Classics: A Review of Stranger Things Season Three By Lauren Ennis

The town of Hawkins is a great place to raise your family, attend school, and even walk your dog...until a certain gate reopens that is. This summer viewers returned to 1980's Indiana as Stranger Things and all of its inter-dimensional monsters came roaring back to Netflix for a third season. As the citizens of Hawkins continue to cope with the strange events that have besieged their town a new threat emerges which puts the town, the nation, and maybe even the entire world at risk. In this season the series ups the ante once again with new characters, bigger monsters, more bodies, and plenty of Cold War action while building upon the friendships, romance, and nostalgia that have made the franchise a household name. By turns hilarious, heartbreaking, thrilling, and of course strange, Stranger Things' third season is guaranteed to leave you longing to return to Hawkins for a fourth installment.

Something strange in the neighborhood, who you gonna call?

The story picks up roughly six months after the events of Season 2 with Hawkins residents preparing for the annual Fourth of July celebration. There's more than fun lurking under the summer sun, however, as the local animals and people begin exhibiting decidedly strange behavior. Meanwhile, the gang struggles with a range of growing pains with Will and Dustin are relegated to 'fifth wheels' as Eleven and Mike and Max and Lucas  pursue their tumultuous teen romances. The changes are not limited to the teen set, however, as Joyce and Hopper adjust to raising teenagers while Jonathan, Nancy, and Steve grapple with life in the working world. When a mysterious car accident occurs and Dustin accidentally intercepts a secret Russian radio transmission the stage is set for Hawkins' greatest battle yet as foes both old and new emerge to put the hometown heroes to the ultimate test.

It has been nearly two years since Stranger Things' last season premiered, but season three proves itself to be well worth the wait. Following its uneven second outing, the series returns to top form with some of the tightest pacing, most thrilling action, and richest characterizations this side of the Upside Down. Season two attempted to move the action out of Hawkins with Eleven's brief stay in the big city with mixed results. This season the writers again sought to expand the series' scope by taking the opposite approach and bringing the outside world to Hawkins in the form of a Soviet sleeper cell. This twist serves to aptly add a new layer of intrigue to the plot and capitalize upon the series 1980's setting. Rather than functioning as pure nostalgia as much of the series' pop culture homages do, the use of Soviet intrigue places the story within the greater context of Cold War America and raises the stakes by employing a real life adversary. This use of a real world enemy also serves as a fascinating bookend to the sleeper cell like activities of the series' returning fictional nemesis, the Mind Flayer. The series does experience the occasional stumble, however, as it struggles to remain true to its 1980's setting while appealing to modern sensibilities. For instance, while Nancy's toxic work environment captures the era's gender inequalities (in a nod to 1980 workplace comedy 9 to 5), Max's repetitive feminist rhetoric takes viewers out of 1980's Indiana and into today's #MeToo Movement.  Similarly, the recurring debate over Eleven's right to choose how she uses her powers proved heavy handed rather than empowering, and felt more at home on a modern blog than in a 1980's adventure.

Even in the midst of existential threats, however, the series thankfully remains true to the foundation that made its first season an unlikely hit. Refreshingly, this season marks a return to the humor and fun that helped make season one a fan favorite and was notably lacking from season two. More significantly, the series continues to build upon its ensemble cast and manages to put last season's underutilized newcomers Murray and Billy to ample use while also ushering in welcome new addition Robin. Rather than falling into the familiar pattern established by previous seasons, the script instead opts to take a fresh approach by re-teaming its heroes in new and surprising ways. This regrouping, combined with a series of new challenges, pushes the characters past their limits, allowing nearly every character to embark upon a unique emotional journey. As a result, the series ensures that even in the midst of inter-dimensional monsters and international espionage Stranger Things remains a small town story with a beating heart.

