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A scene from 'Refuge'. Photo courtesy of PJDS

DONATIONS FOR THE PEOPLE OF UKRAINE COLLECTED AT THE SCREENING

The Port Jefferson Documentary Series Spring season continues with a screening of REFUGE, a story about fear and love in the American South, at Theatre Three, 412 Main St., Port Jefferson on March 14 at 7 p.m

Directed by Din Blankenship and Erin Bernhardt, REFUGE is a story about fear and love in the American South. A leader in a white nationalist hate group finds healing from the people he once hated — a Muslim heart doctor and his town of refugees. Chris is a husband and father, a veteran, and until recently, a leader in the KKK. He started hating Muslims when the planes hit the Twin Towers on 9/11, but is forced to confront his hate when he receives a text from Muslim refugee, Heval.

REFUGE illustrates the false promises of hate and reveals where real and lasting refuge is found. Where there is love, there is refuge. The film is set in the most diverse square mile in America, Clarkston, Georgia, and follows a Syrian Kurd, a former Klansman, and a town of refugees who seek belonging in a country that blames them for its problems. Swimming against the current of an increasingly polarized and isolated America, each must decide whether they will risk knowing and being known by those who oppose them. Ultimately, REFUGE uncovers what is possible when we leave the security of our tribes and what is at stake for our country if we don’t.

Running time is 75 minutes.

Guest speakers via live Zoom will be Directors Din Blankenship and Erin Bernhardt, Directors and Chris Buckley and Heval Kelli, subjects in the film. $10 per person at the door or register in advance at www.portjeffdocumentaryseries.com.

Please note: The Port Jefferson Documentary Series board will be collecting donations for the people of Ukraine at each screening. Items collected include:

MEDICINE

Compression Bandages

Tourniquets

Tactical First Aid Kits

Hemostatic Agents (Celox or similar)

Bandages, Gauzes

Antiseptics

Anti- Burn Gels (Neosporin)

Nasopharyngeal Airways (28-30)

Pain Killers (Tylenol, Ibuprofen, Advil)

Wet Wipes

Pampers

Tampons

Women Hygiene Items

OTHER NEEDS

Sleeping Bags

Yoga Mats

Tactical Knee and Elbow Pads

Flashlights

Solar Powerbanks

Tactical Gloves

Tactical backpacks

Thermoses (hot liquid bottles) 1L

MEN’S CLOTHING

Tactical Boots

Winter Hats

Socks

Thermal Underwear

Undergarments

Sweaters

Sweatshirts

FOOD

Dry Soup Packets

Ramen Noodles

Energy Bars and Snack Bars

Tea

Hot Chocolate/ Cocoa (in packs)

Instant Coffee

Baby Formulas

Due to restrictions on items by aid organizations and shippers, they  can ONLY accept items in the above approved donation list. And, all listed clothing items must be new items; not used. The board appreciate that many wish to donate other items and used clothing but they cannot accept such items at this time. Thank you for your understanding.

 

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Maureen O'Hara and John Wayne star in The Quiet Man. Photo courtesy of Fathom Events

In honor of its 70th anniversary, The Quiet Man returns to select theaters nationwide on March 13 and 17, courtesy of Turner Classic Movies, Paramount Pictures ad Fathom Events. 

One of the greatest love stories ever told, the acclaimed John Ford classic features John Wayne as retired boxer Sean Thornton who makes a pilgrimage to his home village in Ireland in order to claim his family’s estate. He meets his match in the spirited young Mary Kate Danaher (Maureen O’Hara) only to find himself confronted by her belligerent brother and the town’s strict customs. The film also stars Barry Fitzgerald, Victor McLaglen, Ward Bond and Mildred Natwick.

An Oscar winner for Best Director and Cinematography, this Republic Pictures classic lives on in the hearts of moviegoers and moviemakers alike. Considered by many to be one of Ford’s best films, The Quiet Man was also included on the American Film Institute’s list of 100 greatest love stories of all time.

This special anniversary screening includes exclusive pre- and post-film commentary by Turner Classic Movies  Primetime Host Ben Mankiewicz.

Locally the film will be screened at AMC Stony Brook 17, 2196 Nesconset Highway, Stony Brook on both days at 7 p.m.; at Island 16 Cinema De Lux, 185 Morris Ave., Holtsville on March 13 at 1 p.m. and March 17 at 7 p.m.; and Farmingdale Multiplex Cinemas, 1001 Broadhollow Road, Farmingdale on March 13 at 1 p.m. and March 17 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.

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Zoë Kravitz and Robert Pattinson in a scene from the film. Photo courtesy of Warner Bros. Pictures

By Jeffrey Sanzel

Batman first appeared on screen in the 1940s serials Batman and Batman and Robin. His next appearance was in the high camp television series, where Adam West fought a rogues’ gallery of villains played by beloved Hollywood character actors. In 1989, he resurfaced in the Tim Burton Batman, with Michael Keaton in the title role and Jack Nicholson as the Joker. Three sequels of descending quality followed. 

