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Movie Review

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From left, senior Sophia Anderson, AP art teacher Stefanie DiLorenzo, video production teacher Chris Esser and senior Jeremiah Moody. Not pictured: Hannah Kravets and Rafael Bennett. Photo courtesy of the Three Village Central School District

Two Ward Melville seniors and two recent graduates were recently selected to have their work displayed in the prestigious All-American High School Film Festival.

Congratulations to seniors Sophia Anderson and Jeremiah Moody, and to Ward Melville High School alumni Rafael Bennett and Hannah Kravets.

The AAHSFF is the premier destination for talented high school filmmakers and media arts enthusiasts from around the world. The four students were chosen as Official Selections, which are films that will be screened at the festival from Oct. 18-20. Each year, thousands of films are submitted by student filmmakers from around the globe and the best are selected by a panel of judges as Official Selections. All Official Selections are eligible to be nominated for an award which will be announced on Oct. 20. The festival takes place each year in New York City.

 

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‘Wicked’ heads to the big screen on November 22. Photo courtesy of Universal Pictures

By Tim Haggerty and Jeffrey Sanzel

Looking for entertainment? Distraction? Introspection? This fall’s crop of new films offers a wide range of possibilities, from documentaries and biopics to comedy, horror and sequels.

WOLFS (September 20) Two professional “fixers (Brad Pitt and George Clooney) discover they are hired for the same job. While seemingly a throwback to an early time, the star power makes this a top choice for an evening of good old-fashioned escape. Rated  R

A DIFFERENT MAN (September 20) Sebastian Stan plays Edward, an actor with neurofibromatosis who is cured of his facial disfigurement by an experimental surgery. But the change turns out to be a mixed blessing. Adam Pearson, who has neurofibromatosis, gives one of the year’s most compelling performances. Rated  R

LEE (September 27) This biopic includes an all-star cast, led by Kate Winslet as Lee Miller, the model-turned-photographer, whose photos of World War II—especially the Nazi concentration camps—changed the way the world viewed war. In addition to Winslet, the cast includes Andy Samberg, Alexander Skarsgard, and Marion Cotillard. Rated  R

MEGALOPOLIS (September 27) After decades of development, Francis Ford Coppola offers an epic tale of a crumbling fictional empire that reflects the contemporary United States. A visionary (Adam Driver) dreams of a utopian society in this massive undertaking that includes Giancarlo Esposito and Shia LeBeouf in drag. Rated  R

WILL & HARPER (September 27) Will Ferrell first met Harper Steele when the two joined “Saturday Night Live,” and they remained close friends and collaborators for nearly three decades. When Harper came out as a trans woman in 2022, they embarked on a road trip —creating a film that reflects how the country views the LGBTQ+ community. Rated  R

JOKER: FOLIE A DEUX (October 4) The much anticipated/dreaded sequel shows Joaquin Phoenix in his unique take on the infamous villain, joined by Lady Gaga as Harley Quinn, the Joker’s partner in crime. And, apparently, it is a musical. Rated  R

THE OUTRUN (October 4) The great Saoirse Ronan portrays writer Amy Liptrot in this adaptation of the latter’s memoir of addiction and redemption from London to the Scottish Isles. Rated  R

PIECE BY PIECE (October 11) Filmmaker Morgan Neville presents a documentary on the life of musician Pharrell Williams, the creator of “Happy” and “Get Lucky.” The twist? Neville tells Williams’ story via LEGOs. Rated PG

SATURDAY NIGHT (October 11) The Saturday Night Live origin story focuses on creating the extraordinary show’s first episode. As producer Lorne Michaels, Gabrielle LaBelle heads a company that includes Willem Dafoe, Dylan O’Brien, Cooper Hoffman, Finn Wolfhard, Lamorne Morris, J.K. Simmons, and Nicholas Braun. Rated  R

RUMOURS (October 18) World leaders get lost in a hallucinogenic forest the night before the annual G7 summit. The bizarre premise shifts into a survivalist turn. Cate Blanchett, Alicia Vikander, Denis Ménochet, Nikki Amuka-Bird, and Charles Dance appear in Canadian filmmaker Guy Maddin’s startling outing. Rated  R

SMILE 2 (October 18) The Halloween season would be incomplete without a horror sequel—in this case, the 2022 hit about an entity that feeds on trauma and causes people to grin maniacally. It is a good bet that this will not be a one-off follow-up but, instead, the launch of a new franchise. Rated  R

THE NICKEL BOYS (October 25) Documentarian RaMell Ross wrote and directed this adaptation of Colson Whitehead’s Pulitzer Prize-winning novel chronicling a 1960s reform school, suggested by the Dozier School, the brutal and infamous real-life institution. Rated  PG-13

HERE (November 1) Forrest Gump veterans Tom Hanks and Robin Wright reunite with director Robert Zemeckis in this high-concept story that focuses on one patch of ground over thousands of years—from ancient civilization to modern-day suburbs. Rated  PG-13

