Movie Review

A scene from 'Oppenheimer'

By Daniel Dunaief

Researchers at Brookhaven National Laboratory, Cold Spring Harbor Laboratory and Stony Brook University joined the chorus of moviegoers who enjoyed and appreciated the Universal film Oppenheimer.

“I thought the movie was excellent,” said Leemor Joshua-Tor, Professor and HHMI Investigator at Cold Spring Harbor Laboratory. “It made me think, which is always a good sign.”

Yusuf Hannun, Vice Dean for Cancer Medicine at Stony Brook University, thought the movie was “terrific” and had anticipated the film would be a “simpler” movie.

Jeff Keister, leader of the Detector and Research Equipment Pool at NSLS-II at Brookhaven National Laboratory, described the movie as “interesting” and “well acted.”

Joshua-Tor indicated she didn’t know anything about Robert Oppenheimer, the title character and leader of the Manhattan Project that built the atomic bomb. She “learned lots of new things” about him, she wrote. “I knew he was targeted by McCarthy-ism, but didn’t realize how that came about and the details.”

Keister also didn’t know much about Oppenheimer, who was played by actor Cillian Murphy in the film. “Oppenheimer seemed to quietly struggle with finding his role in the story of the development of the atomic bomb,” Keister said. “At times, he wore the uniform, then later seemed to express regret.”

Like other researchers, particularly those involved in large projects that bring together people with different skills and from various cultural backgrounds, Oppenheimer led a diverse team of scientists amid the heightened tension of World War II.

Oppenheimer was “shown to have been granted an extremely powerful position and was able to form a relatively diverse team, although he was not able to win over all the brightest minds,” Keister wrote.

Joshua-Tor suggested Oppenheimer “charmed” the other scientists, who were so driven by the science and the goal that they “accepted him. The leader of the team should be a great scientist, but doesn’t necessarily have to be the biggest genius. There is a genius in being able to herd the cats in the right way.”

Joel Hurowitz, Associate Professor in the Department of Geosciences at Stony Brook University, “loved” the movie. Hurowitz has worked with large projects with NASA teams as a part of his research effort.

Hurowitz suggested that the work that goes into coordinating these large projects is “huge” and it requires “a well laid out organizational structure, effective leadership, and a team that is happy working hard towards a common goal.”

‘Stunning’ first bomb test

Keister described the first nuclear bomb test as “stunning” in the movie. “I have to wonder how the environmental and health impacts of such a test came to be judged as inconsequential.”

Some local scientists would have appreciated and enjoyed the opportunity to see more of the science that led to the creation of the bomb.

Science is the “only place the movie fell short,” Hannun said. “They could have spent a bit more time to indicate the basic science behind the project and maybe a bit more about the scientific accomplishments of the various participants.”

Given the focus of the movie on Oppenheimer and his leadership and ultimate ambivalence about the creation of the atomic bomb, Keister suggested that scientists “could be better encouraged to understand the impacts of applied uses of new discoveries. Scientists can learn to broaden their view to include means of mitigating potential negative impacts.”

Research sponsors, including taxpayers and their representatives, have an “ethical responsibility to incorporate scientists’ views of the full impacts into their decisions regarding applications and deployment of new technology,” Keister said.

Joshua-Tor thinks there “always has to be an ongoing conversation between scientists and the citizenry” which has to be an “informed, somewhat dispassionate conversation.”

Recommended movies about scientists

Local researchers also shared some of their film recommendations about scientists.

Hurowitz wrote that his favorite these days is Arrival, a science fiction film starring Amy Adams. If Hurowitz is looking for more lighthearted fare, he writes that “you can’t go wrong with Ghostbusters,” although he’s not sure the main characters Egon, Ray and Peter could be called scientists.

Keister also enjoys science fiction, as it “often challenges us with ethical dilemmas which need to be addressed.” While he isn’t sure he has a favorite, he recommended the sci-fi thriller Ex Machina starring Alicia Vikander as a humanoid robot with artificial intelligence,.

Joshua-Tor recalls liking the film A Beautiful Mind starring Russell Crowe and Jennifer Connelly as John and Alicia Nash. She also loved the film Hidden Figures, starring Taraji P Henson, Octavia Spencer and Janelle Monáe.

‘The Color Purple’ heads to theaters on Christmas Day. Photo courtesy of Warner Bros. Pictures

By Tim Haggerty and Jeffrey Sanzel

Filmgoers can look forward to an exciting  field of offerings for the fall and holiday season. A wide range of releases promises a host of titles in a strong cross-section of genres including horror, musicals, historical dramas, and family movies. Here are some of the most anticipated movies for the rest of 2023, listed in order of release date. Ready, set, … action!

A Haunting in Venice

Kenneth Branagh’s follow-up to Death on the Nile is A Haunting in Venice, his third outing as celebrated sleuth Hercule Poirot. The Agatha Christie-inspired story focuses on murder during a séance and promises thrills offered up by a star-studded. Along with director-actor Branagh are Tina Fey, Jamie Dornan, Kelly Reilly and Michelle Yeoh, among others.

Rated PG-13· Release date September 15

Saw X

While not for the faint of heart (or stomach), Saw X marks the tenth in the Jigsaw saga. The film is set between the events of Saw and Saw II and follows a desperate man traveling to Mexico for a medical procedure, which is revealed to be a scam. Tobin Bell once again takes on the role of John Kramer/Jigsaw.

Rated TBA· Release date September 29

The Exorcist: Believer

David Gordon Green appropriately follows the end of his recent Halloween trilogy with The Exorcist: Believer. Originally, the producers were going to reboot the series, but instead have opted for a direct sequel to the landmark 1973 original. Ellen Burstyn reprises her starring role. 

