Reviews

If that expression, You Like It; It Like You, sounds vaguely familiar it's because it was the slogan printed on every bottle of the green soda pop bottle of the original national best selling lemon-lime beverage. Since IMDB is not an appropriate place for advertising, i shall not use its well known name.

I use that often forgotten expression in this review because this is a not a movie or documentary. It is a gathering of a few dozen musicians whose music has accompanied us through life. The Best of Times and The Worst of Times's musical tracks of your playlists, are valuable since the mindset and decision making train of thought processes are most difficult because there isn't a one size fits all.

The sequence are the pre-requisites that allowing you to yourself to feel "The Best of Times" happiness that some deny themselves from experiencing (for whatever reasons they choose or believe) Music that one associates with that time will offer a short-cut (or Cut to The Chase) and provide you the roadmap that worked well for you the last time. Conversely, "The Worst of Times" offers in addition to the roadmap but The Light at "The End of The Tunnel" that adds confidence which gives you strength to assist others.

The music was so satisfying, as was hearing Dick Clark who was at the top of his game. Fascinating to me was that Frankie Avalon, a top star in movies and record sales, displayed a rare gift of mastery of the saxophone.

Don't miss it if given the chance. You'll know more than half of the names. Now you have a face to match them. Additionally, you will have be heard 100% of some of their work during your lifetime. Look for Tom Scott, an indescribable young man whose resume shines brighter than some famous stars entire lifetime output. It takes a Village to accomplish raising a child. You get to meet the Village who raised these musicians to be the best of the best. It's refreshing to see artists whose primary objective is create art. Ego must be left at the door. Money is necessary to pay bills, feed your children (and yourself) and to keep the lights on. That taken care of and it's time to "Strike Up The Band!" The audience wants to see the show. What they don't realize is you too want to see and create it 10000 times more than them.

I began watching this and was sure that I was watching an actual student documentary. The opening credits read school something and the first scenes were that what you'd expect a school boys video would look like.

The director Marco Simone Puccioni was well versed in the subject matter and documentary making. (See trivia for more details)

Then we are introduced to Leone and his project partner Jacobo. The two are best friends and have chosen the Leone's circumstance of two fathers as their thesis.

Explained quickly and throughly Paola and Simone are lovers and after living together they decide they'd like a child. Italian law does permit two men to be a couple and therefore adoption is not available. But, as fate steps in with Paola former classmate Tilly (Jodhi May) willing to be the carrier. The sperm of both men are mixed, shaken and stirred into a cocktail.

Nine months later, "It's a Boy!" and the world welcomes Leone into the world and Paola and Simone welcome him into their lives. Tilly is known as the carrier, not the mother. In Italian "Dede" The story continues. Everybody in school thinks the boy with two fathers is gay. No big deal, except he's not. Why should he be gay, because his parents are?

Francesco Gheghi is realistic in his portrayal of Leone.

Very likable and easy to root for. He has a bright future ahead. "Il Filo Invisibile" its original Italian title is a quick paced One Hour forty-nine minutes.

It's a fun watch. Maybe an excellent rewatch, while making dinner or reading. The scenes are enjoyable and you don't need a great amount of processing power, giving my brain a needed breather. I think on additional viewings they'll be layers I missed.

An Alka Seltzer TV commercial in the early 70s had the classic line, "Try it. You'll Like It." I'd say that is apropos here.

(even more so, the protagonist in the TV commercial got a tummy ache. I assure you that won't be the case watching this)

Three Hundred Seventy-Five Pages and the job is to reduce it to One Hour Thirty-Seven Minutes on film and keep it honest and authentic. The original source material by author Benjamin Alite Sáenz is named TIME Magazine's "Best YA Book of All Time" (2021)" and selected as a "Printz Honor Book" who describes it as a "tender, honest exploration of identity." Publishers Weekly adds that "Aristotle and Dante Discover the Secrets of the Universe" distills lyrical truths about family and friendship. That's some undertaking by Aitch Alberto, who serves this film masterfully as its screenwriter, producer and director. The ability to pluck the essence of the book's major emotional beats speaks of a complete immersion into the characters created by Mr Sáenz's and who continue their journey in the follow up book "Aristotle and Dante Dive into the Waters of the World." The casting of Max Pelayo as Aristotle was brilliant, as was Reese Gonzalez as Dante.

