RACHEL, RACHEL

In 1968, Paul Newman's first attempt at producing and directing opened to movie screens nationwide.  The film was Rachel, Rachel, a restrained drama of self-discovery starring his wife, Joanne Woodward. The movie went on to earn four Oscar nominations, including Best Picture and Best Leading Actress for Woodward.

DRIVING MADELEINE

How often do we encounter someone for a brief time, who rewards our soul and shapes our understanding of humanity simply by offering a different lens through which to calibrate the world around us?  Driving Madeleine is an immensely fulfilling movie that explores one such encounter.

WHIPLASH

I’ve always been a sucker for movies about good teachers, and even more so for movies about music teachers.  Music unites us, and for most people, the student-teacher experience is a universal one, so these films can resonate even if they aren’t remarkable.  Music of the Heart, Sister Act 2, Mr. Holland’s Opus, and Madame Sousatzka are among my favorite “feel-good” movies.  Whiplash (2014), a film about a music teacher and his student is a cinematic masterpiece and ranks as one of the best films I’ve seen.  With that said, Whiplash is not a “feel-good” film.  Whiplash is a tightly wound, tense anatomy of the cost of greatness and the humiliating psychological fuckery that a brilliant teacher thinks is required to motivate others to achieve greatness.  This film takes “No pain no gain” to its utmost extreme.

SEANCE ON A WET AFTERNOON

The first exposure I remember having to actress Kim Stanley was when she played the self-serving and dominating mother to Frances Farmer (Jessica Lange) in the 1982 movie, Frances.  She marvelously pivoted between helping Frances and simultaneously destroying her.  It was a bold performance, one that earned her an Oscar nomination. 

That was not Kim Stanley’s only Oscar nomination.  She was previously nominated for her leading role as Myra Savage, a psychic medium, in the often overlooked 1964 British crime thriller, Séance on a Wet Afternoon. Séance is an excellently paced and rewarding work that keeps you guessing from beginning to end.

ALL OF US STRANGERS

Andrew Scott’s performance in All of Us Strangers is worth every minute of the film. His portrayal of Adam, a lonely middle-aged man navigating romance and unresolved familial ties, is a masterclass in nuance and depth. Adam’s presence in every scene makes his casting pivotal, and director Andrew Haigh made an impeccable choice.