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Movie Review

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The festival opens with 'The Ties That Bind Us.'

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 from Thursday, July 17 to Saturday, July 26. The popular festival, now in its 30th year, will become a hub for some of the best filmmakers working today, a meeting ground for favorite actors and rising stars, and a showcase of new masterpieces as it pairs memorable short films with an array of features you won’t see anywhere else.

This year’s festival will showcase 36 films from 19 countries and kicks off with the East Coast Premiere of The Ties That Bind Us, a beautiful, surprisingly realistic film in which a set-in-her-ways 50-something single woman finds herself in a slowly shifting relationship with two children who live in her apartment building. This intimate, poignant, and ultimately joyous film wrestles with the question of what defines family.

The examination of the strength and limits of family continues through many of the films at this year’s festival, including the action-drama Way Home, that features a father struggling to bring his radicalized son back home from war-torn Syria; the challenging and inspiring drama Nawi, in which a young Kenyan teenage girl’s dreams of attending High School are jeopardized by her father’s plans to marry her off; the hilarious Mazel Tov, where a quick-talking, neurotic man who has been estranged from his siblings, returns to Argentina to mend his broken relationships — if he could only keep his big mouth shut; and a thought-provoking and gorgeous reverie from India called The Umesh Chronicles, that follows a woman from a privileged background considering the very different life of the servant-boy that grew up with her.

Finn Wittrock gives a finely layered portrayal of a filmmaker plagued by his past in the offbeat and witty Long Island-based feature Westhampton, a beautifully shot tale of forgiveness and acceptance by Long Island native Christian Nilsson. 

Shot on location at his grandfather’s scenic ranch near the border of Mexico, JT Walker’s epic La Gloria stars David Morse as an aged rancher struggling to earn the trust of an immigrant woman he accidentally wounded.  

Director Joel Alfonso Vargas has created a work of art that harkens back to the 70’s heyday of independent cinema with Mad Bills to Pay: (or Destiny, dile que no soy malo), a film that explores the struggles of a 19-year-old man-child navigating his new responsibilities after bringing his pregnant girlfriend to live with his family in the Bronx.

The pleasing aroma of new culinary discoveries permeates two of the festival’s independent features. In the beautiful period drama Mistura, a privileged French-Peruvian woman embarks on a daring culinary venture with the very people she had been raised to disregard. At the same time, in the uplifting documentary Ali Eats America, a teenage cancer patient plots a map with his mother of all the restaurants he wants to visit across the country.

Other can’t miss films include the wildly unique Animale featuring SBFF favorite Oulaya Amamra of Divertimento and Hard Shell, Soft Shell. In this western/horror/mystery from the South of France, a bull-racer notices disturbing changes occurring around her following an injury. Music fans will surely enjoy the surprisingly light-hearted biopic Midas Man about Beatles manager Brian Epstein. 

And everyone should put closing night on their calendar, as the SBFF  feature the American premiere from Spain with Gala Gracia’s first feature film, The Remnants of You. This masterfully subtle film follows a woman putting her career as a jazz pianist on hold following the sudden death of her father, which showcases an evocative solo piano score by Filipe Raposo.

The Festival is more than a cinematic event—it’s a cultural experience. Two feature films each evening,—each preceded by a short film—are shown on the Center’s 40-foot screen, often followed by intimate Q&As with the filmmakers, cast, and crew.

“We are very excited to have filmmakers from all over the world join us for their premiere screenings. Our audiences can gather in a huge theater with Long Island’s largest screen, to see movies the way they were meant to be seen,” says SBFF & Staller Center Director, Alan Inkles

The Stony Brook Film Festival is presented by Staller Center for the Arts at Stony Brook University with support from Suffolk County, Campolo, Middleton, & McCormick, LLP, Strata Alliance, News 12, and WLIW. 

Film Festival line-up

OPENING NIGHT

Thursday, July 17 at 7 p.m.

Short: Hearts of Stone

Feature: The Ties that Bind Us

Friday, July 18 at 7 p.m.

Short: Resaca

Feature: Mistura

Friday, July 18 at 9:30 p.m.

Short: Quick Fix

Feature: Way Home

Saturday, July 19 at 7 p.m.

Short: A Guest in My Country

Feature: Westhampton

Saturday, July 19 at 9:30 p.m.

Short: We Do Our Best

Feature: Long Story Short

Sunday, July 20 at 7 p.m.

Short: Blackmoll

Feature: Never Alone

Sunday, July 20 at 9:30 p.m.