Rated R· Release date October 13

Killers of the Flower Moon

It has been four years since Academy Award-winner Martin Scorsese’s much-lauded The Irishman. Now, the great director presents Killers of the Flower Moon. Based on David Grann’s bestseller of the same name, the film centers on a series of Oklahoma murders in the Osage Nation during the 1920s, committed after oil was discovered on tribal land. The film, which stars Leonardo DiCaprio, Robert De Niro, Lily Gladstone, John Lithgow, Jesse Plemons, Tantoo Cardinal and Brendan Fraser, promises to be one of the fall’s best and most exciting films.

Rated R· Release date October 20

Priscilla

Sofia Coppola tells the Elvis story through meeting, courtship, and marriage in Priscilla. Based on Priscilla Presley’s memoir Elvis and Me, Coppola creates the private life of the superstar in what will hopefully be her signature brilliance, blending high art with raw emotion. Cailee Spaeny and Jacob Elordi star as Priscilla and Elvis.

Rated R· Release date October 27

Five Nights at Freddy’s

Taking its cue from the video game, Five Nights at Freddy’s follows a security guard (Josh Hutcherson) on night-time patrol at Freddy Fazbear’s Pizza, an abandoned family entertainment center, where animatronic mascots kill anyone there after midnight. 

Rated PG-13 Release Date October 27

Pain Hustlers

David Yates features Emily Blunt, Chris Evans, Andy Garcia, and Catherine O’Hara in Pain Hustlers, a true-events crime drama centered on a criminal conspiracy at a pharmaceutical start-up.

Rated R· Release date October 27

The Marvels

The Marvel Universe expands with The Marvels, a Captain Marvel sequel starring Nia DaCosta, along with Brie Larson as Carol Danvers, and Iman Vallanis’ Kamala Khan (Ms. Marvel of the Disney+ series). 

Rated PG-13· Release date November 10

The Hunger Games: The Ballad of Songbirds & Snakes

The multi-million-dollar Hunger Games franchise returns with a prequel based on Suzanne Collins’ novel The Hunger Games: The Ballad of Songbirds & Snakes. Series vet Francis Lawrence directs the story that follows young Coriolanus Snow (played by Donald Sutherland in the previous four films) and his involvement with the Hunger Games.

Rated PG-13· Release date November 17

Next Goal Wins

Based on the 2015 documentary, Next Goal Wins tells the story of Dutch American soccer coach Thomas Rongen (Michael Fassbender), hired to help turn around the American Samoa national team, considered one of the worst in the world. (The trailers suggest a warm Ted Lasso vibe.)

Rated PG-13· Release date November 17

Napoleon

Napoleon joins director Ridley Scott with Joaquin Phoenix as the French general-turned-emperor. While the film will include a number of Napoleon’s most famous battles, its primary focus is on his tempestuous love story with his first wife, Joséphine (Vanessa Kirby).

Rated R· Release date November 22

Maestro

Perhaps one of the most anticipated fall films is Bradley Cooper’s biopic Maestro. Director Cooper has co-written (along with Josh Singer) the screenplay in which he stars as the extraordinary and complicated musician Leonard Bernstein. The film also stars Carey Mulligan, Maya Hawke and Jeremy Strong.

Rated R· Release date November 22

Wish

Disney’s Wish chronicles the origin story of the Wishing Star, with Ariana DeBose,  Chris Pine and Alan Tudyk starring in Frozen writers Jennifer Lee and Chris Buck’s screenplay. When darkness falls upon the Kingdom of Wishes, a young girl wishes upon a star to save her home, only to have the star physically come to her aid and becomes her sidekick. If the advance buzz is any indication, the animated film could become another Disney classic.

Rated TBA· Release date November 2

Poor Things

Emma Stone plays Bella Baxter, a young suicide brought back to life by a scientist (Willem Dafoe) in the unusual and surreal Poor Things, based on the 1992 Alasdair Gray novel. 

Rated R· Release Date December 8.

Wonka

Timothée Chalamet takes on the title role in Wonka, an origin story of the eccentric candy maker. Paddington director Paul King has assembled an all-star cast with Olivia Colman, Sally Hawkins, Keegan Michael-Key, and Rowan Atkinson. The film promises to be a visual feast and a fascinating take on Roald Dahls’ legendary character.

Rated PG· Release date December 15

The Color Purple

Stephen Spielberg filmed Alice Walker’s indelible novel The Color Purple in his Oscar-nominated 1985 film. Now Blitz Bazawule brings the Broadway musical to the big screen, with  Danielle Brooks, Halle Bailey, Fantasia Barrino, Taraji P. Henson, and Louis Gossett Jr., showcasing the Tony-nominated score by Brenda Russell, Allee Willis, and Stephen Bray.

Rated PG-13· Release date December 25

This article originally appeared in TBR News Media’s Harvest Times supplement on Sept. 14.

Movieland Cinemas. Photo by Elyse Benavides

By Heidi Sutton

Movieland Cinemas, a longtime fixture in the community, has closed. The announcement was made on its Facebook page on Sept. 7. General Manager Nicole Rapp cited high rent and declining foot traffic as the reason for the closure.

Located in Coram at 1850 Route 112 in the Pine Plaza, the theater opened in 1995 and changed hands many times, most recently in 2022 after extensive renovations. 

“Over the years, our theater has been a place where the community has come together to enjoy films … and celebrate the magic of cinema. We have cherished every moment spent with you, our loyal patrons, and the support you have shown us,” read the post.

Many patrons reacted to the announcment with sadness and thanked the theater for the many years of memories. 

“We want to extend our sincere thanks to each and every one of you who has been a part of our theater’s journey. It’s been an incredible ride, and we couldn’t have done it without you. We are going to miss hosting your birthday parties, special events, gaming tournaments, sensory friendly screenings, Princess/ Superhero meet-and-greets, and so much more,” said Rapp.

The post went on to the thank “the dedicated movie theater staff … who tirelessly worked behind the scenes” and hinted at reopening the theater in the future with a potential buyer.