Introducing Starcourt Mall's dream team

The series brings 1980's Indiana to life thanks to the work of its stellar cast. Dacre Montgomery turns in a breakout performance as he infuses bad boy Billy with a smoldering magnetism and raw vulnerability even as he portrays Billy's disturbing downward spiral. New arrival Maya Hawke proves to be a season MVP as she brings a wit and offbeat charm worthy of a young Winona Ryder to her role as Steve's co-worker, Robin. Joe Keery proves himself to be an equally adept comedian and dramatic actor as he portrays slapstick humor and sincere emotion with equal skill as high school heartthrob turned working class hero Steve. Gaten Matarazzo continues to charm as group underdog Dustin, and his scenes with Hawke and Keery make for some of the series' most memorable moments. Finn Wolfhard convincingly portrays Mike's adolescent angst and nicely balances the courage and loyalty that defined Mike in previous seasons with an emerging teen insolence and insecurity. Sadie Sink is unfortunately wasted in this season as Max is largely relegated to a political symbol and afforded little opportunity for character development. Similarly, Caleb McLaughlin and Noah Schnapp are underused with Lucas left with little to do but argue with Max while Will spends the majority of the season lamenting his lost childhood. Priah Ferguson and Brett Gelman return with a vengeance in their scene-stealing turns as Lucas' snarky little sister, Erica, and eccentric private investigator Murray. Natalia Dyer and Charlie Heaton continue to make for a winning team in their portrayal of Nancy and Jonathan's efforts to navigate their budding romance while adjusting to their new status as co-workers. Winona Ryder continues to shine in her by turns hilarious and haunting portrayal of struggling single mother Joyce. David Harbour reminds viewers why you 'don't mess around with Jim' in his action-packed performance as Hawkins' most charismatic cop, hometown hero Jim Hopper. Millie Bobbi Brown more than earns her status as a fan favorite in her multi-faceted turn as enigmatic Eleven, dominating the screen even in the midst of the talented ensemble cast.

Stranger Things breaks the television mold by not only living up to, but surpassing audience expectations for its third season. The series continues to make us think, feel, and imagine as it takes viewers on an unforgettable journey through the friendship, laughs, love, and loss that define adolescence. Through its superb performances and out of this world script the series builds upon the story and characters that viewers have embraced while still offering bold twists and plenty of thrills along the way. After eight pulse pounding, side-splitting, and ultimately heartbreaking episodes this reviewer is already longing to return to the Hawkins, Indiana and the Upside Down.

And that is what you call a triple threat

Classics: A Review of While the City Sleeps By Lauren Ennis

Corporate corruption, sexual scandal, and murder are just as at home in the newspaper offices of Kyne, Inc. as in the headlines it distributes. In the 1956 thriller While the City Sleeps the staff of the fictional Kyne, Inc. media conglomerate use every industry trick at their disposal as they attempt to capitalize upon a series of gruesome murders while jockeying for position in the midst of office upheaval. This noir offers a fresh take on the traditional murder mystery by shifting its focus from the disturbed killer to the disturbing lengths at which the media will go to profit from his killings. Dismissed as a failed thriller upon its release, the film is now recognized as one of director Fritz Lang's best efforts and has earned a following as a revived classic.

Fake news...very fake news...

The story begins with a deranged delivery boy brutally murdering one of his pretty young customers. The plot then shifts to the offices of Kyne, Inc. where the staff learn of the death of their beloved boss. This blow is made even worse when they are informed that the business is to be taken over by their boss' notoriously incompetent playboy son, Walter (Vincent Price). Desperate to prove himself, Walter sets his sights on the story of the infamous 'Lipstick Killer' and offers the organization's top position to the staff member who can crack the case first. And so begins a race against time that pits the entire staff against one another i pursuit of the killer story. Through a series of underhanded maneuvers, three candidates emerge at the top of the competition. As the three men close in on the killer, however, they risk losing their integrity as journalists and people along the way.

