Art Detectives, on Acorn TV

DI Mick Palmer is the detective who would have to catch Raffles, John “The Cat” Robie, and the Phantom from the Pink Panther. He specializes in art related crime as the head of the one-man Heritage Department, but sometimes (more like usually) they also involve murders. Unfortunately, Palmer has a lot of insight into art crimes, thanks to his father Ron, a forger and thief, who keeps making trouble for his son in creator-writers Dan Gaster, Will Ing, and Paul Powell’s six-episode Art Detectives, which premieres tomorrow on Acorn TV.

When valuable British art is stolen, or an important art figure is killed, Taylor often gets the call. That is especially true when the original DI is an idiot, like DI Hollis in the opening episode, “Pictures at an Exhibition.” His DC, Shazia Malik is supposed to spy on Taylor for Hollis, but she would rather work with a professional DI, like Taylor.

In fact, they work so well together, Taylor requests her transfer, doubling his department in size. Frankly, she is a bit surprised by their first official case together, when they are summoned to an ancient burial site. However, it turns into a more conventional case when an extra, more contemporary body is planted within the excavation. To its credit, “Dead & Buried” is a good example of the writers’ willingness to implicate unconventional suspects as the series’ murderers. Frankly, it is never the butler or the tired stereotypical “evil” businessman.

Sadly, episode three might hit home a little too hard for Nancy Wilson of Heart (whose guitars were recently stolen), because it also features the theft of rare instruments and memorabilia from a storied recording studio. There is also a dead body in “Warped.” Again, the mystery is decent, especially considering the 45-minute-ish running times of each episode.

Instead of art, it is wine that lands Heritage the case in “Noble Rot.” It must be an especially delicate investigation, because a high-ranking government official was one of the guests at the exclusive wine-tasting that results in the poisoning death of the high-end wine-dealer. Sir Clifford Renwick also knows Ron Harper’s checkered history, forcing DI Taylor to tread carefully.

“Ice Cold” might draw a lot of one-off viewers, because it features the murder of a collector of Titanic artifacts. Inconveniently, he was killed right before finalizing the donation of his holdings to a Belfast museum, so off Taylor and Malik go to Northern Ireland. This is another good example of the chemistry shared by leads Stephen Moyer and Nina Singh, especially as they discuss their local contact DC Rory White (also nicely played by guest star Warren McCook), whose interest in Malik he picks up on and repeatedly notes, while, somehow, she cannot see it.

Tribeca ’25: Dog of God

He calls himself a werewolf, but he is really more of a holy fool and an immortal wanderer. However, as a portent of trouble, he is even more ominous than a plague of locusts. Frankly, things have been bad in the village of Zaube since forever. It has been mismanaged by both Church, represented by Priest Buckholz, and the state, in the person of inattentive Baron Klodt. Frankly, only tavern keeper and natural healer Neze reliably delivers services to villagers, but she stands accused of witchcraft in Lauris & Raitis Abele’s animated feature Dog of God, which premiered at the 2025 Tribeca Film Festival.

Life is hard for Kilbis, thanks to his physical body and the cruelty of his master, Buckholz. At least, the pervy priest periodically orders Kilbis to flog him, but the poor altar boy understands it is just to reinforce his hatred. Nevertheless, the priest has plenty lusty peeping to atone for. Instead, he blames Neze for supposedly supplying the temptation. Hence, his accusations of witchcraft.

However, the Dog of God rather unsettles everyone when he crashes Neze’s trial. Nobody really knows what to make of him, but his spooky talk is definitely bad for business, so he winds up in the stocks next to her. Of course, you cannot keep a supernatural drifter tied down for long.

These are heady days for Latvian animation. Unfortunately for fans of the medium, Dog of God has none of the charm of the Oscar-winning Flow. Indeed, all the cruelty and scatological gross-outs have a bludgeoning effect on the audience. Frankly, when it finally ends, you might need an aspirin and warm shower—and maybe even your security blanket.

The Last Twins, in The Epoch Times

THE LAST TWINS fully documents the horrors of Mengele's Auschwitz experiments, but it wiesely places an even greater focus on the humanity of the survivors. It is the sort of thoughtful history lesson the world needs today. EPOCH TIMES review up here.

The Ritual: Based on the “Real-Life” Story of Emma Schmidt

Father Carl Vogl’s book, Begone Satan was like the 1930’s equivalent of Jay Anson’s Amityville Horror. It convinced a lot of otherwise skeptical readers that Satanic supernatural horror might really be real. Anson’s book had multiple movie treatments, of radically varying quality. Now the case Father Vogl (and also Time magazine) documented has inspired David Midell’s The Ritual, which opens today in theaters.

Father Joseph Steiger is a man of the cloth, but he also considers himself a modern man of reason, so he is stunned and confused when his Monsignor orders him to host the exorcism of Emma Schmidt. The exorcist will be Father Theophilus Riesinger, a Capuchin priest with a history of battling demonic possession. In fact, he already attempted a previous exorcism of Schmidt several years prior.

However, Father Steiger is skeptical, He frequently suggests Schmidt would be better off with a psychiatrist rather than an exorcist. Unfortunately, she and Riesinger arrived while he was amidst a full-blown crisis of faith, precipitated by his brother’s shocking suicide. Frankly, viewers might think the chaos unlashed during Riesinger’s exorcism sessions, which injures several attending nuns, should convince the good Father (and he is a good Father) that something uncanny and evil plagues Schmidt. However, doubt is powerful and it undermines faith, making men vulnerable to evil.

Indeed, doubt is a very human weakness, which is really the film’s bedrock theme. It is Father Steiger’s doubt and Father Riesinger’s guilt that the Evil One exploits. Yet, their weaknesses also make the priests ever so human.

Arguably, Dan Stevens might just deliver his best performance since Downton Abbey portraying the very American looking and sounding Father Steiger. He is keenly sympathetic, even when he chastely flirts with Sister Rose (his “work wife”). Similarly, Al Pacino does his best work in years as Father Riesinger. Admittedly, his accent is highly dubious, but at least it is consistent. More to the point, he forgoes all his usual tics, mannerisms, and Hoo-ah’s, disappearing into the character instead.

The Gardener, Starring Jean-Claude Van Damme

Gardeners have become a new breed of action hero, as per the trend established by the like-titled Spanish Netflix hitman series and Scrader’s Master Gardener. For the hardboiled killers haunted by their pasts, the Zen-like nature of their new work is therapeutic. However, they still handle sharp implements. Leo Apastegui (if that really is his name) will need those hedge clippers when a hit squad comes for his family in David Charhon’s The Gardener, which release today in theaters and on VOD.

