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One of the most anticipated movies this summer is 'Where the Crawdads Sing.'

By Jeffrey Sanzel

A year ago, studios wondered whether there would be a “return to normal.” The summer of 2021 straddled a mix of theatre attendance and residual streaming. Delays in various releases continued through the fall and into the winter and spring. This summer, the options seem to reflect the pre-pandemic era. 

Elvis

Elvis is one of the most anticipated films. Directed by Baz Luhrman (from a screenplay by Luhrman and others), the biopic focuses on Presley (Austin Butler), from his early career to his iconic rise. Much of the story chronicles his complex relationship with Colonel Tom Parker (Tom Hanks). Lurhman is noted for his non-traditional approaches (as evidenced in his Moulin Rouge, Romeo + Juliet, and The Great Gatsby), so his take will most likely reflect his unique style. Rated PG-13 · Release date June 24

Minions: The Rise of Gru

Minions: The Rise of Gru offers a sequel to a spinoff. Minions (2015) followed Despicable Me (2010) and Despicable Me 2 (2013). The second film is in the wake of Despicable Me 3 (2017). For the franchise fans, the story picks up after the events in Minions, with twelve-year-old Gru (voiced by Steve Carrell) striving to join the supervillains known as the Vicious 6. Rated PG · Release date July 1

Thor: Love and Thunder

For those craving the most traditional summer fare, there is Thor: Love and Thunder (July 8), the sequel to Thor: Ragnarok (2017) and the 29th film in the Marvel Cinematic Universe. Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct. Taika Waititi directs Chris Hemsworth in the title role. The film also stars Tessa Thompson, Natalie Portman and Christian Bale. Rated PG-13 · Release date July  8

Where the Crawdads Sing

Delia Owens’ bestseller 2018 Where the Crawdads Sing reaches the big screen with Daisy Edgar-Jones as Kya, a self-raised girl from the marshlands of North Carolina who becomes the prime suspect in a murky murder case. One of the most popular novels in the last ten years, this tale of secrets hidden and revealed is one of the more serious offerings. Not Yet Rated  · Release date July 15

The Gray Man

For those looking for action thrillers, The Gray Man offers the CIA’s most skilled mercenary (Ryan Gosling), uncovering dark, incriminating secrets about the organization. Chris Evans plays a psychopathic former colleague assigned to hunt him down. Produced and directed by Anthony Russo and Joe Russo, The Gray Man hopes to be the first of a franchise based on Mark Greaney’s Gray Man novels. Rated PG-13 · Release date July 15 

Nope

One of the more intriguing releases is Nope (July 22). Residents of an isolated town in California, including ranch owners James and Jill Haywood (Daniel Kaluuya and Keke Palmer), witness a mysterious and abnormal event. This science-fiction horror film is written, directed, and produced by Jordan Peele, whose brilliant and distinctive style always informs his work, including the highly effective Get Out and Us. Rated R · Release date July 22

Marcel the Shell with Shoes On

Equally as interesting is Marcel the Shell with Shoes On, a live-action/stop motion-animated mockumentary that trails the titular character (voiced by Jenny Slate) who embarks on a journey to locate his family. Rated PG · Release date July 24

The Black Phone

No summer is complete without the usual dose of horror. The Black Phone (June 24) reunites Ethan Hawke with Scott Derrickson, his director from Sinister (2012). Here, a kidnapped boy trapped in a basement realizes he can communicate with this captor’s previous victims. Rated R · Release date July 24

Bullet Train

Bullet Train is a hybrid action comedy/thriller based on the Japanese novel Maria Beetle. Brad Pitt heads an ensemble cast as trained killer Ladybug (Pitt), who wants to give up the life but is pulled back in by his handler (Sandra Bullock). On a train from Tokyo to Kyoto, competing assassins discover they are after the same briefcase. (There has been some backlash on the film’s casting, with two of the novel’s main characters becoming non-Asian.) Rated R · Release date July 29

DC League of Super-Pets

The family-friendly DC League of Super-Pets is an animated adventure with Superman’s dog, Krypto (voiced by Dwayne Johnson), organizing shelter pets who have special powers to free the Justice League, which mastermind Lex Luthor has captured. Rated PG · Release date July 29

Bodies Bodies Bodies

The satirical slasher Bodies Bodies Bodies (August 5) sees a group of friends gathering for a house party to play a murder mystery game, only to discover an actual murder has taken place, and they must now play the game for real. Rated R · Release date August 5

Samaritan

In Samaritan, a young boy (Javon Walton) realizes that a famed superhero, who was thought to have gone missing, may still be around. The film also stars Sylvester Stallone. Rated  PG-13 · Release date August 26

3000 Years of Longing

There is a surprising dearth of fantasy, with Three Thousand Years of Longing being one of the few. Adapting and directing A.S. Byatt’s short story The Djinn in the Nightingale’s Eye, George Miller returns after a seven-year hiatus. The epic romantic fantasy chronicles a woman (Tilda Swinton) who encounters a djinn (Idris Elba) who offers her three wishes in exchange for his freedom. Rated R · Release date August 31

Clearly, this summer hosts a variety of choices for all filmgoers. 

*This article originally appeared in TBR News Media’s Summer Times supplement.

