The Way, Way Back: Growing Up Is Hard to Do

Summers are so jam-packed with big movies that it is easy to miss the low-budget indies that rely on storytelling rather than special effects. I missed The Way, Way Back when it was in theaters, but thankfully we can now watch this summertime delight on DVD.

The movie is a classic coming-of-age tale about one boy's eventful summer. Duncan (Liam James) is an awkward fourteen-year old whose mother, Pam (Toni Colette), has taken up with an obnoxious man named Trent (Steve Carell). Pam is a good mother, but she is too preoccupied with her relationship to be concerned about Trent's casual mockery of her son. Trent's teenage daughter, Steph (Zoe Levin), is pretty and popular so she doesn't offer Duncan any solace either. They arrive in Trent's Cape Cod beach house for a summer vacation and meet the boozy neighbors (including Alison Janney, Amanda Peet, and Rob Corddry), who all act like they're Spring Break and don't care what the kids get up to.

Duncan is having a horrible summer until he discovers Water Wizz, a water park led by a charismatic man named Owen (Sam Rockwell). Intrigued by this awkward teen, Owen takes Duncan under his wing and provides a constant barrage of jokes until he can get Duncan to loosen up a little. He even gives Duncan a job at the water park, a move which rapidly bolsters his self-confidence and makes him happier than he's been in years. All of this is kept secret from his mom, who is gradually realizing that her life might not be as idyllic as she imagined.

The movie's writers and directors are Jim Rash and Nat Faxon, who won Oscars for their work on The Descendants. Like that movie, The Way, Way Back isn't strictly a comedy, but it's a funny drama. It has heavy moments, particularly whenever Duncan must confront the thoroughly repellent Trent, but the moments with Owen in the water park are full of light and joy, with a soundtrack that is sunny and uplifting. The opening and closing scenes of the movie are very similar, but Duncan's emotional growth is evident and you get the sense that our hero is going to be all right.

The Way, Way Back is a sweet summer movie that was crafted with a lot of love. It features a slew of comic actors who all put in fine work, and a heart-wrenching performance from Liam James. It deftly handles many coming-of-age tropes and is funny and warm. So seek it out and brighten up the cold winter months with a charming summer tale.

12 Years a Slave: Stark & Powerful

12 Years a Slave is the most unsanitized and affecting movie about slavery that has ever come out of Hollywood. And rather than being a whitewashed film that views the slave experience from the perspective of white people, this is emphatically a story about what it meant to be a slave.

Set in 1841, Chiwetel Ejiofor plays Solomon Northup, a free black man from New York with a wife and two children. He is an accomplished violinist and joins two men on a trip to Washington D.C. where they promise him a a lot of money for performing at a circus. However, when he gets there, he is drugged and wakes up in chains, no longer a free man. Abducted by slave traders, Solomon is shipped down to New Orleans, given the name Platt, and sold into slavery. A fate that he is chained to for twelve long years.

Solomon's first master, William Ford (Benedict Cumberbatch), is a seemingly kind man, but he is entrenched in the Establishment and never going to give a slave his freedom. He eventually has to sell Solomon to Edwin Epps (Michael Fassbender), one of the cruelest slavers in the region, who preaches that slaves are nothing more than property and subjects them to his every drunken whim. Solomon's fellow slaves warn him not to reveal that he is an educated man, because he is "there to work, not to read and write." He cannot bear the injustices he witnesses every day, but he has little choice than to answer to the name of Platt and bide his time until he can find a way to get word to his friends and family up North. 

Director Steve McQueen offers a wrenching and unflinching look at Solomon's trials over the course of twelve years. He uses long close-ups that capture the shifting emotions on the characters' faces as they transition from hope to despair to resignation. Hans Zimmer has composed a restrained background score and the main violin theme is a simple and haunting piece that stirs your soul. The spirituals that are sung by the slaves during their labors are painful and uplifting, hopeless and hopeful all at the same time. Chiwetel Ejiofor's incredible performance is quiet, angry, and desperate. Michael Fassbender's portrayal of the sadistic Edwin Epps will make you want to shout out and beg him to stop. In addition, Lupita Nyong'o deserves multiple accolades for her searing performance as Patsey, a slave who suffers various atrocities alongside Solomon with absolutely no hope of freedom. 

The remarkable fact about 12 Years a Slave is that it is based on a true story. Every horror you witness on screen actually happened to a human being. The real Solomon Northup eventually got free, returned to his family, and published his memoirs in 1853. But rather than feeling happy that Solomon got to return home, you are left with overwhelming sadness for the slaves he had to leave behind.

