Reviews

I really loved "Birds of Prey: And the Fabulous Emancipation of One Harley Quinn" in the twisted hysterical escapist way. Props too, for the extended title. Calmly strong Huntress, played by beautiful introverted Mary Elizabeth Winestead, confesses to superhero Dinah Lance aka Black Canary regarding her martial arts skills, "You can kick high in tight pants." You don't often hear that in a superhero action movie. Just saying.

That being said, Director Cathy Yan's "Birds of Prey" is pleasantly not your typical superhero action movie. For one thing, not everyone is the conventional hero, like Harley Quinn, played by Margot Robbie in total swag with razor-like irony. Along with Christina Hodson's screenplay, Cathy creates the unique: The lovable sociopath in Harley Quin, the standout character from "Suicide Squad". Margot in blonde pigtails, haunting complexion, and cutoff shorts mesmerizes in bizarre charm.

In Cathy's animated prologue, Harley was the brilliant resilient little girl, who endured her abandonment abuse plagued childhood, becoming a prominent psychiatrist. She fell in love with Gotham City's villainous murder Joker, arch nemesis of Batman. In her spiraling demise, Harley fell into a toxic chemical vat; thus, altering her appearance also bestowing her great physical strength and speed. She's also the martial arts expert: No one kicks ass wielding a baseball bat like Harley.

Yet, her love story was not happily ever after: The Joker left Harley heartbroken. Still, she hides the break up, because being Joker's girlfriend granted the certain street cred. Although, Harley can dispatch any hulking thug with or without her beloved bat.

Margot's Harley Quinn is the beguiling paradox, ultimately making the visually stunning yet narratively messy "Bird of Prey" soar. Margot embodies distinct humanity even in Harley, who is so far removed from reality. Her dominant cynicism surrenders to touching maternal instincts protecting Cassandra, played by spirited Ella Jay Basco. Rogue pick-pocket Cassandra steals the diamond sought by Harley's night club boss, crime leader Roman, played by virtually one-note evil Ewan McGregor. Granted Ewan reveals in his incarnation.

In the strangely sweet scene, Harley and Cassandra eat their breakfast cereal while watching TV cartoons. Former clinician Harley tells her squad, "Psychologically speaking, vengeance rarely brings the catharsis we hope for." Amen. Yet, coming from Harley: WTF?

Yeah, the martial arts fighting is so cool, with orchestrated leg sweeps, knee kicks, and judo throws. Director Cathy displays a distinctive visual style for her characters and Gotham City. Cinematographer Matthew Libatique dazzles with his neon color pallet. What dazzles more so is the inherent narrative incongruity of "Birds of Prey": Harley and her squad are paradoxes, in a good way.

The cast is awesome. Rosie Perez is the comically intrepid Detective Montoya, who traces Harley through the series of grizzly gang murders. Although, Mary Elizabeth's Helena (Huntress) vehemently denies "rage issues", she's the trained assassin since childhood, seeking justice for murder of her family. Hysterically, Helena is the shy hero, who practices saying, "I'm Huntress" in menacing voice. Jurnee Smoullet-Bell is the reluctant badass as club singer Dinah. Jurnee's vulnerable awareness heightens her prowess reveal. Ella's genuine 10 year-old bravado as Cassndra hides the fear of the little girl, who just wants to be loved.

Amidst, the amazing martial arts sequences, the loud car chases, and hilarious wise cracks, what landed for me was: Harley's tears. Harley let down Cassandra, who was counting on her. Despite, her sociopath sensibilities, she actually cared for another human being. Despite all, Harley is the Hero. Really, that makes "Birds of Prey" worth watching. Just saying.

In "The Photograph" LaKeith Stanfield and Issa Rae as Michael and Mae talk music smack: Drake or Kendrick Lamar? Mae is all in with Drake. Michael is all in with Kendrick. And the twain shall not meet. Personally, I'm with Michael.

That being said, Writer and Director Stella Meghie displays her natural instinct for authentic dialogue: the ebb and flow. She's also gifted with charismatic and beautiful LaKeith and Issa, who capture the soul of falling madly and deeply in love. Props to Stella for bringing to the screen a heartfelt straight up romance sans the conventional contrived narrative trappings. Yeah, love can be the journey of adversity, but ironically here, the predictable is welcome unpredictability. Just saying.

Mae is the smart, beautiful African American Art Museum curator in New York City. Her single Mom Christine had recently passed away from cancer. Her Mom left letters explaining her past, her regrets in life addressed to Mae.

Strong, innocent Chante' Adams as the young Christine writes, "My Mae - I wish I would have put as much courage in love as I put into my work." Although, Christine did her absolute best, she regrets not loving Mae enough. More to the point: she did not show her love enough. Tearful Mae gets that.

In 1984 Louisiana, Adams's Christine was the young idealistic dreamer, who wanted to be a New York photographer, ditching her hometown confinement. Christine is in love with the handsome hard working crab fisherman Isaac, played by lovingly naïve Y'lan Noel.

Christine and Isaac are so in love, but they want such different lives. Boldly, Christine dares to make a life in New York as a photographer. She's gifted and has grit. Unfortunately, Isaac is left in the aftermath. He keeps a photo he took of Mae with her own camera as a token of their love.

LaKeith's Michael is the brilliant good-looking African American journalist from New York, who works for "The Republic". It's now 2020, Michael is in Louisiana researching his article on the older Isaac Jefferson, played by Rob Morgan with weary gravitas, and the crab fishing industry. Isaac shares about the great love of his life, Christine. Isaac's greatest regret was that he never went after her. He gives Michael the photograph of Christine, telling him of Christine's daughter Mae.

Back in New York, Michael has his protégé intern Andy, played by spritely funny Kelvin, research Mae. Consequently, Michael and Mae hook up albeit initially professionally. Michael recently ended his relationship. His brother Kyle, played by wry hysterical Lil Rel Howery, cautions Michael about getting into yet another. Kyle's no psychic, but sees where this is headed.

Also, Michael is a man at his crossroads: What is he going to do with his life. He tells his annoyed Editor Sara, played by whimsically fostering Chelsea Peretti, that he applied for a job in London. WTF?

In the sweet interlude, Director Stella throws people obstacles between Mae and Michael, when Michael shows up unexpectedly at a movie screening. Taken with Mae, Michael gathers the courage to ask her out for a drink. Hence, the great Drake - Kendrick Lamar debate. Yeah, they're falling in love. Will it work out? Are they willing to make it work?

"The Photograph" is at its best when Michael and Mae are their most authentic. Fortunately, that's most of the movie in Stella's poignant direction. LaKeith's Michael has his epiphany: Although, he's a good man, he's kind of a 'dog'. He starts to get over himself. Issa's Mae isolated herself, to protect herself from getting hurt. Her epiphany: "My Mom wasn't very good at love. I wonder if I'm just like her?" Issa and LaKeith share honest humanity and the touching doubt that we all have. That makes us genuinely pull for them. That's the poignancy of "The Photograph".

I was very sad with the passing of the late NBA legend Kobe Bryant. Kobe was my Hero, because of his work ethic, and his belief that you work to be the greatest that you can be. Amen. In one of his last interviews, he was asked "What is love for you?" Kobe said, "I would describe love as the beautiful journey... You persevere."

That's what's special about "The Photograph". No, love ain't easy. If it's worth having, then we persevere, we make it work. More than just saying. See "The Photograph" and you choose.

In Writer and Director Greta Gerwig's adaptation of Louisa May Alcott's "Little Women", Jo March, Alcott's Hero, played by Saoirse Ronan, regrets her angry unforgiving nature over her younger sister Amy, played by Florence Pugh, who could have died, because of her irresponsibility. Wise Mother Marmee, played by Laura Dern, sits beside distraught Jo. She says that she knows what it's like to be "angry nearly every day of my life". She hopes that Jo does better. Jo confesses to her consuming writer's passion, and Amy's callous act when they were children.

Marmee reminds, "There are some natures too noble to curb, too lofty to bend." Perhaps, following one's greater nature is more about what you're willing to give up. That too is the eloquent beauty of Greta's "Little Women". Greta reunites with Saoirse from "Lady Bird" in Alcott's rites of passage tale of unconditional love. Saoirse plays the young vulnerable idealist Jo, who wants to be taken legitimately as a writer. Still, she wants to be loved.

Saoirse's Jo cops to her loneliness to compassionate Laura's Marmee. Mom asks Jo if she loves Laurie, played by charmingly aloof Timothee Chalamet. Jo says, "I want to be loved." Marmee says, "That's not the same as loving." No, it's not.

Still, Jo has unconditional love. Returning home from New York to care for her ailing sister Beth, played by quietly strong Eliza Scahlen, she reads to Beth at the beach. Weakened Beth wants to hear more of Jo's own stories. She tells her, "Keep writing... after I'm gone." Jo's eyes well with tears. So did mine.

"Little Women" has great soulfulness and humanity. Life is both joy and loss on the journey of creating your own greater version. Life is about defining your calling, your purpose, and finding balance. Yes, we all want to be loved. Maybe part of being loved is forgiving others and ourselves, and giving love back, too. Rather, I believe that's what Greta Gerwig and Louisa May Alcott are trying to say.

Set during the US Civil War, Director Greta brilliantly weaves childhood flashback into her very contemporary transformational narrative. The 1860's was not the time for women, which might be the social irony of Alcott's novel. Wealthy Aunt March, played with humorous gravitas by Meryl Streep, reminds Amy that a woman must either have money or marry a man with it.

Laura's Marmee raises her 4 daughters Jo, Meg, Amy, and Beth, played by Saoirse, Emma Watson, Florence, and Eliza, all alone while her Husband, played by solid Bob Odenkirk, is away supporting the Civil War.

The girls all have their individual passions. Jo, of course wants to be a writer. From the time they were young children, she wrote plays for her sisters to performs, albeit reluctantly at times. Meg's passion is acting. Amy wants to be a famous painter. Beth is quiet shy piano protégé.

The March's live next door to the very rich Laurence's. Their longtime childhood friend is playboy Theodore 'Laurie'. Timothee embodies surprising charm and depth of emotion in Laurie. Laurie has been in love with Jo, since they were teens. Jo loves Laurie, yet not in the way he wished. That's the designed melodrama of "Little Women". What could have been the perfunctory plot device, Greta reinvents as the narrative of self-discovery and forgiveness. Greta's profound muse is Saoirse.

Saoirse authentically captures the joy and the suffering in Jo's visage, in her being. She's wickedly funny negotiating her book with publisher Mr. Dashwood, played by cantankerous Tracy Letts, also from "Lady Bird". Her kindness comforts when she hugs Marmee following personal tragedy.

Saoirse's nobility rises and never bends. That's the distinct heart and humanity of Greta Gerwig's "Little Women". Often times, creating the greater versions of ourselves is about letting go. It's about love and forgiveness, for others and for ourselves. That makes watching "Little Women" beautiful. Just saying.

In Writer and Director Destin Daniel Cretton's "Just Mercy" the impassioned Michael B. Jordan as attorney Bryan Stevenson reminds the Alabama Court Jury, "We all need grace. We all need mercy..." There's profound wisdom and compassion in Bryan's words. The screenplay by Destin and Andrew Lawrence was based on Bryan Stevenson's book "Just Mercy". So this represents part of our history.

In 1991, Bryan defends Walter McMillian, brilliantly played by Jamie Foxx, convicted of murdering the 18 year-old white woman in a liquor store, sentenced to death by the electric chair. Walter is innocent. He was with his family at the time of the murder. Given the coerced testimony of the lifelong criminal Ralph Myers, played by sympathetically damaged Tim Blake Nelson, Walter is placed on Death Row, even before he's charged. WTF?