Short: We Buy Houses

Feature: La Gloria

Monday, July 21 at 7 p.m.

Short: Miracle

Feature: Nawi

Monday, July 21 at 9:30 p.m.

Short: The Traveler’s Prayer

Feature: Real Estate

Tuesday, July 22 at 7 p.m.

Short: My Name is Dania

Feature: Mazel Tov

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

Short: Chatter

Feature: Midas Man

Wednesday, July 23 at 7 p.m.

Short: Ebb & Flow

Feature: Ali Eats America

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

Short: Crab Claw

Feature: A World Apart

Thursday, July 24 at 7 p.m.

Short: 3 Minutos

Feature: The Umesh Chronicles

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

Short: Wait to Tell Mother

Feature: Animale

Friday, July 25 at 7 p.m.

Short: Baquine Friends Forever

Feature: Mad Bills to Pay

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

Short: Sweet Cesspool

Feature: Uncle Vanya – Bubble Waltz

CLOSING NIGHT

Saturday, July 26 at 7 p.m.

Short: Place Under the Sun

Feature: The Remnants of You

CLOSING NIGHT AWARDS

9:30 p.m. Presented on stage.

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. 

Stony Brook Film Festival pass options include a VIP Gold Pass for $250 and a Regular Pass for $100, granting access to all ten days of the festival, and the Flex Pass for $75. Individual tickets — $15 adults, $13.50 seniors —  are also available after July 1. 

The Gold Pass includes VIP access to Opening and Closing Night parties, which include hors d’oeuvres, drinks, and a chance to mingle with filmmakers and festival goers alike. The Opening Night party will be hosted at Elaine’s Restaurant and Bar in East Setauket immediately following the Opening Night Feature film Q&A. This year’s Closing Night party will be at Curry Club at SaGhar in Port Jefferson Village. 

This, along with guaranteed seating in a VIP reserved area of the theatre with filmmakers and actors, first admittance to the theatre for all screenings, and an exclusive festival gift, makes the Gold Pass (which is the price of one premiere screening at Sundance) a fantastic value and the best way to enjoy the entire festival experience!

The Flex Pass is perfect for someone with a jam-packed summer, the Flex Pass grants access to any five days of the festival (excluding Closing Night). It is the perfect opportunity for film fest discovery with the added benefit of flexibility at an affordable price. 

All passholders receive guaranteed Priority Seating, Q&As with filmmakers, voting eligibility for the Audience Choice Awards, discounts at partner locations, and a festival gift. Each pass has added perks at different levels. Friends of Staller Members also get a reduced rate when using their Member discount at checkout.

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Tickets may be purchased at stonybrookfilmfestival.com/pass. For more information, call the box office at 631-632-2787 or visit www.stonybrookfilmfestival.com.

This article originally appeared in TBR News Media’s Summer Times Supplement on June 19.

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

Reviewed by Jeffrey Sanzel

In the cinematic landscape, Pixar Studios created many of the most memorable animated features. These include Toy Story, Monsters, Inc., Finding Nemo, The Incredibles, Cars, and Inside Out, along with their extensive line of sequels. Founded in 1979, Pixar became a cultural juggernaut of fiscal and critical success, in many ways redefining expectations in family entertainment.

In Elio, orphaned Elio Solis lives with his Aunt Olga, an Air Force major. Olga gave up her aspirations to be an astronaut to raise the lonely boy. One day, Elio sneaks into a closed exhibit of the Voyager 1 NASA space probe. The possibility of life on other planets fascinates the boy. Each night, he sprawls on the beach, staring up into the stars, hoping to be abducted by aliens.

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

Meanwhile, conspiracy theorist Gunther Melmac claims there is evidence of extra-terrestrials responding to the Voyager 1, transmitting a message to Earth. Elio uses Melmac’s invention to send a message into space. Eventually, Elio is transported into a spaceship where aliens of the Communiverse mistake him for the Earth’s leader and ambassador. Elio becomes embroiled in their negotiations with a warlord, Lord Grigon, who threatens a takeover of the Communiverse. Through various machinations, including the introduction of cloning, among other science fiction devices, Elio befriends Grigon’s son, the gentle Glordon, who does not want to become part of his father’s violent coalition. 

The story follows a predictable path. The film introduces elements of bullying on Earth and in the far reaches of the galaxy. After an altercation, Elio receives an eye wound, forcing him to wear a patch. Elio has moments of introspection, questioning whether the difficulty is in the world or within himself. “I thought Earth was the problem, but what if it’s me?” 

