EIGHTH GRADE (2018) – Convincing, Contemporary Portrait of Difficult Middle School Years

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Elsie Fisher in EIGHTH GRADE (2018).

The best part about EIGHTH GRADE (2018), the new coming of age comedy/drama by writer/director Bo Burnham, is that it absolutely nails what it is like to experience one of life’s most difficult ages: eighth grade.  And it does it with the all important and clear message that life goes on, that it’s never as bad as it seems during that awkward year of transition, and that it’s all just a natural part of growing up.

It also serves as an accurate assessment of what life is like for today’s middle school students.

EIGHTH GRADE opens with main character Kayla (Elsie Fisher) recording herself on her computer as she shares advice for her fellow eighth graders. She does this numerous times during the movie, and these moments are worth the price of admission alone. She thinks and speaks exactly like an eighth grader, and to hear her share her thoughts on such topics as why you should just be yourself, and approaching life with confidence, is as refreshing as it is real. These chats are juxtaposed with Kayla’s real life experiences which more often than not don’t go as planned.

It’s the end of Kayla’s eighth grade year, and the film follows her final few days in middle school, having to deal with such things as being voted the most quiet girl in her grade, to trying to fit in with the popular girls, to living with her very well-meaning single dad who seems to annoy her with every positive word he says.

EIGHTH GRADE is a fascinating look at one of life’s most difficult years, and the writing is so sharp it captures this awkward time with amazing clarity. I know a little bit about this age group, since I teach middle school, and as the father of two adult sons, I survived the experience of parenting middle schoolers. And of course way back in the stone age I was an eighth grader myself. The film gets it right.

So, the question you’re probably asking is, if you hated eighth grade, why would you want to see this movie? The number one reason is that it captures what eighth grade is like for teens in the here and now, teens who are so locked into electronics they cannot put their phones down even in the middle of personal conversations, teens whose parents struggle to talk with them, teens who find active shooter drills at school dull and boring, and teens who fear growing up too fast.

It also makes a very poignant case for the seemingly endless amount of patience needed as a parent of an eighth grader.

And the script is so strong if you like good writing, you have to see this movie.

Writer/director Bo Burnham, known more for his acting than for his time behind the camera— in fact, EIGHTH GRADE is his directorial debut—has written dialogue that is so on the money with its depiction of middle school voices at times you almost feel as if you are watching a documentary. And his work as a director is just as powerful. So often the camera comes in tight on Kayla’s face and lingers there, capturing her feelings of awkwardness, inadequacy, and all too often discomfort.

There are lots of memorable moments in this movie. When Kayla attends a pool party hosted by the most popular girl in her class, an invite which she only received because the girl’s mother forced the issue, she literally has a panic attack in the bathroom before changing into her bathing suit. And once she does, the camera follows her slow uncomfortable walk towards the pool, where everybody seems to know everyone else, and she feels out-of-place. Her hunched posture during this sequence is on the mark, as is the pain felt when her birthday gift is opened to relative silence and frowns.

Speaking of pain, one of the more powerful scenes is when she is driven home by a high school student who decides to stop the car and get into the back seat with her. These few moments of the movie are extremely uncomfortable and unnerving because the boy’s intentions are clear, and when Kayla finally utters “no!” the audience nearly jumped out of its collective seat.

On the other hand, the joy Kayla feels when her high school mentor invites her to hang out with her and her friends at the mall is so palpable you’ll nearly cheer.

Some of the best scenes are between Kayla and her father Mark (Josh Hamilton). Mark is a patient loving father, but the harder he tries to connect to his daughter, the more she seems to push him away, yet he never loses focus, or his temper. Indeed, in one scene at the dinner table, when Kayla just wants to be on her phone, he displays composure that is beyond belief. And if there’s one part of this movie that might not ring true, it might be the saintly restraint displayed by Mark. While it is certainly admirable, and something that all parents of middle schoolers should strive for, having been there, I know that it’s never that easy to remain that patient.

One of the more disturbing scenes in the film only because it’s a way of life now for students across the United States is the active shooter drill at the middle school. As I watched this scene, I couldn’t help but hope that somewhere in our future, say fifty years from now, audiences might look back and wonder, “what was that all about?”  the way modern audiences do when they see scenes of bomb drills which took place in the 1950s.