Turns out that Walter had an affair a couple years ago with a white woman. His wife Minnie, played by strong Karan Kendrick, had forgiven for his transgressions. Apparently, not the Alabama Police. So basically, Walter is the innocent man sentenced to die, because he's Black. That was 1991. That's 30 years ago, not that long ago. That's the relevant poignancy of Destin's "Just Mercy". Through the powerful and compassionate work of Michael B. and Jamie, we get that "We all need mercy." Perhaps, now in 2020 more than ever before.

As a law intern in Alabama, Michael B.'s Ryan worked with a Death Row inmate, who was as old as him. The young Black man was so grateful that his stay of execution extended for a year. He's essentially a kid. That lands with Ryan. That lands with us.

After graduating from Harvard Law School and passing the Bar, Ryan accepts the position in Alabama as a public defender providing legal service for those in need, which is primarily a lot of poor African Americans. Ryan works for idealist office manager Eva Ansley, played by fiery smart Brie Larson. They start the Equal Justice Initiative.

Ryan meets with Jamie's Walter in prison, offering to appeal his case. Upfront Walter tells naïve Ryan, "Down here you're guilty from the moment you're born." Ryan gets that sad indictment given his own experience of racial prejudice.

That arcane mindset even threatens Eva's family. In the quiet, Eva tells Ryan that she wants her little boy to know that she wasn't going to back down "just because she was scared of some bigot." That might be the heart and soul of "Just Mercy". There's nobility in acting out of justice, acting out of mercy.

The very soul of "Just Mercy" is the profound screen partnership of Michael B. Jordan and Jamie Fox. I love Michael B. He possesses power in his words, in his silence. He has the amazing gift of letting us know what goes on inside through his gaze. We get it when he witnesses the electrocution of one of his clients. His closing court room speech expresses his and our very own humanity. Michael B. is something special.

So is Jamie Foxx in the supporting role of Walter. Foxx embodies the authentic suffering and nobility in Walter. It's heartbreaking watching Walter ask his son John to stand down in court, fearing for his safety. His eloquent power reveals as he weeps in his jail cell. It's a shame Jamie wasn't nominated for a Best Supporting Actor Oscar.

All that being said, Destin, Michael B., and Jamie ask us to look at ourselves: Do we have mercy? Do we have grace? Yeah, at times Destin and Andrew's narrative is very linear. That might be the effect of retelling history. Still, "Just Mercy" too is something special in that it makes us look at our own humanity. It asks, "How can I make a difference?" That might have been the authentic spirit of Ryan Stevenson. A very noble and good thing. Just saying.

In the midst of Writer and Director Bong Joon Ho's "Parasite" wealthy Korean High-Tech CEO Dong-ik Park, played by handsome bold Sun-kyun Lee, describes to his wife Yeon-kyo, played by beautifully capricious Yeo-jeong Jo: His new driver Kim, played by brilliantly overwhelmed Kang-ho Song. Dong-ik says of Kim, "He never crosses the line." Consequently, he hasn't had to fire Kim.

Paradoxically, Bong's "Parasite" purposely 'crosses the line', often amazing us or has us thinking, WTF? That's the inspired genius of Bong and Jin Won Han's screenplay, and Bong's visionary art. There's the curious dynamic. Aside from genuinely charming Woo-sik Choi, who plays Kim's son Ki-woo (also known as Kevin), the Kim and the Park families are essentially unsympathetic. "It's all about them". In the bizarre star-crossed love story, Kevin is in love in with the Parks' daughter Da-hye, played by cute innocent Ji-so Jung.

Bong and Jin construct their narrative: The poverty plagued Kim's insinuate into the lives of the very rich Park's. Innocuously, Ki-woo's best friend Min, played by bright charismatic Seo-joon Park, asks him to tutor Da-hye Park (Ji-so) while he's away at college. Really, Min asks Ki-woo to look after Da-hye, because Min is in love with her. Yeah, we get how that will go.

Min cautions that her Mom Yeon-kyo (Yeo-jeong) is rather unique. Initially, Yeon-kyo occurs as the unhappy wife and substance abuser. Although, Ki-woo is not the college graduate, his adept sister Ki-jung, played by beautifully acute So-dam Park, brilliantly forges her brother college degree documentation for his job interview with Yeon-kyo. He goes by Kevin.

Once acquiring Da-hye's tutor gig, Ki-woo deduces the way to get his sister Ki-jung (So-dam) as the art teacher for Park's troubled son Da-Song, played by untamed Hyun-jun Jung. Ki-jung poses as cousin Jessica. Similarly, the Kim's infiltrate as familial imposters in the Park household. Mom Chung-sook, played by sensible Hye-jin Jang, replaces legacy Housekeeper Moon-gwang, played by solid Jeong-eun Lee.

Now, the poverty riddled Kim's vicariously roll in wealth and luxury. At the zenith of their dysfunctional excess, the family parties in complete inebriation in the pristine Park living room, while the Parks are on camping vacation. Naïve Ki-woo even fantasies of one day marrying Da-hye, the love of his very young life.

Eventually, Director Bong's narrative spirals into the absurd macabre at warp speed. Honestly, I was the only person laughing out loud in the theater at times. Surprise twists reveal. The absurd hysterical devolves into absurd hysteria. I believe Bong's inventive madness does serve his purpose.

In the quiet scene at the Park home, Ki-woo sadly yearns while looking upon all the beautiful rich people at a Birthday party. It's his life that might have been. Rather, it's his life that isn't.

Director Bong brazenly explores the very fringes of sociopathy with both artistic style and menacing humor in "Parasite". His narrative is ultimately about karma. Absolutely there are consequence for what we do. What we do, can and will come back at us.

Yes, "Parasite" is darkly hysterical, in your face provocative. It's great to look at with authentic performances. "Parasite" might be one of best movies of 2019. I really liked the movie a whole lot.

All that being said: "Parasite" is not my very favorite movie of 2019. Perhaps, humanity by its very design is dark and light. At least for me, "Parasite" fails in its balance of the dark and the light. Again, just saying.

The crew is back in Writer and Director Jake Kasdan's "Jumanji: The Next Level", but with a new twist. Based on Chris Van Allsburg's book "Jumanji", Jake, Jeff Pinker, and Scott Rosenberg's screenplay revisits the Jumanji video game world in its next iteration, on "The Next Level". That expands the jungle scenario to include the arid desert and snowcapped mountains, along with the vicious villain Jurgen the Brutal, played by generically evil Rory McCann, who seeks some kind of dominance of Jumanji. In this 'next level' there are herds of terrorizing ostriches and baboons, and ominous castles. The cinematography of Gyula Pados is spectacular, as well as the various CGI effects.

The game avatars remain the same: Kickass Ruby Roundhouse, played by Karen Gillan, Hero Dr. Smolder Bravestone, played by Dwayne Johnson, Nerdy Professor Shelly Oberon, played by Jack Black, and Zoologist Franklin Finbar, played by Kevin Hart. Yes, Martha, played by bold cautious Morgan Turner - the college student and ex-girlfriend of Spencer, played by Alex Wolff, resumes as Ruby in "The Next Level".

Yet now, Smolder Bravestone is the avatar of Spencer's Grandfather Eddie, played by sweet crotchety Danny Devito. Frankin Finbar is the avatar of Eddie's estranged best friend Milo, played by kind Danny Glover. Confusing? Well, yeah.

Apparently, a lot had transpired since 2017, when the teens returned from the video game world of Jumanji. It's Christmas. Martha enjoyed her single life (post Spencer-life) away in college. She has discovered her freedom. Jock Fridge, played with street swag by Ser'Darius Blain, is on football scholarship. 'It Girl' Bethany, played by whimsical Madison Iseman, studies abroad. Spencer attends NYU, suffering with his part-time job. Alex Wolff captures Spencer's charming uncertainty. The crew agrees to reunite back home at their favorite diner.

Spencer returns home to find he's roommates with Grandpa Eddie, who's recovering from hip replacement surgery. 'Mr. Sunshine' Eddie tells his grandson, "Getting old sucks!" We get it.

Life also sucks for Spencer since his break up with Martha. Attempting to relive the confidence and courage as Bravestone that won Martha's heart, Spencer returns to Jumanji. He had high-jacked the game, storing it in the basement. The Writers are truly reaching here. Just saying.

Surmising what happened to Spencer, the Crew decides to go back to Jumanji. Fridge wisely says, "Are you out of your mind?" Well, if they listened to him, there would be no movie. Back in Jumanji, Martha's Ruby is all "WTF?" Bravestone is now Grandpa Eddie. Franklin is now Milo. So much for the romantic narrative for Martha. Well, sort of.

Dwayne and Kevin amazingly channel Danny Devito and Danny Glover's personas, and their forsaken friendship that is both funny and touching. Bravestone catches his reflection of The Rock, handsome muscular swag. He says that he hasn't looked like that in years. Franklin replies, "You never looked like that." Hysterical.

In the unexpected sweet moment, Bravestone and Franklin talk about the sadness of their lost friendship and mortality. No one does action Hero like Dwayne Johnson, The Rock. No one does smartass like Kevin Hart. They're funny together. They're screen partnership is all heart. That resonates throughout "The Next Level".

Karen Gillan is genuine surprise. She displays the sense of humanity in all the craziness, embodying Martha's insecurities. Her Ruby can kick the ass of any man. Yet, all she really wants is to be acknowledged for who she is, which is a strong woman.

Awkwafina joins the journey as another strong woman as flite thief avatar Ming Fleetfoot, with the initial surprising persona. Awkwafina deftly provides gravitas and humor as Ming, who seems to carry the movie's message: Life is a game. What makes it beautiful are those we get to play the game with.

"Jumanji: The Next Level" is fleeting entertainment. Totally fun. Big hearted. In "The Next Level": No, life doesn't really suck. Rather, life is the game you get to create. And that does not suck at all.

Not so ironically, Writer and Director Noah Baumbach's "Marriage Story" is about divorce. Scarlett Johansson and Adam Driver play Nicole and Charlie Barber. They have a cute 8 year-old son Henry, played by resilient Azhy Robertson, who struggles with a learning disability.

Charlie is the intense copious note taking Director of avant-garde theater in New York. Nicole is the former teen sex comedy movie star, who forsakes Hollywood stardom to act in her husband Charlie's theatrical stage productions.

At the impasse in their marriage, Nicole accepts a TV series role in Los Angeles. She brings son Henry with her to Los Angeles, which is also home. Nicole lives with her Mom Sandra, played by whimsically wise Julie Hagerty, at her parents' home. Mom was the former Hollywood actress. Apparently, her late husband, Nicole's Father, was gay. Hence, that marriage also ended in divorce.

On the other hand, Charlie grew up in the Midwest, raised by abusive alcoholic parents. So there's that. Although, Charlie occurs as rather anal retentive, controlling, he's a good kind man. Sandra loves him like a son. He's the good father. Perhaps, not the good husband. Apparently, he had an affair with his stage manager. Rather, Charlie might not be the good husband to Nicole.

While in Los Angeles, Nicole hooks up with prominent divorce attorney Nora Fanshaw, played with charming ferocity by Laura Dern. Nora reassures Nicole, "What you're doing is an act of hope." She seems to have genuine compassion for Nicole's suffering.

Yet, clearly Nora has her own cause: "The idea of a good father was only invented 30 years ago..." Apparently, Nora has been deeply hurt from her own past marriage. So it's really not about Nicole. It's all about Nora. Just saying.