Rarely does a movie come about that lingers with the viewer sufficiently so that they will be motivated to keep them alive in their hearts by reading the book. With the follow up book already available, that adds additional motivation to read them both.

With your imagination aided by Max and Reese's portrayal, it'll be easy going for even the most finicky readers.

There's bed a few similar entries like the film Red, White and Royal Blue and TV series like Young Royals and Heartstopper that deals in young adult first love. This movie tops them all in character development and likability. Done well, as it is done here is a treat to watch.

My 8 rating would be 8.5 if decimals were available. It misses a 9 by just a bit, maybe fifteen more minutes would have been helpful, as the story moves a bit too quickly in the middle.

In "Devotion," directed by J. D. Dillard, there is a remarkable blend of historical accuracy and cinematic storytelling that transcends mere entertainment. This winner of the 2022 "Narrative Feature" Audience Award at "The Middleburg Film Festival" invites us into the captivating, charming, creative, compelling, and charismatic world of Ensign Jesse Brown, the first African American aviator in the US Navy.

There's something tragic about the film's box office performance. A budget of $90,000,000 yielding just under $22 million worldwide suggests a disconnect between the audience and the movie's subject matter. Was its November 23 release date poorly chosen? Or did "Top Gun: Maverick" steal its thunder five months earlier? We can only speculate.

Jonathan Majors gives a performance that's more than superb; it's transformative. As Ensign Jesse Brown, he captures the essence of youth and potential. Supporting him is Christina Jackson, as Daisy, Jesse's wife, who brings warmth and authenticity to her role.

Other cast members, including Glen Powell as Jesse's wingman Tom Hudner, and Joe Jonas, Thomas Sadoski, Nick Hargrove, Spencer Neville, and Daren Kagasoff, contribute in varying degrees, but none eclipse Majors' star turn.

Now, to the backstory. It's not just about Jesse Brown, the naval aviator; it's about Jesse Brown, the human being. The struggle to overcome racial barriers in his quest to join the school's aviation department paints a picture of an America grappling with change. His enlistment, subsequent admission to the aviation program, and historic achievement in earning his pilot's wings in 1948 is a story that transcends time and race.

"Devotion" achieves more than mere storytelling; it illuminates the human condition through the lens of history. Dillard's direction is precise without being pedantic, emotional without being sentimental. The handsome crew's performances, the intricate plot, the historical context-all of these elements come together to form a coherent and deeply moving picture.

In the end, "Devotion" is a film about courage, perseverance, and the triumph of the human spirit. Though it may not have succeeded at the box office, it is a film that succeeds where it matters most: in the heart and mind of the viewer. Like the character of Jesse Brown, it rises above its circumstances to achieve something timeless and universal.

We need more films like "Devotion." It's a poignant reminder of the struggles of the past and an inspiring illustration of the human spirit's capacity to overcome. If only more people had seen it. Perhaps in the fullness of time, this film will find the audience it so richly deserves. It's not just a film; it's a testament to human resilience, an ode to the dreamers and the doers, and a salutation to one of America's unsung heroes. "Devotion" resonates deeply, and its echoes will linger long after the credits roll.

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. MILD SPOILERS BELOw The great chemistry between the two lead characters is the difference between this being an emotionally charged film experience or a film contrived by the use of the gimmick referenced to in the title, "A Dice with Five Sides."

Herman played by Jake Garvey arrives at the apartment of his online hookup Marcello (Alexander Ananasso), both wearing masks, as requested by the host. After some immediate physical intimacy, they begin to settle in to a nice social rhythm with one another.

It is at that time that Marcello introduces the die (two are dice; one is a die) and the game is afoot, as they set the rules. Roll a one (1) and tell a secret about yourself, each number with it's own action. Roll a three (3) and invite a third person, a six (6) equals sex.