GLADIAT0R 2 (November 22) Ridley Scott’s sword-and-sandal sequel to his 2000 Oscar-winner presents Paul Mescal as the adult Lucius Verus (nephew of Joaquin Phoenix’s Commodus). He is joined by Connie Nielsen, Denzel Washington, Pedro Pascal, and I, Claudius star Sir Derek Jacobi. Rated  R

THE PIANO LESSON (November 22) Denzel Washington’s commitment to presenting August Wilson’s Century Cycle plays continues with the playwright’s 1987 drama about a feud over a piano representing a family’s history. If it is half as good as “Fences,” this promises to be one of the best fall films. Rated  R

WICKED (November 22) The first part of the adaptation of the long-running Broadway musical comes to the big screen, with Cynthia Erivo as Elphaba, the woman who will become the Wicked Witch of the West. Ariana Grande joins her as her frenemy, G(a)linda, and Jeff Goldblum as the Wizard of Oz. Rated  PG-13

MOANA 2 (November 27) Disney’s 2016 animated hit gets a follow-up in “further adventures of,” featuring original voices Auli’i Cravalho and Dwayne Johnson. Rated  PG

MUFASA: THE LION KING (December 6) A prequel to “The Lion King,” director Barry Jenkins tells the tale of Simba’s late father Mufasa and how he became king of the jungle. Rated  PG-13

NOSFERATU (December 25) Robert Eggers (The Witch, The Lighthouse) helms the second remake of F.W. Murnau’s 1922 film, the first cinematic telling of Dracula. Bill Skarsgard dons the vampiric cloak of Count Orlock with Lily-Rose Depp, the object of his desire. Rated  R

This article originally appeared in TBR News Media’s Harvest Times supplement on Sept. 12.

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Eric Roberts

By Julianne Mosher

Academy Award nominated actor Eric Roberts’ first memoir is being released this month and he is kicking off his book tour on Long Island. 

Part of the famous Roberts family (including his sister Julia and daughter Emma), the 68-year-old actor is publishing his first memoir, Runaway Train: or, The Story of My Life So Far next week. To celebrate, he has chosen the Cinema Arts Centre, 423 Park Ave., Huntington as his first stop on the tour. 

“This is the first appearance that he’s making as the book is being released so we’re really honored and delighted he would choose us,” said Jud Newborn, Emmy Award-winning producer of special programs at the Centre. “It’s wonderful to be appreciated.” 

On Thursday, Sept. 19 at 7:30 p.m. the evening will start with a screening of the 1985 film Runaway Train followed by a discussion with the actor, audience Q&A, gala book signing and reception featuring food and live jazz music by New York Times-acclaimed guitarist Mike Soloway. 

The film, which stars Roberts, Jon Voight, and Rebecca DeMornay, tells the story of two convicts who escape a prison in snowy Alaska, battling the desolate landscape until they board an empty train — only to discover that the engineer has had a heart attack as the train accelerates out of control.

Roberts was nominated for an Oscar for his performance in the film and it is rarely screened in a live setting, Newborn said. 

“Eric Roberts is actually one of the most prolific actors in the world,” he added. “I was dumbfounded when I read that he was in more than 700 films.”

Roberts grew up in Georgia, spending most of his teens away from his mother and sisters and instead stayed with his controlling father, a grifter jealous of his early success. At age 17, he moved to New York to pursue acting, where he worked and partied with future legends like Christopher Walken, Mickey Rourke, John Malkovich, Bruce Willis and Robin Williams.

His big break came when he was cast in “King of the Gypsies,” becoming one of the hottest stars of the era. While his younger sister, Julia, has held a career based on her “squeaky clean, girl next door” persona, Roberts has had a life and career filled with ups and downs including arrests, drug addiction and a near-death car accident. 

Newborn, who will be moderating the discussion, said that people are drawn to these events because the Centre brings in guests who can speak to the concerns and interests of people — and have been since it was opened in 1973.

“It’s going to be a lovely evening and another special Cinema Arts Centre event which we’re famous for,” he said. “We bring in such astounding artists, it’s really mind boggling.”

Roberts’ memoir is said to show a candid look inside his life discussing the ups and downs of his career, his stormy relationship with Julia and how he confronted his demons with the help of his wife, Eliza. Written with New York Times bestselling author Sam Kashner, this memoir plans to have people talking.

“I think our guests are going to be surprised,” Newborn said. “I’ve always found Eric Roberts to be compelling and unconventional in a way that is so intriguing … He has appeared in every kind of medium you can imagine; film, TV, music videos, voice over work and he’s a character actor.”

Tickets for the event are $52 for the public and $42 for members. It includes the film screening, a copy of the memoir that will be signed by Roberts in person, and the reception. To order, visit www.cinemaartscentre.org or click here.