As I said, EIGHTH GRADE is actor Bo Burnham’s directorial debut, and it’s an awesome debut to say the least. Both his direction and screenplay are Oscar worthy.

Likewise, Elsie Fisher is phenomenal as Kayla.  It’s such a natural performance. It’s clear that she’s not too far removed from the middle school experience. Kayla is an introvert, a quiet awkward student who doesn’t see herself as quiet outside of school and only chooses to be quiet in school. She is actually brimming with confidence and is constantly looking for any opportunity to show off this confidence, whether it be trying to get noticed by the cute boy in her class to getting along with her new high school mentor.

As Kayla, Fisher is in nearly every scene in the movie, and she carries this film with ease. She’s easy to watch, and Kayla is a character you are happy to root for. In a middle school world full of pretensions and meanness, Kayla is sincere and kind.

Josh Hamilton is also excellent as Kayla’s dad Mark. His unceasing patience is admirable, and the speech he delivers to Kayla late in the movie, where he tells her how happy she makes him, is one that I believe most parents of middle schoolers wish they too could make.

Emily Robinson shines as Olivia, the high school senior who is paired with Kayla during her high school shadow day. She’s perfect as the accepting high schooler who instantly connects with Kayla.

Jake Ryan also has a couple of noteworthy scenes as Gabe, the awkward yet friendly boy who strikes up a conversation with Kayla and later invites her to dinner at his house.

Sadly, the middle school itself is shown as something of a failure and not as a place that is doing a whole lot of good for middle schoolers. As I said, I teach middle school, and I’m fortunate to work at a school that makes middle school students its priority and prides itself on creating an environment where these students thrive.  I hope there are more schools like ours across the country rather than like the one depicted in this movie.

With up to date and realistic dialogue, and powerful and natural acting performances, EIGHTH GRADE is a convincing portrait of what it’s like to be a middle school student here in 2018. The film also communicates the uplifting message that in spite of the awkwardness and pain that accompanies the age, the future is bright for these students as they move on to high school and beyond. It’s a message that is both heartfelt and rewarding.

EIGHTH GRADE is one of the best films I’ve seen this year.

—END—

 

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Necon 38 – The Con That Has Become An Extended Family

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The following re-cap of Necon 38 will be appearing in the September issue of the HWA Newsletter:

Necon 38

July 19-22, 2018

Baypoint Inn & Conference Center

Necon has been described as a con unlike any other, and as a place that is both so tight-knit and welcoming of new folks that it’s like family. Both of these descriptions are true.

The best part about Necon is that everyone is friendly and accessible. So, in addition to informative writer panels all weekend long that are chock full of knowledgable information about the genre and writing in general, you’ll find yourself socializing with authors and like-minded individuals the entire weekend. The bottom line is regardless of where you are in your writing career or if you’re simply a reader you will be welcomed, and you will not be alone.

The worst part about Necon is time doesn’t stop while you’re there. The weekend flies by fast.

Necon was begun by Bob and Mary Booth back in 1980, and following Bob’s passing in 2013, is now run by their adult children, Sara Booth, our current fearless chairperson, and Dan Booth.  They do a fabulous job, year in and year out.

I’ve been going to Necon since 2001, and I haven’t missed one since I started. That’s eighteen Necons for me. I’m almost embarrassed to admit that. I feel as if I should be so much further along in my writing career, and that having gone to so many, I should be much more in the thick of things, but that’s not my style. I tend to hang back at cons and take everything in.  But that doesn’t mean I don’t enjoy and appreciate everything there is about Necon as much as the extroverts do.

It’s been a run ride, and it continued this year with Necon 38.

Necon 38 had it all.  Heck, in the true tradition of being a family, we even had a wedding this year!  How cool is that?

Anyway, Necon traditionally opens up on Thursday afternoons, and this year was no exception, as the con started on Thursday, July 19.

Now, a lot happens at Necon, much more than I’ve recorded here. For example, I did not attend evey panel, and there were events that I missed. So, the following is admittedly a recap from my perspective only. It’s not meant to be all-encompasing, and I apologize to anyone in attendance whose name I didn’t mention because either our paths didn’t cross this year or our conversation was all too brief.

Thursday, July 19, 2018.

This year’s guests of honor included writers Helen Marshall, David Wellington, and Dana Cameron, artist Jason Eckhardt, Toastmaster Errick A. Nunnally, and Legends Brian Keene and Carole Whitney.

