Movie Review

TAKE A BOW: Above, the winners of this year's Stony Brook Film Festival, from left, Daniel Rashid and Reilly Anspaugh (Chauncey), Tathagata Ghosh (If), Zach Finger (Mimesis), Axel Dahan (On the Paths Awakened), Ryan Ward and Mackenzie Leigh (Daughter of the Sun), Bradley Gallo (Audrey’s Children), Mediha Alhamad (Mediha), and Barnabas Toth (Mastergame). Photo from Staller Center

The 29th annual Stony Brook Film Festival, presented by Island Federal Credit Union, wrapped up with its closing night awards ceremony on July 27.  The evening recognized the outstanding new independent films screened at the festival, which was held at Staller Center for the Arts at Stony Brook University from July 18 to 27.

This year’s festival brought together hundreds of directors and filmmakers and featured 36 films from 19 countries of which 13 standouts received awards. 

GRAND PRIZE WINNER
Mediha Alhamad, the subject and co-writer of the Grand Prize Award-winning ‘Mediha,’ with festival director Alan Inkles. Photo from Staller Center

Mediha took home the Grand Prize Award. Directed by Hasan Oswald, this masterful documentary chronicles the journey of a young Yazidi girl returning from ISIS captivity. Using her camera to process her trauma, she documents her experience while rescuers continue to search for her missing family members. The Grand Prize is given to films that have ‘wowed’ both the audience and the jury beyond what could be contained in the simple phrase ‘best film’ in this or that category. Mediha is the 11th film in the festival’s 29-year history that has received a Grand Prize and only the second time awarded to a Documentary Film. 

Two short films won the audience’s hearts, resulting in a tie for this year’s Audience Choice Award for Best Short. The winners for this category included two of the youngest filmmakers to win an award in the 29-year festival history. Mimesis, a drama about a struggling alcoholic actor who finds solace in an audition for the role of therapist, and On the Paths Awakened, a WWII-era story of two French teens facing intimate conflicts as the resistance recruits them. The festival’s youngest filmmakers directed the two winning short films: 20-year-old Zach Finger from Long Island and 19-year-old Axel Dahan from France.

One feature that truly captivated the audience was Running on Sand, which took home the Audience Choice Award for Best Feature. Adar Shafran directed this heartfelt crowd-pleaser about a refugee from Israel who, facing imminent deportation, is mistakenly identified as a Nigerian soccer star at the airport. The film highlights the precariousness of refugees’ lives, the power of second chances, and the complex intersections of identity and survival. 

The Spirit of Independent Filmmaking Award is for filmmakers who use a distinct indie perspective to bring their stories to life vividly. It is reserved for filmmakers who have created a standout film with very few resources, financial or otherwise. “When it looks and sounds great, plays great, creates its own world, and you would never suspect how hard the filmmakers worked to bring it to life on screen, then you’re watching the kind of film we give these awards to,” said Festival Programmer, Kent Marks. 

Daughter of the Sun secured the honor of this year’s award. This vintage-feeling, breathtaking fantasy tells the story of a man with Tourette’s Syndrome and supernatural powers and his 12-year-old daughter navigating life on the run.

The festival also announced that one of the films received an especially rare award in the 2024 Dr. Gabriel Sara Humanitarian Award. In 2022, the Stony Brook Film Festival created an inaugural prize in honor of Dr. Gabriel Sara, who worked wonders in cancer at Mount Sinai in New York by treating patients with dignity through song, dance, and teaming up with some of the most caring individuals in healthcare. He went on to play a role not unlike himself in the film opposite Catherine Deneuve. 

This year, the festival hosted a non-competing sneak preview of the film. Titled Audrey’s Children, it tells the story of Dr. Audrey Evans, who brought new treatments to pediatric cancer patients in the U.S. and went on to co-found The Ronald McDonald House. 

The Jury Award for Best Short went to Where We Belong, the Jury Award for Directing given to Mastergame, and the Jury Award for Best Feature went to The Strangers’ Case. (To listen to a podcast interview with The Strangers’ Case writer and director Brandt Andersen with TBR News Media reporter Daniel Dunaief, visit www.tbrnewsmedia.com.)