As the movie opens, Charlie and Nicole work with their marriage Mediator. They're getting divorced. Each holds a letter that they wrote about what they love about the other. Director Noah brilliantly opens in flashbacks of Nicole and Charlie's life together, with Scarlett and Adam in narration. Clearly, Nicole and Adam love each other, are good parents, but perhaps, are no longer in love with each other.

In the heart wrenching arc of "Marriage Story", Nicole tells Charlie that she no longer loves him, that she hates him, what he stands for. Angry Charlie screams, "I want you dead!" You see the sadness in Nicole's eyes. You witness the suffering in Charlie's eyes. I cried. Charlie literally drops to his knees.

Yes, Charlie crossed the line. Yes, he was enraged. Yet, he occurred more wounded than angry. He was terrified that he lost the love of his life. That he lost Nicole. That's the profound humanity and brave vulnerability of Noah's "Marriage Story". No, Nicole and Charlie are not bad, people, who deserved what happened. Rather, life happened. Sometimes, life doesn't turn out the way we hoped, even with our best intentions. In this touching humanity Scarlett Johansson and Adam Driver are sublime.

Early on, when talking with her attorney Nora, Scarlett's Nicole said that she "got small" with Charlie, that somehow her life got marginalized. Scarlett is so authentic, so courageous in her words and in her silence. Yes, she loves Charlie, but that hurts too much to continue to do so. Scarlett is awesome.

Adam is simply amazing. He makes bold, compelling choices playing Charlie. Whether he flippantly comments on Nicole's haircut or when he struggles with the child car seat in his rental. Yeah, he's imperfect, and he tries so hard to do his best, to be right. Adam is profoundly vulnerable in Charlie's distinct humanity.

In a scene with son Henry, Adam's Charlie remembers what made him fall madly and deeply in love with Scarlett's Nicole. There is beauty in imperfection, in their failed marriage. Life goes on. Yet, love is still the possibility. That's the power and poignancy of "Marriage Story". It's my very favorite movie of the year. Just saying.

In "Star Wars: The Rise of Skywalker" Daisy Ridley's Hero Rey tearfully embraces General Leia, played by the late Carrie Fisher. She says, "Rey, never be afraid of who you are." Her Master's wisdom in the Way of the Jedi, the noble warriors from long ago, in a galaxy far, far away.

J. J. Abrams returns directing "The Rise of Skywalker", signifying the end of this "Star Wars" trilogy, and resolving our 42 year journey together in the mystical ways of the Force. "Never be afraid of who you are..." Ironically, Director J. J. stumbles a bit in the first third of the movie defining what "The Rise of Skywalker" wants to be in its rapidly kluged narrative by J. J. and Chris Terrio.

Angry Kylo Ren of the evil First Order, played with surprising power by Adam Driver, discovers the Wayfarer device which leads to the planet Exegol. There, he seeks to take the life of the Emperor Palpatine, played by palpably evil Ian McDiarmid. But wait: Isn't the Emperor dead? Yeah, he too like Yoda is strong with the Force, albeit the Dark Side.

Meanwhile, Rey rigorously trains with Leia to become a Jedi. From the previous movies, Rey is some kind of Force Savant: She dismantled powerful Kylo Ren without any formal Jedi training. Kylo's human persona Ben is the son of Leia and Han Solo. Succumbing to the Dark Side, Kylo murdered his own Father, Han. Rey witnessed the heinous act. Mysteriously, Rey and Kylo are bound together by the Force.

So is Rey destined for the Dark or Light Side of the Force? Is she the balance of the Dark and the Light? Rey discovers that her previous Master Luke Skywalker, played by aged earnest Mark Hamill, was also searching for Exegol. So Rey takes up her Master's cause with the help of her Republic Rebel friends.

Amidst the rushed narrative start and well-meaning nostalgia, Daisy Ridley and Adam Driver embody compelling humanity, making "The Rise of Skywalker" something special. This time around Kylo is compassionately fleshed out, more 'grown up'. Adam is powerful in his underplay. His Kylo surrenders to personal damnation for his horrific acts. Yet, his path of redemption resides in Rey, knowing that he can never be truly forgiven. Adam astounds as Kylo discovers his possible strength within.

"The Rise of Skywalker" is the classic Hero's journey. Daisy authentically commands as Rey unconceals who she is, and who she can become. Daisy's gentle green eyes tell the story, when asked what she fears. She says, "Myself." Rey is not brave, because she possesses the great powers of the Force, like when she breathtaking takes on Kylo Ren's speeding ship, leaping in the air with her lightsaber.

Her Rey is brave, because she is able to be with her fear. Daisy convinces us that the Hero's power lies in compassion, in her kindness to suffering Kylo. And yes, there's reason for Rey great prowess. Yet, Daisy makes us pull for Rey to find her measure of peace.

Aside from Rey and Kylo, many of the characters and supporting narratives occur as superfluous. John Boyega and Oscar Issac return as former Storm Trooper Fin and Rebel pilot Poe as do others. John, Oscar and even Billy Dee Williams are good in their roles. Yet, they seem unnecessary. Honestly, I never got why Finn is meaningful in this trilogy. Poe is occurs as a Han Solo wannabe.

That being said, endure the rapid paced forced narrative of Act I. Have patience in the splintered aspects of Act II. Act III of "The Rise of Skywalker" is worth the wait. The battles are visual spectacles in cinematic catharsis. Much like all the amazing special effects throughout the movie. Although, Daisy and Adam truly mesmerize, because they make us care.

I never thought of the Force as the Dark or Light distinction. I think of the Force in terms of Yin and Yang. There is no all Good. No all Evil. The Force like life is about the balance of Dark and Light. "The Rise of Skywalker" is about choice: Use one's powers for good, not evil. Just saying. That makes "The Rise of Skywalker" so special. It eloquently concludes our 42 year "Star Wars" journey. Amen.

Peacefully gazing into the dusk sky, racer savant Ken Miles, played by Christian Bale, lies on the race track next to his son Peter, played by innocently radiant Noah Jupe. Ken describes the experience of being one with his racing car: "Everything slows down". Ken says introspectively, "You see everything." That's the freedom and joy of doing what you love.

Director James Mangold's "Ford v Ferrari" tells the story of Ford Motor Company's challenge of Ferrari in the legendary 24-hours race at Le Mans in 1966. Matt Damon plays Carroll Shelby, the American car designer, who Henry Ford II, played by believable Tracy Letts, asks to engineer a car to beat Ferrari at Le Mans. Carroll's volatile friend and elite driver is Ken.

Carroll was the only American to ever win at Le Mans. But that was the glorious past. Presently, Carroll has a failing heart valve. His racing days are history. Now, he's the very successful businessmen, selling his designer cars to dudes, who don't appreciate his art, his love.

In the movie's opening narration, Carroll describes driving his car at 7000 rpms. He's in the zone. His epiphany, "The only question that really matters: Who are you?" As much as "Ford v Ferrari" is about the landmark automotive racing milestone, I was touched most by the story by Jez Butterworth, John-Henry Butterworth, and Jason Keller in its poignant look at what we love, what is that meaningful to us.

Christian Bale and Matt Damon have authentic screen brotherhood in the pursuit of their ideal, dedicating the best versions of themselves for what they truly love, that being racing. In the bigger picture of James's "Ford V Ferrari", 'racing' could be whatever is that meaningful to you. Christian and Matt give one of most their moving and humane performances. They're both Oscar worthy.

At the 'dog and pony show' for Ford's unveiling of their Mustang car, Matt's Carroll accepts Ford's job to engineer a car to win at Le Mans. Charismatic Matt recalls the wisdom of Carroll's Father, who advised to do what you love, then "it's no longer a job". Matt poignantly says, "Find what you have to do..." Amen.

Carroll sees the best in Christian's Ken. Ken is the 45 year-old World War II Hero, who's broke, and running his own automotive repair shop. His beautiful wife Mollie, played by strong compassionate Caitriona Balfe, is supportive of Ken, but so weary of working other jobs to keep the family afloat, including son Peter.

Although, not classically studied Ken is the engineering savant. He amazingly diagnoses the imperfection of any car by just driving it. Yet, he's the strident smartass, who is blunt in his assessments to everyone. That runs amok with superfluous Ford Executive VP Leo Beebe, played by slickly good Josh Lucas.

Predictably, Leo's egomania tests Carroll's loyalty to Ken, who might be the best race driver on Planet Earth. That might be the lone narrative downside. Also given this historical retelling, we kind of figure out how things go. Just saying.

Phedon Papmichael's cinematography mesmerizes. Phedon captures the visceral impact of speed and danger in every turn in the larger expanse. Still, I was moved in the close up of Christian's visage on the speeding straight away. The calm serenity. Ken gets who he is.

My favorite scene: Ken looks at the picture Peter drew of the racetrack. Christian's Ken meticulously describes what he has to do in each individual turn. Peter looks at his Dad in wonder. That's "the perfect lap". Peter asks, what if you can't race "the perfect lap". Ken smiles, "You keep trying." Because that's what you do for what you love. That's what makes "Ford v Ferrari" so very special too.

At the Chinese restaurant in Fred Rogers' beloved Pittsburgh, suffering Lloyd Vogel, played by Matthew Rhys, gets why Mister Rogers likes people like him: He's "broken". Tom Hanks's Fred looks in Lloyd's eyes, "You're not broken." He invites Lloyd to think about the ones, who "loved you into existence".

That's the touching humanity of Director Marielle Heller's "A Beautiful Day in the Neighborhood". Yes, the movie isn't perfect. Yet, much like Mister Rogers, it sources from a good space: The power of forgiveness, the power of kindness.

Micah Fitzerman-Blue and Noah Harpster's screenplay is based the friendship of Fred Roger ("Mister Rogers' Neighborhood") and Writer Tom Junod. Tom wrote his Esquire article in 1998 that inspired the narrative. At times, "A Beautiful Day" occurs as nearly allegory, almost fable.

Micah and Noah's narrative surprise: Fred Rogers isn't the conceit. Rather, it's Lloyd's journey. That seems the catharsis of real-life writer Tom Junod. When distraught Lloyd appears in "Neighborhood of Make-Believe" that's indulgent disbelief. That can be forgiven, as well.

Throughout, Tom Hank's poignantly authentic performance as Fred Rogers inspires. Occasionally, Matthew Rhys's relentless anger get wearisome. Yet, Tom's quiet empathy reminds that Lloyd suffers in his unwillingness to just let go.

The movie opens with Mister Rogers in his beloved red sweater asking children at home, "Do you know what forgive means?" That lands. Back when I was one of those kids watching "Mister Rogers'", I felt that he was talking to me. He listened. He actually got me.

"A Beautiful Day" works in Tom's powerful listening, and his authentic vulnerability. Solid Maryann Plunkett as Fred's wife Joanne tells Lloyd that Fred "is not perfect". He doesn't want to be a saint, because that would make him "unattainable". Cynical Lloyd gets that Fred is someone to aspire to be.

Award winning writer Lloyd is a new father. His understanding wife Andrea, played by smart strong Susan Kelechi Watson, forsakes her career to be the stay-at-home Mom.

Lloyd and Andrea attend his sister Lorraine's wedding. Lorraine is played by comically aloof Tammy Blanchard. Lorraine invites their estranged jerk-like Father Jerry, played by believable self-righteous Chris Cooper. The two brawl at the wedding, apparently over Lloyd's late Mother.

