Fathom Events’ Big Screen Classics series continues with the beloved 1988 road trip saga Rain Man — returning to select theaters nationwide in honor of its 35th anniversary on Sunday, Sept. 17 and Wednesday, Sept. 20.
A scene from ‘Rain Man’
The film stars Tom Cruise as Charlie Babbitt, a self-centered car dealer caught in a financial bind. Charlie’s life becomes even more complicated when his estranged father’s will reveals the existence of an older brother he never knew existed: Raymond (played by Dustin Hoffman in the role that would earn him his second Oscar® for Best Actor in a Leading Role), an autistic savant who stands to inherit their father’s three-million-dollar estate.
Determined to get his own cut of the money, Charlie kidnaps Raymond from the institution he calls home, with plans to head out for Los Angeles to settle some debts. What follows is a powerful cross-country odyssey of brotherhood and self-discovery that will change both of their lives forever. The film is the winner of four Academy Awards®, including Best Picture, Directing, Writing (Screenplay Written Directly for the Screen), and Best Actor in a Leading Role.
Each screening includes an exclusive introduction by legendary film critic and historian Leonard Maltin.
Locally, the film will be screened at AMC Loews Stony Brook 17, Island 16 Cinema de Lux in Holtsville and Showcase Cinema de Lux in Farmingdale on Sept. 17 at 3 p.m. and 7 p.m. and on Sept. 20 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.
Xolo Maridueña in a scene from 'Blue Beetle.' Photo courtesy of Warner Bros. Pictures/DC Comics
Reviewed by Jeffrey Sanzel
For every superhero blockbuster, an equal number are box office disasters. For each Avengers: Endgame or Iron Man 3, there is Shazam! Fury of the Gods and The Flash. Many superheroes have risen and fallen, only to rise again in a parade of reboots and colored tights.
The Blue Beetle first appeared in Fox Comics’ Mystery Men Comics #1 (1939). The titular hero, Dan Garet, took Vitamin 2X, which gave him “super-energy.” When Fox went out of business, Charlton Comics bought the character, reprinting some of the stories before launching its version in 1955. In 1964, Charlton re-envisioned the character: Dan Garrett acquired an extra “r” and “t” along with a new origin story centered around a mystical power-giving Egyptian scarab. In 1966, inventor Ted Kord became a gadget-centric Blue Beetle following Garrett’s death. Next, the character’s mythology was reinvented with both Blue Beetles—Garrett and Kord—in Americomics (published by AC Comics).
Xolo Maridueña in a scene from ‘Blue Beetle.’ Photo courtesy of Warner Bros. Pictures/DC Comics
DC Comics bought Charlton’s superhero collection in 1983, changing Ted Kord to a billionaire industrialist. This Ted Kord appeared in various titles, including Justice League, Justice League America, and Birds of Prey, the identity continuing through 2005. DC presented a new Blue Beetle in 2006: teenager Jaime Reyes, whose powers came from the scarab, a piece of alien technology. While the initial series was cancelled due to poor sales, a revival came in 2011, disconnecting Reyes from previous Beetles. In 2016 Garrett and Kord were restored as previous Blue Beetles. Jamie Reyes was the focus of a limited series, Blue Beetle: Graduation Day, offered from 2022 to 2023.
Enter DC studio’s Blue Beetle. After a prologue establishing Kord Industries locating the scarab in a frozen tundra, the action quickly shifts to bright-eyed pre-law college graduate Jamie Reyes returning home to the fictional Texan town of Palmera City. As he rides down the airport escalator, he adjusts his mortarboard. Turning to the gentleman beside him, he asks, “How do I look?” The man dryly responds, “Like you’re six figures in debt.” The smart quip establishes the tone and world that Jamie faces.
Jamie is greeted by his family—mother, father, grandmother, sister, and eccentric uncle. During a celebratory meal, Jamie learns that his auto mechanic father lost his job due to a heart attack. They are now in danger of losing the family home, three months in arrears. His sister, Milagro, gets them a job working in the mansion of Kord Industries CEO Victoria Kord (whom Milagro describes with begrudging respect as “Cruella Kardashian”). They lose their positions when Jamie steps into a fight between Victoria and her niece, Jenny. In gratitude, Jenny offers Jamie employment and tells him to come to Kord Tower.
The next day, Jenny discovers that Victoria uses the scarab for her OMAC (One Man Army Corps) project. Jenny steals the scarab in a fast-food hamburger container, but the laboratory director discovers its theft, and the building is put on lockdown. In danger of being caught, Jenny passes the box to Jamie, who takes it home, warning him not to open it or touch its contents.
Upon returning, the family pressures him to see what is in the box. In full view of his family, Jamie touches the scarab, which attaches itself to him. He is immediately surrounded by an exoskeleton/armored suit, complete with a guidance voice and myriad abilities, including flight and a host of defensive and offensive capacities. (Jenny later tells Jamie that the scarab is an ancient sentient weapon that has chosen him as host.)
The plot is traditional: a struggle between the emerging hero and the dastardly villain. Jamie learns to harness the powers as Victoria sets out to reclaim the scarab. Victoria is a classic nemesis cut in the Bond villain mode. Susan Sarandon chews the scenery, practically singing the watchcry, “Sacrifices must be made for the greater good.” Her main conflict is with her brother’s daughter, Jenny (Bruna Marquezine), an underdeveloped and bland character. Victoria has a traditional henchman, Ignacio Carapax (Raoul Max Trujillo, expressive with only a few lines), with an important backstory.
