Classics: A Review of Miracle on 34th Street By Lauren Ennis

M   Media hysteria, shocking court hearings, dubious political dealings and suspicious mass mail drops prove to be the makings of...a Christmas miracle?! The 1947 classic Miracle on 34th Street somehow manages to piece together these elements and more to relate a fable for our times. The film follows a department store Santa (who just might be the real thing) whose innocent efforts to spread Christmas cheer place him both under psychiatric evaluation and in front of a judge. Beneath its warmth and whimsy this heartwarming holiday tale relates lessons in decency, resilience, and faith that resonate now more than ever.

The story begins on Thanksgiving with Macy's event director Doris Walker struggling to salvage the store's parade after the Santa she had hired arrives for work drunk. Fortunately, concerned bystander Kris Kringle appears on the scene and offers to stand in for the inebriated employee. Kris' performance during the parade proves so successful that he is hired as the store's Santa for the remainder of the season. Throughout his employment, Kris is nothing less than delightful as he entertains the store’s customers and teaches Doris’ mature daughter, Susan, the joys of being a kid. Cynical Doris, however, decides that the old man is taking the Santa act too far and tries to fire him for fear that he is unstable and a company liability. When Mr. Macy himself advises her against the decision she instead recommends that Kris schedule an appointment with the store's on-staff psychiatrist. The appointment results in a series of misunderstandings that result in Kris being committed to Bellevue Hospital’s psychiatric ward. Doris’ neighbor, lawyer Fred Gaily, then takes it upon himself to defend Kris at a sanity hearing by proving that Kris is not only perfectly sane, but also the real Santa Claus.

B    The film's infectious cheer has mesmerized generations, but it is its call to faith and integrity in a cynical age that has earned Miracle on 34th Street a place in cinema history. Throughout the film those who remain true to their beliefs and fail to adhere to popular norms are dismissed as misguided or even unstable. In an era in which media members, medical experts, and political leaders dictate a firm but not necessarily factual narrative Kris' plight eerily reflects that of millions who have been silenced, derided, and even persecuted for questioning the powers that be. Even when all hope seems lost, however, Kris never loses sight of his beliefs or waivers in his determination to remain true to them. In this way, Kris elevates Santa Claus beyond a benevolent fairy tale figure to a role model we all could learn from.

     When Fred offers to take Kris' case he defends his decision by saying "It's not just Kris that's on trial, it's everything that he stands for. It's kindness and joy and love and all of the other intangibles". After a year of political, economic, social, and personal upheaval those 'intangibles' that Fred refers to seem better suited for the fairy tales that Susan dismisses than real life. Yet it is in times of struggle and division such as these that those intangibles matter most. It is these invisible ties of joy, love, hope, and faith that bind us together even as everything around us seems set to tear us apart. As the holiday season descends upon us once again it is imperative that we find light in the midst of the darkness surrounding us and remember that those little intangibles truly are the only things worthwhile.  

Just ordinary election-I mean trial- procedure...

The film comes to vibrant life thanks to the warmth and wit of its cast. Philip Tonge is riotous in his turn as anxiety ridden toy department manager Mr. Shellhammer. Gene Lockhart infuses his performance as Judge Harper with wisdom and decency. William Frawley is memorable in his brief appearance as Judge Harper's cynical but savvy political strategist, Charlie Halloran. Porter Hall is a villain viewers will love to hate as self-important bureaucrat Mr. Sawyer. In her first major role Natalie Wood displays a subtlety, nuance, and realism in her performance as precocious Susan that foreshadows her later screen success. John Payne personifies honesty and idealism and makes for a charming romantic lead as Fred Gailey. Maureen O'Hara is captivating in her portrayal of the well-meaning, but world weary Doris. Edmund Gwenn shines in a performance that exudes such kindness, cheer, and warmth that viewers will be left wondering if he might really be Santa Claus off-screen as well as on.

 Miracle on 34th Street is a holiday tale that is guaranteed to warm your heart throughout the year. Through its equal parts warm and witty script and infectious performances the film weaves a spell that is nothing short of cinema magic. In a year in which so many of us could use a Christmas miracle have a little faith and join Fred, Doris, Susan and Kris in Miracle on 34th Street.

Classics: A Review of My Cousin Vinny By Lauren Ennis

The court system is known as one of the most sacred institutions in America. It is within the hallowed halls of the nation's court rooms that life and death and guilt and innocence hang in the balance. Who would have thought that these same halls would also be ripe for comedic potential? The 1992 film My Cousin Vinny combines the familiar elements of classic court room drama with fish-out-of-water comedy and then subverts both genres with hilarious results. Through its focus upon the inner workings of the law the film sends up the legal profession with a wit and charm that is certain to leave even the most hardened of litigators laughing. Nearly thirty years after its release My Cousin Vinny continues to make the case for its status as a comedy classic.

The story begins with two New York college students, Billy and Stan, taking a trip below the Mason Dixon line where they immediately realize that they are both fish out of water and completely over their heads. After inadvertently shoplifting in an Alabama convenience store the duo are arrested, not for theft but murder. Desperate to defend themselves against capital charges, the boys enlist the help of Billy's cousin, recent law school graduate Vinny. Wise guy Vinny soon arrives in Alabama armed with zero courtroom experience, a hair-trigger temper, and a tough talking fiancée. The film then follows his increasingly outrageous attempts to remain one step ahead of the defense in a case that places his career, his relationship, and his cousin's life on the line.

The film's original poster reads "There have been many courtroom dramas that glorify the Great American Legal System. This is not one of them", that tagline is correct, My Cousin Vinny, does not glorify the American legal system; it does something infinitely more interesting. Rather than following courtroom drama clichés the film instead chronicles the inner workings of one criminal case. As a result, the film lends viewers apt insight into the crucial, but less than exciting, aspects of legal work that Hollywood all too often leaves out. In this way the script pays homage to the men and women of the legal profession without glamorizing them and ensures that the film remains firmly within the realm of reality. 

Even in the midst of so much legal drama the film successfully delivers one laugh after another. The film aptly utilizes its 'fish out of water' premise with culture and personality clashes that are played to maximum comedic effect. The film particularly succeeds by presenting seemingly stereotypical characters and then subverting those same stereotypes. For example scrappy and streetwise Vinny begins the case as arguably the most incompetent attorney to enter a courtroom only to eventually prove himself a formidable litigator. Similarly, Vinny's seemingly ditzy fiancée, Lisa, ultimately outwits attorneys for both the prosecution and defense. The film also succeeds through its ability to present viewers with outrageous characters with such affection and humanity that viewers will be hard pressed not to relate to and root for them. Through its winning combination of law and laughs My Cousin Vinny takes any semblance of order out of the court. 

The film's colorful array of characters come to whimsical life thanks to the work of the expert cast. Ralph Macchio and Mitchell Whitfield convey a believable sense of camaraderie and make for a likeable duo as Billy and Stan. Lane Smith oozes smarmy charm as slick prosecutor Jim Trotter. Fred Gwynne infuses his role as Judge Chambers with a dignity and dry wit that ground much of the film's proceedings. Marisa Tomei steals each scene in which she appears, more than earning her Oscar win for her turn as Vinnie's equal parts smart and smart mouthed fiancée, Mona Lisa Vito. Even in the midst of expert comedic performances the film belongs to Joe Pesci who lends what is easily his most complex performance as larger than life underdog Vinny.

Plenty has changed since 1992, but My Cousin Vinny still garners just as many laughs as it did upon its initial release. The script's balance between the realistic and the ridiculous ensures that each punch line still packs a powerful punch. The cast brings the script to life with an expert comedic skill that many comedies could take a cue from today. The verdict is in, My Cousin Vinny is a comedy that is guaranteed to leave the defense, the prosecution, and everyone in between laughing out loud.