Captain Phillips: Worlds Collide on the High Seas

Captain Phillips is the story of the Maersk Alabama hijacking in 2009 when four Somali pirates took control of an America cargo vessel and subsequently took its captain hostage. Just to spare my readers grief, don't read further if you don't know anything about the hijacking and would consider details about the outcome to be a spoiler.

Tom Hanks plays the eponymous captain, a stoic man from Massachusetts with years of seafaring experience under his belt. He is captaining the Maersk Alabama's voyage from Oman to Mombasa, which involves traversing the pirate-infested waters off the coast of Somalia. He has a somewhat testy relationship with the crew, who are not pleased about this risky itinerary. In the middle of a security drill, Phillips spots two skiffs bearing pirates with assault rifles. The crew executes all the safety maneuvers they've been taught. But despite the fact that they are on an enormous ship and their attackers are on dinky boats, they don't stand a chance, because they have no weapons on board. Armed with AK-47s and a ladder, four Somali pirates find it laughably easy to take over the ship. A series of events leads to their leaving the ship on the lifeboat, with Captain Phillips as hostage. Which results in the intervention of the US Navy, who need to make sure they rescue the captain before the pirates reach land.

Directed by Paul Greengrass, Captain Phillips is a taut thriller that perfectly captures the desperation that motivates every character. The shaky camera lends a documentary feel to the film and there are moments when you feel both seasick and claustrophobic. Screenwriter Billy Ray hasn't written an America-centric rah-rah action movie; instead, we see why these four Somalians have turned to piracy and the consequences they face from warlords if they don't return with millions. And the captain isn't really a hero - he is simply acting on a very human instinct for self-preservation, which causes him to do both heroic and foolish things. Once he's taken as a hostage, he knows that things are likely to end badly and his terror is evident. This is not a story of a brave man versus four evil pirates: it's a tale of five men who are all thrust into a horrible situation. One exchange sums up this movie perfectly: Captain Phillips is pleading with Muse, the pirate captain, and says, "You don't have to be fishermen or pirates, you can do something else." Muse replies, "Maybe in America."

The four Somali actors, Barkhad Abdi, Barkhad Abdirahman, Faysal Ahmed, and Mahat M. Ali, deliver incredible performances that place the humanity of these characters front and center. Tom Hanks puts in an unsurprisingly Oscar-worthy performance that will remind you of what a great actor he is and his final scenes are particularly heartbreaking. The movie ends at exactly the right moment, which is a testament to how judiciously it has been edited to avoid the blight of "multiple endings" that plagues most films today. The soundtrack by Henry Jackman is also noteworthy - it is intense but never takes over the scene, doing its best to make you feel the music rather than hear it. You will be on the edge of your seat without realizing that the music has put you there.

Captain Phillips is an excellent movie that has been made with a great deal of care and humanity. It's not meant to be a feel-good piece, but is an interesting reflection on the state of the world today and how you can't trust a one-sided narrative to tell the whole story.

Twelfth Night: A Night to Remember

For those of us who can't run off to London and catch a play at the Globe, the Globe has now come to Broadway. For 16 weeks at the Belasco Theatre, an all-male cast of British talent are performing Shakespeare's Twelfth Night and Richard III in repertory. The production was widely acclaimed last year when they performed at the Globe; having seen Twelfth Night, I guarantee it will be just as acclaimed here in New York.

There are several reasons why this production offers an immersive Shakespearean experience. Let's begin with the fact that it strives for Elizabethan authenticity. The play is performed as it would have been in Shakespeare's day: the actors are all male, they are wearing intricate costumes fashioned from materials similar to what would have been used in the 16th and 17th centuries, the musicians are all using Renaissance instruments, and part of the lighting comes from 100 candles that are lit all over the stage and on the chandeliers. Arrive 20 minutes early because the actors participate in the standard Elizabethan pre-show ritual of dressing and being made up on stage. Which is no easy feat since they have to be laced and pinned and tucked in to their various costumes. 

Did I mention the play offers onstage seating? Which is how I ended up on stage, thrilled to bits as some of the actors amiably ambled over to chat and recruit audience members to hand them props once the play began. And that brings us to the actors. Who are just brilliant. It would be impossible to single out one performer because each actor waltzes out on stage, does something indescribably hilarious, and just when you think they're your favorite, the next one waltzes on and proceeds to makes your sides split. Perhaps the actors playing the women are particularly noteworthy, since you suspend your disbelief for three hours and are thoroughly invested in the gender-bending intrigues of the play. Samuel Barnett's Viola is sweet and desperate as she pines for the Duke; Mark Rylance's Olivia is demure and then increasingly frenzied as she falls for Cesario; and Paul Chahidi's Maria takes on a life of her own, eagerly plotting against Malvolio while lusting for Sir Toby. The men are equally charming and hysterical - Stephen Fry's Malvolio is bombastic, pathetic, and remarkable in those yellow stockings; Colin Hurley's Sir Toby Belch is a drunken delight; Angus Wright is a riot every time he walks on as the clueless Sir Andrew Aguecheek; Liam Brennan's Orsino pinballs between lovelornity and confusion; and Peter Hamilton Dyer ties the whole show together with his beautiful songs and wise foolery as Feste the Clown.