At first glance, While the City Sleeps doesn't fit the bill as a noir, let alone a genre classic. From its brightly lit office setting to its one dimensional villain lacking the genre's requisite pathos the film seems to fall short of genre standards. Similarly, the film's early reveal of the killer's identity would disqualify it as a conventional thriller. As a result, it is little wonder that when critics first viewed the film they were unsure what to make of it. What contemporary critics failed to realize, however, was that the story's focus wasn't on the killer at all, but instead on the morally compromised men and women pursuing him. The story reverses the traditional thriller by revealing its protagonists to be every bit as self-serving and ruthless as the criminal that they are tracking. For example, head of wire service, Mark (George Sanders), attempts to prostitute his girlfriend, Mildred (Ida Lupino) to a reporter (Dana Andrews) in an effort to gain information about the case. Mildred readily accepts her assignment in hopes of humiliating the reporter's fiance (Sally Forrest) while making Mark jealous. Meanwhile, photo editor Harry (James Craig) avoids the entire hunt for the killer by focusing all of his efforts upon using his affair with Walter's young wife (Rhonda Fleming) to his advantage. In this midst of this rampant amorality the film's duo of supposedly honest reporters, Ed and John (Thomas Mitchell) fare worst of all as they scheme to use Ed's secretary fiancee, Nancy, to bait the killer. In true noir fashion the story ultimately sees each of its anti-heroes rewarded for their underhanded efforts with only the Lipstick Killer himself facing any consequences. While this cynical piece of storytelling may not have appealed to contemporary critics, it breathed fresh life into the tired noir genre by lifting noir out of the gutter and into the glaring light of the newsroom. Through its scathing portrayal of its fictional news staff the film offers a brutal critique of an industry that places profits over facts which remains bitingly relevant today.

Journalism at its finest

This caustic tale of the frenzy that marks the media industry is brilliantly brought to life by its cast. Sally Forrest adds a knowing maturity that lends depth and realism to her role as girl next door Nancy. James Craig exudes rakish charm in his sly turn as ambitious Harry. Rhonda Fleming is at her vampish best as Walter's wanton young wife. Vincent Price makes for a delightful dupe as the hapless Walter. George Sanders is endlessly engaging as he captures Mark's sophistication and ruthlessness with hypnotizing skill. Ida Lupino steals each scene in which she appears as tough talking Mildred. Thomas Mitchell is infectiously likeable in his turn as Jon Day Griffith, even as his character stoops ever lower in his race to the top. Dana Andrews lends an every man charm to his role as ace reporter Ed, in a typically noir turn that leaves viewers rooting for his success regardless of its moral implications.

While the City Sleeps leaves the cliche alleys and dives of noir behind, bringing the genre into the darkest corners of the media industry. Through its razor sharp script and uniformly superb performances this criminally underrated efforts remains one of noir's edgiest and most modern films. Through its critique of the news industry the film offers valid insight into the media circus of our own era. Rarely has journalism been as jaded and the newsroom as nefarious as in While the City Sleeps.

Pulitzer, here we come!

Classics: A Review of An Education By Lauren Ennis

After a summer of fun in the sun school is back in session For many students the start of the school year means the start of three hundred sixty five days in the classroom. Life offers another education, however, outside of the classroom, which is found in new experiences rather than books. In the 2009 hit An Education, sixteen year old Jenny finds herself torn between her formal education and the school of life when a handsome stranger upends her staid existence. By the film's conclusion, she has learned lessons both in and out of the classroom that ultimately prepare her to cross the threshold between childhood and all that lays beyond.

The story begins with Jenny (Carey Mulligan) enjoying the life of an average teen in early '60's London. She spends her days following her parents strict regimen of school, studying, and music lessons all while pursuing their dream for her to attend Oxford University. She becomes inevitably stifled by this repressed existence until life intervenes in the form of suave and worldly David. Although thirty something David (Peter Sarsgaard) is over twice her age the two begin a whirlwind romance that seems to promise all of the passion and excitement that she had been seeking. All is not as it seems, however, and she soon finds herself learning difficult lessons that call her relationship with David, her education, and her future into question.