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Catherine Deneuve and Benoît Magimel in a scene from Peaceful. Photo courtesy of Staller Center

Stony Brook University’s Staller Center  for the Arts turns into a movie lover’s mecca when new independent films screen at the Stony Brook Film Festival on evenings and weekends from Thursday, July 21 to Saturday, July 30. The popular festival, now in its 27th year, pairs memorable short films with an array of features you won’t see anywhere else, making it a favorite of moviegoers and filmmakers alike.

Presented by Island Federal, the 2022 Festival lineup offers 38 films from over 28 countries. The Festival kicks off with the North American premiere of Peaceful, starring Catherine Deneuve, Benoît Magimel, and Gabriel A. Sara. A life-affirming drama about acceptance and resilience, Peaceful follows Benjamin, an acting teacher with a terminal illness as he navigates his final months and days. The beating heart of the film comes from Gabriel Sara — a cancer specialist from Mount Sinai Hospital in Manhattan in real-life — who portrays Benjamin’s very humane specialist Dr. Eddé. Catherine Deneuve’s powerful performance as Benjamin’s mother is unforgettable.

“This year’s Festival is somewhat of a family affair, with several real-life family members making films, and members of our Stony Brook family returning,” says Festival co-programmer Kent Marks. “Our Sunday night independent feature, the very touching This is a Film About My Mother, which was shot in Ithaca, New York, stars real-life siblings Tess and Will Harrison and was written and directed by Tess.”

The theme of family continues with the mesmerizing Korean independent film, Seokkarae. Written and directed by Mike Beech, and starring his wife, Jiwon Lee, the character-driven film depicts a quiet twenty-something attempting to keep the family business going despite tough odds. Jungle is another such collaboration, written by real life partners Claudia Verena Hruschka and Kieran Wheeler, with Wheeler directing and Hruschka giving a gut-wrenching performance in this hard-hitting short from Australia. 

From Australia to Stony Brook, The Switcheroo is co-directed by Stony Brook brothers Ryan and Anthony Famulari. Made for next to nothing during COVID, this hilarious comedy has the brothers serving as the entire crew, with Anthony cast in the very funny role of a man and his clone. Two more co-directors are sisters Austin and Westin Ray with their UK-based quiet thriller Before Seven. The Ray’s, Festival alums from 2014, served as directors, writer (Westin) and composer and cinematographer (Austin). Another SBFF festival alum is John Gray, who won the audience choice award for his 2020 film Extra Innings, and is back this year with the intriguing family drama The Little Drummer Boy.

Women will take center stage at this year’s SBFF, both in front of and behind the camera. SBFF’s opening and closing night features and shorts were all helmed by female directors. In all, 17 of the Festival’s 38 films were directed by women. Two films, Kitchen Tales and Before Seven, were made with nearly all-female crews. 

The Jackie Stiles Story and Nasima are two completely different documentaries about female athletes from the middle of nowhere — a small Kansas town and a small seaside village in Bangladesh — who both beat the odds and made a huge impact in their respective sports of basketball and surfing. 

There are heroines from all walks of life, whether in the New Zealand drama The Justice of Bunny King, the Israeli epic Image of Victory, the Albanian thriller Vera Dream of the Sea, or the American indie Peace in the Valley, all of which feature knock-out performances by their lead actresses.

Reflecting on current issues, two films in the Festival, Olga and Berenshtein both take place in and around Ukraine, and both are from times when the Ukrainian people faced down an oppressive regime — whether it be from the Nazis or their own government.

Mila, a must-see short film on SBFF’s closing night, is a debut effort by writer/director Cinzia Angelini and made by 350 animators from 35 countries, who volunteered their services to help Angelini get her story made after all major studios turned it down. Inspired by events of the 1943 Trento bombing in Italy, this heart-warming story depicts a young girl who has lost everything but still clings to hope. 

The closing night feature, Lost Transport, is a powerful and deeply moving film set during the final days of World War II, uniquely told from a female perspective. When German soldiers abandon a deportation train, leaving the fate of its occupants in the hands of advancing Russian troops, three women from vastly different backgrounds, set aside their differences, working together to survive.

“The diversity of filmmakers is a hallmark of Stony Brook Film Festival, with student filmmakers, seasoned pros, and nine first-time directors represented this year,” says Festival Director Alan Inkles. “We are very excited to have filmmakers from all over the world join us in-person this year for their premiere screenings. Our audience can gather in a huge theater with Long Island’s largest screen, to see movies the way they were meant to be seen. Not only are these films not available on any streaming format, but you also get to hear directly from the filmmakers themselves, ask them a question at our live Q&A, and even vote for your favorite.”

For 27 years, the Stony Brook Film Festival has hosted 549 filmmakers from 78 different countries, featured nearly 55 World Premieres and over 75 U.S. premieres. In total, the Festival has screened almost 1100 independent films from all over the world. The Festival kicks-off with an Opening Night Party and closes with an Awards Ceremony and Closing Night Party.

FILM SCHEDULE

OPENING NIGHT

Thursday, July 21 at 8 p.m.

Feature: Peaceful, France

Short: Lentini, United States

 

Friday, July 22 at 7 p.m.

Feature: Olga, Switzerland, Ukraine,  France

Short: Kitchen Tales, United Kingdom

 

Friday, July 22 at 9:30 p.m.

