Movie Review

From left, Ben Yang, Jackie Chan and Ralph Macchio in a scene from 'Karate Kid: Legends.' Photo courtesy of Columbia Pictures

Reviewed by Jeffrey Sanzel

The Karate Kid was the sleeper hit of 1984, grossing $100 million in the United States and Canada. The film received mostly good reviews, was deemed a “feel-good” movie and made the film’s star, twenty-two-year-old Ralph Macchio, into an international teen idol. 

A scene from ‘Karate Kid: Legends’. Photo courtesy of Columbia Pictures

The Karate Kid  spawned multiple sequels: The Karate Kid Part II (1986), The Karate Kid Part III (1989), The New Karate Kid (1994), and The Karate Kid (2010), a remake of the original. An animated series, action figures, video games, comic books, a board game, and even an unproduced Broadway musical (in the works in 2020) are just part of the Karate Kid’s descendants. The most interesting addition is Cobra Kai (2018-2025), a streaming series of sixty-five episodes that included original stars Macchio and William Zabka. The exceptional show picked up thirty-four years after the first film. Cobra Kai was a worthy successor and addition to the franchise legacy.

Unfortunately, Karate Kid: Legends, the sixth big-screen entry, is, at best, on the level of direct-to-video. The basic, well-worn plot concerns Li Fong (Ben Wang) moving from Beijing to the United States when his mother (Ming-Na Wen), a doctor, lands a position in a New York City hospital. Dr. Fong does not approve of martial arts due to the death of her older son, who was stabbed to death by thugs led by his defeated rival. Li has studied kung fu with Mr. Han (Jackie Chan) and now must abandon his training in the wuguan (dojo).

On his first day in the City, Li “meets cute” Mia Lipani (Sadie Stanley), daughter of Victory Pizza owner Victor (Joshua Jackson), who is in debt to loan sharks. Quickly, Li runs afoul of Conor Day (Aramis Knight), a karate champion who also happens to be Sadie’s ex. What follows is a simplistic yet somehow convoluted plot whereby Mr. Han arrives to prepare Li for a major tournament with a $50,000 prize. Mr. Han also recruits California-based Daniel LaRusso (Macchio) to co-train Li in a blend of kung fu and karate. The connection between kung fu and karate is part of a refrain of “two branches/one tree” from the prologue—a clip with Macchio and his teacher, Mr. Miyagi (Pat Morita), snagged from The Karate Kid II. 

Director Jonathan Entwistle does little with Rob Lieber’s by-the-numbers screenplay. Events are presented, but with little conflict, as the film meanders toward its predictable conclusion. The film relies on sitcom jokes and obvious montages, saccharine encounters, and often trite, strained dialogue. Peripheral elements of Chinese culture are given short shrift. Themes of guilt and responsibility barely register and then are quickly dismissed. 

The most delightful moment is the brief tag in the final minutes—a tease of what the entire outing could have been. Legacy only manages to achieve a level of “fine” because of the assembled actors. The cast is pleasant, and the performances are uniformly more than acceptable. Wang channels a Michael J. Fox vibe, making him charismatic and easy to root for. His chemistry with the likable Stanley is believable. Jackson plays her father like a low-rent George Clooney, but not without a certain appeal. 

Wen tries to find dimension in the grieving mother but is given few colors to play with and saddled with pedestrian lines: “You practice violence; you get violence in return.” The screenplay gives Knight’s sadistic bad boy zero background and no definition, flattening any possible wrinkle to the story: He is a stock psychopath, set up to be knocked over like a villainous bowling pin. Wyatt Oleff’s geeky tutor, Alan, seems like an afterthought.

Macchio, as always, owns Daniel and tries to bring both depth and lightness to the flabby proceedings. Chan is absolutely charming as the kung fu school’s shifu (master), and he and Macchio have an easy give-and-take that is the film’s highlight. Chan’s comic timing and smooth delivery enhance the underwhelming film.

It would be unfair to say the franchise is tired. Cobra Kai reinvented The Karate Kid surprisingly and engagingly, elevating and even surpassing the original films in many ways. Sadly, the Legends experience is cotton candy—but not in the festive carnival of memory and nostalgia. Instead, Karate Kid: Legends is muted and overly sweet, lacking substance and, ultimately, unmemorable.