Twelfth Night was one of my favorite plays but I had never seen it performed. Now it will remain a favorite for a lifetime. This production manages to bring out the very best in Shakespeare - the set, the costumes, the music, and the acting all reflect what makes these plays such enduring and entertaining masterpieces. Everyone, from Shakespeare novices to experts, will be awestruck by this production and clamor for more. I strongly recommend the onstage seating option because it is an incredible experience (and available for the price of a rush ticket if you're lucky!). But whether you're sitting on the stage or in the last row of the balcony, you are guaranteed to have a soul-satisfying time at the theater. Just as Shakespeare intended. 

Masters of Sex: Science vs. Society

Showtime's Masters of Sex is not a show for prudes. But it is a show for people who love well-written and well-executed period dramas starring great actors. And if that wasn't enough, it's all based on a true story.

The glorious Michael Sheen and Lizzie Caplan star as Dr. William Masters and Virginia Johnson, research pioneers who defied social taboos to study and promote the understanding of human sexual response. The show begins at the beginning - Virginia Johnson arrives at Washington University in St. Louis as a secretary in the Department of Obstetrics & Gynecology, which is headed by Dr. William Masters. Masters has been secretly working on research into human sexuality by partnering up with Betty (Annaleigh Ashford), a prostitute who lets him watch her "dalliances" through a peephole. Of course, this is less than ideal, and the increasingly frustrated Masters decides he needs to conduct an above-board, proper scientific study. In the meantime, Johnson discovers the nature of his research work and immediately volunteers to help him run things.

Johnson is much more frank and open about sexual matters than the repressed Masters. She is a divorcee with two kids and is not shy in bed, much to the delight and doom of Ethan Haas, a young doctor who works with Masters. She knows how to talk to the research participants and how to convince people to sign up for the study by ensuring them that this is for the advancement of science and not smut. Masters is married to Libby, a very 50s woman who is unsuccessfully trying to get pregnant, and his growing fascination with Johnson lends sexual tension to a show that is already bursting at the seams. However, most of the sex depicted on the show is very clinical: Masters is adamant that the study be conducted in as scientific and professional a manner as possible, so the sex scenes are often quite comical in their complete lack of sexiness.

The show is set in the 1950s and each episode features gorgeous production design and impeccable performances from the leads and supporting players. Creator Michelle Ashford has a majority-female writing staff, a true rarity in television, and this is reflected in the scripts. They feature complex female characters who are never pigeonholed into 50s stereotypes: Master's wife is not some Stepford blonde, and Virginia Johnson is impossible to fit into any mold. Even Betty, the prostitute, is an interesting character study - she isn't the whore with a heart of gold, but she's certainly not a hard-bitten vamp either.

Masters of Sex is the perfect example of a prestige cable drama. From casting to writing to design, this show is flawless. There's nothing else like it on network television so you should certainly seek it out. The pilot episode is available for free on YouTube, so head over there and start watching the best new drama on television.

Marvel's Agents of S.H.I.E.L.D.: Assemble in Front of Your TVs

From the latest TV comedies, we now turn to the latest TV dramas. I must confess, I don't watch much network drama, but of course, Joss Whedon is no network stooge. So I sat down with his latest TV offering, Marvel's Agents of S.H.I.E.L.D., and reveled in the return of Whedon to the small screen.

Superheroes have taken over film, but enjoy mostly sporadic success on TV. So it makes sense that the man responsible for The Avengers, aka the highest-grossing superhero film of all time, should be tasked with furthering Marvel's quest for world dominance on television. Agents of S.H.I.E.L.D. takes place after the events of The Avengers, with the miraculous survival of Agent Coulson, who (spoiler alert!) died in the movie but is back to work on the show. The means of his survival is shrouded in mystery, and seems to involve some kind of intrigue in Tahiti. Clark Gregg is reliably fantastic as Coulson, who is gathering together a group of S.H.I.E.L.D. agents to investigate various crises involving alien technology, supervillains, and everything in between.