Registration opened at 2:00, and judging by all the Facebook posts I read, lots of folks arrived right around then,

I did not. Each year driving down from New Hampshire to Bristol, RI, I get stuck in dreadful traffic in and around Boston, which extends my normal two-hour drive to an elongated four-hour drive, usually stuck in traffic in hot sun. This year I decided to skip all that and travel after rush hour, so this year, I arrived much later, around 9:00 pm.

The first official Necon event this year was the Welcome to Necon, Newbies!: Kaffeeklatsch hosted by Errick A. Nunnally & Laura J. Hickman. This programming is another example of how Necon strives to make everyone feel welcome. First timers who attend this meeting receive a nice introduction to the con.

10:00 was the famous Saugy Roast, where those yummy saugies, that flavorful hot dog found only in Rhode Island, are grilled to they’re deliciously charred and blackened. From there, you can stay out in the quad socializing as long as you like.

Friday July 20, 2018

8:00 it was time for breakfast, and I enjoyed a good meal of eggs, home fries, and fruit as I caught up with my roommate for the past several years and master of the dealer’s room, Scott Goudsward.

At 9:00, lots of campers headed out for the first Necon Olympic Event, Mini-Golf. I did not attend as I was on the movie Kaffeeklatsch this morning.

While I try to go to as many panels as possible, I can’t go to all of them, and so I skipped the 9:00 panel to do some writing (it’s a writer’s convention, after all!) and I worked on my movie review of SKYSCRAPER (2018) starring Dwayne Johnson. My reviews are posted on—time for my shameless plug!—my blog, THIS IS MY CREATION: THE BLOG OF MICHAEL ARRUDA, at marruda33.wordpress.com, where you’ll find all my movie reviews and columns on horror movies, all for free, I might add.

At 10:00, I attended the Read Any Good Books Lately?: The Year’s Best Books Kaffeeklatsch, a look back at some of the best books of the year. This Kaffeeklatsch featured Barry Lee Dejasu, Jaime Levine, Erin Underwood, and Hank Wagner. There were lots of book recommendations, most of them offbeat, since this is Necon. Included were nods to A Tale of Two Kitties by Sofie Kell, and to the works of author Neal Shusterman.

At 11:00 it was time for the And the Oscar Goes to: The Year’s Best Films Kaffeeklatsch, featuring Michael Arruda (yours truly!), Scott Goudsward, Matt Schwartz, Craig Shaw Gardner, and L.L. Soares, with lots of input from fellow movie lover Bill Carl.  I started things off by saying that for me it’s been a tremendous year for Marvel, and I cited BLACK PANTHER as my favorite film of the year so far. Other nods went to the horror movies HEREDITARY and A QUIET PLACE. 

Other titles mentioned included the Netflix original THE BABYSITTER, ANNIHILATION, ISLE OF DOGS, THE RITUAL, TIGERS ARE NOT AFRAID, HOTEL ARTEMIS, THE CYNIC THE RAT AND THE FIST, THE DEATH OF STALIN, and the Netflix original GERALD’S GAME, to name just a few.

At noon it was time for lunch, and a chance to catch up with more friends.

This year I joined the “Skeleton Crew,” that awesome group of volunteers led by P.D. (Trish) Cacek. I manned the seat by the dealer’s room entrance for a while, making sure folks didn’t bring beverages into the room, an effort to keep coffee and the like from being spilled on the merchandise. It was fun chatting with everyone who came in and out.

At 2:00 I attended the panel, The Spark: What Inspires a Great Short Story? moderated by Nick Kaufmann. Also on the panel were Meghan Arcuri-Moran, Christa Carmen, Toni L.P. Kelner, Ed Kurtz, and Helen Marshall. There were lots of interesting and insightful tidbits to come out of this panel. Highlights included the notion that not all short stories need to have a beginning, middle, and end, that some need only capture a moment in a character’s life. Another concise definition of a short story: it’s the most important thing to happen in the main character’s life.

At 3:00 I attended the panel, Invasion of the Pod People: Creating Your Own Podcast, moderated by Armand Rosamilla and featuring Amber Fallon, Chris Golden, Brian Keene, James Moore, and Mary SanGiovanni. Discussed were the ins and outs of doing a podcast, and for most folks on the panel, it’s a labor of love. Few people do podcasts to make money. However, it certainly can help book sales as people who listen to the podcasts often will check out your books.