Meanwhile, Lloyd, who has the reputation for demonizing interviews, is given an assignment by his Editor Ellen, played by beautiful edgy Christine Lahti. Esquire Magazine is doing a series on American Heroes. Lloyd's assignment: Fred Rogers. Even Andrea warns, "... Please don't ruin my childhood."

Lloyd looks to reveal Fred's darker side. After all, no one can be that good? When they do meet: who is interviewing who? Fred admits he wasn't the best Father to his two sons. He quickly discerns Lloyd's profound suffering. Lloyd tells of the fight with his Father. Fred sighs, "Oh, my..." Tom's visceral well of compassion defines "A Beautiful Day in the Neighborhood" as something special.

"A Beautiful Day" is about letting go of the anger that hides our fear. Forgive others as we forgive ourselves. Much like watching "Mister Rogers' Neighborhood" back when I was 6 years old, there's a lesson. Tom's Fred thoughtfully speaks about the nature of death. He says, "Anything mentionable is manageable." Amen.

"A Beautiful Day in the Neighborhood" might not be perfect, which it never intends to be. Yet, it speaks to the power of forgiveness, the power of kindness. Forgiveness and kindness are the enduring legacy of Fred Rogers. Just saying.

Speaking on stage before an audience, much like us, cute radiant Emilia Clarke as Kate, dressed in Elf green, says, "We are so lucky to be alive..." Well, Kate would know. In 1999 she and her family, including Mom Petra, played by Emma Thompson, immigrated to London from war-torn Yugoslavia. A couple years ago Kate had surgery to literally fix her broken heart. That's the unexpected back narrative of Director Paul Feig's "Last Christmas", his romantic comedy from the screenplay by Emma Thompson and Bryony Kimmings.

Following her recovery from tragedy, Kate, who's an aspiring singer and huge fan of George Michael, like I am, lives her uninspired life. She has meaningless relationships with dudes, she meets in bars. She eats crappy food. Kate often finds herself homeless, sans flat-mate, because of her unaccountability.

Hilarious beautiful Michelle Yeoh plays Santa (not her real name), who owns the year-round Christmas gift shop in London. Santa hires Kate to work in her shop, hence the Elf motif. As Thomas Hardy said, "Character is Fate." That's Kate. Santa grants her one final reprieve. Michelle tearfully says, "But it's like you don't care anymore..." Ironically, Michelle's Santa cares. Deep down Emilia's Kate does, too.

One day outside the shop, Kate meets enigmatic charming handsome Tom, played by Henry Golding. Hysterically, both admit: They're not their 'type'. Their fate is entirely telegraphed miles away.

Yet, in the touching narrative arc of "Last Christmas" Kate confesses to Tom, that she was "really sick". She's better now, but she feels that part of herself is literally gone. She says, "I'm just scared all the time." And that people expect her to be "normal". Tom wisely says, "There's no such thing as 'normal'. It's just being a human being is hard..." Amen, that can be hard.

In the movie, Tom always tells Kate, "Look up." Perhaps, that's opposed to looking down, looking in the past. Look forward to life.

That being all said, I really liked Paul's "Last Christmas". It does take the surprising narrative turn that I didn't entirely expect, although it remains poignantly human. Emma wrote "Last Christmas" based on the Wham! song written by pop icon George Michael. "Last Christmas" - the movie, features many George Michael songs, including "Freedom 90" which holds personal meaning for the story and for me. George's "Freedom 90" was his anthem for freedom, freedom that he didn't experience most of his adult life, something I can relate to. That kind of freedom is what Emilia's Kate discovers in herself.

Yeah, Emma and Bryony's screen narrative could have been better. It's often misguided. Emma's own character Petra is nearly caricature in Slavic accent as the worried Mother of Kate and her younger sister Marta, played by believably sullen Lydia Leonard. Although, favorite Kate works in a Christmas Shop, Marta is the rising star attorney. Yet, Marta hasn't told her parents: She's gay.

Michelle's wry maternal affection for Kate is the genuine savior of "Last Christmas". However, introducing her goofy romantic interest in Scandinavian 'Boy', played funny Peter Mygind, occurs forced. Checking one of the romantic comedy boxes.

Still "Last Christmas" works because of the eloquent partnership of Emilia and Henry. Emilia's authentic self-awareness, albeit in a comic narrative, is inspired. Her Kate suffers over feeling broken, and fears that feeling might never go away. In Henry's calm easy presence as Tom, she sees perhaps, hope. Her Kate says, "I didn't heal my heart just to give it away, and have it broken, again." That lands. It's more than just some Wham! Christmas song lyric.

After all: "We are all so lucky to be alive." That also personally landed for me. A friend of mine apparently didn't feel that, and ended his life. Yes, there shall always be suffering the world, particularly when living in silence. Yet, that suffering is finite. Sadly, my friend didn't see life as the gift worth living for.

So although, "Last Christmas" might be flawed at times, its heart is in the right space. Paul, Emilia, Henry, and Michelle give their best, they give their hearts. Emma is absolutely right: "We're so lucky to be alive." As Tom says, "Look up." Look forward to life. Just saying.

In "Terminator: Dark Fate" enhanced, mostly machine super-soldier from the year 2042, Grace, played by Mackenzie Davis, stridently protects young Dani, played by innocent strong Natalia Reyes, from advanced liquid metal Terminator Rev-9, played by relentless Gabriel Luna, also from the future, sent to terminate her. Now older Sarah Connor, played by Linda Hamilton - reprising her original character, returns as the maternal Hero.

Sarah is the Mother of John Connor, who becomes the savior of the Human race in the future war against the Machines controlled by the sentient A.I. gone horribly amok - Skynet. In James Cameron's 1991 "Terminator: Judgement Day", Sarah altered that possible future. That Judgement Day never happened. Or did it?

Director Tim Miller's "Terminator: Dark Fate" reboot of the franchise suggests that the sins of the future may have come back to haunt the present. His occasionally distracted narrative, unexpectedly explores the nature of fate. Although at times dominated by digital visual effects and pulse pounding action, in the end Tim displays unquestionable heart.

The screenplay by David S. Goyer, Justin Rhodes, and Billy Ray takes place 22 years after "Judgement Day" 1997, which was apparently averted in that narrative. Tim Miller, who also directed "Deadpool", has dismissed the numerous sequels following "Terminator 2". That's actually a blessing. Just saying.

Linda's Sarah is the grizzled warrior renegade bent on killing all the Terminators sent from the future. Sarah's personal war is one of vengeance, after suffering heartbreaking tragedy. Linda embodies world weary strength and sadness that makes "Dark Fate" poignant. Her forced allegiance with aged, white bearded Terminator T-800, reprised by Arnold Schwarzenegger, who goes by Carl, the drapery man, is strange cinematic karma. Humorless, singular Sarah warns Carl, when this is all over, "I'm gonna kill you."

Fortunately, amidst this literal tipping point in the end of humanity, adrenaline fueled chases, and brutal battles, Tim Miller displays a welcome sense of humor, be it Carl describing the irresponsible drapery decisions of one of his customers. Carl has done his best to become human, since his Terminator mission completed. He may have found purpose in life. Arnold reflects an eloquent wisdom. In a way, "Dark Fate" is surprisingly about finding one's purpose.

Mackenzie Davis is Director Tim's charismatic force as Grace, protector of Dani and the future of the known world. Mackenzie literally towers over Linda and Natalia in their scenes together. Not just physically, she commands the calm powerful presence. Mackenzie is a star. And she's the total badass.

Her Grace holds out her hand to Dani, "Come with me or you'll be dead in 30 seconds." Reminiscent of Arnold in "Terminator 2". Then in the ensuing visceral fight scene, Grace choke-slams Rev-9 to the floor. Boom.

Sitting in the back of a pick-up truck, Grace gently touches Dani, who's asleep on her lap. Linda's Sarah looks on thoughtfully. This is more than just some military operation. Mackenzie is surprising nuance. Her humanity in concert with Linda's innate gravitas elevate "Dark Fate".

At the narrative arc of "Dark Fate", humanized Terminator Carl asks, "Sarah, do your believe in fate?" Sarah's choices in the past had determined and guided the unknown future, not preordained. So do you believe in fate?

Maybe, we all do our best: Making our best choices possible in who we are going to be, what we are going to do. Perhaps, that's what Tim, Mackenzie, Linda, and Arnold are asking us to look at: Who do we choose to be? Fate may well be. Yet, choice matters. That being said, take a chance on "Terminator: Dark Fate". Then choose for yourself.

In "Gemini Man" war-weary Will Smith's retired Master Assassin Henry Brogan battles the younger version of himself, Junior, played by CGI-ed Will, who's in fact his clone.

I've trained in Aikido for many years. O-Sensei Morihei Ueshiba said, "True victory is victory over oneself." Director Ang Lee literally and ambitiously navigates O-Sensei's Mastery journey in unexpected resolve. The distinct upsides: The entertaining screenplay by David Benioff, Billy Ray, and Darren Lemke and the strong compelling Will Smith on both sides of this existential conflict. Amen.

As "Gemini Man" opens Will's Henry takes aim at his 'final' target from 2000 meters out. Henry is the operative for the DIA, a covert US Government Agency sanctioned to terminate terrorist threats. In theory, Henry takes out only bad guys with his sniper rifle or martial arts training. So basically, 51 year-old Henry is a walking weapon, who's sacrificed having a life, dedicated to serving his country. But is his retirement mission a set-up, a betrayal?

Although, David, Billy and Darren's narrative premise is needlessly convoluted, we get that Henry is a good man, who's suffered because of his mastery. He wants out. Henry confesses to DIA's Del, "My soul hurts... I want to find peace." Henry's haunted by the 'ghosts' of his targets. Will's authentic remorseful tears land.

Ang Lee's conspiracy narrative unveils as obsessed Clay Verris, played with duplicitous zeal by Clive Owen, emerges with his proposal to DIA Director Janet Lassiter, played by malleable Linda Emond. Clay operates the clandestine Gemini Project. He wants to use his asset to terminate Henry, who's become a circumstantial liability. He sends his charge Junior, also played by Will, to kill Henry. By design, Junior is Henry's younger version sans his past, without his suffering and pain. Thus, superior.

Ang nuances "Gemini Man"'s ambitious narrative premise: What makes a Good Man? In a flashback, Henry recalls his Dad, played by Diego Adonye, nearly drowning him as a boy to make him strong. Wise foreshadowing. Yet, Ang's storytelling bewilders: Henry and Junior don't do the math when they first battle each other. Junior tells Clay, "It's like he (Henry) knew my every move..." Well, yeah.

The technology astounds when Will fights as both Henry and Junior on screen. Their motorcycle chase is spectacular. As Henry and Junior exchange spinning kicks, elbow strikes and joint locks, you feel the impact. CGI-ed Junior looks cool for the most part. Though near the end, it almost occurs as creepy.

The other distinct upside of "Gemini Man" is strong, pretty, smart Mary Elizabeth Winstead as Danny, the DIA agent ordered to spy on Henry in his supposed retirement. Danny holds her own against anyone. Mary displays amazing Brazilian Jujitsu skills. Her eyes hint that she's way ahead of the game. Hence, she aligns herself with Henry. Predictably, she's also Henry's possible romantic interest.

As Henry, Junior and Mary ride together in a truck, Henry confesses his life's regrets. Henry sacrificed falling in love, having a wife, having a family, because of the job. Although, Junior was designed as the perfect assassin, he ultimately has a choice. Henry tells his younger self, "Everyone deserves a second chance." Amen.

