Making the Poor Visible

“Obamacare replacement hits Trump voters hard. Some of the biggest losers in Republican plan are in counties that supported him”

Headline in the Los Angeles Times, Sunday, March 12, 2017.

In the late 1990’s someone published a business motivational book called, “Who Stole My Cheese?” It remained on the NY Times best-seller list for almost five years.

My take away was that the difference between rats and people is this. There are five tunnels; only one of them has cheese. Both rats and people will, soon, after discovering the tunnel with cheese, return to it repeatedly. However, if the cheese is moved from, say tunnel two to tunnel five, the rats will return to tunnel two a few times until they realize there is no longer any cheese down that tunnel. Then, the rats will begin to explore the other four tunnels until they find cheese. Human beings, on the other hand will go down tunnel two until they starve because it is the right tunnel.

I was reminded of this business fable several times as I read the NY Times best-seller, Hillbilly Elegy: A Memoir of a Family and Culture and Crisis by J. D. Vance. The book, which many critics have hailed as a key to understanding the “Trump voter,” follows Vance’s life through a harrowing boyhood and adolescence amongst his hillbilly relatives to his enlistment in the United States Marine Corps to his undergraduate studies at the University of Ohio until, finally, his graduation from the Yale University School of Law. His story is more than a little bit Dickensian.

The book is well-written, reportorial and compelling. It more than likely fulfills the criteria of Joseph Campbell’s “hero’s journey.” I recommend it highly; like James Baldwin’s books it, too, is a guide for pilgrims who are willing to make the journey to an unfamiliar world. I underlined so many passages that it might be easier to pick out the passages that weren’t underlined.

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Best 2016 Movies Part 2: Round-up

Hidden Figures & Fences

hiddenfiguresThe year brought a jackpot of outstanding films about people of color. In addition to Midnight, Loving and Queen of Katwe, there are Hidden Figures and Fences.

Don’t miss Hidden Figures! It is an old-fashioned (in the best sense) movie that will have you on your feet and cheering at the end. Writer/director Theodore Melfi (St. Vincent) uses a tried and true formula, one that the film’s distributor 20th Century Fox has used countless times since the 1930s: take three ambitious and talented women and intercut their stories as they pursue success in a particularly macho man’s world—NASA in the 1960’s. All three women are working mothers, two of them are married; one is a widow. In their fight for opportunities commensurate with their abilities, the three heroines don’t just have to battle sexism, but racism as well. The performances of the three leading women, Taraji P. Henson, Octavia Spencer and singer/musician Janelle Monae (also in Moonlight) are righteous, infectious and altogether jubilant. They are reluctantly supported by gum-chewing NASA program director, Kevin Costner. Kirsten Dunst and Jim Parsons are terrific as the heroines’ condescending antagonists and Mahershala Ali (also in Moonlight) is fine (as in “He’s So Fine”) as the persistent suitor of reluctant widow, Henson.

More about Hidden Figures


fencesAugust Wilson (1945-2005) belongs in the pantheon of great American playwrights. His ten-play Pittsburgh Cycle—each one set in a different decade of the 20th Century—is a monumental artistic accomplishment. Fences, set in the 1950’s, was awarded a Tony and the Pulitzer Prize in 1987.  The dialogue Wilson gives his characters is incomparably musical. In his plays, soliloquies become arias. I saw James Earl Jones play the central character, Troy Maxson in the original 1987 production and it was one of the best theatrical experiences of my life. In Jones’ performance, Troy was a great tragic hero—someone who in other circumstances would have been a king.

Transferring Wilson’s work, which is overtly theatrical, to the screen has to be a Herculean task and the film version doesn’t entirely succeed. Denzel Washington, who directed the film and plays Troy Maxson is one of my favorite actors, someone I’ll pay to see in almost anything he does; however, whether fair or not, Washington can’t replace Jones in my memory.  Troy’s lengthy speeches, many shot in close-up, have a haranguing quality that ultimately alienated me from Washington’s performance. (I know this is a minority opinion.) I still recommend seeing Fences. The supporting cast, particularly Viola Davis as Troy’s wife, Stephen McKinley Henderson as Troy’s best friend, and Mykelti Williamson (heartbreaking as Troy’s brain-damaged brother Gabriel) beautifully capture the rhythms and melodies of Wilson’s writing.

Denzel Washington has announced that he will bring the entire cycle of August Wilson’s plays to HBO. This is great news.

More about Fences

Hail Caesar, Love and Friendship & A Man Called Ove

Hail Caesar

hailceaserThere were three comedies this year that made me laugh out loud repeatedly. Hail Caesar, the latest lunacy from the Coen brothers, is a loving send-up of old Hollywood. It features an all-star cast, each at the top of their game, including George Clooney, Scarlett Johansson, Ralph Fiennes, Channing Tatum (never better), Tilda Swinton, Frances McDormand, Jonah Hill, newcomer Alden Ehrenreich, as a cowboy star (who steals the film from under their noses.) Josh Brolin grounds the film with a virtuoso dead pan portrayal of a tortured Catholic studio head, charged riding herd over the dim-witted shining stars in his care. Brolin may be the most under-rated actor working in films today.

More about Hail Caesar
 Love & Friendship

loveandfriendshipLove and Friendship is director Whit Stillman’s sophisticated and wry adaptation of a Jane Austen novella, Lady Susan. It features a tour de force performance by Kate Beckinsale as the shameless seductress Lady Susan and she is ably supported by Tom Bennett as her idiot suitor. These performances will probably be overlooked at award time; they are, nonetheless, pure gold.

More about Love & Friendship


A Man Called Ove

mancalledoveA Man Called Ove, based on an international best-selling novel, is a sweet Swedish comedy about a bereft widower whose attempts at suicide are repeatedly interrupted by needy neighbors. In the title role, Rolf Lassgard is sublime.

More about  A Man Called Ove





La La Land & Sing Street

2016 produced two charming and equally original musicals, La La Land and Sing Street. The former got the lion’s share of attention from the critics and at the box office but don’t overlook the latter.