At 4:00 I was back on duty by the Dealer’s Room, and at 5:00 we all assembled outside for the newest Necon tradition, the group photo. This started last year when we had to evacuate the building due to a fire alarm and decided to take advantage of the opportunity. This year we didn’t need a fire alarm for the picture. That being said, the fire alarm had different ideas.  More on that later.

At 7:00 it was time for the Official Necon 38 Toast by Toastmaster Errick A. Nunnally, followed by the comical Necon Update with Mike Myers, followed by the Necon Hall of Fame Induction Ceremony. This year’s inductee was celebrated horror author and podcast host Brian Keene.

At 8:00 it was time for the Meet the Authors Party, that event where if you’re a reader, you get the opportunity to meet and greet your favorite authors and purchase signed copies of their books. It’s also the opportunity for the authors to set up shop and make their books available.

I was fortunate enough to share a table with some of my fellow New England Horror Authors, including my Cinema Knife Fight buddy L.L. Soares, Pete Dudar, Scott Goudsward, Trisha Wooldridge, and others. For me, if I can sell one book, I’ll count that as a successful evening. So, in that regard, I had a very successful evening in that I sold four of my books, including three copies of my short story collection For The Love of Horror.

I also purchased the highly touted first novel by Tony Tremblay, entitled THE MOORE HOUSE.  I can’t wait to read it. A book I really wanted to buy and will at some point is the brand new short story collection, her first, by Dougjai Gam Bepko, Glass Slipper Dreams, Shattered. I heard plenty of wonderful things about her debut collection this weekend. I also still haven’t bought Matt Bechtel’s highly praised debut collection from last year, Monochromes: And Other Stories.  The downside of living on a budget.

And there’s many, many more. That’s always the most difficult part of Necon. There are so many books to buy, way more than I can afford.

And after that, it was time for socializing on the quad, that time when you get to chat with friends, old and new, long into the wee hours of the morning.  This year I caught up with, among others, L.L. Soares, Pete Dudar, Paul McNally, Kelly Winn, John Harvey, Kevin Lewis, David Price, and Patrick Freivald, to name just a few.

 

Saturday, July 21, 2018

I attended the 10:00 panel, BOO!: Modern Ghost Stories, moderated by P.D. Cacek and featuring Tom Deady, John Foster, Michael Rowe, Sheri Sebastian-Gabriel, Tony Tremblay, and Dan Waters, which discussed, among other things, the differences between ghosts of yesteryear and ghosts of today. It was also suggested that ghosts are the easiest tropes to believe in, since most people believe in ghosts, as opposed to vampires, werewolves, and zombies, and so the ghost story author has that advantage in that its subject is one that people want to believe in.

Next up for me was the all important 11:00 panel, Closing Time: Remembering the Life and Work of Jack Ketchum, moderated by Doug Winter, and featuring Linda Addison, Jill Bauman, Ginjer Buchanan, Sephera Giron, Gordon Linzner, and Bracken MacLeod. This was both a somber and celebratory event as the panel looked back on the life of author Jack Ketchum, who passed away earlier this year, known here at Necon by his real name Dallas Mayr. The overwhelming sentiment, which for those of us who attend Necon regularly already know, was how kind and generous Dallas was, and that for those who read him first and met him later, that was a something of a shock, since he wrote brutally dark fiction.

There were also plenty of fun stories and anecdotes, and as Sephera Giron prepared to tell one, a fire alarm— our second in two years— went off. Sephera quipped, “Dallas, it’s not that story!”

After lunch, I found myself working at the door to the dealer’s room once again.  While there, Frank Raymond Michaels and I had our annual Necon discussion of Universal Horror vs. Hammer Horror. I also found some time to relax out in the quad on a beautiful sunny afternoon and chat with friends.

I attended the 3:30 panel, When Your Book Has A Soundtrack: The Influence of Music on Your Writing, moderated by Matt Bechtel, and featuring Doungjai Gam Bepko, Rachel Autumn Deering, Gary Frank, Bracken MacLeod, Rio Youers, and Doug Winter. The panel discussed listening to music when writing, and the majority of the authors in the room acknowledged that they do indeed listen to music when they write. Some authors ignore the song lyrics and view the vocals as just another instrument making music. Other authors are inspired by lyrics, writing stories or even entire novels based on them.