Mastergame director Barnabás Toth, who attended the awards ceremony, said, “Being here as a filmmaker is special. Coming here is like a therapy, a cure for any kind of artist because people who create are appreciated here. So please continue to keep it that way.”

The Festival’s Opening and Closing Night Feature and Short films were also recognized, including Director Aexandre Arcady of The Blond Boy From the Casbah (Opening Night Feature), Christopher Doll, Director/Producer and Karoline Herfurth, actress of One Million Minutes (Closing Night Feature), Daniel Rashid, Director of Chauncey (Opening Night Short), and Tathagata Gosh, Director of If (Closing Night Short). 

In addition to Island Federal’s generous support as presenting sponsor, additional sponsors for the Stony Brook Film Festival included News 12 Long Island; Campolo, Middleton & McCormick, LLP; Suffolk Arts and Film; Strata Alliance; and WLIW/PBS.

UPDATE: “The Strangers’ Case” won the Jury Award for Best Feature at the Stony Brook Film Festival.

TBR News Media reporter Daniel Dunaief recently spoke with Brandt Andersen, writer and director of the film “The Strangers’ Case,” about five families in four countries who are confronting the refugee crisis. Andersen will attend a screening of his feature film directorial debut at the Stony Brook Film Festival on July 20th at the Staller Center.

Listen to the episode now.

From left, John Ashton, Eddie Murphy and Judge Reinhold reunite in the fourth installment of Beverly Hills Cop. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

Beverly Hills Cop (1984) introduced Eddie Murphy’s Axel Foley, the street-smart Detroit detective who comes to Beverly Hills to solve the murder of his best friend. The blockbuster won the People’s Choice Award for Favorite Motion Picture, along with nominations for a Golden Globe for Best Motion Picture and an Academy Award for Best Original Screenplay. More importantly, Murphy garnered a nomination for the Best Actor Golden Globe. His two previous films—48 Hours (1982) and Trading Places (1983)—made the stand-up comic a household name. Beverly Hills Cop made him a superstar. 

Two sequels followed: Beverly Hills Cop II (1987) and Beverly Hills Cop III (1994). After several aborted attempts at a new installment (including a television series), Netflix presents Beverly Hills Cop: Axel F.  Murphy is joined by Judge Reinhold, John Ashton, Paul Reiser, and Bronson Pinchot, reprising their roles from previous films in the series, joined by Joseph Gordon-Levitt, Taylour Paige, and Kevin Bacon. Mark Molloy makes his feature film debut, directing the serviceable screenplay by Will Beall, Tom Gormican, and Kevin Etten. 

The film opens in Detroit, where Axel (Murphy) stops a changing room theft during a Red Wings hockey game. This leads to the first of many of the film’s car chases—here with Axel driving a city snowplow. After the usual dressing down at the station, Axel receives a call from cop-turned-private investigator Billy Rosewood (Reinhold), who is pursuing a case involving a young man (Damien Diaz) framed for a cop’s murder. The boy, a drug mule, is the nephew of a cocaine trafficker (a flamboyant Luis Guzmán). Foley’s estranged daughter, Jane (Taylour Page), represents the young man, but powers-that-be threaten Jane, leading Billy to reach out to Foley, who gets on the next plane.

His first drive through Beverly Hills effectively contrasts with the Detroit opening, emphasizing Axel’s fish-out-of-water vibe. Like the entire movie, it does not aim for subtlety but makes its point about California’s mecca of facades. (There seem to be myriad pampered canines whose presence permeates restaurants, cars, and sidewalks.) A predictable but wholly enjoyable action comedy follows with the requisite number of car chases, shootouts, and generic hoodlums. At the center is a corruption ring led by a dirty cop, Captain Grant (Kevin Bacon, in a performance that seems lifted from Gotham City). The entire plot hinges on a missing SD card and a page Axel rips from a calendar. 

Beverly Hills Cop: Axel Foley works because Murphy is not just in his element but is at home. Unlike in 2021’s painfully misguided Coming 2 America, the ageless actor easily lands every joke, quip, and aside. The writers crafted the screenplay to Murphy’s style, ably balancing the comedic with the human. After being arrested following the commandeering of a parking patrol vehicle, he shrugs, “I’ve been a cop for thirty years and black for a whole lot longer.” His response is smart, funny, and to the point—which describes the entire film.