This deceptively simple story proves itself to be one of the most unique and effective films about the value of education. Rather than resort to the familiar teacher movie trope of focusing upon a  students' inspiring time in the classroom, An Education highlights the importance of Jenny's education by showing her what her life would be like without it. At first she sees a school-free existence with her older beau to be an ideal. As time wears on, however, she realizes that the jet-set lifestyle that David and his friends enjoy is an entertaining but ultimately empty way of life. The vapid quality of Jenny's new lifestyle is perfectly personified in the character of David's friend, Helen, who relies upon the men in her life to finance her lavish spending while relegating herself to the role of a mere ornament. In this way, Helen acts as a bookend to Jenny's mother, Marjorie, who is also forced to rely upon the man in her life due to social constraints and her own lack of an education. These dual examples, combined with the inspiring influence of her self-sufficient single teacher, Miss Stubbs, show Jenny that a life without an education all too often means a life without independence. This basic truth is further highlighted when Jenny makes the painful discovery that David is a married man whose career is a series of con schemes, rather than the stable provider that he presented himself as. When their engagement ends she finds herself faced with the harsh reality that despite how 'hard and boring' she thought school was, a life without an education is infinitely more difficult. Through its poignant exploration of one teen's journey, An Education serves as an apt reminder that you're never too cool for school and a degree is the key to opening doors far beyond the classroom.

Lynne Barber's memoir is vividly brought to life by the film's talented cast. Cara Seymour aptly portrays Marjorie in a performance that captures her maternal desire to provider her daughter with a better life while hinting at the dreams she put aside along the away. Alfred Molina steals each scene in which he appears as Jenny's comically conservative father, Jack. Rosamund Pike exudes a girlish charm worthy of Marilyn Monroe as Helen. Dominic Cooper is magnetic in his grittily charming turn as David's friend and business partner, Danny. Emma Thompson personifies schoolmarm in her role as Jenny's brittle headmistress. Olivia Williams is nothing short of inspiring in her understated performance as Miss Stubbs. Peter Sarsgaard lends a dynamic and layered turn as the mysterious David, exuding con man charm even as he reveals David's darker side. Even in the midst of the film's stellar performances the film belongs to Cary Mulligan as Jenny as she strikes the ideal balance between maturity and naivete.

For its unusual approach to the school drama An Education earns a definite 'A'. Through its nuanced script the film relates a compelling tale of one girls' lessons in life and love while highlighting universal truths about the necessity and value of an education. The talented cast brings the story to vibrant life in a way that ensures that viewers remain invested and guessing until its final frame. Start this school year right; hit the books with Jenny in An Education.

Classics: A Review of Pretty in Pink By Lauren Ennis

'Do you want to go to the prom?' is a deceptively simple question that has been a source of anxiety, anticipation, hope, and heartbreak for generations of adolescents. Unsurprisingly, this same question lies at the heart of many a teen film. Few films, however, capture the full drama of prom season and adolescence at large with the depth and authenticity of 1986's Pretty in Pink. A retro hit that continues to resonate today, Pretty in Pink is a must see for anyone who ever felt like an outsider, and everyone who remembers their high school prom.

Who says redheads can't wear pink?!

This suburban Cinderella story begins with artsy outsider Andie (Molly Ringwald) determined that she will not attend her senior prom. When she begins an unlikely romance with her graduating class' answer to Prince Charming, Blane (Andrew McCarthy), however, she begins to rethink her stance on this 'stupid school tradition'. Complications ensue, however, when insecurities, miscommunications, and classroom cliques collide to threaten the couple's budding romance just as it begins.