It's the five (5) that is the trouble maker. Roll it and you leave the apartment (actually leave each other inasmuch as it's Marcello's place, Herman would leave no matter who rolled it) and that would be Game, Set, Match! Goodbye and good luck.

But a last minute reprise doesn't occur for the here and now, but it decided that one more roll would decide the amount of years between their next encounter.

Herman and Marcello are easy to root for, the make a nice looking couple as someone says. It's true they do.

One hour forty-one minutes moves along quickly, as it's production is more in line with a stage play than a motion picture.

Italian born Riccardo Tamburini is credited as the writer, director and producer. He does an above satisfactory job while juggling the three responsibilities.

You can and should read the many reviews and it'll give you a sense of this movie. Here's my takeaways.

First, I just wanted to know if the folks on the screen knew that they were being filmed. I'm not trying to be cute, but what I mean is this was a breathtaking experience of looking at real life, as it happened, to real people in real time. It doesn't get better than that.

I'm of an age where I've watched movies of three hours. Most were torturous. Some superb. Either of the two still felt like three hours. Except here! I was so captivated from the get go to the end and I could have kept on watching.

When it ended, I saw it was almost 4AM - Quickest three hours, I was so absorbed and can still feel for Joey and Cody and Chip, as if they were IRL Friends.

My topper most of the topper most rating is 9 and this deserves every bit it, actually a 9.9 if we used decimals.

This was that good. Surprised this wasn't recommended or suggested. I heard about in a French Reviewer's review on "Any Day Now" - Happy I translated it to English allowing me to find this hidden gem.

This was done extremely well.

Everything. The story, directing, acting, cinematography etc.

I don't give a nine rating often, if ever.

Maybe "The Godfather" is a 9.7 - This is an 8.7 - I rounded up

Tearful, heartfelt and emotional.

A must watch from any age or sexual preference. A human story that just moved me.

The subject matter of self-harm and attempted suicide is not for a young or immature audience.

-- I am a fan Nick Neon who portrays Andrew. Kyle Reaume is Dave. Reaume is also the director and deserving winner of The 2019 Future of Film Showcase Festival Prize for best screenplay.

The closeness and intimacy of the characters felt real and authentic.

As the two men get to know one another, their conversation is centered around their difficulties of the adolescence years.

For the majority of us, this is a pivotal stage of of getting to "Know Thyself.

It is the period of realization that we are all different, each one of us an individual with our own thoughts, talents and passions.

Our awareness of these differences is intensified as we go through the difficult adjustment of accepting our uniqueness.

We all deal with it somehow and hope we survive till we get to the other side of it.

This occurred after a Beatle answered a fan magazine's question as to what was their favorite candy. One of those jellybeans missed taking out George Harrison's eye by a very small margin. Next time we'll answer marshmallows they decided. Cheers!

Review of GET BACK Part 1 Page 2of2 thank you.

