Kicking off a new free film series, Film@LIM, the Long Isand Museum, 1200 Route 25A, Stony Brook in partnership with the Greater Port Jefferson Northern Brookhaven Arts Council will screen Geraldine Ferraro: Paving the Way in the Carriage Museum’s Gillespie Room on Tuesday, March 4 at 7 p.m.
Enjoy an inspiring film about Geraldine Ferraro’s historic Vice-Presidential nomination, and the first full profile of the trailblazing woman who helped change the face of American politics forever.
Geraldine Ferraro: Paving the Way is a feature-length documentary about the life of the trailblazing woman who made history in 1984 as the first female Vice Presidential nominee on a major national party Presidential ticket.
The film profiles Ferraro’s journey from an impoverished childhood, the struggles she endured while growing up, and the hurdles she faced and overcame both professionally and personally in order to achieve what no woman had done before.
A primary focus of the film is Ferraro’s public service and political career, from District Attorney in Queens, NY, and later member of Congress, to the emotional night of her Vice Presidential nomination and the tough campaign that followed. Though the Mondale-Ferraro ticket was ultimately not elected, the film explores how Ferraro’s nomination and her conduct during that campaign changed the national perception of what was possible for women.
The film features never-before-seen archival footage and stills, intimate interviews with Ferraro, and commentary by many leading political figures, both Democrat and Republican, as well as journalists who covered her campaign.
The screening will be followed by a talk from Donna Zaccaro, Geraldine Ferraro’s daughter and the film’s director and producer.
Admission is free but registration is preferred by visiting www.longislandmuseum.org/events or click here.
The Brutalist' has been nominated for 10 Academy Awards including Best Picture. Photo by Lol Crawley/A24
By Tim Haggerty & Jeffrey Sanzel
This year’s Oscar race is an unusual one. It is the first season since 1987 that three horror films received nominations. AI controversies entered the discussion, including use in fixing translations, autotuning songs, and script adjustments. Oscar nominations have become increasingly a tool to bring awareness to films rather than just acknowledge excellence. Films are giving limited releases and then hitting wide release months later. Over the last number of years, the Academy has often leaned towards honoring careers rather than the particular performance. Politics certainly affected, if not directly influenced, this year’s roster.
Here is a rundown of some of the major categories.
BEST ACTOR IN A LEADING ROLE
Timothée Chalamet’s Bob Dylan (A Complete Unknown) and Sebastian Stan’s Donald Trump (The Apprentice) are biographical portraits that do not resort to caricature or parody, exposing humanity in the former and the demon of winning in the latter. While a leak revealed that the director used AI to alter Adrien Brody’s Hungarian accent in The Brutalist, Brody still gives a passionate career best, holding the screen for 3 1/2 hours. TheBrutalist will most likely give Brody his second Best Actor statuette.
BEST ACTRESS IN A LEADING ROLE
This category is a tight race. Karla Sofía Gascón is the first openly transgender actress nominated for this award. Cynthia Erivo received universal accolades for Wicked’s Elphaba. Fernanda Torres (I’m Still Here) turned in a top-tier performance. But Demi Moore is most likely to win for The Substance. While performances in horror films rarely get a nod (previously passed-over actresses include Toni Collette, Florence Pugh, Mia Goth, and Lupita Nyong), Moore could win for her performance, her legacy, and the genre itself. While a longshot, Mikey Madison could be a dark horse surprise as she carried Anora.
BEST ACTOR IN A SUPPORTING ROLE
While the actors in this category present a good range of performances, Kieran Culkin’s prodigal cousin in A Real Pain has dominated this award season’s category. His work is unique, raw, and unexpected, almost guaranteeing a win.
BEST ACTRESS IN A SUPPORTING ROLE
Ariana Grande (Wicked) and Isabella Rosalini (Conclave) deserve an award in this category. But Zoe Saldaña has the strongest presence in the unusual Emilia Pérez and will win.
