rises below two degrees (Celsius).”

Green Dolphin Street (1947) *

Interminably long, cliched melodrama, pure Hollywood schtick, badly miscast featuring one of the longest earthquakes in recorded history.

Smiles of a Summer Night (1955) ***

Superficially it's a romantic comedy but underlying it all is the Bergman relentless truth which is often mistaken for cynicism.

Hairspray (1988) ***

Delightfully goofy fable of early '60's urban mores and how the times they were a-changing thanks to good old rock and roll. Superficially played as farce but the underlying truth is obvious.

The Scapegoat (1959) ***

Troubled production notwithstanding, this is an above average Brit flick with a sneaky ending that may or may not have been intended.

The World of Apu (1959) ***

Not as marvelous as the first two installments, but a fitting conclusion to the Apu Trilogy.

Everybody Knows (2018) ***

Engrossing look at old family wounds and how they never seem to go away despite appearances.

Aparajito (1956) ****

Further examination of the life of Apu just as mesmerizing as the first.

My Name Is Julia Ross (1945) *

Low grade, undistinguished noir totally unbelievable, forgettable.

Nickelodeon Orders 'SpongeBob SquarePants' Prequel 'Kamp Koral'

“‘SpongeBob’ has an incredible universe to expand upon and the greenlight for ‘Kamp Koral’ is a testament to the strength and longevity of these characters known and loved by generations of fans around the world,” said Ramsey Naito, Nickelodeon’s executive vice president of animation production and development.

The series is one of several planned spinoffs for the “SpongeBob” universe, which include potential standalone stories for side characters like Sandy Cheeks and Plankton.

Way to go , Nick. Run it into the ground.

Pather Panchali (1955) ****

Indian neo-realist classic, lovingly photographed, movingly told.

Delirious (2006) **

Steve Buscemi is great but the film is frustratingly too long and scattershot. Could have been a classic.

Bad Timing (1980) **

Beautiful pictures as usual with Nic Roeg and although there's a lot of truth here it is ugly and not very entertaining.

La Truite (The Trout) (1982) **

As much as I like M. Huppert and as good an actress as she is she is miscast here and it makes the film more ridiculous than it needs to be.

The Great Beauty (2013) **

It's trying to say something profound but takes the LONG way around and gets lost.

Ride in the Whirlwind (1966) **

Another attempt at a fresh take on the Western falls short despite the beautiful photography. Feels padded even at 82 minutes.

Elton John: 'They wanted to tone down the sex and drugs. But I haven’t led a PG-13 life' | Global | The Guardian

We were very close right at the start of our career together, but we’re completely different people. He comes from the wilds of Lincolnshire, I come from the suburbs of London. He lives in Santa Barbara and he’s literally won competitions for roping cattle. I collect antique porcelain and the only way you’d get me on the back of a horse is at gunpoint. Neither of us can write if the other is in the room. But there’s a weird bond between us that I felt the minute I opened the envelope – I could just write music to his words straight away, without even thinking about it – and it’s lasted over 50 years.

We’ve had arguments – you don’t want to get him started on the subject of some of my more outlandish stage costumes, or indeed the subject of Don’t Go Breaking My Heart, a song he’s loathed from the minute it was finished and continues to loathe to this day – but we’ve never fallen out, despite all the ridiculous crap we’ve been through.

Queen of the Desert (2015) **

Watchable biopic but it never gets to the heart of the subject. I know the credits say directed by Werner Herzog but there's nothing on the screen to indicate that.

Claire's Camera (2017) ***

Impeccably photographed series of conversations in and about Cannes with the inimitable M. Huppert as our guide.

Five (1951) ***

Features several superbly directed sequences and an overall unsentimental and matter-of-fact tone that allow you to overlook the stupidity of the characters and the overuse of the closeup. Falters in the middle, but has such a good start and finish. Made on a shoestring, the first post nuke apocalyptic flick.

The Fallen Idol (1948) ***

Fine, tasteful adaptation of a Graham Greene story about (what else) an affair, lies, death and guilt. Good script, actors, direction.

Who's Afraid of Virginia Woolf? (1966) **

Good showcase for some fine actors. Could have been trimmed to a more palatable length though.

Wine Country (2019) **

Watchable dramedy about female friendships. Maybe has a couple too many in the ensemble. Suffers from not enough Maya.

Pushover (1954) ***

Nifty noir about a cop on a stakeout who starts to fall for the bank robber's moll. Introduces a stunning Kim Novak.