I would like to watch the entire 57 hours of film plus listen to the 150 hours of audio, not haphazardly but with context. Peter has done a fine job of Part 1 which I throughly enjoyed last night and I'm looking forward to enjoying Parts 2 and Parts 3, currently available but I want to savor every minute, every moment because when the credits roll, as they eventually will at the conclusion of Part 3, I will NOT be happy nor content. I love everything about THE BEATLES! Their shenanigans, their mischievous charm and actions, their laughter. It's good to be young. I know it well. How? You ask; Well for starters I too was young and mischievous and laughed and was vibrant and joyful in my endeavors. I had friends that I loved dearly and loved me back. Still do. I was attractive and my friends were attractive, as was our crowd. We were childlike in our behavior and didn't judge ourselves or our clique or our peers as to the childlike things we were turned on to. We're we immature, maybe each had some level of immaturity and we tolerated and accepted that we were on different levels in our growing up and that was cool with all of us. We were also mature and offered to elevate our group in non-preachy ways. We weren't Beatle Famous or Beatle Rich. But we were known within our circle and everyone in our circle was a celebrity to each of us. We ourselves didn't have all the accessories that the Beatles had. Paul's Austin-Martin was tre-cool. But our bunch had Firebirds and Corvette Sting Rays. Porsche were not abundant, nor were Mercedes Benz. Plenty of functional transportation was in the mix and were appreciated by one and all. I mean as fine looking as the Datsun 280z was, it had two bucket seats and could fit one more squished sideways in the 'seats' behind the front two. Our crowd was like a village. Different acquaintances and friends of friends, brothers or sisters of friends and acquaintances were there for you when the need arrived. That village was filled with great people who were accommodating because they were good hearted and with their entrepreneurial spirit and their enterprising nature made them choose to share the access they enjoyed and took for granted with others in similar predicaments. When the owing of solids (favors) accumulated, other means of barter were employed ie; introducing smitten guys or gals to the ones that was the cause of their smittenness ( is that a real word?) Introductions is easier to write, so I did. We all did NOT attend the same school (high or junior high) and solids (favors) were what allowed the intermingling between boys and girls, musicians with other musicians, athletes with their counterparts and nerds with other smarter nerds. Money wasn't abundant, but as we grew from JHS to High School, an economy emerged. The point wasn't to get rich off your buddies, but a transaction (legal of course ) here and a transaction there could earn one enough coin to score a couple of better than decent seats to see a music show at Radio City Music Hall or Madison Square Garden. It'd be unusual for the girl you fancied to turn that down, especially when the families were familiar to one another and she saw you at a cool party on her home turf and a proper (not necessarily formal) introduction was made by a mutual friend or friend of a friend, you were "In Like Flynn". Parents tried and usually succeeded in not spoiling their offspring, but clothing, nice clothing was necessary for holidays and social affairs. Weddings, Bar-Mitzvahs, Engagement Parties, Sweet Sixteen, what have you. We were a socially active community and a wardrobe was a necessity, not just a luxury. Moms were generous with their daughters. Dads got their sons summer jobs and supplemented that commitment with a nice allowance. If the richest were giving their fifteen year old sons a summer allowance of $20 to $25 a week, half that during school months, even a low earner dad could handle that as long as he had just one or two sons in that age group. We weren't BEATLES, but we were younger and our needs much less. Guys the BEATLES age had cars, we had bikes -we had access to cars when absolutely necessary. They spent a decent amount of cash on liquor. Besides a beer snuck into a party or under the boardwalk, we drank soda pop. Drugs, both legal and illegal were not on our radar and wouldn't be for a long while after. The 'Sugar High' of a glass of Coca~Cola, or a drag of tabacco on a Marlboro Cigarette wasn't as harmless as we had thought, but the cost was literally pennies. A small candy store Coke was originally 5¢, the large a dime. It rose to 7¢ and 12¢ respectively in 1961. Egg-Creams were delicious and were only offered in the larger glass; 12¢ - Cigarettes were 2 packs for a quarter before I smoked, but was constantly sent on errands to buy them for the adults and young adults. When I was stupid enough to try and look cool by lighting up and sticking that poison stick in me mouth, the price was up to 25¢ for just ONE pack. Next I recall it shot up to 32¢ and that was the State of New York's highest allowable price. Ergo, when you purchased a pack in a vending machine, which were popular in pool halls that I used to frequent frequently, you drop a dime and a quarter in the machine and selected your wrapped in cigarette paper poisonous chemical stick with or without a filter in a cellophane wrapped hard-top cardboard box or what was called the soft pack. So you inserted 35¢ for a 32¢ pack of ligs (our creative groups nickname for cigarettes) and you made the selection by pulling a plunger out, towards you and releasing the package to drop into the bin. The three penny change was inserted between the cellophane and packaging material. A pack of matches dropped simultaneously from a different slot. Just in case that slot mal-functioned as it often did, there was a box of matches atop the vending miracle. All that extra teenage cash was spent on pizza, felafel, hamburgers and french fries, soft drinks, pinball machines, bowling, sweets, ice cream, the penny arcade and baseball cards. And, of course on records. Singles 45RPM had a notation of sorts distinguishing one of it's side as The "A" SIDE the supposed and usually better song, the one that got the bulk of the radio play. The reverse was The "B" SIDE and it wasn't usually very good, a throwaway, I guess you'd call it. So it was with great delight that THE BEATLES were aware of giving good value on their records, and provided top notch songs on both "A" and "B" SIDES, even going as far as releasing 45's whose both sides (different songs, of course) BOTH LISTED AS "A" SIDES - Before THE BEATLES, most youngsters and younger teens exclusively bought 45's - because LP's a/k/a 33rpm LONG PLAYING ALBUMS were expensive $4.99 vs just 69¢ for a 45. But, on a 45 you knew what you were getting. A song you had heard on your radio's AM Dial and obviously you liked it enough to buy it.