The film swings at big concepts and grand scope: The statement “Are we alone?” plays on two levels. But, for all this reflection, the film feels shallow, never fully realizing its ambitions. Children’s films have effectively tackled challenging issues. Up, Coco, and both Inside Out films, not to mention the majority of the Toy Story universe, manage to address large topics with integrity and resonance. It’s not that Elio doesn’t try. It’s just that it never quite reaches the targeted feelings.

Like many animated features, this might be a case of too many cooks. Three directors (Madeline Sharafian, Domee Shi, and Adrian Molina) worked from a script by three screenwriters (Julia Cho, Mark Hammer, and Mike Jones). Elio possesses an excess of ideas, but nothing is quite finished. Too many on-the-nose statements—“A father always knows” and “I may not always understand you, but I love you”—are presented but not necessarily earned. 

The voice talent does fine with the material. Yonas Kibreab and Zoe Saldaña, as Elio and Olga, respectively, are real and nuanced. Remy Edgerly is sweet as Glordon, with Brad Garrett’s gravelly intonations suitable for the villainous Grigon. Jameela Jamil, Shirley Henderson, Matthias Schweighöfer, Brandon Moon, and Naomi Watanabe bring warmth and humor to the assortment of alien ambassadors. Brendan Hunt captures Melmac’s manic energy.

Elio is populated with a range of creatures that seem Happy-Meal-precious, but they are truly fun and wholly benign. The film’s strength lies in the extraordinary production design (Harley Jessup) in tandem with the visual effects (supervised by Claudia Chung-Sani), which have created the joyous Communiverse, a striking and vibrant rainbow pulsing with life. Sadly, these surrounding elements contain more drive than the story itself, resulting in a case of style over substance. 

The film’s climax shamelessly borrows shades of E.T. Needless to say, everything works out for everyone. Elio probably seemed good, if not great, on paper. And, in truth, the outlines, structure, and themes of a more satisfying film are there. But, in the end, Elio is an interstellar movie that remains earthbound.

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

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In celebration of its 30th anniversary, the endlessly quotable, always fashionable, hilariously iconic 90s rom-com Clueless returns to select theaters nationwide on Sunday, June 29 and Monday, June 30, courtesy of Fathom Entertainment and Paramount Pictures. 

Starring Alicia Silverstone, Paul Rudd, Stacey Dash, and Brittany Murphy, the 1995 film is a modern adaptation of Jane Austen’s 1815 novel Emma. 

Cher (Alicia Silverstone) is the most popular and glamorous girl at Beverly Hills High. Although she may be the envy of scheming Betties and persistent Barneys, she has an innate drive to help those less fortunate, especially when it comes to love. Despite her total confidence in knowing what’s best for others, Cher is totally clueless when it comes to her own heart.

Each screening features an exclusive introduction by cinema critic and historian Leonard Maltin, discussing the landmark film’s timeless appeal and offering special insight into the classic motion picture.

Locally the film will be screened at AMC Loews Stony Brook 17, Island Cinema de Lux in Holtsville and Showcase Cinema de Lux in Farmingdale. To purchase tickets in advance, visit www.fathomentertainment.com. 

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‘Superman’ is one of the most anticipated movies this summer. Photo courtesy of DC Studios/Warner Bros.

By Tim Haggerty & Jeffrey Sanzel

Summer means beaches and vacations. But diversions also include an entire roster of summer movie releases. Here is an overview of some of the more exciting films coming to the big screen.

Materialists 

Dakota Johnson is a professional matchmaker who, ironically, struggles with her own romantic woes. Pedro Pascal and Chris Evans co-star as her potential suitors. Celine Song, Oscar-nominated for Past Lives (2023), helms the film.

Rated R · Release date June 13

How to Train Your Dragon 

DreamWorks joins the live-action bandwagon with Mason Thomas (The Black Phone) playing Hiccup, the brainy teen who tames the titular beast. Credit goes to the digital FX team, who replicated the animated version of Toothless, the winged creature that bonds with the hero in a big way.

Rated PG · Release date June 13

Elio

Pixar’s newest animated adventure focuses on eleven-year-old Elio, whose belief in intelligent life forms in the galaxy proves true. The real twist comes when the aliens decide that Elio is Earth’s one true leader. Coco veteran Madeline Sharafian and Domee Shi co-direct.