A scene from ‘Blue Beetle.’ Photo courtesy of Warner Bros. Pictures/DC Comics
There are references to Jenny’s father, Ted Kord, as well as Ted’s professor, archaeologist Dan Garrett, bringing the Blue Beetle’s entire history into superficial play. The effects are pure videogame, with an excessive amount of blue electricity. The action often resembles Rock ‘Em Sock ‘Em Robots.
On the surface, little new or exciting is on offer. However, director Ángel Manuel Soto and writer Gareth Dunnet-Alcocer manage one important coup: the extraordinary bond of the Reyes family.
Unlike many genre movies, Blue Beetle uses family not as a vehicle but as the core force. If the theme of familial bond is heavy-handed, the first-rate cast engages us on a genuinely human level. Xolo Maridueña shines as Jamie, easily holding center for the film’s stretched two hours. Damián Alcázar makes the father, Alberto, wise and touching, a patriarch of great understated strength. He is matched beautifully by Elpidia Carrillo as Rocio, Jamie’s mother. Adriana Barraza, as Nana, the matriarch, avoids cliché and has a fun eleventh-hour reveal. Belissa Escobedo brings humor and caring to Milagro, Jamie’s sister. George Lopez takes Uncle Rudy to the limit and beyond, both hilarious and touching. Each stands out individually, but as a whole, they are an exceptional unit.
While there have been Latino superheroes, Blue Beetle puts representation at its center. An important moment comes late in the film involving the laboratory director (played with conflicted integrity by Harvey Guillén). The exchange leads to a bold choice, highlighting racial issues that weave through the film.
In the end, Blue Beetle is uneven and occasionally uninspired, but a superior cast and a celebration of family let the film soar. Rated PG-13, Blue Beetle is now playing in local theaters.
The main cast of 'Haunted Mansion.' Photo courtesy of Disney
Reviewed by Jeffrey Sanzel
There’s an old joke (incorrectly credited to W.C. Fields):
“… And I spent a week in Philadelphia.”
“When?”
“Day before yesterday.”
Which brings us to Haunted Mansion.
The Haunted Mansion is one of Disney’s most famous and beloved dark rides. The Disneyland premiere (1969) was followed two years later by the Disney World/Magic Kingdom location.
Before its current resurrection, Disney produced the (mostly) critically drubbed Eddie Murphy vehicle The Haunted Mansion (2003). However, the film grossed over $100 million worldwide. Muppets Haunted Mansion (2021) appeared on Disney+. The Muppets’ first Halloween special ran a brisk fifty minutes and was warmly received.
Unlike the park ride, which lasts an entertaining eight minutes, the current film’s interminable two hours offers little but some strong performances trapped like the spirits in the Haunted Mansion. Katie Dippold (Parks and Recreation, The Heat, and the 2016 Ghostbusters) cobbled a mess of sitcom, slapstick, and reflection on grief. Justin Simien (director of the brilliant Dear White People) fails to elevate the movie, which arrives as dead as the house’s occupants. (When Disney first announced a reboot, Guillermo del Toro was attached to the project but exited in 2013. One wonders what the gifted del Toro would have done with this mainstream project.)
Haunted Mansion is set in New Orleans, “the Most Haunted City in America.” In a short prologue, astrophysicist Ben Matthias (a truly grounded and likable LaKeith Stanfield) meets Alyssa (brief but likable Charity Jordan), a ghost tour guide. While he questions her belief in the supernatural, he falls in love with and marries her. After she dies in a car accident, he gives up his scientific work and takes over her ghost tour.
The ghosts of Gracey Manor. Photo courtesy of Disney
Fast forward to New York doctor Gabbie (strong but underserved Rosario Dawson) and her nine-year-old son, Travis (a sensitive and mature Chase W. Dillon), moving into Gracey Manor to turn it into a bed and breakfast. As they enter the house, they realize they are not alone.
A goofy priest, Father Kent (Owen Wilson doing a nice job as Owen Wilson), recruits Ben to photograph the ghosts with the camera he had developed to shoot dark matter. The skeptical Ben agrees to the proffered ten thousand dollars. When he leaves the mansion, he realizes the ghost of a mariner has followed him. And this is the crux of the story: anyone who enters the house takes the spirits with them. “Ghosts are like bedbugs: they latch on.” A charming image.
Psychic Harriet (always enjoyable Tiffany Haddish) and college historian Professor Bruce Davis (Danny DeVito, both benign and manic) join the quartet. The “dream team,” as Kent labels them, discovers the house’s history and that the inhabitants want their help to be free (though this gets a bit muddled in the end … and the middle … and part of the beginning).
They learn from the crystal ball-trapped Madame Leota (Jamie Lee Curtis—remember her?—she just won an Academy Award) that William Gracey bought the mansion and engaged Leota to contact his dead wife. However, an evil entity tricked Gracey into taking his own life. The malignant force is Alistair Crumb, also known as the Hatbox Ghost (voiced for some reason by Jared Leto). There is talk of the 999 spirits and the need for a willing victim to make one thousand allowing Crump to escape the mansion. (Something like that.) The “climax” is the two worlds—the spectral and the real—colliding.