La La Land

lalalandWhen I was a child, I particularly loved the MGM musicals; the gaudy Technicolor palette was almost the same as my grandmother’s plaster-of Paris saints statues and flamboyant holy cards. I imagined that heaven would look a lot like those musicals. (I came as close as a five-year-old can to experiencing spiritual rapture when I saw Gene Kelly dance with Jerry the Mouse in Anchors Aweigh.) This, I thought, must be what heaven is like.  La La Land, captures the spirit of the MGM musicals, but with a sadder-but-wiser point of view. Leading man, Ryan Gosling, is perfect, everything one could expect; Emma Stone is a fine actress who repeatedly defies expectations, until the scene when the film director asks her to tell a story. In this scene Emma Stone doesn’t just defy expectations, she obliterates them.  More about La La Land

Sing Street

singstreetSing Street, is the work of John Carney the Irish writer/director of the cult hit, Once, which was equally successful when translated into a Tony award winning Broadway musical. Sing Street’s slight plot is about a teenage boy who starts a rock band to impress a girl. Like a lot of musicals, the plot isn’t all that important but the music and performances, by a great ensemble cast led by Ferdia Walsh-Peelo, in his first movie, are completely beguiling. Just looking at the above photograph makes me want to see it again. More about Sing Street

Lion, Hunt for the Wilderpeople, & Captain Fantastic

Three exceptional family films were released this year— five if you count The Queen of Katwe and Sing Street—and I heartily recommend that you do.

When I say family film, I don’t mean baby-sitting films, I mean films that are equally entertaining and engrossing for adults and children; films that have meat on their bones and are have stories that can inspire rich conversations after they are viewed.

All five films feature children protagonists; the child actors who play them give marvelous performances.

Lion tells the true story of Saroo, a five year Indian boy who falls asleep on a train and ends up lost in the streets of Calcutta, thousands of kilometers from his tiny village. He is adopted and raised by an Australian couple (Nicole Kidman is wonderful as the mother). 25 years later, he sets off, with the help of Google maps to find his Indian family. Sunny Pawar plays the boy Saroo. Dev Patel plays him as an adult. (The first half hour is subtitled.) More about Lion


Hunt for the Wilderpeople

huntforthe-wilderpeopleHunt for the Wilderpeople is a New Zealand film about a wily young delinquent from the city (Julian Denison) who is sent to live with foster parents on the edge of the bushlands. Fearing he’ll be sent back to an orphanage when his foster mother unexpectedly dies, he takes off into the bush. His reluctant foster father (Sam Neill) goes in search of the boy and is mistakenly thought to have kidnapped him. (The New Zealand dialect takes getting used to but it’s worth it.) The comic pairing of Denison and Neill is both sidesplittingly funny and deeply moving. More about Hunt for the Wilderpeople


Captain Fantastic

captainfantasticViggo Mortensen is brilliant as the eccentric hippie father who takes his children to live off the grid in Captain Fantastic. George MacKay, is touchingly awkward and naïve as the scholarly eldest son who has been in the wilderness so long he has no idea how to talk to girls. There is one full-frontal nude shot of Mortensen—fully justified by the story—that will be off-putting to some parents. The kids will love it. More about Captain Fantastic



Doctor Strange

drstrangeI’m not generally drawn to Marvel Comics super-hero movies; the exception is Dr. Strange, which is a thoroughly entertaining adventure that demands that the ultra-rational, egocentric, arrogantly self-sufficient title character surrender to the mystical and the miraculous. Benedict Cumberbatch is perfect in the title role and he receives excellent support from a first rate cast that includes Chiwetel Ejiofor, Rachel Mc Adams, Benedict Wong and Tilda Swinton.

More about Doctor Strange


The Divas

2016 was a great year for actresses “of a certain age.” God bless the baby-boomers who have become a reliable demographic for medium to low-budget (think Sundance Film Festival) treats like:

Florence Foster Jenkins

Florence Foster Jenkins, featuring the insanely talented Meryl Streep, as an insanely untalented would be opera singer. She’s supported by Simon Helberg (Big Bang Theory), sensational as her accompanist, and Hugh Grant, better than he’s been in a long time, as her husband. More about Florence Foster Jenkins

Hello My Name is Doris

Sally Field and Tyne Daly “My Name is Doris”

Sally Field and Tyne Daly “My Name is Doris”

In Hello My Name is Doris two-time Oscar winner, Sally Field dispensed with earnest and cute, and graduated to wonderfully eccentric, ably supported by national treasure, Tyne Daly. (I’d love to see Fields play Veta Louise Simmons in a revival of Mary Chase’s Pulitzer Prize winning play, Harvey.)

More about Hello My Name is Doris


The Meddler

Susan Sarandon showed up in a wonderful dramedy, The Meddler, about a recent widow who relocates from New York to the West Coast to drive her TV-producer daughter (Rose Byrne) out of her mind. More about The Meddler

20th Century Women

Annette Bening is stunning as a single mother raising a precocious teen-ager (Lucas Jade Zumann) in 20th Century Women. The supporting cast includes a hilariously earnest Greta Gerwig, a scary Elle Fanning and Billy Crudup, in his best performance since I don’t remember when. More about 20th Century Women

The Hollars

thehollarsBest of all is Margo Martindale in The Hollars. I fell in love with Margo Martindale when I saw her play Big Mama opposite Ned Beatty as Big Daddy in an otherwise lamentable revival of Tennessee Williams Cat on a Hot Tin Roof. (Ashley Judd played Maggie the Cat; it was painful.) Martindale won an Emmy for her performance as Mags Bennett, a matriarchal hillbilly drug-dealer in the FX series Justified. She returned to FX as an undercover KGB operative in The Americans, Whether or not you’ve seen Margo Martindale in anything else, see her in The Hollars! Her performance will warm and break your heart.

More about The Hollars

Altogether a good year for movies!

Best Movies of 2016 Part 1

So often the best works of art, the most grace-filled and transcendent, are nearly impossible to describe in such a way that more than handful of people will be drawn to see them. Walter Kerr, the theatre critic for the N. Y. Times, wrote that a “true work of art is suitable for contemplation;” that is, you can see it, read it or listen to it again and again and it remains timeless, always able to hold a mirror your soul.

None of the films on my list are studio blockbusters; none of them are sequels; none of the stars (except, perhaps, Tom Hanks) guarantee ticket sales. All are worthy of repeated viewings; all are suitable for contemplation; none more so Silence.


silence2016There is a story told about the great Austrian composer, Gustav Mahler. Standing in the back of the concert hall during the premiere of one of his last works, Mahler is purported to have said, “I wish I could be alive in 50 years when the audiences will have learned to hear my music.”

The works of great artists are not simply entertaining; they are challenge the audience to and require its full engagement.

Visual and aural works that we regard today as masterpieces—the Impressionist painters, for example were, as often as not, ridiculed and dismissed by a majority of critics and viewers alike when they were first introduced.