Serge Shuster is an idiot who probably isn’t worth killing. Nevertheless, the presidential aide landed on the annual Matignon list of government officials his boss needs getting rid of. Unfortunately, the hapless bureaucrat was copied on a sensitive memo discussing said list—not that he gave it much thought.

Shuster is strictly comic relief, at its shtickiest. On the other hand, his gardener Apastegui is an expert in hand-to-hand combat and dirty work in general. He also used to live in the “old house” that once stood on the property, is he is familiar with the tunnels the Resistance dug under the garden during the war.

Van Damme still has the moves and the muscles, but Michael Youn is beyond annoying as Shuster. Frankly, he will remind viewers of Jed Babbin’s famous quote: “Going to war without France is like deer hunting without an accordion. You just leave a lot of useless noisy baggage behind.” Van Damme is Belgian.

Nevertheless, Jerome Le Banner, Matthias Quiviger, and Kaaris make a worthy trio of paramilitary bag guys, as the code-named Phoebus, Esmeralda, and Quasimodo. Yet, the fight choreography often undermines them and JCVD, because it is designed more for the novelty use of gardening tools than battles worthy of the cast’s talents. At least the Gardener’s final face-off with Phoebus lives up to fans’ expectations.

Predator: Killer of Killers, on Hulu

Vikings were mean and unruly. Samurai were the greatest swordsmen. And nobody could outfly U.S. Naval aviators. Unfortunately, the Predators aliens believe that to be the best, they must hunt the best. That means they will stalk all the aforementioned throughout human history in Dan Trachtenberg’s animated anthology, Predator: Killer of Killers, “co-directed” by Joshua Wassung, which premieres today on Hulu.

As viewers know from Trachtenberg’s Prey, Predators have been coming to Earth for a long time. They have an advantage in each of the Earthbound historical stories, because the Vikings, Samurai, and WWII fighter pilots are busy fighting each other, while the Predators watch and wait.

Arguably, the opening Samurai story is the weakest of the three, but the brutality of Ursa’s combat, both against her Viking enemies and the Predator, are impressive by any standard. Lindsay LaVanchy also sounds appropriately fierce as the Viking clan leader. Nevertheless, this somewhat revisits the themes and beats of Prey.

Visually, the Samurai story might be the most dynamic. Trachtenberg and Wassung also create some incredible animated martial arts and swordplay. The battle between brothers turned sworn-rivals resonates on archetypal level. Yet, the way they combine forces against the Predator holds great importance later. Although Louis Ozawa is credited as both samurai voices, this is a quiet, largely non-verbal segment, which suits its stealthy ninja vibe and elegant Jidaigeki setting.

Dangerous Animals: Finally, a Good Shark Movie

Bruce Tucker makes crusty old Captain Quint in Jaws look like a charmer. He is a serial killer and his weapon of choice is the shark. That is why his shark charter diving business has so few Yelp reviews. Zephyr is exactly the kind of nomadic surfer he likes to target, but her resourcefulness surprises him in Sean Byrne’s Dangerous Animals, which opens tomorrow in theaters.

Zephyr lives out of her van and has no real family. Both she and Tucker assume nobody will come looking for her. However, she made quite an impression on Moses Markley, before her Irish-goodbye. He comes looking, but he is about a quarter of Tucker’s size and has about half of Zephyr’s survival instincts. Nevertheless, he represents her best hope.

Basically, if you fondly remember either Chief Brody’s nightmare of getting wheeled into the shark in the under-rated Jaws 2 or the shark tank in The Spy Who Loved Me, Dangerous Animals is the film for you. Tucker’s weaponization of sharks is reasonably credible, in a nasty serial killer way.

As Tucker, Jai Courtney is one of the most fiercely man and boozily blokey movie serial killers of all time. It seems pretty Shaw’s Quint was a reference point for the character as well as Courtney’s performance—and well it should be.

Obviously, Tucker is the showy role in Dangerous Animals, but both  Hassie Harrison and Josh Heuston are far better than you would expect from the potential shark meat in a movie like this. As a result, we really care about their survival, which duly leads to suspense.

Tribeca ’25: Kundun

Former Disney CEO Michael Eisner abjectly apologized for this film, calling it “s stupid mistake.” On bended knee, he groveled to the Chinese Communist Party (CCP): “The bad news is the film was made; the good news is nobody watched it.” Disney saw to that. The film in question was directed by Martin Scorsese, who dedicated it to his recently deceased mother, Catherine. It was also nominated for four Academy Awards, including Philip Glass’s justly celebrated score. However, you can’t stream Scorsese’s cinematic biography of the 14^th (and according to him, last) Dalai Lama. Again, Disney made the conscious decision to keep it out of circulation. Hence any screening of Scorsese’s Kundun is a big deal, so its special screening to celebrate Scorsese’s birthday at the 2025 Tribeca Film Festival is a huge event.

Born Lhamo Thondup, the Dalai Lama was a rather willful child, but also an intelligent one. Reting, the Regent of Tibet quickly realizes the bright little boy should be tested to determine whether he is the reincarnated spiritual leader of Tibetan Buddhists, which indeed turns out to be the case.

As the recognized Dalai Lama studies at Potala Palace, he shows a keen curiosity regarding the outside world. That will be just as well, because the outside world soon barges into Tibet. Unfortunately, after the devastation of WWII, England and Europe are too exhausted to intervene when China invades and annexes Tibet. Likewise, the newly independent India is too disorganized and America is too far. Consequently, the Dalai Lama and his ministers agree to negotiate with Mao.

However, many of the senior Lamas realize they are really only stalling for time, even though the Dalai Lama still hopes for a more equitable and autonomous arrangement. Sadly, as the CCP starts razing monasteries, the Dalai Lama recognizes the CCP as the oppressors they always intended to be. Nevertheless, he resists seeking sanctuary in India, because he refuses to abandon his people when they need him the most.

It is easy to see why Kundun (the Tibetans’ term of reverence and affection for the Dalai Lama, meaning “the Presence”) angered the CCP. First of all, it is an excellent film, unlike the junky rom-coms and stilted propaganda movies the Chinese film industry now cranks out. It also forthrightly depicts the brutality and destruction of the CCP occupation. Yet, it is small but telling moments, like when the Dalai Lama bemoans the blaring bombastic Chinese propaganda music, lamenting: “they even took our silence,” that are especially devastating.

