Solo: A Star Wars Story

“Chewie, I’ve got a bad feeling about this..”

(2018) Science Fiction (Disney/Lucasfilm) Alden Ehrenreich, Joonas Suotamo, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Paul Bettany, Jon Favreau (voice), Phoebe Waller-Bridge (voice), Erin Kellyman, Linda Hunt (voice), Ian Kenny, John Tui, Anna Francolini, Andrew Woodall, Warwick Davis, Clint Howard, Anthony Daniels, Charlotte Louise. Directed by Ron Howard

 

Prequels can serve one of two purposes; to give insight to an established character or franchise, or to forever tarnish them. The much-anticipated Solo: A Star Wars Story could go either way…or both.

Han Solo (Ehrenreich) is an orphan committing crimes for a kind of reptilian Fagin named lady Proxima (Hunt). He and his best girl Qi’ra (Clarke) plan to get out of the life and find a life of their own but their plans go awry and the two are separated. Indy..I mean Han…resolves to come back for her and joins the Imperial Stormtroopers as a pilot. Eventually, he meets scoundrel Tobias Beckett (Harrelson) who along with his squeeze Val (Newton) are planning a big heist, one which may finally get him the opportunity to finally rescue his girl. First he will have to avoid the wrath of the crime boss Dryden Vos (Bettany) and meet up with future allies Chewbacca (Suotamo) and Lando Calrissian (Glover).

This is a movie in which the sum of its parts exceeds the whole. An underrated cast, writer Lawrence Kasdan who wrote arguably the best installment in the series (Return of the Jedi) and one of Hollywood’s most respected directors (Oscar winner Ron Howard). Still, despite exceptional turns by Harrelson and particularly Glover (who at one time was rumored to be toplining a Lando Calrissian movie of his own) the movie feels curiously flat. Perhaps it was because Howard was brought in late after much footage had already been shot by departing directors Phil Lord and Chris Miller, who were (depending on who you ask) shown the door or found it on their own after artistic differences with Disney brass. More likely, it’s because Ehrenreich who is a very talented actor, was given a no-win situation in which he was given. Harrison Ford as Han Solo is one of the most iconic roles of the last 50 years and most people can’t see anyone playing Solo except Ford. I will say that Ehrenreich does his level best but for whatever reason his performance didn’t resonate with me. Great effects, great pacing and great cinematography can take a movie so far but it also has to connect, to inspire and amaze. Solo does none of those things.

REASONS TO GO: Glover and Harrelson do bang-up jobs.
REASONS TO STAY: The film left me feeling flat and was overall a disappointment.
FAMILY VALUES: There is some science fiction-type violence.
TRIVIAL PURSUIT: The fertility idol from the opening scene of Raiders of the Lost Ark can be seen on a table in the meeting room of Dryden Vos, the villain.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 1/30/19: Rotten Tomatoes: 70% positive reviews: Metacritic: 62/100.
COMPARISON SHOPPING: Rogue One: A Star Wars Story
FINAL RATING: 6/10
NEXT: Then Came You

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Chasing Great

Richie McCaw is flying high.

(2016) Sports Documentary (Abramorama) Richie McCaw, Stuart Barnes, Jeremy Watson, Graham Henry, Barney McCone, Dr. Ceri Evans, Schalk Burger, Gilbert Enoka, Dan Canter, Allain Roland, Phil Kearns, Steve Hansen, Margaret McCaw, Dr. Deb Robinson, Joanna Spencer-Bower, Gemma Flynn, Donald McCaw, Andre King, Arlo Feeney, Charlotte Brewer. Directed by Justin Pemberton and Michelle Walshe

 

I will start this out by stating that while I’m familiar with the sport of rugby (having played it once or twice in college) I am not knowledgeable about it. Most people who are going to be attracted to this film in the first place are those who love the sport to begin with and maybe follow it on some of the global sports channels that are available on cable and satellite TV.

Those sorts will already be familiar with the name Richie McCaw. He was the captain of the New Zealand national team known as the All-Blacks from 2007-2015 and became the first team to win the World Cup of Rugby two years in a row (like the Soccer world cup and the Olympics, the World Cup of Rugby is played only every four years). He is revered by many knowledgeable pundits as maybe the best to ever play the game.