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

Julian Schlossberg, center, heads to the CAC on June 1.

Legendary producer and conversationalist, Julian Schlossberg, will be appearing at the Cinema Arts Centre, 423 Park Ave., Huntington on Sunday, June 1 at 2:30 p.m. with the first East Coast screening in 35 years of his zany comedy, In The Spirit, with Elaine May, Peter Falk and Marlo Thomas topping the cast. 

Afterwards there will be a discussion and book-signing reception for his new insider memoir marking six decades in show business, Try Not to Hold it Against Me: A Producer’s Life. The program also includes a hilarious film promo written and directed by Elaine May herself. Tickets are available at www.cinemaartscentre.org, by calling 631-423-7611 and at the box office.

Photo from Staller Center Facebook

This summer marks a major milestone as the Stony Brook Film Festival  celebrates its 30th anniversary at Stony Brook University’s Staller Center for the Arts. Running from Thursday, July 17, through Saturday, July 26, audiences are invited to experience ten nights of extraordinary films from around the world, including world premieres, U.S. debuts, and must-sees that you cannot see anywhere else.

Early Bird Passes are on sale now, offering the best value for access to the film screenings and festival events. Pass options include the VIP Gold Pass, Regular Pass, and the Flex Pass, which grants access to any five days of the festival. Whether you’re a longtime attendee or a first-time guest, there’s a pass to match your interest and availability. Pass prices increase after June 9, so film lovers are encouraged to secure their passes early for the best price at stonybrookfilmfestival.com.

What began in 1995 as a modest campus initiative to enliven the quiet summer months has grown into a nationally recognized festival known for its bold storytelling and strong community of filmmakers and filmgoers. Over the past three decades, the festival has remained a champion of hard-to-find films, selected from over 2,000 annual submissions, and continues to thrive as a live, in-theater experience. This year’s lineup features 36 amazing short films and powerful feature-length dramas, thrillers, and comedies—many of which are screening for the very first time. These exceptional American independent and international titles cannot be seen in local theaters or streamed on any platform. They are only available on the region’s largest screen at Staller.

All passholders receive guaranteed Priority Seating, entry to filmmaker Q&As, eligibility to vote for the Audience Choice Awards, discounts at local partner businesses, and a commemorative festival gift. Each pass level includes its own set of perks, which can be found at stonybrookfilmfestival.com/pass.

Take this opportunity to be part of a cinematic tradition 30 years in the making. For more information and to purchase Early Bird Passes, visit stonybrookfilmfestival.com.

The Long Island Music & Entertainment Hall of Fame (LIMEHOF) in Stony Brook recently hosted Huntington Film Director Sean Quincy King  who screened his latest film ScreamWalkers on May 17. This event was part of LIMEHOF’s Monthly Local Filmmakers Series putting the spotlight on Long Island Directors and their films.

“We’re so appreciative of the spotlight and the opportunity to screen here,” said King. “Having a place like LIMEHOF to screen local movies and feature local talent is so invaluable because it gives other people the opportunity to see what’s happening locally and to inspire. For someone who just started a band or just picked up a movie camera for the first time…to see that there is a place here that is interested and is willing to feature you and give you a chance. Filmmakers beg for that kind of opportunity.”

The film series is sponsored by Rob Eberle of Magnetic Vine and G&R Events. Following the screening, there was a Q&A panel emceed by LIMEHOF Vice Chairman Tom Needham. Director Sean King, Bob Heckman, Will Puntarich, Glenn McBride Jr. and Peter Bune Jr. participated.

“The LIMEHOF Local Filmmakers Series is a celebration of the incredible filmmaking talent emerging from our region,” said Needham. “Each month, we showcase the creativity, passion, and dedication of local filmmakers, providing them with a platform to share their work and connect with audiences who appreciate the power of storytelling. This series is an important part of our mission to support the arts and highlight Long Island’s impact on the entertainment industry.”

Sean Qunicy King is an award-winning director, cinematographer, producer and actor whose films and TV credits include the cult classic comedy/horror TV show The Ghouligans! (2005-2015). He is also known for his cinematography work on the award-winning films Night For Day (2008), The Night Never Sleeps (2012), Send No Flowers (2013), and Cigarette Soup (2014). King has also worked as director on many commercials, documentaries, feature and television projects as well, such as Lost Suburbia (2007), This Mortal Coil (2010), and Hunter’s Moon(2015).