The movie suggests ghost movies of earlier eras: Bob Hope’s 1932 comedy The Ghost Breakers and William Castle’s creepy 13 Ghosts (1960) come to mind. But Haunted Mansion manages to be simultaneously fluff and leaden. (This calls to mind the old brain teaser: Which is heavier—a ton of feathers or a ton of cement? Answer: One hundred and nineteen minutes of Haunted Mansion.)
The effects replicate the Disney attraction. The low-tech feel serves the commercial advertisement but just makes the movie look cheap. The requisite cobwebs drape the dwelling, and the well-known Haunted Mansion denizens appear (the Bride, the Hitchhikers, etc.). Occasionally, the film nods towards introspection: Harriet speaks of “ghost winks”—messages of hope and comfort from people who have passed on. This heartening concept wandered in from another film.
But too often, the film relies on forced, clumsy humor. Punchlines include a joke about a Yankee Candle and an uncancelled Amazon subscription, a pen and pad purchased at CVS, and sage bought at Costco. Characters snore, and chairs fly down steps, dumping the occupants in mud. Hilarity reigns.
The cast does its best, with Stanfield and Dillon as standouts. A sprinkling of cameos—Marilu Henner as a tourist, Winona Ryder (uncredited, but very funny) as a tour guide, and Daniel Levy as her husband—are fun but do little more than distract for a moment.
Ultimately, Haunted Mansion is a ride not worth taking. Rated PG-13, the film is now playing in local theaters.
The six-film retrospective will coincide with the legendary director’s birthday and will feature many of his most iconic films
Alfred Hitchcock on the set of Psycho. Photo credit Eve Arnold. 1959-1960.
Beginning on Friday, Aug. 11 at 7 p.m. and running through Wednesday, Aug. 16, the Cinema Arts Centre, 423 Park Ave., Huntington will present a retrospective of the films of master director Alfred Hitchcock. For six consecutive days, the Cinema will present a daily screening of one of Hitchcock’s greatest films. Each of the six film screenings will feature an introduction by local film historians who will discuss the history of the film, provide, and explore the impact of some of Alfred Hitchcock’s most influential and acclaimed works.
Considered the father of the thriller genre, and dubbed the “Master of Suspense”, Hitchcock directed over fifty feature films throughout a career that spanned from the silent era in the 1920s into the late 1970s. Today, he is regarded as one of the most influential figures in the history of cinema, having pioneered many editing and camera techniques that have since become staples of modern cinema. Known for his signature blend of macabre, suspense, sex, and offbeat humor, Hitchcock is still among the most admired of film directors.
The films included in the retrospective are Psycho, Strangers on a Train, Rear Window, Notorious, Vertigo, and Shadow of a Doubt.
The Cinema Arts Centre hopes to offer both Hitchcock fanatics, and those looking to see the films for the first time, the rare opportunity to see these groundbreaking and exhilarating films on the big screen.
Film info:
Janet Leigh in Psycho. Alfred Hitchcock. 1960. Paramount Pictures. Image courtesy of Universal Film Exchange.
Psycho Friday, August 11 at 7 p.m. Introduction by Film Historian Glenn Andreiev
Alfred Hitchcock’s landmark masterpiece of the macabre stars Anthony Perkins as the troubled Norman Bates, a man with an interest in taxidermy and a difficult relationship with his mother, whose old house and motel are not the place to spend a quiet evening. Nobody knows that better than Marion Crane (Janet Leigh), the ill-fated traveler whose journey ends in the notorious shower-scene. First an investigator, then Marion’s sister (Vera Miles) search for her, the suspense mounting to a terrifying climax where the mysterious killer is finally revealed. (USA, 1960, 109 mins, English | Dir. Alfred Hitchcock)
Strangers on a Train
Saturday, August 12 at 7 p.m. Introduction by Film Historian Philip Harwood
“Your wife. My father. Criss cross.” In Alfred Hitchcock’s standout thriller, adapted from the 1950 novel by Patricia Highsmith, the cheerful yet malevolent Bruno Anthony (Robert Walker), recognizes his fellow train passenger, tennis pro Guy Haines (Farley Granger). After an introduction and a round of drinks, they continue their conversation over lunch. Revealing his knowledge of Guy’s marital problems, Bruno offers an interesting proposition: quid pro quo murders. Appalled, Guy declines, but the chance encounter will set in motion a bizarre and deadly chain of events. (USA, 1951, 101 mins, English | Dir. Alfred Hitchcock)
James Stewart in Rear Window. Alfred Hitchcock. 1954. Paramount Pictures. Image courtesy of Universal Film Exchange
Rear Window Sunday, August 13 at 7 p.m. Introduction by Film Historian Glenn Andreiev
In this intriguing, macabre visual study of obsessive human curiosity and voyeurism, renowned New York magazine photographer L. B. “Jeff” Jeffries (James Stewart) enters his last week of home confinement, bored and anxious, and stuck inside with a broken leg. Jeff has been spending his days sitting in a wheelchair, watching his neighbors through the rear window of his Greenwich Village apartment. Despite the skepticism of his fashion-model girlfriend (Grace Kelly), Jeffries becomes convinced he has witnessed a murder and is set on solving the mystery. (USA, 1954, 112 mins, English | Dir. Alfred Hitchcock)