One of the best moments is his reunion with Jane. After a beat, he says, “It is extremely good to see you.” The usually comical Axel is stiff and formal. His face registers a mix of pain, loss, and joy—but above all, a palatable discomfort, one of the most complex emotions to signal. The gifted Murphy shows himself as a great actor, infusing a single glance with a lifetime of regret. The lone “swashbuckler,” married to his job, yearns to know his only child. 

Finally, Murphy is one of the great cinematic scene partners. He not only connects but elevates the supporting cast. His rapport with Page is equal but wholly different from his wonderful work with Reinhold. While many stars seem to pull complete focus, Murphy allows us to see the other characters fully develop through Axel’s eyes. Page evokes a strong and human Jane—clearly her father’s daughter. Their scenes spark adversarial energy, underlaid with the need to connect. 

Newcomer Gordon-Levitt balances the snark and the concern in Jane’s ex-boyfriend, Bobby Abbott. While initially bland, he manages to grow the detective’s dimensions. The returning entourage makes the brief appearances work within the confines of some of the creakier writing: Reinhold is a mix of charm and caring. Ashton’s ulcerated Chief John Taggart is a blend of crusty and caring. Reiser’s retiring Deputy Chief Jeffrey Friedman is long-suffering and caring. Pinchot’s Serge is over-the-top and caring (if shockingly politically incorrect for 2024). 

Beverly Hills Cop: Axel Foley is a film with no surprises. There are no twists and no revelations. Even the refrain “a child is always the child, and a parent is always the parent” is not just projected but stated repeatedly. However, the thematic sentiment does not detract from a well-paced and thoroughly enjoyable two hours. In June, Murphy and Jerry Bruckheimer announced a fifth Beverly Hills Cop. If they can maintain the charm and energy of Axel Foley, it is worth the anticipation.

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

By Daniel Dunaief

Paula S. Apsell wants to correct one of the more insidious myths about Jews during the Holocaust.

Director Paula S. Apsell

The award-winning filmmaker is showing the documentary Resistance – They Fought Back at the Cinema Arts Centre in Huntington on July 25, offering numerous examples of Jews who fought against the murderous Nazi regime.

The film from Apsell, who will be at the Cinema Arts Centre screening to speak with the audience, chronicles resistance in many forms, from getting married in secret, to having children, to holding concerts, to caring for the poor, to smuggling food and weapons into ghettos and, ultimately, to guerilla combat.

These stories of courage and a readiness to fight back when any form of resistance could mean severe punishment or death not just for the person rebelling but for many others paint a completely different picture than the one in which Jews surrendered meekly to their fate.

“There were seven rebellions in death camps, and six of them were led by Jews,” said Apsell, who won numerous awards as executive producer for PBS NOVA films. “They still mustered the courage to rebel knowing they would die in the rebellion” and almost all of them did.

The survival rate among Jews in general and those who the Germans found were rebelling, which includes many in their late teens and early 20’s who were fighting to protect and defend their families, was low.

While she was an executive producer at PBS for the Nova science series in 2016, Apsell traveled to Lithuania near Vilnius, where she produced a documentary for PBS about Jews who were brought to a site to burn the bodies of thousands of other Jews whom the Nazis had murdered.

At night with shackles on, they used spoons to dig a tunnel over the course of 76 days. When they escaped, they filed off their shackles and raced towards a forest, with 11 of them surviving through the rest of the war.

Building on this story, Apsell, who worked with Lone Wolf Media and co-directed the documentary with Kirk Wolfinger, started gathering information for the Resistance film in 2019 and completed editing the movie in September of 2023.

Apsell, who herself is conservative about what she shares with her eight and 11-year old grandchildren, suggested the documentary is appropriate for juniors in high school or older, unless they have had some level of education about the Holocaust.

Compelling lives

Amid the many stories of courage and sacrifice, Apsell felt a particular connection with Bela Hazan.

