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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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Pierce Brosnan and Kaya Scodelario in a scene from the film. Photo courtesy of Gravitas Ventures
Fan Bingbing and Kaya Scodelario in a scene from the film. Photo courtesy of Gravitas Ventures
William Hurt in the role of Père La Chaise. Photo courtesy of Gravitas Ventures

By Jeffrey Sanzel

Vonda N. McIntyre’s The Moon and the Sun (1997) blended science fiction and historical romance. The novel won the Nebula Award for Best Novel, besting George R. R. Martin’s A Game of Thrones. Among the book’s other accolades were a Publishers Weekly Best Book Award, Locus Recommended Book, and Intergalactic Award for Best Novel. Set in the seventeenth-century French court of King Louis XIV, the story follows the longest-reigning monarch’s search for immortality by ingesting an endangered sea monster’s flesh.

Talk of a movie version can be traced back to 2002, with Natalie Portman attached as the lead. But the film failed to be greenlit. Eventually, The Moon and the Sun was filmed in 2014, set for a 2015 release date, but the film remained on the shelf for nearly seven years. Various reasons have been proffered, including test audiences’ less than positive reaction to the visual effects and a tax evasion scandal involving the film’s mermaid, Fan Bingbing, China’s highest-paid female star. The film has finally been released under the title The King’s Daughter.

It has taken a quarter of a century for The Moon and the Sun to land on the big screen. But sadly, one suspects that this is not what McIntyre had in mind.

Choosing Julie Andrews as narrator probably seemed like a good idea on paper, but the once-upon-a-time illustrated prologue along with Andrews’ unique warmth and whimsy point towards Disney’s Beauty and the Beast. Unfortunately, the child-friendly prologue presents the wrong signals for what is—or at least should be—a darker tale.

The opening convent scene features Rachel Griffiths as the Mother Abbess channeling The Sound of Music as she disciplines Marie-Josèphe (Kaya Scodelario) for being too … well, too Maria von Trapp. The Abbess’ departing shot to the girl is that she is going “to a lavish, glimmering hell … where you no doubt will thrive.” If only. 

The court seems to be short on courtiers. Outside of a scene of the king (Pierce Brosnan) addressing what looks like the peasants from a road company operetta, the population of Versailles seems to be on holiday. Perhaps they are off buying some of the strangely non-period dresses that occasionally pop up in the oddest places.

Quickly, with very little explanation other than a gift for music, she is whisked away to the court by the king’s personal confessor, Père La Chaise (William Hurt). Louis quickly elevates the feisty lass to court composer. 

Meanwhile, sailor Yves De La Croix (Benjamin Walker) has found the sea creature (Bingbing). The villainous court doctor (Pablo Schreiber) has promised the monster’s heart and life force will grant the king eternal life. The mermaid must be sacrificed during the upcoming solar eclipse. 

Louis shows particular interest in Marie-Josèphe, as she is his illegitimate daughter, spawning some of the most uncomfortable parent-child scenes ever found outside of the plays of Eugene O’Neill. 

The mermaid’s singing draws Marie-Josèphe to the pool in which the creature is imprisoned. The musician uses the siren’s pinging vocalizations to inspire her composition, meeting the king’s immediate approval. In addition, the girl falls for the sailor. However, as the court is in dire financial straits, Louis wants Marie-Josèphe to marry the wealthy merchant-heir Jean-Michel Lintillac (Ben-Lloyd Hughes).

Barry Berman and James Schamus have taken a range of liberties with the source in fashioning their clumsy screenplay. Director Sean McNamara’s lack of nuance does nothing to enhance the performances. Teeth-grinding earnestness fills every line; emotion is replaced by slow motion. Brosnan is always charming and could have excelled in the role, but the writers could not commit to what they wanted their Sun King to be. His relationship with Hurt’s priest seems like lifted from a buddy movie. Scodelario alternates between pleasantly upbeat (though occasionally a bit rom-com) and crying.