Classics: A Review of Cobra Kai By Lauren Ennis

With a final infamous crane kick The Karate Kid concluded one of the great underdog stories and a cinema legend was born. The franchise then went on to follow its unlikely hero, Daniel Larusso, as he faced enemies both at home and abroad to become "the best around". In 2018 the franchise returned to follow an arguably even more unlikely hero; The Karate Kid's original villain, Johnny Lawrence. In the hit series Cobra Kai Johnny returns to reclaim his place both on and off of the mat and turns out some of the most surprisingly compelling television in recent memory along the way. 

No mercy

The story begins thirty-five years after Daniel defeated Johnny in the All-Valley Under Eighteen Karate Tournament with the two effectively switching roles. Former underdog Daniel is now an all around success enjoying a happy family life while owning a profitable chain of car dealerships. Johnny, meanwhile, has taken the opposite trajectory and is now divorced, estranged from his son, and reduced to working odd jobs to make ends meet. When bullied teen Miguel moves into Johnny's apartment complex history repeats itself and before you can say 'wax on, wax off' Johnny becomes the boy's sensei and reopens his old dojo, Cobra Kai. Old rivalries are reignited when Johnny crosses paths with Daniel who has (unknowingly) begun training Johnny's estranged son, Robby. After the two face off in an all too familiar tournament at the end of season one the second season adds even more drama as Daniel opens his own dojo and the senseis' bitter rivalry carries down to their students. By the second season's conclusion the past and present collide in a stunning finale that leaves the future of Johnny, Daniel, and their dojos hanging in the balance and is certain to leave viewers begging for more.

Through its combination of heart, humor, and action Cobra Kai kicks the competition. The series successfully strikes a balance between paying apt homage to the original films and building an original story. Rather than merely acting as a nostalgic rehash of the franchise the series instead adds depth and nuance to returning characters while introducing plenty of fresh faces. The series particularly succeeds in adding shades of grey to the black and white characterizations in the original films, enabling the series to function equally well as a character study and a sports drama. Best of all, the series invests in each of its characters in a way that ensures that viewers will remain on the edge of their seats as they watch each of its diverse plot lines unfold. Even as the script delves into domestic and sports drama the series uses its cross-generational tale to highlight and poke fun at the norms of both the 1980's and today with uproarious results. In this way the series ensures that the proceedings never veer into melodrama and that its story has something to offer the entire family. Striking an ideal balance between comedy, and drama Cobra Kai offers something for Gen X, Gen Z, and everyone in between for some of the best viewing around. 

Balance is key

The world of The Karate Kid is brilliantly revived thanks to the butt-kicking performances of the series' ensemble cast. Newcomer Xolo Mariduena makes for a welcome addition to the franchise as he expertly portrays Miguel's journey from bullied underdog to conflicted Cobra Kai champion. Similarly, Tanner Buchanan aptly depicts bad-boy Robby's efforts to reinvent himself under Daniel's guidance. Mary Mouser conveys infectious charm as Daniel's daughter and the object of both Miguel and Robby's affections, Samantha. Peyton List captures each scene in which she appears as Samantha's magnetic rival in karate and romance, Tory. Martin Kove seamlessly returns to his role as John Kreese, and recaptures his performance as the original bad sensei in all of its smarmy, sinister, glory. Even in the midst of impressive ensemble performances, however, the series undoubtedly belongs to William Zabka and Ralph Macchio as they brilliantly reprise their roles as rivals Johnny and Daniel. Zabka infuses Johnny with a world weariness, earnestness, and humor that is certain to leave viewers rooting for the former bully. Similarly, Macchio's performance showcases new dimensions and complexity as he aptly portrays Daniel's struggle to reconcile his past and present.

Even as its heroes struggle to find their inner balance Cobra Kai strikes an ideal balance between laughs, cheers, and even the occasional tear. At once refreshingly original and warmly nostalgic the series relates a unique tale that perfectly completes The Karate Kid franchise. Through its endlessly entertaining script and enormously engaging performances the series provides just the kick that audiences have been waiting for. For a true knockout of a series start training with Cobra Kai.

Classics: A Review of The Haunting of Bly Manor By Lauren Ennis

When couples marry they agree to be united 'til death do us part'; a romantic notion that takes an ominous turn in The Haunting of Bly Manor. This gothic romance explores the lengths at which we will go to be with those we love, even when that means staring into the ghostly face of death itself. Adapted from the works of Henry James, this series weaves a tapestry of interlocking tales of love, loss, regret, and redemption that is guaranteed to make your spine tingle and your heart ache. Blending real life fears with supernatural frights  The Haunting of Bly Manor crafts an intricate puzzle that is certain to haunt audiences long after its final episode is viewed.

There's no place like home...

The story begins in 1987 London as American teacher Dani Clayton accepts a job working as a nanny to two young children at a sprawling country estate. In spite of the staff's warm welcome, Dani immediately senses that all is not as it appears at Bly Manor. While the children, Miles and Flora, are every bit as clever and talented as their uncle described they are also in the throes of grief after the recent loss of both their parents and their former nanny. Although the staff dismisses the siblings' unsettling behaviors as harmless coping mechanisms, Dani quickly begins to suspect that something more sinister is at play. Centuries of tragedy and trauma collide forcing each of the estate's residents to confront the darkness lurking within both the walls of Bly Manor and the confines of their own souls. 

Critics and fans alike have lamented that The Haunting of Bly Manor is not as scary as its 2018 predecessor, The Haunting of Hill House, but in my estimation, it is in many ways even scarier. While the halls of Bly Manor may not contain the obvious thrills and jump scares that seemed to wait around every corner of Hill House they do reveal something altogether more terrifying. Whereas The Haunting of Hill House used a host of gruesome ghouls as apt metaphors for childhood trauma, The Haunting of Bly Manor explores the all too real psychological horrors that we inflict upon ourselves and those we love. The series then adds another layer of terror to its proceedings by highlighting the ways in which that same pain and suffering can live on even after we die. Even as it captures the foreboding spirit of classic gothic literature The Haunting of Bly Manor pushes beyond genre limitations to explore existential questions surrounding memory, mortality, and isolation that will leave even the most self-assured of viewers pondering the ghosts in their own lives  As the series' central mystery unfolds each of its clues proves more unnerving than the last as it gradually builds to a conclusion that is nothing short of devastating. For a ghost story which is sure to haunt you long after its final credits roll be sure to pay a visit to Bly Manor.

The haunted happenings at Bly Manor come to eerie life thanks to the expert work of the series' cast. The Haunting of Hill House alums Victoria Pedretti and Oliver Jackson-Cohen return in roles that could not be more different than their turns as tortured twins Nell and Luke. Pedretti infuses her performance as Dani with warmth and strength in equal measure. Jackson-Cohen conveys con-man charm and an underlying menace in his magnetic turn as valet Peter Quint. Henry Thomas also returns and outshines his performance in The Haunting of Hill House in his tormented portrayal of the children's uncle, Henry Wingrave. Tahira Sharif is nothing short of hypnotizing as the children's first nanny, Rebecca Jessel and portrays Rebecca's downward spiral with heartbreaking realism. T'Nia Miller steals each scene in which she appears as the manor's loving but haunted housekeeper, Hannah Grosse. Rahul Kohli is endlessly endearing as the manor's good natured chef, Owen Sharma. Amelia Eve infuses gruff gardener Jaime with a wit and charm that is nothing short of infectious. Amelie Bea Smith and Benjamin Evan Ainsworth both turn in star-making performances that belie their years as Flora and Miles.

Throughout the series the characters describe Bly Manor as 'a great, good, place', a description that applies equally well to the series that bears its name. Through its maze of plot twists and emotional turns of the screw the series weaves a spell which will keep viewers captivated long after they leave the grounds of Bly behind. Thanks to the expert work of its cast the series pays a heartbreaking homage to classic horror while still offering plenty of fresh chills. For viewing to die for, treat yourself to a perfectly splendid stay in The Haunting of Bly Manor.