Robert Pattinson as Batman in a scene from the film. Photo courtesy of Warner Bros. Pictures

Director Christopher Nolan rebooted the franchise in 2005 with Batman Begins and Christian Bale donning cape and cowl. The Dark Knight and The Dark Knight Rises followed in 2008 and 2012. Ben Affleck became the most recent Batman, taking on Batman vs. Superman: Dawn of Justice (2016) and Justice League (2017). Throughout the Caped Crusader’s history, he was seen in various animated incarnations, ranging from the tame Saturday morning cartoons to the challenging Batman: The Killing Joke.

After several false starts with Affleck helming as actor, director, and co-author, The Batman has reached the screen with a different vision. Matt Reeves took an alternate approach, co-writing the screenplay with Peter Craig. Leaving behind Affleck’s action-driven script, Reeves explores Batman in a real-world environment. 

If it’s always sunny in Philadelphia, it’s always raining in Gotham. Undoubtedly, this cinematic Batman is the darkest. And while the Dark Knight rises, the sun does not. Gotham is a world of shadows, a city of chaos and utter corruption. A perpetual sense of disease permeates every corner of a world devoid of safety.

The plot centers around Edward Nashton (Paul DanPaul Dano, channeling the Zodiac Killer), a.k.a. The Riddler, who is eliminating people he feels have abused their power. The film opens with the murder of the mayor who was stepping out on his wife with a woman connected to the Iceberg Lounge, run by underworld mob boss Carmine Falcone (John Turturro). 

Falcone’s number two is thug Oswald “Oz” Cobblepot (unrecognizable Colin Farrell), nicknamed “the Penguin.” The missing woman’s roommate is lounge server Selina Kyle (a phenomenal Zoë Kravitz), a burglar and drug dealer, who is—or will become—Catwoman. Throughout the slightly bloated three hours of playing time, skeletons come to light, including an unsavory history of Bruce Wayne’s parents and a connection to an orphanage where Nashton was raised.

Zoë Kravitz and Robert Pattinson
in a scene from the film.
Photo courtesy of Warner Bros. Pictures

For the most part, Batman’s communication style has been a monotone growl. As played by Robert Pattinson, Batman maintains a gravelly, tight-lipped demeanor. But he introduces an underlying neurotic intensity, reflecting that he is only two years into his crime-fighting career. Pattinson’s Bruce Wayne is not the millionaire playboy living in splendor. Instead, he broods in a decaying Gothic manor worthy of Miss Havisham. 

In addition, Bruce is trapped in a codependent relationship with antagonistic butler Alfred (Andy Serkis, given not enough screen time). Alfred reminds him that he is ignoring his responsibilities. This original approach works, giving depth and insight into the struggle of maintaining two separate existences.

While Batman has often been on the perimeters of society, here he is a true outcast. The police—infested with crooked dealings—see him as a freak. His sole ally is Lieutenant James Gordon (Jeffrey Wright, in a first-rate, definitive interpretation), who truly understands his value.

“Fear is a tool,” states this Batman. “They think I’m hiding in the shadows, but I am the shadows.” His motto is straightforward: “I am vengeance.” Part of him believes Gotham is beyond saving—“maybe it’s eating itself.” With monomaniacal drive, he tries to eradicate the criminal element on all levels to exorcise his demons. He has not yet found a more altruistic drive.

The Batman draws on multiple sources from the comic book but eschews the whimsical villainy for true horror. The Riddler is ridding Gotham of those he feels have betrayed the people. He is “unmasking this cesspool of a city,” a distorted reflection of Batman’s mission. Gone are the green tights with a question mark emblem. Instead, he is a sadistic serial killer cut in the Seven vein, often enacting crimes that call to mind Saw’s Jigsaw. While never fully seen, the vicious murders are suggested clearly. He does not have henchman but instead online followers. This is a timely and more frightening proposition, especially in the film’s finale.

Farrell’s Penguin little resembles anything in the Batman canon. Absent are the traditional umbrella, top hat, monocle, and cigarette. Instead, buried under a fat suit and layers of prosthetics, Farrell’s hoodlum is a plotting opportunist. Perhaps closest to expectations is Kravitz’s conflicted and complicated Catwoman, generating heat and danger.

The Batman focuses on the idea that choices have consequences, and responsibility must go beyond vengeance. In the end, Reeves aims for nobility in the final message. Batman embraces survival to transform. He will endure not for payback but to make the world a better place. He acknowledges that there will be people who will take advantage of Gotham’s vulnerability. But, for him, it must be about not dwelling solely in darkness. Whether this is an earned, uplifting coda or just pulling punches from the film’s true grit is left to the individual viewer. Either way, a forthcoming sequel will find a Batman with a higher purpose, continuing those steps into the light.