Feature: Glob Lessons, United States

Short: Before Seven, United States

 

Saturday, July 23 at 4:30 p.m.

Doc Feature: The Jackie Stiles Story, U.S.

 

Saturday, July 23 at 7 p.m.

Feature: Contra, Germany

Short: The Little Drummer Boy, U.S.

 

Saturday, July 23 at 9:30 p.m.

Feature: Peace in the Valley, U.S.

Short: Elevate, United States

 

Sunday, July 24 at 4:30 p.m.

Documentary Feature: Nasima, U.S.

 

Sunday, July 24 at 7 p.m.

Feature: Berenshtein, Israel & Ukraine

Short: The Switcheroo, United States

 

Sunday, July 24 at 9:30 p.m.

Feature: This is a Film About My Mother, U.S.

Short: North Star, United States

 

Monday, July 25 at 7 p.m.

Feature: Hit the Road, Iran

Short: Summer of Bees, Finland

 

Monday, July 25 at 9:30 p.m.

Feature: Seokkarae, Korea

Short: Saving Elodie, United Kingdom

 

Tuesday, July 26 at 7 p.m.

Feature: Hard Shell, Soft Shell, France

Short: Almost Winter, United States

 

Tuesday, July 26 at 9:30 p.m.

Feature: The Justice of Bunny King, NZ

Short: The Dress, United States

 

Wednesday, July 27 at 7 p.m.

Feature: Image of Victory, Israel

Short: Milk, United Kingdom

 

Wednesday, July 27 at 9:30 p.m.

Feature: The Test, France

Short: Free Fall, France

 

Thursday, July 28 at 7 p.m.

Feature: Haute Couture, France

Short: Jungle, Australia

 

Thursday, July 28 at 9:30 p.m.

Feature: Sons of the Sea, South Africa

Short: Ousmane, Canada

 

Friday, July 29 at 7 p.m.

Feature: Vera Dream of the Sea, Kosovo & Albania & Republic of Macedonia

Short: All that Glitters, United Kingdom

 

Friday, July 29 at 9:30 p.m.

Feature: Black Box, France & Belgium

Short: Aysha, Germany

 

CLOSING NIGHT

Saturday, July 30 at 8 p.m.

Feature: Lost Transport, Netherlands & Luxemborg & Germany

Short: Mila, United States

 

CLOSING NIGHT AWARDS

10:30 p.m.

Ticket information

All screenings are held at Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook in the 1,000-seat Main Stage theater. Festival goers can choose from a Gold Pass, Festival Pass, or Individual Pass. Passes start at $20. All passholders will hear from filmmakers throughout the Festival and have the opportunity to rate and vote on favorite films to help choose the winners of this year’s Festival. 

Gold Passholders receive entry to all films, VIP reserved seating, a Stony Brook Film Festival swag bag, discounts at local restaurants and businesses, access to Opening and Closing Night After Parties, filmmaker Q&A’s, and the Closing Night Awards Ceremony. Festival Passholders receive entry to all films and guaranteed seating for sold-out films, filmmaker Q&A’s, access to the Closing Night Awards Ceremony, discounts at local restaurants and businesses, voting for Audience Choice Award, and a Stony Brook Film Festival Passholder gift. For more information or to order, call 631-632-2787 or visit stonybrookfilmfestival.com.

*This article originally appeared in TBR News Media’s Summer Times supplement on June 24.

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A scene from 'Lightyear'. Image courtesy of Disney/Pixar

Reviewed by Jeffrey Sanzel

“To infinity and beyond” takes on a different context in Pixar’s excellent Lightyear. Instead of a pithy catchphrase, the words become a heartfelt exchange between Buzz Lightyear and his friend and commanding officer, Alisha Hawthorne. This adjustment encompasses the tonal shift from Buzz’s cinematic origin in the world of Toy Story.

Here, Lightyear is the favorite film of Toy Story’s young Andy Davis, who received a Buzz Lightyear toy in 1995 when the movie was released. Lightyear is a meta-spinoff of the Toy Story series but its own entity. Buzz Lightyear is not the action figure but the source character himself. He is less the stiff, oblivious punchline and more a mildly but easily exasperated military careerist. The Star Command Galactic Ranger and Alisha explore the planet Tikana Prime, which is overrun with attacking vines and insectoid creatures. In trying to evacuate, Buzz damages the vessel, leaving the crew marooned as they conduct repairs. 

What follows is a classic science-fiction story dealing with the variegations and complications of time travel. Each time Buzz attempts to go into hyperspace, a time dilation of the four-minute journey passes as four years on Tikana Prime. Buzz fixates on liberating the stranded team. Meanwhile, the crew continues to live and flourish, developing a community that does not include the alienated (and often alienating) Buzz. 

A scene from ‘Lightyear’. Image courtesy of Disney/Pixar

The societal growth is shown most vividly in Alisha, who marries and raises a son with her wife and eventually passes on her love of being a ranger to her granddaughter, Izzy. While Buzz obsesses on the world left behind, Alisha thrives in the world that is present. (This beautifully integrated LGBT element caused it to become the first children’s animated film to be given an NC16 rating in Singapore, equivalent to an R rating in the US.)