What, me creepy?!

Classics: A Review of Frankenweenie By Lauren Ennis

 

Few directors' work is as unique or instantly recognizable as that of Tim Burton. Over the course of his lengthy career his name has become synonymous with his innate ability to fuse a gothic sensibility with an infectious sense of child-like wonder. His 2012 film Frankenweenie uses the director's signature offbeat charm to relay a unique story of love, loss, and hope that is guaranteed to soften even the hardest of hearts. This Halloween curl up with your favorite furry friend and enjoy viewing that is every bit as sweet and spooky as a night of trick-or-treating with Frankenweenie.

It's alive!!

The story begins with young Victor showing his parents his latest labor of love; a home made monster movie starring his dog, Sparky. While introverted Victor is all too happy to devote his time to Sparky and his hobbies, his parents become concerned that he needs to spend more time with his classmates. In an effort to help him make friends, Victor's parents encourage him to play baseball with the neighborhood kids. Tragedy strikes, however, when Victor hits a home run only for Sparky to chase the ball into the street and in front of an oncoming car. Sparky is killed instantly, and devastated Victor spirals into a deep depression. Fate intervenes, however, when Victor's science teacher gives a lesson on electricity's ability to reanimate muscles. He then takes inspiration from his famous namesake and conducts an experiment that revives Sparky. The duo's happy reunion is threatened, however, when Victor's classmates discover Sparky's resurrection and scheme to use his discovery to conduct their own experiments at the upcoming school science fair. When his classmates' experiments go dangerously awry its up to Victor to save the day all while keeping Sparky's secret safe.

This classic tale of a boy and his dog showcases a goodhearted ghoulishness that is guaranteed to appeal to kids and adults alike. The film's off-kilter visuals place Burton's penchant for the weird and whimsical on full display while the sincere script ensures that viewers will be rooting for its oddball heroes every step of the way. The film's blend of style and substance strikes an ideal balance with enough quirky visuals and gothic references to satisfy even the most devoted of the director's fans while the universal tale of love and loss is sure to win over even the most skeptical of critics. Despite its macabre atmosphere and abundance of PG chills Frankenweenie is a film with a tender and beating heart that sets it apart from Burton's more recent, lackluster, efforts. At one point Victor's teacher says that experiments have the best results when there is love behind them; it's evident with every frame that Frankenweenie was created as a labor of love and the film is all the better for it.

Is there a vet in the house?!

The surreal story rampages off of the screen thanks to the film's dazzling animation and engaging voice performances. The black and white cinematography adds to the eerie atmosphere and the expert use of light and shadow lends a spooky quality to the shadows lurking around every corner. The character designs recall the illustrations of Burton favorite Edward Gorey and nods to such horror classics as Frankenstein, Godzilla, and Nosferatu. The voice performances bring the film's array of offbeat characters to life with humor, emotion, and depth. Standout performances include Charlie Tahan as grief stricken Victor, Winona Ryder as his morbid neighbor, Elsa, Martin Landau as his eccentric science teacher, and Catherine O'Hara in dual roles as Victor's mother and his unusual classmate known only as 'Weird Girl'.

Equal parts creepy and cuddly Frankenweenie is must see Halloween viewing. The animation is a feast for the eyes and the script is certain to break your heart only to stitch it back together again. The film combines the best elements of vintage Burton to create an original masterpiece that will appeal to the whole family. For viewing that is simply to die for join Victor and Sparky in Frankenweenie.

Now that is what I call chemistry!

Classics: Miyagi Knows Best: Three Life Lessons From The Karate Kid By Lauren Ennis

 In the summer of 1984 a kid from New Jersey met a handyman from Okinawa and movie magic was made. Much like its unassuming hero, the deceptively simple coming of age tale The Karate Kid is one of cinema's greatest underdogs. With two film sequels, one Oscar nomination, endless quotable lines and now a hit Netflix spinoff this surprise hit remains the best around thirty-six years after its initial release. While the film is best remembered for launching Ralph Macchio's status as an 80's icon and popularizing karate in the United States, it is the film's characters that ensure its continued resonance. By far the most memorable and inspiring of the film's characters is Mr. Miyagi, whose lessons proved vital not only in karate, but also in life. This week I'll be turning the spotlight on Mr. Miyagi and three of his greatest lessons.

                                

Balance is Key: Mr. Miyagi's first lesson for Daniel is "Learn balance. Balance good, karate good, everything good. Balance bad might as well pack up, go home". Given the fact that balance is the foundation of martial arts and many other sports, Mr. Miyagi's advice seems fairly straightforward. As the story progresses, however, it becomes apparent that the balance that he is referring to is not merely physical but also an emotional, spiritual, and philosophical state of being. At the film's start Daniel's entire being is thrown out of balance when he moves across the country and is forced to start a new life in California. Despite his best efforts to adjust to his new school he quickly finds himself targeted by bullies led by Cobra Kai's top karate student, Johnny. The constant harassment leads Daniel to retreat from his social life and avoid his classmates as his existence becomes reduced to a struggle to survive one day to the next. It is only when he begins training with Mr. Miyagi and reevaluating his perspective that Daniel finally begins to regain his sense of balance as he steadily gains confidence and reclaims his sense of self. By the film's conclusion Daniel has finally achieved a balanced life after making a true friend, embarking upon a healthy romantic relationship, and finding a lifelong passion. It is this achievement rather than his famous crane kick that ensures that he is already a winner even before he steps onto the tournament mat. Next time that you feel like life's throwing you off of your game take a deep breath and remember, "Lesson not just karate only. Lesson for whole life. Whole life have a balance. Everything be better"

More Mercy: The motto of the notoriously ruthless Cobra Kai dojo is "Strike hard, strike fast, no mercy". While this philosophy may ensure that Cobra Kai's students are victorious on the mat Mr. Miyagi reminds Daniel that such a victory is hollow at best. At the start of The Karate Kid II Daniel and Mr. Miyagi witness Johnny's sensei, John Kreese, viciously beating Johnny as punishment for only earning second place in the tournament. After Mr. Miyagi intervenes on Johnny's behalf Kreese attacks Mr. Miyagi only to realize that he is outmatched. Before he can deliver a lethal blow, however, Mr. Miyagi releases Kreese with a warning. When Daniel asks why Mr. Miyagi let Kreese go Mr. Miyagi replies, "For person with no forgiveness in heart living worse punishment than death". This quote accurately summarizes how Kreese's 'no mercy' philosophy has destroyed his humanity and reduced him to an existence defined by anger and bitterness. This is further highlighted in The Karate Kid III when Kreese is later revealed to have become consumed by a vengeful obsession with Daniel and Mr. Miyagi after he loses his students, business, and reputation following his attack on Johnny.

The value of forgiveness is shown in The Karate Kid II when Daniel and Mr. Miyagi travel to Japan and encounter Mr. Miyagi's best friend turned embittered enemy, Sato. After Sato's betrothed, Yukea, ended their engagement to pursue a relationship with Mr. Miyagi Sato refused to forgive either of them, and lost two of the most important people in his life. Despite achieving wealth and power decades later, Sato continues to dwell upon his past and has become a hardened shell of a man. When Sato is injured during a typhoon Mr. Miyagi sets their differences aside and risks his own life to rescue his former friend. This selfless act allows both men to make peace with their pasts and transforms Sato, who is finally able to move forward with his life. The next time that someone deals you a low blow choose the higher path; in a world full of Sato's and Kreese's be a Miyagi.  