Indeed, Scorsese and screenwriter Melissa Mathison follow the historical record, depicting the Dalai Lama as neither a rebel nor a hot-head. He was a remains a man of non-violence, who was forced into a painful exile, as a means of preserving the Tibetan national soul.

Despite the tragedy it captures, Kundun is a gorgeous film, magnificently lensed by acclaimed cinematographer Roger Deakins. He and Scorsese use the colors and imagery of the Tibetan sand mandala to arresting effect. Glass’s score is hypnotic, but it also expresses a sense of awe. Just in terms of technical artistry, Kundun is unusually accomplished.

King’s The Life of Chuck

At least Chuck Krantz won’t have to worry about fees for 401K withdrawals. Apparently, he is retiring right in the midst of doomsday. The world is ending, but his grateful colleagues are celebrating with billboards all over town. People are definitely confused and, initially, viewers will be too. However, director-screenwriter Mike Flanagan eventually brings everything together in The Life of Chuck, based on the Stephen King novella, which opens this Friday in New Yok theaters.

It is the end of the world—and the end of an era wherever Krantz works. California is sinking into the sea, the internet and infrastructure are failing, and suicides are skyrocketing. The apocalyptic crisis compels school teacher Marty Anderson to reconnect with his ex-wife Felicia Gordon, an exhausted RN, who feels a similar desire for his familiar and comforting presence. Yet, amid all the chaos, they both find all the Chuck Krantz signage rather bizarre.

What is going on here? Act II illuminates little, especially since Flanagan’s adapted narrative flows in reverse order, ending with Act I. It also happens to be a dance number, featuring Krantz and Taylor Franck, a drummer played by “The Pocket Queen,” according to the credits. You might guess she knows how to socket in the pocket, which indeed turns out to be the case.

All will eventually be explained in Act I, which is presented as the third act. Finally, we witness Krantz’s childhood, which is sometimes sad and sometimes mysterious, but the under-sized teen also has his small triumphs.

Frankly, some viewers might be tempted to watch the walk-outs, which could very well be plentiful. However, that would be a mistake, because you really need to see the entire film for all the pieces to fall into place. The good news is the a-ha moment really happens and gives pretty darned significant meaning to everything that came before.

This is definitely Stephen King more in his Shawshank or Stand By Me bag, even though there are considerable fantastical elements—that would be spoilery to describe. It is hard to categorize and it will confuse some viewers, but this is probably the best King adaptation since The Outsider.

Rebel: The Director’s Cut

Rather ironically, the first movie featuring Sylvester Stallone as a lead actor was re-released in the UK to capitalize on the popularity of First Blood. The roles are almost inverse opposites. John Rambo was a Vietnam veteran who resented the abuse and demonization he suffered from the anti-war movement. Jerry Savage was one of the New Left activists doing the vilifying. However, Savage tired of talk and now intends to take direct, violent action in Robert Allen Schnitzer’s director’s cut of Rebel, which releases on VOD and in select theaters this Friday.

Student activism was not cutting it for Savage, so he hitchhikes to New York to join a cell of militant guerillas, led by Tommy Trafler. On the way, he meets Laurie Fisher, who sells crafts in the City with her hippy-dippy commune.

Savage feels the chemistry with Fisher, but his new roommate and co-conspirator, Estelle Ferguson obviously feels something for him. The plan is to bomb the corporate headquarters of a kitchenware conglomerate to expose their defense contracting sideline. Marlena St. James, also known as “The Black Bomber,” will craft the explosives, but Ferguson must plant them within the Midtown tower. The idea is to set the explosion for an early Sunday morning, to avoid loss of life. (Here’s a pro-tip: if you do not want to kill anyone, do not blow-up any buildings.)

However, the FBI has an informer within the domestic terror cell, but much to Special Agent William Decker’s frustration, the CIA has taken defacto operational control. As most historians would agree, J. Edgar Hoover was not at all turf-conscious and never minded sharing jurisdiction on big cases. Yeah, right.

Frankly, Rebel lands awkwardly in the wake of Boulder’s antisemitic domestic terror attack. In some ways, Schnitzer critiques the extremist mindset, but he also clearly invites sympathy for Savage’s cause.

Schnitzer’s screenplay, co-written with Larry Beinhart, is confused and raggedy, but all sides of the pseudo love triangle exhibit strange, unlikely screen presences that make Rebel oddly distinctive. Obviously, Stallone was the only cast-member who was going anywhere, but Vickie Lancaster is acutely sad (in the intended way) as Ferguson. Antony Page also has such a Dennis Hopper thing going on as Trafler, it wouldn’t be surprising if the Easy Rider thesp had been a model for the character and Page’s portrayal.

The Evil Touch: Heart to Heart (Early Stallone)

For a greedy wastrel, a perfectly good serial killer should never go to waste. He believes his rich, disapproving aunt should be the so-called “Monster’s” next victim, even if he must kill her himself. Where did this sinister scenario come from? The mind of Sylvester Stallone, who wrote the teleplay under the oddball pen-name of Q. Moonblood several years before the release of Rocky. The upcoming re-release of Stallone’s first starring-role in Robert Allen Schnitzer’s Rebel offers an opportune time to revisit his first IMDb writing credit, the “Heart to Heart” episode of the American-produced Australian anthology series, The Evil Touch, hosted by Anthony Quayle.

Nephew Richard is lazy, entitled, and mean-spirited, so his wealthy guardian Aunt has finally decided to write him out of her will. However, it will take a few days for her lawyer to return from his ill-timed business trip, which leaves ample time for Richard to kill her.

Since the Monster has been amassing a horrendous body-count across the countryside, the ne-er do well nephew assumes if he copies the killer’s M.O., her murder will automatically be attributed to the serial killer. He just needs to make nice with his Aunt, so he can lure her somewhere isolated. However, there are a few variables to his plan that he cannot control, but experienced genre viewers might anticipate.

Nevertheless, Stallone, a.k.a. Moonblood, gives his big twist an amusing additional half-twist. Consequently, “Heart to Heart” is surprisingly satisfying, in a suitably macabre way. Regrettably, episodes of The Evil Touch are currently only available as inferior-quality YouTube uploads. Yet, the slightly blurry video adds a hallucinatory effect that makes each episode feel like a feverish dream.