“While our doors may be closing for now, the memories we’ve created together will live on. Thank you for being a part of our theater’s story, and we hope that this is a temporary speed-bump and soon be able to make a comeback,” added Rapp.

The first of eight documentaries will be 'Rather' on Sept. 18 — At the age of 92, iconic journalist Dan Rather reflects on his career that spans seven decades.

By Tara Mae

Whether there is too much or never enough of it, time may either soften memories with nostalgia or sharpen remembrances with accrued insight. Through art and action, the Fall 2023 Port Jefferson Documentary Series (PJDS) highlights the intricacies of this dynamic both onscreen and behind-the-scenes. 

On specific Monday evenings between September 18 and November 13, at Theatre Three, 412 Main St., Port Jefferson and John F. Kennedy Middle School, 200 Jayne Blvd., Port Jefferson Station, the award-winning doc series will share eight distinct stories.  

Encompassing reflections on a career well-chronicled; a quickly encroaching catastrophe; a calamitous crisis averted; or, a curious occurrence, screenings will be followed by Q&As with guest speakers. Tom Needham, executive producer and host of “Sounds of Film” on WUSB, will once again serve as moderator. 

“Our setup has not changed either behind-the-scenes or in how we choose the documentaries,” said PJDS co-director Lyn Boland. “We assess production values, whether it is a good story, and if it is available to film festivals instead of streaming — we want it to be new. We also prefer films where the director is available to talk in one sense or another.”

Now in its 38th season, the PJDS, which began in 2005, excavates tangible accomplishments and existential inquiries. In interactive interviews with documentarians, it seeks answers from those who first sought to ask the questions. 

Sponsored by Maggio Environmental and Wellness; Covati & Janhsen, CPAS PC; and Port Jeff Storage,  the season opens with Rather, a film that examines Dan Rather’s ongoing seven decade journalistic career and his continued dedication to making a difference.

We Dare to Dream traverses the triumphs and trials of 29 elite athletes. Deprived of their home countries, they strive for international success while preparing to participate in the 2020 Tokyo Olympics as part of the International Olympic Committee’s Refugee Olympic team. (This event will also feature a pre-show concert at Port Jefferson Methodist Church by pianist Jacqueline Schwab.) 

Time Bomb Y2K revisits when, on the verge of a new millennium, the world feared that all of technology was about to have a nervous breakdown on New Year’s Day. 

Between the Rains covers a 4 year period when record low rainfall in Kenya caused a reckoning for children caught in a culture being eroded by climate change.

Israel Swings for Gold traces the trajectory of Israel’s baseball team as it makes it Olympic debut in 2021.

Rolling Along recounts Bill Bradley’s revelatory professional career as informed by his personal ethos: Rhodes Scholar, champion New York Knicks recruit, and noted New Jersey senator.  

Maestra showcases the melodious moments and discordant dilemmas women face as they compete in the world’s only all-female conducting competition. 

Lastly, A Revolution on Canvas investigates the intriguing disappearance of more than 100 “treasonous” paintings by contemporary Iranian artist Nickzad Nodjoumi. 

(For dates and times, please see Film Schedule below.)

Each documentary is selected by one of the “film ladies,” as Lyn Boland, Wendy Feinberg, Barbara Sverd and Honey Katz are known. They present their choices to the PJDS board. Top contenders from those viewings are shared with three esteemed longtime volunteers, Denise Livrieri, Yvonne Lieffrig, and Debbie Bolvadin, who then also vote on the films. 

“It is important to have a wide variety of people choosing films; we know we each have private preferences that we always gravitate towards. If you do not have a wide group, you may leave out some of your audience,” Boland said. “We are lucky that our audience really trusts us. They know that we are invested and looked into the films personally, so we feel the documentaries are special to include.”

According to Boland, once the films are chosen, securing the rights to them and gaining access to the speakers is a game of cat and mouse. So, the hunt is on as soon film festivals announce their lineups. The Series’ cast of characters divides and conquers, attending screenings and identifying potential contenders for PJDS. 

“Once I have focused on a film I would like to present, the fun of the chase begins! Nailing down films, dates, directors or producers, and working out schedule conflicts are issues we have to contend with when programming a series. So, it [helps] when you have a connection to anyone associated with the film,” explained Sverd.  

Such relationships have been forged and nurtured over the years with different producers and directors who have previously shown their work during the Series. Rather and Time Bomb Y2K come from creators who screened earlier films through PJDS. Between the Rains and Rolling Along were acquired through Sverd’s and Feinberg’s respective personal connections. 

“I am looking forward to seeing many of our repeat guests and also the new folks who will be attending the films this season,” said Feinberg.

In addition to making contacts and advancing the films, each member brings their individual skill sets, contributing what best aligns with their interests and industries, including law, event planning, education, and graphic design. Primary and paramount requirement for joining the team — it is looking for new volunteers — is simply being a film buff.  

That passion translates to the audience, which includes familiar faces and new fans.

“In this day and age, with so much available to see and watch, it is just great that people appreciate the kind of experience that we offer,” Boland said.

Individual tickets are $10 (cash only) at the door, a combination ticket for the concert and documentary on is $15, or in advance at www.portjeffdocumentaryseries.com.

FILM SCHEDULE
A scene from ‘Rather’

◆ The Fall 2023 season kicks off with a screening of Rather at Theatre Three on September 18 at 7 p.m. Guest speakers will be Co-Producer Taylor Wildenhaus and Sarah Baxter, Director of the Marie Colvin Center for International Reporting. Co-sponsored by the Stony Brook University School of Communications & Journalism and the Marie Colvin Center for International Reporting. 

‘We Dare to Dream’

We Dare to Dream will be screened at Theatre Three on October 2 at 7:30 p.m. Preceded by a special concert featuring pianist at First United Methodist Church, 603 Main St., Port Jefferson at 6:30 p.m. Guest speaker via Zoom will be Director Waad Al-Kateab. Sponsored by Danfords Hotel & Marina and The Waterview at Port Jefferson Country Club.