Stephen Sondheim (now regarded, according to NY Times critic emeritus, Frank Rich, “as the greatest and perhaps best-known artist in the American theatre”) received praise for his intricate and witty lyrics during the early years of his career while, at the same time, his music was often dismissed as non-melodic and “un-hummable”.  As with Mahler, it took quite a while for audiences to be able to hear the beauty and variety in his musical scores.

Martin Scorsese’s Silence is a flat-out masterpiece, to my mind, his finest film. It’s not simply entertainment; it is great art and, as such, makes great demands, as do the works of Mahler and Sondheim. (To begin with, it is 2 hours and 41 minutes long!) It’s  a glorious achievement; simply incomparable; I plan to devote more time to Silence in a later blog and I plan on seeing it a few more times beforehand.

I’m not putting Silence on my Best List or my Favorites List. It’s in a class of its own.

Silence (2016)  

My best list begins with:


patersonHow’s this for a description? A week in the life of a Paterson, NJ bus driver who wakes up at the same time every morning, looks lovingly at his sleeping wife every morning, eats cheerios for breakfast every morning, drives the same route every day, takes his dog for the same walk every night and stops for a beer at the same bar every night. And, oh yes, the bus driver, whose name happens to be Paterson, is a poet. I hope I didn’t oversell it. What the movie is about, in fact, is Presence- the presence that the artist’s soul brings to every seemingly mundane encounter. There are two oft-quoted lines of dialogue in Thornton Wilder’s masterpiece, Our Town:

EMILY: “Does anyone ever realize life while they live it…every, every minute?”
STAGE MANAGER: “No. Saints and poets maybe…they do some.”

Bus-driver Paterson, played by Adam Driver (who is equally unforgettable in Silence), in the best performance by an actor I’ve seen this year, is just such a poet. The miracle of this movie, is that we see the banal ordinary details of a daily routine through the eyes of a poet and conversations, we might never have listened to, and incidents, we might never noticed, are transfigured into moments of luminous beauty.

Emily Dickinson begins a poem, “I Heard a Fly Buzz When I Died”. Paterson, too, would have heard and remarked upon the singularity of this one buzzing fly.

Paterson (2016)


moonlightThe eloquently beautiful, perfectly realized Moonlight is like Silence and Paterson, also the work of a visual poet. Act One: a spindly little African American boy with no father and a drug-addicted mother, is taken under the wing of a drug dealer (Oscar-worthy, Mahershala Ali) and taught how to swim. Act Two: the same African American boy, now an adolescent, is bullied by some class mates and betrayed by another. His premeditated and cathartic expression of rage, as he wreaks vengeance on the bullies, leads to his incarceration. Act Three: the protagonist, now a hulk of a young man, out of jail and literally armed to the teeth, risks reconnection with the classmate who betrayed him and, in the last moments of the film, rises from the dead as surely as Jesus did.

Moonlight (2016)

Manchester by the Sea

manchesterManchester bythe Sea, is, if anything, an even harder sell than the first two. Casey Affleck, in a heart-breaking virtuoso performance, plays a loner custodian, living anonymously in a basement apartment, who is called back to his hometown, Manchester-by-the Sea, to be the guardian of his late brother’s teenage son. For Affleck’s character, the ghosts and demons that inhabit his home town make it hell. Writer-director Kenneth Lonergan, working with a cast that, besides Affleck, includes the astonishing Michelle Williams as his ex-wife, and a pitch-perfect ensemble achieve an artistic alchemy that defies reason and words.

Manchester by the Sea

Little Men

littlemenLittle Men a big film—filled with big, contemporary, and complex challenges, masquerading as a “little art house indie.” It covers parenthood, marriage, single parenting, friendship, the fragile economy, ethics and loyalty, artistic dreams and ambitions—realized and thwarted—immigration, a father’s legacy, and the budding of adolescent sexual identity. Director, Ira Sachs seamlessly weaves together all of the subjects we are faced with every day as we strive to be “good people” and creates from them a wondrously intricate whole cloth. In addition to Mauricio, the cast includes Greg Kinnear (so reliably good, it’s easy to forget how good he really is); two remarkable performances by newcomers, Michael Barbieri and Theo Taplitz: a cameo by Alfred Molina; and, best of all the great Chilean actress, Paulina Garcia (think the Meryl Streep of Chile) as an immigrant single-mother, a seamstress trying to provide for herself and her son. Ms. Garcia brings a dignity and ferocity to her portrayal that makes it one of the best of this or any year.
Disclaimer: I might never have seen Little Men, if I hadn’t found out that a former student of mine, from the 1960’s, had a featured role; his name is Mauricio Bustamante and he plays the “acting teacher.”  He is splendid and I am proud! Very proud!

Little Men

arrivalThe collaboration between actress Amy Adams and director Denis Villeneuve is something to behold. Villenueve trusts Adams, and Adams rewards that trust (this is what artists do) with the most fierce and vulnerable performance (and that’s saying something) of her career. The journey of Adams’ character invites us to a consideration of the mystical realm —that which can be experienced but never completely articulated or understood. Jeremy Renner’s character bound by the limitations of science and reason cannot meet Adams in this hallowed place; and, over time (how much time?) she makes peace with it.


Hell or High Water

hellorhighwaterIf you want to get inside the minds and hearts of the “forgotten” Americans who voted for Trump, “Hell or High Water,” is a good place to start. The film was marketed variously as a combination Western and cops and robber’s movie, a heist movie, a chase movie and a revenge movie. On the surface it’s all of these things, but just below the surface it’s an elegy for a lost America, an America before banks and corporations foreclosed on farms and ranches, evicting sometimes 3rd and even 4th generation descendants of the people who settled the land. Bank and corporate policy has left these properties to lie fallow; the sun has stripped the buildings of paint; weeds flourish where crops once grew.

The cast features Jeff Bridges, who’s beginning to sound a lot like Roy Rogers’ old sidekick, Gabby Hayes, just gets better and better; Ben Foster, a chameleon young character actor, is also transfixing as a short-fused ex-con; the surprise is Chris Pine (Captain Kirk in the new Star Trek movies and Prince Charming in Into the Woods) who divests himself of all traces of leading man veneer and anchors the film with his performance as a disillusioned, divorced family man trying to hold onto his dignity and make things right.

Hell or High Water

The Lobster

thelobsterThe Lobster is the weirdest movie I’ve seen in many years—and one of the most compelling! Rachel Weisz has never given a poor performance and she’s as good as ever here. Colin Ferrell, like so many super-handsome leading men, is much more at home being a nerdy character actor. His sly portrayal of the bespectacled, hang-dog ultra-depressed and unlikely hero ranks as one of his finest.