Other celebrity guests scheduled for appearances at the Cinema Arts Centre this fall include director Barry Sonnenfeld on Oct. 8, actor George Takei on Oct. 15; Moon Unit Zappa (daughter of Frank Zappa) on Oct. 27; and actor Tim Matheson on Nov. 12. For further information, call 631-423-7610.

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Wynona Ryder and Michael Keaton reprise their roles in the 'Beetlejuice' sequel. Photo courtesy of Warner Bros.

Reviewed by Jeffrey Sanzel

The concept of objectivity in a review is nearly, if not completely, impossible. Yet reviewers often avoid using “I” in their analyses. In this case, I am breaking the rule for context: I did not see Beetlejuice (1988) until last week. I knew that viewing the original was necessary, but also felt it only fair to be forthcoming of my lack of nostalgia in connection to a film that many hold with fond memories. So, I judged a film made over thirty years ago to evaluate its sequel. End of “I.”

Michael Keaton reprise his role in the ‘Beetlejuice’ sequel.
Photo courtesy of Warner Bros.

Beetlejuice (1988) garnered mostly positive reviews upon its release, receiving multiple nominations and a handful of awards. Tim Burton, whose previous film, Pee-Wee’s Big Adventure, had become a cult favorite, directed a script by Michael McDowell and Warren Skaaren. 

Over the years, it has been labeled a “comedy classic.” Viewing it three and a half decades later, the film seems quaint and a bit creaky, not so much offbeat but slightly pressed zaniness, and almost reminiscent of The Canterville Ghost. Some design elements foreshadow Tim Burton’s later and more mature, refined visions. 

Michael Keaton, as the titular demon “bio-exorcist,” Betelgeuse, appeared in a mere seventeen minutes. Beetlejuice possesses a sweetness and charm if a bit light on substance. Over the years, multiple sequel attempts (Beetlejuice in Love, Beetlejuice Goes Hawaiian) were shelved for various reasons. 

Tim Burton returns to the director’s chair, this time with a screenplay by Alfred Gough and Miles Millar, and Keaton, Winona Ryder, and Catherine O’Hara reprise their original roles. The now grown-up Goth daughter, Lydia (Ryder), returns to Winter River after the unexpected death of her father, Charles Deetz.

Lydia, now host of the talk show Ghost House, struggles with her rebellious teenage daughter, Astrid (Jenna Ortega). In the attic of the Deetz home, Astrid discovers the town model and accidentally opens the portal to the afterlife. 

The cast of ‘Beetlejuice, Beetlejuice’

The film contains enough plot threads for half a dozen movies, but none are fully realized. At the center is the conflict between Lydia and Astrid over Lydia’s failed marriage to Astrid’s father, Richard (Santiago Cabrera), who died in South America after the divorce. Lydia struggles with her engagement to her television producer, Rory (Justin Theroux). 

Betelgeuse is hunted by his ex-wife, the soul-sucking witch, Delores (Monica Bellucci), who poisoned him before he murdered her with an axe. Another branch is Jeremy (Arthur Conti), Astrid’s love interest, who is not quite what he seems. Add to these the ghost detective, Wolf Jackson (Willem Dafoe), a second-rate action star with a new career post-life.

While this promises a rich spectrum of opportunities, the results are thin and underdeveloped. The movie oddly manages to be chaotically frenetic yet simultaneously turgid. The hundred-and-four minutes seem at least an hour longer. 

There are funny spots and clever moments—an ode to the “Day-O” of the first movie, a joke involving Richard Marx’s “Right Here Waiting,” a Soul Train bit (that stays too long in the station), and even a smart Newhart reference. 

The Betelgeuse-Delores history plays perfectly as a subtitled Italian Art film by way of Mario Bava. But these moments get lost among jokes belabored to the point of losing any humor. 

One senses that the script meetings were mutual admiration societies in which the writers and director greeted every idea with joy and no bit left behind. 

Tonally, the film is all over the place. Winter River feels less like the idyllic Mayberry of the original and more like Halloween’s dread-steeped Haddonfield. The delightful Catherine O’Hara plays a milder version of her genius Schitt’s Creek creation, Moira Rose (including a sly parody of The Crows Have Eyes 2). Ryder seems uncomfortable in the role, not sure where the teen Lydia left off and the adult began. Keaton delivers an identical performance—logically, as the character is not about growth. But most of his jokes are either gross or … well, gross. 

With Sylvia Sidney’s and Glen Shadix’s passing, the film lost two of the original’s most interesting characters—Juno and Otho Fenlock. The Maitland’s—Alec Baldwin and Geena Davis—are also absent—dismissed in a single line about a loophole that freed them. While they killed off patriarch Charles Deetz (the disgraced Jeffrey Jones), his image and presence remain—first as a Claymation character, then as an image on his grave, and finally as a headless talking corpse. 

The film’s major bright spot is Ortega. With shades of her Wednesday Addams, she manages to avoid sulky teenager and creates the character’s angst and frustration without losing the warmth. She is completely sincere and wholly watchable, elevating the performances around her.