He’s tailor-made to be the game’s ambassador to more heathen countries like the United States where the sport is barely on the radar of most Americans – it certainly isn’t a national obsession like it is among Kiwis. McCaw is matinee-idol handsome, articulate in interviews and an intense player who has made a career of leaving it all out on the pitch after each and every match.

The drawback is that McCaw is an intensely private person who keeps his motions close to the vest for the most part. The exception is the 2007 World Cup which the heavily favored All-Blacks were ousted in the quarter-finals by France which is, surprisingly, a Rugby world power. Richie took the loss hard as did all of the All-Blacks. In fact, the press weren’t much better; they described their national team as “a disgrace to the nation.” That’s a bit harsh but then, national obsession.

We get some insight into McCaw as a man; he is certainly driven and from a young age he not only wanted to be an All-Black, he wanted to be a GREAT All-Black. It was always part of his plan and he and his Uncle Bigsy came up with a strategy to get him there. He still has the napkin that his uncle and he wrote the strategy down on. We also see that he’s a licensed pilot of single-engine planes and helicopters; he flies a great deal during the course of the film, even climbing into a glider and soaring engine-free above the beautiful Kiwi landscape.

But we don’t get a lot of insight into Richie as a person. We see him eating meals with his Mum and Dad, being a bit affectionate with his girlfriend (a woman’s hockey player named Gemma Flynn) but we don’t hear much about what he’s thinking, feeling. If you want to learn what makes McCaw tick beyond the “driven” and “competitive” clichés, you’re not going to find much here.

There’s plenty about McCaw’s mental acumen, his ability to strategize calmly in the face of adversity and his ability to inspire his teammates to push harder. We rarely see anything negative about McCaw, some sour grapes sports journalism at most. This skirts the edge of hagiography and then jumps in with both feet. It doesn’t help that the directors don’t really make much of an effort to do anything terribly innovative. It’s the standard formula of home movies re-enactments and event footage.

I’m sure there are people here in the States waiting for a documentary like this but for the most part, it’s not going to make any new converts. Rugby’s a great sport but it needed a much better documentary than this to really get any sort of traction here in the States.

REASONS TO GO: You don’t have to be a rugby fan to appreciate this film (although it helps).
REASONS TO STAY: The form is fairly pedestrian – sports documentaries 101.
FAMILY VALUES: There is some sports violence – rugby is a contact sport, mates.
TRIVIAL PURSUIT: McCaw grew up on a farm in a fairly remote part of New Zealand; his parents still live there.
CRITICAL MASS: As of 3/5/18: Rotten Tomatoes: 71% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Senna
FINAL RATING: 6/10
NEXT: A Fantastic Woman

Sully

Take me to the river.

(2016) Biographical Drama (Warner Brothers) Tom Hanks, Aaron Eckhart, Laura Linney, Jamey Sheridan, Anna Gunn, Valerie Mahaffey, Holt McCallany, Delphi Harrington, Mike O’Malley, Kate Couric, Jeff Kober, Molly Bernard, Chris Bauer, Blake Jones, Jane Gabbert, Molly Hagan, Sam Huntington, Michael Rappaport, Jerry Ferrara, Ann Cusack. Directed by Clint Eastwood

 

January 15, 2009 was a watershed moment for New York City and all of the United States. On that day, US Airways Flight 1549 took off from LaGuardia Airport in New York City bound for Charlotte, North Carolina. It was in the air for just about three minutes when a flock of Canadian geese flew across their path. Several birds were sucked inside each of the two engines and the aircraft lost thrust from both engines. Without power, they had to glide onto a runway but the pilot didn’t think they would make any nearby airport. He determined their best chance for survival was to to make a controlled water landing on the Hudson River. He did so – without a single loss of life. That incident became known as the Miracle on the Hudson.

The pilot, Captain Chesley “Sully” Sullenberger (Hanks) was hailed as a hero by the popular media and the press. He and his co-pilot Jeff Skiles (Eckhart) had done the remarkable and saved a plane full of passengers and crew (155 souls in all) from almost certain death. But there were questions, questions the National Transportation Safety Board had about Sully’s decision making. Flight data showed that one of the engines was still turning, indicating that there was sufficient power in the engine to make it back to LaGuardia. Also, computer simulations showed that the plane could have made it back to the airport.