Never Let Your Fears Defeat You: Over the course of the franchise Daniel faces an array of opponents, but none of those opponents is more dangerous than his own fear. In The Karate Kid III, Kreese enlists the aid of ruthless karate champion Mike Barnes in finally exacting his revenge upon Daniel. After enduring Mike's relentless tormenting Daniel loses his confidence both on and off of the mat. During their final tournament fight Mike viciously attacks Daniel both physically and mentally. After suffering an injury Daniel nearly surrenders and tells Mr. Miyagi, "I just want to go home...I'm afraid of him, okay. I'm afraid". Mr. Miyagi then reminds Daniel that while he will inevitably lose to some opponents he must never lose to his own fear. It is then that Daniel regains his confidence just in time to win the match.

Mr. Miyagi's advice echoes Franklin Delano Roosevelt's famous speech upon his election at the height of the Great Depression in which he advised the American people that "the only thing we have to fear is fear itself". When President Roosevelt made this speech he was not denying the reality of the Depression, but instead reminding the country of the importance of continuing to fight even in the face of unprecedented adversity. Whether facing a national crisis, entering a sports tournament, conducting a job interview, or asking out a crush the surest ways to guarantee that we do not succeed are quitting and failing to try in the first place. In life we will inevitably face adversaries and obstacles that will defeat us, but we are only defeated by fear if we allow ourselves to be. Bravery does not mean never being scared, it means carrying on even we are at our most intimidated. Whenever you find yourself confronted with your own fear face it head on and remember that whether you win or lose you'll still have earned a victory just by trying.

Classics: A Review of Broadchurch By Lauren Ennis

The words 'small town' immediately bring images of hearth, home, and family to mind; unless of course the small town in question is the English suburb of Broadchurch. From 2013 to 2016 viewers spent three seasons among the citizens of this seemingly sleepy town and uncovered a web of secrecy, betrayal, and loss lying just beneath its picturesque surface. What begins as a murder mystery quickly spirals into a journey into the darkest depths of humanity as neighbors, friends, and families find themselves confronted with evil in their midst. Thought provoking, heart breaking, pulse pounding, and impossible to predict, Broadchurch is more than just a first rate crime drama, it's an eerie reflection of the darkest places within both our communities and ourselves.

 The story begins with the calm of suburban life shattered when the body of eleven year old Danny Latimer is found on a beach in Broadchurch. The disturbing discovery turns sinister when local police determine that Danny's death was not a tragic accident, but murder. An investigation is quickly launched with local detective Ellie Miller and her recently arrived boss, Alec Hardy, forming a reluctant team. At first, the two clash as Miller refuses to consider that any of her friends or neighbors could be suspects while Hardy views each of the town's residents with suspicion. As the investigation unfolds, however, it becomes clear that all is not as it appears in Broadchurch and not everyone is who they appear to be.

Broadchurch elevates the modern crime drama to new heights as it expands its scope beyond the crime itself to chronicle its devastating impact. The series deftly portrays the ways in which tragedy upends an entire community and pits it against itself as the police conflict with the press, neighbors clash with one another, and even families begin to question their loyalties. The depiction of the Latimer family as they journey through the anguish of grief is nothing short of wrenching and serves as an apt reminder of the void that remains long after a crime is solved. Although the series is structured as a murder mystery at its heart it is a character study, and therein lies its strength.  Broadchurch focuses less on action than reaction as it gradually unfolds and reveals fresh insight into each of the town's troubled residents with every new clue. In this way, the series ensures that viewers will invest in and empathize with each member of the ensemble cast and highlights the ways in which the effects of a crime ricochet throughout a community. Even as viewers learn more about the diverse cast of characters, however, the central mystery remains just out of reach and leaves viewers guessing until the final, devastating, reveal. Through its expert writing and superb performances Broadchurch is guaranteed to leave viewers nearly as haunted as its residents.

The story leaps off of the screen thanks to the work of its brilliant cast. Carolyn Pickles, Jonathan Bailey, and Vicky McClure lend depth and humor to their roles as local journalists Maggie, Olly, and Karen while aptly highlighting the ways in which ambition can cloud even the best reporter's judgment. Charlotte Beaumont and Adam Wilson tackle their roles with a raw emotion that belies their young ages as they depict the conflicting emotions of Danny's best friend and sister. Pauline Quirk and Joe Sims lend intrigue, dry wit, and menace to their performances as local recluse Susan and family friend Nige. Arthur Darville conveys warmth and empathy as Broadchurch's vicar. David Bradley perfectly balances newsstand owner Jack's gruff exterior with his inner torment. Matthew Gravelle infuses his performance as Ellie's husband with depth, intelligence, and charm. Jodi Whittaker and Andrew Buchan are perfectly cast as Danny's parents and portray the couple's descent into grief with a realism that is nothing short of haunting. Even in the midst of the talented ensemble cast, however, David Tennet and Olivia Colman shine as Detectives Miller and Hardy. Tennet's socially inept but professionally brilliant Hardy and Colman's ambitious but idealistic Miller act as ideal foils to one another and are guaranteed to go down as one of the best crime duos in television history.

Through its unflinching portrayal of a murder and the destruction left in its wake Broachurch sets itself apart as a crime drama with both a mind and an aching heart. Through its skillfully written script the series transports viewers into both the modern English suburbs and the universal depths of human nature. The nuanced performances bring each of the series' complex characters to such vivid life that they are certain to remain on viewers' minds long after all of their secrets are revealed. For unforgettable viewing pay a visit to Broadchurch.

Classics: A Review of My Brilliant Friend the Story of a New Name By Lauren Ennis

In 2018 viewers were introduced to Lila and Elena, two girls living in the slums of post-war Naples but dreaming of something more, and a beautiful friendship was born. After watching the girls struggle against the poverty, violence, and corruption that ran rampant in their neighborhood for one season audiences were left begging for more. This year, HBO released the second installment in the series and viewers were treated to a season that is every bit as compelling, inspiring, heartbreaking and addictive as its predecessor. In this second outing My Brilliant Friend continues to more than live up to it's title.

Partners in crime

The story resumes almost immediately where the first season ended during Lila's wedding to mob connected businessman Stefano Carracci. At the second season's start Lila seems to have finally escaped the violence and limitations of life in Naples' slums. Meanwhile, Elena strives to reconcile the restrictive expectations of her family and boyfriend with her dreams of life beyond the dusty streets of the neighborhood. As the story unfolds, however, Lila's marriage spirals into domestic violence and it becomes apparent that despite her best efforts she has trapped herself in a gilded cage. While Lila faces the bitter reality of her new life Elena copes with her own growing pains as she finds herself alienated from both her wealthy new classmates and her friends still struggling in the neighborhood. Stifled by an existence that seems to be closing in all around her, Lila rebels against her husband, her family, and even neighborhood bosses the Solaras with fateful consequences. As the two girls try to maneuver an increasingly changing society from opposite sides of the social spectrum they find themselves fighting for their futures even as they attempt to hold onto their fading childhood bond.

This installment brings Elena Ferrante's second novel in the Neapolitan novels series, The Story of a New Name, to vibrant life as follows its heroines through the exhilaration and pain of young adulthood. Both girls continue to search for a better future as Lila seeks an escape from the neighborhood while Elena pursues her academic dream. The ways in which their lives diverge highlights the fact that regardless of their own efforts, they (much like Naples itself) are both still living with the consequences of the decisions made in their pasts. The most crucial of these decisions, whether or not they would be permitted to attend middle school, carries particular poignancy as we approach the start of another school year. It is this decision, over which neither Lila nor Elena had control, that ultimately set Elena on the path towards success while Lila remained caught in the neighborhood's cycle of violence and poverty. Even at its most bleak, however, the series continues to offer a glimmer of hope as both Elena and Lila approach their tumultuous lives in a changing city with an ingenuity and grit that is nothing short of brilliant.

Three is always a crowd...