The film is not without laughs, but they are often of a subtler variety. Alisha chides Buzz for his constant self-narration, reminding him that no one ever listens to his logs. Buzz receives a robotic service animal, a feline named Sox, whose running commentary and support function as an emotional connection for the lonesome Buzz. Underneath the “I’m Buzz Lightyear—I’m always sure” is a lost and slightly damaged ranger. 

After sixty-two years of failures, Alisha’s replacement, the insensitively bureaucratic Commander Burnside, shuts down Buzz’s attempts. By now, robots have invaded the planet under the control of the mysterious Emperor Zurg (the only other character from the Toy Story canon). A laser shield has been the sole protection from the machines overrunning the vulnerable community. Bruised but undaunted, Buzz goes rogue to complete the mission. He encounters ragtag members of the colony’s defense force who eventually become his team.

There is nothing strikingly new in Lightyear. In its beautiful, rough cinematic animation, it conjures the Lucas universe. Sly references permeate the canny, straightforward screenplay by Jason Headley and Angus MacLane. The stock characters are written with wit, but more importantly, humanity. The revelation of the antagonist provides a powerful “ah-hah” moment, giving Buzz a personal epiphany. 

Chris Evans provides the voice for Buzz Lightyear in the new Toy Story spinoff.
Image courtesy of Disyey/Pixar

Chris Evans embodies Buzz with the right balance of bombast and guilt, never sacrificing the pain for a laugh. Uzo Aduba’s Alisha is the perfect foil: smart, clever, and fully aware. The trio of under-trained recruits form Buzz’s eventual entourage. Keke Palmer captures Izzy’s mix of eagerness and fear. Taika Waititi’s Mo Morrison possesses the right touch of wide-eyed naïveté. Dale Soules, channeling her Orange Is the New Black persona, ideally assays the elderly paroled convict with a penchant for blowing things up. As Sox, Peter Sohn is simultaneously warm and deadpan—with several references to R2-D2. (There is an amusing bit with Sox providing sleep sounds.)

MacLane has directed Lightyear with a sure hand and a clear vision. He has led his voice actors and animation teams to create a story that echoes the importance of belief in others with striking and often thrilling visuals. Told through a man out of time (landing in a world where the sandwich is rethought), Lightyear finds its head and heart in ideas of life and home. More Star Wars than Toy Story, the film plays on an adult level but offers much for young audiences to enjoy. It is most on the nose (i.e., children’s movie) in the lessons of teamwork. But the ideas are smoothly introduced in action (no catchy theme songs like “You’ve Got a Friend in Me”). Like with Encanto, the layers only enhance the watching experience.

With Lightyear, Pixar has found a fresh, enjoyable, and original concept. The creators adeptly transformed a character from one universe to another. Handling the shift with style, Lightyear celebrates wonder, adventure, and, ultimately, integrity. Rated PG, the film is now playing in local theaters.

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CatVideoFest

Featuring a Pop-up Kitten Adoption from Golden Paw Society 

CatVideoFest returns to the Cinema Arts Centre, 423 Park Ave., Huntington on Sunday July 10 at 2 p.m. (come early for the cats) with a hilarious and adorable compilation reel of the latest, best cat videos culled from countless hours of unique submissions and sourced animations, music videos, and, of course, classic internet powerhouses. The screening will include a kitten adoption pop-up with the local rescue Golden Paw Society, Inc. Everyone is welcome to come and meet the cats, with a portion of the film’s ticket sales going to help support the Golden Paw Society.

Bringing the joy of cat videos to the masses and raising money for cats in need, CatVideoFest is a cute and hilarious collection of the cat videos – brought to the big screen for one special day each year. Come celebrate our love of our feline friends at this great family-friendly screening and adoption event.

Tickets are $17 Public | $12 Cinema Arts Centre Members
Tickets: https://bit.ly/CatVideoFest2022CAC

You can also purchase tickets or find more information about this and other events on the Cinema Arts Centre website: www.cinemaartscentre.org

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MULTI PASS: Bruce Willis and Milla Jovovich in a scene from the film. Photo courtesy of Fathom Event

Fathom Events and Sony Pictures Home Entertainment are giving fans a chance to relive the Summer of ’97 by bringing Luc Besson’s groundbreaking The Fifth Element back to over 800 cinemas nationwide in celebration of the film’s 25th anniversary. This two-day only presentation is in theaters on Sunday, June 26 and Wednesday, June 29. As an added bonus, the theatrical presentation will also offer audiences an interview with Besson plus outtakes from the film.

From its opening scenes in 1914 Egypt to its towering views of 23rd Century New York City, and its mind-expanding journey to the faraway world of Fhloston Paradise, The Fifth Element follows cab driver Korben Dallas (Bruce Willis) as he discovers that the fate of the world is contained within the mysterious Leeloo (Milla Jovovich), who literally drops from the sky and into his life. To save humanity, he must protect her from the evil industrialist Zorg (Gary Oldman), who is embroiled in an intergalactic war between the Mondoshawans and the Mangalores.

The spectacular odyssey across space and time also stars Ian Holm as the mysterious Vito Cornelius, Chris Tucker as hyperactive radio host Ruby Rhod, and Luke Perry as Billy Masterson. 