However, Sully knew through 40 plus years of flying that it wasn’t so. Doubting himself, his career and reputation at stake, he knows he will have to confront his accusers with the only things he has to defend himself with – his experience and the truth.

It would seem that the story of Sully Sullenberger would be the perfect fit for Clint Eastwood; after all, he’s one of the finest directors working and the Sullenberger story has that same resonance that Chris Kyle of American Sniper did. However, whereas that film was a character study disguised as an action film, this is more of a disaster film disguised as a character study.

Hanks doesn’t really resemble Sullenberger facially but he’s a good choice for the role. This is in many ways very similar to his Jim Lovell role in Apollo 13 although there are some differences we’ll get into in a bit. Still, it’s a portrait of a calm professional doing what he does best in a moment of crisis, just like the Ron Howard film. Hanks has that quality of calm and cool that he has projected throughout his career and while he is not as well-known for those types of roles, he still excels at them, quietly.

What I was a little bit disappointed about is that we don’t really get that much insight into Sullenberger himself. Much of the movie revolves around the investigation of the crash, and while we get scenes juxtaposing the hero-worship going on in the media and the public (which Sullenberger seems definitely uncomfortable with) and the questioning of his competence at the NTSB hearings, we don’t get a sense of what Sullenberger was thinking very often. He’s a notoriously private man in real life and so he may not have shared a lot of that (I haven’t read the autobiography this is based on, I must confess) for writer Todd Komanicki to work with.

The scenes of the crash which are mostly told in flashback (as well as nightmares that Sully has of the plane crashing into buildings) are for the most part pretty well-told, although to be honest special effects are not Eastwood’s forte. Still, the scenes are serviceable and give the viewer the “you are there” feel that is needed.

Of course, there were more folks in the cast than Hanks. Eckhart is rock solid as the co-pilot. Jamey Sheridan also shines as the head of the NTSB investigation. Laura Linney plays Sullenberger’s wife and sadly, she is depicted mostly on the phone with Sully which really puts some strain on the dynamic between them – you never get a sense of the relationship between them. I think the movie could have used some time with the two face-to-face onscreen.

Eastwood is much too savvy a director to churn out a movie without at least some merit (although Jersey Boys might well be the exception to that rule) but this one is a bit too clinical to be among his best. Don’t get me wrong – it’s a great story and the depiction of those 208 seconds from the time the birds were encountered to the controlled water landing are harrowing and amazing. Any Eastwood movie – even Jersey Boys ­– is worthwhile viewing. I like Sully well enough but I left it feeling that there could have been more – and should have been.

REASONS TO GO: The performances are terrific particularly among the leads. An inside look at an American hero – and why being a hero isn’t necessarily good news for the hero.
REASONS TO STAY: There’s little insight into Sullenberger himself.
FAMILY VALUES:  A little bit of rough language and scenes of plane crash peril.
TRIVIAL PURSUIT:  Ferry captain Vincent Lombardi, who was the first on the scene to pick up survivors, plays himself in the movie.
CRITICAL MASS: As of 10/11/16: Rotten Tomatoes: 82% positive reviews. Metacritic: 74/100.
COMPARISON SHOPPING: Flight
FINAL RATING: 7/10
NEXT: ARQ

Inside Llewyn Davis

The Greenwich Village People.

(2013) Drama (CBS) Oscar Isaac, Carey Mulligan, John Goodman, Justin Timberlake, Garrett Hedlund, F. Murray Abraham, Ethan Phillips, Robin Bartlett, Max Casella, Jerry Grayson, Jeanine Serralles, Adam Driver, Stark Sands, Alex Karpovsky, Helen Hong, Bradley Mott, Michael Rosner, Bonnie Rose, Sylvia Cauders, Amelia McClain. Directed by Joel and Ethan Coen

Some places and times held a sort of magic that created oodles of great music that has stood the test of time – places like Athens, Georgia in the mid-80s, San Francisco in the late 60s, Manchester, England in the 90s and Greenwich Village in the late 50s, early 60s. In the last of these, beatniks and folk musicians were thrown together to begin a phase of rock and roll exemplified by Bob Dylan and Dave van Ronk, among others.