Films of this ilk can be saved by style-over-substance. Lady-in-waiting Magali (Crystal Clarke) tells Marie-Josèphe that “color and bravado are the order of the day.” Again, if only. The filmmakers were granted access to shoot at Versailles. Somehow, they made the spectacular palace look cheap—as if shot in the producers’ Hampton’s backyard.

 The royal ball in the Hall of Mirrors is a missed opportunity to showcase excess and opulence, further ruined by an excruciating father-daughter dance. The underground cave where they keep the mermaid is quasi-Pirates of the Caribbean (not the film—the ride). The special effects seem generated on an ancient laptop, with the final sequence particularly appalling. 

After dithering about souls and morality, the final platitude is “only love is immortal.” Yes. But clear storytelling and character development can be nice, too.

Rated PG, The King’s Daughter is now playing in local theaters.

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A scene from 'Homecoming: The Story of African American Farmers.' Photo courtesy of CAC

The Cinema Arts Centre in Huntington will present a free special online screening of Homecoming: The Story of African American Farmers on Wednesday,  Jan. 26 at 7 p.m.

The final program of its LI AgriCULTURE series, the event will include a discussion with the film’s director, Charlene Gilbert.

In 1920 there were hundreds of thousands of black farmers in America; in 1999 there were fewer than 18,000. Filmmaker Charlene Gilbert travelled to Georgia, the place she calls home, where her cousin still farms the family’s land. Gilbert recounts her family history while she investigates the social and political implications of the decline of black farming, and explores the bittersweet legacy of the land, a symbol of both struggle and survival.

Homecoming paints a picture of the courageous journey of black farmers who started as freed slaves after the Civil War. By 1910, there were 200,000 African American farmers who had bought land, a staggering number considering the poverty and discrimination they faced. However, the Supreme Court’s 1954 decision on Brown v. Board of Education polarized the whole country. Its impact in the South went far beyond the classroom; many farmers who needed credit found they suddenly couldn’t get it, a process known as “red-lining.”

Gilbert unearths footage of U.S. government farm bureaucrats paying lip service to black farmers. A 1964 study of the Department of Agriculture under the Johnson administration found that there had been discrimination against African Americans in every level of the agency. Homecoming explores the spiritual and symbolic meaning of land for black farmers in America.

This program is presented in partnership with Choose LI and the Suffolk County Department of Economic Development and Planning, and made possible with support from the Long Island Community Foundation.

A link to view the film and an invitation to join the discussion and Q&A  will be provided in your email order confirmation after you RSVP at www.cinemaartscentre.org.

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Jenna Ortega in a scene from 'Scream.' Photo from Paramount Pictures

By Jeffrey Sanzel

The horror and comedy genres have always been an uneasy mixture. Early examples show a clumsy and ultimately juvenile mix, fodder for the preteen matinee crowd. The most obvious examples include the Abbott and Costello/Universal outings where the duo clashed with a rogue’s gallery of baddies from Frankenstein’s monster to Dr. Jekyll and Mr. Hyde.

Jenna Ortega with Ghostface
in a scene from ‘Scream.’ Photo by Brownie Harris/Paramount Pictures

Horror films shifted with the aggressively cold Hammer films and then found a reemergence in the late 60s into the 70s. Rosemary’s Baby (1968) ushered in an era of grudging respect for cinematic terror. The genre reached its peak with John Carpenter’s near-perfect Halloween (1978). Any humor found in these works was incidental and subtle. Wes Craven’s A Nightmare on Elm Street (1984) introduced elements of dark comedy. (As the series deteriorated, serial killer Freddy Krueger descended to the level of a quippy late-night TV host, rather than the rooted evil in which he was forged.) 

Kevin Williamson’s screenplay for Scream (1996), directed by Craven, successfully blended horror and humor. Scream and its franchise are rooted in a meta-view of the clichés acknowledging the classic tropes. The first Scream movie was clever, brilliantly tense, and genuinely funny; its opening scene (featuring Drew Barrymore) is horrifyingly smart. The characters’ awareness of the rules of the slasher film informed their perceptions.

Three sequels followed with the cleverest element: the introduction of the film-within-a-film, Stab (and its sequels), taking self-awareness to another degree. While not completely deteriorating like most films followed by a number, the quality, insight, and thrills were less.