Ingrid Bergman and Cary Grant in Notorious. 1946. RKO Radio Pictures. Image courtesy of Walt Disney Studios Motion Pictures
Notorious
Monday, August 14 at 7 p.m. Introduction by Film Historian Philip Harwood
A thriller of rare perfection, Alfred Hitchcock’s Notorious represents a pinnacle of both its director’s legendary career and classic Hollywood cinema. In this anguished romance shot through with deception and moral ambiguity, Ingrid Bergman plays Alicia, a woman with a checkered past recruited by Devlin (Cary Grant), a suave intelligence agent. Only after she has fallen for Devlin does she learn that her mission is to seduce a Nazi industrialist (Claude Rains) hiding out in South America. (USA, 1946, 102 mins, English | Dir. Alfred Hitchcock)
Vertigo
Tuesday, August 15 at 7 p.m. Introduction by Film Historian Philip Harwood
Alfred Hitchcock’s intensely personal, self-revealing picture, is widely considered to be one of the greatest films ever made. Starring James Stewart as a former detective with a crippling fear of heights, Vertigo, is the story of a man who is possessed by the image of a lost love who becomes increasingly consumed with trying to recreate that image. Co-starring Kim Novak in dual roles, this timeless thriller about obsession is among Hitchcock’s most influential works. (USA, 1958, 128 mins, English | Dir. Alfred Hitchcock)
Shadow of a Doubt
Wednesday, August 16 at 7 p.m. Introduction by Film Historian Glenn Andreiev
What starts out as a charming portrait of idyllic small-town life gradually darkens into one of director Alfred Hitchcock’s most devastating thrillers. Teenage Charlie’s (Teresa Wright) illusions about her beloved Uncle (Joseph Cotten) are shattered by the suspicion that he may be the diabolical Merry Widow serial killer. As secrets are revealed, she will need to make hard choices that could end up destroying her family. Thought to be Hitchcock’s personal favorite, Shadow of a Doubt is perhaps his ultimate evocation of evil nesting among the ordinary. (USA, 1943, 108 mins, English | Dir. Alfred Hitchcock)
Fees per screening:
Public $15 | Cinema Arts Centre Members $10
You can also purchase tickets or find more information about this and other events on the Cinema Arts Centre website:www.cinemaartscentre.org
Molly Gordon and Ben Platt in a scene from 'Theater Camp' Photo courtesy of Searchlight Pictures/20th Century Studios
Reviewed by Jeffrey Sanzel
While recruiting campers for her AdirondACTS camp, director Joan Rubinsky (Amy Sedaris) is sent into a seizure-induced coma by the strobe light in a middle school production of Bye Bye Birdie. Her slacker son, Troy (Jimmy Tatro), takes over the struggling enterprise, ineptly mismanaging its staff of well-meaning but mildly narcissistic misfits. In addition, he must deal with the camp’s failing finances and imminent foreclosure.
The simple and familiar premise—camp on the verge of closing—sets up a highly enjoyable niche outing, following in the footsteps of the slightly more satirical Camp (2003) and the equally intense Stage Door Manor documentary Stagedoor (2006).
Based on a short film of the same name, Molly Gordon, along with co-director Nick Lieberman, Ben Platt, and Noah Galvin, has fashioned the heartfelt mockumentary Theater Camp, which delivers consistent laughs but never lacks heart.
The film follows the four-week theatrical process, from auditions to opening. While mounting productions of Damn Yankees, Cats, and Crucible, Jr. (a hilarious joke to those familiar with the Jr. concept), the focus is on the annual original musical, written by the drama director, Amos Klobuchar (Platt), and the music director, Rebecca-Diane (Gordon). The project, Joy, Still (a bio-musical of the camp founder), takes up most of the film’s rehearsal and performance focus and manages to be simultaneously ridiculous and sincere.
Perhaps the mix of these tonal elements—ridiculous and sincere—best describes Theater Camp. While hurling barbs at theatre training and its many pretensions, it never loses its love for its subject. This truth is best reflected in the campers who shine in their own ways, displaying raw talent, fearlessness, and pure desire to perform. They represent a true demographic cross-section, bonded in the joy of all things theatrical.
The staff are an over-the-top crew but somehow make the caricatures believable. Platt and Gordon infuse the codependent pair with the dysfunction common to longtime theatrical collaborators who cannot communicate. Caroline Aaron plays the managing director with a mix of tough love and the awe of the non-artistic. Without losing the humanity, Nathan Lee Graham camps up the choreographer, Clive DeWitt, as does Owen Thiele as the costumer, Gigi Charbonier.
Ayo Edebiri makes the fraud, Janet, a charming grifter; her teaching of a mask class is one of the satirical highlights. Tatro’s lost Troy is likable, and his gradual awareness of the beauty of what his mother has created is genuine and touching. But it is Noah Galvin, as the jack-of-all-trades stage manager, Glenn, who provides the film’s biggest surprise. Galvin’s transformation at the climax is a revelation and a marvel.
Thematically, Theater Camp centers on being “one of us.” The staff and campers are cut from the same mold. They are the ones who are never picked first or second (or third or fourth) for teams. They are social outcasts in the outside world. But at AdirondACTS, they are not just accepted but celebrated.