A courier who brought information, money and weapons to the ghettos, Hazan posed as a Polish Christian woman and traveled along dangerous roads surrounded by Nazis who would imprison, torture or kill her if they knew of her work.

After Hazan survived the dangers of the war, her son Yoel Yaari, who hadn’t heard of his mother’s wartime activities, found two notebooks containing details about her work.

Yaari, who is the Henri and Erna Leif Professor for Research in Neurodegenerative Diseases at the Hebrew University Faculty of Medicine in Jerusalem, has told people through articles and his book “Portrait of a Woman” about his mother’s “astounding courage and what she had done for the Jewish people,” said Apsell. “We can all learn about courage in adversity.”

Apsell suggested that scholars knew about the way Jews had resisted, but that lay audiences often say they thought Jews went to their death as sheep to the slaughter.

Other ways to watch the film

Apsell is in the final stages of putting together a broadcast deal, which she hopes will be ready in January to coincide with Holocaust Remembrance Day, which is on January 27.

She also plans to work with organizations that have relationships with schools and libraries so students can access the information.

These stories “ought to be a much more visible part of the history of the Holocaust,” she said.

“I had a mission to tell these stories,” Apsell said. “I felt like it was a personal commitment and a responsibility” to share these stories.

While Apsell appreciates and acknowledges that people who weren’t Jewish helped their Jewish friends, neighbors and even strangers, she felt like the focus on resistance has often been on outside help.

“In this film, my emphasis was on Jews rescuing other Jews,” she said.

The film includes interviews with five Jewish survivors who were among the resistance fighters. Resistance also uses considerable archival footage from organizations that had recorded interviews. The film’s narrators include actors Corey Stoll, Dianna Agron and Maggie Siff.

Dr. Jud Newborn, lecturer, author and curator at the Cinema Arts Centre, had an immediate reaction when he viewed the film.

“I was stunned,” said Newborn, who is an expert on Jewish anti-Nazi resistance and served as the founding historian of New York’s Museum of Jewish Heritage. “No documentary covers the panoply of Jewish resistance in its many forms and in such a moving as well as revelatory manner.”

Newborn, who will host a discussion with Apsell right after the screening, added that he thought this was a “groundbreaking film.”

While Newborn describes all manner of Jewish resistance in his multimedia lecture programs, he learned new stories because the movie pulls together “the most cutting edge information,” he said. “The subject of Jewish resistance breaks stereotypes and is deeply inspiring and energizing and it’s also deeply moving because they had to overcome obstacles unlike any people under Nazi occupation or indirect rule.”

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The Cinema Arts Centre, 423 Park Ave., Huntington will screen Resistance – They Fought Back on Thursday, July 25 at 7:15 p.m. with filmmaker Paula S. Apsell in person followed by discussion with moderator Dr. Jud Newborn. Tickets are $18 per person in advance at  www.cinemaartscentre.org or at the box office.  For more information, please call 631-423-7610.

 

TBR News Media reporter Daniel Dunief recently interviewed Fawzia Mirza, Director and writer of the film “The Queen of My Dreams.” Set across two continents and spanning three decades, the movie, which will be screened at the Stony Brook Film Festival on July 19 at 7 p.m., highlights the similarities and tensions between a Pakistani Muslim mother and daughter during their formative years.

Listen to the episode now.

Joseph Quinn and Lupita Nyong'o in a scene from the film. Photo courtesy of Paramount Pictures

Reviewed by Jeffrey Sanzel

The A Quiet Place franchise premiered in 2018. The well-received film followed parents (Emily Blunt and John Krasinski) attempting to protect their children in a post-apocalyptic world invaded by blind monsters with an acute sense of hearing. Krasinski directed and co-wrote the screenplay with Bryan Woods and Scott Beck. 

The equally lauded A Quiet Place Part II (2020) gave slightly additional background of the invasion and continued the first film’s timeline, with Krasinski appearing, directing, and penning the screenplay solo. The series will (perhaps?) culminate with the Krasinski-helmed A Quiet Place Part III (scheduled for release in 2025). 

In the meantime, the clock has been rolled back for the prequel A Quiet Place: Day One.