Yellow Singing Sail, Graphic Novel

Huang Yinfin (a.k.a. “Yinyin”) is an only child. So are nearly all her classmates. It is almost like there was a rigid government policy restricting Chinese families to one child in the 1990s. In fact, there was exactly such a policy, but she never mentions it during this graphic novel memoir, probably she would not have been aware of such realities during her elementary school years. Regardless, many of the memories from her childhood remained sufficiently fresh to inspire Huang’s Yellow Singing Sail, illustrated by the author, which releases today.

Ironically, around her fifth birthday, Yinyin was living in the countryside, much like the regime had mandated for all its subjects two decades prior. Unfortunately, the little girl experiences strife once her parents move to the industrial city of Guangzhou.

Unable to afford their own flat, Yinyin and her parents must stay with her Aunt Guma and Uncle Guye, who is a member of the state police force. Unfortunately, they are more opportunistic than hospitable when it comes to their new living arrangement, while Guma is often downright mean towards Yinyin’s mother.

Although Huang never directly addresses the “One Child” policy, there several surprisingly telling episodes. Considering Beijing’s war on Cantonese in Hong Kong, many readers will be shocked to read how Yinyin struggled to perfect her fluency to impress the Cantonese speaking “cool kids” in her Guangzhou classes.

Arguably, even an incident when young Huang discovers their six-floor walk-up apartment was broken into challenges regime propaganda claiming an absence of common street crime. Still, much of Yinyin’s school drama is presented in a way that suggests a universality of such formative experiences.

Book of Joshua: Walls of Jericho

It was produced by entirely different creative team, but this film could be considered a sequel to The Prince of Egypt. In that film, the Red Sea was parted. This time around, the Jordan River receives similar divine intervention. As the Israelites follow Moses to the Promised Land, they constantly offer peace to the Amorites, who prefer to wage war instead. Yet, the Israelites are much harder to kill than their enemies expect in Tony Goss’s animated Biblical epic, Book of Joshua: Walls of Jericho, which releases tomorrow on VOD.

Considerable time has passed since the Red Sea, but the Israelites still feed on the manna from Heaven. They must soon face “King” Sihon, but they are well-prepared for his forces, despite their dramatically smaller numbers. Obviously, Moses has access to the ultimate intelligence source. Plus, Rahab has her own insights on the cruel king Sihon.

Forced to watch Sihon torturing the Israelite emissaries, Rahab tried to intercede on their behalf and carried the survivor back to the Israeli encampment. Ironically, the faith they displayed under extreme duress inspires Rahab to open her heart to the Israelites’ God. Consequently, she will be there to help when Moses and Joshua, his designated successor, approach the hostile walled city of Jericho, where she lives.

Frankly, there are more ancient battle scenes in Goss’s Book of Joshua than Braveheart and Gladiator combined. King Sihon, King Og, and the King of Jericho all look at the Israelites and see a band of weak former Egyptian slaves. How little they know—and how little things change.

Admittedly, the character animation is only a few steps above 1970s Saturday morning cartoons. However, the background art team also create some impressively cinematic Jericho visuals. Yet, the film’s greatest strengths come from the way Doss and screenwriter-producer Amir Kovacs establish the personas of Rahab and her family. In fact, they build a great deal of suspense regarding their safety in the wicked city of Jericho.

Wes Anderson’s The Phoenician Scheme

It was one of Alexander the Great’s first conquests, but Zsa Zsa Korda has a plan to make Phoenicia great again. It is really more of a scheme. Frankly, Alexander probably would not recognize this Phenicia, because it exists solely in the world of Wes Anderson, but, be that as it may, they stand to gain from a massive infrastructure upgrade that would concurrently line Korda’s pockets. However, he must survive constant assassination attempts and figure out how to cover a funding gap that does not involve his own funds in Anderson’s The Phoenician Scheme, which opens this Friday in theaters nationwide

With a name like Zsa Zsa Korda, he must be Hungarian, but Korda is a man without a country—and certainly no tax returns. Korda is an arms dealer and financier very much like Orson Welles’ Mr. Arkadin. Somehow, he convinced his syndicate and cartel conies kick into his Phoenician development scheme, but he is a little short, so he needs all his gangster buddies to kick in more—for the same return.

Obviously, this will be a tough sell, so Korda brings along his daughter, a novitiate nun Liesl, whom he designated his sole heir and successor after surviving the latest assassination attempt. She is rather appalled by his sinful ways, but recognizes an opportunity to do good through Korda’s organization—despite the arms-dealing and slave labor on which the Phoenician construction projects depend.

As you would expect from Anderson’s films, the film’s 1950s art design is charming (and less precious than some of his recent output). However, the episodic nature of Anderson and Roman Coppola’s narrative quickly grows repetitive.

Yet, the father-daughter relationship appealingly anchors the film. To his credit, Anderson refreshingly embraces good old-fashioned sentimentality and shuns cynicism. The Phoenician Scheme is another good example of that. Perhaps most tellingly, he never condemns Sister Liesl for her Catholic faith. Rather, he uses it to pass judgement on Korda’s rogue’s gallery of criminal associates.

Most of the fun of Phoenician Scheme comes from gawking at the very famous ensemble acting very goofy. Ironically, Andrson extracts the most humor from Benicio del Toro’s performance, even though he plays it scrupulously straight. Nevertheless, his extreme poker face pairs well with the vast array of injuries he endures from each successive assassination attempt.

Michael Cena also shows unusual restraint as Bjorn Lund, the tutor forced to serve as Korda’s confidential secretary, despite the obvious risks. However, nobody is more deadpan than Mia Threapleton as Sister Liesl. All that reserve from the main cast leaves plenty of room for Tom Hanks, Bryan Cranston, Mathieu Amalric, Jeffrey Wright, and Benedict Cumberbatch to chew the scenery in the Around the World in 80 Days-esque appearances.

Marva Nabili’s The Sealed Soil

Everyone keeps telling Roo-Bekheir that she is lucky because she can say “no” to her suitors—but they don’t think she should. At the advanced age of eighteen, she is considered an old maid by her provincial neighbors. For those of us living in the modern world, it might seem understandable that the teenaged girl simply is not ready to marry, but her traditional Iranian village assumes she must be possessed in Marva Nabili’s The Sealed Soil, which is now playing in Brooklyn.

The Sealed Soil is the oldest surviving Iranian film directed by a woman. That means it survived the Revolutionary Islamic regime that would take power not long after it was produced in 1977. Banned by the regime, it has never been publicly screened in Iran, even though it is not explicitly political.