To be perfectly honest, I thought I would stop watching after the second episode. The show seemed a bit too action-focused and formulaic, not Whedonesque enough. However, I stuck with it, and it's winning me back. The allusions to the films in the Marvel franchise are great if you remember anything that happens in those films (sadly I don't) but the show is developing its own identity and ensuring that the Marvel stuff doesn't completely take over. And the motley crew that make up the S.H.I.E.L.D. team are becoming snider, funnier, and cooler by the episode. The corny dialogue in the first few episodes is gradually giving way to snappier chatter, and I'm starting to feel much more invested in these characters and their bizarre missions.

ABC has clearly thrown a lot of money at Marvel's Agents of S.H.I.E.L.D. because each episode offers a blast of cinematic entertainment that makes you feel like it's summer blockbuster season all over again. So if you're looking for something fun and action-packed to enliven your week, this might be your new favorite fall show.

Burton and Taylor: Liz & Dick Revisited

I never bothered to watch the much-mocked Lifetime movie Liz & Dick about the tempestuous romance of Elizabeth Taylor and Richard Burton. From what I read, the acting was terrible but the script was equally bad, attempting to cover too much and offering nothing of substance. Thankfully, the Brits have come to the rescue with Burton and Taylor, a well-produced BBC movie starring none other than Helena Bonham Carter and Dominic West. Perhaps the title alone should be a clue that they were taking their subject matter more seriously.

The immediately clever decision made by the screenwriter, William Ivory, was to contain the story in a very short period in Burton and Taylor's romantic saga. The movie takes place in 1983, well after the couple had been divorced for years and undertaken other (failed) marriages. In the beginning, Burton is visiting Taylor, who is celebrating her 50th birthday. She asks him to consider doing a Broadway production of Noel Coward's Private Lives, and seven months later, they begin rehearsals.

Burton was a well-regarded Shakespearean actor who didn't live up to his potential because of his battle with alcoholism. Taylor, on the other hand, was impossibly famous and flighty, battling a drug addiction that would see her checking into the Betty Ford Clinic a few months after the events of this movie. Her acting style could not be more different from Burton's - he showed up to rehearsals well-prepared, with every line memorized, while she hadn't even read the play. Theirs was a case of "opposites attract"; the film makes it clear that their relationship had become a compulsion between two people who deeply loved each other but didn't know how to be together without imploding.

Burton and Taylor are such well-known figures that any biopic feels like it can only present caricatures of these two actors. Fortunately, Helena Bonham Carter and Dominic West (who are distinctive actors in their own right) are up to the challenge, and half an hour into the movie, I had completely suspended my disbelief. West plays a world-weary Richard Burton, who is trying to move on from Taylor but finds himself continually sucked into her orbit. Carter captures the many contrasts of Elizabeth Taylor, her womanly charm and childish petulance constantly unnerving those around her and providing continual entertainment for the masses. Private Lives was the perfect play for the pair to put on: it seemed to be an insight into their own private lives and the theater was sold out every night just to watch this famous couple in action.

Burton and Taylor is an interesting study of a highly volatile relationship between two incredibly different but passionate actors. It may not present any new information, but it offers a glimpse into their world and tells a good, compact story. With peerless performances from its leads, this is the biopic that Richard Burton and Elizabeth Taylor deserved.

The Michael J. Fox Show: Back to the Television

Michael J. Fox has Parkinson's Disease, which led to his semi-retirement from acting in 2000. However, he started putting in guest appearances on TV shows a few years ago (most notably on The Good Wife and Rescue Me, for which he won an Emmy) and is now back on NBC with a brand new sitcom. In it, he plays former newscaster Mike Henry, who left work after his Parkinson's diagnosis but is back five years later because his family is sick of having him spend all his time at home. A scenario which accurately mimics Fox's own life.

The writers of The Michael J. Fox Show are savvy enough to know when to make a Parkinson's joke and when to just let it be. The pilot acknowledges Fox's condition a fair amount, but after that, the show has become just another fun family sitcom. The cast consists of a particularly astonishing bunch of TV stalwarts. Mike's wife, Annie is played by Breaking Bad's Betsy Brandt, who flexes her comedy chops and plays a loving but sometimes exasperated wife to perfection. Mike's sister, Leigh is played by Katie Finneran, a brilliant actress who has done great work on Broadway (winning a Tony for her hilarious performance in Promises Promises) but who I will always remember from TV cult favorite, Wonderfalls. And to top it off, Wendell Pierce from The Wire plays Harris Green, Mike's womanizing boss and best friend, who is responsible for getting Mike back to work. 

The show follows the mockumentary format that has become such a staple of TV comedy in recent years. At times this can feel a bit lazy, as though the show can't be bothered to show rather than tell. Oftentimes, the final discussion of the episode's events can become a bit too saccharine, which jars with Fox's more sarcastic style. But these are minor quibbles, and with a cast that is this beloved, I'm willing to forgive a lot. The actors playing Mike's three kids are also a fun group, and as their story lines start to gain more traction, the show will well and truly become an ensemble comedy that hits the perfect balance of sweetness and sarcasm.