At 4:30, I attended the panel It’s Kind of a Long Story: The Art of the Novel, moderated by Kristin Dearborn, and featuring William Carl, James Chambers, Nate Kenyon, David Wellington, Mercedes M. Yardley, Rio Youers, and Dyer Wilk.  This panel covered exactly what its title said, the nuts and bolts of writing a novel. A bunch of topics were discussed, including the use of outlines and the differences between writing a novel and a short story.

After dinner, I joined my fellow Skeleton Crew members including P.D. Cacek (our fearless leader!), Morven Westfield, Scott Goudsward, Scott Wooldridge, and James Chambers, among others, as we helped set up for the Artists Reception, that time where the attention turns to the artists and their fine works on display in the dealer’s room, as well as to delicious desserts and hot coffee.

At 7:30 it was time for That Damned Game Show featuring Craig Shaw Gardner & Doug Winter.  The “controversial” game show had been missing from Necon for several years now, but I for one was happy to see its return. It’s controversial because it tends to go on a tad too long.  I happen to love the game show. I think the running gag of the confusing overlong rules is hilarious, and it’s fun to see the “contestants” struggle with both the answers and the rules. That being said, it is too long, and going forward, if it’s cut in half, it would make for a very satisfying event.

Another reason I enjoy the game show is that when the contestants miss the answers, the questions go to the audience, and if you answer right you win one of Necon’s “valuable prizes.” I won two prizes this year, as I answered two obscure questions on the films of Bela Lugosi and Boris Karloff.  And I love these valuable little joke prizes because I use them in my middle school classroom throughout the year. I have a wind-up walking brain, for instance, that my middle schoolers adore.

After the game show, it was time for The Infamous Necon Roast. This year’s “victim,” was Matt Bechtel. Hilarious as always, but no details here, because “what happens at Necon, stays at Necon.”

Afterwards it was more socializing on the quad, and more saugies!  Once again I joined my fellow Skeleton Crew members and helped set up the food tables.

And since Necon is a family, tonight we had something extraordinarily special: a wedding! Yes, James Moore married Tessa (Cullie) Seppala in a ceremony presided over by Bracken MacLeod. It was a beautiful ceremony, witnessed by the 200 Necon campers who were all assembled on the quad.

Sunday July 22, 2018

While there were two panels this morning, I missed them after a late night in which I was up to about 2:30 am.

I attended the 11:00 Necon Town Meeting, where all the Necon Olympic medals were handed out for events such as mini golfdarts, foosball, High-Low Jack, and ping pong, as well as various other awards, such as the FEZ’S, those famous Necon caps given out to folks at the con who were deemed “FEZ-worthy.”

The Town Meeting is also the time to look back and say what folks liked and disliked. As usual, there were plenty of likes and pretty much no dislikes.

The hardest part of Necon is saying goodbye to everyone. I tried to say farewell to as many people as I could find, but ultimately, with people leaving various times, it’s impossible to catch everyone.

The good news is that next year is another Necon, another opportunity to spend time with like-minded folks who are more than just good friends. They really are members of an extended family.

Until next year—.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For_the_love_of_Horror- original cover

Print cover

For the Love of Horror cover (3)

Ebook cover

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

 

 

 

ANT-MAN AND THE WASP (2018) – Light, Fun, Another Marvel Hit

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Evangeline Lily and Paul Rudd in ANT-MAN AND THE WASP (2018)

ANT-MAN AND THE WASP (2018), the latest entry in the Marvel Cinematic Universe, is a comedic vehicle that will have you chuckling throughout, which is just what Marvel fans needed after the devastating AVENGERS: INFINITY WAR (2018) earlier this year.

After breaking the law by teaming up with Captain America in CAPTAIN AMERICA: CIVIL WAR (2016), Scott Lang/Ant Man (Paul Rudd) finds himself under house arrest. He sees his young daughter Cassie (Abby Ryder Forston), and he’s visited by his business partner Luis (Michael Pena), but he cannot leave his house, which explains his absence from AVENGERS: INFINITY WAR. Speaking of which, the events in this movie take place just before the events in INFINITY WAR.