Rated PG-13, The Batman is now playing in local theaters.

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Haley Bennett and Peter Dinklage in a scene from the film. Photo courtesy of Metro-Goldwyn-Mayer/ Peter Mountain © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

By Jeffrey Sanzel

The works of prolific writer Edmond Rostand (1868-1918) included plays for legendary actor Sarah Bernhardt and Les Romanesques (1894), the inspiration for the musical The Fantasticks (1960). But his most enduring work is Cyrano de Bergerac (1897). Rostand based his drama on the life of French novelist, playwright, and duelist Savinien de Cyrano de Bergerac (1619-1655).

Haley Bennett as Roxanne and Kelvin Harrison Jr. as Christian in a scene from the film. Photo courtesy of Metro-Goldwyn-Mayer

In the play, nobleman Cyrano is a cadet in the French Army. Articulate and talented, bold and brash, Cyrano has an exceptionally large nose. His extraordinary proboscis prevents him from expressing his love for his beautiful cousin, Roxanne, fearing his ugliness would cause her to reject him. So instead, he aids the handsome Christian Neuvillette in his courtship of Roxanne.

The first production opened on December 27, 1897, and starred Benoît-Constant Coquelin, who went on to play the role over four hundred times. Subsequent productions were mounted across the globe.

The longest-running Broadway production starred Walter Hampden, in a translation by Brian Hooker; his adaptation became the standard until the 1980s. The best-known Cyrano was José Ferrer, who received a Tony and an Academy Award for his portrayal. Other stars and other translators have since put their enduring impression on the story. Anthony Burgess turned his 1970 adaptation into the libretto for the musical Cyrano (1973), for which Christopher Plummer won a Tony. Steve Martin’s modern screenplay Roxanne (1987) earned him accolades as a writer and actor. 

The story of the selfless soldier with the large nose and eloquent soul has touched audiences on stage and screen for over a century. The newest incarnation, the musical Cyrano, is directed by Joe Wright (Pride & Prejudice, Atonement, Anna Karenina, Darkest Hour, Pan) from a screenplay by Erica Schmidt, based on her 2018 stage adaptation for the off-Broadway production presented by The New Group. 

Haley Bennett stars as Roxanne and Peter Dinklage as Cyrano in Joe Wright’s
CYRANO
A Metro Goldwyn Mayer Pictures film
Photo credit: Peter Mountain
© 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Starring Peter Dinklage, the production features music by Aaron Dessner and Bryce Dessner (of the band The National). Rather than focusing on an exceptionally large nose, it is Dinklage’s diminutive size that sets him apart.

The plot of the Rostand remains, with Cyrano in love with Roxanne, but, afraid of rejection, he pours his heart and words into writing and coaching another man to win her heart: “I will make you eloquent while you make me handsome.” 

But the tone is dark and raw, set in a gritty world. The sense of unrest, of a country at war, permeates the entire film. From the opening scene to the last moments, the unease reflects the restlessness of the story’s protagonist. Instead of the Cyrano beloved of his fellow soldiers and connected in the community, Dinklage is a figure of isolation. 

With the absence of comradery, the loneliness creates a deeper poignancy. He says wryly, “I am living proof that God has a sick sense of humor.” But the depth of his pain is present. His yearning and struggle with unrequited love are heartbreaking, never too far from the surface. “My fate is to love her from afar.” Dinklage’s performance is nuanced, subtle, and honest.

However, taken as a whole, the film is uneven. The dialogue is a mix of occasional rhyming (that seems to disappear), genuinely eloquent free verse, and jarring anachronisms. Many classic speeches are gone, often feeling like Hamlet without “To be or not to be ….” The absence of Rostand’s whimsy and warmth are replaced with a harsher edge that serves some but not all the film. 

Humor is rare. Oddly, one of the first lines, delivered by Roxanne’s duenna Monica Dolan), is one of the lone quips: “Children need love; adults need money.” But these flashes are rare.

Haley Bennett’s Roxanne is not a fluttering ingenue but as self-actualized as a woman of the era could be. She is best when paired with Dinklage, especially in the pastry shop that neatly bookends their final encounter. Wright directed the first scene in sharp cuts emphasizing the dynamic relationship. 

Kelvin Harrison, Jr., makes for a likable, if too aware, Christian. Christian and Cyrano should be a study in contrast, with the former tongue-tied and awkward; he is never allowed to commit to the character’s social clumsiness. Ben Mendelsohn’s De Guiche is predatory, going from storybook villain to full-on monster. Bashir Salahuddin’s Le Bret is marginalized. Le Bret is meant to be Cyrano’s confidante and confessor; here, he is reduced to a few small scenes. 