Towards the end, the camp hosts a mixer with the neighboring camp, the privileged Lakeside. The Lakeside campers view the boisterous, outgoing theatre kids with not just disdain but the view that they are “other.” The film’s creators smartly refrain from giving the Lakeside campers commentary; the contempt is clear but unspoken. For all its problems—and they are myriad—AdirondACTS provides an outlet and a haven for these budding artists.
In the wake of artistic blockbusters (Barbie, Oppenheimer), Theater Camp is a lightweight diversion and an enjoyable slice of summer fun.
Rated PG-13, the film is now playing in local theaters.
Cillian Murphy as J. Robert Oppenheimer in a scene from the film. Photo courtesy of Universal Pictures
Reviewed by Jeffrey Sanzel
J. Robert Oppenheimer (1904-1967) is considered a founding father of the American school of theoretical physics. His work included the exploration of astrophysics, nuclear physics, spectroscopy, and quantum field theory. In the 1930s, he wrote papers suggesting the existence of what are now labeled black holes.
At the dawn of World War II, Oppenheimer was instrumental in developing the atomic bomb (often referred to as its “father”). In June 1942, he was appointed scientific director of the Manhattan Project and supervised the construction of the Los Alamos laboratories.
Following the War, Oppenheimer assumed the chairmanship of the General Advisory Committee to the Atomic Energy Commission (AEC). In this role, he voiced opposition to the development of the hydrogen bomb. In 1953, at the height of the Cold War and Red Scare, Oppenheimer was accused of communist sympathies, and the AEC canceled his security clearance.
Matt Damon and Cillian Murphy in a scene from ‘Oppenheimer’. Image courtesy of Universal Pictures
In the year’s best film so far, director Christopher Nolan’s epic Oppenheimer traces the controversial figure’s rise, fall, and redemption. Nolan’s screenplay, closely adapted from Kai Bird and Martin J. Sherwin’s 2005 Pulitzer Prize-winning biography American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, runs on three timelines: the buildup of the Manhattan Project, leading to the dropping of the atomic bomb on Hiroshima and Nagasaki; the AEC’s rigged hearing that stripped Oppenheimer of both prestige and access; and Lewis Strauss’s senate confirmation hearing for Secretary of Commerce.
Many films tackle issues of scientists and scientific discovery: The Imitation Game (2014), A Beautiful Mind (2001), Hidden Figures (2016), and The Theory of Everything (2014) are examples of some of the stronger genre offerings. However, these films often stress the personal elements or water down the science. In the case of Oppenheimer, the epic but breathtakingly paced three hours manages to keep science in the forefront without losing interpersonal relationships.
The film begins with twenty-two-year-old Oppenheimer struggling with anxiety at Cambridge’s Cavendish Laboratory. After an aborted attempt to poison his professor, Oppenheimer meets Niels Bohr, who suggests he complete his education in Germany. Upon graduation, Oppenheimer begins teaching at the University of California, Berkley, and the California Institute of Technology. The film balances his day-to-day life, including his left-leaning politics, with an attempt to show his genius through strong, abstract imagery.
Much of Oppenheimer plays in lectures and classrooms, as well as offices and laboratories. Nolan keeps the action moving and the stakes perpetually high. The rise of Hitler deeply affects the scientific community, many of whose members were Jewish. In 1942, General Leslie Groves recruits Oppenheimer to lead the Manhattan Project. Oppenheimer gathers an extraordinary team to secretly develop the atomic bomb in Los Alamos, New Mexico. Throughout, the scientists debate the issues of the long-term and far-reaching effects of their actions. In addition, the constant specter of espionage hovers over the project.
The film builds to the first of several milestones with the Trinity, the test of the atomic bomb on July 16, 1945. Simultaneously, it highlights the perpetually shifting collaborations, suspicions, setbacks, and infighting throughout the three years of development.
Marking his sixth collaboration with Nolan, Cillian Murphy delivers a flawless performance as the gifted, complex Oppenheimer. He brings a range of shades, from the self-important to the self-doubting. Following the dropping of the atom bomb, his simple, devastated, “And now I am the condemned. Destroyer of worlds,” is of Hamlet proportions. He manifests the struggle between the intense scientist and the man drawn to the power given to him as leader of the Manhattan Project. A womanizer who loves his wife, a father who shows little interest in his family, and a man later plagued by his choices, Murphy delivers a truly Oscar-worthy performance.
Equal to Murphy is Robert Downey, Jr., as the seemingly mild, almost benign, but ultimately vindictive Lewis Strauss, who offered Oppenheimer the directorship of Princeton’s Institute for Advanced Study. Downey, Jr. gives one of his finest, most dimensional performances as Strauss’s real and imagined slights drive him to take down the scientist. As with Murphy, Downey, Jr., will most likely receive an Academy Award nomination (if not a win).
Emily Blunt makes alcoholic and volatile wife, Katherine, a frustrating and noble figure. Matt Damon’s General Groves is the company man who sees the bigger picture. Florence Pugh’s independent communist Jean Tatlock brings both sensual and tragic qualities to Oppenheimer’s sometimes lover. David Krumholtz is powerfully understated as Isidor Rabi, a voice of wisdom and conscience, as is Tom Conti as the knowing Albert Einstein.