‘Time Bomb Y2K’

◆ Next up is Time Bomb Y2K at Theatre Three on October 9 at 7 p.m. Guest speakers will be Co-Directors Brian Becker and/or Marley McDonald.

‘Between the Rains’

Between the Rains will be screened at JFK Middle School on October 16 at 7 p.m. Guest speakers will be co-director Andrew H. Brown via Zoom and Dr. Dino Martins, CEO of the Turkana Basin Institute. Co-sponsored by the Turkana Basin Institute of Kenya and its affiliate, Stony Brook University.

‘Israel Swings for Gold’

◆ The season continues with Israel Swings for Gold at JFK Middle School on October 23 at 7 p.m. Guest speaker will be Co-Director Jeremy Newberger. Co-sponsored by North Shore Jewish Center in Port Jefferson Station and Temple Isaiah in Stony Brook.

‘Rolling Along’

◆ A special screening of Rolling Along will be held at JFK Middle School on October 30 at 7 p.m. Guest speaker will be former U.S. Senator and screenwriter Bill Bradley in person.

‘Maestra’

Maestra heads to JFK Middle School on November 6 at 7 p.m. Guest speakers will be Director Maggie Contreras via Zoom and Melisse Brunet, Conductor and subject in the film. Sponsored by Danfords Hotel & Marina and The Waterview at Port Jefferson Country Club.

‘A Revolution on Canvas’

◆ The season concludes with a screening of A Revolution on Canvas at Theatre Three on November 13 at 7 p.m. Guest speakers will be Co-Directors Sara Nodjoumi and Till Schauder. Sponsored by Danfords Hotel & Marina and The Waterview at Port Jefferson Country Club.

For more information, call 631-473-5220 or visit www.portjeffersondocumentaryseries.com.

 

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A scene from 'Rain Man'

Fathom Events’ Big Screen Classics series continues with the beloved 1988 road trip saga Rain Man — returning to select theaters nationwide in honor of its 35th anniversary on Sunday, Sept. 17 and Wednesday, Sept. 20.

A scene from ‘Rain Man’

The film stars Tom Cruise as Charlie Babbitt, a self-centered car dealer caught in a financial bind. Charlie’s life becomes even more complicated when his estranged father’s will reveals the existence of an older brother he never knew existed: Raymond (played by Dustin Hoffman in the role that would earn him his second Oscar® for Best Actor in a Leading Role), an autistic savant who stands to inherit their father’s three-million-dollar estate. 

Determined to get his own cut of the money, Charlie kidnaps Raymond from the institution he calls home, with plans to head out for Los Angeles to settle some debts. What follows is a powerful cross-country odyssey of brotherhood and self-discovery that will change both of their lives forever. The film is the winner of four Academy Awards®, including Best Picture, Directing, Writing (Screenplay Written Directly for the Screen), and Best Actor in a Leading Role.

Each screening includes an exclusive introduction by legendary film critic and historian Leonard Maltin.

Locally, the film will be screened at AMC Loews Stony Brook 17, Island 16 Cinema de Lux in Holtsville and Showcase Cinema de Lux in Farmingdale on Sept. 17 at 3 p.m. and 7 p.m. and on Sept. 20 at 7 p.m. To order tickets in advance, visit www.fathomevents.com.

See trailer here.

Xolo Maridueña in a scene from 'Blue Beetle.' Photo courtesy of Warner Bros. Pictures/DC Comics

Reviewed by Jeffrey Sanzel

For every superhero blockbuster, an equal number are box office disasters. For each Avengers: Endgame or Iron Man 3, there is Shazam! Fury of the Gods and The Flash. Many superheroes have risen and fallen, only to rise again in a parade of reboots and colored tights.

The Blue Beetle first appeared in Fox Comics’ Mystery Men Comics #1 (1939). The titular hero, Dan Garet, took Vitamin 2X, which gave him “super-energy.” When Fox went out of business, Charlton Comics bought the character, reprinting some of the stories before launching its version in 1955. In 1964, Charlton re-envisioned the character: Dan Garrett acquired an extra “r” and “t” along with a new origin story centered around a mystical power-giving Egyptian scarab. In 1966, inventor Ted Kord became a gadget-centric Blue Beetle following Garrett’s death. Next, the character’s mythology was reinvented with both Blue Beetles—Garrett and Kord—in Americomics (published by AC Comics). 

Xolo Maridueña in a scene from ‘Blue Beetle.’ Photo courtesy of Warner Bros. Pictures/DC Comics

DC Comics bought Charlton’s superhero collection in 1983, changing Ted Kord to a billionaire industrialist. This Ted Kord appeared in various titles, including Justice League, Justice League America, and Birds of Prey, the identity continuing through 2005. DC presented a new Blue Beetle in 2006: teenager Jaime Reyes, whose powers came from the scarab, a piece of alien technology. While the initial series was cancelled due to poor sales, a revival came in 2011, disconnecting Reyes from previous Beetles. In 2016 Garrett and Kord were restored as previous Blue Beetles. Jamie Reyes was the focus of a limited series, Blue Beetle: Graduation Day, offered from 2022 to 2023. 

Enter DC studio’s Blue Beetle. After a prologue establishing Kord Industries locating the scarab in a frozen tundra, the action quickly shifts to bright-eyed pre-law college graduate Jamie Reyes returning home to the fictional Texan town of Palmera City. As he rides down the airport escalator, he adjusts his mortarboard. Turning to the gentleman beside him, he asks, “How do I look?” The man dryly responds, “Like you’re six figures in debt.” The smart quip establishes the tone and world that Jamie faces. 