Doris Day Dead at 97 – Variety

It was also significant because of the ambiguity of certain scenes that could be interpreted as meaning that the central characters slept together before marriage — a first for a Day character and interesting at a time when comedians were calling her the world’s oldest virgin. She was offered the role of Mrs. Robinson in “The Graduate,” which could have gone a long way to modernizing what had become a square image, but turned it down because she thought the sexual relationship was exploitative.

Peggy Lipton Dead: ‘Mod Squad,’ ‘Twin Peaks’ Star Was 72 – Variety

At the height of her popularity in 1968, she released a self-titled album and had a hit in 1970 with a cover of Donovan’s “Wear Your Love Like Heaven.” In her 2006 memoir “Breathing Out,” she describes being abused as a child by an uncle and suffering several abusive relationships. Lipton was romantically linked to Paul McCartney, Sammy Davis Jr. and Elvis Presley.

Bonjour Tristesse (1958) ***

Fantastic Riviera locations enhance this melodramatic look at the love lives of the rich and famous. Mylène Demongeot is a delight.

Muriel, or the Time of Return (1963) ***

Vibrantly photographed examination of how memory, reality and truth get mixed up with time. A puzzle picture that needs multiple viewings.

Fists in the Pocket (1965) **

Bizarre story about a wealthy Italian family and a son with too much time on his hands. Hard to tell if it is a black comedy or straight horror flick. Gorgeous scenery of the hills of northern Italy.

The Biggest Loser | DCReport.org

The story of Trump’s taxes is the story of a man whose lying, cheating, stealing and continual need for cash to sustain the image of a multi-billionaire has made him vulnerable to kompromat. It is the story of a known tax cheat who has taken an oath to uphold and defend our Constitution but ignores that oath, violate that oath.

It is a story whose most salient financial circumstances and connections remain hidden. And they will remain hidden unless we demand transparency not from Trump, who will never be open, but from our Congress.

Billy Liar (1963) **

It's well made with some fine visuals, good performances, but the story makes no sense and neither do the lead characters. Maybe a comment on the incomprehensibility of British young men and women in 1962?

Thor: Ragnarok (2017) **

Comic book flick times 10 but it has good actors who are interesting to watch.

Safety Last! (1923) **

Amusing silent flick showcases some exceptional camera and stunt work.

The Burglar (1957) **

For the first half this is a nifty noir with some novel twists and visuals to the usual genre trappings but it runs out of steam and eventually succumbs.

Lola (1961) **

Similar in sensibility to Umbrellas without the sung dialogue. Confident and stylish for a first feature.

Wanda (1970) **

Cinema verité style character study of aimless woman. Shoestring budget but good use of non-actors and location. The real actors are very good. Bleak, unforgiving.

Chimes at Midnight (1965) ***

Further evidence of Orson's directorial prowess. Could have been trimmed a bit but it builds to a moving conclusion.

The Double Hour (2009) **

It's well acted and produced, but a few too many twists and you stop caring.

So Dark the Night (1946) **

B level noir suffers from mediocre production and a twist that's not all that surprising.

The Umbrellas of Cherbourg (1964) ****

Innovative, original musical, still influential. Kudos to director Demy for sticking the ending.

The Shooting (1966) **

Good try at an existential Western features good performances (especially Mr. Oates), well photographed, but the script falls apart.

Logan's Run (1976) **

Cheesy, campy attempt at the cynical sci-fi so prevalent at the time. Doesn't hold up well.

I Married a Witch (1942) *

Ham fisted attempt at screwball comedy is nearly unwatchable. Relies heavily on the charisma and chemistry of the stars of which there are neither.

The Truth About Woody Allen (Part I) | This Mortal Coil

I know these details get real boring, real fast. But once you study it, you see how even the custody decision has been misrepresented by the Farrows and their followers. Granted, none of this suggests that Woody falling in love with Soon-Yi was a smart move, but, you know, it happened, and the fall-out was massive, but they remain together and have raised two normal, healthy kids. As for Mia, out of her ten adopted kids, two are permanently estranged, and three are dead — two from suicide, and the third died in poverty. Mia also has one brother who committed suicide, and another brother who’s in prison for multiple counts of child molestation. The dysfunction in that family runs very deep, and has nothing to do with Woody and Soon-Yi.

Living in Oblivion (1995) **

Amusing movie about making movies and all the perils therein. Almost makes it to something more.