Through the outstanding work of its cast the series transports viewers back to Ferrante's Naples as it stands on the brink of change. Elvis Esposito and Alessio Gallo continue to exude smarmy charm and menace as Marcello and Michel Solara. Christian Giroso turns in a raw performance in his portrayal of Elena's boyfriend, Antonio's, descent into mental illness. Gennaro De Stefano lends depth and complexity to his portrayal of Lila's hapless brother, Rino. Ulrike Migliarisi and Federica Sollazzo personify female repression in their performances as Ada and Pennuccia. Giovanni Amura's by turns brutal and pathetic portrayal of Stefano ensures that his character is more than just a cardboard villain. Emanuele Valenti infuses predatory Donato Sarratore with a mix of suave and sleaze. Francesco Serpico balances boyish charm with haughtiness as local heartthrob Nino. Matteo Cecchi is delightfully endearing as Elena's classmate and eventual fiance, Pietro. Margherita Mazzucco aptly portrays Elena's transition from awkward adolescent to empowered adult and adds a fascinating layer of moral ambiguity to her performance. Gaia Girace dominates every frame in which she appears in her explosive turn as the magnetic Lila and conveys Lila's dizzying highs and devastating lows with equal aplomb.

In it's second season My Brilliant Friend follows the next chapter in the lives of Elena Greco and Lila Cerullo and is guaranteed to leave viewers anxiously awaiting its next installment. Through its stellar performances and captivating script season two brings Ferrante's The Story of a New Name to vivid life as it transports viewers to the grit and glamour of 1960's Naples. For some of the best writing and acting to grace the small screen join Elena and Lila on the streets of Naples for a story that you won't soon forget.

Classics: A Review of You Don't Mess With the Zohan By Lauren Ennis

Lately it seems as though we have more dividing us than we have uniting us. In these chaotic times its a comfort to know that there is a hero who can give us something to believe in, something to bond over, and best of all something to run our fingers through. 2008's comedy You Don't Mess with the Zohan follows an elite counter terrorism agent as he leaves the conflicts of the Middle East behind to pursue his lifelong dream of becoming a hair stylist. Along the way he learns vital lessons in life and love and realizes that with the right look and the right attitude you can overcome even a centuries old international conflict.

The story begins with the Mossad's greatest agent, Zohan, trying to enjoy a well earned vacation. Fate intervenes, however, when his superiors call him back to intelligence headquarters and enlist his help in stopping his arch enemy, the notorious terrorist known as the Phantom. Despite his renowned success as an intelligence agent, Zohan longs for a life in which he can create rather than destroy, and bring people joy and connection  rather than retribution and division. In short, he longs to become a hair stylist. He then defies both his parents and his superiors when he fakes his own death during an encounter with the Phantom and stows away on a flight to New York City. He then reinvents himself as a successful hair stylist specializing in 'happy ending' haircuts for his elderly female clientele. Just when he thinks that he has finally escaped from the conflicts of his homeland, however, his budding romance with a Palestinian-American salon owner and a chance encounter with the Phantom place the future of his new life and that of the free world in jeopardy.

It's not just a hairstyle; it's an experience

This offbeat tale utilizes Adam Sandler's signature humor in a satire that manages to raise vital questions about prejudice and politics without missing a single comedic beat. The film originally utilizes a humorous approach to  the the sensitive topic of the ongoing conflicts in the Middle East. While this tactic easily could have veered into bad taste or heavy handedness the cast and script gently use comedy to aptly highlight the absurdity of the prejudices fueling these conflicts. The film may not offer the complex solutions that have been sought for generations, but it does offer something vital; hope. Through its irreverent tale of enemies learning to put their politics aside and see each other as people the film asks how much better we, and in turn the world we live in, would be if we could all try to do the same. For an optimistic antidote to the current political climate hop into the stylist's chair and have a laugh with You Don't Mess With the Zohan.

The film's wonderfully whimsical story comes to vibrant life thanks to the work of its cast. John Turturro and Rob Schneider are delightfully diabolical as Zohan's adversaries the Phantom and Salim. Nick Swardson and Lainie Kazan make for an endearing comedic duo as the quirky mother and son who host Zohan in New York. Ido Mosseri lends a riotous turn as Zohan's best friend and fellow Mossad agent, Oori. Emmanuelle Chriqui infuses her role as Zohan's boss and love interest, Dalia, with warmth and infectious charm. Even in the midst of the film's talented cast, Adam Sandler dominates every frame in his by turns outrageous, suave, action-packed, and heartfelt performance as the incomparable Zohan.

This laugh out loud comedy relays timeless messages in tolerance that could not be more timely. The film's outrageous script mixes political satire with slapstick to create a crowd pleasing comedy. The film's cast bring the script to life in all of its whimsy with an enthusiasm that is guaranteed to leave viewers smiling after the credits roll. For guaranteed feel good viewing remember, You Don't Mess With the Zohan.

It truly is a beautiful life

Classics: A Review of A Face in the Crowd By Lauren Ennis

 Manipulation, exploitation, misinformation, and ratings are all in a day's work for a major television network. While today's tailspin of media  madness may seem unique to our times, the media's tendency to twist reality towards better ratings was scathingly brought to the screen over sixty years ago in 1957's A Face in the Crowd. The film follows a charismatic con-man who, with the help of a radio talent scout, becomes an unlikely overnight radio and later television sensation and eventual political phenomenon. The film's portrayal of the off-screen machinations behind the on-screen image has never lost its relevance, and in today's media melee is nothing short of news-worthy.

A star is born

The film begins with radio journalist Marcia Jeffries (Patricia Neal) traveling to an Arkansas jail for a segment on her show 'A Face in the Crowd'. While recording the session she asks one of the prisoners, alcoholic drifter Larry Rhodes (Andy Griffith), to perform a song for her audience. Rhodes' combination of musical talent, folksy humor, and charisma immediately earn her attention and she quickly sets to work making him her station's latest star. Rechristened 'Lonesome Rhodes', volatile Rhodes becomes a radio sensation and soon finds himself catapulted onto the small screen and even tempted with an offer to enter the political arena. As his professional star rises so too does his ambition, leaving Marcia to wonder if the small screen hero she created might have become a real life monster.

Upon its initial release the film received mixed reviews. In the decades since, however, the film's predictions regarding the pervasive influence of modern media have proved to be uncannily prescient. At one point in the film Rhodes says "I'm not just an entertainer. I'm an influencer, a wielder of opinion, a force", a statement that bears eerie relevance during an era in which public opinion is molded by social media 'influencers'. Over the course of the film both Rhodes and the media machine surrounding him launch more than just an entertainment phenomenon as they utilize his image to create a social and political movement. In this way the film mirrors the ways in which both traditional and social media have either created or furthered many of today's social and political movements. Rhodes' inevitable corruption similarly reflects the ways in which countless media figures have abused their influence to create false and even harmful public narratives. The film's unforgettable finale in which he inadvertently reveals his disdain for his fan base whom who dismisses as "sheep" and "trained seals" scathingly portrays the contempt that all too many media figures have shown for the very public whom they claim to serve. Few films capture the corruption and manipulation of modern media as aptly or entertainingly as A Face in the Crowd.

We're a long way from Mayberry

The film's biting tale of fame, fortune, and their inevitable fallout is brilliantly realized by its cast. In her film debut Lee Remick turns on the charm in her sultry turn as Rhodes' teenage bride. Walter Matthau aptly personifies the film's conscience as the cynical writer who sees through Rhodes' folksy persona. Patricia Neal turns in one of her best performances as she alternates between Marcia's professional confidence and personal vulnerability. Andy Griffith is nothing short of a force of nature in his big-screen debut and strikes all the right notes as flamboyant, explosive, and magnetic Rhodes.

At once apt social commentary upon its own era and an eerie warning for the future A Face in the Crowd is easily one of the most damning depictions of the media ever put to celluloid.  While it may not have received recognition upon its release its relevance has grown more pertinent with each passing decade. Through its razor sharp writing and dynamic performances the film turns a glaring spotlight on mass media and highlights the potential dangers of popular culture's influence upon public perception. Join Lonesome Rhodes for a look at the ugly workings behind the pretty faces on our screens in A Face in the Crowd.