Yet, ironically, it indirectly burnishes the much-maligned reputation of the Shah, who passed the reforms that allowed women like Roo-Bekheir to have a say in her marital status. She keeps exercising that right, by maintaining her spinsterhood. It so baffles her village, the chief comes to give her a talking to. Rather perversely, he reminds her that her own mother was married away at the age of seven and frequently ran away from her abusive husband when she was ten. Somehow, this pep talk is supposed to encourage to finally accept a suitor.

Weirdly, The Sealed Soil shares a kinship with Akerman’s Jeanne Dielman, 23 Commerce Quay, because it relentlessly captures the soul-crushing repetition and toil of Roo-Bekheir’s hardscrabble life. Much is made of the eventual exorcism, but many viewers would consider it over-hyped. The scene lacks the drama we would expect from a demonic horror movie, which is presumably why endures the ritual more as a hassle than an ordeal.

Frankly, an understanding of the film’s historical and cultural context probably helps the viewing experience. It is supposed to be a grind, because Nabili wants the audience to feel all the discomfort of Roo-Bekheir’s life. Seriously, she rubs our noses in it. Yet, her aloof tone keeps viewers at arm’s length.

Tornado, in Cinema Daily US

In many ways, TORNADO serves as a Revisionist Western for Scotland and the UK, but whatever you call it, the cast (including Koki and Tim Roth), the swordplay, and the puppetry make the genre-hybrid quite distinctive and memorable. CINEMA DAILY US review up here.

Bono: Stories of Surrender, on Apple TV+

If you are a celebrity, never let a good near-death experience go to waste. Much like Jamie Foxx did in his Netflix special, Paul David Hewson frankly discusses how his heart nearly did him in too. Of course, you probably know Hewson by his stage name, Bono. In 2022 (predating Foxx), he performed a run of sold-out one-man shows (with musical accompaniment) adapted from his memoir. The rest of U2 was not present, but their songs (mostly written by Bono/Hewson) form the meat of the Beacon Theatre show captured for posterity in Andrew Dominik’s Bono: Stories of Surender, which premieres today on Apple TV+.

Although absent, Bono pays tribute to his U2 bandmates, assuring the audience Larry Mullen, Adam Clayton, and The Edge, were, are, and always will be an important part of his life. In fact, he met them the same week he first became acquainted with his future wife, Ali. That was a good week, but the show devotes more time to difficult moments, such as his mother’s tragic early death, his own health scare, and his challenging relationship with his father, especially after Hewson pere’s cancer diagnosis. That is all heavy stuff, but Bono breaks up his confessional with about a dozen of U2’s biggest hits. There are no originals in Stories of Surrender, which is exactly what most fans would prefer.

Instead of The Edge’s guitar, Bono is backed by frequent U2 collaborator Jacknife Lee on keyboards, Kate Ellis on cello, and Gemma Doherty on harp. The instrumentation is unusual, but it really suits Lee’s arrangements of “Pride,” “I Still Haven’t Found What I’m Looking for,” and “Beautiful Day.” Ironically, the tie-in EP tunes, “Desire” and “The Showman” are not as grabby, despite Doherty’s electric power-harp.

However, Erik Messerschmidt’s cinematography—in glorious black-and-white, just like Phil Joanou’s U2: Rattle & Hum (mostly)—always works. As Bono notes, the staging for his solo show is not as elaborately grandiose as recent U2 stadium concerts, but the lighting effects are quite dramatic, especially when creating halo effects and boom flares, which look cool in a rock & roll kind of way.

Unfortunately, Bono’s soul-searching analysis is only applied to his relationships and never to his activism. Instead, he clings to simplistic slogans, like African debt-forgiveness, even though any college econ major will understand the continent’s perverse adherence to command-and-control economic models inevitably prevents any possibility of prosperity. Frankly, Bono often sounds rather defensive when discussing his political advocacy, with good reason.

The Better Sister, on Prime Video

Statistically, most murders are committed within families. The Mackintosh family is especially suspect, since the late husband was a lawyer and the widow is a journalist. Inevitably, they become prime tabloid fodder, because she married her unstable drug-addicted sister’s late ex-husband. Nevertheless, the estranged siblings must work together to save the young man they both consider their son in co-creators Olivia Milch & Regina Corrado’s eight-episode The Better Sister, adapted from Alafair Burke’s novel, which premieres today on Prime Video.

The murder of Adam Mackintosh is real. The break-in was faked. Unfortunately, the circumstances lead Detectives Nancy Guidry and Matt Bowen to Chloe Taylor’s step-son, Ethan. She is desperate to protect him, but, inconveniently, his biological mother Nicky Mackintosh now has custody. Their reunion is especially tense, because Taylor once agreed to sign her sister into straight-jacket-style rehab, to secure her future husband’s sole custody rights. It seemed like the thing to do at the time, but she starts to regret her decision as she learns more about the circumstances of her husband’s first marriage.

Guidry’s resentment of Taylor’s “privilege” makes her happy to focus the entire investigation on Ethan. Awkwardly, his lawyer, Michelle Sanders, shares her low opinion of the sister-mothers, but she has sympathy for their son and she is very good at her job, so they put up with her. She was referred to Taylor by Jake Rodriguez, her husband’s associate, with whom she was on the verge of having an affair. At the same time, he was closely assisting her late husband’s representation of a dodgy multi-national company, whose specialty seems to be constructing soccer stadiums in the Middle East, with suspicious rapidity.

So, clearly there are a lot of motives and conflicts of interest to untangle. Indeed, The Better Sister has several twists worthy of a Gillian Flynn adaptation, but the tone is way, way trashier. At least in this case, the soapy luridness is also entertaining. If you are looking for a hothouse fully stocked with family secrets and sneaky scheming, you will find plenty here.

Jessica Biel and Elizabeth Banks fully embrace the spirit of the material, diving head-first into the angst and melodrama. Similarly, Kim Dickens is one-person snark-factory as unabashedly abrasive and defiantly biased as Det. Guidry. Yet, nobody is more flamboyant than Matthew Modine as Adam’s sleazy, ambiguously villainous, and proudly out boss, Bill Braddock.

Tim Travers and the Time Traveler’s Paradox

He has a bit of a Looper complex. Instead of wanting to kill Hitler or attend a Coltrane concert, Tim Travers uses time travel to kill himself, so he can explore the resulting paradox. It is an ambitious but very bad idea that inevitably goes spectacularly awry in director-screenwriter Stimson Snead’s Tim Travers and the Time Traveler’s Paradox, which opens this Friday in theaters.