BEST DIRECTOR
Perhaps Bradley Corbet’s mammoth undertaking The Brutalist could have garnered him Best Director, but an erratic Oscar campaign might have damaged his path. Sean Baker is one of the era’s greatest independent directors, with an oeuvre comparable to the best of John Cassavetes and Elaine May. An artist who created Tangerine completely on his phone and who turns non-actors into stars, his win for Anora will celebrate great filmmaking.
BEST WRITING (ADAPTED SCREENPLAY)
Peter Straughan’s Conclave is the frontrunner in this category. The fantastic drama following the election of a pope balances introspection with political commentary.
BEST WRITING (ORIGINAL SCREENPLAY)
Sean Baker’s Anora and Brady Corbet and Mona Fastvold’s The Brutalist have run neck-and-neck in awards. While both scripts are exceptional, Anora’s delightful mix of humor and shades of darkness might give it the edge. Its recent garnering of the Writers Guild Award almost secures its win.
BEST PICTURE
A scene from ‘Anora’. Photo courtesy of Neon
Since the expansion of the Best Picture category from five to ten nominees for the 82nd Academy Awards (2010), the race is glutted with unlikely winners. Certainly, Dune: Part Two falls into this category. Other films are deemed too small or niche to get the top prize. If not for the AI controversy, the epic The Brutalist would most likely win, harkening to films like Gone with the Wind and Lawrence of Arabia. But its length is not a point in its favor.
Anora is this year’s frontrunner, receiving the Cannes Film Festival Palme d’Or at Cannes, the Critics’ Choice, Directors Guild, and Producers Guild Awards. To date, Anora has received 193 nominations and 70 wins. Sean Baker might be the first person to win four Oscars for a single film: producer, writer, director, and editor.
And some parting Shout Outs …
Best Production Design: All five nominees deserve to share the award, though Wicked’s spectacular visuals will triumph.
Best Documentary Short:I Am Ready, Warden is a powerful portrait of a death row inmate in the week leading up to his execution.
Best Cinematograpy/Original Score: The Brutalist’s Cinematography (Lol Crawley) revived 70 mm VistaVision (the film stock of pictures like Vertigo — last used in 1961’s One-Eyed Jacks) and offered outstanding visuals. Its Original Score (Daniel Blumberg) is exceptional.
Best Animated Feature Film: The Wild Robot (probable winner), Flow (runner-up), and Memoir of a Snail are all first-rate Animated Features. That said, Inside Out 2 remains a strong possibility.
Best International Feature Film: The Seed of the Sacred Fig (Germany), secretly shot in Iran, tells the story of a family struggling with the country’s resistance to progression, specifically for women. A film that builds extraordinary tension, it is a must-watch for anyone wishing to see political protest and retaliation cinematically explored. However, the win will likely go to I’m Still Here (Brazil).
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Tune in to the 97th Academy Awards ceremony on Sunday, March 2, to see who carries the film industry’s highest honors. Hosted by Conan O’Brien at the Dolby Theatre in Los Angeles, the show will be broadcast live by ABC starting at 7 p.m. For the first time, the Oscars will also be streamed live on Hulu. You can also watch via Hulu Live TV, YouTubeTV, AT&T TV and FuboTV.
As we become more dependent on home screening services, the social element of going out and experiencing a film together becomes a special occasion. The award-winning Port Jefferson Documentary Series (PJDS) returns for the Spring 2025 season with accounts of individual feats and community achievements that are worth leaving home to see.
Presented by the Greater Port Jefferson Arts Council (GPJAC), all screenings will be held at The First United Methodist Church, 603 Main Street in Port Jefferson, on select Thursdays between March 6 and April 24 with a start time of 7 p.m.
‘Dust to Dust,’ below, will be shown on April 10.
Stories traverse topics featuring the historical accomplishments of women in politics; environmental integrity and enterprise; socio-economic factors of fashion; celebration of self-expression; friendships forged from shared struggles; and moments of triumph amid tribulations. This season’s documentaries investigate the impact of individual acts of courage and compassion.
They acquaint audiences with persons and perspectives, situations and sensibilities that they may otherwise not encounter.
“PJDS looks for a high-level of craft as well as a depth of emotional connection. We are also attuned to the opportunities provided by a film to spark local collaborations or to showcase local voices as part of the overall screening experience,” said Kelly DeVine, Board Member and Chair of film programming at GPJAC.