Very fake news...

Classics: Three Cheers for Olivia De Havilland By Lauren Ennis

On Saturday, July 25, 2020 actress Olivia de Havilland died at age one-hundred and four. Over the course of her fifty-three year career she performed in theater, film, and television, earning two Academy Awards, a Golden Globe Award, two New York Film Critics Circle Awards, a National Board of Review Award, one Venice Film Festival Volpi Cup, and a star on the Hollywood Walk of Fame. Throughout her career she brought a diverse array of characters to life in films that ranged from historical dramas, to adventure movies, to contemporary melodramas, to romantic comedies. In each of her roles she infused her performances with a depth, intelligence, and charm that cemented her place as one of the brightest stars in film history. In honor of her life and career I'll be turning the spotlight on three of my personal favorite Olivia de Havilland performances.

Who says that nice girls finish last?!

The Strawberry Blonde: This jaunt back to 1890's New York may be the best showcase of de Havilland's comedic chops. The film follows dentist Biff Grimes (James Cagney) as he struggles to maintain his dental practice and marriage. When Biff learns that his old rival, Hugo (Jack Carson), has scheduled a dental appointment at his office he reflects upon their friendship and the woman (Rita Hayworth) who turned them from friends to bitter enemies. While it's Rita Hayworth's Virginia who is the strawberry blonde of the title, it's de Havilland's supporting performance as Virginia's friend, Amy that steals the show. In her portrayal of passionate, modern, Amy, de Havilland stands in perfect contrast to Hayworth's cool and calculated socialite and lends the film warmth and humor. Her performance cleverly plays off of her prior typecasting as 'the girl next door'  as she portrays a woman who may not be as free thinking as she pretends to be. When Amy meets traditional Biff, a battle of the wits and wills ensues that is nothing short of high minded hilarity. As the pair's incessant arguing gives way to a budding romance de Havilland and Cagney display a crackling chemistry with her exuding a girlish charm that is nothing short of infectious. By the film's conclusion viewers are sure to fall as much for Amy as Biff and are guaranteed to be left with little doubt as to why gentlemen may prefer strawberry blondes but marry brunettes.

Don't fuss with me...

Hush...Hush, Sweet Charlotte: Murder, madness, and mayhem...don't exactly sound like the elements of a typical Olivia de Havilland film. In this 1964 classic, however, she more than delivers in her first foray into horror. Despite replacing original star Joan Crawford, de Havilland so completely embodies her role as duplicitous Miriam Deering  that it's difficult to believe that the part was not written with her in mind. She aptly alternates between Miriam's outward charm and inward malice in a performance that subverts her earlier role as a demure Southern belle Melanie Hamilton. In a fascinating casting choice she plays completely against type as she portrays Miriam with such calculating cruelty that she more than matches the expert performance of her co-star Bette Davis. In her signature style she plays her role with a depth and subtlety that ensure that she is not reduced to a stock villain as she palpably conveys the loss and insecurity that led her character from lonely child to embittered woman. Throughout the film's occasionally outrageous plot her performance remains firmly grounded in reality as she expertly portrays the conflicting facets of Miriam's personality. By the film's conclusion she is so delightfully deviant that she has become what every villain strives to be; a character whom viewers will love to hate. For frightfully good viewing join de Havilland in Hush...Hush, Sweet Charlotte.

Should have put a ring on it

The Heiress: This 1949 adaptation of Henry James' Washington Square gave de Havilland both her second Oscar win and arguably the greatest role of her career. The film follows ultimate underdog Catherine Sloper as she struggles to find happiness in the restrictive world of 19th century New York. Plain, awkward, and insecure, Catherine is a far cry from the typical Hollywood heroine, and all the more compelling for it. After devoting her life to caring for her cold, distant, father she seemingly finds love with the charming, but penniless, Morris Townsend. Fearing that Morris is more interested in his daughter's fortune than her heart, Dr. Sloper does his best to dissuade the couple's budding romance. The film then follows Catherine as she suffers betrayal at the hands of both of the men in her life, only to rise from the depths of loss a stronger, empowered, woman. De Havilland infuses her performance with a warmth, intelligence, and aching longing that makes Catherine entirely believable and all too relateable. From the moment that she unassumingly appears on screen, de Havilland speaks to the outsider in all of us. In her portrayal of, in the words of Dr. Sloper, an "entirely mediocre and defenseless creature without a shred of poise" de Havilland redefined what a heroine could be. In an era in which the silver screen was dominated by glamorous faces de Havilland turned in a performance that was all heart, earning her place in the hearts of generations of viewers. For an acting masterclass witness the marvel that is Olivia de Havilland in The Heiress.

Classics: A Review of Cinema Paradiso By Lauren Ennis

Since the advent of cinema film has been a unifying art form. Through film people from around the world and across the decades have been able to visit distant landscapes, explore emotions, and exchange ideas. In the 1988 film Cinema Paradiso a man reflects upon his childhood love of the movies and the mentor who helped foster that love into a lifelong  passion. This deceptively simple coming of age tale earned Oscar, Golden Globe, and Cannes Film Festival awards and over thirty years after its release remains nothing short of cinematic paradise.

A portrait of the artist as a young man

The story begins with successful filmmaker Salvatore learning of the death of his childhood mentor, Alfredo. The film then flashes back to Salvatore's childhood in impoverished post-war Sicily. While his widowed mother struggles to raise and provide for her two children, willful Salvatore escapes the bleak atmosphere that permeates his home by retreating to the local cinema. It is there that he dares to hope for a life beyond the dusty streets of his village as he is regaled with tales of heroes, villains, and every colorful character in between. As the cinema's films and audiences change with the years one constant remains; the faithful presence of its projectionist, Alfredo. While the precocious Salvatore's constant antics wear on the adults around him, including the gruff projectionist, Alfredo recognizes the boy's passion for film and the two form an unlikely friendship. The film then chronicles Salvatore's coming of age as he grows from impish boy, to earnest adolescent, to world weary man with Alfredo and the movies that they shared guiding him every step of the way.

This love letter to the movies celebrates the ways in which film can compel, challenge, and unify film-goers from all walks of life. Throughout the film Salvatore, along with the rest of his village, finds refuge from the grinding reality of post-war Europe in the world of endless possibility presented on the silver screen. Although the villagers remain divided over war-time alliances, personal grudges, and petty jealousies, for a few all too brief hours in the dark all is forgiven and anything is possible until the final credits roll. Through the power of film lonely Salvatore is able to find a friend and surrogate father and Alfredo finds a student, friend, and the son he never had. For Salvatore, the influence of film lasts throughout his life by inspiring him as he struggles through school, adolescent romance, and eventually leaves the limited streets of his village behind to pursue a career in film making.

Even as it basks in the warm glow of cinematic nostalgia, Cinema Paradiso acts as more than a call to creativity as it also offers a warning against the dangers of censorship. Throughout the film the village priest, Father Adelfio, visits the cinema to preview each film that Alfredo shows and designate any 'objectionable' scenes that must be removed before general viewing. While these scenes are played to comedic effect, they highlight the ways in which censorship shapes our views of art and prevents us from making our own interpretations of artwork. The theme of censorship runs as an undercurrent throughout the film which carries over into the characters' personal lives. For example Salvatore's relationship with his mother is strained by her refusal to tell him the truth about his father's death in World War II. Similarly, it is revealed (in the original director's cut) that Salvatore's relationship with Elena ended not because her family moved to a new town, but instead because Alfredo hid her letters and prevented the couple from openly communicating. In both instances the censoring of personal information prevents the characters from fully understanding the events unfolding around them and making informed decisions.