Screamwalkers was shot on Long Island in Huntington, Northport, Farmingville, and Setauket and stars actors from Long Island including Elizabeth Davoli, Glenn McBride Jr., Sasha Graham, Andy Rowell, Jason Seidl, Celia Spero, Rose Stark, Will Puntarich, Dino Castelli, Jen Elyse Feldy, Bernard Jackson, Ariann Huether, Ed Huether, Arabelis Griffin, Talia Griffin, Aidan P. Finnegan, Joe Winchell and Matt Weir.

The next LIMEOHF Local Filmmaker series film series event will be on June 21st and feature West Babylon Film Director Joe Pomarico. LIMEHOF welcomes nominations of local film directors and movies for consideration to feature in the series. For more information: Contact LIMEHOF at [email protected]

About LIMEHOF

Founded in 2004, the Long Island Music and Entertainment Hall of Fame is a 501(c)(3) organization dedicated to the idea that Long Island’s musical and entertainment heritage is an important resource to be celebrated and preserved for future generations. The organization, which encompasses New York State’s Nassau, Suffolk, Queens, and Kings (Brooklyn) Counties, was created as a place of community that inspires and explores Long Island music and entertainment in all its forms.  In 2022, LIMEHOF opened its first Hall of Fame building location in Stony Brook, New York. To date, the organization has inducted more than 130 musicians and music industry executives, and offers education programs, scholarships, and awards to Long Island students and educators.

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From left, Lorraine Bracco, Talia Shire, Brenda Vaccaro and Vince Vaughn in a scene from 'Nonnas'. Photo by Jeong Park/Netflix

Reviewed by Jeffrey Sanzel

At Enoteca Maria we celebrate cultural diversity by serving cuisines from around the world, but we do it in the most uniquely authentic way possible. Real grandmothers from every country across the globe are invited and hired as chefs to cook the recipes handed down to them that they cook at home for their families, that make up the fabric of the culture they were born and raised in. We aspire to build cultural connections through the universal language of cooking […].

Culture is a resource worth preserving. After all a tree can’t grow and change without its roots. 

— from the Enoteca Maria website

In Nonnas, Netflix offers a highly fictionalized but loving celebration of Joe Scravella’s Staten Island restaurant, Enoteca Maria. Novelist-turned filmmaker Stephen Chboksy leaves his edge behind in directing Liz Maccie’s by-the-numbers screenplay and presents a heartfelt but wholly predictable salute to family and food.

The film opens with young Joe (Theodore Helm) and a Sunday dinner in Brooklyn, watching his mother and grandmother in the kitchen, while the extended clan eats, sings, and dances in the living room. Observing his grandmother add ingredients to the sauce pot, the boy asks, “How do you know how much to use?” His grandmother responds: “You feel it in your heart. You put in your heart.” The rest of Nonnas’ two hours fall along the same line in simplicity and intent.

The story fast forwards several decades. The grown Joe (Vince Vaughn) has lost his mother to cancer. Saddened and more than a little broken, he stares into the emptiness stretching before him. After some emotional struggle, he uses the two hundred thousand dollars inherited from his mother’s insurance policy to open a restaurant to honor her memory. His concept is simple: he will hire “nonnas” (Italian grandmothers) as chefs.

He first recruits his mother’s best friend, the irascible Roberta (Lorraine Bracco). He then runs an ad in Craig’s List, garnering a “retired” nun, Teresa (Talia Shire), and Antonella (Brenda Vaccaro), the neighbor of Joe’s high school prom date, Olivia (Linda Cardellini). His mother’s hairdresser, Gia (Susan Sarandon), rounds out the staff, serving as pastry chef. His childhood friend, Bruno, with a touch of strong-arming from Bruno’s wife, Stella (Drea de Matteo), reluctantly serves as contractor. 

Nonnas follows this rag-tag crew as they benignly bicker and quickly join forces to open the restaurant. They face predictable challenges—code issues, building violations, a kitchen fire (from an incinerated sheep’s head used for Capuzzelle), opening in a thunderstorm to no business, a snobbish food critic (Campbell Scott), etc. The problem is that the hurdles feel artificial; therefore, nothing plays on two levels—whether grief or goals. No point is allowed to simmer; everything must come to an immediate boil, then taken off the stove. There is a brief food fight, a makeover montage, and a vague drinking scene with personal revelations, but no surprises.