The newest incarnation, returning to the original title, Scream, continues where Scream 4 ended. Matt Bettinelli-Olpin and Tyler Gillett have taken the directorial reigns (Craven having passed away in 2015), working from a script by James Vanderbilt and Guy Busick. Though attempting to dodge a numerical appellation, this is Scream 5 and a standard slasher:

Group of teenagers in various generic relationships. Check.

Some connection to past storylines. Check.

Cameos of expendable characters from earlier films. Check.

Excessive violence and blood. Check.

People being brutalized but managing to not be in too much pain. Check.

Legacy characters appearing as Deus ex machina. Check.

At one point, the writers have given the “expert” a speech about “requels.” These are the films that are neither sequels nor reboots but some hybrid. Whether this is clever or justifying the new Scream is hard to say.

The story occurs twenty-five years after the Loomis-Macher murder spree in Woodboro. The first scene shares DNA with the opening of the original. While on the phone with the killer, terrified high school student Tara Carpenter (Jenna Ortega) must answer questions about the Stab franchise, or her friend will be murdered. Ghostface is actually in the Carpenter home and stabs Tara seven times (though the girl survives).

Ghostface
in a scene from ‘Scream.’
Photo from Paramount Pictures

The attack is a ploy to get Tara’s estranged sister, Sam (Melissa Barrera), to return. Joined by her attentive if slightly uniformed boyfriend, Richie (Jack Quaid), Sam quickly reveals her connection to one of the original killers. She and Richie recruit the dissipated former sheriff Dewey Riley (David Arquette). Ghostface continues his attacks, and the teenagers spout quips, referencing the horror movie rules. Running in the background is the release of a much-maligned Stab 8.

The jump scares are plentiful, predictable, and pedestrian, lacking a sense of danger, either on-screen (or in the audience). Even though there is a sadistic killer in their midst, the town strangely takes it as business-as-usual.

Just before the halfway mark, Sydney Prescott (Never Campbell) and Gale Weathers (Courtney Cox) show up to join the hunt for the killer. The old gang is back together. The most painful, excruciating moment has nothing to do with knives: The reunion of the now divorced Dewy and Gale manages to be both under- and over-written simultaneously. 

Throughout, nods to other horror films include the dangerous hospital (Halloween 2) and the shower scene (Psycho). A character named Wes and an Elm Street memorialize Craven. A vague analysis of toxic fandom is important but not fully realized. A lack of texture and a plethora of stiff dialogue keep the film at a distance.

Even with the return of Arquette, Campbell, and Cox, the film fails to ignite. The new cast members do their best, each suspecting the other of being the killer. Even saddled with excessive exposition, Barrera and Ortega make for self-actualized Scream Queens.

There are definite flashes of wit and enormous meta potential. But clichés are sometimes just that: clichés. And, with all the blood, Scream is the hardest to watch when trying to be noble and sincere.

Whether a sequel, a reboot, or a “requel,” Scream is more of a whimper. And just as in the movie’s world where there will be a Stab 9, we can expect a Scream 2. Or 6. Number it as you will.

Rated R, Scream is now playing in local theaters.

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A CLASSICAL EVENING The award-winning Emerson Quartet (from left, Paul Watkins, Eugene Drucker, Philip Setzer and Lawrence Dutton) heads to the Staller Center on Jan. 26. Photo from Staller Center
Thursday January 20

Theater Talk

Northport Public Library, 151 Laurel Ave., Northport presents a program titled New Hollywood— American New Wave Cinema of the 1970s at 7 p.m. The 1970s brought some of the most momentous films and filmmakers of all time. Historian Greg Blank will explore directors and their films, including Francis Ford Coppola’s The Godfather, Steven Spielberg’s Jaws, and George Lucas’ Star Wars. To register, call 261-6930.

Friday January 21

Friday Night Face-Off – Update: This event has been canceled.