Joseph Quinn and Lupita Nyong’o in a scene from the film. Photo courtesy of Paramount Pictures

For A Quiet Place: Day One, Krasinski turned the reigns over to Michael Sarnoski (Pig), who directs his screenplay based on a story created in collaboration with Krasinski. The film opens at the Little Firs Hospice Center, where Reuben (Alex Wolff), a nurse, negotiates with Sam (Lupita Nyong’o), a terminally ill cancer patient connected only to her cat, Frodo, to go on a New York City outing. 

Reluctantly, she agrees, with the proviso that they have pizza afterward. Much to Sam’s annoyance, the field trip is a marionette show. Immediately following the performance, meteor-like objects fall from the sky, unleashing extraterrestrials that attack, murder, and destroy. Within minutes, the City is post-apocalyptic, with burning cars and hollowed-out buildings. 

Sam takes shelter in the marionette theatre, along with a handful of survivors. The government bombs the bridges surrounding Manhattan to keep the aliens, who cannot swim, on the island. Since the beings are blind, they track their prey by sound. Silence becomes the sole means of survival. 

Announcements via helicopter instruct the remaining citizens to head for the South Street Seaport. A chillingly silent trek of refugees travel downtown. However, as the evacuee number increases, the sound turns the march into a bloodbath. 

Soon, Sam meets Eric (Joseph Quinn), a law student from Kent, England. Though hesitant, Sam allows Eric to join her and Frodo as she works her way north to her Harlem home. A series of scenes follow in which the monsters almost catch them. The film relies almost exclusively on the tension built as they navigate any possible action that could create noise. 

The plot is simple, and the result is a hybrid of traditional science fiction/creature feature with its requisite jump-out scares and action thriller, containing numerous explosions. The film calls to mind elements of I Am Legend and any number of alien and zombie movies. 

Over the three entries, the filmmakers teased bits and pieces of the aliens’ background, but they remain mostly a mystery. (Krasinski has revealed more in interviews about the “Death Angels” than is covered in the films.) 

The creature designers used various elements of prehistoric fish, black snakes, and bats to create the monsters. They also referenced “bog people”—cadavers mummified in peat, turning the skin black to create a sagging, leathery look. Somehow, they are more effective in close-up, with their moist gaping maws of sharp teeth, than in the CGI-swarming over buildings and streets. 

Two aspects raise A Quiet Place: Day One above the predictable. The first is the extremely taut sound design. Whether it is the overwhelming chaos of New York City or a balloon that pops with the crack of gunshot, the sound—and its absence—is the driving design element. The opening of a tin can, feet on gravel, or the dragging of a suitcase result in well-crafted moments of dread. The filmmakers made a less effective choice with a musical soundtrack that is more intrusive than supportive.

The second piece is the chemistry between the two leads. The film is basically a two-hander, with a handful of moments given to a few briefly seen characters. (As Henri, from A Quiet Place Part II, Djimon Hounsou has a particularly powerful and brutal interaction with shades of the Warsaw Ghetto.) 

Nyong’o first came to prominence with her brilliant, raw performance in 12 Years a Slave (2013). Again, she shows she is an actor of rich, resonant truth, who makes every situation visceral and real. Her Sam roils with fear, pain, frustration, and resolve. Glimpses of wry humor peek through her emotional wall. She is the rare actor who conveys a sense of the character’s thoughts, even in the stillest moments. 

Quinn makes an excellent partner, a beta searching for guidance, but with a kindness that plays underneath the terror. A highlight is the moment in which they share primal screams masked by thunder. (Special mention must be made of Nico and Schnitzel, the two cats who share the role of Frodo. Somehow, they convey an honest sense of caring.)

While A Quiet Place: Day One offers nothing new, the result is a mildly entertaining ninety minutes showcasing two strong performances in a world of heightened silence—where even a single breath or the slightest inhale means life and death.

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

Fathom Events and Warner Bros. Pictures celebrate the 40th anniversary of the beloved 1984 fantasy epic The NeverEnding Story by bringing it back to select theaters nationwide on Saturday, July 21 and Sunday, July 22.