Haley Bennett in a scene from ‘Cyrano’. Photo courtesy of MGM

But the largest flaw is the unnecessary and intrusive score. Sounding quasi-Broadway pop, it consistently detracts from the flow of both the action and the passion. Musical construction is designed to transition into song when the characters’ emotions become too large for dialogue. In Cyrano, it seems the opposite. The energy rises only to be arrested by generic tunes and painfully prosaic lyrics. 

Vocally, Harrison, Jr., has the strongest voice. Dinklage has a pleasant rumble, reminiscent of Leonard Cohen and Bennett is pleasant if unremarkable. An entire song is given over to the soldiers before battle. For some reason, the composers have opted for a Country-and-Western sound.

The designs are lavish, with a well-deserved costume Oscar nomination (Massimo Cantini Parrini and Jacqueline Durran). Jeff and Rick Kuperman’s choreography is intriguing if puzzling. The film is violent, with brutal sword fighting ending in death. Cyrano even sets fire to one of his attackers.

But ultimately, Cyrano belongs to Dinklage, and he shines. He says of Roxanne: “Even her imperfections are perfect.” The same could be said of Dinklage.

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

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'The Automat' will be screened on April 11.
Rosalind Harris (Tzeitel)

■ The long-anticipated spring Port Jefferson Documentary Series kicks off Feb. 28 with a screening of Fiddler’s Journey to the Big Screen at Theatre Three, 412 Main Street, Port Jefferson. Narrated by Jeff Goldblum, the film draws on behind-the-scenes footage of the making of Fiddler on the Roof with interviews and never-before-seen stills, capturing how this beloved musical made its triumphant, hazardous journey to the big screen and its unparalleled impact as a cultural force. Guest speaker via live Zoom will be Director Daniel Raim.

■ Up next on March 7 at Theatre Three is Youth v. Gov, the story of 21 young people, ages 13 to 19, from all over the nation and all walks of life who collectively sue the United States government for violating their constitutional rights by threatening their futures with the effects of climate change. Guest speaker will be Director Christi Cooper via live Zoom.

■ The season continues with Refuge, a story about fear and love in the American South, at Theatre Three on March 14. A leader in a white nationalist hate group finds healing from the people he once hated — a Muslim heart doctor and his town of refugees. Guest speakers via live Zoom will be directors Din Blankenship and Erin Bernhardt, and Chris Buckley and Heval Kelli, subjects in the film.

■ After a brief hiatus, The Automat will be screened at Theatre Three on April 11. Chock-full of rich archival footage of old Philadelphia and NYC, this everything-you-wanted-to-know-about-automats film is a lighthearted trip through the history of Horn & Hardart’s iconic and innovative eateries. Guest speaker will be Director Lisa Hurwitz.

■ a-ha, The Movie heads to Theatre Three on April 18. The music of Queen and the Velvet Underground instilled a sense of destiny in three teenagers living in a small town in 1970s Norway. That dream led to A-ha: the synth-pop trio featuring keyboardist Magne Furuholmen, vocalist Morten Harket, and guitarist Pål Waktaar-Savoy. Featuring new interviews with the band and previously unreleased behind-the-scenes footage. Guest speaker via live Zoom will be Director Thomas Robsahm.

■ Next up is Zero Gravity to be screened at John F. Kennedy Middle School, 200 Jayne Blvd., Port Jefferson Station on May 2. The documentary follows a diverse group of middle-school students from San Jose, CA, who compete in a nationwide tournament to code satellites aboard the International Space Station. Guest speaker via live Zoom will be Director Thomas Verrette.

■ Final documentary at Theatre Three on May 23 TBA.

*All screenings will be held at 7 p.m.

All tickets are $10 and are available online or at the event (cash only).  For more information or to purchase tickets, visit www.portjeffdocumentaryseries.com. The series is sponsored by Brightview Senior Living of Port Jefferson Station and Covati & Janhsen CPAS PC of Port Jefferson.

 

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A behind the scenes moment in the documentary with director Norman Jewison (right) and Chaim Topol in the role of Tevye on the set of Fiddler on the Roof.

By Melissa Arnold

The long-anticipated spring Port Jefferson Documentary Series kicks off Feb. 28 with Fiddler’s Journey to the Big Screen, a homage to the beloved movie musical.

There is something visceral about Fiddler on the Roof. Whether on stage or on screen, it has a way of gripping your emotions and stirring up memories like few other musicals can.

Based on the story Tevye the Dairyman by Sholem Aleichem, the original Broadway production of Fiddler on the Roof opened in 1964 and became the first musical to run for more than 3,000 performances. The epic, three-hour film adaptation came along in 1971, and quickly earned accolades as the highest-grossing movie of that year.

Rosalind Harris (Tzeitel)

Nearly 50 years later, filmmaker Daniel Raim set out to document all that he could about the film through the eyes of its cast and crew. Along the way, he explored what Jewish culture, faith and family ties mean to him in the present day.  