The Michael J. Fox Show is a promising sitcom with sharp writing and witty observations about how life goes on, even if you've been diagnosed with Parkinson's. It knows how to mine the humor in every situation and hopefully will continue to do so for many more episodes to come.

Trophy Wife: Don't Let the Title Fool You

You're not supposed to judge a book by its cover. However, the name of a TV show can often dictate whether or not it gets viewers. That was the trouble with Cougar Town, a quirky and fun show that couldn't build an audience since everyone assumed they knew what it would be about and wouldn't like it. Now, ABC might have the same problem with Trophy Wife, a show whose cliched title doesn't reflect the heart and humor it contains.

The "Trophy Wife" in question, is Kate Harrison (Malin Akerman), a fun-loving woman who marries a charming lawyer named Pete (Bradley Whitford). The twist is that Pete has been married twice before: first to Dr. Diane Buckley (Marcia Gay Harden), who is an intimidating surgeon and mother to his two kids, Hillary and Warren; and second to Jackie Fisher (Michaela Watkins), a flighty woman who tries her hand at assorted business ventures but is mostly just committed to their young adopted son, Bert. It's a lot for Kate to take on, especially as she has never had kids or many responsibilities. But she is a kind and loving woman, and strives to find her place in this chaotic family.

Early episodes have focused on Kate's struggles to act as a parent. She makes the common mistake of trying to relate to the kids as a friend, but despite her relative youth, she quickly realizes that a generation gap still exists and she needs to act as the responsible adult. She also has a tough time dealing with the other ex-wives, who are obviously a lot more experienced with kids and sometimes get exasperated by her naivete. However, the show never gets mean. Yes, Kate is young and blonde, but it is obvious that she and Pete genuinely love each other and want to make this marriage work. She is certainly not a "trophy wife," and as the season continues, she will continue to carve a niche for herself in this bizarre family.

The cast is full of talented actors who play wonderfully off each other and have impeccable comic timing. The ex-wives are perfectly decent people and it's nice to see a show featuring women who can get by happily post-divorce rather than resort to snide comments and backstabbing. Each episode is insightful and sweet, and the entire show is a joy to watch. So ignore the title and check out Trophy Wife. It's so much more than what you're expecting. 

Brooklyn Nine-Nine: Comic Cop Capers

According to Keats, autumn is the season of mists and mellow fruitfulness. However, to the modern TV viewer, autumn features the debut of a brand new television season. One month in, I've established my favorite new shows of the season. Let's begin with Fox's cop police comedy, Brooklyn Nine-Nine.

The show stars Andy Samberg as Detective Jake Peralta, an NYPD detective in Brooklyn's fictional 99th Precinct. Peralta has a great deal of talent but a complete lack of professionalism. He enjoys goofing off, working on his own, and sporadically solving cases, which is a strategy that has worked until now. However, the Precinct now has a new Commanding Officer in the form of Captain Ray Holt (played by the magnificently sarcastic Andre Braugher) who is determined to whip the 99th Precinct into shape. He has both personal and professional reasons for doing so, and reforming Peralta becomes his pet project. The goofiness of Andy Samberg pairs wonderfully with the dry wit of Andre Braugher and the pair certainly have their work cut out for them.

The cast is rounded out by a diverse set of actors - there are Detectives Rosa Diaz (Stephanie Beatriz), Charles Boyle (Joe Lo Truglio), Amy Santiago (Melissa Fumero), Sergeant Terry Jeffords (Terry Crews), and the administrator Gina Linetti (Chelsea Peretti). They all have their little quirks and foibles; Santiago in particular craves the new captain's approval and hates Peralta's ability to brilliantly solve cases without doing any tedious policework. However, the show is already bringing out a warm camaraderie among these disparate people and manages to be clever, witty, and warm all at once. This is not surprising because the show is the brainchild of Dan Goor and Michael Schur, who co-created Parks & Recreation, the warmest and funniest comedy on TV right now.

Starting from the pilot episode, the show throws in unexpected character twists and it's working hard to avoid cramming these people into any narrow stereotypes. They have distinct personalities, but more facets are revealed with each episode. Like any great comedy, the hope is that these characters will grow into fully three-dimensional people who can entertain audiences for years to come. The show also does a great job of coming up with clever cop stories each week - nothing too procedural, but something just inventive and silly enough to round out each episode. 

Brooklyn Nine-Nine is off to a strong start, and with such a fine comic pedigree in terms of its creators and stars, the show has the potential to stay on air for a while. Let's hope it fully embraces that potential and carves out a nice spot on the Fox comedy line-up.