In the Senate confirmation hearing, Rami Malek’s David Hill smartly projects shades of Joseph Welch taking down Joseph McCarthy. Kenneth Branagh makes a strong cameo as Niels Bohr, and Gary Oldman, one of the greatest actors of his generation, is indelible as President Truman. Josh Hartnett, Casey Affleck, Jason Clarke, Matthew Modine, and Tony Goldwyn are among the dozens of supporting performers who comprise this exceptional ensemble.
Hoyte van Hoytema’s astonishing cinematography enhances and highlights the shift in time and place, perfectly complementing the work of production designer Ruth De Jong. Every element is in perfect synchronicity, from costumes to soundtrack. But Nolan, as Oppenheimer’s creator, manifested this exceptional undertaking. He skillfully blended science, politics, and morality into a cinematic gem that will be honored now and remembered as a work as complicated and brilliant as its subject.
Rated R, the film is now playing in local theaters.
TAKE A BOW: Above, the winners of this year's Stony Brook Film Festival. Photo from Staller Center.
THE BASICS OF LOVE
2023 CLOSING NIGHT SHORT
CHIPPER
2023 JURY AWARD FOR BEST SHORT
STUCK
2023 AUDIENCE AWARD FOR BEST SHORT
FRIENDS FROM HOME
2023 SPIRIT OF INDEPENDENT FILMMAKING
FRIENDS FROM HOME
2023 SPIRIT OF INDEPENDENT FILMMAKING
WHERE THE ROAD LEADS
2023 SPIRIT OF INDEPENDENT FILMMAKING
YES REPEAT NO
2023 JURY AWARD FOR BEST FEATURE
Winners of this year's Stony Brook Film Festival with festival founder Alan Inkles. Photo from Staller Center
The 28th annual Stony Brook Film Festival, presented by Island Federal Credit Union, wrapped up with a Closing Night Awards Ceremony on July 29.The evening recognized the outstanding new independent films screened at the festival, which was held at Staller Center for the Arts at Stony Brook University from July 20 to 29.
With hundreds of artists creating 36 films from 26 countries, the Stony Brook Film Festival became 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. Of those 36 films, 11 received awards.
Yes Repeat No, a challenging and engaging meta masterpiece, won the Jury Award for Best Feature. Director Michael Moshe Dahan was in attendance for both the screening and to receive his award. “Thank you to all of the people who believe in human rights and democracy all over the world … and to all the people who want to make difficult material all over the world because finding the questions to ask is sometimes harder than getting the answers,” Dahan said in his acceptance speech.
Two feature films won the audience’s hearts, resulting in two winners for this year’s Audience Choice Award for Best Feature: The Grandson, a charged thriller that boasts “revenge is a dish best served old,” and First Snow of Summer, a masterfully shot and magical romance in a whimsical setting, came out on top.
The Grandson‘s director Kristóf Deák could not be at the Festival to accept his award but remarked, “I couldn’t be happier that The Grandson won the audience award at this year’s Stony Brook Film Festival. I feel a special connection to U.S. audiences since my short film Sing won the Academy Award in 2017. That film’s festival journey also began with audience awards, and for a filmmaker like me who makes his films for audiences, first and foremost, it remains the most important praise.”
“Because it may lead to discussions about how we treat the elderly in our society, I hope [The Grandson]is a testament to how we should never ‘write them off’ as useless. I want to thank my wonderful cast, crew, co-writer, and wife for making this film with me,” said Deák
First Snow of Summer, in its North American premiere, was another beautiful and poignant film from German Sales Team, Picture Tree International. Festival Founder and Director Alan Inkles has been working with Founder/Co-Managing Director of Picture Tree, Andreas Rothbauer, for several years and this is the second consecutive year one of their films has won the Audience Choice Award, with last year’s biting dark comedy, Contra, taking home the same prize.
“You can feel the warmth and genuineness of this new German film, and the audience in our full house screening of First Snow of Summer obviously agreed … the film has a ‘fantasy-like Amelie’ feel to it, and is ripe for a U.S. theatrical run,” said Inkles after the awards ceremony. “One of our goals with the Festival is to get these independent films in front of distributors to help reach larger audiences throughout America,” he added, and said he plans to continue working with Andreas to make that happen.
The Spirit of Independent Filmmaking is awarded to filmmakers that utilize a uniquely indie lens to bring their incredible stories to life. A first in the Festival’s history, this category was awarded to two different features: Friends From Home, a quietly hilarious cross-country odyssey by New York filmmakers, and Where the Road Leads, a Serbian film about a sleepy village brought to life with subtle humor and masterfully directed.
“If you told us we would be watching our film on a 40-foot-screen, we wouldn’t have believed you, and this was awesome,” said Mike Koslov of Friends From Home. “We just tried to make a film as honest and close to the heart as we could,” said Joe Blank, co-writer and director of the film. Both flew in from LA for their screening and the awards ceremony.
Director Nina Ognjanovic traveled from Serbia to be here in person for her screening of Where the Road Leads and for the awards ceremony. Ognjanovic praised the film festival at the ceremony for showing her film to over 400 attendees and for recognizing her work.
The Jury Award for Best Short went to Chipper, while the Audience Award for Best Short went to Stuck.
Director and lead actor of Chipper, Shaun MacLean, and Jayson Warner Smith, respectively, were both in attendance at the awards ceremony, with Shaun attending earlier during the Festival for his screening and leading a lively Q&A. Shoval Chiprut and Daniel Brushin from Stuck flew in from Israel and were present for both their screening and the awards ceremony.