The film presents itself as an allegory but it’s more. It’s a timely illustration of the uncomfortable process of discernment. It’s a mirror image of who we are now in this age of untruth and unreason, in the age of DJT!  What still counts as absurd? Do we surrender? Do we regress? Or do we fight?

The Lobster


lovingLoving (set in 1967) is a quiet film about an explosive issue—inter-racial marriage—made all the more powerful by the understated performances of Joel Edgerton and Ruth Negga as an ordinary married couple forced by circumstances they never asked for, to seek justice and peace.  Australian actor Edgerton has made a reputation playing dark, threatening characters in such films as Black Mass, The Animal Kingdom and The Gift (which he also wrote and directed.) He’s virtually unrecognizable here as a crew-cut Virginian with hair the color of butter. He plays Richard Loving, a painfully inarticulate bricklayer who barely speaks full sentences. Nonetheless his body language and the subtle changes of facial expression communicate his character’s thoughts and feelings as powerfully as a Shakespearian soliloquy. Playing Loving’s African-American wife, Mildred, Ethiopian born actress, Negga manages, without ever raising her voice, losing her composure, or compromising her character’s natural reserve, to craft a portrait of a tenacious and fearless warrior whose sense of what is just and good carries her to a personal and moral victory that validates her marriage and legitimizes her family. Don’t miss this movie!


The Queen of Katwe

queenofkatweWhy isn’t this movie on everyone’s best list? Maybe it’s because it’s a PG rated Disney family film.  If you need evidence that the eyes are the window to the soul, watch Lupita D’ Yong’o’s performance as a widowed mother in The Queen of Katwe. Her love for her children, combined with the desperate realities of their situation, crucifies her on a daily basis. The three main actors, D’Yongo, David Oyelowo (brilliant as Martin Luther King in Selma), and newcomer, Madina Nalwanga, call us past doubt and fear to a faith that transcends reason and celebrates it. This is a life-affirming, inspiring, joyful film—family entertainment at its best.

The Queen of Katwe


sullyOff to the side of the rotunda in the Guggenheim Museum in New York City, you will find a permanent exhibition bequeathed to the museum by benefactor, Justin K. Thannhauser. Among the gallery’s treasures are 12 Picassos spanning from 1900 (when he was 19) to 1965 (when he was 84); he died in 1983.

What could this possibly have to do with Sully, Clint Eastwood’s 35th film as a director and Tom Hanks’ 47th film (if I counted right) as an actor.

Picasso’s earliest work in the Thannhauser Gallery is a painting in the style of Renoir or Toulouse Lautrec As you tour the gallery Picasso’s paintings become simpler and simpler, less and less like anyone else’s until they can be no one else’s but Picasso’s.

So it is with Eastwood’s directing and Hanks’ acting. There are no frills; no flashes; no extra strokes; their work is plain and unadorned with nothing to call attention to the work but the works themselves.

Like Picasso, Clint Eastwood and Tom Hanks, are masters, and Sully is a deceptively simple work of art by a pair of masters working at the top of their game. If either of these men makes a picture, just go see it.


Best Movies of 2016 Part 2 will be out next week on Tuesday.


Nostalgia Really Isn’t What it Used To Be

My cousin, Michael, and I don’t have occasion to interact very often—weddings and funerals, mostly.  I saw him last summer for the first time in several years at a mini family reunion that my sister hosted in honor of my 75th birthday and in honor of Michael’s older brother, Pat, an Oblate missionary priest in Africa, who was home on vacation.

Michael is a really good man. He and sister, Jane, have been, and continue to be, pillars of strength for their immediate and extended families throughout many heartbreaks, losses and tragedies that would have broken people of frailer character.

Michael and I are casual FB friends. His FB posts mostly tend toward nostalgic pictures from websites like the Good Old Days and Do You Remember the 60’s, 70’s and 80’s? My sister Mary posts pictures from these websites, too. They are occasionally funny, but in no way give me any desire to re-live those decades. Or the 50’s either!

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Archetypal America

In honor of the release of  the Archetypal America workshop recordings, I offer this post on one of my favorite films, Stagecoach. The course recordings can be purchased as a digital download here:

“The main American theme, I think, is freedom. It’s about individual freedom in opposition to or in tension with collective freedom.”  -Ken Burns, documentary film maker, “The Civil War”

Throughout American history the archetypes which populate our myths and legends and capture our imagination are the Rebel, the Revolutionary, the Liberator, the Scout, the Pioneer, the Cowboy, the Explorer, even the Outlaw: all of them perpetually moving forward in pursuit of their idea of freedom, both on behalf of the common good and at the expense of it. While many of these archetypes appear from the very beginnings of our history, the conflict between the various notions of freedom—personal and collective—solidified in the American psyche in the years leading up to and following the Civil War. They continue to impact us and our ideas of ourselves to this day. Few films capture these American themes and tensions as well as John Ford’s masterpiece, Stagecoach.


Stagecoach is high on my list of the 10 Best Movies of All Time. I’ve seen it at least 20 times, probably more. Without fail, something about it captures and holds with every viewing, so much so I save it on my DVR, along with Singin’ in the Rain and a few other films, so I can view them again whenever the mood strikes me.

Stagecoach_movieposterStagecoach was released in 1939 which many film historians consider to be a landmark year in American filmmaking. Stagecoach was nominated for a Best Picture Oscar along with Gone with the Wind, The Wizard of Oz, Mr. Smith Goes to Washington and Ninotchka. Stagecoach’s director, John Ford, was nominated that year, as was character actor, Thomas Mitchell, who won for his portrayal of alcoholic Doc Boone. Mitchell also appeared that year as Scarlett O’Hara’s father in GWTW and as a cynical reporter in Mr. Smith.

I don’t ever need to see Gone with the Wind again. It never really appealed to me and now I find it overblown, patronizing and embarrassing. Sue me.

I know The Wizard of Oz by heart and I’ve used it several times to teach basic archetypes but I don’t need ever to see it again. Ninotchka has what is arguably Greta Garbo’s best performance and director Ernst Lubitsch’s best film and it’s fun to watch late at night  if I can’t fall asleep. (In an odd way, Lubitsch is a really—I mean really—sophisticated version of Mel Brooks. Both use comedy to mock Nazi-ism and Fascism and all totalitarian forms of government. (Wouldn’t Harvey Korman be a fabulous Donald Trump?)  Mr. Smith Goes to Washington has the performance that James Stewart should have won the Oscar for but didn’t. He won the following year for the wonderful The Philadelphia Story, which as good as his performance is doesn’t quite match his work in Mr. Smith, Harvey (another of my top 10) and Anatomy of a Murder—a must watch if you’ve never seen it.