Join Theatre Three, 412 Main St., Port Jefferson for Friday Night Face-Off, Long Island’s longest running improv comedy show, tonight at 10:30 p.m. on the Second Stage. For ages 16 and up. $15 cash at the door. Call 928-9100 for more information.

Saturday January 22

Maple Sugaring Day

Join the staff at Caumsett State Historic Park Preserve, 25 Lloyd Harbor Road, Huntington for a Maple Sugaring program from 11 a.m. to 1 p.m. This interactive program for adults will teach you how to identify and tap a maple tree so you can make real maple syrup at home. You will also learn the cultural, historical, economical, and scientific background of this uniquely American craft. Very short-walk. $4 per person. Advance reservations required by calling 423-1770.

Sunday January 23

The Golden Age of Broadway

Join Celebrate St. James for a program titled The Golden Age of Broadway with Jack Ader at the St. James Community Cultural Arts Center, 176 Second St., St. James at 1 p.m. Enjoy a video presentation of interviews with some of the stars during the golden age of Broadway along with anecdotes of Ader’s own personal experiences. Donation $20/ $15 seniors. To register, call 984-0201 or visit www.celebratestjames.org.

Monday January 24

No events listed for this day.

Tuesday January 25

Medicine Collection

The Northport Police Department and the Suffolk County Sheriff’s Office will collect unused or expired prescription and over-the-counter medications in pill form only at the Northport Public Library, 151 Laurel Ave, Northport and the East Northport Public Library, 185 Larkfield Road, East Northport from 3:30 to 6:30 p.m. No questions asked. Call 261-6930.

Wednesday January 26

Cinema at the Library

Northport Public Library continues its Cinema at the Library series tonight at 6:30 p.m. Join Cinema Arts Centre co-director Dylan Skolnick for a viewing and discussion of The French Dispatch (rated R). The plot follows three very different storylines as the French outpost of the fictional Evening Sun newspaper creates its final issue. Registration required by calling 261-6930.

Emerson Quartet in concert 

Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook presents the award-winning Emerson String Quartet in concert in the Recital Hall at 7 p.m. The program will include String Quartet #2 by Walton, Quartet #1 by Bartok and Quartet #3 by Shostakovich. Tickets range from $52 to $60. To order, call 632-2787 or visit www.stallercenter.com.

Atelier Art Talk – Update: This event has been moved to February 2

The Atelier at Flowerfield in St. James presents an online lecture titled Noctures: A Brief History Art of the Night Sky from 7 to 8:30 p.m. Join instructor Randall DiGiuseppe in exploring different artists and landmark works from the Paleolithic Age to modern times and how our ever-evolving understanding of the night sky has influenced art. Free. To register, visit www.theatelieratflowerfield.org.

Thursday January 27

Native American Drumming

All Souls Church of Stony Brook hosts a Native American Drumming Meditation program at its Parish House, 10 Mill Pond Road, tonight from 7 to 8:45 p.m. Led by elder drummer Ric Statler, the meditation seeks to integrate the physical, mental, emotional and spiritual parts of the human self, creating a state of well-being. Call 655-7798 for more information.

Film

‘Homecoming: A Story of African American Farmers’

The Cinema Arts Centre will present a free online screening of Homecoming: A Story of African American Farmers via Zoom on Jan. 26 at 7 p.m. On Long Island there were once numerous Black-owned farms stretching from Queens to the East End. During the 19th and early 20th centuries, Black Long Islanders established farms in and around the communities of Sag Harbor, Manhasset, New Cassel, Roslyn Heights, Amityville, Glen Cove, Setauket, Bridgehampton, as well as many others. The screening will be followed by a live discussion and Q&A with director Charlene Gilbert. Free. To register, visit www.cinemaartscentre.org.