Brooklyn Castle: Champions of Chess

Documentaries about American public schools tend to focus on the horrors of the education system. However, if you tuned in to POV on PBS this week, you were treated to Brooklyn Castle, a wonderful movie about I.S. 318, an inner-city junior high school with a chess team that has won more national chess championships than any other school in the country.

Directed by Katie Dellamaggiore, Brooklyn Castle follows a select group of I.S. 318 students who are dedicated members of the school's after-school chess program and determined to continue their winning streak at the national championships. Their chess coaches are an incredible woman named Elizabeth Vicary, who spends long hours teaching and devising lesson plans, and John Galvin, the tough but kind assistant principal who holds all the students to a high standard. We follow these students as they enter various local and then national tournaments and experience their bitter disappointment with each loss and triumphant joy with every win. It is particularly lovely to see these kids motivate each other and derive just as much pleasure from winning the team trophy as they do from an individual win. 

I.S. 318 is a Tier 1 school, which means that nearly 70% of the students live below the federal poverty line. Each member of the chess team comes from a low-income family and they have incredibly supportive parents who fervently believe in the importance of an education. The film documents the pressure that these students are under: the one girl, Rochelle, is determined to win the Girls' National Championship because first prize is a full-ride college scholarship and her mother can't afford to pay for a college education. She loves chess and wants to improve her rating so that she can become the first female African-American chess master, but now that she has entered high school, she is finding it increasingly challenging to balance schoolwork and chess. Similarly, there's Alexis, the son of South American immigrants who have put by every spare cent for his college fund. As the admissions test for specialized high schools approaches, he is racked by anxiety, determined to get into a good school but terrified that he might not make the cut.

Brooklyn Castle does an excellent job of weaving the students' personal stories and ambitions with their chess progress over the school year. By the end of the movie, it is amazing to see how far these children have come, not just in chess, but in life. One boy has been elected to student government and is doing impressive things to help with the school's budget and ensure that the chess program has funding. Another student, who struggles with ADHD, has made great academic strides and has improved his focus along with his chess rating. The threat of budget cuts is constantly looming on the periphery and the future of I.S. 318's chess program is never certain.  However, the teachers, administrators, and parents are fiercely dedicated to these students and they won't go down without a fight. 

You can watch the entire movie at the POV website or at Amazon. After you do, you'll really wish you had learned to play chess properly. 

Celeste and Jesse Forever: Breaking Up Is Hard to Do

Celeste and Jesse Forever was a highly praised indie romantic comedy last year but it has taken me all this time to finally watch it. Now that I've seen it, I can concur that it is a wonderful film that deserves to be seen by a much wider audience.

This movie is not your typical romcom. Rather than focusing on how Celeste (Rashida Jones) and Jesse (Andy Samberg) get together, it begins after the two of them have amicably decided to divorce. Despite months of "separation," they are still incredibly close, spending all of their time together, much to the frustration of their confused friends. Jesse still lives in the studio in Celeste's backyard and neither of them appears to have moved on romantically in their lives. They agree that their relationship was headed to a terrible place, but it's been great ever since they decided to get a divorce.

Of course, this idyllic situation cannot last for long and it quickly becomes apparent that Jesse isn't wholly invested in the idea of a separation. His career isn't going anywhere, while Celeste is a successful trend analyst who sees her life as being on track and therefore doesn't acknowledge what she might be doing to Jesse. However, a twist in the tale quickly reverses their respective positions and what follows is an in-depth exploration of what it takes to maintain a good relationship, whether it be with your ex-partner or your best friend.

Rashida Jones and Andy Samberg are charming and relatable throughout, perfectly portraying a pair of best friends who deeply love each other and just don't know how to move on. Jones co-wrote the screenplay with her friend Will McCormack, who appears in a supporting role. The supporting cast contains wonderful actors like Ari Graynor, Chris Messina, Elijah Wood, and Emma Roberts, who all add levity to the proceedings and ensure that the tone doesn't veer too far off into drama.

If the clever screenplay and great performances weren't enough, Celeste and Jesse Forever features a brilliant soundtrack with songs that pierce your soul and lift up your spirits. Director Lee Toland Krieger also composes some truly beautiful scenes throughout the movie, which will gladden your heart and make you feel like despite everything, life is a joyous celebration. So if you're looking for a realistic romcom that still gives you that warm and fuzzy feeling, this is the movie for you.

Gravity: The Splendor of Space

Every review of Gravity should begin the same way: watch this movie NOW! However, if that hasn't persuaded you to drop everything and head to a movie theater, here is a more detailed explanation of why this movie is one of the greatest cinematic achievements of the 21st century.