Pretty in Pink was released in an era when teen film topped the box office, but unlike its awesomely '80's counterparts remains relevant and resonant today. The film has aged surprisingly well by avoiding genre cliches that have left other films of its era badly dated. Most significantly, the film seems to begin with an all-too familiar love triangle between underdog Andie, popular Blane, and Andie's geeky best friend, Duckie, but then subverts this cliche set-up by infusing the characters with complexity and offering fresh plot twists. Rather than simply waiting to see which beau Andie will choose, audiences are treated to three individual character arcs that see all three leads learning and growing over the course of prom season. As a result, what easily could have been a by the numbers teen romance is elevated to a poignant coming of age story. The film earns particular note for the way in which it presents each of its three leads as three-dimensional people with weaknesses as well as strengths. For example, while Andie's confidence, maturity, and creativity make her an excellent role model her vulnerability and bitterness towards the school's entitled elites make her both relateable and realistic. Similarly, although Blane possesses the requisite looks, charm, and wealth expected of a the 'in-crowd', he is revealed to be just as insecure as overcompensating Duckie. Blane's struggle to overcome his weaknesses and stand up to the toxic peer pressure surrounding him proves to be one of the film's most satisfying elements which lends emotional weight to the central love triangle and ultimately results in a more satisfying ending. Duckie undergoes an equally engaging transformation as he struggles to come to terms with Andie's rejection of his affections. At the film's start, his adoration of her is innocent and endearing. As the story progresses, however, he attempts to act on his feelings in all of the wrong ways including pettily insulting and attempting to manipulate her when she dares to date someone else. When he finally opts for an 'all or nothing' mentality and ends their friendship the film takes a surprising turn as it becomes apparent that the geek won't get the girl unless he does some serious growing up. Duckie's journey, while bittersweet, proves to be a scene stealer as he learns to put Andie's happiness before his own and finally sees the value of the friendship that never seemed to be enough. While the film concludes with an overall happy ending, the growth that each character undergoes ensures that it is a satisfying and earned resolution rather than an instance of idealized wish fulfillment. Pretty in Pink has earned its place sitting pretty as a modern classic not because it is a story of who gets the girl, but because it is a tale of discovering who we are and who we want to be, earning it a place

The film expertly captures the angst, awkwardness, and drama of the high school experience thanks to the work of its talented cast. James Spader oozes entitles smarm as Blane's scheming friend, Steff. Jon Cryer puts a fresh twist on the '80's nerd cliche by portraying Andie's friend Duckie with a mix of endearing earnestness and a desperation that hints at something darker. Annie Potts is a comedic delight as Andie's eccentric employer, Iona. Harry Dean Stanton lends humanity to his performance as Andie's beleaguered father and aptly portrays his struggle to cope with his divorce from Andie's mother. Andrew McCarthy personifies boyish charm while still lending intelligence and depth to conflicted golden boy Blane. Molly Ringwald is at her peak in her multifaceted turn as Andie, in which she exudes a maturity and nuance that surpasses her more famous performances in The Breakfast Club and Sixteen Candles. 

Through its nuanced script and mature performances Pretty in Pink takes the 'brat' out of the 'brat pack'. The film captures the chaos that is adolescence in all of its awkwardness, exhilaration, hope, and heartbreak with aching realism. The film's combination of romantic drama, slapstick comedy, and coming of age story ensure that it is far more than mere kids' stuff. For more than just another teen movie turn on the VHS player and tune into Pretty in Pink.

Classics: A Review of The Help By Lauren Ennis

It is often said that the pen is mightier than the sword. In the 2011 hit drama The Help, a group of Mississippi women learn just how powerful the pen can be when they take up their pens in the fight for civil rights. At once an indictment of the prejudices that tear us apart and a celebration of the bonds that unite us, The Help lends viewers an apt view into American history while relaying vital lessons that continue to resonate today. With its empowering script, inspiring characters, and engaging performances, it is little wonder that this film has become a crowd pleasing audience favorite.

The story begins in 1960's Jackson, Mississippi in the midst of the Civil Rights Movement. Recent college graduate Eugenia 'Skeeter' Phelan (Emma Stone) experiences culture shock upon returning home as she struggles to reconcile the modern ideas regarding racial and gender equality that she learned in school with the oppression that continues to dominate much of the American south. She eventually finds work writing a housekeeping column for a local paper, but longs to write something meaningful. In order to lend authenticity to her column she enlists the aid of local housekeeper, Aibileen (Viola Davis), and as the two get to know one another Skeeter realizes that the 'big story' she's been looking for has been right in front of her all along. She then sets out on an assignment of a very different sort; compiling a collection of the personal stories of the unique women whom those around her dismiss as 'the help'. Through this project, each of the women ultimately finds their voice as they use the power of storytelling to speak out against the injustice surrounding them.