The film tells the story of a young boy named Bastian who, on his way to school one day, ducks into a bookstore to avoid bullies. Sneaking away with a book called “The NeverEnding Story,” Bastian begins reading it in the school attic. The novel is about Fantasia, a fantasy land threatened by “The Nothing,” a darkness that destroys everything it touches. The kingdom needs the help of a human child to survive. 

When Bastian reads a description of himself in the book, he begins to wonder if Fantasia is real and needs him to survive.

Oscar®-nominated filmmaker Wolfgang Petersen directs this unforgettable adventure starring Barret Oliver, Gerald McRaney, Tami Stronach, Noah Hathaway, and Deep Roy, and boasting landmark practical creature effects and whimsical set designs.

Each screening will include an exclusive introduction by legendary film critic and historian Leonard Maltin, exploring the visionary tale’s enduring appeal that continues to captivate new generations of filmgoers.

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

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

VIEW TRAILER HERE

WHO: Fathom Events and Warner Bros. Pictures

WHEN: Sunday, July 21 at 4:00 pm and 7:00 pm local time; and Monday, July 22 at 7:00 pm local time.

WHERE: Tickets for the event can be purchased at Fathom Eventsor at participating theater box offices. For a complete list of theater locations, visit the Fathom Events website (theater locations are subject to change).

 

June Squibb and Fred Hechinger in a scene from the film. Photo courtesy of Magnolia Pictures

Reviewed by Jeffrey Sanzel

Grandparent Scams — often referred to as “Gram Scams” — most commonly take the form of a young man calling with an urgent financial crisis (overdue rent, car repairs, accident, jail bond) and requesting gift cards, a money transfer, or some other mode that does not require identification to collect. Elder fraud has sharply increased, with $3.4 billion in losses in 2023 (up 11% from the year before). 

Thelma, the wonderful film written and directed by Josh Margolin, follows 93-year-old Thelma Post (June Squibb) as she embarks on a quest to recover a scammed $10,000. The simple, linear storyline opens with the nonagenarian coached by her loving grandson (Fred Hechinger) on how to scroll through emails. She is simultaneously independent and reliant on the support of her family. When the police cannot help recover her ten grand, she takes matters into her own hands.

A plot of this nature could easily devolve into a series of comic capers, forced hijinks, and geriatric jokes. Instead, Margolin skillfully opts for a quieter, more methodical, and ultimately honest approach. Thelma first attempts to reach out to friends for help and discovers in a montage of phone calls that most are ill or dead. The awareness is one of many beautifully crafted “ah-hah” beats in a film that never skews to the easy choice.

Eventually, she teams up with the initially reluctant Ben (Richard Roundtree), a friend residing comfortably in an assisted living/nursing home. Using Ben’s two-person scooter, their first stop is the home of their friend Mona (Bunny Levine). In one of the most subtlety touching but equally raw scenes, neglect and isolation are brought into clear focus. (Levine is flawless in her few minutes of screen time.) 

Running parallel is Danny’s story, with his protective but often disappointed parents, Gail (Parker Posey) and Alan (Clark Gregg). As they hover and worry over Thelma, they also fret about the underachieving Danny, who cannot get his life together. The brittle family dynamic plays an important part of the action and the resolution. 

Thelma is peppered with “don’t-I-know-you” encounters that reflect decades of living but also loss. The screenplay is smart, sharp, and wholly sincere without ever being saccharine or sentimental. Lines that would seem predictable or even pablum resonate: “I didn’t expect to get so old” is not a lament but a statement of fact. This approach to reality is a hallmark of the film’s delicate blend of humor and poignancy. And Thelma is truly funny, with many laugh-out-loud flashes but none that ever cross into farce. (The production of Annie, in which Ben stars as Daddy Warbucks, is hilarious but not ridiculous.) The use of cell phones connected to hearing aids seems almost like a bit, but later comes into important play. Nothing in Thelma ever feels less than truthful. 

June Squibb’s early career included appearances on Broadway in Gypsy (1959), The Happy Time (1968), and The Public Good (1975). Her first television role was in a 1985 CBS Schoolbreak Special and her film debut was in Woody Allen’s Alice (1990). Her many appearances made her a reliable and recognizable character actor, with a breakthrough in Alexander Payne’s Nebraska, where she played opposite Bruce Dern. She received over two dozen nominations, including one for an Academy Award. With Thelma, she will most likely receive equal accolades and a second nomination if not a win. The 93-year-old Squibb (who cameos as the voice of Nostalgia in Inside Out 2) offers a nuanced, touching, and completely connected performance. She is incapable of anything less than being fully present with each triumph and setback. Squibb’s Thelma is unmatchable and so far one of the year’s strongest performances. 