Beetlejuice Beetlejuice is clearly a much-anticipated movie. Much like Barbie, many audience members wore t-shirts celebrating the “event-ness,” with Keaton’s image or catchphrases from the film or even shirts mimicking Betelgeuse’s stripes. Unlike Barbie, in the end, Beetlejuice Beetlejuice contributes little to its own—or any cinematic—history.

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

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Inaugural Festival to Showcase Talented Young Filmmakers

The Cinema Arts Centre, 423 Park Ave., Huntington has announced that it will host the inaugural Long Island Youth Film Festival (LIYFF) from Sept. 20 to 22. This weekend-long event will celebrate the creativity and vision of Long Island’s most promising young filmmakers, with screenings of outstanding documentaries and narrative films, as well as exclusive receptions and educational panels.

Friday, September 20 – The festival kicks off with an inspiring lineup of documentary shorts, highlighting powerful stories crafted by young filmmakers from across the island. Following the screenings, attendees are invited to a Festival Opening Night Reception, offering an opportunity to meet the filmmakers and mingle with other cinema enthusiasts.

Saturday, September 21 – The narrative shorts take center stage, showcasing a diverse collection of stories brought to life by the talented youth of Long Island. The day will culminate in an Awards Ceremony, where the best films will be recognized, followed by a celebratory reception.

Sunday, September 22 – The festival concludes with a day dedicated to feature films outside of competition. In addition to these captivating screenings, attendees can participate in educational panels led by industry professionals and community leaders, designed to provide insights into the filmmaking process and inspire the next generation of filmmakers.

Organized by the Cinema Arts Centre’s Youth Advisory Board, the LIYFF aims to foster a community of young creatives by providing a platform for filmmakers aged 25 and under to showcase their work and connect with peers and industry professionals.

“After the overwhelming feedback the Youth Advisory Board has received in response to smaller film competitions we’ve hosted, it became clear that young filmmakers in our community are in desperate need of a program like the Long Island Youth Film Festival,” said Charlotte Brennan, Festival Coordinator. “The success we’ve found through these events is a testament to the drive, passion, and creativity of LI’s filmmakers. We’re so proud and excited to provide them with a larger platform to showcase their talent and connect with each other.”

The festival received an impressive number of submissions from young filmmakers all across Long Island, ensuring that this event will be a captivating showcase of local talent and a major highlight in the island’s cultural calendar.

“We were blown away by the submissions we received. The amount of talent in our Long Island community of young filmmakers is incredible,” said Ted Cavooris, the Festival Director. “We’re so excited to have the opportunity to screen the wonderful films that are being made by a new generation of creators.”

The Cinema Arts Centre is committed to supporting young filmmakers and film lovers by hosting a variety of youth-oriented programming. Thanks to the efforts of the Youth Advisory Board, initiatives like the LIYFF provide valuable opportunities for young creatives to share their work and connect with the broader film community.

CAC Co-Director Dylan Skolnick said, “The Cinema Arts Centre is so excited to present original films by young, local filmmakers. We’re thrilled to host the Long Island Youth Film Festival, not only to serve up-and-coming artists on Long Island, but also to make these films a part of the continuing conversation with our whole community.”

Festival Day Passes are $60, $50 members and students. 

Individual Day Tickets are $25, $20 members and students. 

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

The Long Island Youth Film Festival (LIYFF) provides an opportunity for young filmmakers from Long Island, NY to share their work through public screenings and promotion through a weekend-long film festival! Submit your films to have a chance to be featured at Long Island’s premier arthouse cinema and be awarded a variety of prizes for your filmmaking achievements! An initiative of the Cinema Arts Centre’s Youth Advisory Board, the LIYFF aims to showcase local filmmakers ages 25 and under from the greater Long Island area and foster a community of young creatives. LIYFF is currently seeking film submissions from youth (ages 25 and under) residing in or creating films on Long Island, New York (Nassau, Suffolk, Queens, and Kings Counties) in the following categories: Documentary Short, Documentary Feature, Narrative Short, and Narrative Feature. For more information, please visit filmfreeway.com/liyouthfilmfestival

About Cinema Arts Centre:

The Cinema Arts Centre (CAC) is Long Island’s premiere, year-round, independent and international film showcase and its leading 501(c)3 not-for-profit community cinema. Located on Long Island’s North Shore, just an hour from Manhattan, the CAC is unique in scope and programming, with three state-of-the-art theaters, including a main theater holding nearly 300 seats. Founded by Vic Skolnick, Charlotte Sky and Dylan Skolnick in 1973, the CAC has over 10,000 members and serves approximately 150,000 individuals each year. For more information, please visit https://cinemaartscentre.org

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Tickets are on sale now for Ian Bonhôte and Peter Ettedgui’s acclaimed documentary Super/Man: The Christoper Reeve Story. Via a collaboration between DC Studios and Fathom Events, the film, which DC Studios, HBO Documentary Films and CNN Films acquired out of the Sundance Film Festival this year, the film will debut in select cinemas across the United States on Saturday, Sept. 21. There will be an encore presentation on Sept. 25, Reeve’s birthday.