Scott’s also not supposed to have any contact with Hope Van Dyne (Evangeline Lily) or her father Dr. Hank Pym (Michael Douglas) since they designed the Ant Man suit which he wore when he fought against Iron Man and half the Avengers when he joined Team Captain America. Hope and Hank are considered fugitives from justice. And Scott wants no part of seeing them since his house arrest ends in a matter of days.

But that all changes when Hope and Hank extract Scott from his house, telling him they need his help to find Hope’s mother Janet (Michelle Pfeiffer) who was lost years ago in the subatomic realm and considered dead, but since Scott had been reduced to a subatomic level and returned, Hank now believes it’s possible his wife is still alive. Scott reluctantly agrees to help them.

But along the way they find resistance from a shady business contact Sonny Burch (Walter Goggins) and a mysterious being with super powers greater than their own, both of whom want to steal Hank’s technology.

So, as you can see, the plot here is nothing heavy.  Ant Man is not trying to save the world, and after AVENGERS: INFINITY WAR, that’s fine with me.

How does ANT-MAN AND THE WASP compare to the first ANT MAN movie?  It’s as good if not better.

One of the strengths of the Marvel movies has always been that they have very strong scripts, and the screenplay here by Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari is no exception.  It goes all in on the comedy and is light and funny throughout. Writers Barrer and Ferrari are new to the Marvel Universe, while Rudd worked on the screenplay to the first ANT-MAN (2015), and McKenna and Sommers were on the team that wrote the highly regarded SPIDER-MAN: HOMECOMING (2017).

The other strength of these Marvel movies is the impressive casts they always assemble.

Paul Rudd returns as Ant Man, and he’s about as likable a superhero as you’re going to find in a movie, mostly because he’s an unlikely superhero. He doesn’t see himself as much of a hero. In fact, he knows he usually messes things up pretty bad.  Rudd is fun to watch because of both his easy-going personality and his sharp comedic timing.

Rudd’s scenes with Abby Ryder Forston, who plays Scott’s daughter Cassie, are precious. The scene where she says she wants to be his partner is a keeper. And Forston also gets plenty of comedic moments as well.

Rudd enjoys fine chemistry with both Evangeline Lilly and Michael Douglas.  Lily is perfect as Hope/Wasp, as she’s both bitter and in love with Scott, and their scenes together have the necessary sexual tension and honed humor. Lily also makes for an impressive bad-ass superhero.

Michael Douglas gets plenty of opportunities to shine as Dr. Hank Pym. When he’s not chastising Scott or saying lines like “are we going to get out of here or are you two going to stare at each other all day?” to Scott and Hope when they become preoccupied with each other rather than escaping, he’s devoted to finding his wife.

And it was fun to see Michelle Pfeiffer back on the big screen in a superhero movie, something she hadn’t done since her phenomenal performance as Catwoman in BATMAN RETURNS (1992). Pfeiffer’s not in this one much, but she appears early on in a flashback as the first Wasp, thanks to some CGI/motion capture effects, looking years younger.

The rest of the cast is largely there for comedic relief.

Michael Pena has a field day as Scott’s business partner Luis, and as the movie goes along, he becomes more involved in the plot. Luis, along with associates Dave (T.I.) and Kurt (David Dastmalchian), form a team who when helping Scott are about as useful as the Three Stooges.

Likewise, Walter Goggins, who’s played some very serious villains in his day, in films like DJANGO UNCHAINED (2012) and THE HATEFUL EIGHT (2015), plays baddie Sonny Burch strictly for laughs. The scene where Sonny and his goons capture Luis, Dave, and Kurt and plan to use “truth serum” on them is hilarious.

Judy Greer returns as Scott’s ex-wife Maggie, and Bobby Cannavale returns as her new husband Paxton, and their scenes are comic as well this time around. And Randall Park plays lawman Jimmy Woo, also, you got it, for laughs.

The emphasis on humor would be bad if the film wasn’t funny, but it is, very much so, and all these actors excel in their roles. The result is a highly entertaining two hours which fly by incredibly quickly.

About the only two folks in the film not playing things for laughs are Hannah John-Kamen as the mysterious Ghost, and Laurence Fishburne as Hank’s former colleague Dr. Bill Foster. Hanna John-Kamen is okay as Ghost, but the character, in spite of an interesting background story, isn’t developed all that well.