In his final role, Richard Roundtree gives Ben true dimension. Best known as Detective John Shaft from the 1971 film Shaft and its numerous sequels, Roundtree infuses Ben with a mix of insight and melancholy, somehow showing contentment and resignation. He and Squibb seamlessly present the tenuous connection that grows to a newfound affection. In one of the most memorable interactions, a fall leads to a scene of deepest compassion and, even more so, understanding. 

As the grandson, Hechinger avoids the usual slacker traps by balancing familial love with barely masked anxiety. Posey and Gregg’s parents come across as slightly goofy, but their palpable concern gives weight to their frustrations. Nicole Byer and Quinn Beswick elevate the minor supporting roles of assisted living staff. Malcolm McDowell offers levels in what could be a one-note performance.  

Thelma is not The Golden Girls or the lowest-common-denominator of “Where’s the Beef?” Age is central but not an easy punchline. Thelma is heartfelt and sometimes painful — it confronts hard truths even in its lightest moments. But it is a memorable journey and certainly one worth taking.

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

Catch a screening of the award-winning documentary 'Honorable But Broken' at Theatre Three on July 11 at 6 p.m.

By Julianne Mosher

A new documentary created by a former producer for ABC News and 60 Minutes, and with the help of different EMS groups across New York State, is heading to Port Jefferson next week for a free viewing of a powerful film that will remind people how important rescue services are. 

Michael Presta, deputy chief at Port Jefferson EMS, said he received a LinkedIn message from the film’s director and producer, Bryony Gilbey, asking if her 2023 award-winning documentary, Honorable But Broken: EMS in Crisis, could be shown in the area.

Catch a screening of the award-winning documentary ‘Honorable But Broken’ at Theatre Three on July 11 at 6 p.m.

After connecting with the Greater Port Jefferson Arts Council and Theatre Three, Presta was able to help get the film to play on Thursday, July 11 at 6 p.m. — for free — and for the first time on Long Island.

Gilbey, whose three children are EMS workers, developed the film after hearing the stories about what it was like being in emergency services pre, during and post COVID-19, plus the lack of funding these operations receive from the state and federal governments. The documentary was shot on location with EMS crews in Ossining, New York, and Montclair, New Jersey.

“The film has been circling the state for about a year now and it shows the challenges of delivering EMS services to the public,” Presta said, adding that local elected officials have been invited to attend.

“It helps paint a picture to the public and our politicians on what delivering EMS services in 2024 is like,” Presta added.

He noted that the Port Jefferson EMS helps and protects all of Port Jefferson and its surrounding communities including Mount Sinai and the Village of Port Jefferson, while also lending support to other local areas. 

When Presta started his career in Port Jefferson almost two decades ago, on average there were less than 1,000 calls per year. Now, he said, they’re around 3,500.

“It’s getting harder with rising costs to deliver EMS, not just here, but everywhere. Funding is needed to support that number of calls,” he said. “This movie will give people insight.”

Narrated by Sarah Jessica Parker, the goal of the documentary is to, “raise awareness of the systemic collapse of EMS and to advocate for change. Shockingly, most states don’t mandate the provision of EMS, so funding is unpredictable and inadequate. There is a critical workforce shortage, particularly in rural areas, which in turn has led to much longer response times.”

The goal, the documentary’s official website says, is to eventually get the film onto a streaming service so everyone can see it. On the film’s official website, people can donate to help fund that endeavor, as well.

And while Honorable But Broken is not part of the Port Jefferson Documentary Series, Kelly DeVine, head programmer of the series, said that when Presta approached her and Allan Varela, president of the Greater Port Jefferson Arts Council, looking for help, both groups jumped to volunteer their resources. 

Working alongside Theatre Three, the arts council offered to lend the theatre their personal movie screen so that the film could be played at the venue.

