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'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.

Photos courtesy of Independent Lens

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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 on Feb. 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. 

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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.

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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.”

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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.

VIEW TRAILER HERE 

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.

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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.

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Town of Smithtown Sensory-Friendly Movie Night on Dec. 14
Town of Smithtown Sensory-Friendly Movie Night on Dec. 14
Town of Smithtown Sensory-Friendly Movie Night on Dec. 14
Town of Smithtown Sensory-Friendly Movie Night on Dec. 14
Town of Smithtown Sensory-Friendly Movie Night on Dec. 14
Town of Smithtown Sensory-Friendly Movie Night on Dec. 14
Town of Smithtown Sensory-Friendly Movie Night on Dec. 14

The Town of Smithtown Disability Advisory Board hosted a sensory-friendly movie night on December 14, providing an inclusive and welcoming experience for over 100 Smithtown residents. Designed for individuals with sensory sensitivities and their families, the event featured a screening of Moana 2 in a relaxed and accommodating environment.

“The success of our sensory-friendly movie night speaks to the importance of fostering events that create opportunities for all residents to feel welcome and comfortable … This is just the beginning, and we look forward to hosting more events that bring families and the community together,” said Councilwoman Lisa Inzerillo.

Attendees enjoyed the movie with lowered sound, adjusted lighting, and on-screen captions, ensuring a comfortable experience for all. Each participant enjoyed popcorn, beverage, and a sensory bag filled with tactile and fidget items to encourage sensory stimulation, focus, and relaxation.

Feedback from attendees was overwhelmingly positive, with families expressing gratitude for the inclusive event and excitement for future programming. Attendees asked about planning a future event. The common sentiment shared by participants, reflects the success and importance of such community-centered initiatives.

The Disability Advisory Board members, who were present to welcome families and ensure a smooth event, were thrilled to see the joy and engagement of residents. The Board’s mission is to promote inclusion, accessibility, and a supportive environment for all individuals throughout the Town of Smithtown.

Disability Advisory Board Members:

  • Councilwoman Lisa Inzerillo
  • Cynthia Grimley
  • Lisa Camastro
  • Alyssa Connell
  • Alex Rupp
  • Christopher Peterson
  • Chris O’Connor
  • Mary Greco

The Town of Smithtown Disability Advisory Board remains committed to creating events and programs that prioritize accessibility, awareness, and inclusion for individuals with disabilities.

For more information on upcoming events or the Disability Advisory Board, please visit the Town of Smithtown’s website or email: [email protected]

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Reviewed by Jeffrey Sanzel

In the wake of Black Friday and sliding headlong into the Buying Season, Netflix is streaming Buy Now: The Shopping Conspiracy. Written and directed by Nic Stacey, the 84-minute documentary reminds us that corporations are for profit, not for humanity. 

The voice of Sasha, a computerized personal assistant, guides the viewer through five rules of profit maximization: Sell More, Waste More, Lie More, Hide More, and Control More. Presented as a video tutorial, Sasha promises success to those who follow the guidelines. (The Sasha gimmick is effective but might grate on some. Her voice is reminiscent of 2001: A Space Odyssey’s HAL smoothly saying, “I’m sorry, Dave. I’m afraid I can’t do that.”) 

A scene from ‘Buy Now’. Photo courtesy of Netflix

Under attack are the usual suspects. Amazon, Apple, Adidas, and the clothing industry at large (Gap, H&M, Shein, etc.) represent the major culprits. Marketing products that are single-use or have built-in obsolescence drive profits. Worse, companies rarely consider the end-of-life of objects. The film puts a great deal of focus on the environmental carnage of landfills and burnings. It is not litter. It is hazardous waste. 

Statistics are a large part of Buy Now’s attack: 68,733 phones produced per hour, 190,000 garments produced each minute, and 12 tons of plastic produced each second. According to the Or Foundation, a not-for-profit trying to reduce textile waste, more than 15 million unwanted clothes are sent to Ghana—one of the world’s largest importers of used clothes each week. Globally, approximately 13 million phones are tossed out daily. An anecdote about the lightbulb cartel of 1925 introduces the established cornerstone of industry: planned obsolescence. In the present day, products are sealed and seamless. Laptops, printers, and phones are replaced, not repaired. And the sooner, the better. 

The film calls out the fallacy of recycling, noting that barely ten percent of claimed recycling is accomplished. The markings on plastics range from half-truths to outright lies. Companies contend that recycling fixes the problem. “Truth is very different.” As packaging rules are lax, “You can say whatever the hell you want.” The symbols are largely meaningless. Most will be buried or burned. The sole solution is manufacturing less plastic. 

The talking heads are mostly reformed staff members of the big companies, many of them openly paying penance for their part in the destruction. As one states, “I think I definitely have some sins to make up for.”