Really, "Gemini Man" works, because of Will's authentic humanity. Yeah, Will is mature power and genuine swag. Yet, his vulnerability, his wisdom of being older resonate. We all deserve a second chance to be our greater than versions of ourselves. Just saying. Rather, I believe that's what "Gemini Man" is saying. "Gemini Man" isn't perfect. Yet, "Gemini Man" is something special.

Director David Leitch's "Fast & Furious Presents: Hobbs and Shaw" stars Dwayne Johnson (The Rock) as Agent Luke Hobbs and Jason Statham as 'reformed' bad guy Deckard Shaw from the "Fast & Furious" franchise. Hence, the expansive convoluted title. "Hobbs and Shaw" is a lot of fun, and miraculously stupid.

In Writers Chris Morgan and Drew Pearce's nearly incomprehensible story: MI-6 Operative Hattie Shaw, played by Vanessa Kirby, retrieves the deadly CT-17 virus on her mission. Powerful cyborg Brixton, played by Idris Elba, thwarts the operation seeking to obtain the virus, too. To keep the virus from Brixton, Hattie injects the CT-17 capsule into herself. Yeah, really.

Brixton, who rides this high-tech motorcycle, is super strong, bullet proof, and skilled in martial arts. Eteon Corporation created Brixton, who shares a past with Shaw. Basically, he's invincible. Yet somehow, Hattie uses her smarts to leverage her escape.

Eteon's cloaked Leader wants to create a new world order, by first erasing the 'weaker' elements of the human race.

Now it's up to Hobbs and Shaw to work together to retrieve the virus, before it goes active, and again save the world. As Dwayne's Hobbs reminds Jason's Shaw, "... which for the record, will be my fourth time."

Turns out: Hattie (Vanessa) is Shaw's little sister. Consequently, Hobbs finds the smart, beautiful, strong, kick ass Hattie attractive. According to Shaw, Hobbs ain't getting with his little Sis. No way. Chris and Drew's obvious narrative tension is hilarious.

The sheer upside of "Hobbs and Shaw" is its amazing cast. I love The Rock: He's awesome. Dude is handsome, ripped, funny, and raises an eye brow better than Mr. Spock. Well, almost. Jason Statham is a Baaaaad Man. In one scene Jason fights 4 dudes in close quarters. He gets hit from different angles, yet he's just thrashing the hell out of those guys with punches, kicks and joint locks. Vanessa Kirby, who also starred in "Mission: Impossible - Fallout", is the total bad ass as Hattie. She displays solid martial arts skills. Ironically, that propels the narrative when her Hattie battles Hobbs. Hobs distinguishes that she fought to escape, not to kill. Vanessa also has an ironic sense of humor. Idris Elba commands absolute cool as villainous, mostly machine Brixton. As he says, "I'm Black Superman".

Director David Leitch also directed "John Wick" (uncredited co-director), "Atomic Blonde", and "Deadpool 2". His art is electrifying cinematic action. In "Hobbs and Shaw" he gets to work with Jason Statham, who I think is an elite martial artist, and the absolute best in the movie game today. Their collaboration is often breathtaking.

Dwayne and Jason have palpable natural screen chemistry. No small feat given their individual undeniable charisma. Their trash talk is hysterical. Hobbs says of Shaw's voice: It's like dragging his privates "over shattered glass..." Well, Hobbs actually used another word for privates, among other things. Just saying.

The miraculously stupid occurs near the end, with the fight with Samoan tribal weapons, and the tow truck and helicopter. WTF? It's in the movie trailer, too.

That being all said, "Hobbs and Shaw" is very cool. The poignant recurring theme of the "Fast & Furious" movies is family. We always love, protect, and forgive our own.

So basically, see "Hobbs and Shaw". The Rock and Jason Statham are movie star swag. It's set up for "Hobbs and Shaw 2". And I would see that one, too. Just saying.

In Writer and Director Lulu Wang's "The Farewell", 31 year-old financially strapped, aspiring writer Billi, played by Awkwafina discovers that her Nai Nai (Grandma in Chinese), played by Shuzhen Zhao, is dying of Stage 4 lung cancer. However, her Family doesn't tell Nai Nai that she's sick, that she's dying.

Her Dad Haiyan, played by compassionate Tzi Ma, and his older brother Haibin, played by gentle Yongbo Jiang, construct their narrative: The family would return to Changchun, China for the wedding of Haibin's son Hao Hao, played by Han Chen, and his Japanese bride Aiko, Aoi Mizuhara. They will all say their "Goodbye" to Nai Nai, then. 25 years ago, Haiyan's family immigrated to New York. While Haibin's family immigrated to Japan.

In Chinese tradition, a person is part of the whole, of family. Consequently, Chinese culture deems it far kinder not to tell family members that they are gravely ill, that they are going to die. So that they may live out the rest of their lives in peace. At least that's the noble intention.

Yet for Billi, controlling the narrative occurs far more than unkind: It's just wrong. During Nai Nai's emergency medical visit, Billi outs the narrative speaking in English to Dr. Song, played by charming Jim Liu, "It's a lie." He replies, "It's a good lie." Not understanding English, Nai Nai then inquires if young handsome Dr. Song is single. Because, her favorite granddaughter Billi is still unmarried. Yeah.

That's the ironic beauty and poignancy of Writer- Director Lulu's "The Farewell". It's based on the lie she lived in her own life. So watching "The Farewell" is like watching life unfold. Will the "good lie" set you free?

Awkwafina is the revelation. Her Billi loves her Nai Nai, so. She remembers fondly catching dragonflies with her as a child. Back in New York, she calls Nai Nai daily, just to talk. Billi is the former piano prodigy, now aspiring writer applying for the prestigious Guggenheim Fellowship. Billi acutely discerns people. Awkwafina possesses the wondrous gift of letting us know what's going on inside in her glance, in her silence. She's amazing.

Shuzhen as Nai Nai is total authenticity. She's a genuine character whether she's commenting about Hao Hao and Aiko's possible lack of sex life or teaching Billi morning Tai Chi, "Ha. Ha." She's so full of life and joy.

Awkwafina and Shuzhen's screen partnership in "The Farewell" is truly something special to behold. Billi's own family apparently has suffered in their trials and tribulations. Haiyan is a good man, a recovering alcoholic. Her Mom Jian, played by subtly strong Diana Lim, seemingly had to prove herself to Nai Nai. Jian warns her Billi that she must participate in the "lie" on their visit to Changchun. This is tough for Billi, who wears her emotion on her sleeve, especially when it comes to Nai Nai.

Paradoxically, Lulu freely invents her narrative about unconditional love, about family. As Awkwafina both laughs and cries, I got it: Nai Nai was really the only one who truly gets her Billi, who she is. Billi could be her authentic self with her. Nai Nai always loved Billi, always had her back. In the touching confession, Nai Nai tells Billi, "It's not what you do, it's how you do it..." She's so proud of her granddaughter. She always sees the greater than within her.

I was in tears in the final scenes of "The Farewell", but not for what you might surmise. Life is in the surprise, the unexpected. Yes, cultures may occur as different or foreign, yet humanity is essentially the same. Lulu Wang, Awkwafina, and Shuzhen tell their very personal story of family, of love that touched my heart. "The Farewell" is my favorite movie of the year.

In the midst of his high school trip, Peter Parker aka Spider-Man, played by Tom Holland, and Quentin Beck aka Superhero Mysterio, played by Jake Gyllenhaal, sit together on a bridge in Venice, Italy. Peter says, "I didn't want to save the world this summer..." He just want to tell pretty MJ, played by cool smart Zendaya, that he likes her. Hoping she might like him back, too.

Sure, Peter is the Superhero with 'Peter tingle', great strength and agility. Robert Downey Jr.'s late Tony Stark even made Peter an Avenger. At 17 years-old, Peter fearlessly risks his life as Spider-Man battling the gargantuan 'Elemental' Water Monster. Yet, he fears more telling the cool girl, "You know, I really like you..." Makes a lot of sense.

That's the distinct deft charm of Director Jon Watt's "Spider-Man: Far from Home". Jon also directed the previous "Spider-Man: Homecoming". He has a genuine feel for teen angst and bravado. Tom Holland returns as the screen's most authentic Spider-Man. As Peter, Tom uniquely balances innocence, doubt and courage on the tipping point of boy and manhood. Tom is the dork when Peter clumsily tells MJ, "You look pretty." His eyes well in tears, getting that he might have disappointed his 'surrogate' Father Tony Stark (Robert).

The story and screenplay by Chris McKenna and Erik Sommers succeeds the events in "Avengers: Endgame", where Tony's Iron Man died defeating powerful galactic villain Thanos. Thanos had wiped out half of all life in the universe with his 'Infinity Gaunlet'. Those affected disintegrated from existence. When Tony defeated Thanos, those banished returned back "to life". However, 5 years had passed. So those returning were the same age as when they left. Those who had remained on Earth were now 5 years older. That event is called "The Blip".

Peter experienced "The Blip". Apparently, so did his Aunt May, strong beautiful Marisa Tomei, and MJ. Returning back to Planet Earth, Peter reunites with best bud nerdy Ned, played by spritely funny Jacob Batalon. Both prepare for their school European trip with MJ. Peter plans to tell MJ: He likes her. Peter faces romantic competition from handsome "ripped" Brad, too cool for school Remy Hii, who was 13 years-old before "The Blip".

Challenging his resilience, Peter discovers that Aunt May might be in love with Tony Stark's driver best friend Happy Hogan, comically irreverent Jon Favreau. WTF? S.H.I.EL.D.'s Nick Fury, no nonsense charismatic Samuel L. Jackson, wants Peter for his ops mission in Europe as an Avenger. In doing so, Peter meets Jake's Mysterio.

Nick bestows upon Peter a gift from his mentor Tony: EDITH - Stark's multi-billion dollar weapons, communication, database system encased in eye glasses. In hysterical experiment, Peter averts a nuclear targeted strike, when he doesn't use his powers for good, albeit hormonal. Jon and his Writers have a wicked sense of humor and eloquent coherence.

With EDITH, Tony leaves Peter a note from Shakespeare's "Henry IV": "Uneasy lies the head that wears the crown." "It's not from 'Star Wars'." Possessing great power is the responsibility, perhaps even a curse. That resonates with Peter. That resonates with us, as well. Is Peter enough to be the next "Iron Man", to be the next Hero? Perhaps, Peter fears becoming greater than he knows himself to be. That's so very human.

Writers Chris and Erik invent the narrative where all is not what it seems. Thematically, it reflects Mysterio's 'power of illusion'. Jake is brilliant in his presence. As Mysterio, he's the heroic paradox. He displays compassion and a disarming singularity. Jake's innate chemistry with Tom is one of the movie's distinct strengths.

Jon Watts creates breathtaking visuals as Mysterio and Spider-Man fight to stop the Water Monster in the canals of Venice. He awes as Spider-Man entangles holographic drones with his web. That being said, I was most captivated by Peter and MJ. Theirs is a profound sweetness. As MJ, Zendaya confesses that she's purposefully unkind, fearing anyone getting too close. Yet, from her heart MJ touchingly tells Peter, "I've been watching you..." We get it. Maybe, liking the girl is as important as saving the world. Just saying.

"Spider-Man: Far from Home" is occasional predictable misdirects, dazzling action, and needlessly convoluted. Still, what makes us cheer is the big heart and profound kindness. Maybe for the Hero, falling in love is just as important as saving the world. That's something we can relate to. "Spider-Man: Far from Home" is definitely worth seeing.

In Pixar's beloved narrative mythology of the "Toy Story" movies, the toys come to life and speak, only when no one including children is present. Screen writers Andrew Stanton and Stephany Folsom, and story writers John Lassiter, Andrew, and Director Josh Cooley bring Disney's animated "Toy Story 4" to life once more.