Rated PG · Release date June 20

28 Years Later

The third in the dystopian series (28 Days Later and 28 Weeks Later) picks up nearly three decades later. The violent, virus-ridden zombies still live among us, making things difficult for dad Aaron Taylor-Johnson and his son Alfie Williams. Jodie Comer and Ralph Fiennes are among the non-infected fighting off the walking not-quite-dead. 

Rated R · Release date June 20

F1 The Movie

Brad Pitt is front and center as a former hotshot driver who left the circuit after an accident left him shaken. For this Formula One drama, Joseph Kosinski (Top Gun: Maverick) directs a cast that includes Damson Idris, Kerry Condon, and Javier Bardem.

Rated PG-13 · Release date June 27

Sorry Baby

The big discovery of this year’s Sundance Film Festival, writer-director-star Eva Victor’s film follows a woman returning to her former alma mater as a professor — the same university that was the site of a trauma with which she has never come to terms. Harrowing, hilarious, and not a little fractured, Victor’s debut makes her an exciting new multi-hyphenate.

Rated R · Release date June 27

M3GAN 2.0 

She’s back and more homicidal than ever! The sequel to the 2022 horror flick marks the return of the genre’s reigning killer doll (with apologies to Chucky). Amie Donald is back as the title character, and Allison Williams and Violet McGraw reprise their roles as the objects of both M3GAN’s love and wrath.

Rated PG-13 · Release date June 27

Jurassic World Rebirth

Because you can’t keep a lucrative franchise—or a carnivorous dinosaur—down! Scarlett Johansson leads an operation designed to track down the few remaining dinosaurs left after Jurassic World: Dominion.

Rated PG-13 · Release date July 2

40 Acres 

The mighty Danielle Deadwyler (Till, Woman in the Yard, The Piano Lesson) steers a community of postapocalyptic survivors who have managed to turn a patch of farmland into a sanctuary — the kind that one must vigilantly defend from various other parties trying to survive in a scorched-earth world. 

Rated R · Release date July 4

Superman

Clearly, Superman is the most anticipated movie of the summer. David Corenswet dons the red cape to play the Man of Steel and his alter ego, Clark Kent; Rachel Brosnahan is Lois Lane; Nicholas Hoult is arch enemy master villain Lex Luthor. James Gunn’s first big project in the DC Cinematic Universe 2.0 even includes Krypto the Dog.

Rated PG-13 · Release date July 11

I Know What You Did Last Summer

The popular fisherman-with-a-hook 1997 slasher gets a “requel”: meaning a “reboot” and “sequel.” Jennifer Love Hewitt and Freddie Prinze Jr. return along with a host of new faces (Sarah Pidgeon, Chase Sui Wonders, Madelyn Cline, Jonah Hauer-King, Tyriq Winters).

Rated R · Release date July 18

Eddington

The town is Eddington, New Mexico, and the battle is between the Southwestern hamlet’s “law-and-order” sheriff (Joaquin Phoenix) and its mayor (Pedro Pascal). The man behind the camera is writer-director Ari Aster (Hereditary, Midsommar, Beau Is Afraid), so things are likely to get good and weird.

Rated R · Release date July 18

Fantastic Four: First Steps

Once again (or in this case third time’s a charm), Marvel is attempting to turn the popular comic into a top-tier superhero movie. Pedro Pascal, Vanessa Kirby, Joseph Quinn, and Ebon Moss-Bachrach are the famous and fabulous quartet.  

Rated PG-13 · Release date July 25

Oh, Hi 

A Sundance sleeper hit, this old-fashioned boy (Logan Lerman) meets girl (Molly Gordon), boy and girl go away for a weekend, and boy and girl fall apart, has built major rom-com buzz before Sony Picture Classics picked it up. 

Rated PG-13 · Release date July 25

Together

Michael Shanks directs real-life spouses Dave Franco and Alison Brie who become much closer in this body-horror film that takes lending a hand to a whole new level.

Rated R · Release date July 30

The Naked Gun 4: Rhythm of Evil

Lonely Island director Akiva Schaffer directs Liam Neeson (yes, Oskar Schindler) as Frank Drebin, the role indelibly created by Leslie Nielsen in this fourth entry to the ridiculous Police Squad world.

Not Yet Rated · Release date August 1

Freakier Friday

Jamie Lee Curtis and Lindsay Lohan reunite after twenty years for the sequel to the 2003 remake of Mary Rodgers’ Freaky Friday. The body-switching comedy promises comedy, if not nostalgia.

Not Yet Rated · Release date August 8

Honey Don’t!