Buy Now’s tone blends horror with tongue-in-cheek commentary. The film only rests in the interviews and, even then, cuts to different angles. The peripatetic nature leans into a non-stop modern lifestyle as well as the problem’s urgency. The avalanche of shoes, laptops, and phones cascades, oozes, stampedes out of buildings and garbage cans, falls from the sky, and rolls down the streets. Clothing even vomits out of dryers. 

A scene from ‘Buy Now’. Photo courtesy of Netflix

The science-fiction essence harkens to films like The Blob, where cities are overrun, here played against the unknowing citizens in An Invasion of the Body Snatchers oblivion. The visuals have a mordant wit, and the techno music raises the future-of-the-damned tone. (A nice touch is the underscoring of the Adidas section with Saint-Saëns’s “Danse Macabre.”) Clips from Wall-E show the future of the planet. However, something is disconcerting about the presence of Disney/Pixar when it is probably responsible for more plastic toys and disposable souvenirs than any other company in the world.

Buy Now represents waste in myriad ways. These include shores clogged with plastic and shoveled into hell-like infernos. But the most startling image is the most common. Boxes upon boxes stacked in front halls and on kitchen floors; teetering piles spilling open. We buy everything we think we need—and more of it—often at one a.m. Amazon is the thing that occurs to you. “If the system is magic, what would it do? There is just a conveyor belt that goes straight from wherever the item is to your door as quickly and frictionless as possible.” With the internet, the next shoppable moment is always now. Buying new stuff feels great. But the flip side is where does it go?

The massive destruction of merchandise that prevents food and even healthcare products from being salvaged is equally horrifying. A United Kingdom Amazon warehouse destroys 130,000 pieces a week. There are five billion pounds of landfill waste in destroyed products. (More images, more statistics.)

Buy Now is an unequivocal indictment of the way we live. Enhanced by Brendan McGinty’s cinematography, Samuel R. Santana’s sharp editing, and engaging VFX and animation by Colin Thornton and Neil Wilson, the film is a bold statement about consumption and responsibility. You will look at your daily take-out cups of coffee, each plastic water bottle, and every item of clothing with a different eye. 

The final line goes to Kyle Wiens, the CEO and co-founder of iFixit: “That’s it. Just buy less. It will be fine. Life is about experiences and the people that we’re with, and the stuff that we have supports it. But it’s not the end. It’s not the objective. Whoever dies with the most stuff does not win.” 

The film is now streaming on Netflix.

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Fathom’s Big Screen Classics 2024 series concludes with the beloved yuletide musical White Christmas — recently restored and remastered in 4K — returning to select theatres nationwide in honor of its landmark 70th anniversary on December 15, 16 and 17.

Bing Crosby, Danny Kaye and Rosemary Clooney in a scene from the film. Photo courtesy of Fathom Events

Two talented song and dance men (Bing Crosby and Danny Kaye) team up after the war to become one of the hottest acts in show business. One winter, they join forces with a sister act (Rosemary Clooney and Vera-Ellen) and trek to Vermont for a white Christmas. The result is stuff dreams are made of.

The film is directed by Oscar® winner Michael Curtiz (Casablanca), and boasts a soundtrack composed by music trailblazer Irving Berlin—featuring Christmas classics such as the iconic titular theme, as well as “Blue Skies,” “Snow,” and the Oscar®-nominated Crosby and Clooney duet “Count Your Blessings (Instead Of Sheep).”

Each screening includes an exclusive introduction by fan-favorite film historian Leonard Maltin, taking viewers through the enduring magic of this quintessential holiday hit that has become a December staple for generations of movie lovers.

In addition to the nationwide screening, the late Irving Berlin’s family will attend the evening showing of the film on December 15 at the AMC Empire in New York and will take part in a post-screening Q&A, led by musical historian Ted Chapin, which will explore the incredible life and career of one of America’s most prolific songwriters.

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

To purchase tickets in advance, visit www.fathomevents.com.

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Cynthia Erivo and Ariana Grande-Butera in a scene from the film. Photo courtesy of Universal Pictures

Reviewed by Jeffrey Sanzel

Few books attain the iconography of L. Frank Baum’s The Wonderful Wizard of Oz (1900). Perhaps better known is the MGM classic, released in 1939. Starring Judy Garland as the tornado-transplanted Dorothy Gale, the image of her joined by the Scarecrow, the Tin Man, and the Lion (and, of course, her dog, Toto) dwells in our collective conscience.

Cynthia Erivo and Ariana Grande-Butera in a scene from the film. Photo courtesy of Universal Pictures

While not the first novel to explore the source for an alternate view, Gregory Maguire’s Wicked: The Life and Times of the Wicked Witch of the West (1995) became a phenomenon, selling over five million copies; three sequels followed.