‘Super/Man: The Christopher Reeve Story’

The story of Christopher Reeve is an astonishing rise from unknown actor to iconic movie star, and his definitive portrayal of Clark Kent/Superman set the benchmark for the superhero cinematic universes that dominate cinema today. Reeve portrayed the Man of Steel in four Superman films and played dozens of other roles that displayed his talent and range as an actor, before being injured in a near-fatal horse-riding accident in 1995 that left him paralyzed from the neck down.

After becoming a quadriplegic, he became a charismatic leader and activist in the quest to find a cure for spinal cord injuries, as well as a passionate advocate for disability rights and care — all while continuing his career in cinema in front of and behind the camera and dedicating himself to his beloved family before his death of heart failure in 2004 at the age of 52.

From the directors of McQueen, Ian Bonhôte and Peter Ettedgui, this film includes never-before-seen intimate home movies and an extraordinary trove of personal archive material, as well as the first extended interviews ever filmed with Reeve’s three children about their father, and interviews with the A-list Hollywood actors who were Reeve’s colleagues and friends. The film is a moving and vivid cinematic telling of Reeve’s remarkable story.

Locally, the film will be screened at AMC Loews Stony Brook 17 in Stony Brook, Island 16 Cinema de Lux in Holtsville, and AMC Huntington Square 12 in East Northport. To order tickets in advance, visit www.fathomevents.com. 

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A scene from 'Checkpoint Zoo' which will be screened on Oct. 17.

By Tara Mae

Like the next chapter in an ongoing serial, the Port Jefferson Documentary Series (PJDS) returns with new tales to tell in its fall season. Running on select Thursdays between September 5 and November 7 at 7 p.m., seven distinct films explore the strands of connection that galvanize and unite people despite social, economic, and geographic divides.

Held at a new location, the First United Methodist Church in Port Jefferson, the screenings explore interpersonal relationships, honed in common cultures or communal responsibility. 

“When the program began to take shape, that celebration of community became apparent and guided this season’s curation process,” PJDS co-chair Kelly DeVine said. 

Following the documentaries, there will be Q&A sessions between patrons and guest speakers associated with the films’ productions or subject matter.  

Tom Needham, executive producer and host of “Sounds of Film” on WUSB, will reprise his role of moderator for four of the films, leading post-viewing discussions. The moderators of the other three films have yet to be announced. 

This personable exchange invites deeper understanding between artists and attendees, both in intent and practice. 

“There is a theme running through all seven films despite coming from different continents and approaches. That theme is the importance of community and small “d” democracy — citizen engagement and agency,” DeVine said.

Sponsored by Maggio Environmental; Metal Masters; Covati & Janhsen, CPAs; Port Jeff Storage; and the accounting firm of Saranto Calamas, CPA with support from Suffolk County and the Greater Port Jefferson-Northern Brookhaven Arts Council, the Series begins with Happy Campers which chronicles families, both found and of blood, choosing to enjoy the last days in a blue-collar summer colony as they contend with their imminent eviction from the seasonal trailer park that has been sold to developers.

One Person, One Vote? investigates the complications and intricacies of the apparently enigmatic Electoral College as it follows four presidential electors of different parties during the 2020 presidential election. 

Join or Die traces the devolution of the United States’ civic structure over the span of 50 years, through the lens of scientist Robert Putnam’s career and research.

Invisible Nation provides uncommon access to Tsai Ing-wen, the first woman President of Taiwan, and examines the delicate balance she must maintain between the interests of China and the United States. 

Checkpoint Zoo depicts the residents of the Feldman Ecopark animal rescue in Ukraine as well as the courageous zookeepers and volunteers who risk their lives to save the nearly 5,000 creatures from the crosshairs of conflict during the early days of Russia’s invasion of Ukraine. 

It’s Basic traces the expansion of the Guaranteed Basic Income program and how, as it gains popularity, it attracts pushback amidst increasing social and economic disparities. 

Searching for Amani chronicles the journey of 13-year-old Kenyan aspiring journalist Simon Ali who, with the help of his best friend Haron, investigates his father’s mysterious death. 

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

“Documentaries provide a unique perspective on real-life events and issues, allowing us to learn about the world beyond our own experiences. We can learn about places and people we know just a little about or get a more in-depth look at issues or people or subjects,” PJDS co-chair Wendy Feinberg said.

This season’s nuanced community focus on the screen aligns with the community cohesion behind-the-scenes. Shared passion for a story well-told continues to inspire the team that produces PJDS.  

“What intrigues me is the sense of discovery that dawns when you see a film that opens up a puzzle, reveals a hidden world or unwraps the interior life of someone fascinating,” PJDS co-chair emeritus Lyn Boland said.  