Filmmaker Ethan Coen and co-writer/editor/life-partner-in-crime Tricia Cooke offer the second of their proposed “lesbian B-movie trilogy,” with Margaret Qualley (Drive-Away Dolls) playing hardboiled detective Honey O’Donoghue, a throwback gumshoe with both moxie and verve. 

Rated R · Release date August 22

Americana

A highly prized Native American artifact leads a host of intriguing characters down a dangerous path in this wildly entertaining present-day western. 

Rated R · Release date August 22

Lurker

Another standout from Sundance, writer-director Alex Russell’s debut takes a well-worn subject — the disparity of power between the famous and the famous-adjacent — and manifesting danger and cringeworthy comedy. 

Rated R · Release date August 22

Caught Stealing

Darren Aronofsky directs this NYC crime thriller, in which several Lower East Side characters —a former baseball star (Austin Butler), his EMT girlfriend (Zoë Kravitz), his punk-rocker neighbor (Matt Smith), and a variety of gangsters and thugs circa 1998 — find themselves involved in missing Mob money.

Rated R · Release date August 29

The Roses

Benedict Cumberbatch and Olivia Colman star in a remake of the 1989 dark comedy, which starred Michael Douglas and Kathleen Turner. One of the most bitter battles of marital strife, the new outing promises to be as bleak and venomous as the original.

Rated R · Release date August 29

This article originally appeared in TBR News Media’s Summer Times supplement on June 19, 2025.

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From left, Billy Baker, Elizabeth Reuter, David Gianopoulos, and Logan Canonico outside the Port Jefferson Cinemas after the screening. Photo by Christine Hanson

By Heidi Sutton

A private premiere screening of the short film I Often Dream of Trains was held at the Port Jefferson Cinemas on June 15. The screening was attended by the actors, film crew and friends. 

Written by Tony Dimurro and directed and produced by Billy Baker and Stony Brook native David Gianopoulos, the film is about two men on a train (Gianopoulos and Michael Dempsey) who cross paths as one is trying to find his way home. 

A seasoned actor on film, television and stage, Gianopoulos has appeared in over 50 television shows including 24, ER, CSI, Sisters, and The Rookie; in feature films Air Force One, Under Siege 2, and Candyman 2; and played General George Washington in TBR News Media’s feature-length film One Life To Give.

Michael Dempsey was recently seen in Barry, YOU, and the show Mayans.

The opening and closing of the film were filmed in the Three village area.

Gianopoulos and Baker were able to use local talent, Elizabeth Reuter and Logan Canonico, to play his wife and son.

“We are so proud and happy to be showing this film for the first time to the people from the Three Village area. From here we’ll go on to film festivals and hopefully present the film sometime next year on a streaming service,” said Gianopoulos.

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Dakota Johnson and Pedro Pascal in a scene from 'Materialists.' Photo courtesy of A24

Reviewed by Jeffrey Sanzel

Writer-director Celine Song’s feature debut, Past Lives (2024), was an exquisite and near-perfect exploration of the time and space that exist between people, even when they are inches apart. Spanning just over two decades, the film lived in its visceral silences and often awkward but wholly recognizable exchanges. It builds to a painful but tacit triangle, simultaneously satisfying and melancholy. 

Song crafted the film around issues of Korean versus Korean American (or Canadian) culture, discovering what is kept and what must be left behind. Past Lives garnered universal accolades and received over forty well-deserved awards. It received Academy Award nominations for Best Picture and Best Original Screenplay.

From left, Chris Evans, Dakota Johnson and Pedro Pascal star in ‘Materialists’. Photo courtesy of A24

In her sophomore offering, Materialists, Song tells the story of Lucy (Dakota Johnson), a former actor who now works for Adore, a New York City-based matchmaking service. At the outset, the plot appears simple, with Lucy deciding between her ex, the actor John (Chris Evans), and the wealthy financier, Harry (Pedro Pascal), whom she meets at the wedding of her ninth fruitful match. Harry, the brother of the groom, begins actively courting Lucy, taking her on expensive, high-end dates. Meanwhile, the chance encounter with John, who is a cater-waiter at the wedding, causes Lucy to reflect on her current choices.

The matchmaker-who-can’t-find-love is an old and well-worn trope seen in innumerable rom-coms and television shows. Along with Christmas movies, the clichéd setup ranks high as a Hallmark staple. The idea is generic, much like a painting of a bowl of fruit. But therein lies the difference. A million miles exist between a freshman art student’s first-time rendering and Picasso’s vision—whether realistic or cubist. And the same could be said of Song’s Materialists, a riveting delve into not just marriage but skewed expectations of a modern world.