“The Port Jefferson Documentary Series is focused on bringing high-quality films normally only seen at top festivals or art house screens to our audiences and curating those titles to support our community partners and create impactful communal experiences,” DeVine said. 

As for other films coming to Port Jefferson, the documentary series is moving to a new venue and day of the week. The Methodist Church on Main Street across from Theatre Three will now show its films on Thursdays starting in September.

Theatre Three is located at 412 Main Street in Port Jefferson. The screening is free and no reservations are required. For more information, call 631-928-9100. 

For more information on Honorable But Broken: EMS in Crisis, visit www.honorablebutbroken.org.

Catch a screening of 'The Candidate' on July 12.
Update: The event on July 10 has been postponed to October 7.

By Daniel Dunaief

Films can take us far from our lives, even as they can also bring us closer to truths about our world.

From July 9 to 12, the Cinema Arts Centre, 423 Park Ave., Huntington is presenting a four-day festival that highlights the intersection between politics and Hollywood. The screenings, which cost $16 for nonmembers and $10 for members, will include the films Mr. Smith Goes to Washington, The Best Man, and The Candidate.

On the first night, former Congressman and the festival’s curator Steve Israel will host a discussion entitled “Campaigning on Celluloid: How Cinema Informs and Reflects Changing Political Communication on Film.”

Israel, who taught a class at Cornell University about politics and film after he left public office, selected the movies.

‘Mr. Smith Goes to Washington’ will be screened on July 10.

“I thought it would be interesting and fun to offer a similar series” to the films he discussed at Cornell “on Long Island to the general public,” he said.

Israel describes the film The Best Man, which pits the principled William Russell, played by Henry Fonda, against the populist opportunist Joe Cantwell, acted by Cliff Robertson, as eerily prescient of recent political battles.

“It’s an example of a film in 1964 that was regarded as entertaining and implausible that has been overtaken by the reality,” said Israel.

The Cinema Arts Centre is debuting this series of movies this year and may run another similar program in future years.

Israel anticipates a discussion about how films are a “projection of our times and politics often influences films,” and added that some films seem political, but they aren’t, while others don’t seem political, but they are.

‘The Best Man’ will be screened on July 11.

“We are going to explore that dynamic,” Israel explained.

Atticus Finch, the hero in Harper Lee’s novel To Kill a Mockingbird, served as a role model for Israel, who spent his early time in public service trying to emulate the determined lawyer. “Atticus Finch wouldn’t survive in our current political environment,” Israel said.

The novel is relevant in the world of today, as a modern day Finch would struggle to confront the anger, vitriol and division that defines contemporary society, Israel suggested.

The reality of the modern political environment has surpassed the fiction, making the two satirical novels Israel has written difficult to produce.

“The market for satire is dead because the reality has surpassed the story,” Israel added. 

Non partisan

Nate Close, the Director of Marketing and Communications at the Cinema Arts Centre, explained that the mission of the festival is to be nonpartisan.

Indeed, guest speakers come from both parties, with republican Representative Peter King joining Israel for a discussion after Mr. Smith Goes to Washington and political strategist and policy advisor Basil Smikle participating in the post discussion after The Candidate.

The festival hopes to “shine a light on how these two institutions [politics and Hollywood] influence American culture and shape each other,” said Close. “There’s interplay there.”

Films are “more important than ever,” said Israel. “You sit through it, you take in the textures, the characters and the writing” and it “should inspire us to think.

Program Schedule:

Tuesday, July 9 at 7:30 p.m.

Campaigning on Celluloid: How Cinema Informs and Reflects Changing Political Communication on Screen — Lecture with former Congressman Steve Israel

*Postponed to October 7: Wednesday, July 10 at 7 p.m.

Mr. Smith Goes to Washington — Film screening and discussion with Rep. Steve Israel and Rep. Peter King

Thursday, July 11 at 7 p.m.

The Best Man — Film screening and discussion with Steve Israel

Friday, July 12 at 7 p.m.

The Candidate — Film screening and discussion with Rep. Steve Israel and Basil Smikle

For tickets, visit www.cinemaartscentre.org. For more information, call 631-423-7610.