Conceived by Luc Besson when he was 16, The Fifth Element became a passion project and took more than 20 years to bring to the screen. The film was nominated for eight César Awards, France’s top cinematic honor, and received three awards, including Best Director, Best Cinematography and Best Production Design.

Locally, the film will be screened at Island 16 Cinema de Lux in Holtsville on June 26 at 3 p.m. and June 29 at 3 p.m. and 7 p.m.; and Farmingdale Multiplex Cinemas in Farmingdale on June 26 and June 29 at 3 p.m. To order tickets in advance, visit www.fathomevents.com.

See the trailer here

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Kurt Russell in a scene from 'The Thing.' Photo from Fathom Events

In celebration of its 40th anniversary, John Carpenter’s 1982 cult classic, The Thing, returns to select cinemas nationwide on Sunday, June 19 and Wednesday, June 22, courtesy of Fathom Events and Universal Pictures.  

Hailed as one of the best sci-fi horror films of all time, The Thing fused Kurt Russell’s outstanding performance with incredible visual effects to create a chilling new adaptation of the 1938 short story by John W. Campbell Jr., “Who Goes There?”

Set in the winter of 1982 at a research station in Antarctica, the film, featuring an iconic score from Oscar- and Grammy-winning composer Ennio Morricone, follows a twelve-man research team that discovers an alien being that has fallen from the sky and has remained buried in the snow for more than 100,000 years. Soon it is unfrozen and unleashed, creating havoc and terror as it changes forms and becomes one of them.

The special screening will also feature vintage, behind-the-scenes footage from the 1998 documentary The Thing: Terror Takes Shape by Michael Matessino. 

Locally the film will be screened at Island 16 Cinema de Lux in Holtsville and Farmingdale Multiplex Cinemas in Farmingdale on June 19 at 3 p.m. and 7 p.m. and on June 22 at 7 p.m. To purchase tickets in advance, visit www.fathomevents.com.

See trailer here.

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A scene from 'Jurassic World: Dominion.' Photo courtesy of Universal Pictures

Reviewed by Jeffrey Sanzel

The Jurassic Park franchise launched in 1993. Based on the 1990 novel by Michael Crichton, Steven Spielberg directed the film from a screenplay by Crichton and David Koepp. Featuring Sam Neill, Laura Dern, Jeff Goldblum, B.D. Wong, Samuel L. Jackson, and Richard Attenborough, the special-effects packed film became the highest-grossing film released worldwide until that time, besting Spielberg’s E.T. The Extra-Terrestrial (1982). Jurassic Park perfectly combined taut structure, grounded humor, and effective effects.

Spielberg and Koepp returned for The Lost World: Jurassic Park (1997), along with cast members Goldblum and Attenborough, joined by Julianne Moore and Vince Vaughn. The film received mixed reviews but a positive audience response, breaking multiple box office records. Jurassic Park III (2001) was the first without Spielberg as director. And while it brought back Dern and Neill, the film received a predominantly mixed-to-negative response. 

A scene from ‘Jurassic World: Dominion.’ Photo courtesy of Universal Pictures

Jurassic World: Dominion, directed by  Colin Treverrow, reunites cast members from the entire network: Dern, Neill, Goldblum, Wong, Chris Pratt, Bryce Dallas Howard, Omar Sy, Isabella Sermon, Justice Smith, and Daniella Pineda. Rounding out the starry cast are DeWanda Wise, Mamoudou Athie, Campbell Scott, Scott Haze, and Dichen Lachman. 

The initial premise is fascinating. A news report explains that following the destruction of the Central American island Isla Nublar, dinosaurs now live among us, always hungry and often violent. The new normal raises ethical questions of accountability and coexistence. These de-extinct animals result from man’s manipulation of science and, therefore, society’s responsibility. Quick cuts of dinosaurs attacking juxtapose with compelling images of these wandering creatures living out of time and place. One powerful clip shows a dinosaur eating garbage next to a train track. Beauty, danger, nobility, and abandonment are all on display. 

However, after this brief prologue, the film denigrates into a mess of science fiction and thriller clichés that are hopeless retreads of the first three films. The convoluted machinations include the corrupt Biosyn (sin?) Corporation, Sir Benjamin Lockwood’s cloned granddaughter, biogenetically engineered locusts the size of Dachshunds destroying the food chain, altering DNA and splicing of genomes, black market breeders, and a few other threads not so much woven into the narrative fabric as clumsily stapled. 

A scene from ‘Jurassic World: Dominion.’ Photo courtesy of Universal Pictures

However, with all the plot, there is something ploddingly by the numbers, with one predictable action sequence after another, repetitions of previous Jurassic outings, or pale copies of Indiana Jones. Dominion recalls Godzilla vs. Rodan more than the earlier focused and well-crafted incarnations of the Jurassic universe. Strangely, Dominion nods more to the work of animator Ray Harryhausen and the Sinbad series than to Crichton’s world.

And while strong actors populate the cast, they cannot elevate the stiff dialogue of Emily Carmichael and Colin Trevorrow’s witless screenplay. It is nearly impossible to play multiple notes in a one-dimensional character. Stock outlines substitute for human beings, with everyone talking in breathy, important voices. Fortunately for them, they are mostly directed to look up when they hear dinosaur footsteps. There is lots of running (the people) and chomping (the dinosaurs) and disinterest (the audience).