The story remains basic, but the storytelling is rich, layered, and unflinching. The eloquent Lucy easily sells her work as a blend of fantasy and business. The several sequences in which she negotiates with clients reveal her insight, yet her personal absence from the feelings she keeps suppressed. She promotes the idea that these desperate people seek “a nursing home partner and a grave buddy”—that they want partners for the long run. Whether she believes this or not is a matter that comes in and out of focus. For her and agency, a “successful” marriage reduces to a deal. For herself, she admits that her priority is for a rich man. The fact that she states this almost tongue-in-cheek is even more powerful. (The source of this drive is shown in an ugly breakup scene with John on their fifth anniversary.)

The film is basically three-handed. It follows Lucy’s new romance with Harry and her conflicted feelings for John. What they offer is clearly contrasted with Harry’s twelve-million-dollar penthouse and John’s appalling eight-hundred and fifty-dollar rent-controlled apartment, shared with two roommates, one of whom would put a pig to shame. But the differences are not nearly as simple as that.

While Lucy struggles with her personal path, her client, Sophie, in whom she has invested many hours and setups, is assaulted on a first date. The horrific incident forces Lucy to confront her motivations, complicity, and responsibility. 

Dakota Johnson and Chris Evans in a scene from the film. Photo courtesy of A24

Song has constructed a highly literate script, witty and insightful, but allowing the characters to each speak in their own voices. She evokes exceptionally dimensional performances from her three leads. 

Dakota Johnson is flawless in creating someone who is both formidable and fragile, self-deluding and self-aware. She presents herself as a woman who puts on a strong, active front, but is plagued by issues regarding the true meaning of value. She is the heart of the film and never misses a beat. 

Chris Evans’ John is literally and figuratively a mess. Slightly rough around the edges, his John is earnest, genuine, and kind, but the manchild common to those chasing a dream that seems out of reach.

Pedro Pascal makes Harry more than just a foil for the central romance. He brings sweetness and a desire to make the best of his life, even if he is unaware of what he truly wants and needs. A late film revelation only serves to further his unspoken doubts.

Materialists is a more-than-worthy follow-up to Past Lives. Both films are shot in a desaturated world (almost as if light and joy are synonymous); they live in the painful pauses, unusual and erratic rhythms, and the ability to show truth with raw honesty and an occasional splash of humor. Materialists mines the situation, exposing the cynicism but eventually landing on a well-earned note of hope. While not a thriller, Song maintains a breathtaking and unflagging intensity. With Materialists, the filmmaker—the artist—this unique talent—has once again found a tale that will resonate with audiences long after the screen goes black.

Rated R, the film is now playing in local theaters. 

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Image from Leg. Trotta's office

Recently released Netflix docuseries, Gone Girls, is a three-part series which chronicles the desperate attempts by Shannan Gilbert’s mother to locate her missing daughter, last seen on Gilgo Beach. Through Mrs. Gilbert’s unrelenting efforts to find Shannan, law officials uncovered the Gilgo Beach serial murders. Under a corrupt Suffolk District Attorney and Police Chief, the Suffolk County Police Department apparently failed to fully investigate her case possibly because she was allegedly listed as a sex worker and not considered a priority.

Suffolk County Legislator Rob Trotta was interviewed in episode two of the series based on his expertise and knowledge of the corruption scandal within the Suffolk County Police Department and the Suffolk County District Attorney’s Office. Legislator Trotta stressed that then County Executive Steve Bellone was warned many times not to promote James Burke as Chief of Police as he had been featured on the cover of Newsday for having sex with a known prostitute, while on duty and in his county issued police vehicle, and losing his service revolver to her. According to Trotta, “had the right person been chief of police, these murders probably would have been solved earlier, and the families had some peace of mind sooner.”

“I am pleased that Suffolk County is moving in the right direction, and I sincerely hope that justice will soon prevail in the Gilgo Beach murders and that all members of law enforcement will realize that all deaths matter regardless of one’s occupation,” said Legislator Rob Trotta.

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Joe Pomarico

The Long Island Music and Entertainment Hall of Fame (LIMEHOF) will host a screening of a short comedy, drama, and thriller film block by West Babylon director Joe Pomarico on Saturday, June 21st at 1 p.m. at LIMEHOF’s museum, located at 97 Main Street, in Stony Brook, NY. This event is part of LIMEHOF’s Monthly Local Filmmakers Series, which places the spotlight on Long Island-based movie directors and their films.