The dialogue is a string of clichés and aphorisms: “The tomato is the heart of your dish. If you don’t have heart, you don’t have nothin’.” “You make the food. People eat the food. You make people happy.” “Food is love.” “Age is not a disease.” And, stated more than once, “One does not grow old at the table.” 

Vince Vaughn is not plumbing any depths; his performance falls into his long line of likable everymen. But his wide-eyed charm and easy earnestness hold center. The same is true of the entire cast. The quartet of kitchen cooks play to type but are delightful as they do so. Cardellini’s widow is just the right romance-light that Joe—and the story—needs. Everyone seems to be in on the celebration and having a terrific time. 

While Nonnas could easily be accused of overly sentimental (tipping occasionally into saccharine), its genuine sincerity comes through. The combination of food-porn-with-a-point and making the family you need synthesize in this Italian Valentine. Borrowing from another culture’s cuisine, Nonnas is pure schmaltz.

Enoteca Maria opened in 2007 and, unlike as portrayed in its cinematic counterpart, was an immediate success and continues to thrive. If Nonnas is not quite art, it cannot help being a boon for the restaurant and its mission.

Rated PG, the film is now streaming on Netflix.

See trailer here.

 

Huntington film director Sean Quincy King

The Long Island Music and Entertainment Hall of Fame (LIMEHOF), 97 Main St, Stony Brook will welcome Film Director Sean Quincy King for a special screening his latest film, Screamwalkers, on Saturday, May 17th at 1 p.m. The event is part of LIMEHOF’s Monthly Local Filmmakers Series putting the spotlight on Long Island Directors and their films. The event is free with general admission ticket purchase and free to LIMEHOF members.

“Being born and raised here on Long Island, having my work showcased in the LIMEHOF is beyond a dream,” said King, a resident of Huntington. “It is a privilege to be able to make movies and television here on the island near my friends and family, and to have even a small involvement with the LIMEHOF humbles me greatly.”

The film series is sponsored by Rob Eberle of Magnetic Vine and G&R Events. Following the screening, there will be a Q&A penal emceed by LIMEHOF Vice Chairman Tom Needham. Sean King (Director), Glenn McBride Jr. (Actor), Celia Spero (Actor), and Peter Bune Jr. (Producer) are expected to participate.

“The LIMEHOF Local Filmmakers Series is a celebration of the incredible filmmaking talent emerging from our region,” said Needham. “Each month, we showcase the creativity, passion, and dedication of local filmmakers, providing them with a platform to share their work and connect with audiences who appreciate the power of storytelling. This series is an important part of our mission to support the arts and highlight Long Island’s impact on the entertainment industry.”

Sean Qunicy King is an award-winning director, cinematographer, producer and actor whose films and TV credits include the cult classic comedy/horror TV show The Ghouligans! (2005-2015). He is also known for his cinematography work on the award-winning films Night For Day (2008), The Night Never Sleeps (2012), Send No Flowers (2013), and Cigarette Soup (2014). King has also worked as director on many commercials, documentaries, feature and television projects as well, such as Lost Suburbia (2007), This Mortal Coil (2010), and Hunter’s Moon(2015). 

Screamwalkers was shot on Long Island in Huntington, Northport, Farmingville, and Setauket and stars actors from Long Island including Elizabeth Davoli, Glenn McBride Jr., Sasha Graham, Andy Rowell, Jason Seidl, Celia Spero, Rose Stark, Will Puntarich, Dino Castelli, Jen Elyse Feldy, Bernard Jackson, Ariann Huether, Ed Huether, Arabelis Griffin, Talia Griffin, Aidan P. Finnegan, Joe Winchell and Matt Weir.

LIMEHOF welcomes nominations of local film directors and movies for consideration to feature in the series. For more information: Contact LIMEHOF Vice Chairman Tom Needham at 631-394-8387.

About Screamwalkers

https://www.imdb.com/title/tt31911908/

From the creators of the cult hit show “The Ghouligans!”, and the renowned haunted attraction “Dark Night Halloween World” comes “Screamwalkers”, an original 90’s style shot-on-video slasher movie.