Enough about these other memorable films, back to Stagecoach! (Sometimes like my friend and mentor, Caroline Myss, I wish I could share all of the movies I love with all of the people I love.)

In my opinion “Stagecoach” (1939) “Holiday” (1938) and “You Can’t Take It with You” (also 1938) capture the American myth and the constellation of American archetypes more fully than any films that have followed. Shot as the depression was coming to a close and just before we entered into World War II, these three films form a template for the American myth that has never changed.

All of them deal with inequalities of class and income and their influence on political leanings but Stagecoach does something the other films don’t. It places vengeance ahead of love—and this has been a theme of American movies ever since (“Some things a man just can’t run away from.”) This value or moral code of the obsessed loner, continues today in the popular Batman movies, no more so than in The Dark Knight Rises—the masterpiece second installment in Christopher Nolan’s Batman trilogy.

I happened to catch an NPR interview with Glen Weldon, author of The Caped Crusade: Batman and the Rise of the Nerd Culture in which he said
“Batman as he is now perceived—the grim, grave Christian Bale version– he is the personification of masculinity as it would be envisioned by a twelve year old kid who got his lunch money stolen a lot. He’s unbeatable in a fight; he is jacked, laconic, and gruff—and that’s who this character is to them. “Batman must be the dark hero—the things we don’t want to admit—the rage we feel when we get cut off in traffic; the isolation and loneliness.

“In 1970, they decided that they would turn him into an obsessed loner. He has to become obsessed, and I would argue that at the same time the comic book industry was abandoning kids and going after the obsessed nerds, people who collected comics. Nerds like me can look at a character like Batman who . . .  is not great with people and who keeps to himself and is obsessed with something, and see a vision of us. That’s the connection that we feel.”

I listened to this interview I realized that somehow Batman had his roots in the John Wayne characters in “Stagecoach,” “The Searchers,” and “True Grit.” It also describes Shane, all of The Magnificent Seven, Dirty Harry, and Michael Corleone, right up to Leonardo Di Caprio in The Revenant.

Stagecoach also speaks to the present moment in the characters of the crooked banker (the 1%), his punishing wife (the religious right) and in the sacred American belief that sometimes you have to take the law in your hands. The Marshall turns the other way and, in fact, condones, John Wayne’s hunting down and executing the Plummer brothers in much the same way that Gotham, Police Commissioner, James Gordon, turns a blind-eye to Batman’s quest for vengeance.

Another part of the vision in this, as in all of John Ford’s best films is that the people on the margins—the prostitute, the alcoholic doctor, and the whiskey salesman—have infinitely more compassion than the self-righteous banker and his wife. This theme permeates our sense of ourselves as Americans and is a major issue in this year’s presidential campaign.

To me, Stagecoach, like all great works of art, is timeless. It doesn’t date. Somehow it manages, like all great art does, to mirror us and challenge our better selves to respond to this moment in history in much the same way that this film does.

The course recordings can be purchased as a digital download here:

Life Beyond A Crisis: Uncovering the Secret Next Chapter of our Lives

When: Saturday March 7th, 2015, 9am-3:30pm
Where: The historic campus of All Saints Church
132 N. Euclid Ave
Pasadena, CA 91101
Detail: People of all ages will learn about moving from crisis to re-birth, discovering a secret chapter to our lives, aligning with grace through chaos, navigating the unexpected, love and beauty at any age.
Fee: $58
Registration link

My first workshop of the year is sponsored by Stillpoint Center for Christian Spirituality and will be held at All Saints Church in Pasadena, one of the most beautiful venues in Southern California. I taught a workshop there last year about Pilgrimage using the film, The Way. We subsequently produced a self guided workshop based on that day long pilgrimage.

BEstI’m delighted to have been invited back for another workshop this year and I’ve chosen to focus on The Best Exotic Marigold Hotel.

Part of my inspiration for the course came from something a good friend said to me while we were having lunch about ten years ago. He was a few days shy of his 80th birthday and while we were sipping wine and waiting for our entrees to arrive he leaned in close to me and said, “You know the mid-life crisis? You have another one to look forward to.” I’ve never forgotten his remark and as I approach the half-way mark of my eighth decade, I’ve begun to watch for signs.

“When old words dies on the tongue, new melodies break forth from the heart;
and where old tracks are lost, new country is revealed with its wonders. “
– Rabindranath Tagore

I believe that’s why the film The Best Exotic Marigold Hotel has been so popular with viewers—so unexpectedly popular, in fact, that a sequel is set to be released the first week in March. The film captures its main characters deep in the throes of this crisis. It’s most marked characteristic is the shocking revelation that their identities, the life narratives they’ve carefully crafted for themselves are way past their “sell-by” date and they find themselves confronted by the need to discover new meaning, new purpose for their lives.

I hope you will be able to join me. Please do share this information with your friends in the LA area or those who might want to escape the cold to enjoy some Southern California sunshine next month. There is even a Facebook Event created to make it easier to share with your friends.

When: Saturday March 7th, 2015, 9am-3:30pm
Where: The historic campus of All Saints Church
132 N. Euclid Ave
Pasadena, CA 91101
Detail: People of all ages will learn about moving from crisis to re-birth, discovering a secret chapter to our lives, aligning with grace through chaos, navigating the unexpected and beauty and love at any age.
Fee: $58
Registration link

The Best of Movies 2014 – Part 1

When I began to reflect on the movies I’ve seen over the past year, I was surprised to discover that nearly all of them dealt with themes of Passion, the mystery of Vocation and Calling, Devotion and Duty—subjects that come up nearly every day in the conversations about discernment that I have as a spiritual director with my directees.

SELMA: Black Lives Matter

selmaIf you see only one film this year, make it Selma – a magnificent, conscience-challenging work, a worthy companion to last year’s Oscar winner for Best Picture, 12 Years a Slave. Ignatian prayer and contemplative practice, developed by St. Ignatius of Loyola, instructs meditators to place themselves in the scriptural passage with Jesus, just as if we were actually present at the event. Selma accomplishes just this placing viewers in the events rather than allowing us to be observers. The buffer of history that gave viewers some distance in 12 Years a Slave is not available here. Television coverage from Ferguson, MO and Staten Island, NY, as well as ongoing coverage of efforts to deny voter registration to minorities in many states, make the historic march from Selma to Montgomery seem like it happened yesterday rather than 50 years ago. Anchored by David Oyelowo’s galvanizing portrayal of Reverend Doctor Martin Luther King and directed by Ava DuVernay, it is a searing call to take action and an indictment against the injustices that continue to shame our nation. My African-American friends have repeatedly and patiently reminded me I can’t understand what it is like to live in a Black or Brown skin. Bearing helpless witness and burning with rage as Annie Lee Cooper (Oprah Winfrey in a wonderful cameo) maintains her dignity and resolve despite as she is repeatedly denied the right to register to vote may be as close as I ever come to understanding.