After many of the screenings there will Q&As between the audience and guest speakers associated with the documentaries’ productions or subject matter, or an event with a local community outreach partner. Tom Needham, executive producer and host of “Sounds of Film” on WUSB, will moderate discussions for three of the films.
‘Man from Pretentia’ will be screened on April 3.
And there will be other interactive elements, such as an upcycled fashion show. Arranged and emceed by Marcela Pinzon, owner of The Fashionable Stylista, a fashion design school in Syosset, the show will model her students’ upcycled designs: clothing deconstructed and re-sewn into new articles; repairs incorporated into new patterns, etc.
“We have been trying to bring more community groups into the post-screening planning to increase our collaborations, reach new audiences and craft post screening activities that reflect the spirit or the topic of the film. PJDS is more than a movie night, it’s a community event,” DeVine explained.
Sponsored by Maggio Environmental Waste Collection, Dumpster Rentals & Recyclin, Metal Masters, Paumanok Veterinary Hospital, Covati & Janhsen CPAs PC, and Port Jeff Storage Inc. with a Suffolk County grant from the Suffolk County Office of Cultural Affairs & the Suffolk County Film Commission, the series is a symbiotic exercise in communal conversation.
“We strive to get people off their tiny smart phone screens and enjoy a much larger screen as a community gathering,” GPJAC chairman Allan Varela said in an email.
PJDS aims to foster interest not only in the arts, but in each other.
“Part of the benefit is that the PJDS has won Best Film Festival award in the Best of Long Island contest nine years in a row,” Varela continued. “We compete against Gold Coast, Huntington, Stony Brook and the Hamptons [film festivals], among others…Our stature brings in audience from all over the Island and therefore into the Village of Port Jefferson.”
Art in general, and PJDS specifically, is an avenue through which individuals may find common ground.
This season begins with Shaking It Up: The Life and Times of Liz Carpenter on March 6.
The film explores the story of the eponymous woman who was witness to and involved in some of the most historically significant moments of the 20th century, as among her many roles, she was the first female executive assistant to a vice president for Lyndon B. Johnson and then press secretary for Lady Bird Johnson. A conversation with director Abby Ginzberg will follow.
In Every Little Thing on March 13 filmmaker Sally Aiken profiles bird rehabilitator Terry Masear, who has devoted her life to saving and protecting hummingbirds in the Los Angeles area. The screening will be followed by a conversation with Terry Masear, Dr. Carl Safina, Patricia Paladines of the Institute for the Conservation of Tropical Environments, and Dr. Maria Bowling.
A Man with Sole: The Impact of Kenneth Cole on March 20 follows the career of fashion designer Kenneth Cole and how his professional success supports his philanthropy. Director Dori Berinstein will join a Q&A via Zoom.
Facing the Wind on March 27 examines the connection forged between two women as they care for their spouses stricken with Lewy Body dementia. Director Deirdre Fishel will join the post-film discussion in person with Cindy Morris of the Benson Agency.
Man from Pretentiaon April 3 is tender portrait of “quirky” art dealer, Paul Bridgewater, who became a fixture of the Downtown NYC art scene. The screening will be followed by a conversation with Director Chih Hsuan Liang and producer Steve Zehentner.
Dust to Dust on April 10 chronicles haute couture designer Yuima Nakazato’s realizations about the detrimental effect of “fast fashion” on the world and how he shifts his attentions to sustainable fashion. Resources on recycling and a upcycled fashion show led by the head of The Fashionable Stylista academy of Syosset, Marcela Pinzon will follow the screening.
The season closes withFront Row on April 24 which showcases the Ukrainian National Ballet’s poignant company tour as it performs far from the frontlines and invites a soldier who lost his legs to partake in a singular performance. The screening is followed by a discussion about the film and Ukraine with Professor Juliette Passer of Stony Brook University.
Selected by PJDS co-chairs DeVine and Wendy Feinberg, the films are sourced from number of different festivals: DocNYC, Tribeca, Sundance, etc. Personal industry connections, honed from years of working on this and other series, also helped shape the lineup.