The finished product, “Fiddler’s Journey to the Big Screen,” is narrated by actor Jeff Goldblum and presented by Zeitgeist Films.

“I brought a lot of curiosity into my exploration of Fiddler on the Roof,” said Raim, who lives in Los Angeles. “It wasn’t just about what makes [director] Norman Jewison’s film so great, but what Norman Jewison’s personal and spiritual journey was like in the process of making it.”

Raim’s grandparents were Holocaust survivors, and his parents met in Israel, where he moved as a teenager. While there, he attended an art-focused high school and, upon graduation, began to make documentaries for the Israeli Defense Force during his required time of military service. He later returned to the United States and attended the American Film Institute.

As for Fiddler on the Roof, Raim recalled watching it for the first time at his grandparents’ house.

“My great-grandparents died in the Holocaust, and when I was watching Fiddler with my grandparents, a portrait of them hung on the wall. My great-grandfather was a kosher butcher and a rabbi, and my grandfather took me to synagogue and taught me about their values,’ he recalled. 

“I was so moved watching it with them — it felt like I was looking at a realistic portrait of Jewish life in Tsarist Russia in 1905, what life might have been like for my great-grandparents’ generation as they wrestled with changing times and anti-Semitism. I had a very specific connection to it and began to ask questions: Who am I? Where do I come from? How did my family live? It made it very meaningful to me.”

Ironically, director Norman Jewison wasn’t Jewish at all. Despite this, he had a deep desire from early childhood to learn more about Jewish culture, especially as he faced harassment because of his last name.

Neva Small (Chava)

It took Raim more than 10 years to complete the film as he traveled the world interviewing the cast and production team. The 88-minute documentary offers an intimate, heartfelt peek inside the memories and creative process of Chaim Topol (Tevye), Rosalind Harris (Tzeitel), Michele Marsh (Hodel) and Neva Small (Chava), among others. The film also includes behind-the-scenes footage and thoughts from production designer Robert F. Boyle, lyricist Sheldon Harnick and renowned composer John Williams.

Raim made a point of showing just how much effort and research went into developing the Fiddler film, so that it could be as authentic as possible. Norman Jewison and John Williams traveled to Israel for a research trip before production began, where Williams pored over Yiddish archives and music. In the documentary, Williams shares what he learned about different types of music that were meaningful in that era and culture, and about the importance of the fiddle in a musical and historical context. 

Similarly, producer Robert Boyle had to research what life was like in a shtetl, or small Jewish community. It was a difficult process, as the shtetls were targeted and destroyed during the Holocaust. Despite this, Boyle was able to faithfully recreate a Jewish painted synagogue based on the very little information he could find.

The attention to detail and commitment to authenticity is only part of what makes Fiddler on the Roof so enduring, Raim said.

“I think the appeal of the stories by Sholem Aleichem, up through the Broadway musical and the film, is that their themes and issues are universal — the breaking down of traditions, the relationships and tensions between family members,” he said. “Everyone can relate to it. You have these beautiful narratives with complex, fun characters, and it can be both joyous and heartbreaking. And then for Jewish audiences, it’s almost like an origin story that they can see themselves and their families in.”

While many in the film industry faced life-altering changes during the pandemic, Raim used his downtime as the final push to complete the documentary.

Michele Marsh (Hodel)

“At the start of the pandemic, I began to collaborate with Michael Sragow, who was the co-writer, co-producer and lead researcher, and producer Sasha Burman. The three of us worked together over Zoom during the lockdown. I thought, now is the time to pull out the juiciest archival footage and interviews I’d ever shot and start working on and shaping them. I really feel like thanks to the pandemic I could really focus on this film, and I was blessed to be able to continue filming original interviews in 2021.”

Production was completed this past December, making the Port Jefferson Documentary Series one of the first showings with an audience. 

The Port Jefferson Documentary Series began in 2006 with a group of friends around a dining room table. The series has since won the title of Best Film Festival on Long Island for six consecutive years.

“When I screen a film, I need to experience an emotional connection before I share it with my board members, and one doesn’t need to be Jewish to appreciate Fiddler on the Roof,” said Barbara Sverd, co-director of the twice-yearly Port Jefferson Documentary Series. 

“Why is it so successful? I think it’s because it’s about average, everyday people trying to make a living, trying to keep old traditions alive, trying to fit into an ever-changing world they may not understand and leaving the Old World behind for an unknown future. But its broader message is about hope, faith and acceptance,” she said.

“We are proud to present Fiddler’s Journey to the Big Screen as a sneak peek before its theatrical premiere and as a welcome back to our Long Island audience. It’s the first in our upcoming Spring Series, and we are thrilled to have director Daniel Raim as our guest speaker by Zoom.”