Check this link to read an excellent interview with the actor David Oyelowo about the impact that playing Dr. King on his own faith.

Charlie Rose’s interview with director Ava DuVernay is equally interesting.

IDA: In the Shadow of the Holocaust

IdaThe most profound and haunting film I saw this year was Ida by Polish director, Pawel Pawlikowski. Photographed in black and white, the images are austere and beautiful. The editing is designed to make us linger contemplatively over each scene, digesting it from the points of view of each of the main characters. Ida, a young postulate nun on the threshold of taking vows discovers she is, in fact, Jewish and one of only two members of her family to survive the Holocaust. Ida takes a leave from the convent to join her embittered aunt in a search for the truth about the death of their other family members. The sheltered Ida is introduced to a world of which she has no experience—a world that includes romance and sex, cowardice, heroism, disillusionment, despair and death. The camera stays on her mostly silent response to these events and as Ida discerns whether to return to the convent or stay in the world, the film superbly illustrates the grace and mystery of vocation.

CALVARY: The Sins of the Fathers

Calvalry_filmThe great Irish actor Brendan Gleeson (probably best-known to American audiences for his portrayal of Mad-Eye Moody in the Harry Potter movies) gives one of the best performances of the year as Father James, a priest in a seaside Irish village. The film opens in a confessional where Father James (a widower with an adult daughter who came late to the priesthood) is told under the seal of confession that, although he is personally innocent, that he will be murdered in seven days, as retribution for the unprosecuted sexual crimes committed against children by pedophile priests and covered up by church hierarchy.

The film follows Father James through each of the seven days as he encounters several of the villagers he ministers to and wonders along with the audience which of them passed sentence on him in the confessional. He wonders if he is actually of any use to them, wrestles with the temptation to flee and questions the responsibilities of his vocation—particularly compassion, forgiveness and faith in God, as the seventh day grows closer. The film skilfully balances suspense with characteristic Irish black humor and is populated by a wonderful supporting cast led by Chris O’Dowd (St. Vincent and Bridesmaids) and others recognizable from Masterpiece Theatre, Game of Thrones, etc.

Calvary is now available on demand through many cable companies and is also available on Amazon Prime.

THE GRAND BUDAPEST HOTEL: The Virtue and Vocation of Civility

Budapest-liftI enjoyed this movie when I saw it last summer but it didn’t stay with me like some of director Wes Anderson’s other films, particularly The Darjeeling Limited. Then, about a week ago I happened to catch the last 10 minutes of it while waiting for another program to begin on HBO.

In one of the final scenes a journalist asks the narrator, Mr. Moustafa about his relationship with the film’s hero, M. Gustave. Moustafa replies, “There are still faint glimpses of civilization in this barbaric slaughter house that was once known as humanity. He was one of them. . . You see, we shared a vocation. He certainly sustained the illusion with marvelous grace.” I had not caught the reference to vocation when I saw the film in the theatre. It intrigued me enough to watch the movie again on HBO. Seeing the film through the lens of shared vocation completely re-framed it for me.

M. Gustave, played by Ralph Fiennes (another Harry Potter alumnus Voldemort) is the manager of an elegant hotel in pre-war Eastern Europe whose life is dedicated to service, hospitality, good manners and civility.

Hospitality is thought to be the core virtue of all of the Abrahamic religions—Judaism, Christianity and Islam. Genesis 18 begins with a description of Abraham and Sarah’s warm hospitality, their welcoming of strangers.

The Grand Budapest Hotel, gorgeously designed and photographed, is both an elegy for the lost virtues of hospitality and civility and a moving plea for their return. This film, like Birdman which I’ll discuss in a later blog, is a fable and is photographed more like a fairy-tale than Into the Woods.

In upcoming blogs, I plan to write next about Birdman, Mr, Turner, Whiplash and Chef; Boyhood, Saint Vincent and Force Majeure (Turist), The Imitation Game and The Theory of Everything: The Lunchbox and Words and Pictures; Foxcatcher and Nightcrawler; Pride and Into the Woods.

Learning How to See – Honoring Mike Nichols

mike-nichols1I begin the first reflection in The Way with a quote from Pierre Teilhard de Chardin: “The whole of life lies in the verb seeing.” Mike Nichols taught my generation how to see.

College students in the 60’s memorized the improvisational comedy routines he did with his partner Elaine May. They and their contemporaries didn’t tell jokes like Bob Hope and Milton Berle and other favorites of the “greatest generation.” Their humor was different, edgier, situational rooted in the angst, neuroses, and existential panic of the first generation to grow up with the bomb.

Nichols first film, Who’s Afraid of Virginia Woolf exposed people to a view of marriage and relationship that was the polar opposite of “Leave It to Beaver” and “Father Knows Best.” It shocked viewers as it hurtled forward at roller coaster speed moving audiences from laughter to heartbreak and back.

Life1969His second film, The Graduate (1967) was a cri de coeur for a generation who was being told that the future was “plastic.” The same year the film was released, “Don’t Trust Anyone over 30” became the generation’s slogan. Dustin Hoffman’s Benjamin, the rebel without a clue, became the symbol of its confusion and unrest, so much so that the July 11, 1969  cover of Life magazine features an image of Dustin Hoffman contrasted with an image of John Wayne and the caption: “Dusty and the Duke—A Choice of Heroes.” (I have a copy of the magazine.) At the end of “The Graduate” Dustin Hoffman and Katherine Ross, accompanied by the music of Simon and Garfunkel, escape without having any idea of where they were going. The songs gave voice to Benjamin’s inarticulate longing and to that of much of my generation.

More often than not his best films portrayed people trying not to lose their souls in an increasingly impersonal world. He followed The Graduate with an adaptation of Joseph Heller’s novel Catch 22  a satire of war that mirrored the nation’s frustration with Vietnam. Silkwood dramatized the efforts of the whistleblower heroine, and gave voice to baby-boomer paranoia and legitimate distrust of faceless corporations. Charlie Wilson’s War, Nichols last film in a career that spanned forty years, depicted an anti-hero’s maneuvering his way through the swamp of government bureaucracy in Washington.

Mike Nichols was an artist of his age and for the ages. His work challenged and inspired me and I will miss him.