Jamie is greeted by his family—mother, father, grandmother, sister, and eccentric uncle. During a celebratory meal, Jamie learns that his auto mechanic father lost his job due to a heart attack. They are now in danger of losing the family home, three months in arrears. His sister, Milagro, gets them a job working in the mansion of Kord Industries CEO Victoria Kord (whom Milagro describes with begrudging respect as “Cruella Kardashian”). They lose their positions when Jamie steps into a fight between Victoria and her niece, Jenny. In gratitude, Jenny offers Jamie employment and tells him to come to Kord Tower. 

The next day, Jenny discovers that Victoria uses the scarab for her OMAC (One Man Army Corps) project. Jenny steals the scarab in a fast-food hamburger container, but the laboratory director discovers its theft, and the building is put on lockdown. In danger of being caught, Jenny passes the box to Jamie, who takes it home, warning him not to open it or touch its contents.

Upon returning, the family pressures him to see what is in the box. In full view of his family, Jamie touches the scarab, which attaches itself to him. He is immediately surrounded by an exoskeleton/armored suit, complete with a guidance voice and myriad abilities, including flight and a host of defensive and offensive capacities. (Jenny later tells Jamie that the scarab is an ancient sentient weapon that has chosen him as host.) 

The plot is traditional: a struggle between the emerging hero and the dastardly villain. Jamie learns to harness the powers as Victoria sets out to reclaim the scarab. Victoria is a classic nemesis cut in the Bond villain mode. Susan Sarandon chews the scenery, practically singing the watchcry, “Sacrifices must be made for the greater good.” Her main conflict is with her brother’s daughter, Jenny (Bruna Marquezine), an underdeveloped and bland character. Victoria has a traditional henchman, Ignacio Carapax (Raoul Max Trujillo, expressive with only a few lines), with an important backstory. 

A scene from ‘Blue Beetle.’ Photo courtesy of Warner Bros. Pictures/DC Comics

There are references to Jenny’s father, Ted Kord, as well as Ted’s professor, archaeologist Dan Garrett, bringing the Blue Beetle’s entire history into superficial play. The effects are pure videogame, with an excessive amount of blue electricity. The action often resembles Rock ‘Em Sock ‘Em Robots. 

On the surface, little new or exciting is on offer. However, director Ángel Manuel Soto and writer Gareth Dunnet-Alcocer manage one important coup: the extraordinary bond of the Reyes family. 

Unlike many genre movies, Blue Beetle uses family not as a vehicle but as the core force. If the theme of familial bond is heavy-handed, the first-rate cast engages us on a genuinely human level. Xolo Maridueña shines as Jamie, easily holding center for the film’s stretched two hours. Damián Alcázar makes the father, Alberto, wise and touching, a patriarch of great understated strength. He is matched beautifully by Elpidia Carrillo as Rocio, Jamie’s mother. Adriana Barraza, as Nana, the matriarch, avoids cliché and has a fun eleventh-hour reveal. Belissa Escobedo brings humor and caring to Milagro, Jamie’s sister. George Lopez takes Uncle Rudy to the limit and beyond, both hilarious and touching. Each stands out individually, but as a whole, they are an exceptional unit. 

While there have been Latino superheroes, Blue Beetle puts representation at its center. An important moment comes late in the film involving the laboratory director (played with conflicted integrity by Harvey Guillén). The exchange leads to a bold choice, highlighting racial issues that weave through the film. 

In the end, Blue Beetle is uneven and occasionally uninspired, but a superior cast and a celebration of family let the film soar. Rated PG-13, Blue Beetle is now playing in local theaters. 

The main cast of 'Haunted Mansion.' Photo courtesy of Disney

Reviewed by Jeffrey Sanzel

There’s an old joke (incorrectly credited to W.C. Fields):

“… And I spent a week in Philadelphia.”

“When?”

“Day before yesterday.”

Which brings us to Haunted Mansion.

The Haunted Mansion is one of Disney’s most famous and beloved dark rides. The Disneyland premiere (1969) was followed two years later by the Disney World/Magic Kingdom location. 

Before its current resurrection, Disney produced the (mostly) critically drubbed Eddie Murphy vehicle The Haunted Mansion (2003). However, the film grossed over $100 million worldwide. Muppets Haunted Mansion (2021) appeared on Disney+. The Muppets’ first Halloween special ran a brisk fifty minutes and was warmly received. 

Unlike the park ride, which lasts an entertaining eight minutes, the current film’s interminable two hours offers little but some strong performances trapped like the spirits in the Haunted Mansion. Katie Dippold (Parks and Recreation, The Heat, and the 2016 Ghostbusters) cobbled a mess of sitcom, slapstick, and reflection on grief. Justin Simien (director of the brilliant Dear White People) fails to elevate the movie, which arrives as dead as the house’s occupants. (When Disney first announced a reboot, Guillermo del Toro was attached to the project but exited in 2013. One wonders what the gifted del Toro would have done with this mainstream project.)

Haunted Mansion is set in New Orleans, “the Most Haunted City in America.” In a short prologue, astrophysicist Ben Matthias (a truly grounded and likable LaKeith Stanfield) meets Alyssa (brief but likable Charity Jordan), a ghost tour guide. While he questions her belief in the supernatural, he falls in love with and marries her. After she dies in a car accident, he gives up his scientific work and takes over her ghost tour. 

The ghosts of Gracey Manor. Photo courtesy of Disney

Fast forward to New York doctor Gabbie (strong but underserved Rosario Dawson) and her nine-year-old son, Travis (a sensitive and mature Chase W. Dillon), moving into Gracey Manor to turn it into a bed and breakfast. As they enter the house, they realize they are not alone.

A goofy priest, Father Kent (Owen Wilson doing a nice job as Owen Wilson), recruits Ben to photograph the ghosts with the camera he had developed to shoot dark matter. The skeptical Ben agrees to the proffered ten thousand dollars. When he leaves the mansion, he realizes the ghost of a mariner has followed him. And this is the crux of the story: anyone who enters the house takes the spirits with them. “Ghosts are like bedbugs: they latch on.” A charming image.