Tom Hanks voices stalwart Cowboy doll Woody, who 'raised' grown up Andy. Tim Allen voices bold spaceman toy Buzz Lightyear, the reluctant best friend to Woody. Woody now belongs to kindergartner Bonnie, voiced by innocent Madeline McGraw. Apparently, Woody has been replaced by self-constructed Forky, voiced by youthfully naïve Tony Hale. By the way, Forky is the spork (hybrid spoon and fork) rescued from the trash.

Wide-eyed Woody regretfully confesses to doll Little Bo Beep, played by spirited Annie Potts, about losing Andy and now Bonnie, "I don't have anything else..." Andy loved Woody, then eventually moved on to college. Bonnie loved Woody. Now she's moving on to school, with Forky.

Recall Taylor Hackford's "An Officer and a Gentlemen", where Louis Gossett's Sgt. Foley coerces Richard Gere's Zack Mayo to quit the officers' training program. Zack tearfully yells, "I got no where else to go... I got nothing else."

Director Josh's "Toy Story 4" is Woody's transformational reckoning, albeit for a toy. Yet, the narrative wonderfully underlies the unique duplicity of "Toy Story". Children love their favorite toys with all their hearts. In a sense, the toys care for them. In "Toy Story 4" Woody loves Andy and Bonnie back. Life moves on. Eventually, children shall move on to their next love, be it another toy or new friends.

In one sense, the toys - Woody and Buzz are much like parents on the journey as their children transform into adults. I'm not a parent, yet I see that as our affinity to "Toy Story 4". What happens when your love is replaced? Rather, what happens when the ones you love so dear move on? Maybe, we too continue to find our next love?

In "Toy Story 4" Woody, Buzz, and the rest of the Toy Band are back together, now with little girl Bonnie. The first 20 minutes occurred as nearly perfunctory storytelling with Bonnie and her Mom and Dad voiced by, solid Lori Alan and Jay Hernandez, taking a family road trip. No doubt, high jinx awaits. Yet, what unfolds is far from predictable, perhaps even poignant.

Woody reunites with Bo Peep (who goes by Bo). Woody has always been in love with Bo. They separated 9 years ago, when Woody chose to stay back to look after Andy. Subsequently, Bo became a "lost toy" - the childless toy.

In the disturbingly bizarre narrative reveal, the broken doll Gabby Gabby, voiced by brazenly vulnerable Christina Hendricks, generates surprising gravitas. Her 'voice box' unlike pull string Woody, no longer works. Gabby Gabby resides in an antique toy shop, accompanied by her eerie ventriloquist doll squad. These dolls are extremely creepy. Nearly distracting. Really.

Yet, on the upside we observe Gabby Gabby's incomplete toy life. Christina brilliantly nuances Gabby such that we get a sense of what she wants most: To be loved. That's the human eloquence of "Toy Story 4": We all deserve to be loved.

The Pixar crew's animation in "Toy Story 4" astounds from the emergence of Forky or the Toys tampering with the accelerator pedals on the speeding family rental van. Comic relief arises in the carnival stuffed animals, Ducky and Bunny voiced by hysterical Keegan-Micael Key and Jordan Peele. Renaissance movie icon Keanu practically highjacks every scene he's in as Evel Knievel-lite stunt biker toy Duke Caboom. No one commands "Whoa." - like Keanu.

In the end "Toy Story 4" touches our hearts, because of the history and partnership of Tom Hanks and Tim Allen. Everyone deserves to be loved, even a toy. When Buzz says to Woody, "She'll be okay..." We get it. We do, because we love. I loved "Toy Story 4". It's something very special.

In wistful eloquence, Director Dexter Fletcher captures Taron Egerton's Elton John composing his signature "Your Song" donned in bathrobe, playing the piano in his Mother's living room. Elton's dear friend lyricist Bernie Taupin, played by Jamie Bell, listens in enchanted wonder. Glancing at Bernie, Elton sings: "My gift is my song and this one's for you..." Elton is gay. Bernie is straight. "Your Song" is my very favorite Elton John song, since I was a teen. It never occurred to me: Was that Elton's love song for Bernie?

Throughout much of his life, Elton experienced the "slings and arrows" of Rock Star fortune: illicit drugs, overdoses, and wanton gratuitous sex. In Director Dexter's musical bio fantasy "Rocketman", music icon Elton's tragedy may have sourced from the frightened lonely boy, who just wanted to be loved.

Dexter Fletcher took over as director for "Bohemian Rhapsody", the rock group Queen bio pic about the late legendary Freddie Mercury, when Director Bryan Singer was fired by the studio. Both Freddie and Elton are gay men, who suffered in inauthentic self-expression. In familiar "Rocketman" affinity, Dexter creates touching compassion amidst the absurdity of prejudice. Dexter wisely infuses the offbeat sense of humor.

Taron is courageous vulnerability and resilience as tortured Elton, born Reginald Dwight. Taron awes in his vocal renditions of Elton John classics like "Rocketman" and "Sorry Seems to Be the Hardest Word". As song lyricist partner Bernie, Jamie Bell embodies gentle wisdom and affection. He's Elton's only enduring friend. Bernie confesses to Elton, "I love you man. I really do. Just not like that."

Paradoxically, that 'incomplete' love evolves as fate. At the narrative arc, Elton tells his emotionally bankrupt Mother Sheila, played by haunting Bryce Dallan Howard, that he's homosexual. She says, "You will never be loved properly." That too, becomes Elton's sentence.

In the mural of fantastical sexual and musical narrative excess, Screenwriter Lee Hall poignantly constructs Elton's transformation as he begins to heal and love himself. Albeit clumsily, like the musical number emerging in Elton's dinner with his Mom and her boyfriend Fred, played by whimsical Tom Bennett. Yet, we still hold out hope that Elton discovers his measure of joy and peace.

In flashbacks, Elton grew up in a dysfunctional English family. His Dad Stanley, dispassionate and disinterested Steven Mackintosh, is rarely home because of his work. When he is home, he listens to jazz, but not to his son. Elton's Mom tolerates her loveless marriage. In the aftermath stands young Reggie, played by bright innocent Matthew Illesley. Also Dad had never hugged his own son.

Reggie is the gifted piano prodigy. He gets a musical scholarship to the Royal London Academy. His family spirals in demise. His parents divorce. Eventually, Reggie forms a band and tours with a Black Rhythm and Blues band, which reveals his soulful music roots. Furthering his music career, Reggie changes his name to Elton John. In apparent divine intervention Elton, the brilliant composer, who can't write a lyric, hooks up with lyricist Bernie Taupin. Elton and Bernie would emerge as one of the greatest songwriting duos of the 20th century.

Alas, the downside of fame and fortune. Duplicitous John Reid, played with mercenary charm by Richard Madden, seduces innocent Elton. John insinuates his way into his life as Elton's business manager. Elton and Bernie continue to create prolific songs, as Elton succumbs into the abyss of addiction and depression with his eyes wide open.

In an interview years ago, Elton said when he first started working with Bernie, he thought the words were superfluous. What mattered was the melody. That's what determined a great song. Years later, he got that words defined the song. Words resonated with the soul. Music and lyrics were like Yin and Yang for a song.

Perhaps, the narrative failing of "Rocketman" is its resolution. We know that Elton John in real life emerged from the darkness. He's in love, has a family. Recently, he announced his retirement from touring. Amen, good for Elton. The ending needed its own "Goodbye Yellow Brick Road".

That being said, I got "Rocketman" in the bigger picture. Much like Elton may have written "Your Song" for Bernie. Perhaps, Bernie wrote the song "Rocketman" for Elton. He wrote: "I'm not the man you think I am at home... Rocket man burning out his fuse up here alone." Elton was all alone. He just wanted to be gotten, to be loved. In that way, we can see a little of "Rocketman" in all of us, too.

First-time Director Olivia Wilde's "Booksmart" is hysterical raunch, yet profoundly sweet. In the acutely aware screenplay by Susanna Fogel, Emily Halpen, Sarah Haskins, and Katie Silberman, Olivia wistfully helms the coming of age tale of high school seniors Amy and Molly, wonderfully personified by Kaitlyn Dever and Beanie Feldstein. BFFs Amy and Molly, are brilliant 18 year-olds embracing their inner and outer nerd. When Amy picks up Molly for school in her parents' old model Volvo, the two breakout into their campy bad hip-hop dance routine. Kaitlyn and Beanie have the unique loving chemistry that constructs "Booksmart".

In their focused studies, sacrificing any semblance of social life, Amy and Molly attain their cherished goals. Molly is going to Yale. Amy got accepted to Columbia University- she'll spend the summer helping making tampons for underprivileged women and girls in Batswana. Yep, that's Amy. The social conscious duo's Heroes include Michelle Obama and Malala.

In 10th grade Amy came out as gay. Straight Molly leverages this. Molly hilariously tortures Amy's parents Charmaine and Doug, funny clueless Will Forte and Lisa Kudrows. When Amy says she's "going to the library with Molly", she's really going to the library with Molly.

About her possible college sex-life, Amy reminds Molly, "Dude, scissoring is not a thing." Too funny. This too, defines the funny sweetness of their partnership. Amy is in love with iconoclast skateboard girl Ryan, played by charmingly flite Victoria Ruesga. Soon-to-be former Class President Molly is mad crushing on her Vice-President Nick, played by smooth handsome Mason Goodling. Yes, our girls value other things besides books.

One insightful narrative of "Booksmart" is stereotype. Amy is the unconsciously pretty savant, who follows Molly's every wish, refusing to make waves. Kaitlyn is authentic gentle quirk and vulnerability. She's the 'straight-man' to Molly's comic diva. Kaitlyn is going to be a Star. Beanie's Molly is the almost plus-sized Ivy League genius, who has forsaken popularity to proving that she's better than everyone else. Her wit is her weapon. Therein lies karma.

Molly confronts the cruel gossip about herself in the girls' restroom, "Everything, but her personality..." Yeah, Molly is going to Yale. So is Triple A, played by haute Molly Gordon, who scored 1560 on her SATs (1600 is perfect). Her tag refers to her reputation for rendering dudes "roadside assistance". At least that's what 'others' are saying. Compounding Molly's chagrin: Stoner Tanner, played by Nico Hiraga, is going to Stanford on soccer scholarship, and slacker Theo, played by Eduardo Franco, is starting at Google with salary in the mid-six figures. They all didn't take school nearly as seriously as Molly and Amy. Molly is totally: WTF?

So Molly enrolls Amy into one all-night party binge before Graduation. They'll crash Nick's Party. However, Amy and Molly don't roll with the "cool kids". They have no idea where the party is. Amy wants to make a move for Ryan. Molly wants a hook up with Nick. Here Director Olivia and Writers kind of go derivative "The Hangover", yet in a good way. Olivia wisely sails raunchy seas with surprising heart.

There's the signature loser party detour with Molly's rich wannabe popular dude Jared, played by funny geeky Skyer Gisondo, and his overtly platonic companion Gigi, played by amazing Billie Lourd. Not surprisingly, nerds and drugs don't mix- well. Using their hair as facial masks, Amy and Molly attempt to hijack the pizza delivery guy, who warns them not expose their phone password.

Watching the suffering heartbreak in Amy's face emerging from the pool, I got it. Amy like all of us, just wanted to be loved, to fall madly in love. Kaitlyn's Amy also wanted the same for her BFF Molly. At times Amy and Molly argue vehemently, that's because they want the other to be happy. When Molly confesses to Amy that she had to "shove down" her feeling for Nick, possibly because of how she may occur, Amy says, "You don't have to shove anything down!" That's love. That's seeing the other as greater than, when they don't see it. That's what makes "Booksmart" something special.