In 2003, composer/lyricist Stephen Schwartz (Godspell, Pippin) and Winnie Holzman (My So-Called Life, Thirtysomething) adapted the novel for Broadway. While the reviews were mixed, the musical proved an audience hit. The Broadway Wicked has passed 8,000 performances, becoming the fourth longest-running musical in Broadway history. Tours, as well as worldwide productions, keep the show in the public’s eye.

Universal Pictures (who co-produced the Broadway production) present the film Wicked, the first of a two-part adaptation. Winnie Holzman and Dana Fox crafted a first-rate screenplay, returning to the book for details and creating additional backstories and an expansion of the narrative. Jon M. Chu (Crazy Rich Asians, In the Heights) brilliantly directs with a deep and honest understanding. From start to finish, Wicked is a triumph. In the truest example of the whole being greater than the sum of its parts, the film is an alchemical fusion of material, cast, and design, unifying in a single vision.

Wicked opens on the stone floor of the Wicked Witch of the West’s castle after her liquidation. The film cuts to a longshot of the friends with her broom traveling the Yellow Brick toward the Emerald City. The next shot is Glinda’s Munchkinland arrival in the signature pink bubble and her affirmation, “It’s good to see me.” Over the next two and a half hours, the story of the unlikely friendship of Glinda and Elphaba unfolds with dazzling visuals, first-rate vocals, and heart-felt, connected performances. It is not just the tale but how it is told: The movie opens the story to its “unlimited” vistas.

The film shows Elphaba’s birth and family, emphasizing her cuckolded father’s intensive dislike for the green baby. Additionally, he blames the verdant girl for the death of her mother and the damage to the second daughter, Nessarose. A script change creates greater tension: Elphaba did not intend to enroll at Shiz University; she was there to see Nessarose settled. Elphaba’s magic—like many outcasts (think Carrie)—manifests in moments of anger. After a display of violent but impressive power, Madame Morrible, the Dean of Sorcery, recruits Elphaba for the college. Morrible makes Galinda (she has yet to drop the “a”) share her spacious living quarters. Thus begins a fractious relationship that blooms into a deep friendship that is Wicked’s core.

The film squarely addresses the fascist issues examined in the book. The expulsion of Professor Dillamond, the goat who teaches history, is frighteningly effective and affecting. Unlike the hybrid in the Broadway production, Dillamond is a full-fledged goat—played with a genuine and sensitive core. A harrowing scene in which a group of animals meet covertly to discuss their impending fate resonates as a 1940s Germany. The filmmakers make bold statements regarding oppression and the stripping of rights, further emphasized in the presentation of the Wizard.

Cynthia Erivo and Ariana Grande-Butera in a scene from the film. Photo courtesy of Universal Pictures

Christopher Scott found the perfect vocabulary for the choreography, making each number and every movement count in the dozen numbers. The designs work towards flawless unity. Paul Tazewell’s jaw-droppingly elaborate costumes play perfectly against Nathan Crowley’s genius of a production design, perfectly filmed by cinematographer Alice Brooks. Glinda’s myriad shades of pink contrast with Elphaba’s textured blacks. The school uniforms play smartly against the Disney-esque Shiz University. The clockwork library allows for a “Marion the Librarian”—on-steroids “Dancing Through Life.”

At the film’s center are the exceptional performances. Cynthia Erivo embodies Elphaba in her struggles and frustrations but also her hope and humanity. She finds a wry humor that never fully masks her complicated outsider’s pain. Ariana Grande-Butera’s hair-flicking G(a)linda is the enchanting counterpart, an Elle Woods on steroids. But like Erivo, she allows the character’s inner life—and, most importantly, growth—to shine through. Both demonstrate a ferocious understanding of the throughline and deliver excellent vocals. 

Jonathan Bailey’s Fiyero raises the clichéd bad-boy and embodies his self-reflective declaration, “I don’t cause commotions. I am one.” Michelle Yeoh brings dangerous elegance to Madame Morrible, the ideal contrast to Jeff Goldblum’s bumbling but seemingly charming Wizard. In the latter, we see the true banality of evil, with his throwaway “to bring folks together, give them a real good enemy.” 

The supporting cast is first-rate: Ethan Slater sweet as the gentle but eager Boq, Marissa Bode strong as Nessarose, Peter Dinklage giving a gentle gravitas to the voice of Dr. Dillamond, Bowen Yang and Bronwyn Jones hilarious as Galinda’s sidekicks Pfannee and ShenShen, and Keala Settle’s upright but corruptible headmistress, Miss Coddle. The film contains two special appearances and a cameo that will delight fans. 

With Wicked, we finally have a musical adaptation to join the ranks of The Sound of Music and Chicago. With its high-octane energy, celebratory score, extraordinary imagery, and glorious cast, Wicked does not just fly—it soars. Rated PG, the film is now playing in local theaters.

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