Psychic Harriet (always enjoyable Tiffany Haddish) and college historian Professor Bruce Davis (Danny DeVito, both benign and manic) join the quartet. The “dream team,” as Kent labels them, discovers the house’s history and that the inhabitants want their help to be free (though this gets a bit muddled in the end … and the middle … and part of the beginning).

They learn from the crystal ball-trapped Madame Leota (Jamie Lee Curtis—remember her?—she just won an Academy Award) that William Gracey bought the mansion and engaged Leota to contact his dead wife. However, an evil entity tricked Gracey into taking his own life. The malignant force is Alistair Crumb, also known as the Hatbox Ghost (voiced for some reason by Jared Leto). There is talk of the 999 spirits and the need for a willing victim to make one thousand allowing Crump to escape the mansion. (Something like that.) The “climax” is the two worlds—the spectral and the real—colliding.

The movie suggests ghost movies of earlier eras: Bob Hope’s 1932 comedy The Ghost Breakers and William Castle’s creepy 13 Ghosts (1960) come to mind. But Haunted Mansion manages to be simultaneously fluff and leaden. (This calls to mind the old brain teaser: Which is heavier—a ton of feathers or a ton of cement? Answer: One hundred and nineteen minutes of Haunted Mansion.)

The effects replicate the Disney attraction. The low-tech feel serves the commercial advertisement but just makes the movie look cheap. The requisite cobwebs drape the dwelling, and the well-known Haunted Mansion denizens appear (the Bride, the Hitchhikers, etc.). Occasionally, the film nods towards introspection: Harriet speaks of “ghost winks”—messages of hope and comfort from people who have passed on. This heartening concept wandered in from another film.

But too often, the film relies on forced, clumsy humor. Punchlines include a joke about a Yankee Candle and an uncancelled Amazon subscription, a pen and pad purchased at CVS, and sage bought at Costco. Characters snore, and chairs fly down steps, dumping the occupants in mud. Hilarity reigns.

The cast does its best, with Stanfield and Dillon as standouts. A sprinkling of cameos—Marilu Henner as a tourist, Winona Ryder (uncredited, but very funny) as a tour guide, and Daniel Levy as her husband—are fun but do little more than distract for a moment.

Ultimately, Haunted Mansion is a ride not worth taking. Rated PG-13, the film is now playing in local theaters.

 

A scene from 'Notorious.'
The six-film retrospective will coincide with the legendary director’s birthday and will feature many of his most iconic films
Alfred Hitchcock on the set of Psycho. Photo credit Eve Arnold. 1959-1960.

Beginning on Friday, Aug. 11 at 7 p.m. and running through Wednesday, Aug. 16, the Cinema Arts Centre, 423 Park Ave., Huntington will present a retrospective of the films of master director Alfred Hitchcock. For six consecutive days, the Cinema will present a daily screening of one of Hitchcock’s greatest films. Each of the six film screenings will feature an introduction by local film historians who will discuss the history of the film, provide, and explore the impact of some of Alfred Hitchcock’s most influential and acclaimed works.

Considered the father of the thriller genre, and dubbed the “Master of Suspense”, Hitchcock directed over fifty feature films throughout a career that spanned from the silent era in the 1920s into the late 1970s. Today, he is regarded as one of the most influential figures in the history of cinema, having pioneered many editing and camera techniques that have since become staples of modern cinema. Known for his signature blend of macabre, suspense, sex, and offbeat humor, Hitchcock is still among the most admired of film directors.

The films included in the retrospective are Psycho, Strangers on a Train, Rear Window, Notorious, Vertigo, and Shadow of a Doubt.

The Cinema Arts Centre hopes to offer both Hitchcock fanatics, and those looking to see the films for the first time, the rare opportunity to see these groundbreaking and exhilarating films on the big screen.

Film info:

Janet Leigh in Psycho. Alfred Hitchcock. 1960. Paramount Pictures. Image courtesy of Universal Film Exchange.

Psycho
Friday, August 11 at 7 p.m.
Introduction by Film Historian Glenn Andreiev
Alfred Hitchcock’s landmark masterpiece of the macabre stars Anthony Perkins as the troubled Norman Bates, a man with an interest in taxidermy and a difficult relationship with his mother, whose old house and motel are not the place to spend a quiet evening. Nobody knows that better than Marion Crane (Janet Leigh), the ill-fated traveler whose journey ends in the notorious shower-scene. First an investigator, then Marion’s sister (Vera Miles) search for her, the suspense mounting to a terrifying climax where the mysterious killer is finally revealed. (USA, 1960, 109 mins, English | Dir. Alfred Hitchcock)

Strangers on a Train
Saturday, August 12 at 7 p.m.
Introduction by Film Historian Philip Harwood
“Your wife. My father. Criss cross.” In Alfred Hitchcock’s standout thriller, adapted from the 1950 novel by Patricia Highsmith, the cheerful yet malevolent Bruno Anthony (Robert Walker), recognizes his fellow train passenger, tennis pro Guy Haines (Farley Granger). After an introduction and a round of drinks, they continue their conversation over lunch. Revealing his knowledge of Guy’s marital problems, Bruno offers an interesting proposition: quid pro quo murders. Appalled, Guy declines, but the chance encounter will set in motion a bizarre and deadly chain of events. (USA, 1951, 101 mins, English | Dir. Alfred Hitchcock)

 

James Stewart in Rear Window. Alfred Hitchcock. 1954. Paramount Pictures. Image courtesy of Universal Film Exchange