While The Help is firmly set in 1960's Mississippi, its messages concerning the power of self-expression and community transcend both time and place. Throughout the film, characters from all walks of life struggle to find their own voice in a culture dominated by discrimination and conformity. Most obviously, the city's African American population are prohibited from exercising even their most basic of civil rights and are marginalized as second-class citizens. This discrimination is aptly shown in the depiction of long suffering Aibileen who poignantly states that "no one ever asked what it's like to be me". The film also highlights the consequences faced by those who spoke out against segregation in its depiction of Minnie, who is fired and blacklisted after defying her racist employer. Minnie's story also emphasizes the gender inequality that dominated the era as she struggles to escape her abusive marriage. Even such seemingly privileged characters as Skeeter and wealthy housewife Celia struggle against class and social barriers that leave them ostracized by their own community. While many films have depicted injustices past and present The Help stands out for its emphasis upon the ways in which its characters find and embrace their respective voices in order to rise above the various prejudices surrounding them. By focusing upon the characters' triumphs over bigotry and hatred the film presents a message of help and aptly reminds viewers that every effort, no matter how seemingly small, does make a difference. the film's depiction of its diverse heroines serves as an equally poignant reminder of the bonds that bring people together and the power that even the most seemingly powerless hold when they unite in a common cause. Even in the midst of portraying historical events The Help offers powerful messages that remain every bit as relevant, resonant, and helpful today as they would have been during the Civil Rights Movement.

The film transports viewers into the heart of the Civil Rights movement era south thanks to the stellar work of its cast. Bryce Dallas Howard is wonderfully wicked as local mean girl turned society maven Hilly. Jessica Chastain conveys an infectious charm and aching vulnerability worth of Marilyn Monroe as wrongfully maligned town bombshell Celia. Viola Davis personified dignity and resilience in her portrayal of persevering Aibileen. Octavia Spencer is at once inspiring and uproarious as Aibileen's best friend, straight-talking Minnie. Emma Stone makes for a heroine that viewers can relate to as well as root for as she portrays Skeeter's journey of self-discovery with depth, intelligence, and sincere emotion.

At the film's conclusion Aibileen notes, "God says that we have to love our enemies. It's hard, but we can start by telling the truth'. At its heart, The Help is a story about the truth; both facing it and sharing it with others. Through its intelligent script and engaging performances the film reminds viewers of some of the most difficult truths in our nation's past while also sharing how those truths continue to apply to us today. For a film that will have you laughing, crying, and maybe even reaching for your own pen, ring for The Help.

Classics: A Review of The Namesake By Lauren Ennis

America is a nation of immigrants and few stories are as American as those of the immigrant experience. The 2006 drama The Namesake relates the experiences of two generations of a Bengali family in the United States as they struggle to forge a new life while striving to hold onto their culture. At once a universal testament to the trials and triumphs of America's immigrants and a unique tale of one family, The Namesake is a film that every family can appreciate.

Let the generations and cultures clash

The story begins in 1960's Calcutta as engineering student Ashoke (Irfan Khan) boards a train to visit his uncle. Before the train can reach its destination, however, an accident occurs that ultimately results in the deaths of the majority of the passengers. Although he survives, this near-death experience leaves him profoundly change as he becomes inspired to live life to the fullest and pursue an engineering career in the United States. While he makes a relatively smooth transition to his adopted country his new wife, Ashmina (Tabu), experiences culture shock and longs to return to India. The couple eventually work together to build a happy marriage in their new home, but later clash with their Americanized children, especially their son Gogol (Kal Penn). The film then shifts its focus to Gogol as he struggles to find his cultural identity as a second generation American. Through its nuanced portrayal of two generations of Bengali-Americans the film weaves a tapestry like tale that encompasses the sacrifices and successes of the American immigrant experience and serves as an ode to immigrants past and present.