In this milieu toils Llewyn Davis (Isaac), once a member of the duo Timlin and Davis – until his partner threw himself off the George Washington Bridge in a fit of melancholy that was as counterculture as a suicide can get (“You’re supposed to throw yourself off the Brooklyn Bridge,” grouses one character. “The George Washington Bridge? Who does that?!?”) and now Davis is trying to go it alone. It is winter in the Village and he has no money, existing from gig to gig and without a winter coat. He relies on the generosity of his friends to give him a couch to sleep on during the night and maybe a cup of coffee or some food.

When he accidentally lets out the cat of his Upper West Side buddies the Gorfeins (Phillips, Bartlett) who essentially show off Llewyn as their bohemian folk singer friend, he embarks on an odyssey of his own that takes him into the life of Jean (Mulligan), a fellow folk singer and a member of the duo Jim (Timberlake) and Jean who has gotten pregnant. Who is the father? Could be Jim, whom she is married to and wants to have a baby with…or it might be Llewyn whom she slept with in an inadvisable night of drunken regret. She doesn’t want to have the baby if it’s at all possible that the baby could be his. Fortunately for her, he has an abortionist on call for what seems to be a string of brief flings.

He ends up on a road trip to Chicago with a taciturn driver (Hedlund) and a garrulous jazz musician (Goodman) who when he’s not sleeping is regaling Llewyn with highly mannered stories about jazz hipsters he has known. He goes to meet an impresario (Abraham) his agent (Grayson) was supposed to have sent a copy of his album to…but didn’t. In tow is this cat who is the albatross around the neck of the Ancient Mariner.

The Coens specialize in taking ancient stories and modernizing them and there are elements of this here, not just in the Rime of the Ancient Mariner but also in their old standard Odyssey as well as maybe a few newer tales. While there is a good deal of humor here, it is less in the dry, deadpan style they’re known for and a bit more subtle and a lot darker.

Oscar Isaac kills here. Not only does he sing and play guitar, he also acts. Llewyn Davis is a bit of a prick; he uses his friends and when they’re usefulness has been exhausted, he moves on. He is frustrated and is known to lash out without provocation and he is a bit on the arrogant side, Starving Artist division. Yet even despite Llewyn Davis’ many faults, Isaac imbues him with a kind of empathy that allows him to see through the pain. While he doesn’t necessarily like people all that much, he relates to them real well. Isaac, who has been one great role away from stardom, has found that role. Expect him to be an A-lister from here on in.

There are some fine supporting performances here as well, from the shrewish folk singer by Mulligan to the mannered jazz musician by Goodman which is a good deal out of both their comfort zones I think. Timberlake also does some good work that is a bit out of his own comfort zone, playing the terminally nice and terminally clueless Jim.

The music here is absolutely amazing. My mom used to love Peter, Paul and Mary and had an album of Vanguard folk singers that included the Weavers, Odetta and Cisco Houston and I listened to that album often. While the folk singers on that album weren’t the well-scrubbed WASPs that several of the singers are here (and which the dark-haired Llewyn is not), the vibe is at least approachable. Most of the music was recorded live and the actors mainly sang and played their instruments for real.

What happened though was that I felt disconnected from the movie to a large extent. I normally love what the Coen Brothers do and even their less successful movies (Burn After Reading) have at least something of interest about them. Frankly I admired the craft of the movie in re-creating the era; as I said, I loved the music and the performances as well. The movie just didn’t resonate with me. Maybe I was just in a bad mood but I left the movie feeling a little disappointed. Maybe it is the circular nature of the story which begins and ends with essentially the same incident although you’re never sure when the flashback actually begins.

Still, the Coens’ worst is better than the best of most directors. They take chances and at the end of the day, their movies aren’t made to please anybody but themselves which is the proper way to go about making movies. Try to please too many people and you end up pleasing nobody.

REASONS TO GO: Gorgeous music. Isaac is a star.

REASONS TO STAY: Much more mainstream than we’re used to from the Coens.

FAMILY VALUES:  Some fairly rough language including some sexual references as well as some brief violence.

TRIVIAL PURSUIT: The photograph of Chris Eldridge, guitarist for the Punch Brothers (a real folk band who contributed heavily to the music) is seen on the Timlin and Davis album cover; Eldridge is identified as Mike Timlin, the partner who threw himself off the George Washington Bridge.

CRITICAL MASS: As of 1/12/14: Rotten Tomatoes: 94% positive reviews. Metacritic: 92/100.