Contenders were then voted on by a team of long-term PJDS board members and volunteers, including DeVine and Feinberg; community outreach coordinator Barbara Sverd; co-chair emeritus Lyn Boland; Denies Livieri; Yvonne Lieffrig; Ronnie Levy; and, Lise Poulos.
The group shares a commitment to seeking and sharing documentaries that enhance human understanding as they invoke personal insights.
“PJDS is always looking for films that offer distinct points of view, that open up new ways of looking at the world and that provide opportunities to reflect on the connections we may share however far-flung or different the story may appear initially,” DeVine said. “All of our films will offer great experiences and each brings its own emotional tone and opportunity for connection.”
Individual film tickets are $10 each while a season pass is $58. For more information about the PJDS or to reserve your seat, visit www.portjeffdocumentaryseries.com.
As an exclusive post-Academy Awards treat, the Cinema Arts Centre, 423 Park Ave., Huntington welcomes the one and only Bruce Vilanch — the two-time Emmy Award winning Comedy Writer for 25 Academy Award spectacles — on Monday, March 3 at 7:30 p.m. After a screening of the hilarious and touching documentary about his life and career, Get Bruce!, Vilanch will help dissect the Oscar show of the night before and discuss his new, insider memoir, It Seemed Like a Bad Idea at the Time.
Tickets are $28 per person, $22 for members and includes the screening, interview with audience Q&A, and book signing. Copies of Vilanch’s memoir are available to bundle with the film program or at the box office. For more information, visit www.cinemaartscentre.org or click here.
'Bike Vessel' will kick off the series in Port Jefferson on Feb. 27. Photo courtesy of Independent Lens
Watch the film & join the conversation
Independent Lens has announced the launch of the new season of Indie Lens Pop-Up, the long-running screening series that brings people together for community-driven conversations around its thought-provoking documentaries. The free event series will include in-person screenings in more than 100 cities across the U.S. including Port Jefferson, Stony Brook, Centereach and Selden, thanks to a partnership with The Greater Port Jefferson-Northern Brookhaven Arts Council (GPJAC).
Middle Country Public Library’s Centereach branch will screen ‘Free for All: The Public Library’ on April 11. Photo courtesy of Independent Lens
Through its roster of five documentary projects, Indie Lens Pop-Up will ignite conversations on a range of topics, including a Cambodian American basketball prodigy, the American institution of public libraries, and the history of funk music. This season’s topics also aim to expand perspectives through deeply personal stories, like what it means to live with Alzheimer’s disease and the bond between father and son. The screenings, which are approximately 60 minutes long, will be followed by impactful post-screening activities ranging from panel discussions to performances.
Each film will eventually make its television debut on PBS and will be available to stream on the PBS app.
Since its inception in 2005, more than 7,200 Indie Lens Pop-Up events have brought an estimated 430,000 participants together to discuss issues that impact local communities.
“We’re so excited to continue these Indie Lens Pop-Up screenings that not only advance independent stories, but continue to bring together local communities across the U.S.,” said Beatriz Castillo, senior director of engagement operations at Independent Television Service (ITVS), the production arm of PBS which produces Independent Lens.
“The Greater Port Jefferson – Northern Brookhaven Arts Council (GPJAC) is delighted to join the Indie Lens Pop-Up program as screening partner. We welcome the chance to support these award-winning films while having the opportunity to craft impactful activities with our venue and community partners such as the Middle Country Public Library, the First United Methodist Church and the Long Island Museum,” said Kelly DeVine, Board Member and Chair of film programming at GPJAC
“Supporting independent artists and filmmakers is at the center of our work,” added Allan Varela, Chair of the GPJAC. “And getting to collaborate with our community partners to raise up their work is icing on the cake.”
The Indie Lens Pop-Up 2024-2025 lineup includes the following documentaries:
‘Bike Vessel’
■ Bike Vessel by Eric D. Seals will be screened at the First United Methodist Church, 603 Main St., Port Jefferson on Thursday, Feb. 27 at 7 p.m. In this portrait of familial love, father Donnie Seals Sr. undergoes a transformation after several medical crises and, at age 70, embarks on a long-distance cycling trip with his son.