However, an Album had 12 songs, most of which, if not at all, you hadn't had heard any of what you were getting for your $5. Up until the BEATLES, most LP's had a song, maybe two, and rarely -usually by accident or whatever-three songs that were listenable over and over for a decent period of time. That was unusual, to say the least. The BEATLES broke that mold. EVERY SONG was a gem. Teen's disposable income (their pocket money) headed directly to the record stores cash register as BEATLES ALBUMS sold in the millions and multi-millions. The BEATLES were fair, no song released as a 45RPM single appeared on one of their albums. They believed that their fans shouldn't have to buy the same song twice. Early on, there was just one exception, with "I Saw Her Standing There" appearing on their 1st Album "PLEASE PLEASE ME" and on as an "A" SIDE of their 45 single; The "B" SIDE was "Matchbox" (Worth the money on it own, I'd say) So, in conclusion, we didn't have the international success of THE BEATLES, but we were successful within our own smaller world & we the celebrities within that smaller world. The success and celebrity that allowed THE BEATLES to transverse into other worlds, was different than our own success. We too enjoyed celebrity and success as well, on a very micro scale. No comparison, but it was sufficient for own needs, our own desires and our own growth. They had the privilege of unlimited access. We didn't require such unlimited access, but we had enough access to the things that interested us. They were happy. We were happy. Still am, as the remaining Beatles are I hope. They enjoyed the productivity of their days at work. I cannot speak for all of us, but I like to think we too enjoyed and enjoy our productive selves. They uplifted those around them in the working arena. I think that true of us as a community, as well. It's in our DNA. Or so I hope so. I know it's always been in mine. It's confusing as to who got the better of the deal. They got to create BEATLES MUSIC. We've had the distinct honor of listening to it. Johnny Carson once asked FRANK SINATRA who he (SINATRA) listens to when he cuddles with a girl (For those unfamiliar, FRANK SINATRA was the most listened to singer back then in those romantic situations) SO I ASK THE SAME QUESTION OF THE BEATLES (When they were all alive and a loving ensemble, which they were the majority of their time together as a group) I think we the fans got the better of the deal. Plop down your $4.99 and enjoy the benefits of their talents and hard work! It's not all fame a glamour, being a BEATLE! Paul McCartney was told to not ride the bus. THE CONDUCTOR informed Sir Paul, in no uncertain terms that It's for the working class citizens, of which he was no longer a part of. Worse even, was having to dodge jellybean thrown at them with great strength and accuracy, turning the innocent candy into dangerous projectiles, all whilst they did their best performing an on stage concert in London, screams louder than ever.

Review:PART 1 of 2.

Not bad. Good music and cinematography was top shelf. Acting above acceptable. Overall, it was a good movie. There are so few great ones nowadays. I gave it a rating of 6. If ratings had decimal points my rating would have been 6.7 just under the stated average of 6.8 posted as of this writing.

***My rating system is not unique. 7's are worth watching on television. 8's are worth going out of your way to see, whilst 8.4's and above are worth the time, effort and expense of seeing in a proper movie theater. 9's are reserved for movies that you are going to watch during its first week of release at a theatre or something more grand, like New York City's Radio City Music Hall five thousand seat auditorium.

**There is no such thing as a ten. Godfather is as close to perfect as I've seen, my rating is 9.8 for part I and 9.8 for part II. Entertaining movies like Jaws also rate high in my book: 9.6 - so popularity doesn't figure into my equation.

*Thanks for reading all the way through. ~David~