Synopsis- In the quiet town of Marblehead, a chilling pattern emerges as the body count steadily rises. At the heart of these bizarre killings stands CJ Wyatt (Elizabeth Davoli), a student grappling with the recent loss of her boyfriend, the latest victim of a ruthless murderer.

Each murder among her circle of friends draws the killer ominously closer to CJ. Detective Joe Penny (Glenn McBride Jr.) becomes her sole ally in a police force plagued by dysfunction. Amidst mounting pressure, he races against time, piecing together clues that might lead to the killer’s identity. With every passing day, the list of victims grows, pushing CJ and Penny to confront the terrifying reality of the “Screamwalkers”!

The fresh approach to the production of “Screamwalkers” has been the talk of the micro budget film community for much of 2024. The $12,000 budget allowed minimum time and resources, which made the producers adapt with creativity. The movie runs 65 minutes and was shot using an analog Canon camcorder from 1994. “Screamwalkers” has already won “Best Feature Film” at the Long Island International Film Expo and continues to garner overall very positive reviews from both critics and audiences.

The cast of 'Miss Austen'. Photo courtesy of PBS

Reviewed by Jeffrey Sanzel

The following is based on viewing Part One of Masterpiece’s presentation of ‘Miss Austen.’

Jane Austen’s correspondence was vast, with an estimation of her penning thousands of letters: Only 160 remain. For reasons unknown, years after Austen’s death, her sister, Cassandra, burned the bulk of Jane’s letters.

Gill Hornby’s intriguing and entertaining Miss Austen: A Novel of the Austen Sisters (2020) speculates why. Hornby’s fictional explanation captures Jane Austen’s style, tone, and diction, with Hornby remarkably echoing Austen’s sly wit and keen observations. Hornby’s book could be seen as a seventh novel in Austen’s sadly small canon. 

A scene from ‘Miss Austen.’ Photo courtesy of PBS

Played in two timelines, the story follows the older Cassandra, in 1830, traveling to Kintbury on the pretext of helping Isabella Fowle, who is mourning her father’s death. However, Cassandra’s true motivation is retrieving the letters written by Jane and herself to Eliza Fowle, Isabella’s mother. Hornby uses Cassandra’s discovery and reading of the cache to flashback to the late 18th and early 19th century. 

In the teleplay, Andrea Gibb puts Isabella’s father, Reverend Fowle, on his deathbed (flickering candles and soft focus), imparting Cassandra a dying wish for Isabella. In this moment, the series sets itself at odds with the source—darker and leaning into the drama (or even melodrama)—rather than the edgier, droller, but more inspired world of the novel. Both touch on the themes of women in society, family obligations, and the pressure for marriage and children. But the approaches are distinctly different, with Gibb’s version trodding heavily, highlighting the romantic elements. The teleplay’s tone (and Aisling Walsh’s direction) departs from Hornby, and in essence, Austen: the author’s brilliance was balancing heartbreak with humor, satire with a sense of humanity. Lacking these vital elements, the filmed version seems bleached and untextured. 

Keeley Hawes is particularly effective as the older Cassandra, conveying thought with subtlety and presenting the older Austen sister as a woman missing nothing but keeping her own counsel. Synnøve Karlsen easily matches her as the young Cassandra, giving an equally rich performance. Patsy Ferran makes Jane quirky and likable and easily drops the few bon mots expected of the witty writer. However, along with Madeline Walker’s pleasant Eliza Fowle, the relationships feel more Little Women than Mansfield Park. 

Rose Leslie’s Isabella is lovely if reinvented as a more traditional heroine. Jessica Hynes’ waspish sister-in-law, Mary, is more ominous than necessary due less to her choice than the approach to her plotline. The same is true of the always wonderful Phyllis Logan, who plays matriarch Mrs. Austen. The book’s Mrs. Austen possesses more than a few shades of Mrs. Bennett; instead, she is given a less colorful portrait to create. Mirren Mack, in her brief appearance, manages the right blend of “respectful impudence” as the Fowles’ maid, Dinah. As for the men, they do little but respond or spout platitudes. 