A panel discussing the health, social and infrastructure issues raised by the film with a cardiologist, a representative from a safe transportation organization and a librarian from Port Jefferson Free Library will follow. Register here.
‘Home Court’
■ Home Court by Erica Tanamachi heads to the Long Island Museum, 1200 Route 25A, Stony Brook on Tuesday, April 1 at 7 p.m. The film traces the ascent of Ashley Chea, a Cambodian American basketball prodigy whose life intensifies amid recruitment, injury, and triumph throughout her high school career.
The screening will be followed by a panel of SBU and local high school athletes and coaches discussing the challenges of transitioning from high school to college as a female and Cambodian American athlete.
‘Free for All: The Public Library’
■ Free for All: The Public Library by Dawn Logsdon and Lucie Faulknor will be screened at the Middle Country Public Library, 101 Eastwood Blvd., Centereach on Friday, April 11 at 6 p.m. The documentary tells the story of the U.S. public library system—a simple idea that shaped a nation and the quiet revolutionaries who made it happen.
The event will be followed by a “library fair” where MCPL representatives across the library’s departments show all the ways libraries serve their communities.
‘We Want the Funk’
■ We Want the Funk by Stanley Nelson will be screened at Middle Country Public Library, 575 Middle Country Road, Selden on Sunday, May 4 at 2 p.m. The documentary is a syncopated voyage through the history of funk music, from early roots to 1970s urban funk and beyond and will be followed by a short live funk music band performance and discussion on how the genre is still influential today.
‘Matter of Mind: My Alzheimer’s’
■ Matter of Mind: My Alzheimer’s by Anna Moot-Levin and Laura Green will be screened at the Long Island Museum, 1200 Route 25A, Stony Brook on Tuesday, June 3 at 7 p.m. The documentary explores how three families confront the challenges of Alzheimer’s, focusing on how the disease transforms identities and relationships and will be incorporated into a full program of dementia events with speakers and resources.
To register for these free documentaries, please visit www.gpjac.org or click here.
Great news for all Harry Potter fans! Fathom Events and Warner Bros. Discovery are partnering to bring back the first four films of the quintessential fan favorite Harry Potter film series to select theatres nationwide this February.
Harry with his pet owl Hedwig in a scene from ‘Harry Potter and the Sorcerer’s Stone.’ Photo courtesy of Fathom Events
The Harry Potter film series will be the first series highlighted in Fathom Fan Favorites, a new theatrical series that will feature films from iconic franchises.
For more than 20 years, the world has been captivated by the magic of the Harry Potter stories from J.K. Rowling and starting February 13, moviegoers will be able to relive, or experience for the first time, the first four films in the wizarding saga on the big screen.
Additionally, starting February 27, fans will be able to experience the films from the series in 4DX motion seats to get the feeling they are in attendance at Hogwarts alongside the Golden Trio.
Also for the first time in the United States, the UK version of Harry Potter and the Sorcerer’s Stone, named Harry Potter and the Philosopher’s Stone, will be presented in 3D and will give fans the chance to see some never-before-seen moments.
Each screening will also include an exclusive introduction by cinema legend Leonard Maltin, sharing unique insights for each film. The complete schedule for the “Fathom Fan Favorites: Harry Potter” series is as follows:
— Harry Potter and the Sorcerer’s Stone onFeb. 13 , Feb. 20 and Feb. 27
— Harry Potter and the Philosopher’s Stone (UK version) on Feb. 13, Feb. 20 and Feb. 27 in 3D
— Harry Potter and the Chamber of Secrets on Feb. 14, Feb. 21 and Feb. 28
— Harry Potter and the Prisoner of Azkaban on Feb. 15, Feb. 22 and March 1
— Harry Potter and the Goblet of Fire 20th Anniversary on Feb.16, Feb. 23 and March 2.