IF YOU GO:

Fiddler’s Journey to the Big Screen will be shown on Feb. 28 at Theatre Three, 412 Main Street, Port Jefferson at 7 p.m. A conversation with Daniel Raim via Zoom will follow, where audience members can ask questions and share their thoughts. All tickets are $10 and are available online or at the event (cash only). In accordance with Theatre Three’s policy, masks, vaccination cards and a photo ID are required to attend. For more information or to purchase tickets, visit www.portjeffdocumentaryseries.com. 

 

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Photo courtesy of Fathom Events

Lady Sings The Blues, the Academy Award®-nominated biopic of the incomparable Billie Holiday, returns to select theaters nationwide in celebration of its 50th anniversary on Feb. 20 and 23. From working as a housekeeper in a brothel to headlining at Carnegie Hall, the film follows Holiday’s legendary, groundbreaking career and her tragic death at age 44.

Filled with the greatest songs of the incomparable “Lady Day,” the film received five Academy Award® nominations, including Diana Ross for “Best Actress.” Starring opposite Ross are Billy Dee Williams and Richard Pryor. 

This special anniversary screening includes exclusive pre- and post-film commentary, presented by TCM Primetime Host Ben Mankiewicz.

Locally the film will be screened at Farmingdale Multiplex Cinemas on Feb. 20 at 3 p.m. and Feb. 23 at 7 p.m.; Island 16 Cinema de Lux in Holtsville on Feb. 20 at 3 p.m. and Feb. 23 at 7 p.m.; and AMC Stony Brook 17 at 7 p.m. on both days. To order tickets in advance, visit www.fathomevents.com.

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Jennifer Lopez and Owen Wilson in a scene from the film. Photo courtesy of Universal Pictures

By Jeffrey Sanzel

Romantic comedies cover a broad spectrum. Whether classics, such as It Happened One Night, The Philadelphia Story, or The Shop Around the Corner or contemporary favorites, like When Harry Met Sally, Four Weddings and a Funeral, and Love Actually, most viewers have their personal favorites. 

On the low end are unwatchable travesties, usually humorless and coarse (thank you, Holidates, for ruining an entire year’s worth of celebrations). The majority play somewhere between, floating in that B-/C+ range on the bell curve. They are watchable but by-the-numbers predictable or just fail to reach their potential. Marry Me, now playing in theatres and streaming on Peacock, is guilty of both. 

Singing superstar Katalina “Kat” Valdez (Jennifer Lopez) is poised to marry the younger Bastian (Maluma) in a spectacular event. The combination concert and ceremony will play to five thousand “guests” and twenty million watching from around the world. It will also unveil the titular duet. Just before she is about to enter and take her vows, an online news source posts video of Bastian carrying on with Kat’s assistant. After a speech about “love is a lie,” Kat selects an unwitting audience member to be her husband. He is math teacher Charlie Gilbert (Owen Wilson), who happens to be holding his daughter Lou’s (Chloe Coleman) “Marry Me” sign. He comes onstage, marries her, and the story begins. 

The premise is ridiculous, but there is an opportunity for both humor and insight if one embraces the idea. The opening shows preparations for a celebrity wedding in all its excess, both the over-the-top production and the media coverage. How much more interesting would the film have been to continue this path, emphasizing the misplaced values and the constant internet hype? Instead, the story becomes painfully predictable. 

Kat’s people convince Gilbert to continue in the faux marriage so she can “change the narrative.” Because he is such a good guy—the windbreaker is a dead giveaway—he agrees. But, of course, they fall in love. She takes him to openings; she teaches his mathalon students to dance. It is all precious and precocious. 

The supporting cast is reduced to ciphers, with Sarah Silverman playing Gilbert’s best friend, a school guidance counselor, who is the “kooky sidekick.” John Bradley (interesting in the execrable Moonfall) and Michelle Buteau play Kat’s considerate handlers. But they are given so little character, they function more to move things along, reminding Kat that she has a photoshoot or a plane to catch. The banality of their performances is no fault of theirs. Maluma, a gifted singer, is given the caricature Latin lothario. Coleman does well enough as Gilbert’s daughter, caught between divorced parents and trying to fit in her new school.

But the film’s sole reason is Lopez and Wilson, and, unfortunately, they seem uncomfortable much of the time. Lopez is saddled with the worst of it; she is the star who is lonely in the crowd. Lopez is a charismatic performer, which shines through when she is allowed to sing. Here, she engages fully, and these are the brighter spots. Wilson is trying to channel an everyman but just comes across as clueless (projected through his use of a flip phone). 

There is not so much a lack of chemistry as no fusion. Kat and Gilbert are quickly too comfortable yet remain distant, mouthing speeches that are a patchwork of cliches. It is as if someone has cut up Hallmark cards and pasted them together as a script. In this case, the someones are John Rogers, Tami Sagher, and Harper Dill, who penned the pedestrian screenplay (based on a graphic novel by Bobby Crosby). Director Kat Coiro fails to bring any originality or point of view.