The titular paradox boils down to the notion that if you kill yourself in the past, your time-traveling self would still be alive thereby creating a paradox. It is a thought experiment that Travers takes to ridiculous lengths. Ill-advisedly, he also discusses his research with James Bunratty, an “alternate science” talk radio host. This will be a mistake, because it creates a trail for the hitman hired by the terrorists, whose plutonium Travers stole to power his time portal.

Fortunately, by the time Helter the assassin starts tracking Travers, he has already created at least a dozen other selves through time travel. He started by murdering his previous others selves, but then he started letting his selves from other times (merely one minute apart, but often enough to make considerable differences) live, so he could consult with himself. It also means Helter must keep killing every Travers he sees. To make things extra complicated, several of the Travers take time out for his/their date with Bunratty’s resentful producer Delilah, but it always ends badly, because neither of them is really suitable relationship material, especially him (all of them).

The loopy Looper-esque chaos of the first half is wildly entertaining. However, Snead has trouble maintaining the manic energy during the second half. It is also clear how desperately he was searching for an exit strategy—judging from the nearly incomprehensible speed of the double-talk. Nevertheless, Snead earns credit for developing a fresh take on time travel and for mining the science fiction material for a good deal of laughs.

The General’s Men, on MHz Choice

With the sudden rise of political assassinations in America—such as the Israeli embassy workers in DC and the United Healthcare CEO—and the disturbing support they have received from ideological extremists, we might soon need someone like Gen. Carlo Alberto dalla Chiesa. The senior officer in Italy’s Carabinieri (their military police with domestic jurisdiction) strategized the defeat of the Red Brigades and intended to employ similar tactics against the Mafia in Palermo. He was great for Italy, but came to a tragic end. The contemporary parallels are also tragic, but the Carabinieris’ service is edifyingly instructive in creator-director Lucio Pellegrini’s eight-episode The General’s Men, which premiers today on MHz Choice.

As dalla Chiesa explains midway through the series, he has only known war during his adult life. First, he served in the Army, but defected to the Resistance during WWII. Enlisting in the Carabinieri after the War, he waged a losing battle against the Mafia in Sicily before his appointment to head a new anti-terrorism task force to combat the Marxist Red Brigades’ reign of terror.

Some of his methods seem self-evident now, but at the time, they were considered radical by Italian cops. For instance, he recruited Corporals who looked like deadbeat student hippies instead of Corporals, even including a woman. Gone were their standard issue Fiats. He also played some bold gambits, like recruiting the former Liberation theology missionary Silvano Girotto, celebrated by the left as “The Machine Gun Friar,” to serve as an undercover plant. The Red Brigade were not amused, which entailed escalating danger for dalla Chiesa and his unit.

Everyone has heard of the Mafia, but Americans are woefully ignorant of the Red Brigades. Frankly, this series serves as a decent introduction to the violence and fanaticism of the terrorist group. Although the Corporals often express sympathy for the legitimate workers’ complaints the Brigades exploit (largely being working-class themselves), their terrorism is never presented in justifiable terms. In fact, it is often portrayed as quite sudden, brutal, and shocking.

Indeed, this is a terrific period piece that impeccably recreates the look and over-heated tenor of the 1970’s. Aptly, dalla Chiesa’s loyal lieutenant, Nicola Amato asserts during his voice-overs, the 1980s only really properly started in Italy with 1982, at which point the Brigade’s terrorism finally crested. Unfortunately, for dalla Chiesa, it would be a case out of the frying pan, into the fire.

Essentially, The General’s Men is three parts historical procedural and one part passion play—since we know from the prologue dalla Chiesa’s story ends with tears. However, it is all played with conviction by a large ensemble cast that completely look their parts, often in very uncomfortable ways (involving humiliating hair-styles and textiles that breath poorly).

Blue, on PBS

His iconic canine reportedly lent his name to the so-called “Blue Dog Coalition” of [mostly] Southern centrist Democrats that hardly exists anymore (ten and dwindling). More fittingly, George Rodrigue’s popular character has been pictured with many of New Orleans’ favorite sons, such as Louis Armstrong and Al Hirt. He has become a symbol of Louisiana, but before the Blue Dog, Rodrigue also preserved evocative images of his Cajun heritage. Sean O’Malley chronicles his life and work in Blue: The Life and Art of George Rodrigue, which premieres this Thursday on participating PBS stations.

Everyone knows the Blue Dog from national ad campaigns commissioned by the likes of Xerox and Absolut. He also hangs in major museums, but establishment acceptance took quite a while. Blue Dog just seemed like too much fun to be serious art. Yet, those big eyes have a haunting vibe.

Regardless, O’Malley and company rightfully take considerable time establishing the importance of his earlier work, depicting the everyday life of Cajuns, as well as their folklore. In fact, the Blue Dog originally came out of his folkloric output, originating as a depiction of the loup-garou for a book of spooky tales.

Arguably, the portrait that emerges of Rodrigue most likely conforms to the expectations of viewers and admirers. He came from modest means and overcame considerable adversity to become one of America’s most recognizable artists. He had a passion for life and New Orleans Saints football, but Hurricane Katrina’s tragic impact on his community sent Rodrigue into a deep depression.

Fountain of Youth, in Cinnema Daily US

It's not perfect, but Apple TV+'s FOUNTAIN OF YOUTH is entertaining as a low-stress retro throwback adventure, much like a cetain film-reviewer I might know. CINEMA DAILY US review up here.

Sinners: Buddy Guy’s Box-Office Blockbuster

There is a long history of blues musicians confronting supernatural evil. In this case, vampires replace hellhounds, but they certainly follow an accepted uncanny blues precedent. Fittingly, it takes place in storied Clarksdale, Mississippi, where two notorious former bootlegging twin brothers have returned to open a juke joint. Unfortunately, a vampire also comes to town in director-screenwriter Ryan Coogler’s Sinners, which is still playing in theaters.

Even though they have been gone for seven years, half of Clarksdale still remembers the identical “Smokestack” twins, Elijah “Smoke” Moore and Elais “Stack” Moore—the black half. The town’s severe racial divide is only bridged by Bo and Grace Chow, who operate general stores on both sides of the main street.

The Smokestacks intend to open a new juke, so they recruit crusty old bluesman Delta Slim and their young up-and-coming guitarist cousin Sammie “Preacher Boy” Moore to supply the entertainment. However, there is sure to be trouble since Stack’s biracial-but-passing ex, Mary is coming. So will Pearline, an inconveniently married vocalist, who has been giving Preacher Boy the eye.