COMPARISON SHOPPING: A Mighty Wind

FINAL RATING: 6.5/10

NEXT: The Secret Life of Walter Mitty (2013)

The Rundown

The Rock smells what this little guy is cooking.

(2003) Action (Universal) Dwayne “The Rock” Johnson, Seann William Scott, Rosario Dawson, Christopher Walken, William Lucking, Ewen Bremner, Jon Gries, Ernie Reyes Jr., Stuart F. Wilson, Dennis Keiffer, Garrett Warren, Toby Holguin, Paul Power, Stephen Bishop. Directed by Peter Berg

Hollywood is in short supply of action stars these days, with the usual suspects getting long in the tooth, short at the box office or departed to other careers. But the search for new blood netted a real find in The Rock. Wrestling star Dwayne “The Rock” Johnson was a success in The Mummy Returns and its spin-off, The Scorpion King. Now he’s cast in a more mainstream action flick, and the Hollywood powers-that-be were anxious to see if The Rock could open a movie that doesn’t have a built-in audience.

With material this good, he sure can. Here he plays Beck, a beleaguered bounty hunter who really wants to be a chef. He does the bounty hunting gig to pay off a debt to Walker (Lucking), a shady character who arranges to clear Beck of all obligation and supply him with enough stake to open his dream restaurant if he can retrieve one last item: the gangster’s son Travis (Scott) from the Amazon. Beck agrees to the deal.

With an incomprehensible Irish pilot named Declan (Bremmer), Beck arrives in a pimple of an Amazon town that’s run by the nefarious Hatcher (Walken) as his own personal kingdom, brutally forcing imprisoned laborers to mine gold. Beck wants no part of this; he’s just there for his man. However, Travis has actually found the location of a priceless treasure called El Gato. The local rebels want it to finance their fight against Hatcher; Hatcher wants it because he’s greedy. Travis wants it to make his reputation.

The pair go into the jungle to find the item, accompanied by the beautiful bartender Mariana (Dawson). Along the way, they run into a pack of libidinous monkeys, combative men of tiny stature with a predilection for vines and kicking the Rock around like a bitch, and an interesting fruit that gives the consumer a unique viewpoint.

It’s hard to classify this; it could be a comedy with action, or an action film with comedy. Both sides of the equation work marvelously. The Rock is able to lampoon his own persona while enhancing it, and has plenty of acting chops. The time is not far off where he will be tackling roles that we wouldn’t ever have associated with a pro wrestler.

Walken is, as always, worth the price of admission all by himself. A scene where he tries to explain the Tooth Fairy to a group of tribesmen is a classic. Scott, best known as Stifler in the American Pie movies, is satisfactory as a second banana. He’s smarmy and self-centered, but audiences can still empathize with him. Dawson has become a terrific leading lady; previous to this she had appeared in Men in Black 2 and had been intriguing there.

Director Peter Berg also did a wonderful black comedy called Very Bad Things which was in fact a very good thing. As with that film he deftly weaves the action and comedy elements into a cohesive whole, a very much more difficult task than it sounds. While best-known to the public as an actor on the Chicago Hope series, he’s also directed some fairly decent films since this one including Friday Night Lights and Hancock. However, in the interest of full disclosure he also directed the alien invasion film Battleship as well.

Had this been released during the summer, The Rundown would have been a massive hit. As it stands, it came in under the radar to a very large extent; it didn’t make my list of must-see fall films that year and as a matter of fact, a lot of critics wrote it off until they actually saw it. What it did turn out to be was the movie that was the bridge the summer blockbusters with the fall and winter hits in 2003. It’s safe to say we can all smell what The Rock is cooking: stardom and this was a very key ingredient in that dish.

WHY RENT THIS: The Rock’s charisma and charm is in full flower. Well-written, poking fun at the Rock’s image while enhancing it. Nice action sequences.

WHY RENT SOMETHING ELSE: The Rock wasn’t as good an actor as he would later come to be and some of the scenes are a bit awkward. A bit cliché in places.

FAMILY MATTERS: There’s a bit of violence (although nothing too over-the-top) and some crude dialogue.