Swoon-worthy celluloid

The film's warning against the dangers of censorship holds eerie relevance in today's climate of 'cancel culture' in which art and history are routinely subjected to censorship for failing to meet an ever changing standard of political correctness or 'wokeness'. Much like in Cinema Paradiso the effects of this censorship are now carrying over into real life as cancel culture moves from canceling history and art to censoring individuals. This pervasive intolerance, which is touted for promoting inclusivity, in fact acts to remove any diversity of opinion as it effectively attempts to put an end to freedom of debate, discussion, and ideas. Rather than allowing society to learn from the past and work towards a better future, this movement has instead devolved into a mob mentality which targets any opposing work, idea, or individual for erasure. Proponents of this movement claim that it is elevating society's values and thoughts, but as Alfredo notes "A mob doesn't think. They don't know what they're doing". It is now up to us as readers, viewers, consumers, and individuals to ask ourselves, if we will tolerate the censoring of our culture by this impulse and emotion driven mob or if the freedom of thought and speech is worth defending.

The film brilliantly transports viewers to post-war Italy thanks to the stellar work of its cast. Antonella Attili personifies world weariness as Salvatore's struggling mother while still conveying Maria's unconditional love for her children. Agnese Nano is nothing short of enchanting in her portrayal of Salvatore's teenage love interest, Elena. Leopoldo Trieste showcases a comic absurdity worthy of Charlie Chaplin in his turn as the village's stern, but hilariously inept priest, Father Adelfio. Salvatore Cascio, Marco Leonardi, and Jacques Perrin seamlessly portray Salvatore as he evolves from lonely child to successful, but conflicted, man. Philippe Noiret brilliantly brings Alfredo to life as he portrays each aspect of the by turns curmudgeonly, comical, warm, and wise projectionist with equal aplomb.

At once a powerful coming of age drama and a celebration of the silver screen, Cinema Paradiso is must-see viewing for any movie lover. Through its by turns heartfelt and thought provoking script the film serves equally well as a valentine to celluloid past and a warning for the present. The film's uniformly superb performances aptly transport viewers into post-war Sicily while relating a universal tale of love, loss, and creativity that will resonate with viewers of any generation. Join Salvatore and Alfredo and rediscover the magic of the movies in Cinema Paradiso.

Classics: A Review of Next Door Spy By Lauren Ennis

Being the new kid in town is never easy, but for aspiring detective Agathe-Christine, it's the adventure of a lifetime. Combining elements of classic espionage and detective stories with a modern sensibility, 2017's Next Door Spy relates a mystery that will leave young viewers guessing until its final frame. Join Agathe-Christine as she sleuths and snoops through the mystery of the Next Door Spy.

The story begins with ten year old Agathe-Christine (or A.C. as she prefers to be called) moving to a new town with her mother, older sister, and little brother. While the rest of her family sets about meeting neighbors and trying to adjust to their new home, mystery devotee A.C. takes to the basement where she springs into action establishing her own detective agency. When she realizes that there isn't much of a market for child-detectives she starts her own investigation into her neighborhood, particularly the elusive boy across the street. As she probes deeper into her new neighbor's life she stumbles upon her greatest mystery yet and learns vital lessons about honesty, friendship, and staying true to yourself along the way.

Merging Nancy Drew style mystery with modern growing pains the film relates a charmingly offbeat tale of seeking the truth and finding yourself along the way. Through its emphasis upon the conflict between A. C.'s passion for detective work and her concerned family's desire's for her the film raises apt questions about the need to balance our interests and our responsibilities. The film also relates an inspiring message about the importance of helping others as the motives for A. C.'s detective work shift from her dreams of success and recognition to her sincere desire  to help her neighbor, Vincent. The film additionally reminds viewers not to judge others as A. C. finds her first impressions of her new neighbors challenged throughout her investigation. By the film's conclusion she solves the greatest mystery of all as she discovers who she is and what sort of person she wants to become.

The film is colorfully brought to life thanks to the work of its cast. Voiced by Simone Edemann Mogeljerg, A. C. is an endearing heroine who will have audiences rooting for her every step of the way. Oliver Botcher creates a sense of mystery around A. C.'s neighbor, Vincent, and turns in a multi-faceted performance as Vincent's character is gradually revealed. Tommy Kenter lends dry humor in his portrayal of local business-owner, Arnie. Anne-Grethe Bjarup Riis and Kristine Sloth are entertainingly insufferable as A. C.'s overbearing mother and self-absorbed sister. Dar Salim and Albert Rudbeck Lindhardt imbue their roles as Vincent's father and brother with vital warmth and humor.

At once an engaging mystery and a coming of age story, Next Door Spy holds thrills for the whole family. Through its merging of classic mystery with a modern setting the film presents a fresh tale that will satisfy fans of such classics as Harriet the Spy and The Hardy Boys while still offering plenty to entertain young viewers.  Offering an array of action, adventure, and life lessons Next Door Spy should be next up on any family's viewing list.

Classics: A Tribute to Hattie McDaniel By Lauren Ennis

Actress, singer-songwriter, and dancer Hattie McDaniel was a triple threat the likes of which Hollywood has rarely seen. Although she is best known for her Oscar winning turn as Mammy in 1939's Gone With the Wind, she was a dynamic performer who successfully conquered the stage, screen, and airwaves over the course of her thirty-eight year career. Her rags to riches success story is the stuff that the American dream is made of and her philanthropic efforts serve as an apt reminder of the difference that one person can make in the world. In honor of her birthday on June 10, I'll be turning the spotlight on her life, career, and legacy.

"I did my best, and God did the rest"-Hattie McDaniel

Born the youngest of thirteen children of former slaves, Hattie McDaniel's beginnings were far from the 'typical' Hollywood success story. In order to escape both racial prejudice and grinding poverty her family moved from Wichita, Kansas to Denver, Colorado when she was five years old. Even in the relatively egalitarian west, however, the family still found themselves struggling to survive as the injuries that her father had suffered while serving in the Civil War significantly limited his employment opportunities.  At the mere age of eight McDaniel and her brother took to the stage in an effort to supplement their parents' meager incomes. After nearly ten years of treading the boards in vaudeville she became determined to pursue performing full-time and quit school at age seventeen. She then appeared in a traveling minstrel show where she developed her skills as a singer-songwriter as well as a performer. While touring with the show she began to attain the status of a local celebrity, particularly after a much discussed performance in which she daringly subverted racial stereotypes by performing in "white-face" in what was ordinarily a role performed by white actors in "black-face".  In another trailblazing moment she became one of the first African American women to perform with an orchestra on the then cutting edge medium of radio. She even performed under the direction of famed Broadway impresario Florenz Ziegfeld for a brief period until financial constraints forced him to lay her and her cast mates off.

Despite her artistic successes, from the 1910s through the 1930's McDaniel continued to struggle financially. Throughout this period, she continued to work a 'day job' in a series of domestic service positions as a powder room attendant, a laundress, and a maid in order to support herself. In an attempt to supplement her income she joined her siblings in Los Angeles in hopes of obtaining work as an extra in Hollywood while continuing to pursue her stage career. She landed her first major role in 1934 when she sang an on-screen duet with Will Rogers in John Ford's Judge Priest and quickly followed it up with the role of Mom Beck opposite Shirley Temple and Lionel Barrymore in 1935's The Little Colonel. Her portrayal of Queenie in 1936's Showboat brought her to the attention of several prominent directors and lead to her obtaining steady work in a series of roles throughout the remainder of the 1930's.