Theater

Ken Ludwig’s ‘Baskerville’

A scene from ‘Baskerville.’ Photo by Brian Hoerger

The play is afoot! Theatre Three, 412 Main St., Port Jefferson presents Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery from Jan. 8 to Feb. 5. The play is afoot! Comedic genius Ken Ludwig transforms Arthur Conan Doyle’s classic The Hound of the Baskervilles into a murderously funny adventure. Sherlock Holmes is on the case. The Baskerville heirs have been dispatched one by one and, to find their ingenious killer, Holmes and Watson must brave the desolate moors before a family curse dooms its newest descendant. Watch as the intrepid investigators try to escape a dizzying web of clues, silly accents, disguises, and deceit as five actors deftly portray more than forty characters. Tickets are $35 adults, $28 seniors and students $20 children ages 5 to 12. To order, call 928-9100 or visit www.theatrethree.com. 

‘Rock of Ages’

The John W. Engeman Theater, 250 Main St., Northport presents Rock of Ages from Jan. 27 to March 13. The five-time Tony Award®-nominated Broadway musical smash tells the story of a small-town girl, a city boy, and a rock ‘n’ roll romance on the Sunset Strip. But when the bar where rock reigns supreme is set to be demolished, it’s up to these wannabe rockers and their band of friends to save the day — and the music. Rock of Ages’ electric score features all your favorite ’80s rock anthems and power ballads, including “Every Rose has its Thorn,” “I Wanna Know What Love is,” Here I Go Again,” “Don’t Stop Believin’,” and more! Tickets range from $75 to $80 with free valet parking. To order, call 261-2900 or visit www.engemantheater.com.

‘The Marvelous Wonderettes’

Theatre Three, 412 Main St., Port Jefferson presents The Marvelous Wonderettes from Feb. 19 to March 26. This blast-from-the-past musical takes you to the 1958 Springfield High School prom, where we meet Betty Jean, Cindy Lou, Missy, and Suzy, four girls with hopes and dreams as big as their crinoline skirts! Featuring over two dozen classic ’50’s and ’60’s hits including “Lollipop,” “Dream Lover,” “Wedding Bell Blues,” and “Son of a Preacher Man.” Tickets are $35 adults, $28 seniors and students, $20 children ages 5 and older. To order, call 928-9100 or visit www.theatrethree.com.

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Celebrate Valentine's Day with a screening of 'Casablanca' at the Cinema Arts Centre.

“Of all the gin joints in all the towns in all the world, she walks into mine.”

In honor of its 80th anniversary, Casablanca returns to select cinemas nationwide on Sunday, Jan. 23 and Wednesday, Jan. 27, courtesy of Fathom Events and Turner Classic Movies and Warner Brothers. 

Rick Blaine (Humphrey Bogart) owns a nightclub in Vichy-controlled Casablanca, frequented by refugees desperate to escape German domination. Despite the ever-present human misery, Rick manages to remain uninvolved in World War II now raging across Europe and Northern Africa. But all that changes when his lost love Ilsa Lund (Ingrid Bergman) walks through the front door of Rick’s club. Rick must now choose between a life with the woman he loves and becoming the hero that both she and the world need.

The film won an Oscar for Best Picture, Best Director (Michael Curtiz) and Best Screenplay (Julius J. Epstein, Philip G. Epstein and Howard Koch) and received Academy Award nominations for Best Actor in a Leading Role (Humphrey Bogart); Best Actor in a Supporting Role (Claude Rains); Best Cinematography, Black-and-White; Best Film Editing; and Best Music, Scoring of a Dramatic or Comedy Picture.

This special event includes exclusive insights from Ben Mankiewicz, host of Turner Classic Movies.

Locally the film will be screened at the AMC Stony Brook 17 on Jan. 23 at  7:30 p.m. and on Jan. 26 at 7 p.m.; Island 16 Cinema De Lux in Holtsville on Jan. 23 at 4:30 p.m. and on Jan. 26 at 4 p.m. and 7 pm.; and Farmingdale Multiplex on Jan. 23 at 4:30 p.m. and Jan 26 at 4 p.m. and 7 p.m. To order tickets in advance, visit www.fathomevents.com.

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Do you know a lot about movies? Then join the Cinema Arts Centre in Huntington for Movie Trivia Night: At Home Edition on Monday, Jan. 3 at 8 p.m. hosted by Daniel French. Tickets are $10, $7 members. To sign up, visit www.cinemaartscentre.org.