Rear Window
Sunday, August 13 at 7 p.m.
Introduction by Film Historian Glenn Andreiev
In this intriguing, macabre visual study of obsessive human curiosity and voyeurism, renowned New York magazine photographer L. B. “Jeff” Jeffries (James Stewart) enters his last week of home confinement, bored and anxious, and stuck inside with a broken leg. Jeff has been spending his days sitting in a wheelchair, watching his neighbors through the rear window of his Greenwich Village apartment. Despite the skepticism of his fashion-model girlfriend (Grace Kelly), Jeffries becomes convinced he has witnessed a murder and is set on solving the mystery. (USA, 1954, 112 mins, English | Dir. Alfred Hitchcock)

 

Ingrid Bergman and Cary Grant in Notorious. 1946. RKO Radio Pictures. Image courtesy of Walt Disney Studios Motion Pictures

Notorious
Monday, August 14 at 7 p.m.
Introduction by Film Historian Philip Harwood
A thriller of rare perfection, Alfred Hitchcock’s Notorious represents a pinnacle of both its director’s legendary career and classic Hollywood cinema. In this anguished romance shot through with deception and moral ambiguity, Ingrid Bergman plays Alicia, a woman with a checkered past recruited by Devlin (Cary Grant), a suave intelligence agent. Only after she has fallen for Devlin does she learn that her mission is to seduce a Nazi industrialist (Claude Rains) hiding out in South America. (USA, 1946, 102 mins, English | Dir. Alfred Hitchcock)

Vertigo
Tuesday, August 15 at 7 p.m.
Introduction by Film Historian Philip Harwood
Alfred Hitchcock’s intensely personal, self-revealing picture, is widely considered to be one of the greatest films ever made. Starring James Stewart as a former detective with a crippling fear of heights, Vertigo, is the story of a man who is possessed by the image of a lost love who becomes increasingly consumed with trying to recreate that image. Co-starring Kim Novak in dual roles, this timeless thriller about obsession is among Hitchcock’s most influential works. (USA, 1958, 128 mins, English | Dir. Alfred Hitchcock)

Shadow of a Doubt
Wednesday, August 16 at 7 p.m.
Introduction by Film Historian Glenn Andreiev
What starts out as a charming portrait of idyllic small-town life gradually darkens into one of director Alfred Hitchcock’s most devastating thrillers. Teenage Charlie’s (Teresa Wright) illusions about her beloved Uncle (Joseph Cotten) are shattered by the suspicion that he may be the diabolical Merry Widow serial killer. As secrets are revealed, she will need to make hard choices that could end up destroying her family. Thought to be Hitchcock’s personal favorite, Shadow of a Doubt is perhaps his ultimate evocation of evil nesting among the ordinary. (USA, 1943, 108 mins, English | Dir. Alfred Hitchcock)

Fees per screening:

Public $15 | Cinema Arts Centre Members $10

You can also purchase tickets or find more information about this and other events on the Cinema Arts Centre website:www.cinemaartscentre.org

Molly Gordon and Ben Platt in a scene from 'Theater Camp' Photo courtesy of Searchlight Pictures/20th Century Studios

Reviewed by Jeffrey Sanzel

While recruiting campers for her AdirondACTS camp, director Joan Rubinsky (Amy Sedaris) is sent into a seizure-induced coma by the strobe light in a middle school production of Bye Bye Birdie. Her slacker son, Troy (Jimmy Tatro), takes over the struggling enterprise, ineptly mismanaging its staff of well-meaning but mildly narcissistic misfits. In addition, he must deal with the camp’s failing finances and imminent foreclosure. 

The simple and familiar premise—camp on the verge of closing—sets up a highly enjoyable niche outing, following in the footsteps of the slightly more satirical Camp (2003) and the equally intense Stage Door Manor documentary Stagedoor (2006). 

Based on a short film of the same name, Molly Gordon, along with co-director Nick Lieberman, Ben Platt, and Noah Galvin, has fashioned the heartfelt mockumentary Theater Camp, which delivers consistent laughs but never lacks heart. 

The film follows the four-week theatrical process, from auditions to opening. While mounting productions of Damn Yankees, Cats, and Crucible, Jr. (a hilarious joke to those familiar with the Jr. concept), the focus is on the annual original musical, written by the drama director, Amos Klobuchar (Platt), and the music director, Rebecca-Diane (Gordon). The project, Joy, Still (a bio-musical of the camp founder), takes up most of the film’s rehearsal and performance focus and manages to be simultaneously ridiculous and sincere. 

Perhaps the mix of these tonal elements—ridiculous and sincere—best describes Theater Camp. While hurling barbs at theatre training and its many pretensions, it never loses its love for its subject. This truth is best reflected in the campers who shine in their own ways, displaying raw talent, fearlessness, and pure desire to perform. They represent a true demographic cross-section, bonded in the joy of all things theatrical. 

The staff are an over-the-top crew but somehow make the caricatures believable. Platt and Gordon infuse the codependent pair with the dysfunction common to longtime theatrical collaborators who cannot communicate. Caroline Aaron plays the managing director with a mix of tough love and the awe of the non-artistic. Without losing the humanity, Nathan Lee Graham camps up the choreographer, Clive DeWitt, as does Owen Thiele as the costumer, Gigi Charbonier. 

Ayo Edebiri makes the fraud, Janet, a charming grifter; her teaching of a mask class is one of the satirical highlights. Tatro’s lost Troy is likable, and his gradual awareness of the beauty of what his mother has created is genuine and touching. But it is Noah Galvin, as the jack-of-all-trades stage manager, Glenn, who provides the film’s biggest surprise. Galvin’s transformation at the climax is a revelation and a marvel. 

Thematically, Theater Camp centers on being “one of us.” The staff and campers are cut from the same mold. They are the ones who are never picked first or second (or third or fourth) for teams. They are social outcasts in the outside world. But at AdirondACTS, they are not just accepted but celebrated. 

Towards the end, the camp hosts a mixer with the neighboring camp, the privileged Lakeside. The Lakeside campers view the boisterous, outgoing theatre kids with not just disdain but the view that they are “other.” The film’s creators smartly refrain from giving the Lakeside campers commentary; the contempt is clear but unspoken. For all its problems—and they are myriad—AdirondACTS provides an outlet and a haven for these budding artists. 