The Next Archetypes and a Movie Course


The_Way_Logo_2_PrePromoAfter all of the excitement and getting folks to vote on the next Archetypes & A Movie course, we have pulled a switch-a-rooney! Julienne and I got part way into recording the ‘Best Exotic Marigold Hotel’ and it just didn’t feel right. Both our intuition and wisdom told us that it simply wasn’t the right time for it.  Having just taught “The Way” a few days before, it was the most timely and generative choice for the next audio workshop.

We plan to combine the recording of my talk in LA with the recording of the movie commentary plus even more bonus material. Look for the new course in late summer! (We’re hoping by September…)

Our apologies to everyone who voted for Best Exotic Marigold Hotel, it remains at the top of our list and we are sure that the course on The Way will be fulfilling as well.

One Day Pilgrimage – LA Area


Is it possible to make a pilgrimage in one day? Perhaps, not, but it is possible to begin! Spend a day with and on “The Way“.
When: July 12th, 9am – 3:30pm
Where: All Saints Church, 132 N. Euclid Ave. Pasadena, CA 91101
Fee: $55 (with lunch), $45 (bring your own lunch)
Register Now

Many films are contemplative works of art, they meet us where we are and offer a mirror image of our inner selves.

The film, “The Way” is such a work of art. It follows four pilgrims as they travel the El Camino de Santiago de Compostela. It features actor Martin Sheen and is directed by his son Emilio Estevez. The film is powerful, inspirational, capturing the outer journey while illuminating the inner one.

Join teacher and spiritual director, Jim Curtan as he guides us along the route of the pilgrimage, pausing along the way, as pilgrims do, at various stages of the journey to reflect on the insight, inspiration and intuitive guidance we receive.
Jim has combined his 20 years experience in the entertainment industry with more than a decade as a retreat leader, archetypal counselor and spiritual director to develop a unique and entertaining approach to using film as a gateway to rich spiritual experience.

Download the flyer: A Day on the Way
Register Now

“The geographical pilgrimage is the symbolic acting out an inner journey. The inner journey is the interpolation of the meanings and signs of the outer pilgrimage. One can have one without the other. It is best to have both.”
-Thomas Merton, “Mystics and Zen Masters”

Archetypes and a Movie Poll

Many of you have already enjoyed the first edition of my ‘Archetypes and a Movie’ series: Ratatouille:  Fate, Destiny & the Hero’s Journey.  We are in the process of planning the next workshop and would love your feedback on what you would most like to see and learn from.

The theme of “pilgrimage” has been coming up quite a bit lately and pilgrimages can take many forms.  While you don’t literally need to travel to go on a pilgrimage, it’s always a journey to the Sacred.  The word pilgrim (from the Latin peregrinus) means a traveler, literally one who has come from afar.

Each of these films are an exploration of the archetype of the pilgrimage. We’d like to know which one you would most like to experience as an audio workshop.

Please take a few seconds to complete the 3 poll questions below.

Many thanks,
Jim and Julienne

Film Choices for a course on Pilgrimage

The Way (2010) TheWay_2staring Martin Sheendarjeeling_limited

The Best Exotic Marigold Hotel (2011) staring Judi Dench, Bill Nighy, Maggie Smith & Tom Wilkinson

The Darjeeling Limited (2007) staring Adrien Brody, Owen Wilson & Jason Schwartzman

Philomena_posterPhilomena (2013)BEst staring Judi Dench & Steve Coogan


You can also use the comments below to suggest a film not on this list and tell us why you’d like to learn from it.

The Year of the Survivor: from Katniss to Jasmine

In the magnificent new document, Evangelii Gaudium, Pope Francis exhorts “all the communities to an ever watchful scrutiny of the signs of the times.” This, he says, “is a grave responsibility, since certain present realities, unless effectively dealt with, are capable of setting off processes of dehumanization which would then be hard to reverse.” Later in the document, the Pope says, “When we attempt to read signs of the times it is helpful to listen to young people and the elderly.”

St. Ignatius, the founder of the Jesuits, of which Pope Francis is a member, placed great emphasis on scrutinizing the signs of the times as a vital tool of spiritual discernment. As the product of eight years of Jesuit education, I have long been in the habit of paying attention to the signs of the time.

Here are some signs that caught my attention during the December 3rd broadcast of NPR’s Morning Edition.

  1. The median rent for an apartment in San Francisco has risen to $3400 per month. Evictions have risen 175% in the last three years as landlords and real estate speculators evict long time tenants to convert apartment buildings into condos. Many of these evictees are disabled or seniors on fixed incomes. The inner Mission District, home to a mix of working-class Latinos, artists and activists, has been particularly hard hit.  Former Mayor Art Agnos says the city is struggling to keep families who make $60,000 to S100,000 per year in the city and “It’s all but over for the poor.”
  2. Every three years since 2000, 15 year-olds from around the world take a test to evaluate their skills in reading, math and science. Scores for U. S. students have been flat since 2003.
  3. Close to 2,000,000 new jobs have been added to the work force this year, however many new hires are working fragmented unpredictable hours. They are asked to commit to 5 days of availability for last-minute scheduling with no guarantee of work. Instead the employee waits on call while a computer program calculates the need for more or less staff to be called in during the day.
  4. Conservative columnist, Yuval Levin was interviewed about his new book, The Great Debate: Edmund Burke, Thomas Paine and the Birth of Right and Left. He spoke about the distinction between governments run on principles and governments run on theories. The interview left little doubt that leaders in all three branches of our government have lost sight of the principles on which our nation is founded and have brought us to near-paralysis in a never-ending debate about theories—a debate which fails to serve or support the people.
  5. All of this good news was followed by the Marketplace Morning Report’s discussion of the 17% unemployment rate among young people 16-24. Harper’s Magazine Columnist, Jeff Madrick, a Senior Fellow at the Roosevelt Institute noted that while corporations and special interest groups like seniors have full-time lobbyists representing their interests, young people who are “rapidly becoming the most disadvantaged group in America” have no voice or representation at all. College graduates who can’t find better jobs and seniors who can’t afford to retire are filling jobs that used to provide entry-level employment for the young. Madrick suggests that the popularity of movies like The Hunger Games and movements like Occupy Wall Street reflect young people’s growing dissatisfaction with the establishment. He ends the interview wondering, “Is rebellion the only way you’re going to get some justice out of the nation?”  . . . “It would not be unprecedented.”