Pre-screened by PJDS’ film board and a selection of long-time volunteers, the documentaries, which this season were chosen by DeVine and co-chair Wendy Feinberg, elucidate as they entertain. 

“For 20 years I have watched documentaries with a critical eye, searching for what I thought would be a perfect fit for our audience. I looked for the basic elements: does it tell a story, what can I learn from it, is there a balance between talking heads and a good narrative,” PJDS community outreach coordinator Barbara Sverd said.

Such attention to detail and dedication extends beyond the board, consisting of DeVine, Boland, Sverd, and Feinberg. 

“We could not put on our fun, friendly events without our amazing volunteers Yvonne Lieffrig, Denise Livieri, Honey Katz, Suzanne Velazquez, Ronnie Levy, and Lise Poulos along with our tech wizard, Jeuel Bryant,” DeVine said. 

With a steadfast support system, PJDS’ upcoming season is a multifaceted testament to the ambition, artistry, and acumen found when a group of individuals come together in support of a common cause.  

“Programming for the film series rests on curating work that resonates with our audience and which lends itself to connecting our audiences to a meaningful communal experience,” DeVine said.

Film Schedule:

 

◆ The Fall 2024 season kicks off with a screening of Happy Campers on Sept. 5. The film chronicles the final days of a working-class summer colony in a scrappy trailer park that just happens to hold the secret to a rich life. When their affordable paradise is sold to developers, the residents brace for eviction and the loss of friendships that span generations. Guest speaker will be Director Amy Nicholson.

◆ One Person, One Vote?, to be screened on Sept. 12, unveils the complexities of the Electoral College, the uniquely American and often misunderstood mechanism for electing a president. Panel discussion including Maximina Juson, the director, and Nancy Marr from the League of Women Voters to follow.

◆ Next up is Join or Die on Sept. 26, a film about why you should join a club … and why the fate of America depends on it. In the spirit of the film’s theme, the PJDS will host various local volunteer & civic groups to join in conversation about our community. Please consider bringing a small dessert to share. Bring a sweet, make a new friend and join a group!

◆ After a brief hiatus, the season continues with Invisible Nation on Oct. 10. With unprecedented access to Taiwan’s sitting head of state, director Vanessa Hope investigates the election and tenure of Tsai Ing-wen, the first female president of Taiwan. Q&A discussion to follow.

◆ Checkpoint Zoo on Oct. 17  delves into the gripping account of a daring animal rescue that unfolded during the early days of the Russian-Ukrainian War, where over 5,000 animals were trapped in a besieged Feldman Ecopark. Panel discussion to follow including the director Joshua Zeman on Zoom.

◆ It’s Basic on Oct. 24 brings the issue of Guaranteed Basic Income (GBI) to national light by following the progress of the program against a backdrop of widening income gaps, politics, and growing social concern. Panel discussion to follow with coordinating producer Elizabeth Sehring.

◆ The season concludes with the heartfelt Searching for Amani on Nov. 7. In the heart of Kenya, a tragedy shatters a young boy’s life. Simon Ali, 13, finds himself in a world of mystery when his father, a respected conservancy guide, is found dead under suspicious circumstances. Armed with his video camera and an unwavering desire for truth, he embarks on a perilous journey to uncover the secrets behind his father’s demise. Panel discussion to follow.

All films begin at 7 p.m.

Tickets to the PJDS fall season are $10 adults and $5 students. Season passes are $58 each. First United Methodist Church is located at 603 Main Street, Port Jefferson, 11777. For more information, visit portjeffdocumentaryseries.com.

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Naomi Ackie in a scene from 'Blink Twice.' Photo courtesy of Amazon MGM Studios

Reviewed by Jeffrey Sanzel

After nearly twenty years of high-profile performances (including multiple franchises), actor Zoë Kravitz makes a first-rate directorial debut with Blink Twice. 

Channing Tatum and Naomi Ackie; below, Ackie in a scene from the film.
Photo by Carlos Somonte, Amazon MGM Studios

Kravitz collaborated on the screenplay with E.T. Feigenbaum, a writer from her 2020 Hulu series, High Fidelity. They have created an interesting, edgy, slightly over-long film that nods to The Most Dangerous Game and, more recently, The Hunt. Blink Twice focuses on intertwining issues of memory and power, but the foremost thread is the abuse of women—specifically by rich, white men. While in this context taken to the extreme, the film makes the point no less honest and valuable. 

The opening image of Frida (Naomi Ackie) scrolling through her phone while sitting on the commode perfectly presents her dead-end life. “I need a f— vacation,” she says. This prescient statement provides layers of pay-off.