How do I play? 
It’s simple! When you purchase your ticket, you will provide a valid email address for admission. This email address will receive a Zoom meeting code and password.
What do I need to play? 
You will need two electronic devices – preferably a computer/laptop/iPad and a smartphone. We will use the computer to stream the trivia over Zoom and we will use the smart phone to answer the questions (using the program AHASlides). This will be explained in more details when we get going, but for now, please know that you will need two devices to play.
Who can I play with?
Your ticket of $10 ($7 Members) gets your team access to Trivia. Your team will consist of whomever you are physically with right now. We will not be able to combine efforts with people you are not physically with. If you would want to play against the people you are with, that’s allowed as well.
What do I get if I win?
Well, we’re all winners when we play trivia and now you get to support the Cinema Arts Centre that you know and love. But in a more real way, the winning team will get up to four (4) CAC Gift Cards (1 Per Team Member) and bragging rights!
Is this anything like the monthly trivia?
Yes and no. Yes in that it is trivia hosted by Daniel French. No in that it will be structured a bit differently and will not have any other links to the monthly trivia (no sneak peeks, tournament of champions, etc.).
For any questions please email Daniel French at [email protected]
Sign up here.

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A scene from 'Elf'

Comsewogue Public Library, 170 Terryville Road, Port Jefferson Station will screen a series of holiday movies from Dec. 27 to Dec. 30 at 2 p.m. Join them for Elf on Dec. 27, National Lampoon’s Christmas Vacation on Dec. 28, It’s a Wonderful Life on Dec. 29 and Miracle on 34th Street on Dec. 30. Open to all. Advance registration is required as seating is limited. To register, visit www.cplib.org or call 928-1212.

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In honor of its 40th anniversary, On Golden Pond returns to select theaters nationwide for a special limited engagement on Sunday, Dec. 12 and Wednesday, Dec. 15, courtesy of Fathom Events, Turner Classic Movies and Universal Pictures.

Henry Fonda and Katharine Hepburn in a scene from the film. Photo courtesy of Fathom Events

Cantankerous retiree Norman Thayer (Henry Fonda in his final film) and his conciliatory wife, Ethel (Katharine Hepburn), spend summers at their New England vacation home on the shores of idyllic Golden Pond. This year, their adult daughter, Chelsea (Jane Fonda), visits with her new fiancée (Dabney Coleman) and his teenage son, Billy (Doug McKeon) on their way to Europe. After leaving Billy behind to bond with Norman, Chelsea returns, attempting to repair the long-strained relationship with her aging father before it’s too late.

Directed by Mark Rydell, On Golden Pond (1981) was nominated for 10 Academy Awards, including best picture. Both Hepburn and Henry Fonda won Oscars for their performances, as did playwright/screenwriter Ernest Thompson. Dave Grusin’s beautiful score also received a well-deserved nomination.

The special screening includes exclusive insights from TCM host Ben Mankiewicz. Running time is 2 hours.

Locally, the film will be screened at AMC Stony Brook 17, 2196 Nesconset Highway, Stony Brook on Dec. 12 at 3 p.m. and 7 p.m.; at Island 16 Cinema de Lux, 185 Morris Ave., Holtsville on Dec. 12 at 3 p.m. and Dec. 15 at 7 p.m.; and Farmingdale Multiplex Cinemas, 1001 Broadhollow Road, Farmingdale on Dec. 15 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.

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A scene from Disney's 'Encanto'. Photo courtesy of Walt Disney Animation Studios

Reviewed by Jeffrey Sanzel

The question of “What is a gift?” is the driving force of Disney’s 60th feature film, Encanto. Set in the mountains of Columbia, in an unspecified “once upon a time,” Encanto is one of Disney’s finest and most sophisticated animated musicals. Exquisitely directed by Byron Howard and Jared Bush (with a screenplay by Bush and Charise Castro Smith), this is a memorable story of family and responsibility.

Fleeing from marauding conquerors, Alma Madrigal loses her husband, Pedro, but saves her infant triplets. An “Encanto” is a charm; here, the spell is in a candle. The magical force of the candle creates the “casita”—a magic home for Alma and her children.