Locally, the films will be screened at AMC Loews Stony Brook 17, Island 16 Cinema de lux in Holtsville, AMC Huntington Square 12 in East Northport, Showcase Cinema de lux in Farmingdale, and Regal Cinemas in Deer Park. Tickets are available at www.fathomevents.com or at participating theatre box offices.
Willem Dafoe and Lily-Rose Depp in a scene from the film. Photo courtesy of Focus Features
Reviewed by Jeffrey Sanzel
Bram Stoker’s 1897 Dracula remains the definitive vampire novel. Written through letters, diary entries, and newspaper articles, the book is a landmark that transcended horror to be accepted as literature.
F.W. Murnau’s silent film Nosferatu: A Symphony of Horror (1922) was the story’s premiere screen incarnation. Attempting to avoid copyright infringement (or pay royalties), the names and location were changed: Dracula was renamed Orlok. However, Stoker’s widow successfully sued, and a court ordered all prints destroyed. However, several copies survived, and the film became a classic with a lasting influence over cinematic history. The image of Max Schreck’s rat-like visage is century-old iconagraphic image.
Lily-Rose Depp in a scene from the film. Photo courtesy of Focus Features
In 1979, Werner Herzog’s remake, Nosferatu the Vampyre, restored the original character names, with Klaus Kinski as Dracula. Many scenes were filmed twice, once in German and once in English. The meditative take was well-received by critics and audiences. Shadow of the Vampire (2000) fictionalized the making of the original film, with the premise that actor Schreck (Willem Dafoe) was an actual vampire.
Vampirism is a celluloid favorite and the most popular in the creature feature world. There are over two hundred Dracula movies. Dracula has ranged from the elegance of Bela Lugosi’s indelible, tailcoated count to John Carradine’s melancholy interpretation. In nine outings, Christopher Lee emphasized the character’s raw animal nature. A higher level of charm and sensuality came with Louis Jordan, Frank Langella, and Gary Oldman.
Writer-director Robert Eggers, whose previous films include The Witch, The Lighthouse, and The Northman, now offers his vision. He follows most of Stoker’s initial plot (changing the names) but relies on the monstrously hideous Count Orlok of the 20s. The word “vampire” is never uttered. The title roughly translates from the Romanian as “the offensive one” or “the insufferable one.”
Orlok is a demonic embodiment of all that is evil and foul. He represents the pestilence of city and soul. Eschewing the traditional romantic elements, Eggers’ Orlok not only dwells in the darkest corners but is the shadow itself. Under layers of prosthetics, Bill Skarsgård’s Orlok is a diabolic combination of vermin and reptile sent from the lowest circle of hell. He exists to consume all life: he is death itself. “I am appetite,” he states. “Nothing more.”
The world of Nosferatu is one of disease. Orlok brings a plague of rats, decimating the city. But he is also a destroyer of souls, seeding denial and doubt. Even the heroic Prof. Albin Eberhart Von Franz lives in disgrace for his belief in the occult. Based on Dracula’s Van Helsing, Willem Dafoe lends an eerie twinkle to the brilliant eccentric (if only Dafoe did not seem so uncomfortable in the costumes). Orlok’s minion, Herr Knock (Simon McBurney), is as vile a Renfield ever depicted, chewing the words (and living animals) with a cackle and a quip. Nosferatu is a universe of sweat, blood, and unending pain.
Lily-Rose Depp in a scene from the film. Photo courtesy of Focus Features
Several elements make Nosferatu worthwhile. Eggers’ literate script honors Stoker’s novel and Henrik Galeen’s 1922 screenplay. While sometimes overly declarative (a common trap in the horror genre), the dialogue is rich and varied, letting the characters speak in individual voices. He finds moments of grim humor and edgy wordplay. He strongly succeeds in addressing issues of Victorian repression and the accusations of female hysteria. He captures the ominous with what is absent: the driverless carriage with the door slowly swinging open, demanding the Jonathan Harker stand-in, Thomas Hutter (Nicholas Hoult), to journey to the count’s castle. Slow pans and sharp cuts bring an equal shock. Eggers pulls no punches: the sight of two small coffins, taller than they are long, resonates with unfathomable loss.