"Putting a little time aside for clean fun and good humor is very necessary to relieve the tensions of our time"-Hattie McDaniel

By 1939 McDaniel was known for her work throughout Hollywood, but in 1939 she was cast in the role that would ultimately lead to her becoming a cinematic legend. On the recommendation of star (and close personal friend), Clark Gable, she was cast in the coveted role of Mammy in Gone With the Wind. Drawing upon her own personal experiences in domestic work she created a multi-faceted and believable character in her performance. Even before the film's debut, however, she was subject to scrutiny from the NAACP, who claimed that in her numerous roles as domestic workers she played caricatures rather than characters and reinforced racial stereotypes. Gone With the Wind proved to be an instant classic, and led to McDaniel becoming the first African American to win an Oscar. This honor proved bittersweet, however, when she was prohibited from attending the film's premiere in then-segregated Atlanta, and later forced to sit apart from her cast mates at a table in the back of the venue during the Academy Awards Ceremony. Although her win was a cultural as well as personal milestone she continued to be plagued by criticism from African American audiences and even received hate mail from black servicemen during World War II. Little did her critics know, however, that throughout filming she pressured the film's directors (several directors were assigned to the project throughout filming) to rewrite her lines, which were written in dialect, and refused to utter the racial slurs which were included in the original script. When asked by Hollywood Reporter about the polarizing effect of her performance she replied, "I have never apologized for the roles I play. I have been told that I kept alive the stereotype of the Negro servant in the minds of theatergoers. I believe my critics think the public more naive than it actually is".

The criticism of the black community eventually led to a decline in the domestic roles that had formed the basis of McDaniel's film career. Rather than accept defeat she instead reinvented herself once again and starred in the radio comedy Beulah, becoming the first African American woman to star in a radio series. The series, which featured McDaniel portraying a sassy maid, was subject to the same criticism that had followed her throughout her film career. When the NAACP again accused her of reinforcing stereotypes she reminded her critics that the role drew upon her own personal experience and declared, "I'd rather make seven-hundred dollars a week playing a maid than seven dollars a week being one!".

Unbeknownst to many of her critics, McDaniel was devoted to philanthropic efforts within the black community throughout her life. During World War II she organized entertainment for African American troops and acted as chairwoman of the Negro Division of the Hollywood Victory Committee. She also founded her own philanthropic society, les Femmes D'Aujourd'hui, and joined Sigma Gamma Rho, a sorority for women of color devoted to philanthropy and the advancement of equality. She also played a pivotal role  in outlawing restrictive racial covenants (which were used to segregate neighborhoods) by organizing her neighbors in West Adams Heights to advocate for change and acting as one of the named defendants in the legal case Tollhurst v. Venerable. She continued to advocate for equality to the end of her days when she requested to be buried at the then segregated Hollywood Forever Cemetery shortly before she died of breast cancer at age 57 in 1952. While her request was denied and she was instead buried in the Rosedale Cemetery a marble memorial was erected in her honor in the Hollywood Forever Cemetery in 1999.

In a paraphrase of her Academy Awards acceptance speech her gravestone reads "Aunt Hattie, you are a credit to your craft, your race, and to your family", and truer words were rarely written. Today her name appears on two stars on the Hollywood Walk of Fame; a fitting tribute to a star who shined both on screen and off. Over the course of her all too brief life Hattie McDaniel not only overcame poverty and prejudice, but also helped others to do the same. She approached praise and criticism with equal grace and remained true to herself every step of the way. In short, she is exactly the sort of woman whom Rhett Butler would have described as a "great lady".

Hattie McDaniel accepting the 1940 Academy Award for Best Supporting Actress

Monique's touching tribute to McDaniel when she accepted her 2010 Academy Award for Best Supporting Actress

Classics: A Review of The Dark Knight By Lauren Ennis

Corruption, fear, and violence are just another day in the life in the crime infested streets of Gotham City. In this city in which law and order are ideals rather than realities a dark figure emerges to ensure that justice prevails and crime does not pay. He may not be the conventional hero that the people of Gotham City want, but Batman is the avenger that they need. In 2008's The Dark Knight Batman is put to the ultimate test in a battle of wills against the anarchistic Joker which eerily mirrors society's ongoing struggle against the forces of chaos.

Holy Oscars Batman!

The film begins with Gotham in a state of relative calm thanks to the efforts of Batman and Commissioner Gordon. Meanwhile, the arrival of idealistic District Attorney Harvey Dent promises a brighter future for the city and leaves Bruce Wayne wondering if the time has come for Batman to finally hang up his cape and cowl. Just as peace finally seems to be within the city's reach, however, a new threat appears in the form of the Joker. Through his singular pursuit of social anarchy the Joker plunges the city's law abiding citizens and criminals alike into a state of perpetual chaos, and pushes Batman and his allies to the very edge of darkness.

Easily the darkest and most complex entry in the Batman franchise The Dark Knight portrays the utter chaos of a world at war with itself. Through his central struggle against the Joker Batman is forced to confront numerous ethical questions which call his moral code into question. These same questions surrounding law enforcement, citizen surveillance, and vigilante justice particularly resonated with viewers at the time of the film's release during the War on Terror, and have gained even greater relevance in the midst of today's social unrest. In the wake of the tragic murder of unarmed civilian George Floyd at the hands of police cities around the world have seen protesters filling their streets to demand justice. What began as peaceful protests has in many cities, however, descended into violence, destruction, and mayhem. The rioting, looting, and attacks on both law enforcement and civilians does nothing to further racial equality or to ensure that Floyd's killer is brought to justice. What this wanton destruction does do is perpetuate further injustice as it plunges city streets into the same sort of chaos and anarchy that the Joker brings to Gotham. Those responsible for this mayhem, whether they be opportunistic criminals, extremist Antifa militants, or members of the Black Liberation Army and Weather Underground inspired group Black Lives Matter, may claim to be seeking justice, but are in fact only ensuring that the world around them burns. This unrest leaves us grappling with many of the same questions that Batman faces as he struggles to uphold the law even as the forces around him push him ever closer to breaking it himself.  These are indeed some of the darkest days in recent memory, but as Harvey Dent assures the citizens of Gotham City "the night is darkest just before dawn", and if we stand together in unity against these agents of chaos and demand that our leaders stand with us against this destruction dawn will come.

Gotham City and its enduring struggle against evil is brilliantly brought to life thanks to the superb work of the film's cast. Maggie Gyllenhaal is a welcome addition to the cast, replacing Katie Holmes as Assistant District Attorney Rachel Dawes. In Gyllenhaal's capable hands Rachel is transformed from stock love interest to a fully realized heroine in her own right. Aaron Eckhart shines as Gotham's charismatic 'White Knight' Harvey Dent and portrays Harvey's transformation into ruthless vigilante Two-Face with tragic anguish. Gary Oldman perfectly captures Commissioner Gordon's essential honesty and growing world weariness as he struggles to remain morally upright in a world of corruption. Morgan Freeman and Michael Caine aptly fill dual roles as both Bruce Wayne's and the films' consciences in their portrayals of Wayne Enterprises' CEO Lucius Fox and Bruce's best friend and butler, Alfred. Christian Bale and Heath Ledger dominate the film in their portrayals of Bruce Wayne/Batman and the Joker. Ledger is nearly unrecognizable as he transforms into the personification of chaos in the form of the Joker. The performance is more than worthy of his posthumous Oscar for Best Supporting Actor as he infuses his every gesture with a manic energy and underlying menace. Bale turns in an iconic performance that surpasses any in the Batman franchise and perhaps even in the entire superhero genre as he expertly captures the dark knight's reluctant heroism even as he struggles to battle his inner demons. Together, the two engage in a battle of the wills that is the stuff of cinematic legend.

Tragic, twisted, tumultuous, and ultimately triumphant The Dark Knight is more than just a super hero movie, it is a story for our times. Through its brilliant script and magnetic performances the film breathes fresh life into the Batman franchise while paying apt homage to the films and comic books that came before it. The film's gritty portrayal of the timeless struggles between good and evil and chaos and order make it both timeless and eerily timely in today's current state of unrest. In this uncertain time now more than ever we could all use, "a silent guardian, a watchful protector, a dark knight".