Many obvious moments will either satisfy expectations or just annoy. The whimsical challenge: Kat will attempt to function without assistants; Gilbert will go on social media. (The arc lasts all of three minutes and then is forgotten.) The requisite surprise birthday gift:  A visit to a childhood amusement park. The romantic date:  They chaperone the school dance. The build-up to consummation: It might be the first time in fifty years that anyone has been inspired by Robert Goulet’s “If Ever I Would Leave You.” The final obstacles involve the Grammy Awards and the big math event, lacking stakes and tension. So much for conflict, contrast, and texture.

One of the major missed opportunities is mentioned in passing. Kat is “north of thirty-five.” Far more interesting would have been incorporating the fears of a not-young-star in a youth-centric culture. Lopez would have brought both depth and dimension to this element.

Ultimately, it comes down to what you want. If you hope for wit and originality, Marry Me does not deliver. But, if you can accept a bland if not unpleasant movie, there are worse ways to spend a couple of hours.

Rated PG-13, Marry Me is playing in local theaters and streaming on Peacock.

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Hallie Berry and Patrick Wilson in a scene from the film. Photo courtesy of Lionsgate

By Jeffrey Sanzel

Did you ever stop to think that the “disaster” in “disaster movie” could have two meanings? You’ll have plenty of time to contemplate this during the two-hour running time (one hundred and twenty minutes (twelve thousand seconds)) that Moonfall takes to grind through its machinations.

Roland Emmerich directed, co-wrote, and produced Moonfall. His other science-fiction films include Stargate (1994), Independence Day (1996), Godzilla (1998), The Day After Tomorrow (2004), and Independence Day: Resurgence (2016). So, Emmerich is the guilty party.

On a 2011 Space Shuttle mission, a mysterious black swarm kills an astronaut. A fellow crewmember, Brian Harper (Patrick Wilson), is accused of negligence, blamed for the death, and fired. The other crewmember, Jo Fowler (Halle Berry), was unconscious when the attack occurred. 

Fast forward ten years. Harper, now divorced, is on the verge of eviction from his seedy apartment. Fowler (also divorced) holds the position of NASA’s Deputy Director. Conspiracy theorist K.C. Houseman (John Bradley) discovers that the moon’s orbit has shifted, bringing it closer to the earth. Failing to get Harper to listen, he goes public on social media. “Moon panic” and looting ensue. A failed attempt to investigate the moon situation leads to the exposure of the black swarms that attacked ten years earlier.

A scene from ‘Moonfall.’ Photo courtesy of Lionsgate

An hour into the film, Harper, Fowler, and Houseman venture out on a space shuttle taken from a museum; they are off to save the world. Spoiler Alert. In a convoluted explanation, everything comes back to rogue Artificial Intelligence destroying a civilization that colonized earth. The moon is a megastructure built by the aliens. (A fun drinking game would involve imbibing on this oft-repeated word. If you don’t want to wait for the myriad recurrences, say it to yourself ten times before going to the movie and take a nap instead.)

Meanwhile, on earth, a subplot involves Harper’s semi-delinquent son, Sonny (Charlie Plummer), rescuing his mother (Carolina Bartczak) and her new family, as well as Fowler’s son. They are trying to get to a Colorado bunker where Fowler’s ex-husband (Eme Ikwuakor), an Air Force four-star general, is holed up with the keys to the about-to-be-released nuclear weapons. Sonny outdrives a tsunami in an amazing feat of auto-heroics, possibly the greatest plug in Lexus history. He is also involved with a preposterous rescue involving the moon’s gravity saving the day.

Science fiction movies have been built on less but have triumphed in style, special effects, and an appeal to a sense of wonder. Moonfall manages to tick no boxes. What is not CGI looks like cardboard models. The same is true for most of the performances. 

Academy Award-winner Halle Berry is truly an exceptional actor and rarely disappoints; here, the headline should be “Halle Berry Cashes a Paycheck.” Patrick Wilson usually does not lack charm, but he comes across as a low-rent Captain Kirk meets Hans Solo. 

John Bradley (best known for his role as Samwell Tarly in Game of Thrones)gives the most interesting performance as the backward Houseman (attached to his mother and his cat Fuzz Aldrin). But, today, something is disturbing in the conspiracy theorist as the voice of reason. Donald Sutherland’s minute-and-a-half of screen time is a minute-and-a-half of screen time. (Beneath Berry’s headline should be “So does Donald Sutherland.”) Often, the performances seem one beat away from Airplane. We wait for Wilson to turn to the other two and say, “And don’t call me Shirley.” Alas, he does not.