Jarin Blaschke’s moody, cold cinematography complements the constant atmosphere of dread. Craig Lathrop’s production design evokes the cold vastness of the Carpathian Mountains and the congested and later infested Wisburg. Costume designers Linda Muir and David Schwed capture the rustic Transylvania Romani, the doomed sailors, and the lush formality of the wealthy. (While set in Germany, the overall effect feels like Stoker’s Victorian London.)
At the film’s heart is not Robert Eggers’ Orlok but Lily-Rose Depp’s exceptional portrayal of the tormented Ellen, called by dark forces, destiny, and a pull towards death going back to her childhood. In turns terrified and possessed, she easily alternates between fear and ferocity, torn between two realms. “Does evil come from within us or from beyond?” she questions. She owns the disturbing physicality and balances the character’s knowing eroticism with a well of innocence.
A scene late in the film between Ellen and her husband, Thomas, is raw, unflinching, and brutal. Depp’s performance is layered and nuanced, elevating the usual “Scream Queen” trope. Ultimately, she manifests the film’s darkness and moral core.
Nosferatu does not reinvent the vampire movie but offers strong visuals, a shifted perspective, and a central performance that transcends previous Dracula films.
Rated R, the film is now playing in local theaters.
Bryan Johnson in a scene from 'Don't Die: The Man Who Wants to Live Forever.' Photo courtesy of Netflix
Reviewed by Jeffrey Sanzel
Netflix is streaming Don’t Die: The Man Who Wants to Live Forever, focusing on Bryan Johnson, the entrepreneur who is “determine[d] to live forever—or die trying.” Johnson, now forty-seven, believes death’s inevitability should not be accepted and embarked on an extreme anti-aging protocol.
Johnson founded and was CEO of Braintree, a company specializing in web payments for e-commerce. In 2012, Braintree acquired Venom for over $26 million. One year later, PayPal (then part of eBay) bought the company for $800 million; estimates put Johnson’s profit at $300 million. In October 2021, Johnson announced Project Blueprint, his anti-aging endeavor. Don’t Die focuses on this mission, turning his life into a longevity experiment.
The much-lauded director Chris Smith (Jim & Andy: The Great Beyond, Fyre,100 Foot Wave, etc.) created a documentary alternating between Johnson’s daily regimen and his more extreme activities. Each morning, Johnson exercises for an hour, takes a massive number of medications and supplements, eats several pounds of vegetables (he is vegan), and undertakes a range of therapies (light therapy, a hair growth cap, and others). He has a medical-grade clinical operation in his home worth $2.5 million.
Every vital sign is measured and tracked. At the time of the filming, he was in the optimal 99th percentile for both muscle and fat. He claims to have reversed his biological age by 5.1 years in two years. His speed of aging is .69, which means that he ages eight months every twelve months.
In addition to the more commonplace, Johnson ventured into the world of plasma exchange with his son, Talmadge (as well as giving his own to his father), organ transplant medication suppressing the immune system, and gene replacement therapy (performed on the island of Roatán, off the coast of Honduras).
Much of the film displays his relationship with his son, Talmadge, who came to live with him for his senior year of high school. The divorced Johnson became estranged from his ex-wife and three children when he left the Mormon church. Talmadge, struggling with his own beliefs, chose to join Johnson, who quickly brought him into his world of exercise, diet, and some of the more extreme endeavors. The uncomfortable scenes between them feel forced. Whether they share genuine affection is hard to parse with the mostly unexpressive Johnson.
While shopping with Talmadge for towels in a Chicago Target, Johnson breaks down at the thought of his son entering the University of Chicago. Is he crying for his son or the cameras? Even Johnson’s statement, “I wish I had Talmadge’s legs. He’s the perfect specimen,” resonates less complimentary and more disturbing.
Johnson claims relationships are important but admits he is not good at them. (Don’t Die briefly mentions the ugly lawsuit surrounding his breakup with Taryn Southern following her breast cancer diagnosis.)
Don’t Die’s tone varies, alternating between pedestrian day-in-the-life and darker moments that suggest an episode of Black Mirror. In its most extreme, the film offers shades of Jurassic Park and, in one particularly uncomfortable sequence about surgical experiments with mice, The Human Centipede.