Dern and Neill give vague performances and are uncomfortable in the cringe-worthy romance awkwardly forced onto their characters. Goldblum’s quirky mannerisms make his Apartments.com commercials appear subtle. Scott plays the corporate villain like Tom Hanks channeling a neurotically twitchy Steve Jobs. Platt and Howard show up. Wise and Athie almost—but not quite—manage to rise above the swamp. As the clone, Maisie, Sermon finds a few more shades than the rest of the company, bringing honesty to the struggle with personal revelations. But these glimpses hardly save the film.

The special effects seem tired, with a ragtag combination of CGI (the locust swarm is particularly unimpressive) and animatronics (basic Disney World). As a result, Dominion feels less blockbuster and more thrill ride without the thrill. Michael Giacchino’s generic score does most of the heavy lifting, with dark chords and lush strings substituting for emotion, style, and actually earned tension. 

The final moments of the film return to the movie’s initial potential. But at the end of a bloated two and a half hours, it is far too late. Let’s hope, as with the real dinosaurs, Jurassic World: Dominion marks the extinction of the franchise.

Rated PG-13, the film is now playing in local theaters.

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Bay House owner Brian Warasila will be featured in A World Within a World: Long Island's Bay Houses. Photo by Martha Cooper, 2015

By Tara Mae

We are all islanders here, whether by birth or by choice. Individual relationships with the water may vary, but for many it is a core component of cultural identity: a source of relaxation, recreation, sustenance, and survival. 

The Maritime Film Festival, presented by Cinema Arts Centre in Huntington in conjunction with Long Island Traditions in Port Washington and The Plaza Cinema & Media Arts Center in Patchogue, explores the flow and ebb of people’s connections to the sea and the lifestyles it provides. 

The festival will feature three films that are anchored in an appreciation of welcoming and weathering the elements of island life. Each documentary will have its own screening and be followed by an audience Q&A session with the filmmakers and others involved in the projects. [See schedule below.]

The festival begins with The Bungalows of Rockaway on Tuesday, June 14 at 7:30 p.m. Narrated by Academy Award winner Estelle Parsons, the film chronicles 100 years in the tragicomic tale of New York’s biggest summer bungalow colony. 

“The Bungalows of Rockaway illustrates, through the detailed, eloquent, diverse voices of historians, bungalow residents, and Rockawayans and the use of archival images, the long history, meaningful to residents past and present and the city as a whole,” said producer Elizabeth Logan Harris who will participate in the post-screening discussion.

A World Within a World: The Bay Houses of Long Island will be screened on Tuesday, June 21 at 7:30 p.m. This film explores from historical and contemporary perspectives the lives, histories, and experiences of bay house owners in the Town of North Hempstead. 

“The bay houses have a rich history going back to the 18th century and are a part of Long Island’s heritage that many, including myself, knew little about. Besides their aesthetic beauty — giving unparalleled access to the beauty of the marshlands on the south shore — they also offer a glimpse into a sub-culture of families who maintain and love the houses for many generations,” co-director Greg Blank said. 

Co-director Barbara Weber and folklorist Nancy Solomon, who helped put together the festival, will join Blank to talk about the documentary after the viewing.

The festival concludes with Maiden, on Tuesday, July 12 at 7:30 p.m. The documentary is the story of the first all female crew, assembled by British sailor Tracey Edwards, to compete in the 1989 Whitbread Round the World Race, a 32,000 mile global circumnavigation competition.  

“We were just people racing around the world and trying to win. The social impact was not apparent to us until later and it is incredible how the story resonates 30 years later,” crew member Dawn Riley, now Executive Director of Oakcliff Sailing Center, said. 

She and Edwards will reunite to answer questions and reflect on their experiences. 

While Maiden has previously been shown at Cinema Arts Centre, this is the first time The Bungalows of Rockaway and A World Within a World: The Bay Houses of Long Island are being presented there.

“We are thrilled to have such a great range of films,” said Dylan Skolnick, co-director of the Cinema Arts Center.

Nancy Solomon, a folklorist who specializes in maritime culture and Executive Director of Long Island Traditions, a nonprofit that focuses on recording local architecture, organized the film festival as a way to promote and ideally preserve the ethnography of Long Island.

“Long Island is becoming overdeveloped, especially along its coastlines. So the traditions of boat builders, boatyards, fishermen, baymen, bay houses, are in danger. If we don’t start learning about people carrying out these traditions, we are going to lose them,” Solomon said.  “The purpose of this festival is to introduce [audiences] to a very rich heritage of people and places that are part of our cultural identity.” 

She pitched the idea to Skolnick, who hopped on board. 

“It is a true collaboration,” Skolnick said. “At the Cinema, we try to bring great movies from around the world and bring great stories from the local community. These movies fit perfectly with the sort of stories we want to tell.” 

A continuation of a film series that began at Plaza Cinema and Media Arts Center in April, Solomon worked closely with both Plaza Cinema and Cinema Arts Centre to create a celebration of coastal culture through cinematic storytelling.

“I want the festival to help educate people about maritime culture of Long Island and how we can preserve it. The films we selected are all about different places in our region and topics relating to struggles of local people,” she said.

The festival was made possible through grants from the Suffolk County Office of Cultural Affairs, Robert L. Gardiner Foundation, and National Endowment of the Arts. 