Director Alfonso Cuarón, who also co-wrote the screenplay with his son, always provides a cinematic spectacle. His last film, Children of Men, was widely praised for its use of long uninterrupted shots, one of which lasts for seven minutes in the midst of an extended battle sequence. In Gravity, Cuarón has taken that cinematic style to new heights, opening the film with a nearly 20-minute uninterrupted shot in which we are introduced to the characters, their mission, and then the disaster that propels the rest of the movie forward.

The movie focuses on Dr. Ryan Stone (Sandra Bullock), a bio-medical engineer who is working on the Hubble Space Telescope on her first space mission, and Matt Kowalski (George Clooney), a veteran astronaut who is coolly confident and has done it all. During their final spacewalk, Mission Control warns them that they will be hit by debris caused by a Russian anti-satellite test. They scramble to get back to the shuttle, but it's too late. Hit by high-speed debris, Stone is untethered and set adrift in space, spinning in the emptiness, unable to get her bearings, in a scene that is guaranteed to make you feel nauseous and bewildered. Communication with Mission Control has been wiped out, but Kowalski and Stone can still hear each other, and the two embark upon a mission to rescue each other and make their way back to safety.

Gravity is a nerve-wracking thriller: everything that could go wrong, goes wrong. Sandra Bullock puts in an incredible performance as her character swings from fear to hope to despair. You will be on the edge of your seat, wondering how Stone and Kowalski will deal with each new complication, or whether this is finally the moment when they give up. The story isn't particularly inventive and the dialogue can get cheesy and heavy-handed, but that is not why anyone is watching this movie. This movie is all about the visuals. Most of the time you'll wonder, "How did they film that?" because somehow, they've captured every element of zero gravity despite filming on our gravity-bound planet. My favorite scene involves Sandra Bullock crying: the tears float off her eyelids, leaving no marks on her face. The painstaking effort that must have gone into animating and perfecting that scene is impossible to imagine.

Space has never seemed more majestic or more terrifying. Cuarón perfectly captures the vast emptiness that surrounds our little blue planet, which makes that hurtling debris seem all the more cruel as it returns to pummel Stone & Kowalski every 90 minutes, following the inexorable laws of orbital gravity. The score is designed to startle you with loud crescendos, but most of the movie plays out in complete silence, because in space, there is no sound. That silence bears downs oppressively on your ears and the point-of-view shots from within Stone's helmet or inside the narrow corridors of the space station perfectly juxtapose the wide expanse of space with the claustrophobic conditions of the humans who attempt to explore it.

Gravity is a cinematic triumph. Rarely do I insist on watching a movie in theaters, but this movie demands to be seen in 3D, even in IMAX if possible. It is awesome, in the truest sense of the word, and at various points you will firmly plant your feet onto the ground, thankful that you are not floating into the void. So I end this review as I began it: watch this movie NOW!

The Lion King: Hear Broadway Roar

The Lion King has been on Broadway since 1997. I have lived in New York since 2001. Like most New Yorkers, I assumed I could watch the show whenever I wanted, which meant that I never actually went to see it until now. Oh well, better late than never.

There's a reason The Lion King is the highest-grossing show in Broadway history and is sold out every night. The show is an ingenious piece of art that both literally and figuratively pushes past the constraints of a Broadway stage. From the moment you hear the opening refrain of Circle of Life, you are hooked and what unfolds is a bewildering display of color, light, shadow, music, and beauty. It is an immersive experience that transports you to the African plains and makes you suspend your disbelief as you watch costumed men and women parade on stage as lions, giraffes, and hyenas.

The plot of The Lion King can be summarized as Hamlet with lions. It's not my favorite Disney story, so if that's all that matters to you when you go to the theater, you probably won't enjoy this show. But who cares about story when you have such amazing visuals? The intricate costumes (designed by the brilliantly inventive director, Julie Taymor) are a wonder to behold and each actor seems to embody the spirit of the animal they're portraying. Shadow puppetry is used to startling effect to depict the breadth and scope of the African savanna, and the stage morphs before your eyes to go from grassland to desert, jungle to waterfall, cliff to cave. I'm not a huge fan of the English songs by Elton John and Tim Rice but thankfully the show contains multiple African compositions by Lebo M. that soar through the theater at crucial stages.

If you've never seen a Broadway musical before, The Lion King is probably the best way to start. I tend to prefer old-fashioned musicals that have zany plots, witty banter, and fast-paced choreography, none of which you will find in The Lion King. And yet, this production is a mesmerizing spectacle of just what it means to "put on a show." It dazzles and astounds and is a living, breathing piece of art. So if you're visiting New York or are a New Yorker who has put this off for far too long, buy some tickets and discover what all the fuss is about.