Ultimately, the major point is legacy. When clergyman Mr. Dundas (Thomas Coombes, in a delightfully wicked cameo suggesting Pride and Prejudice’s unctuous Mr. Collins) suggests to Cassandra that the world is lacking a definitive biography so the public could know the real Jane Austen, she rebukes him. “Everything one needs to know about Jane Austen is to be found in the pages of her novels. There is nothing more.” In essence, this is the thesis. Jane’s life should be defined only by what she offered the public, and her private life and thoughts should remain just that—private. 

Miss Austen offers an interesting—if fictional—glimpse into one of the great literary figures of all time. That said, it is clearly the old saw: “The book was better.” 

The four-part series streams Sundays on PBS.org through May 18.

ABC Photo Archives

Local PBS stations THIRTEEN, WLIW and NJ PBS; arts and culture hub ALL ARTS; and NPR station WLIW-FM present special programming on-air and online throughout Spring

The WNET Group, home to New York PBS stations THIRTEEN and WLIW; New Jersey’s statewide public television network NJ PBS; arts and culture media provider ALL ARTS; and Long Island’s only NPR station WLIW-FM presents Broadway and Beyond (thirteen.org/Broadway), a collection of must-see theater and arts programming, for a second year.

This special programming collection includes Great Performances’ eighth annual “Broadway’s Best” line-up, premiering on THIRTEEN Fridays at 9 p.m. and on pbs.org/gperf. This year’s offerings include the Tony Award- and Pulitzer Prize-winning musical Next to Normal (May 9 at 9 p.m.); Tony Award-nominated Broadway comedy Yellow Face (May 16 at 9 p.m.) from Roundabout Theatre Company featuring Daniel Dae Kim; Tony Award-winning musical Girl from the North Country (May 23 at 9 p.m.); and Cole Porter’s Kiss Me, Kate (May 30 at 9 p.m.) with the Tony Award winner Stephanie J. Block in her West End debut. Great Performances will be receiving a 2025 Tony Honor for Excellence in Theatre at the 78th Annual Tony Awards.

With a stage offering nearly every day, ALL ARTS offers a star-studded, insider’s look at an iconic Broadway theater in Playing the Palace (Tuesday, May 13 at 9 p.m. AllArts.org, app and broadcast); NJ PBS will release all episodes of American Songbook at NJPAC available to stream at any time on njpbs.org/Broadway; and Broadway to Main Street, simulcast on WLIW-FM and wliw.org/radio, features the greatest songs of the American Musical Theater every Sunday at 3 p.m.

Broadway and Beyond programs are available across all of The WNET Group’s public media channels and platforms: THIRTEEN, WLIW/WLIW-FM, ALL ARTS, and NJ PBS. Below is a selection of broadcast and streaming options. Broadcast schedules are available to livestream at thirteen.org/live, wliw.org/live and MyNJPBS.org/live.

For an additional selection of broadcast and streaming options, visit thirteen.org/Broadway.

Actor Laura Dern, center, with 'Common Ground' directors Rebecca Harrell Tickell and Josh Tickell.

Reviewed by Jeffrey Sanzel

According to the Chesapeake Bay Foundation, regenerative agriculture “describes holistic farming systems that, among other benefits, improve water and air quality, enhance ecosystem biodiversity, produce nutrient-dense food, and store carbon to help mitigate the effects of climate change. These farm systems are designed to work in harmony with nature, while also maintaining and improving economic viability.” Regenerative agriculture includes practices like no-tillage, planting cover crops, reducing chemical use, and planned grazing. 

In 2017, Josh Tickell published Kiss the Ground: How the Food You Eat Can Reverse Climate Change, Heal Your Body, & Ultimately Save Our World. The book purports that climate change is reversible through changing diets based on harvests from soil-nourishing, regenerative agriculture. 

Tickell (along with Rebecca Harrell Tickell) produced and directed the documentary Kiss the Ground (2020), which explored the issues raised in the book. The film shares interviews with farmers, scientists, and environmentalists. The focus is the power of healthy soil and its healing powers for humanity and the earth as a whole. Narrated by Woody Harrelson, the film features the well-known {model/ U.N. Good Will Ambassador Gisele Bünchden, NFL quarterback Tom Brady, etc.) along with authors and environmentalists. Kiss the Ground was lauded for its good intentions but received criticism for an often simplistic approach to the solution, especially concerning climate change. 

The follow-up, Common Ground, which launched globally on Amazon Prime on April 22 in honor of Earth Day, covers some of the same territory, with a spotlight on preservation of the soil. Again, central is the importance of properly cultivating the soil through regenerative agriculture. 