Jennifer Lawrence as 17 yr old Katniss Everdeen in Catching Fire (2013)

Another way of reading the signs of the times is by paying close attention to popular culture, movies and television.  And this has, no doubt, been the year of the survivor. Dystopian societies abound in which the privileged and cynical 1% hoard food, medicine and resources while the 99% live in fear and misery as they do in Catching FireElysium and most especially, 12 Years A Slave.  Entrenched and inefficient bureaucracies, self- righteous in their superiority strangle others with their out-of-date often arbitrary rules, threatening the lives of AIDS patients in The Dallas Buyers Club and at-risk teenagers in both Short Term 12 and Fruitvale Station. The heroine of Gravity and the hero of All is Lost fight for life alone in the incomprehensible and unforgiving vastness of space and sea. The kidnapped hero of Captain Phillips discovers that captors are as desperate to survive as he is. When Captain Phiilips asks the hijackers if there isn’t something else they could do as an alternative to being pirates, their leader says, “Maybe in America.”  Today some Americans might reply, “Maybe not.”

Although not all of the characters survive, their will to survive is a testament to the strength and resilience of the human spirit.

Cate Blanchett as Jasmine in Blue Jasmine (2013)

Cate Blanchett as Jasmine in Blue Jasmine (2013)

The only character in a major film that lacks the character and skills to survive is Jasmine, the privileged and entitled central character of Woody Allen’s latest film, Blue Jasmine. Unlike the characters in the rest of this year’s films, all of whom nature and the times have made into unsentimental realists, Jasmine clings to the groundless expectation that she will be magically restored to the station she unwaveringly believes she deserves.

Reflecting on the signs of the times, Joshua Cooper Ramo, in his book, The Age of the Unthinkable, says

“In a time of change and perpetual surprise we’ve arrived at a moment of peril that not long ago would have seemed unimaginable. . . . All around us the ideas and institutions that we once relied upon for our safety and security are failing.”

“In a revolutionary era of surprise and innovation,” he continues,” you need to learn to think and act like a revolutionary. People at revolutions who didn=t act that way have a particular name: victims.”

Jasmine and her larcenous, con-artist husband represent the culture of high finance, hedge funds and fraudulent mortgages—the fabled “1%” who manipulate markets, news media and the nation’s pay-to-play political system. Pushed to the wall, they are revealed to have neither courage, nor character, nor endurance. They are rigid and unable to adapt, to imagine a world other than the one they’ve lost. They are victims.

The younger generation of the 1% has no buy-in to the market. They get their news from John Stewart and Stephen Colbert who mercilessly expose the hypocrisies and folly of the elite. They are more likely to read the rigorous investigative reporting of Matt Taibbi and heisenberg-chocolateothers in Rolling Stone than to scan the pages of The Wall Street Journal. They organize through the social media. They don’t watch television: they download entertainment from the internet. Walter White (Breaking Bad), the straight arrow high-school chemistry teacher who, screwed over by the system when he needs health care, becomes a ruthless drug lord is a folk hero. Heisenberg T-shirts abound.

Katniss, the heroine of “The Hunger Games”, along with the protagonists of Dallas Buyer’s Club, Short Term 12, Fruitvale Station, Elysium, Captain Phillips, and even 12 Years a Slave represent the “99%”. What unites these characters is their refusal to be victims; they inspire us with their refusal to submit passively or helplessly to the circumstances they find themselves in regardless of how hopeless and impossible they might be. They are rebels and revolutionaries.

Asked if he was an optimist, Pope Francis said,

“I do not like to use the word optimism because that is about a psychological attitude. I like to use the word hope. Hope is a gift from God that cannot be reduced to optimism, which is only human. God does not mislead hope; God cannot deny himself. God is all promise.”

In these chaotic times, these movies, most of which are based on true life events, speak to me like signs. They give me hope.

Happy New Year!


Guide To Summer Movies 2013

Hidden amidst the glut of over-produced and under-performing summer blockbusters and tired sequels, are a handful of movies that are worth checking out. Here are a few of my recommendations.

The East is a smart, complex, suspenseful thriller about the war the battle between eco-terrorists and corporate polluters. The morally certain heroine, played by Brit Marling (who also co-authored the screenplay), goes undercover to infiltrate and expose an anarchist group and discovers an alternately idealistic and violent commune. She finds her loyalties shifting as she discovers increasingly disturbing information about the agency that hired her and the clients it represents.

20 Feet from Stardom is a joyful, inspiring documentary recounting the lives and careers of five rock and roll back up singers who have sung with everybody from the Beatles, Rolling Stones and Tina Turner to Bruce Springsteen and Bette Midler. Among the featured backup singers is the legendary Darlene Love whose battle to escape the control of record producer Phil Spector provides the heart of the story.

Fill the Void is a beautiful and moving Israeli import about family, tradition, faith and the tension between choice and duty. It offers a rare glimpse into the hidden lives of Ultra-Orthodox Jews as they find ways to confront tragedy and renewal within the strong bonds of community. This is a masterpiece. Not to be missed.

Fruitvale Station. The recent Trayvon Martin tragedy may give this beautifully crafted film added resonance and timeliness, but it stands on its own as a powerful work of art, the best film I’ve seen this summer. First time director, Ryan Coogler has adapted the true story of Oscar Grant, a twenty-two year old black man who was shot in the back by a Bay Area transit officer on New Year’s Eve 2008. The film chronicles the last day of Oscar’s life. Although, the events of the day are ordinary, each moment is made precious by the viewer’s knowledge that it is his last. The film features Octavia Spencer (Academy Award winner for The Help) as Oscar’s mother and Michael B. Jordan (The Wire and Friday Night Lights) in a star-making performance as Oscar. Like the best works of art, this film is worth repeated viewing and reflection.

The Way, Way Back is a coming of age story about an adolescent forced to spend the summer at a vacation home with his divorced mother, her creep boyfriend, his nasty daughter and their dysfunctional neighbors. He finds refuge at a local water park where he is mentored under the tutelage of its eccentric staff. From the producers of Juno and Little Miss Sunshine and written and directed by the Academy Award Winning screenwriters of “The Descendants,” the movie blends comedy and pathos with the same expertise they brought to their previous movies. Featuring knockout comic performances from Allison Janney and Sam Rockwell.

Much Ado About Nothing. Joss Whedon, the creator of Buffy the Vampire Killer and the writer/director of last year’s highest grossing movie, The Avengers, would seem an odd choice to adapt and direct Shakespeare’s classic comedy. It turns out to be a perfect match. Filmed in black and white in only 12 days, using the director’s home for all the locations on a budget that was likely 1% of the budget for The Avengers, Whedon has created a sophisticated, playful, down-to-earth, romantic comedy. You don’t have studied Shakespeare to enjoy it.