The Cinema Arts Centre is located at 423 Park Avenue in Huntington. Tickets to the Maritime Film Festival are $17 for the general public and $12 for members of Cinema Arts Centre. For more information about the festival and films, please visit www.cinemaartscentre.org.

Film Schedule:

■ The festival kicks off with a screening of The Bungalows of Rockaway on June 14 at 7:30 p.m. Narrated by Academy-Award winner Estelle Parsons, The Bungalows of Rockaway tells 100 years of the tragicomic story of New York City’s largest summer bungalow colony, that of the Rockaways. With enticing vintage postcards, archival photography, Marx Brothers home movies, hilarious boardwalk tales, personal accounts recounted by bungalow residents and Rockawayans alike, all grounded by historians, the film brings viewers close to the highs and lows of a large, thriving, affordable, urban seaside resort. The film, directed by Jennifer Callahan and co-produced by Jennifer Callahan and Elizabeth Logan Harris, will be followed by a Q&A with Harris.

■ Up next is A World Within a World: Long Island’s Bay Houses on June 21 at 7:30 p.m. A World Within a World explores the lives, history, and experiences of bay house owners in the Town of Hempstead from both a historical and contemporary perspective. Based on fieldwork by folklorist and maritime ethnographer Nancy Solomon of Long Island Traditions, local filmmakers Barbara Weber and Greg Blank capture the essence of how bay house owners have persevered and endured through severe storms and hurricanes as well as eroding marshlands all while preserving traditions that began in the early 19th century. The film profiles Long Island families who have owned bay houses for over 100 years including the Muller, McNeece, Burchianti, Warasila, Jankoski families. The screening will be followed by a Q&A and discussion with directors Greg Blank and Barbara Weber and folklorist Nancy Solomon.

■ The festival closes with a screening of Maiden on July 12 at 7:30 p.m. In 1989, long dismissed and belittled as the only woman crewmember on the ships where she worked, British sailor Tracy Edwards set out to prove herself in the biggest way possible. She assembled the world’s first all-female international crew and entered the Whitbread Round the World Race, a 32,000 mile global circumnavigation competition that, until then, had been the exclusive domain of male seafarers. The screening will feature a Q&A with Maiden Captain Tracy Edwards and sailor Dawn Riley, Director of Oakcliff Sailing School.

 

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Tom Cruise as test pilot Captain Pete 'Maverick' Mitchell in a scene from the film. Photo courtesy of Paramount Pictures

Reviewed by Jeffrey Sanzel

In 1986, 24-year-old, pre-couch-jumping Tom Cruise was featured in a string of high-profile films: The Outsiders (1983), Risky Business (1983), All the Right Moves (1983), and Legend (1985). Poised for a breakthrough, his performance as rebellious Naval Aviator Pete “Maverick” Mitchell in Top Gun secured his stardom. The highest-grossing film of the year, it made over 350 million dollars worldwide. 

Many critics found little to love outside of the aerial dynamics, but it became a pop culture hit, winning the Academy Award for Best Song, “Take My Breath Away” (music by Giorgio Moroder; lyrics by Tom Whitlock). Inspired by Ehud Yonay’s article “Top Guns,” the film’s screenplay (by Jim Cash and Jack Epps, Jr.) combined endless flight jargon with dialogue lifted from the lesser After School specials. 

Peppered with clichés like “he’s a wild card” and “it’s not your flying, it’s your attitude,” the film lacked depth, subtlety, and even basic tension. The insufferably smarmy Maverick is not so much a character but the smirk of one. Outside of one “steamy” scene between Cruise and co-star Kelly McGillis, the homoerotic movie is populated by men in towels talking about the need to shower. Both misogynistic and juvenile, Top Gun made Risky Business seem emotionally sophisticated. 

As early as 2010, a Top Sequel was in development. Finally, after years of delays, Top Gun: Maverick arrives 36 years after the original’s release. Instead of a clumsy sequel, the creators have forged a smart, entertaining, well-made film that is visually stunning. If the screenplay (by Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie) is not exactly Citizen Kane, the storytelling is defined. The characters are simply drawn but true to the situation. There is an honesty and a general earnestness that harkens back to the better war movies of the 1940s. Joseph Kosinski has directed his actors to play the characters straight down the middle. There are not a lot of surprises, but the can-do spirit works.

Cruise’s Maverick is a much-decorated pilot but still a captain. For every commendation he has received, overstepping has prevented him from receiving a promotion. While his skills are never in doubt, his problematic behavior towards authority has not so much stalled his career but buried it. At the end of the first film, Maverick requested a position as a Top Gun trainer. He reveals that he only lasted two months.

The older Maverick is low-key but still rebellious, rankling his superiors. Rear Admiral Chester “Hammer” Cain (Ed Harris) tells him, “The future is coming. And you’re not in it.” 

Maverick’s formal rival, “Iceman” (Val Kilmer), now commander of the U.S. Pacific Fleet, has called Maverick back to Top Gun. (Except for Cruise, Kilmer is the only holdover from the first film. He has a single scene where he mostly communicates by typing as the admiral has throat cancer.) The mission is to take out a rogue state’s uranium enrichment plant before it opens. Surface-to-air missiles and skilled fighter pilots protect the canyon. The only way to bomb the plant is to literally fly under the radar in a demanding, dangerous mission.