However, the real trouble comes when Remmick, an old Celtic vampire, and a recently-turned former KKK married couple try to crash the party. Wisely, the Smokestacks are reluctant to invite in freaky white weirdos, but the vampires can be very persuasive and deceptive. Smoke’s ex-wife Annie might also have some insight into the evil lurking outside, as a hoodoo practitioner.

Eventually, the great Buddy Guy plays an important part in this tale, but it would spoilery to explain how. Regardless, it is safe to say his role plays to his strengths and it some ways serves as a glorious capstone to his legendary career. It should be noted his main appearance comes soon after the closing credits start—and it is a scene that holds great significance to the film’s narrative. (There is also a post-credits stinger that is worth sticking around for, but does not impact the storyline to any degree.)

Frankly, Buddy Guy deserves to have his name above the title. That said, Michael B. Jordan’s already considerable star-power raises even higher with his tour-de-force performance as the Smokestack Twins. He is all kinds of fierce and dangerously charismatic. It is an unusually accomplished and memorable portrayals of twins, even though the Smokestacks are not as sharply differentiated as the twins played by Theo James in The Monkey or Jeremy Irons in Dead Ringer—but he is still at that level.

Yet, perhaps the cast-member most deserving an awards campaign might be Delroy Lindo for his understated but still scene-stealing work as Delta Slim. He channels decades of blues lore, while getting most of the film’s laughs with Slim’s dry—yet well-lubricated, if you know what I mean—wit.

Another virtue that sets Sinners apart is the wealth of fully developed supporting characters—at least a dozen’s worth. Li Yun Li and Yao are definitely two standouts as the Chows, who turn out to be much more than convenient devices to travel between Clarksdale’s segregated halves. Plus, Jack O’Connell brings the bravura flamboyance of his Rogue Heroes character, but he manifests it in a much more sinister manner as the vampire Remmick.

Kevin Costner’s The West, on History

Remember those commercials for the Time Life Old West books that hyped John Wesley Hardin shooting a man for snoring? So far, he has not appeared in this series. It is far more concerned with Manifest Destiny and the clash of cultures and civilizations than fun cowboy stuff. It is hosted by Kevin Costner, but he was obviously in a Dances with Wolves state of mind when he recorded his segments for the 8-part Kevin Costner’s The West, which premieres Monday on History Channel.

The intro to every episode starts with practically a land acknowledgement that the settlers were coming, but there were already people on the land they wanted. That is why the fourth episode (out of six provided for review), “Comancheria,” is rather refreshing, because it chronicles the rise of the Comanche Empire. They were not so peaceful either, considering they violently expelled the Navajo from their territory. From another perspective, it is also oddly satisfying to hear the Comanche recognized for their successful empire building.

Obviously, the events of Costner’s West occurred during the 19^th Century, a time when all great nations ruthlessly pursued their own interests. Just look at the wars that erupted throughout Europe. Of course, those worked to America’s advantage, because the need for quick funds prompted Napoleon Bonaparte’s sale of the Louisiana Territory to Pres. Jefferson.

Indeed, the series and its battery of commentators, including usual History Channel advisor and executive producer Doris Kearns Goodwin, do a nice job explaining the scale and the forbidding wildness of the frontier. The second episode, “Colter’s Run” conveys the boldness of the Lewis and Clark expedition, which was long feared lost. While the opening “Fallen Timbers” largely presents a narrative of American encroachment, it is refreshing to hear George Washington get credit for his tolerance and restraint with respect to the indigenous tribes. However, their alliances with the British ultimately forced him into a more “hawkish” posture.

The third offering, “Oregon Trails,” is probably harsher on missionaries than Book of Mormon. In contrast, episode five, a thorough exploration of Joaquin Murrieta’s romantic and ultimately macabre folk legend, makes “The Robin Hood of El Dorado” considerably more engaging.

Electric Vehicles: The Good, the Bad, and the Ugly, in The Epoch Times

Larry Elder enjoys the EV driving experience, but finds cause for concern in the CCP's ontrol over the necessary rare earth materials. His analysis of the trade-offs between electric and internal combustion is tough, thorough, fair, and well-paced. EPOCH TIMES review up here.

Onyx, on BET+

Maybe these three friends are not the absolute worst choice to handle first contact for the rest of Earth. Sam is a first-responder and Shannon is a veteran returning from her final tour of duty. As for Diane, she has a way of getting her way and she can be very “welcoming.” Regardless, the alien invasion comes smack dab in the middle of the friends’ getaway in Stefano Milla’s Onyx, which is now streaming on BET+.

Sam thought Noah might be the one, because he is also a fireman, but he turned out to be another lying dog of a good-for-nothing man. To cheer her up, and to celebrate Shannon’s homecoming, Dianne organizes a desert resort weekend. She has the horndog owner Cody eating out of the palm of her hand, so he comps them a bonus off-road excursion. Unfortunately, during their desert exploration, a mysterious force cuts off all cell service, GPS, and radio contact.

Given their limited provisions, the trio seeks shelter at the nearest man-made outpost, an old government radio-satellite installation converted into an airplane graveyard, which serves as the headquarters for “A.K.A.,” a conspiracy podcaster with a taste for questionable hip hop. Whatever happened, he sort of expected it. However, he cannot broadcast his scoop or call for help, because of the alien interference. Shannon might be able to restore communications, but fighting off the interstellar predators will be a tricker proposition.

Even by B-movie standards, Milla had to make do with a tragically tight budget constraint. The effects are conspicuous cut-rate, yet lack the cheesy charm of MST3K fodder. The alien invasion business is also rather uninspired. Pretty much the only positive for Milla and Damien Douglas’s screenplay is the sympathetic depictions of veterans and firefighters (arguably including Noah, who tries to redeem himself). Regardless, it takes Milla forever to get the film going, devoting the full first act to boring exposition.

Air Force Elite: Thunderbirds, in The Epoch Times

The aerial phootography is incredible in Netflix's AIR FORCE ELITE: THUNDERBIRDS, but the service and sacrifice of squadron members is even more impressive. EPOCH TIMES review up here.

The Last Rodeo, from Angel Studios

There is probably no more annoying expression than “this isn’t my first rodeo,” because most of the people who say it have never even been to a rodeo. This is definitely not Joe Wainwright’s first rodeo, but considering the state of his beat-up, broken-down fifty-years-plus body, it could very well be his final hurrah—period. However, he is not doing it for glory or vanity. He risks life and limb for family in Jon Avnet’s The Last Rodeo, which release tomorrow in theaters, from Angel Studios.