A scene from Disney’s ‘Encanto’. Photo courtesy of Walt Disney Animation Studios

The Encanto blesses each member of the Madrigal family with a special power. Together, these “gifts” help maintain the community. But what happens when that gift brings visions no one wants to know? Or, even more challenging, when a child seemingly has no gift at all? The latter is the case with granddaughter Mirabel, the heart of the narrative and, ultimately, the center and savior of family and village.

Mirabel is a quirky, frustrated young woman; smart and articulate but under-appreciated. Her mother, aunt, sister, and cousins outshine her with their showy skills. Julieta, Mirabel’s mother, heals any ailment with food. Gorgeous Isabela, Mirabel’s oldest sister, is considered perfect and makes flowers bloom. Just behind Isabela is Louisa, a girl of Herculean strength. Aunt Carolina’s emotions control the weather; she is often followed by her own cloud hovering over her head. Cousin Adassa has unparalleled hearing. Cousin Rhenzy is a shapeshifter, taking on the appearance of anyone he meets. Cousin Ravi-Cabot communicates with animals. 

While seemingly wonderful, these powers carry burdens as well, shared in often hilarious and telling ways.

The action goes into gear on the day Cousin Ravi-Cabot is to receive his gift. Mirabel, his favorite cousin, gives him the strength to face whatever is to come his way. While everyone is celebrating, Mirabel sees the house beginning to crack and the candle in danger of being snuffed. Her alarm is revealed to be a vision, but most do not—or choose not—to believe her. She embarks on a quest to solve the danger, encountering her Uncle Bruno, who had disappeared after his prognostications were met with resistance. 

With the knowledge gathered from Bruno, Mirabel understands her course and the dangers it includes.

Encanto is emotionally complicated and avoids preciousness. There is humor and plenty of magic, but the lessons it imparts are genuine. 

A scene from Disney’s ‘Encanto’. Photo courtesy of Walt Disney Animation Studios

Encanto is perhaps the least saccharine of any Disney film. Visually, the film is extraordinary, exploding with color and action. The house itself is a dynamic character, with its communicating tiles, floorboards that deliver slippers, and an alarm clock that nudges the householders to move along. 

The characters are charmingly animated, simultaneously broad and subtle. But, in the end, the film’s imparting is the all-important message that gifts do not have to be flashy and that miracles come from belief, perseverance, and love. The film never loses sight of these morals.

The vocal talent is exceptional. Stephanie Beatriz’s Mirabel is tremendous, portraying a struggling soul, imbuing her with perfect comedic timing and profound humanity. John Leguizamo’s Uncle Bruno uses twitchy antics to very slightly mask the character’s underlying sadness. Diane Guerrero’s seemingly vain Isabela finds new shades in her transformation. 

In Luisa, Jessica Darrow shows the drain of never complaining. And Maria Cecilia Botero raises the grandmother above caricature, finding depth and pain in the matriarch who comes to terms with her misplaced iron will. (Many of the actors will be voicing the Spanish language version as well.)

Hamilton/In the Heights’ Lin-Manuel Miranda has fashioned a serviceable and pleasant score, but the film stands on its own. An attempt to introduce the roster in “The Family Madrigal” doesn’t quite succeed but establishes the world in which the tale occurs. The strongest numbers are “Dos Orguitas,” a haunting tune sung in Spanish, and the joyous finale “All of You.” 

Preceding Encanto is Far From the Tree, a wordless short about a raccoon parent protecting its child with tough love. While simple and traditionally animated, the two pieces share how families relate and the deep-rooted desire to protect. They are perfect compliments, sharing overlapping cores, with Far From the Tree delicate and Encanto spark and sparkle.

In the end, Encanto teaches not just acceptance within a family but how family and community come together. These are big concepts, and younger viewers might not get them the first time. But like the best of family features—The Toy Story series, Coco, etc.—Encanto will be one that children will return to as they grow. 

And that said, there is much for everyone to relish in this beautiful and beautifully told tale

Rated PG, Encanto is now playing in local theaters.

 

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