Vice Admiral Beau “Cyclone” Simpson (John Hamm) and Rear Admiral Solomon “Warlock” Bates (Charles Parnell) have gathered an elite group of fighter pilots for Maverick to train.

The plot is simple, with the sole complication that one of the pilots, Lt. Bradley “Rooster” Bradshaw, is the son of Maverick’s former radar intercept officer and best friend, Nick “Goose” Bradshaw (Anthony Edwards in Top Gun). While cleared of the responsibility for his pal’s death, Maverick still carries guilt, and he reveals that at the request of Goose’s widow (now dead—Meg Ryan in the earlier film), he has done everything to prevent Rooster from flying. Eventually, Maverick and Rooster come to terms with their joined histories.

A minor romantic subplot involves Maverick and a bar owner, Penny Benjamin (Jennifer Connelly), but it generates little heat or interest.

The film’s two driving forces are Cruise and the mission. Both Cruise and Maverick have aged well, and the general lack of arrogance makes for a watchable experience. As the writing is focused, the technical details are clear. The actors lean into the physical demands and challenges of the flying and the mantra that “It’s not the plane. It’s the pilot.” The cavalier comment in Top Gun—“A need for speed”—here actually makes sense. Everything builds up to a spectacular final act, with the operation beautifully orchestrated with the right amount of suspense and a couple of twists that help keep it interesting. The faceless, but ominous enemy, is smartly handled.

Top Gun: Maverick’s major song, Lady Gaga’s “Hold My Hand,” plays over the credits. It is an appropriate metaphor for the film. A bit schmaltzy but also effective, honest, and wholly satisfying.

Rated PG-13, the film is now playing in local theaters.

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'The Golden Girls'
Fathom Events presents a special screening of six of the most memorable episodes of ‘The Golden Girls’

Fathom Events has announced the return of the Emmy Award-winning television sitcom, “The Golden Girls,” to select theaters nationwide for the second consecutive year.  “Forever Golden!  A Celebration of the Golden Girls” hits movie theaters for two nights: Tuesdays June 7 and 14.

The series stars Bea Arthur (Dorothy Zbornak), Betty White (Rose Nylund), Rue McClanahan (Blanche Devereaux), and Estelle Getty (Sophia Petrillo) as four women in their golden years who share both a home and a friendship in Miami, Florida.  This special event will feature some of the most memorable episodes from the series.

“We’re excited to bring this beloved show back to the big screen this summer,’” said Ray Nutt, Fathom Events CEO. “The storyline and the friendships between these very different women have stood the test of time.  Fans love it just as much now as they did when it first aired on television back in the 80’s.”

This must-see, two-night event will feature episodes including:

The Competition, Season 1, Episode 7:  In a bowling competition, it’s Dorothy and Blanche verses Rose and Sophia. If Sophia and Rose win, Dorothy will allow Sophia to go back to Sicily for a visit with an old beau and if Dorothy and Blanche win Sophia will give her a pair of antique earrings.

It’s a Miserable Life, Season Two, Episode 4:  The girls circulate a petition to save a 200-year-old oak tree which is located on the property of the most hated woman in the neighborhood, Frieda Claxton, who wants the tree cut down.

The Sisters, Season 2, Episode 12:  For Sophia’s birthday, Dorothy flies in her sister, Angela from Sicily as a surprise. However, Dorothy’s the one who’s surprised when Sophia’s reaction is that of disgust.

Scared Straight, Season 4, Episode 9:  Blanche’s brother, Clayton comes to Miami for a visit and Blanche goes all out fixing him up on blind dates. However, Rose learns the truth, Clayton is gay and is afraid to tell Blanche the truth about himself.

Sisters of the Bride, Season 6, Episode 14:   Blanche’s gay brother Clayton, makes a visit to Miami with a surprise, he has found the right person to make a commitment to, but Blanche still can’t get over Clayton’s sexual orientation. Meanwhile, Rose expects to win a Volunteer of the Year award.

The Case of the Libertine Belle, Season 7, Episode 2:  The girls participate in a murder mystery weekend and Dorothy has a ball when she solves a mystery. However, when Blanche is accused committing a real murder, Dorothy will have to use all her keen detective skills to find the real murderer.

“The Golden Girls” premiered in September 1985 and delighted fans over 7 seasons and 180 half-hour episodes.  The series follows Miami homeowner Blanche Devereaux, joined by Rose Nylund and Dorothy Zbornak, brought together by a fateful ad for roommates posted by Blanche in a grocery store.  The three are joined by Dorothy’s mother, Sophia Petrillo, a feisty Sicilian woman who rounds out the fabulous foursome.  Together, the women form the perfect circle of friends.

“Forever Golden!  A Celebration of the Golden Girls” will  play in movie theaters on Tuesday, June 7 and Tuesday, June 14 at 7 p.m. (all times local).  Locally the film will be screened at Regal Deer Park 16, 455 Commack Road, Deer Park; Island 16 Cinema de Lux, 185 Morris Ave., Holtsville; and Farmingdale Multiplex, 1001 Broadhollow Road, Farmingdale. A complete list of theater locations is available on the Fathom Events website can be purchased online at www.FathomEvents.com or at participating theater box offices.

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