Rosebud (1975) **

Anti-terrorist procedural starts off great and the attention to detail is at first compelling but soon starts to bog down the picture. Finally it becomes a pro-Israel propaganda piece. Unfortunate since Mr. O'Toole and Ms. Huppert (so young!) are fun to watch.

The Fantasticks (1995) **

This is a very well made rendition of the long running off broadway musical. Unfortunately the songs (except for the finale of course) are quite forgettable and the story is paper thin. It's still beautifully shot and imaginatively directed.

Cold War (2018) **

Nicely shot in crisp black and white but the central love story fails to convince.

The Origin of Consciousness in the Breakdown of the Bicameral Mind by Julian Jaynes | Goodreads

But over and behind these and other causes of science has been something more universal, something in this age of specialization often unspoken. It is something about understanding the totality of existence, the essential defining reality of things, the entire universe and man's place in it. It is a groping among stars for final answers, a wandering the infinitesimal for the infinitely general, a deeper and deeper pilgrimage into the unknown. It is a direction whose far beginning in the mists of history can be distantly seen in the search for lost directives in the breakdown of the bicameral mind.

Green Book (2018) *

Well acted Hollywood white savior claptrap masquerading as "inspired by true events" biopic. No wonder Spike was so upset at the Oscars.

Greta (2018) **

The great Ms. Huppert sadly underused in this ludicrous thriller.

Dressed to Kill (1980) ***

Enjoyable to watch because it's shot well and it's fun picking out all the Hitchcock tropes being re-done here, even the clunky ending explanatory scene. Ms. Allen was never better.

Gumshoe (1971) ***

Half-hearted attempt at a Chandler update features a stellar cast lead by the great Mr. Finney who makes a good Marlowe.

Neuroscientists read unconscious brain activity to predict decisions — Quartz

Though this is just one study, it’s not the first to show that thoughts can be predicted before they are conscious. As the researchers note, similar techniques have been able to predict motor decisions between seven and 10 seconds before they’re conscious, and abstract decisions up to four seconds before they’re conscious. Taken together, these studies show how understanding how the brain complicates our conception of free will.

Neuroscientists have long known that the brain prepares to act before you’re consciously aware, and there are just a few milliseconds between when a thought is conscious and when you enact it. Those milliseconds give us a chance to consciously reject unconscious impulses, seeming to form a foundation of free will.

Bad Lieutenant: Port of Call New Orleans (2009) **

Nic Cage does a good job in an offbeat take on the "bad cop still does good" genre as unpleasant as that is.

Leave No Trace (2018) ***

A terrific performance anchors this spare, uncompromising tale of a man who just can't abide people any more and the toll it takes on his daughter. Director Granik understands that sometimes the less said makes the film about more than the plot.

Strangers on a Train (1951) ***

A supremely creepy Robert Walker steals the show in this noir thriller that frankly wouldn't be that much without him. Not even master director Hitchcock can make amateur tennis exciting but he gamely tries.

The Magnificent Ambersons (1942) ****

Even in its truncated, clumsily edited final sequence version this is a wonderful example of great ensemble acting. Script and direction better than Kane and one of Welles' best films.

A Star Is Born (2018) **

The first half is better, but overall an undistinguished bit of film making. Well deserved Oscar for best song.

Diary of a Mad Housewife (1970) ****

At the start it strikes you as an over the top satire of domestic relations but thanks to the sharp script and superb performances you come to realize it's merely being observational. Great film.

High Flying Bird (2019) **

Talky, mid-level Soderbergh with some terrific actors and some terrific camera or should that be phone work. The pictures look great even if the flick isn't.

Peter Tork of the Monkees Dies at 77 – Variety

“I have said this before — and now it seems even more apt: the reason we called it a band is because it was where we all went to play,” Nesmith continued. “A band no more, and yet the music plays on, an anthem to all who made the Monkees and the TV show our private — dare I say ‘secret’ — playground. As for Pete, I can only pray his songs reach the heights that can lift us and that our childhood lives forever — that special sparkle that was the Monkees. I will miss him — a brother in arms. Take flight my Brother.”

Shoplifters (2018) ***

Sort of a Japanese Oliver Twist with exceptional performances and the deft touch of a master filmmaker.

Emoji are showing up in court cases exponentially, and courts aren’t prepared - The Verge

The different depictions of emoji across platforms also poses a problem in judicial rulings. For example, depending on what type of phone you’re using, the “gritting teeth” emoji might look a lot different. Not only are emoji designed differently across smartphone platforms, but people interpret the same emoji differently. An earlier design of the grinning emoji on iOS, for example, was interpreted as being far more negative than the same emoji displayed on other platforms.