Opening Night Feature Award went to Sea of Time; Closing Night Feature Award went to Divertimento; Open Night Short Award went to The Red Suitcase and The Basics of Love received an forClosing Night Short.
In addition to Island Federal’s generous support as presenting sponsor, additional sponsors for the Stony Brook Film Festival included Campolo, Middleton & McCormick, LLP; Suffolk County; Altice Media; and WLIW/PBS.
During the Festival, the Staller Center announced its exciting Fall 2023 Live Performing Arts season which kicks off on Sept. 5 with Corinne Bailey Rae, Pat Metheny on Sept. 23, Tara McNeill and Alexander Bernstein on Sept. 30, Disney Pixar Coco Live-to-Film concert on Oct. 9, Emerson String Quartet’s farewell concert on Oct. 14, Ballet Hispanico on Oct. 21, Jessica Vosk on Oct. 28, Evan + Zane on Nov. 3, iLuminated on Nov. 5, Tom Segura on Nov. 11, LeAnn Rimes on Nov. 18, Cat Kid Comic Club Musical on Nov. 19, Starry Nights chamber music concert on Nov. 29, Isaac Mizrahi on Dec. 1, Jane Monheit on Dec. 9, and concludes with GALA 2024 on March 9 with special guest Leslie Odom, Jr. For tickets and more information, visit www.stallercenter.com.
Bruce Lee in a scene from 'Enter the Dragon'. Photo courtesy of Fathom Events
Three screenings will be held at Regal Deer Park & IMAX.
By Heidi Sutton
Calling all Bruce Lee fans! In celebration of its 50th anniversary, the 1973 classic martial arts film Enter the Dragon will return to select movie theaters on Sunday, Aug. 13 and Wednesday, Aug. 16 courtesy of Warner Bros. Pictures and Fathom Events’ Big Screen Classics series.
In Suffolk County, the film will only be screened at Regal Deer Park & IMAX, 1050 The Arches Circle at the Tanger Outlets in Deer Park at 4 p.m. and 7 p.m. on Aug. 13 and at 7:05 p.m. on Aug. 16.
Bruce Lee explodes onto the screen in the film that rocketed him to international superstardom. Recruited by an intelligence agency, martial arts student Lee participates in a brutal tournament at a remote island fortress in an attempt to gather enough evidence to convict the international drug-trafficker responsible for the murder of his sister. In the now-classic fight-to-the-death finish, two men enter a mirrored maze, but only one will exit.
Directed by Robert Clouse from a screenplay written by Michael Allin, the film also stars Robert Wall, John Saxon, Bolo Yeung, Ahna Capri, Jim Kelly, Kien Shih, Angela Mao, and Peter Archer. Chuck Norris and Jackie Chan also make an appearance in the film, although they were uncredited.
Enter the Dragonwas Lee’s final completed film appearance before his death on July 20, 1973 at the age of 32. An American and Hong Kong co-production, it premiered in Los Angeles one month later. It became one of the most profitable films of all time as well as the most successful martial arts film and cemented Bruce Lee’s legacy.
In 2004, it was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”
Each screening will include an exclusive introduction by film critic and historian Leonard Maltin who will discuss the seminal martial arts masterpiece’s unprecedented legacy, which made history as the first Kung Fu action film produced by a Hollywood studio. He will also highlight its meticulous fight sequences that continue to influence the genre to this day.
Special anniversary screenings continue with Rain Man on Sept. 17 and 20, The Birds on Oct. 22 and 23, Scarface on Nov. 12 and 15, and A Christmas Story on Dec. 10 and 13.
Margot Robbie and Ryan Gosling in a scene from 'Barbie' Photo courtesy of Warner Bros. Entertainment
Reviewed by Jeffrey Sanzel
What can you say about someone who has had over two hundred careers—fashion editor, science teacher, paramedic, paratrooper, Canadian Mountie, aircraft engineer—but was quoted as saying, “Math is tough?” While she beat Neil Armstrong to the moon, she encouraged her followers to “Get your sparkle on—show the world where you belong.”
Featured from toy shelves to The Nutcracker (to The Magic of Pegasus 3-D), Barbie—full name Barbara Millicent Roberts—first appeared in March 1959. The eleven-inch plastic figure was the brainchild of Ruth Handler (Mattel, Inc. co-founder, with husband, Elliot). Inspired by the German Bild Lilli doll, the first Barbie sold for $3. Today, Barbie is a multi-billion-dollar industry.
Barbie’s world includes her on-again-off-again boyfriend Ken, best friend Midge, and sister Skipper. The first celebrity Barbie was Twiggy (1967). Barbie first ran for president in 1992 and has been on the campaign trail at least seven times since. She will continue to evolve and be reinvented. But as busy as she is, Barbie has now made time for a feature film.
Director Greta Gerwig (Lady Bird, Little Women) reteams with Frances Ha screenwriter Noah Baumbach (The Squid and the Whale, Marriage Story, Margot at the Wedding) to direct “big screen” Barbie. They have written a fascinating societal exploration, presented through the prism of the alternate world, Barbie Land. Barbie is no theme park ride or action toy translated to a mass market money grab. The film is a serious meditation on gender roles and expectations. It takes on multiple overlapping themes—perhaps too many to answer—and resonates long after its brisk two-hour running time.