For over half the film, Johnson is shirtless in his kitchen, swallowing pills or eating the same meal (2,000 calories a day of the same food). He works closely with Kate Tolo, his Chief Marketing Officer, who seems a combination of companion and majordomo. While his initial online presence was not huge, an article by Ashlee Vance (who co-produced Don’t Die) turned Johnson into a viral sensation, generating both positive interest and hate. In this shift, Johnson rose as an almost cult figure.
People bought many products Johnson consumes with direct links from his website to Amazon. Eventually, he produced and promoted Brian Johnson’s Blueprint Extra Virgin Olive Oil, resulting in accusations of Johnson as a grifter. The undertaking led to “Don’t Die” events, including hikes and dances. Held around the world, Johnson has gathered many followers.
The talking heads range from medical professionals (doctors, scientists, etc.), some of whom support the work, and others who see it as a waste of money and resources. These contrast with social media pundits, the majority of whom are pointedly negative. Vance’s strong presence alternates between marveling at Johnson’s audacity and questioning his actions. Johnson’s parents are prominently featured but add little insight into who he really is.
At just under an hour and a half, the film seems overlong and repetitive. The unending stream of medium shots and generic footage of weightlifting, pill-taking, and laboratory visits would be more engaging if only Johnson possessed a modicum of charisma. But something is lacking at his core. Even his comments about the greater good can be reduced to a bizarre trickle-down theory.
Perhaps his entire gestalt is summed up with his bold but problematic statement: “Our minds, which we think are our primary tool of problem-solving, are actually the source of self-destructive behaviors. I would argue the mind is dead.”
At best, Don’t Die documents one man’s quest for immortality. At worst, it is a portrait of the power of excessive narcissism fueled by vast wealth. Or, as one scientist states: “It’s not science. It’s just attention.”
A scene from 'The Goonies'. Photo courtesy of Fathom Events
“Hey You Guys!”
In celebration of its 40th anniversary, “The Goonies” is heading back to select theaters on Sunday, Jan. 19 and Monday, Jan. 20, courtesy of Fathom & Warner Bros. Discovery.
Producer Steven Spielberg, director Richard Donner (Superman) and screenwriter Chris Columbus (Harry Potter films) collaborated to create an epic children’s adventure of subterranean caverns, sunken galleons and a fortune in lost pirate treasure waiting to be found by a group of friends known as The Goonies. With brothers Mikey (Sean Astin) and Brand’s (Josh Brolin) house slated for demolition by greedy land developers, the boys decide their only hope lies in finding a long-lost treasure. They uncover a treasure map and with their friends descend to a subterranean sea and an abandoned galleon in this fun-filled, fast-paced adventure.
Each screening features an exclusive introduction by cinema legend Leonard Maltin who will share unique insights on the beloved adventure film.
Locally, participating theaters include AMC Loews Stony Brook 17, Island 16: Cinema de Lux in Holtsville, Regal Cinemas in Deer Park, Showcase Cinemas de lux in Farmindale and Regal UA in Farmingdale.
Tickets for the event can be purchased at Fathom Events in advance or at participating theatre box offices.
CARPE DIEM
Seize the day and catch a screening of ‘Dead Poets Society’ at the Walt Whitman Birthplace in Huntington on Jan. 16.
Walt Whitman Birthplace, 246 Old Walt Whitman Road, Huntington Station kicks off 2025 with a Movie Night featuring a screening of Dead Poet’s Society on Jan. 16 at 6:30 p.m.
Bring your own blankets. Popcorn and hot cocoa will be served. This is the perfect event for poetry lovers, movie buffs and anyone looking to unwind with a great film. Come embrace the spirit of “Carpe Diem”!
Free admission, $10 suggested donation. To RSVP, visit www.waltwhitman.org. For more information, call 631-427-5240.
Geraldine Ferraro: Paving the Way is a feature-length documentary about the life of the trailblazing woman who made history in 1984 as the first female Vice Presidential nominee on a major national party Presidential ticket.
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