Despite the potential for emoji to be interpreted in a wide array of ways, emoji experts don’t really exist. “Emoji usually have dialects. They draw meaning from their context. You could absolutely talk about emoji as a phenomenon, but as for what a particular emoji means, you probably wouldn’t go to a linguist. You would probably go to someone who’s familiar with that community, just like they did with the sex trafficking case,” Goldman says.

At Eternity's Gate (2018) *

Maddeningly mis-directed biopic of Vincent van Gogh, painter of some of the loveliest works ever. Such a shame the movie is shot so dark and hazy, jumbled hand held camera work obscuring the fine performances.

Bruno Ganz Dead: Actor Who Played Hitler in ‘Downfall’ Actor Was 77 – Variety

In addition to delivering one of the definitive cinematic portrayals of Hitler, Ganz played an angel who gives up immortality to experience earthly pleasures in Wim Wenders’ classic film “Wings of Desire” (1987). He reprised that role in Wenders’ 1993 follow-up, “Faraway, So Close!”

His celestial performance was so memorable that Ganz once recounted how people ascribed special powers to him when they recognized him in public.

“People in planes said: ‘Ah, no need to be afraid, because with you here, nothing can happen. Now we are safe,'” Ganz told the Danish film journal P.O.V. “Or a mother said to her child: ‘Look, there’s your guardian angel.’ They weren’t joking.”

Walk on the Wild Side (1962) **

Entertaining southern soaper with some nice performances and a pretty good script. Could have used some cuts and the shot quality is uneven. Why on Earth would you soft focus Capucine?

Velvet Buzzsaw (2019) **

Slick slasher flick with some digs at the art world. A bit too long but visually sharp and Jake does a nice job.

Doctor Zhivago (1965) ***

Sturdy Lean epic shows off a luminous Ms. Christie and Omar playing yet another Russian. Superior soap opera with a bit of "history" thrown in.

Albert Finney Dead: ‘Tom Jones’ Star Dies at 82 – Variety

Rebellious even in his later years, Finney reportedly declined a CBE (Commander of the Order of the British Empire) in 1980 and a knighthood in 2000. “The Sir thing slightly perpetuates one of our diseases in England, which is snobbery,” he said.

Finney was married three times, the first time to British actress Jane Wenham, the second to French actress Anouk Aimee. Survivors include Finney’s third wife Pene Delmage, whom he married in 2006; son Simon Finney, a film technician from his marriage to Wenham; and son Declan from his relationship with Katherine Attson.

In a 1984 interview with the New York Times, Finney reflected on his role in “The Dresser.” He noted that performances, particularly those on stage, have an ephemeral quality, but he insisted that didn’t depress him.

“What a lot of people spend their lives doing may not add up to a hill of beans,” said Finney. “But their love, effort and devotion goes into doing it, and it becomes worthwhile.”

The Tamarind Seed (1974) **

Spys in love but the leads have zero chemistry and the script is no help. It looks pretty though and it's an interesting time capsule of early 70's life such as the near constant cigarettes! Still don't get why producers thought Omar could pass for a Russian.

Mother! (2017) ****

Searing, personal mythology from intense filmmaker Darren Aronofsky could have been a pretentious mess but it works thanks to a tight script, brisk pace and a top notch cast especially JLaw who is up to the daunting task. Unforgettable and Aronofsky really nails humanity to the wall here. Brilliant.

Mary Queen of Scots (2018) **

Well made period piece which emphasizes gender dynamics for contemporary relevancy (but doesn't belabor the point). The emphasis on cast diversity however is very distracting. This can work in a theatrical performance but film is not as forgiving unless the director makes it clear what the point is.

Downsizing (2017) **

Despite being a well put together film, featuring a breakout performance and the always interesting (and prolific!) Udo Kier, it's a little disappointing given the obvious effort and epic length.

Disobedience (2017) **

Strong leads in an interesting look at what freedom means in a closed (and very wealthy) religious community in London.

Why Shoot the Teacher? (1977) **

Bud Cort shines in this period piece from the Depression era Canadian hinterlands and how a fresh-faced city boy copes.

How to Lose Friends & Alienate People (2008) **

Thanks to the stellar cast this is an entertaining rom-com but the lead character is hard to root for and a lot of the jokes fall flat.