Margot Robbie in a scene from ‘Barbie’. Photo courtesy of Warner Bros. Entertainment
Barbie deals with a tear in the separation of Barbie Land and the real world, a rip connected to Barbie’s doubts about her perfect existence. She leaves the female/Barbie-dominated universe to learn that women have not achieved the positions of strength they have in her native existence. Initially, the comedic conflict sparks from the clash of the two planes. Still, the bigger issue arises from Ken’s awareness of the disproportionate power allotted to men outside Barbie Land. (In Barbie Land, the Kens are relegated to a peripheral existence, not holding the key positions taken by the Barbies.) Ken’s epiphany causes Barbie Land to devolve into a world of toxic masculinity dominated by the Kens. The host of mindless bros’ tenuous grasp turns the idyllic utopia into an almost hellish frat-scape, Kendom Land. The fact that Ken somehow connects patriarchy to horses speaks volumes.
The resolution strangely errs on the side of hijinks, with the Barbies righting their world through a subterfuge that plays on Kens’ easily flattered egos. The commentary is strong but subsumes the message of self-awareness and empowerment. They fool the doltish Kens rather than directly engage them. However, in the end, the Kens gain a modicum of self-awareness.
Barbie manages to be comedy, spoof, satire, and message movie, sometimes in turn, other times simultaneously. From its 2001: A Space Odyssey opening to its exquisitely conceived Barbie Land that is both vibrantly two- and three-dimensional, Barbie is a delight, with visual jokes, hilarious asides, and social commentary.
Margot Robbie’s in all ways flawless Barbie proves the actor’s exceptional skills and depth. She manifests a true living doll but allows for both growth and arc, never missing a beat or a laugh. Ryan Gosling makes the ideal foil, as the mostly clueless Ken, coming to a misplaced awareness. The supporting Barbies are effective on different levels, as are the coterie of Kens.
America Ferrera’s real-world Gloria has the most memorable moment in the film—a speech about the double standard women face daily. Her passion and laser focus give weight without weighing down the significance. Ariana Greenblatt, as her daughter, Sasha, neatly represents today’s generation of detached teens searching for connection. Michael Cera’s sad sack Allan is subtly hysterical.
Rhea Pearlman offers the luminous, not-so-spectral spirit of Barbie creator Ruth Handler. In her two scenes, she manages to be heartbreakingly human and otherworldly wise. She speaks as the head and heart of possibility, which was her inspiration in creating the doll. She is somehow Dumbledore to Barbie’s Harry.
The film’s major misfire is the comedic Mattel corporate board, headed by Will Ferrell, doing Will Ferrell at his most Will Ferrell. The painfully predictable slapstick seems forced in an otherwise sharp and meditative story.
*Reviewing is the definition of subjective. I left unsure of exactly how I felt about what I had witnessed. I also knew that I was not its true demographic.
Curious, I engaged with people exiting the film and reached out to others over the next few days. These ranged from adult mothers and daughters with complementary opinions to viewers in their twenties and thirties. Three slightly dazed mothers with a half dozen girls under age eight contemplated how much their young charges had—or had not—understood.
While a few attendees were mildly disappointed, the consensus was that Barbie was an effective and affecting film. Older viewers seem most linked by the nostalgia, reflecting bittersweetly on childhood hours. However, recurring comments tended towards empowerment, identity, and reflection of girlhood/womanhood. The film seriously considered the day-to-day struggles of being female and cultural over-sexualization. But Barbie also symbolizes the ability to change, hearkening to her creation as representing myriad possibilities. Many were deeply moved by the montage of women throughout the twentieth and twenty-first centuries; almost all cited Gloria’s monologue as a high point. The most common refrain was, “I felt seen.”
Ultimately, Barbie transcends. As a work and work of art, it accomplished something extraordinary, something “more than.” It has let its audience “feel seen.” And that alone makes Barbie exceptional.
Rated PG-13, the film is now playing in local theaters.
A scene from 'Pirates of the Caribbean: Curse of the Black Pearl'
As part of Suffolk County’s Parks After Dark Series, Coindre Hall, 101 Browns Road in Huntington will host a special screening of “Pirates of the Caribbean: Curse of the Black Pearl” under the stars on Friday, August 4 at sunset.
The series, sponsored by the county and the Suffolk County Alliance of Chambers, will continue with a screening of “Indiana Jones and the Raiders of the Lost Ark” at Indian Island County Park, Indian Point Road in Riverhead on August 18.
“What better way to spend time with family and friends than enjoying a movie under the stars at one of our county parks,” said Suffolk County Executive Steve Bellone. “The county’s Parks After Dark Series … will showcase iconic films that residents of all ages will enjoy.”
“The Suffolk County Alliance of Chambers is happy to partner with County Executive Steve Bellone in sponsoring these exciting ‘Movies After Dark’ in … Suffolk County’s beautiful and illustrious parks,” said Robert Fonti, co-chair of the Suffolk County Alliance of Chambers. “These blockbuster movies will provide fun and an evening under the stars for all families in Suffolk. Looking forward to seeing you at the movies.”
Free tickets are available through Eventbrite. Moviegoers are encouraged to bring their own food and beverages as well as blankets and chairs. Click here to reserve your seat.
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