TRIVIAL PURSUITS: There is a cameo by legendary action star Arnold Schwarzenegger as a patron in the bar scene. He happened on the set while filming an appearance as The Terminator for the Super Bowl. He was approached to do the shot and was agreeable. Fans have pointed to him saying “Have fun” to Johnson as a passing of the torch from one action legend to another.

NOTABLE HOME VIDEO FEATURES: There’s a featurette on actor Christopher Walken and a parody feature on an E!-style channel about the monkeys.

BOX OFFICE PERFORMANCE: $80.9M on an $85M production budget; the movie was unsuccessful on its theatrical run although I understand it has since become profitable on home video.

FINAL RATING: 9/10

NEXT: Tamara Drewe

Crazy Love

Even Linda Riss can't believe her eyes.

(Magnolia) Burt Pugach, Linda Riss, Jimmy Breslin, Bob Janoff, Sylvia Hoffman, Rita Kessler, Berry Stainback, Janet Pomerantz. Directed by Dan Klores and Fisher Stevens

Love is an emotion that can overwhelm even the most rational of us. Under its spell, we turn into gibbering, obsessive freaks that lose all sense of proportion and reality. We descend into a kind of baby-talking, goo-goo eyed madness that is considered part of love’s sweet charm. Sometimes, that madness turns savage.

Burt Pugach was a successful attorney in the Bronx (read: ambulance chaser) in 1957 when he met Linda Riss. On the surface, they couldn’t have been more different; he was sophisticated and charming but far from handsome. She was beautiful but naive, easily swayed by the more worldly Burt.

At first she wasn’t interested, but he was persistent. He was co-owner of a ritzy nightclub in Manhattan and he would take her there to meet celebrities of the day; whenever she walked in the door, the orchestra would play “Linda.” He had his own airplane and a pilot’s license and would take her all over the Northeast and beyond. He gave her lavish gifts. His persistence eventually paid off.

There was just one problem – Burt was already married. When Linda found out about it, she was understandably devastated. Burt protested that he had already been in the process of getting a divorce before he met Linda – why, here were the divorce papers to prove it. However, Linda eventually discovered that the papers were forged.

For Linda, that was the last straw. She called it off between her and Burt and moved on. Burt, however, couldn’t let go; he continued to pursue her despite her repeated entreaties to leave her alone. She met a nice man whom she eventually became engaged to. The thought of Linda with any other man but him drove Burt over the edge, leading him to commit an act so vile, so dreadful that it captured the headlines of its time and even by today’s standards is unusually brutal. It would lead the two of them on an odyssey that would continue long past the tragedy of that day in 1959.

I won’t go into what happened precisely and the consequences of the action. Suffice to say that either you have never heard of Burt Pugach in which case I don’t want to take away from the impact of the documentary by telling you some of the more shocking aspects of the movie in advance, or you are aware of the facts of the case in which case I don’t need to reiterate what you already know.

The filmmakers a former publicist (Klores) and an actor (Stevens) who combine talking head interviews with the principals and their acquaintances, as well as incorporating a wealth of archival footage, grainy home movies and newspaper headlines. In all honesty, the documentary portion is in some ways fairly by-the-numbers.

The best part of the documentary is that the filmmakers choose to weave the story in such a way that you get entangled in it and before long you become absolutely enthralled by it. It becomes a cinematic train wreck in a good way – you can’t take your eyes away. Kudos to Klores and Stevens for allowing the story to take center stage.

It’s the story itself that captivates here and every juicy twist and turn that it takes drops your jaw to the floor anew. I know that truth is stranger than fiction, but this is stranger than science fiction. It reminds you once again that people will do incredible things in the name of love and terrible things in the name of obsession.

WHY RENT THIS: This is a remarkable story that is the poster child for the truism that truth is stranger than fiction.

WHY RENT SOMETHING ELSE: It is very much a New York story and those who find such things uninteresting will probably be put off by this.

FAMILY VALUES: There is a bit of foul language and some frank sexual references, but it is the mature themes of the documentary that make it questionable for younger audiences.

TRIVIAL PURSUIT: The film won Best Documentary Feature at the Independent Spirit Awards.

NOTABLE DVD EXTRAS: In addition to 43 minutes of additional interview footage with the principals, there is also a slideshow of Linda’s artwork as well as copies of Burt’s letters from prison to Linda.

FINAL RATING: 7/10

TOMORROW: Orphan