There are an awful lot of labels out there. Nerd. Jock. Princess. Smart. Beautiful. Not Pretty. Stereotypes and labels are just part of our deal. In Olivia Wilde's "Booksmart", really we're the ones who get to define who we are. Along with Olivia, Kaitlyn, and Beanie: We're just saying.

Suffering, yet resilient Keanu Reeves returns in "John Wick: Chapter 3 - Parabellum" as retired assassin John Wick forced back into "the game" wreaking visually stunning havoc upon those, who seek the $14 million bounty on his body. Good luck. Rather, our condolences.

In the astounding fight scene early on, Keanu's John takes on several assassins in the most electrifying screen knife fights ever. Keanu trained for months for "Chapter 3". He's an accomplished martial artist. Director Chad Stahelski brilliantly orchestrates this mixed and classic martial arts mash up.

John and his deadly adversaries stab and hurl knives at each other, in close. John sweetly executes the classic Aikido wrist lock, "kotegaeshi", and hip throw, "koshinage", in flowing succession. The fight has spectacular elements of kali knife fighting, Brazilian Jujitsu, Muay Thai kickboxing, and other martial arts I don't know. At one point John hurls knives at his assailants like in carnival attraction booth. WTF, in an awesome sort of way.

I thought "John Wick: Chapter 2" was the best action movie of the last 10 years. Director Chad's "John Wick: Chapter 3" is greater. In the movie trailers: John takes on motorcycle Ninjas with guns and katanas. In "Chapter 3 - Parabellum" way more is greater. Parabellum literally means "prepare for war". "John Wick 3" is the breathtaking non-stop action thrill ride. Granted screenwriters Derek Kolstad, Shay Hatten, Chris Collins, and Marc Abrams's story is lean on words, yet their muscular narrative amazingly compels.

In Casablanca (yes, really), John reunites with the formidable woman from his past Sofia, played by beautiful badass Halle Berry, who owes her "blood marker" to John. She reminds, "Consequences." He too acknowledges, "Consequences." Yeah, John's vengeance is not just about bad guys killing his dog, the gift from his late wife Ellen, the love of his life.

"Chapter 3" resumes where "Chapter 2" left off. John killed Santino, the man who called upon John's own "blood marker" and betrayed him to gain a seat at the criminal cartel High Table. John's dear friend Winston, played by weary wise Ian McShane, Manager of the Hotel Continental - the cultural sanctuary for assassins, had warned Santino that John would kill him. Because "He came back for love." He came back for Ellen. Killing Santino, Winston declares John excommunicado - banished from the Kingdom, along with the $14 million price tag on his head. Winston grants John an hour grace period before 'it's on'.

In the aftermath, Winston experiences the measured wrath of the Adjudicator, played with malevolent cool by Asia Kale Dillon, representing the High Table. She wants John dead and wants Winston out for breaking the rules, letting John escape. The Adjudicator also seeks to exact her 'pound of flesh' from New York gang leader, the Brewery King, played by hilariously ostentatious Laurence Fishburne. The Adjudicator hires elite ninja Zero, whimsically played by world-class martial artist Mark Dacascos.

Mark is the invaluable upgrade from "Chapter 2". With all due respect to Ruby Rose's mute assassin, Mark's Zero is the imposing physical threat to John, as he thrashes John with series of spinning back kicks. Yet, "John Wick 3" retains a wicked sense of humor. Zero is fanboy of the "Boogie Man" John Wick. He confesses to John, "You do not disappoint." I laughed out loud at a couple fanboy jokes near the end.

Amidst the wry whimsy and bloody cinematic mosaic, "Parabellum" reveals a sense of gravitas, at least for me. In the Moroccan desert John finds his mentor The Elder, played by enigmatic Said Taghmaoul. We clue into what John really wants. Oh, yeah it's not about the dead puppy. In the surprising poignant narrative arc, Winston asks, "Who do you want to die as, Jonathan?" Maybe, deep down it's about love: The love lost, but not forgotten.

Keanu Reeves is John Wick. I mean that in the best way. Keanu checks his emotions just beneath the surface. His John has suffered tremendously, yet fights with all his heart. Keanu's willingness to endure is endearing and honorable. He creates John as the tragic Hero we cheer for, to find peace, maybe even fall in love again.

Keanu's John is much like us, albeit sans the assassin acumen. We all know suffering. We all deserve our own measure of peace. This is not a spoiler: I look forward to seeing Keanu in "Chapter 4", because of that. In the meantime, "John Wick: Chapter 3 - Parabellum" is one my very favorite movies of the year. Just saying.

Brilliantly hysterical Charlize Theron's Secretary of State Charlotte Field crouches in the basement under terrorist siege with her speech writer Fred Flarsky, who's been in love with her since he was 12 years-old. Charlotte instructs Fred in the Navy SEALS calming technique: taking deep breaths in 4 seconds intervals. Charlotte counts, "One. Two. Three. Four." Fred follows her lead. It works. So does Director Jonathan Levine's "Long Shot" as a whole.

At times, Dan Sterling and Liz Hannah's screenplay is politically clichéd and 'in your face' raunch. "Long Shot" is about the compromises we tolerate, where we sell out, and ultimately when we take a stand. That made me laugh out loud, and touched my heart.

Charlize plays Secretary of State Charlotte Fields, the strikingly beautiful and smart protégé of hilariously irrelevant President Chambers, played by Bob Odenkirk. The President, the former TV Actor, informs Charlotte that he will not seek a second Presidential term, so that he can pursue his movie acting career. WTF? According to Dan and Liz's narrative only two TV actors have ever made that transition: George Clooney and Woody Harrelson. "Not Jennifer Aniston." Too funny.

Clearly, the Secretary of State persona is a loose homage to Hilary Clinton. Very loose. Charlotte is about to embark on her global trip to enroll countries in her environmental treaty, what she dreamed of back when she was 16 years-old. The President will endorse Charlotte in her run for the White House. Yeah.

Image consultant Katherine played by goofy wit Lisa Kudrow tells Charlotte and her Campaign Manager Maggie, played by hilariously duplicitous June Diane Raphael, that Charlotte polls over 90% in all appeal metrics, except relatability. Even her lame hand wave needs a makeover. Charlotte actually reads synopses for "Game of Thrones" instead of actually watching episodes. OMG. So Charlotte needs a speech writer to humanize her persona, i.e. loosen her up.

Seth Rogen plays Fred, the slovenly tapered cargo pants wearing renegade journalist for the "Brooklyn Advocate". However, when the "Advocate" is bought out by billionaire Parker Wembly, played by unrecognizable Andy Serkis with Rupert Murdock caricature zeal, Fred quits.

Fred calls his best buddy Lance, played by funny charismatic O'Shea Jackson Jr., who owns his thriving business in DC. Lance gives his company the day off so he can party with Fred. Lance brings Fred along to a political fundraiser featuring his favorite group Boyz II Men, unfortunately sans Bobby Brown. Dancing to their favorite 90's band, Fred and Charlotte recognize each other.

When Charlotte was 16 years-old she was 13 year-old Fred's babysitter. He had a mad crush on pretty Charlotte. 13 year-old Fred suffered the nearly devastating hormonal mishap. Yet, young Charlotte was kind to him. That's something that Lance wisely reminds Fred of in his recall. In a ridiculous confrontation, Charlotte discovers that Fred is a journalist.

On the ride back home, introspective Charlotte tells Maggie that she was Fred's babysitter. Fred was this brilliant, kind, funny kid. "He had a chip on his shoulder."

In Director Jonathan's narrative, Charlotte hires Fred as her speech writer. Yeah, this is romantic comedy. Predictably Charlotte and Fred fall for each other, as unlikely as it seems. In a quiet moment Fred asks Charlotte about her love life. According to media tabloids she's dating Canadian Prime Minister James Steward, played by handsome aplomb Alexander Skarsgard delivering the most insane accent. That's all show. She smiles, "Guys don't want to date a woman more powerful than them. It's a real d**k shriveler." Amen.

Amidst the formulaic trials and chaotic tribulations, Charlize and Seth share genuine kindness for each other as Charlotte and Fred. There's the subdued prejudice for the beautiful woman falling for the 'not so hot' dude that Writers Dan and Hannah illustrate. Of course with all due respect to Seth. Still, this lands.

In "Long Shot" what's in your heart really matters. Watching the glorious aurora in the night Stockholm sky, Fred tears up. Charlotte looks at Fred, "Are you crying?" Even with all his bluster and tantrums, Fred has a good heart. Seth Rogen is so vulnerable and authentically funny. Charlize is the comedic surprise. She never tries to be funny. She just is. Charlize radiates Charlotte's sublime sadness and compassionate soul. Confessing to Fred, "I'm so afraid..." touches your heart.

Charlotte and Fred slow dance to her favorite teen song "It Must Have Been Love" by '90s band Roxette. They don't say a word. We get it. In "Long Shot": It must have been love. That's what keeps you watching. Just saying.

Robert Downey Jr.'s gaunt Tony Stark records his message to his beloved Pepper Potts, played by Gwyneth Paltrow, aboard the disabled spaceship last seen in "Avengers: Infinity War", "Part of the journey is the end..." After 11 years of Marvel movies, Directors Anthony Russo and Joe Russo's "Avengers: Endgame" signifies the end of the journey with laughter and surprising poignancy. At one point holdout Avengers leader Natasha (former assassin Black Widow), played by beautiful soulful Scarlett Johansson, refers to the Avengers as "family". That resonates for us, too. For the last 11 years these screen Heroes have become family. We care what becomes of them. Do they find peace? Do they discover love?

"Endgame" screenwriters Christopher Markus and Stephen McFeely patiently crescendo to the showdown with seemingly omnipotent galactic villain Thanos, motion captured by malevolently measured Josh Brolin, whom defeated the Avengers, by wiping out half of all life in the universe using the Infinity Gauntlet possessing all 6 Infinity Stones. The climactic battle is visually astounding, and oh so costly. Yet, what inspires most about "Endgame" is family and heart.

Most of "Endgame" takes place 5 years after Titan's Warrior Thanos decimated half the population of the universe, including about half of the Avengers. Here less is actually more. Where as in "Avengers: Infinity War", way too many Superheroes resulted in the kluged narrative, focusing on the surviving Heroes: Chris Evans's Captain America (Steve Rogers), Robert's Iron Man, and Chris Hemsworth's Thor, displaced God of Thunder, empowers the story. Brie Larson's all-powerful Captain Marvel charismatically emerges as the new Avenger. Too bad the Russo's couldn't leverage more for Brie. Then again, that might have been narrative saturation.

Where "Infinity War" was so dour and so self-absorbed, "Endgame" has a wicked sense of humor. Mark Ruffalo's glasses wearing civilized green giant Hulk taking selfies with adoring teen fans is hysterical. Critical to restoring their fallen Heroes in Thanos's aftermath, the surviving Avengers utilize time travel in hopes of preventing Thanos from possessing all Infinity Stones. In the hilarious expository exchange regarding the effects of changing past and future events: "This is not 'Back to the Future'." No, it's not. And I busted out laughing.