Don't Stop Believin': From Manila to LA

Continuing a hot streak of showcasing wonderful documentaries, PBS' Independent Lens recently aired, Don't Stop Believin': Everyman's Journey. The documentary, written and directed by Ramona Diaz, is a fascinating look at Arnel Pineda, a struggling singer in the Philippines who was plucked out of obscurity to become the lead singer for legendary American rock group, Journey.

In 2007, Journey were all set to record a brand new album and embark on a nationwide tour. One problem: they had no lead singer. Ever since Steve Perry quit the band in 1998, they had used various replacement singers and were now desperately looking for someone new to fill in. It's the digital age, so guitarist Neal Schon took his search to the Internet and spent hours scouring YouTube for possible candidates. He dismissed Journey cover bands and wanted someone who had "the voice," that right sound that would fit in with the band. Ready to give up, he clicked on one more link and discovered Arnel Pineda.

Pineda grew up in the Phillipines in an incredibly poor family. His mother died when he was twelve and he was left homeless. He would sing at funerals to get some food, and eventually auditioned to be in a band. He made a decent living as a singer, eventually joining a cover band that performed classic rock songs, including those by Journey. His good friend Noel Gomez faithfully recorded his performances and spent hours uploading them on YouTube via the slow connection in a local Internet cafe. One of those videos caught Neal Schon's eye, and the moment he heard Pineda, he knew he has found Journey's new lead singer.

Pineda is an extremely likable and endearing man and his story is simply astonishing. After his many struggles Pineda can now support his family, make his country proud, and earn a living doing what he loves. The movie doesn't glamorize his new life - it's very clear that this is a demanding job and Pineda is constantly worried that he will lose his voice or disappoint the die-hard Journey fans. Being away from his family also takes its toll and the other band members frankly discuss the perils and challenges of achieving sudden fame. But Pineda knows that while his life might resemble a fairy tale, he can't expect it to stay "happily ever after." He recognizes there are ups and downs and ultimately is just grateful for the amazing opportunity he has been given.

Don't Stop Believin': Everyman's Journey is a feel-good documentary packed with good music and insightful discussions about the behind the scenes machinations of rock and roll. It is well worth a viewing so watch it on the PBS website this week or rent it from Amazon. It's a story that needs to be seen to be believed.

The Hollow Crown: A Shakespearean History Lesson

If, like me, you've never  read Shakespeare's history plays, PBS has you covered. Over four weeks, Great Performances is airing The Hollow Crown, a BBC miniseries that covers the "Henriad," Shakespeare's historical tetralogy of plays that follows the passing of the English crown from Richard II to Henry IV to Henry V. Starring a veritable who's who of British acting talent, the series is an impeccably produced introduction to some of Shakespeare's lesser-known works.

The plays are political dramas that chronicle the bloody history of English royalty and the rise and fall of three kings during the 14th and 15th centuries. Richard II stars Ben Whishaw as the vain king, who is overthrown by his cousin Henry Bolingbroke (Rory Kinnear), the future Henry IV. In Henry IV Parts 1 and 2, we see an older King Henry IV, played by Shakespearean stalwart Jeremy Irons, who is entering into civil war with rebel forces and despairs over his son, Prince Hal (Tom Hiddleston, putting in a tour-de-force performance), who seems more interested in drinking and carousing than assuming any royal responsibility. However, Hal grows up quickly over the course of three plays, and becomes Henry V, leading his men into battle against France and urging them "once more unto the breach." These plays may be "histories" but rather than focusing on historical events, they offer a character analysis of each King, and in doing so, they have a lot to say about the nature of power and politics that is just as relevant now as it was in Shakespeare's day.

The rise and fall of these Kings is wondrous to behold and makes history come alive in a way that only Shakespeare could manage. Each play is directed by a notable English theater director - Rupert Goold, Richard Eyre, and Thea Sharrock - and the advantage of film is that the characters can be placed in evocative locations and participate in epic battle sequences that could not be replicated on stage. Richard II is my particular favorite, because it is filmed in exquisite locations, features a startling performance from Ben Whishaw (who deservedly won a BAFTA), and contains some truly memorable verse. In fact, Richard II contains very little prose, and watching the actors converse in perfect rhythm or declaim these remarkable speeches is a true Shakespearean delight. 

The Hollow Crown is a stunning series that showcases the power of Shakespeare's words. Reading history plays might not be your idea of fun, but watching Britain's finest actors bring Shakespeare to life is an experience not to be missed. PBS has already aired the first two plays, which can be viewed in their entirety on the Great Performances website, and the following two plays will be airing over the next two weeks. Or you can just buy the DVD and enjoy these masterpieces for years to come.