”I am deeply honored to be a part of the Long Island Music and Entertainment Hall of Fame’s local filmmaker series,” said Pomarico. “Having my films shown here is not only personally meaningful, but also a powerful way to shine a light on the incredible talent of Long Island filmmakers. It’s incredibly challenging to get the right people to recognize my films—especially as an independent filmmaker working with limited resources and without the backing that many others have. The Long Island Music and Entertainment Hall of Fame is a respected platform that amplifies the voices of underrepresented filmmakers, and brings our work to a wider, more influential audience.”

The film block will feature Pomarico’s latest TV pilot, “Roach the Coach” (with equipment provided by Canon), starring Ronkonkoma comedian Chris Roach and Jeni Pomper. This film is about a veteran professional standup comedian who takes an aspiring young comic under his wing and mentors her into becoming the entertainer of her dreams. The block will also include Pomarico’s short films, “Soldiers Love to Come Home” (2008), “Gus” (2010), “My Butterfly” (2011), “This is Love” (2013), “Jiggle the Handle” (2022), “Hairbreadth Escape” (2023), and “Feline Abduction” (2023), among other selections.

The film series is sponsored by Rob Eberle of Magnetic Vine and G&R Events. There will be a Q&A with Pomarico following the screening, emceed by LIMEHOF Vice Chairman Tom Needham.

“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.”

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 Director, Writer, Editor, Producer, Actor, and Painter Joe Pomarico

Joe Pomarico is a filmmaker best known for his intense films that capture and magnify the little moments in life that many of us would take for granted or pass without notice. Expanding on these moments draws out the hidden connections between Mr. Pomarico’s characters and exposes his audience to subtle emotions of a world that otherwise would end up on the cutting-room floor in the hands of another filmmaker. Whether it’s a pair of eyes bordering on seduction or an awkward handshake, Mr. Pomarico has an appreciation for all levels of human interactions, and his appreciation resounds loudly in his films. He can manipulate the tiny gray lines of emotions to such a wonderful extent that the natural conversation and action between characters lead to great thrills for his audience.

Mr. Pomarico does not only have a talent for filmmaking, but he is also a gifted painter. At an early age, Mr. Pomarico demonstrated an ability to capture on canvas composition, depth, and perception in his paintings. His closest friend, mentor, and grandfather— Augustus Massaro—noticed this gift in the young Pomarico when he was seven years old and nurtured it. Through his grandfather, Mr. Pomarico learned to blend colors and shapes with paint and to subtly transform a blank canvas into a landscape of his imagination.

Later, his grandfather introduced Mr. Pomarico to the world of film and filmmaking, and it did not take long for this gifted student to realize his calling. With the skills that were bestowed on him and the knowledge he was taught, Mr. Pomarico developed strong skills for directing films. With his close attention to detail that he acquired from the painting of landscapes, and years of studying thousands of films, Mr. Pomarico has matured into an excellent storyteller and is poised to be a great feature film director as well as an Oscar-winning contender.

In addition to creating his own films, Pomarico worked as an assistant to Spike Lee. His experiences have proven invaluable on every project he takes on, regardless of budget, whether it’s a microbudget indie film or a Hollywood production.  Joe Pomarico and his wife Christine James Walker have been producing partners for over a decade, collaborating on numerous projects including Jiggle the Handle and the feature film Mentally Apart, both currently streaming on Amazon. Her latest work was acting alongside the late, great Treat Williams in his final role in FEUD: Capote vs The Swans directed by Oscar nominated director Gus Van Sant.

Pomarico’s next venture, a short film titled Darling of Pearl, is currently fundraising on Kickstarter.  DARLING OF PEARL tells the heartfelt story of a young black man and a young white woman who fall deeply in love during the racially charged late 1960s after his return home from the Vietnam war. The narrative unfolds across time, with sentimental transitions between their youthful years and his elderly time, where he reflects on their love while being patiently hopeful for a sign from his soul mate.

Director Joe Pomarico’s Film Block

Soldiers Love to Come Home (2008) Synopsis: A veteran surprises his beloved wife after his time in war. (Shot in Dix Hills.)

Roach the Coach (TV pilot) (2025) Film equipment provided by Canon.
Synopsis: A veteran professional standup comedian (Chris Roach) takes an aspiring young comic (Jeni Pomper) under his wing and mentors her into becoming the entertainer of her dreams. (Shot in Levittown’s “Governors Comedy Club” and Dix Hills.)