The human narrative touches in "Endgame". The distinct strength of the Marvel Universe Movies are its Actors. Travelling back to 1970, Robert's Tony Stark meets his estranged Father Howard, the genius engineer, played by earnest John Slattery. Howard has no idea that he's talking to his future son, because his wife is about to give birth. Robert's authentic compassion moves. Tony hugs Howard, who expressed doubt about being a good Father, saying, "It'll work out." Then you realize that was the only time the two had ever hugged. On that same trip back, Chris Evans's Steve wistfully gazes at Peggy Carter, played by captivating Hayley Atwell. Peggy is the forsaken love of Cap's life.

Chris Hemsworth's Thor travels back to the Norse legendary Asgard to retrieve an Infinity Stone. He encounters his mortal Mother Frigga, the powerful sorceress played by beautiful strong Rene Russo, on the day she's to die. In a subdued joke, rotund Thor has seen better days, since failing to dispatch Thanos in "Infinity War". His loving Mom tells her son that she knows that he's suffered. Looking into his eyes Frigga says, "The measure of the Hero is being true to yourself." Amen.

Really, "Endgame" is awesome, because of heart. In that Karen Gillan is understated power as the mostly machine Nebula, daughter of Thanos. Her Father had contested her against sister Gamora, played by brilliantly strong Zoe Saldana, for his love. Tortured and devalued Nebula, becomes ravaged with vengeance upon her Father. Yet, Karen makes us believe that Nebula's soul is worth salvation.

Yeah, at 3 hours and 1 minutes "Endgame" is the restroom challenge. I kid, well sort of. Despite all that, I loved "Avengers: Endgame". It's the poignant, whimsical end of the journey. At least for me, the Avengers are my fictional Hero family. Like the characters on the wide screen, we all experience suffering, profound loss, joy, and triumph. In life, like Chris's Cap says, "Take your baby steps... Move forward." I for one shall remember the Avengers in my heart.

In Director Neil Marshall's spirited action fantasy "Hellboy", adoptive Father Professor Broom, played with whimsical gravitas by Ian McShane tells his Son, "I wanted you to be the best you..." David Harbour's Hellboy, the hulking prosthetically horned, red skinned beast, acknowledges his Father's love in tears. No spoilers here. After all, Dad is human. Hellboy, well he's some other distinction.

The dramatic arc resonates genuine poignancy. Yet, seems so out of context, like much of "Hellboy". "Hellboy" often gets lost in the narrative abyss. Based on Mike Mignola's source material - Dark Horse Comic Book "Hellboy", Neil and Screenwriter Andrew Cosby reboot the beloved 2004 movie starring Ron Perlman as a narrative quandary. David Harbour embodies irreverent sense of humor and charisma in wonderful homage to Ron Perlman's Hero beast.

But like I told my buddy Ron, after we both watched the movie, "That was all over the place." Euphemistically, "Hellboy" is an unfocused mess. WTF? Too bad. Not just for us, but also for the cast. Beautiful commanding Milla Jovovich is beguiling evil as The Blood Queen, Nimue. Hers along with David's Hellboy inspire strong performances from feeble material.

In the prologue set in 1540 or so: Omniscient sorceress Nimue prepares to unleash her deadly plague on the world; thus, ending humankind forever. However, she's vanquished by stalwart King Arthur, played by Mark Stanley, and sorcerer Merlin, played by Brian Gleeson. To dissipate her immense power they literally chop Nimue into pieces, foreshadowing Neil's macabre resurrection visual, and bury her parts at the ends of the Earth.

Hellboy works for the Bureau for Paranormal Research and Defense (BPRD) fighting the "dark forces" like Giants. He's a superhero of sorts. He has great speed, strength, and fighting skills. He also possesses a huge mysterious metallic right hand.

Professor Broom and Hellboy work together at the BPRD. He virtually raised his son there. Returning from a mission, Broom gently grooms the horns on his son's brow. As corny as that looks, it's sublime. Regardless of blood, they're family. They love each other unconditionally. That is the singular saving grace of "Hellboy".

Eventually, conspiracy consumes. Predictably, the evil Nimue returns from wherever, and seeks revenge. Surprisingly, she seeks Hellboy as well. Although, handsome is not Hellboy's strong suit, Nimue is passionately drawn to the muscular red beast. Perhaps, it's his wry sense of humor? Maybe, it's Hellboy's lineage according to eerie villain Lady Huttom, who reprises Hellboy's origins and discovery by Professor Broom.

Meanwhile, to save the world from Nimue's apocalyptic intentions, Hellboy joins forces with Alice, played by young spirited Sasha Lane, and soldier Major Ben Daimio, played by calm strong Daniel Dae Kim. It's on!

The bond of Hellboy and Nimue make "Hellboy" watchable, which isn't saying all that much. David and Milla have engaging chemistry. They're both strong, resilient, and don't take themselves too seriously. On the other hand, "Hellboy" does. Rather at times Neil Marshall doesn't have a clue what kind of story he wants to tell.

The visual effects in "Hellboy" are spectacular. Gruesome images of shredded and exploding flesh populate the screen. Then there are whimsical visuals of the Nimue's limbs sown back together or some vicious Giant swatting Hellboy like an insect.

"Hellboy" occurs as a funny, bloody narrative mess. Not in a good way. Again, too bad for David Harbour and Milla Jovovich. Really, too bad for us.

In Writer and Director Jordan Peele's "Us", it's 1986: Little African American girl Adelaide, played by Madison Curry, encounters her doppelganger in the carnival tent on the Santa Cruz beach. Little Adelaide's eyes widen in terror.

Now 2019, on the family vacation car ride, Mom Adelaide Wilson, played by loving and beautiful Lupita Nyong'o, jokes with her children, daughter Zora, played by Shahadi Wright Joseph, and Halloween mask wearing son Jason, played by Evan Alex. Adelaide and her husband Gabe, played by solid Winston Duke, drive to meet up with friends Kitty, played by Elizabeth Moss, and Josh, played by Tim Heidecker, and their twin daughters for their Santa Cruz summer holiday. Yeah, that's Jordan's discreetly frightful foreshadowing.

Funny. Santa Cruz might be an homage to Joel Schumacher's 1987 "The Lost Boys". Although, "Us" is not about the indigenous vampire in Santa Cruz. Jordan's narrative is somewhat more sinister: Our "tethered" doppelgangers (personal doubles) possibly live in the millions of subterranean tunnels in the US. Or so we are made to believe according to Jordan's movie prefaced research.

Scary movies are really not my deal. Yet, my movie critic buddy Michael told me that "Us" is worth seeing. That was good enough for me.

The first 2 Acts of "Us" are amazing narrative and visually foreboding atmosphere from master storyteller Jordan Peele. Lupita brilliantly disguises Adelaide's unresolved childhood fear, safeguarding her children with all her being. Winston Gabe is comically at a loss in discerning his wife's seeming turmoil. Also Adelaide and Gabe's dynamic with Kitty and Josh occurs as the social status comparison game. Oh, well.

Then one night, the Wilson's receive uninvited guests at their rented beach home. They're also the family of four. Jason says, "It's us." They're the evil versions of Adelaide, Gabe, Zora and Jason. Or are they really 'the evil ones'? Terror and havoc ensue on screen.

Act 3 of "Us" is totally WTF? No worries. No spoilers here. At a certain point I didn't know what was going on. Jordan seduces with the bloody mayhem. Yet, there is something more subversive in his narrative, perhaps about our own human nature?

I didn't find "Us" as so much scary, rather it's entirely disturbing - in a good sort of way. Later, I confirmed with Michael about a storyline that might have been obvious, to others. For sure, other theories surrounding "Us" will emerge. Wait for it.

Amazingly, Jordan circles back his story to the movie's seemingly innocuous premise, and he fosters further discussion in his shocking conclusion. Lupita's compassionately humane performance as Adelaide anchors "Us"; keeping us watching; keeping us in Jordan's master guessing game.

I'd love to see "Us 2". I'm also guessing that's part of Jordan's master narrative. Just saying.

In Disney and Marvel Studios' "Captain Marvel", vulnerable Brie Larson as warrior Vers sheds tears speaking with someone from her human past, resilient Lashana Lynch as best friend Maria, "I don't know who I am!" Maria acknowledges Vers, who was "Aunt' to her daughter Monica, played by radiant Akira Akbar, "You were the most powerful person I know." Vers' humanity is the distinct power of "Captain Marvel".

Brie evokes commanding presence as the emergent Hero. Curious note: No one really calls her Captain Marvel. She looks so cool in her sleek blue and red suit dispatching intergalactic villains with astounding martial arts skills.

Yet, what resonates from Writer and Directors Anna Boden and Ryan Fleck's narrative are 13 year-old Carol Danvers at bat after being struck down by an errant pitch. Or soiled Air Force cadet Carol rising from the ground after falling from the swinging obstacle course rope. Character defines destiny. Amen.

Unlike by the numbers, loud big budget Superhero movies, independent filmmakers Anna and Ryan poignantly tell the human story of a woman's transformation. It's never about the number of times you fail or fall down. It's about the times you get back up.

In "Captain Marvel": the Hero arises. Having great strength, super speed or in Vers' case - photon blasts from her fists, can be significant. What makes her Hero, what makes her powerful is her belief in herself.

"Captain Marvel" is Marvel's first standalone female Superhero movie. One might say, "Well, it's about time." Well, Anna, Ryan and Geneva Robertson-Dworet's screenplay is the timely tale of the woman revealing her untapped power within. Brie's Vers bravely distinguishes who she is. She also invents who she can be. "Captain Marvel" is the surprising comic book narrative journey of self-discovery.

Hero isn't about wearing the shiny suit or gaining tremendous physical prowess. Brie Larson is authentically bold as she discovers the Hero within herself, the Hero that has always been there. She exudes a refreshing sense of humor in the often dour Superhero construct. Brie brilliantly leverages endearing screen chemistry with aloof, charismatic Samuel L. Jackson as young Nick Fury, before the eye patch and SHIELD. Their whimsical banter is the welcome distraction from the galactic Kree - Skrull War. "Captain Marvel" creators also generate relevancy in the refugee prejudice of the Alien Skrull.

"Captain Marvel" opens on the Kree home planet - Hala. Apparent Kree Vers (Brie) is member of the elite Warrior group, Starforce. Her mentor is intrepid, war-weary Yon-Rogg, played by dashing strong Jude Law. Paradoxically, he tells Vers, "I want you to be the best version of yourself." Vers is constantly haunted by images of a 'previous life'.

Starforce embarks on the mission to retrieve a spy from their dreaded enemy, the Skrulls. Vers is captured. Escaping further torture, she crash lands in a Blockbuster Video store on Earth, 1995. While awaiting for Yon-Rogg's rescue, Vers meets FBI Agent Nick Fury, played by Samuel L. Jackson - CGI enhanced to look 30 years younger. Fury's partner is Agent Coulson, played by equally CGI-ed, spirited Clarke Gregg. High-tech nostalgia at best.

Vers and Fury reluctantly join forces to unconceal the Skull conspiracy and to locate the legendary Tesseract power source. Meanwhile, Vers resurfaces memories of the ubiquitous Supreme Intelligence, Leader of the Kree, played by beautiful sublime Annette Benning. Seems Vers knew her in her past human life as fighter pilot Captain Carol Danvers. Does Supreme Intelligence hold the secret of Vers' enigmatic past or her infinite future? Or both?

At times, "Captain Marvel" tries too hard to cover all its bases: as classic superhero movie, sci-fi mythology or stunning action adventure. Yet, its narrative resonance lives in its Hero - Vers and awesome Brie Larson. Brie is so strong, so compassionate in her character's reckoning. She soulfully defines: The Hero's power lies in her heart, in her humanity. "Captain Marvel" is one of the best Marvel movies. It's just that great.