Much like The Joy Luck Club before it, The Namesake showcases the unique struggles and victories of both first and second generation Americans. Through its portrayal of Ashoke and Ashmina's very different initial experiences in the United States the film expertly captures the hope and heartache that people encounter as they leave one country behind to begin anew in another. the film also relates the very different reactions that people may have to their new homelands as Ashoke embraces all things American while Ashmina continues to yearn for the culture and family that she left behind. Through its eventual focus upon Gogol, the film similarly explores the difficulties that second generation Americans face in reconciling the culture and traditions of their family with that of the only country that they have ever known. Initially, Gogol sees himself as strictly American and feels no connection to his parents' culture, which he dismisses as having no relevance to his own life. When he finally returns to India to visit his mother's family, neither he nor his equally Americanized sister can relate to the drastically different lives that their relatives are leading. Even after returning from his trip, his interest in his heritage remains limited at best as he returns his attention to the Westernized lifestyles of his friends and girlfriend. When Ashoke dies of a sudden heart attack, however, Gogol's life undergoes a crucial shift as he immerses himself in Bengali culture in an effort to connect with the father and culture that he never fully understood or appreciated. Ultimately, it is only when he is able to strike a balance between his Bengali roots and his American home that he finally finds the fulfillment and identity that he was always seeking. The film successful relates a tale that is at once personal and universal as it portrays each of the characters as nuanced individuals rather than stereotypes and refuses to favor either American or Bengali culture. Through its intelligent script the film takes viewers on an emotional journey into the heart of the question of what does it mean to be an American.

The modern American family

The film brings Jhumpa Lahiri's acclaimed novel to life thanks to the work of its talented cast. Tabu radiates warmth and sincerity as she portrays Ashmina's journey from vivacious girl, to insecure wife, to confident woman ready to 'follow her bliss'. Irfan Khan conveys a sense of upright morality and paternal wisdom worthy of Atticus Finch as Ashoke. Jacinda Barrett and Zuleikha Robinson perfectly contrast each other as Gogol's well-meaning college girlfriend and his tempestuous wife. Kal Penn perfectly captures the conundrum that second generation Americans face in his charismatic turn as the conflicted Gogol.

In its two hour running time The Namesake captures just one piece of the American experience while paying apt homage to immigrants both past and present. Through its intelligent script and engaging performances the film faithfully brings the best-selling novel to the silver screen in a worth adaptation. For a slice of modern day American pie be sure to sample The Namesake.

Don't forget to pack your hankies

Daddy's Issues: Three Disney Films That Are Secretly All About Dad By Lauren Ennis

Father’s Day is a holiday designed to celebrate fathers and all that they do to support, inspire, and teach us. Sometimes, however, Dad has just as many lessons to learn as to teach. This week I’ll be turning the spotlight on three Disney films that are secretly all about Dad learning a few lessons of his own.

Mary Poppins: This classic musical claims to be about the magical adventures of its title heroine, but the greater adventure is the one undertaken by her employer, George Banks. At the film’s start George returns home from work gloating about his outwardly perfect home and family. In keeping with the values of Edwardian England, he demands complete obedience and propriety from his family, whom he describes as “subjects” in the “lordly life” he leads. The moment that he opens the front door, however, viewers are shown just how imperfect the Banks’ home really is. In an effort to establish independence from her confining marriage, Mrs. Banks has devoted herself to the suffragette cause to such an extent that she is hardly present in her children’s lives. Meanwhile, the children, Jane and Michael, attempt to gain both of their parents’ attention by acting out and rebelling against the family’s series of nannies. Rather than recognizing the ways in which his own behavior may have contributed to his family’s dysfunction, George instead opts to impose even further restrictions upon his already stifled wife and children, which naturally leads to the household becoming the very ‘ghastly mess’ that he was trying to ward off. It is then that Mary Poppins flies onto the scene to work her magic. Unlike George, who demands his family’s unquestioning obedience, Mary Poppins earns Jane and Michael’s respect by treating them with kindness, understanding, and patience. Similarly, while she does expect the children to follow her rules, she also instills the value of those rules in them by explaining their purpose. Her infectious influence also extends to the household staff who begin treating each other with the same consideration and politeness that she displays towards them. As a result, she is able to whip the home into the spit spot shape that George wanted by employing the one tactic that her boss never considered; treating those around her as people rather than subjects. George is equal parts mystified and unnerved by this sudden change until he loses his job and realizes that he was treating his family with the same dismissive lack of empathy that his employers regarded him with. By the film’s conclusion, he is reinstated at his job, reconciled with his family, and free to return to his old life, albeit with a crucial change of perspective. By the time that the credits roll, George Banks may not have become the employee or society man that he wanted to be, but thanks to a spoonful of sugar and a taste of his own medicine he has become the husband and father that he needed to be.