She and her best friend, Jess (Arrested Development’s Alia Shawkat, in a grounded performance), cater-wait at tech billionaire Slater King’s (Channing Tatum) pretentious high-end gala. After a “meet cute”—that is anything but—King invites the pair to his island. Arriving by private jet, the entourage of King and his buddies and a gathering of young, attractive women land in paradise for days of eating, drinking, bathing, and drugs. Literally, there is “a tsunami of champagne.” 

Stripped of any outside world connection (including the ubiquitous cell phones), continual and unchecked hedonism ensues. The unbridled existence is emphasized by the women’s apparel, diaphanous white dresses provided by their host; these further King’s bacchanalian environment. For nearly forty minutes, Kravitz presents endless days of relaxation, meals of detailed extremes, and nights of excess. 

While the view of no one wanting the trip to end, Frida’s reality begins to jar. The new refrain is that “something is wrong with this place.” This, coupled with the idea that the ability to forget is a gift, spurs the latter half of the film. Indigenous serpents, mysterious perfume, and the shadowy natives serving the guests become increasingly important. The turning point is Jess being bitten by one of the snakes. The film kicks into high gear, building to terrible revelations in the final twenty minutes. The violence is appropriately brutal and relentless and cannot be unseen.

While the plot has been explored in various incarnations, Kravitz shows great skill, imbuing every scene with low-boiling tension. Even the brightest sunlight and the clearest swimming pool project an atmosphere of dread. She employs often-trod tropes—a creaking door, a stack of hidden Polaroids, a particularly sharp knife—but nothing seems gratuitous. Even the omnipresent red gift bags project a menace.

Naomi Ackie in a scene from ‘Blink Twice.’ Photo courtesy of Amazon MGM Studios

Ackie beautifully arcs Frida from uncomfortably passive to a resourceful and righteous warrior. She is matched by the extraordinary Arida Arjona, as Sarah, a C-list celebrity from a “babes-as-survivors” reality show. The adversarial relationship underlies the point that society pits women against women. When the situation shifts, so does their dynamic; together, they own the film’s final stretch. Tatum (in seemingly Brad Pitt mode) is appropriately slimy, if a bit obvious, as the mogul. However, his take on forgiveness provides a brief but pointedly disturbing monologue; he is also effective in King’s flashes of doubt. 

The supporting cast, including Simon Rex, Liz Cabel, Levon Hawke, Trew Mullen, and Haley Joel Osment, serve their functions and play the few notes provided with ease and abandonment. Christian Slater turns in a familiar performance. Likewise, Kyle MacLachlan’s cameo as King’s therapist harkens to much of the actor’s earlier work. However, Geena Davis, as put-upon assistant Stacy, has one of the most memorable and alarming moments in the entire film. 

Blink Twice’s original title directly referenced the #MeToo movement, but presenters balked, and Kravitz changed the title to the more benign moniker. While initially resisting, she eventually embraced the reality that “we’re not there yet. And I think that’s something I have the responsibility as a filmmaker to listen to.”

While the film would have benefited from judicious cuts to the one-hundred-and-fifty-minute running time, Adam Newport-Berra’s exceptional camera work and Kravitz’s smart, taught direction build to a thrilling climax. She slyly introduces gallows humor when the story turns darkest, and her resolution borders on brilliant. 

While Blink Twice is not perfect, it is strong, riveting, and significant. It also heralds Kravitz as a significant new filmmaker who earns the titles of up-and-coming and accomplished.  

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

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Scott Peterson is currently serving life in prison for the murder of his wife, Laci. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

The facts are these:

On Christmas Eve 2002, 27-year-old Laci Peterson, eight months pregnant with her first child, disappeared from her home in Modesto, California. Her husband, Scott, claimed to have last seen her at 9:30 a.m. Originally, Scott announced he was golfing but later revealed that he had gone fishing at the Berkeley Marina. When he returned home that afternoon, he found their dog, McKenzie, still leashed in the backyard. After showering and washing his clothes, Scott contacted Laci’s mother to see if Laci was there. Both Scott and Laci’s stepfather reported Laci missing. While investigating, detectives found Laci’s keys, wallet, and sunglasses in her purse and closet.

Scott Peterson is currently serving life in prison for the murder of his wife, Laci.
Photo courtesy of Netflix

Immediately, a massive search was underway. Initially, Laci’s in-laws defended Scott, but as the investigation continued, the police became more suspicious. On Dec. 30, Amber Frey contacted the hotline, revealing that she had been dating Scott since November as she believed he was single. She recorded their conversations over the next month. On Jan. 24, 2003, the information went public.

On April 13, the fetus remains of Conner, Laci’s unborn child, was discovered in San Francisco Bay. The following day, the remains of a woman—later identified as Laci—washed up a mile away from where Conner’s remains were found. The area was just a few miles from where Scott had been fishing.

Police arrested Scott Peterson on April 18 in La Jolla, California. In addition to knives and credit cards (and his brother’s I.D.), Scott had fifteen thousand dollars in cash. He had grown a mustache and beard and dyed his hair.