Feline Abduction (2023) Synopsis: Jean is on a hunt for the person responsible of her pussycat Puffin’s death in this “Naked Gun”-inspired slapstick comedy. This entry was made for a 48-hour film contest and with no budget. (Shot in Lindenhurst and West Babylon.)

Doritos Commercial: “Crash the Superbowl Contest: Belt Something Out” (2024) Made with no crew and no budget. (Shot in Ronkonkoma.)

AMC FearFest ’08: “Joe Pomarico’s Greatest Fear” (2008) FearFest ’08 film contest hosted by the AMC Channel. Judged by Rob Zombie, this film came in second place. (Shot in Dix Hills.)

Jiggle the Handle (2022) Synopsis: When two adult siblings reunite due to unfortunate events, they are pressured into welcoming a Mob-connected roommate. This passion project was filmed with no crew and no budget. (Shot in Ronkonkoma, West Babylon, Babylon Beaches, and Pennsylvania.)

Hairbreadth Escape (2023) Synopsis: A widow makes contact with her deceased husband from a parallel universe. This entry was for a 48-hour film contest. It was filmed with no budget. (Shot in East Meadow.)

This is Love (2013) Synopsis: This is an experimental story within a dance. An emotionally intense, cultivating dance with a twist ending, this film combines the performance of a tango crossed with a ballet. “Spaghetti Western” music sets the ambient tone of the piece. A proposal is set for the beautiful Gisela, a wounded angel with a heart of gold. She needs to make her final decision whether to stay with the man she so desperately loves or end their ties indefinitely—even if that means taking drastic measures. Inspired by Maestro Ennio Morricone. (Shot in East Setauket.)

Gus (2010): Synopsis: Seen through the eyes of director Joe Pomarico, this film tells a story of how art influences and increases the bond between grandfather and grandson. (Shot in Syosset.)

My Butterfly (2011) Synopsis: A tragic love story, inspired by the music and times of Maria Callas, this 1950s period piece plays like an opera. Jack, a handsome young man, meets Maria, a beautiful writer. The two develop a relationship that parallels the intensity of the accompanying soundtrack of arias (most of which are sung by Maria Callas). The situation is complicated when their relationship is challenged by a highly intense, powerful, and stunning young woman, Eve, who appears on the scene. (Shot in Sands Point, Village Club of Sands Point, and Port Washington.)

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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By Heidi Sutton

A classic adventure returns for Father’s Day! Indiana Jones and the Last Crusade heads to select theaters nationwide on Saturday, June 14, Sunday, June 15 and Wednesday, June 18, courtesy of Fathom Entertainment Big Screen Classics and Paramount Pictures.

The 1989 action adventure film directed by Steven Spielberg from a screenplay by Jeffrey Boam, based on a story by George Lucas and Menno Meyjes, is the third installment in the Indiana Jones film series and the sequel to Raiders of the Lost Ark (1981).

Sean Connery and Harrison Ford in a scene from the film.

There’s nothing more exciting than trying to keep up with the Joneses in Indiana Jones and the Last Crusade. Indy’s Nazi enemies are back and have kidnapped his father, Professor Henry Jones Sr. (Sean Connery), to aid them in their search for the Holy Grail. Following a trail from America to Venice to the deserts of the Middle East, it’s up to Indy (Harrison Ford) to save his father, save the Grail, and save the day in this non-stop, action-packed adventure the whole family will treasure.

Each screening features an exclusive introduction by cinema critic and historian Leonard Maltin, discussing the landmark film’s timeless appeal and offering special insight.

Locally the film will be screened at AMC Loews Stony Brook 17, Regal Ronkonkoma, Island 16: Cinema de Lux in Holtsville, Showcase Cinema de lux in Farmingdale, Regal UA Farmingdale, and Regal Deer Park.

Fathom’s Big Screen Classics series continues with the following films heading to select theaters nationwide:

— Clueless in honor of its 30th anniversary on June 29 and June 30

— This is Spinal Tap in honor of its 41st anniversary on July 5, July 6 and July 7

— One Flew Over the Cuckoo’s Nest in honor of its 50th anniversary on July 13 and July 16

— Sunset Boulevard in honor of its 75th anniversary on August 3 and August 4

— The Sound of Music in honor of its 60th anniversary on September 13, 14 and 17

— Rocky IV: Rocky vs Drago — The Ultimate Directors Cut on November 5 and November 9

For times and tickets, visit www.fathomentertainment.com.

 

 

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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.

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