Common Ground opens with a letter “written” by various celebrities. Each is presented with a sonorous voiceover steeped in gravitas. The letter ends with, “It’s a matter of life and death.” If the information presented in Common Ground is even twenty percent accurate, this dark statement is harbinger of long-term and perhaps irrevocable damage. The film begins with a detailed explanation of regenerative agriculture, comparing it to the other less environmentally-friendly approaches. 

The film is most interesting and effective when it addresses agribusiness issues driving the market. Following the money trail exposes the private sector’s influences on government and education, with money filtered through land grant universities. Larger corporations have suppressed scientists and pressured the USDA, influencing the Farm Bill and driving subsidies into soy, wheat, and corn—all commodity crops. Agribusiness possesses the largest lobbying industry with twenty-three registered lobbyists for every member of Congress.

An exploration of the rise of industrial farming in post-World War II highlights the uses of chemicals in the forms of pesticides and toxic herbicides, labeled “the Green Revolution.” Most notably, Monsanto Company’s glyphosate product, Roundup, led to the 1980s genetically engineered crops—“ready grains”—that could resist Roundup. Gradually, revelations held Roundup responsible for damaging the health of thousands, leading to multiple successful lawsuits. (Monsanto sold the company to the German Bayer AG for sixty-three billion dollars.)

Common Ground gives a bleak picture of the small farmer who lives in hundreds of thousands of dollars of debt. The Farm Bill Cycle of Debt is a cyclical trap of the system dictating what (and how) to grow, boosting corporate profits, consumer illness, and farmers’ debt. Suicide rates among farmers are five times higher than the general population. Additionally, Common Ground touches on the racial disparity in farming, with the system showing an overwhelmingly biased preference towards white people. The discriminatory nature of the industry has only increased over the years.

While the film emphasizes much of the negative, it celebrates those who have succeeded in abandoning industrial farming. The alternatives are shown to have health and economic benefits—all linked back to regenerative agriculture.

The tone and style—and much of the documentary—shift from dark shadows to pastoral sunshine to peripatetic imagery. At times, Common Ground feels like clumsy public service announcements; at other points, it plays with the jarring cuts of a music video, with blaring, on-the-nose lyrics. The “behind the scenes” look at the stars — Laura Dern, Jason Momoa, Woody Harrelson, Ian Somerhalder, Donald Glover, Rosario Dawson, and many others recording their narratives is oddly and ineffectively “meta.” But Common Ground is well-paced and presents a clear path to transformation. 

Documentaries habitually select their focus as the greatest existential threat. Whether AI, plastics, water pollution, corporate manipulation, or conspicuous consumption, each sees its topic as the direst and the most important to be solved. Many point to the destruction of the environment, but each selects a different “demon” as the most dangerous. Common Ground is no different in this respect, and therefore, even in its specificity, it lands as a generic call-to-arms (or farms, as the case may be).

“The quality of what you eat determines the quality of your health. And a living soil is where it all begins.” While it might not convert the doubters, Common Ground is another reminder that through commitment and collaboration, environmental change is possible. 

The documentary is now streaming on Amazon Prime.

On April 27, Theatre Three, in collaboration with the Greater Port Jefferson Arts Council, held a screening of Gotta Dance, the documentary which is the basis of their upcoming production Half Time The Musical, in its New York premiere. The evening opened with the cast of Half Time  presenting “A Number,” the opening of the show. Following the documentary, Artistic Director Jeffrey Sanzel led a talkback with the documentary’s producer/director Dori Berinstein.

From the creators of The Wedding Singer, The Drowsy Chaperone, The Prom and Legally Blonde, Half Time is based on the incredible true story of ten determined dreamers who audition to dance at halftime for a major basketball team. They have three things in common: they love to dance, they have something to prove, and they are all over 60 years old! Only after making the cut, do they learn they won’t be dancing tap, salsa or swing – instead they will bring down the house with hip-hop!

Theatre Three, 412 Main St., Port Jefferson presents Half Time on the Mainstage from May 24 to June 22. Tickets are $40 adults, $32 seniors and students, $25 Wednesday matinees and children ages 5 to 12. To order, call 631-928-9100 or visit www.theatrethree.com.