It's not like she doesn't have 8 more lives...

The Three Lives of Thomasina: With its meditations upon life, death, grief, and redemption this 1963 film makes for one of Disney’s most complex and emotionally resonant efforts. The film follows young Mary Macduhi and her stern veterinarian father, Andrew, as they struggle to come to grips with the death of Mary’s mother. When grief leaves her father a cold shadow of his former self, Mary pours all of the love that she can no longer give to either of her parents into her beloved cat, Thomasina. Despite working as a veterinarian for years, Andrew sees pets as a frivolous nuisance and prefers to work with livestock and other ‘useful’ animals. As a result, he feels no remorse after euthanizing an elderly or ill pet, which he sees as an act of mercy. When Thomasina contracts tetanus during a fight with another cat, he immediately opts to have her euthanized for fear that the disease could spread, leading to an epidemic. When Mary learns this devastating news her already strained relationship with her father is damaged to the point of estrangement. Andrew tries to reconcile with his daughter, but his every effort is hampered by his inability to understand her love for Thomasina or show his love for her. When news of Thomasina’s death reaches the townsfolk his already suspect professional reputation is called into question. Complicating matters further, word of local recluse Lori MacGregor’s herbal healing and innate skill with animals spreads throughout the town, leading Andrew’s clients to begin taking their pets to herfor treatment. When he finally meets his new rival, he reluctantly realizes that while she lacks his medical training, his own practice would benefit from her natural love of and dedication to animals. What Andrew fails to realize, however, is that Lori is currently treating Thomasina after his assistant failed to properly euthanize the cat. Through his friendship and eventual romance with Lori, Andrew learns the healing power of love and is finally able to express his love for Mary and his remorse at what he believes to be Thomasina’s death. By the film’s conclusion he realizes that all creatures great and small serve some purpose and are deserving of the same love and care that we would like to be treated with. When Thomasina makes a triumphant return to the MacDhui’s, she finds a home where there was once a house and takes her place in a family that is finally whole.

The Little Mermaid: This 1989 animated musical launched the Disney renaissance with its tale of fathers, daughters, and the power of letting go. Although the title would suggest that the film’s focus is upon the headstrong Ariel, the film’s real emotional journey is the one undertaken by her father, King Trident. At the start of the film widowed King Trident rules his family with the same firm hand that he rules his kingdom with, except for his youngest daughter, rebellious Ariel. Although she constantly breaks with convention and family rules, her charisma and musical talent make her the clear family favorite. Despite his many indulgences of Ariel, however, he holds firm to one sacred rule; that none of his daughters may swim to the ocean’s surface, where they could be spotted by humans. In typical angsty teen fashion, she proceeds to not only break this cardinal rule, but to test her father even further by interacting with humans and collecting as many man-made items as she can find. While his anger at discovering his daughter’s secret treasure trove is justified, King Trident’s reaction is not. Rather than explaining why his rules are in her best interests, he instead launches into a bigoted tirade about the inherent evil of all humanity. When she attempts to argue, he responds with a violent outburst that culminates in his destroying her beloved collection in its entirety. It is only after Ariel runs away and seeks help from his arch-enemy, Ursula, that he finally realizes that his overbearing efforts to protect his daughter only served to drive her away from him. It is this realization that allows him to reflect upon his ruling and parenting methods and admit that his actions and reactions are every bit as important as the intentions behind them. When he finally locates his missing daughter he puts aside their differences and risks his life and kingdom in order to ensure her safe return. He faces his ultimate test, however, only after Ariel has returned home and he is dismayed to find that she despondently continues to long for the surface world. He then makes the choice to put her happiness above his own and permanently transforms her into a human. By returning her to human form King Trident not only allows Ariel to return to her beloved Prince Eric, but more importantly provides her with the freedom to choose her own path and find her own happiness. While Ariel may have traded in her tail for legs, it is her father who undergoes the film’s greatest and most satisfying transformation as he evolves from iron fisted ruler to open minded father and leader.