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.