In the wake of artistic blockbusters (Barbie, Oppenheimer), Theater Camp is a lightweight diversion and an enjoyable slice of summer fun.

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

Cillian Murphy as J. Robert Oppenheimer in a scene from the film. Photo courtesy of Universal Pictures

Reviewed by Jeffrey Sanzel

J. Robert Oppenheimer (1904-1967) is considered a founding father of the American school of theoretical physics. His work included the exploration of astrophysics, nuclear physics, spectroscopy, and quantum field theory. In the 1930s, he wrote papers suggesting the existence of what are now labeled black holes.

At the dawn of World War II, Oppenheimer was instrumental in developing the atomic bomb (often referred to as its “father”). In June 1942, he was appointed scientific director of the Manhattan Project and supervised the construction of the Los Alamos laboratories.

Following the War, Oppenheimer assumed the chairmanship of the General Advisory Committee to the Atomic Energy Commission (AEC). In this role, he voiced opposition to the development of the hydrogen bomb. In 1953, at the height of the Cold War and Red Scare, Oppenheimer was accused of communist sympathies, and the AEC canceled his security clearance.

Matt Damon and Cillian Murphy in a scene from ‘Oppenheimer’. Image courtesy of Universal Pictures

In the year’s best film so far, director Christopher Nolan’s epic Oppenheimer traces the controversial figure’s rise, fall, and redemption. Nolan’s screenplay, closely adapted from Kai Bird and Martin J. Sherwin’s 2005 Pulitzer Prize-winning biography American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, runs on three timelines: the buildup of the Manhattan Project, leading to the dropping of the atomic bomb on Hiroshima and Nagasaki; the AEC’s rigged hearing that stripped Oppenheimer of both prestige and access; and Lewis Strauss’s senate confirmation hearing for Secretary of Commerce.

Many films tackle issues of scientists and scientific discovery: The Imitation Game (2014), A Beautiful Mind (2001), Hidden Figures (2016), and The Theory of Everything (2014) are examples of some of the stronger genre offerings. However, these films often stress the personal elements or water down the science. In the case of Oppenheimer, the epic but breathtakingly paced three hours manages to keep science in the forefront without losing interpersonal relationships.

The film begins with twenty-two-year-old Oppenheimer struggling with anxiety at Cambridge’s Cavendish Laboratory. After an aborted attempt to poison his professor, Oppenheimer meets Niels Bohr, who suggests he complete his education in Germany. Upon graduation, Oppenheimer begins teaching at the University of California, Berkley, and the California Institute of Technology. The film balances his day-to-day life, including his left-leaning politics, with an attempt to show his genius through strong, abstract imagery. 

Much of Oppenheimer plays in lectures and classrooms, as well as offices and laboratories. Nolan keeps the action moving and the stakes perpetually high. The rise of Hitler deeply affects the scientific community, many of whose members were Jewish. In 1942, General Leslie Groves recruits Oppenheimer to lead the Manhattan Project. Oppenheimer gathers an extraordinary team to secretly develop the atomic bomb in Los Alamos, New Mexico. Throughout, the scientists debate the issues of the long-term and far-reaching effects of their actions. In addition, the constant specter of espionage hovers over the project. 

The film builds to the first of several milestones with the Trinity, the test of the atomic bomb on July 16, 1945. Simultaneously, it highlights the perpetually shifting collaborations, suspicions, setbacks, and infighting throughout the three years of development. 

Marking his sixth collaboration with Nolan, Cillian Murphy delivers a flawless performance as the gifted, complex Oppenheimer. He brings a range of shades, from the self-important to the self-doubting. Following the dropping of the atom bomb, his simple, devastated, “And now I am the condemned. Destroyer of worlds,” is of Hamlet proportions. He manifests the struggle between the intense scientist and the man drawn to the power given to him as leader of the Manhattan Project. A womanizer who loves his wife, a father who shows little interest in his family, and a man later plagued by his choices, Murphy delivers a truly Oscar-worthy performance. 

Equal to Murphy is Robert Downey, Jr., as the seemingly mild, almost benign, but ultimately vindictive Lewis Strauss, who offered Oppenheimer the directorship of Princeton’s Institute for Advanced Study. Downey, Jr. gives one of his finest, most dimensional performances as Strauss’s real and imagined slights drive him to take down the scientist. As with Murphy, Downey, Jr., will most likely receive an Academy Award nomination (if not a win). 

Emily Blunt makes alcoholic and volatile wife, Katherine, a frustrating and noble figure. Matt Damon’s General Groves is the company man who sees the bigger picture. Florence Pugh’s independent communist Jean Tatlock brings both sensual and tragic qualities to Oppenheimer’s sometimes lover. David Krumholtz is powerfully understated as Isidor Rabi, a voice of wisdom and conscience, as is Tom Conti as the knowing Albert Einstein. 

In the Senate confirmation hearing, Rami Malek’s David Hill smartly projects shades of Joseph Welch taking down Joseph McCarthy. Kenneth Branagh makes a strong cameo as Niels Bohr, and Gary Oldman, one of the greatest actors of his generation, is indelible as President Truman. Josh Hartnett, Casey Affleck, Jason Clarke, Matthew Modine, and Tony Goldwyn are among the dozens of supporting performers who comprise this exceptional ensemble. 

Hoyte van Hoytema’s astonishing cinematography enhances and highlights the shift in time and place, perfectly complementing the work of production designer Ruth De Jong. Every element is in perfect synchronicity, from costumes to soundtrack. But Nolan, as Oppenheimer’s creator, manifested this exceptional undertaking. He skillfully blended science, politics, and morality into a cinematic gem that will be honored now and remembered as a work as complicated and brilliant as its subject. 

Rated R, the film is now playing in local theaters.