Scott’s trial began on June 1, 2004, with jury deliberations beginning on Nov. 3. On Nov. 12, Scott was found guilty of first-degree murder for Laci’s death and second-degree murder for Conner’s death. On Dec. 13, the jury recommended the death sentence, which a judge enacted on March 16. After years of appeals and accusations of an unfair trial (2012 to 2015), the death sentence was overturned on Aug. 24, 2020. He was resentenced on Dec. 8, 2021, to life in prison without the possibility of parole.

On Dec. 20, 2023, Scott Peterson’s request for a new trial was denied, and in January 2024, the Los Angeles Innocence Project began its representation of Scott Peterson, claiming that he was innocent.

Since 2002, millions of words have covered the tragic death of Laci Peterson. Thousands of articles and hours of media coverage. The Perfect Husband: The Laci Peterson Story aired on USA Network in 2004. In 2005, CBS broadcast the movie Amber Frey: Witness for the Prosecution. 

The case featured on The E! True Hollywood Story, True Crime with Aphrodite Jones, Murder Made Me Famous, Crime Junkie Podcast, The Laci Peterson Story: A Dateline Investigation, Snapped, Truth and Lies: The Murder of Laci Peterson, How It Really Happened, 48 Hours, 20/20, etc. A&E produced a six-part series, The Murder of Laci Peterson (2017).

Netflix now presents American Murder: Laci Peterson. Directed by Skye Borgman (Girl in the Picture, Abducted in Plain Sight), the three-part documentary offers little new information. It mostly focuses on interviews intercut with archival footage and blurry, slow-motion B-roll recreations. 

Part 1: “What Do You Mean, Missing?” highlights the first six days and establishes the Petersons as the “perfect couple.” Part 2: “I Wasn’t a Mistress” follows Amber Frey, Scott’s girlfriend, as she aids the police by taping their conversations. Part 3: “Nothing Can Change the Truth” takes the story from arrest through trial and conviction.

There is no question that this is a heartbreaking story. Laci’s disappearance and murder was terrible in every respect. However, the point of revisiting the murder is to shed new light and a new perspective. For the most part, American Murder fails to do this. 

Throughout the two-and-a-half hours, the filmmakers fail to address why this particular case grabbed the country’s attention from the first moment. It acknowledges that Scott Peterson was tried on a great deal of circumstantial evidence (no DNA, no witnesses, no definitive weapon) but goes no further, emphasizing his disturbing behavior and questionable personality. It almost celebrates the mob mentality at the announcement of the verdict. It also never addresses the Innocence Project taking up his case, suggesting that Laci was murdered by the burglars of the neighbor’s house. In short, the documentary leans into ominous chords, peripatetic cuts, and eerie images.

For the most part, the interviews add little insight. The detectives revisit the same material and perspectives. Journalist Gloria Gomez speaks of the media frenzy but takes no responsibility for being part of that circus. There is an uncomfortable interview with two of the jurors that offers little perspective. 

The one powerful throughline is Laci’s mother, Sharon Rocha. While reliving this is painful, she maintains dignity and clarity. She divides her life between before Laci and after Laci and knows that this changed everybody’s lives. One of the last things she states is, “You don’t get over it; you just get through it.” Her interview is the most valuable part of the documentary.

On Aug. 20, Peacock presents Face to Face with Scott Peterson, featuring his first interview in decades. Undoubtedly, this will be a different perspective, emphasizing alternate theories. 

Stepping back from pure objectivity, Scott Peterson was a liar, a cheat, a narcissist, and most likely murdered his wife, Laci, a kind, gentle person. Like any victim of a violent crime, her story deserves and needs to be told—but always with integrity, sensitivity, and raw honesty. Unfortunately, American Murder does not rise to this standard.

The three-part documentary is currently streaming on Netflix.

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Fathom Events and Universal Pictures celebrate the 70th anniversary of Alfred Hitchcock’s landmark 1954 thriller Rear Window by bringing it back to select theaters nationwide on Sunday, Aug. 25 and Wednesday, Aug. 28.

The film tells the gripping story of a recuperating photographer (James Stewart) who suspects his neighbor may be a murderer. As the mystery develops, he enlists his girlfriend (Grace Kelly) to help him investigate and piece together the clues as they race to bring the full picture into focus.

Rear Window was nominated for four Academy Awards®, including Best Director and Best Screenplay, and boasts a talented ensemble that also includes Raymond Burr, Thelma Ritter, and Wendell Corey.

Each screening features an exclusive introduction by film legend Leonard Maltin, giving viewers an in-depth look at the iconic film that was famously heralded as “The Essential Hitchcock.”

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. 

Up next is Blazing Saddles (50th anniversary) on Sept. 15 and 18, The Matrix (25th anniversary), Super/Man: The Christopher Reeve Story on Sept. 21 and 25, and Mean Girls (20th anniversary) on Oct. 3 and 6. 

For times and to purchase tickets in advance, visit www.fathomevents.com.

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