Wainwright is a former three-time bull-riding champion. Unfortunately, he did not walk away from his last ride. He was carried. In many ways, Wainwright’s life is like a country song. His beloved wife died, leading him to recklessly drink and bull-ride, which nearly killed him. However, his devoted grown daughter Sally helped patch him back together. In the years since, he has been sober and a model grandfather. Consequently, when young Cody is diagnosed with a rare and precariously positioned brain tumor, he takes it as hard as his daughter.

Their insurance will not cover the entire cost of the surgery (which quickly turns into surgeries), but the national bull-riding championship is scheduled for the coming weekend. Technically, all past champions are invited to appear. Of course, nobody expects them to compete and Wainwright never bothered to reply, but he can’t think of any better options. So, Wainwright convinces his old friend, trusted “bull-fighter,” and fellow Afghanistan vet Charlie Williams to help him mount his sudden comeback.

Sure, The Last Rodeo probably sounds predictable, but the same can be said for most films. Regardless, this is definitely a character study. Avnet and his co-screenwriter star, Neal McDonough show viewers what it is like for cowboys when age catches up with them. Rugged masculinity faces a tough challenge when faced with mortality. However, Avnet and McDonough still celebrate Wainwright for fighting the good fight.

In fact, Last Rodeo is notable and laudable for spotlighting three recognizable character actors in prime feature spots. McDonough has always been a reliably steely or flamboyantly villainous supporting player, but Angel has given him well-deserved opportunities as a leading man (following-up on Homestead). This could be his career-best performance, powerfully embodying Wainwright’s physical toughness and the painful feelings he has trouble expressing.

An Evening Song (for Three Voices), Inspired by Barbara Newhall Follett

Even though Barbara Fowler is transparently based on Barbara Newhall Follett, who was quite a literary sensation in her youth, her fictionalized pulp writer husband would probably be more famous today. Follett’s books are no longer widely available. Arguably, she is now best remembered for her mysterious disappearance (and presumed death) in 1939. Her strange fate directly inspired director-screenwriter-editor Graham Swon’s An Evening Song (for Three Voices), which screens this Saturday and Sunday at Anthology Film Archives.

Although not yet forty, Fowler’ literary glory days are behind her, mostly because she no longer has any artistic ambition. Nevertheless, her reputation far eclipses that of her husband, Richard Orloff—and they both know it. Their naïve, deeply devout housekeeper Martha Lund also realizes their unequal prestige. Yet, she is weirdly fascinated by both her new employers.

The feeling is mutual for all three, but not necessarily in sexual ways, although such overtones are never entirely absent. However, it is safe to describe their interests as unhealthy obsessions, partly rooted in their extreme differences of personalities and socio-economic backgrounds. For Orloff, his preoccupation with Lund also takes on fetishistic dimensions, due to his fascination with her burn-scarred skin.

Stylistically, Swon’s film shares an aesthetic kinship with some of Guy Maddin’s films, but it is far less accessible. It is a narrative drama, by any standard, but Barton Cortwright’s dreamlike cinematography and Swon’s reliance on disembodied voice-overs have a distancing effect far more so than in his genuinely creep experimental horror film, The World is Full of Secrets.

However, there is a subtle gothic element that steadily builds a sense of unease. While the strange triangular drama plays out within the house, we hear reports of a strange wolfman-like creature stalking the conservative Midwestern community. Evening Song clearly never aspires to Secrets’ moody dread, but the added macabre accents give it additional flavor.

Rematch, on Disney+

Garry Kasparov is a chess grandmaster, but he constantly battled Big Brothers throughout his life. First, he challenged the old Soviet regime and then he emerged as one of Putin’s most prominent critics. Along the way, he stood against nearly every totalitarian dictator on Earth as the chairman of the Human Rights Foundation. He was also seen as humanity’s champion during his matches against IBM’s AI supercomputer, Deep Blue. He easily won his first meeting with the computer then known as Dep Thought. However, their rematch was much more complicated. Creators Yan England, Bruno Nahon, and Andre Gulluni accentuate the controversies the six-episode “based-on-true-events” series, Rematch, which premieres tomorrow on Disney+ (after months of availability in international markets).

To this day, Kasparov probably remains the world’s most famous grandmaster, having eclipsed Bobby Fischer, whose years after his 1972 triumph were rather disappointing. Arguably, Kasparov’s victory over Karpov was an equal or greater victory for the free world over the Soviet regime. However, it did not come easy, as viewers eventually witness through flashbacks. Much to Kasparov’s annoyance, much of IBM’s gamesmanship away from the chessboard echoes the mind-games Karpov’s Soviet patrons tried to pull ten years earlier.

Kasparov considered his 1989 victory over Deep Thought to be an interesting experiment, but not particularly challenging, so he was not eager for a rematch. However, ambitious composite IBM exec Helen Brock recognized an opportunity to promote the brand (and the stock price) with the smarter, faster, more powerful Deep Blue. Of course, she had zero involvement with any of the actual programming. That was all the nebbish “P.C.” anonymously laboring for years in the metaphorical and literal basement.

P.C. stands for “Pretty Cringe,” which is harsh even among computer geeks. His new chess advisor, Paul Nelson, has grown bitter and anti-social, even by chess standards. He and P.C. could make a good team, but they are not the ones calling the shots. Obviously, Team Kasparov is out-numbered, so his manager-mother Klara Kasparova hires elite Australian sports agent Roger Laver to negotiate with Big Blue, but even he is stymied by their hardball methods.

Clearly, England, who helmed all six episodes, invites sympathy for Kasparov, even though he and lead actor Christian Cooke emphasize Kasparov’s high-strung neurotic mind-set, to an excessive degree. Obviously, the series focuses on the Deep Blue match, which is quite zeitgeisty given he mounting unease regarding AI. Nevertheless, it is frustrating the film almost completely ignores Kasparov’s invaluable advocacy for freedom and democracy. It is sort of like hypothtical films that solely focused on the [American] football careers of Jack Kemp or Byron White. A lot of stuff came after their pro-sports years—and the same is true for Kasparov.

Nevertheless, the scripts were the scripts—and Cooke is truly magnetic as the tightly wound grandmaster. He also shows a human side, especially with his thorny family relations, which he comes to embrace as a strength rather than a weakness, which is a quiet corollary subtly baked into Rematch.