Movies like this can be entertaining. Unfortunately, Moonfall is not so much fun as unintentionally funny. With lines as painful as “I work for the American people,” “The sand on the hourglass is dropping quickly for all of us,” “I hope the moon holds together at least for a little while,” “I didn’t come this far to fail,” “I hate to tell you this, but we’re running out of time,” and (multiple times) “I’ve got a plan,” the script is cobbled together from The Big Book of Movie Cliches. A personal favorite is “If the earth gets a second chance, I think we deserve one too.” The pseudo-scientific jargon does not help the situation. 

Moonfall makes us yearn for the integrity of Georges Méliès’ A Trip to the Moon (1902), in which a cannon propelled capsule lands in the eye of an annoyed moon. 

No words can truly describe the Moonfall’s final moments. They must be seen to be believed. Or better, not. Among the film’s promotional taglines is “Earth … We have a problem.” Yup. With deep gravitas, Harper says, “Save the moon. Save the earth.” Perhaps it should have been, “Save your money.”

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

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From left, Matt McGorry, Mamoudou Athie and Dina Shihabi star in Archive 81. Photo from Netflix

By Jeffrey Sanzel

One of Netflix’s top ten most popular shows is the first season of the supernatural Archive 81. The twisty thriller runs parallel timelines that eventually entangle. Smart and well-plotted, the eight one-hour episodes deliver intriguing concepts in a literate, engaging storyline.

Based on the podcast of the same name, Archive 81 focuses on Daniel Turner (Mamoudou Athie, understated and riveting), an expert archivist for the Museum of the Moving Image in New York City, who is hired to restore fire-damaged twenty-five-year-old videos. The head of the shadowy LMG corporation, Virgil Davenport (folksy malevolence as played by Martin Donovan), ensconces Daniel in a remote compound to do the work. 

Mamoudou Athie as Daniel Turner in a scene from the series. Photo from Netflix

The found-footage video belonged to documentarian Melody Pendras (Dina Shihabi), who was writing her Ph.D. dissertation about an apartment building, The Visser. However, Melody’s prime goal was locating her birth mother, who had left her in a church as an infant. 

While Melody lived in the building and investigated, The Visser burned down, leaving thirteen people missing. As Daniel watches the tapes, he becomes obsessed with Melody. Additionally, he is suspicious of the coincidence of his own tragic childhood loss of his entire family in a fire. 

The expansive construction of Archive 81 allows for full portraits of the isolated Daniel and the determined Melody. Their pain and struggles are palpable and are a study in contrast. Melody ferociously seeks the truth, even if it puts her in danger. On the other hand, the damaged Daniel spends his life on the sidelines, not as a creator. Asked if he is a filmmaker, he responds, “No, I restore … films, tapes, photographs … things that have been damaged, lost, or forgotten … I bring them back.”

When Melody begins speaking to him in the tapes and then appearing in person, he questions his sanity. But gradually, both realize they are connecting across time and space, with the lines not so much dissolved as tangled. Time is out of joint in both minutes and years, conceptually playing into the commentary of lost spirits who do not know where to go. Ultimately, this poses the question: “Can the present haunt the past?”

Creator Rebecca Sonnenshine (with four other writers and four directors) has crafted inventive mythology, well-developed characters, and clear and differing styles for 1994 and 2019. The driving force is the building and its occupants. 

Harkening to Rosemary’s Baby, the denizens of the Visser are a strange bunch, harboring secrets and holding clandestine meetings in the community room. But this is to be expected in a story that deals with covens, satanic cults, human sacrifices, and a god-demon named Kalego. 

Add to this spirit receivers, lost television tapes, a Hollywood connection, and drug addiction, Archive 81 boasts a complicated but not convoluted plot. The emotional investment is appropriately life-and-death, with the revelations smartly unveiled. 

The acting is solid, with Athie and Shihabi anchoring the narrative. Matt McGorry is excellent as Daniel’s friend and confidant Mark who runs the paranormal podcast Mystery Signals. McGorry mines the role for dimension, raising it above the stereotypical sidekick. Julia Chan just avoids caricature as Melody’s aggressive artist roommate, Anabelle. Ariana Neal’s Jessica is a likable, off-beat teen groomed for darker purposes. Evan Jonigkeit is wholly believable as Samuel, the most welcoming of The Visser’s residents. If Kristin Griffith and Kate Eastman are two of the more over-the-top tenants, Sol Miranda’s fortuneteller/medium makes a difficult scene soar.

There is little gore, and the handful of jump-out scares are well-earned. Unfortunately, the special effects are not as high-end as the series warrants, landing more functional than impressive.

Oddly, in the penultimate episode, Archive 81 loses tension as it is filled predominantly with straightforward flashbacks of the 1924 origin of the cult. The explanations deflate the existential dread, and its linear style is far less interesting than the early, more peripatetic entries. Clarification seems to diffuse the energy. The final moment sets up for at least a future season, if not seasons.

Archive 81 is an enigmatic fast-paced story grounded in riddles and played for high stakes. And what more could you ask for in a binge-watch? The series is now streaming on Netflix.

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