Laurence Fishburne fares better as Dr. Bill Foster. He’s a man who’s often at odds with Hank Pym, but he’s trying to do the right thing. The scene where he puts his foot down with Ghost when she suggests they go after Scott’s daughter for leverage really resonates. When he tells her in no uncertain terms that going after children is wrong and that he will not be a part of using a child to get what he wants, it’s a telling moment.

ANT-MAN AND THE WASP was directed by Peyton Reed, who also directed the first ANT-MAN movie. He handled both films very well, and I think he outdid himself with this second film, as he pretty much got everything right with this one. The humor works, the action scenes are edited well and fun to watch, and the pacing is perfect. The special effects are also spot-on.

If there’s any flaw it’s I would have liked more Wasp.  I really enjoyed Evangeline Lilly as Wasp and would have loved to have seen her in even more scenes as the bad-ass superhero.

And while comedy ruled the day in ANT-MAN AND THE WASP, the events from AVENGERS: INFINITY WAR which have not happened yet loom like a cloud over the proceedings, which makes this story even better.

In the Marvel movie tradition, there are two after-credit scenes. The first is the big one, the one you definitely do not want to miss, while the second, at the very end of the credits, reverts back to the comedic.

ANT-MAN AND THE WASP is yet another high quality superhero movie from Marvel, as the studio continues its amazing run of entertaining movies, and it shows no sign of slowing down. In fact, the studio is having an extraordinarily exceptional year, as all three of their releases so far in 2018, BLACK PANTHER, AVENGER: INFINITY WAR, and ANT-MAN AND THE WASP, are among the best films of the year.

And since Ant-Man wasn’t involved in the devastating conclusion to AVENGERS: INFINITY WAR, he’s suddenly a very important superhero going forward. Be sure to catch him in this light adventure now, because the next time we see him in the next AVENGERS movie, things no doubt will be a bit darker.

Yup, the next time we see him he’ll be going up against Thanos.  Gulp!

—END—

 

 

 

 

 

 

IN THE SHADOWS: J. CARROL NAISH

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J. Carrol Naish as Daniel the hunchback in HOUSE OF FRANKENSTEIN (1944)

 
Welcome back to IN THE SHADOWS,  the column where we look at character actors in the movies, especially horror movies.

Today in the shadows it’s J. Carrol Naish, one of the most respected character actors of his day, and while he’s certainly known for his horror roles, one of my favorite Naish roles is not from a horror flick at all, but from a superhero tale.

No, they weren’t making Marvel movies back in the 1930s and 40s, but they were making DC serials, and Naish starred in one of the best, BATMAN (1943), starring Lewis Wilson as Batman. This 15 episode serial marked the first time Batman would appear on the big screen, and it remains one of the better interpretations of the Caped Crusader, even all these years later. Another reason this one is so memorable? J. Carrol Naish plays the evil villain, Dr. Daka.

Since Naish was known for his multitudinous accents, he was a natural choice to play the Japanese Dr. Daka.  Remember, this was 1943, smack dab in the middle of World War II, and just two years after the attack on Pearl Harbor, and so it made sense to feature a villain of Japanese descent. Still, this one unfortunately contains some racial slurs which were redubbed in the VHS release, then restored in the later DVD release. Interestingly enough, Naish was originally signed to play the Joker, but the villain was changed to fit into a more contemporary and pressing storyline. Some remnants of the Joker still remain, like his hideout being inside a carnival.

I love Naish’s performance in BATMAN. Every time he gets the upper hand on one of his victims, and they lament, he tends to say, “Oh, that’s too bad.” Not quite a catch phrase, but there’s just something about his delivery that cracks me up every time.

But horror fans remember Naish for his horror roles, especially that of Daniel, the sympathetic hunchback in HOUSE OF FRANKENSTEIN (1944).

Here’s a partial look at Naish’s whopping 224 screen credits, focusing mostly on his genre films:

THE OPEN SWITCH (1925) – Naish’s first screen appearance is in this silent crime drama.

GOOD INTENTIONS (1930) – Charlie Hattrick – Naish’s first screen credit. Another crime drama.

DR. RENAULT’S SECRET (1942) – Noel – horror movie also starring George Zucco as the mysterious Dr. Renault. Naish plays Noel, Renault’s strange assistant, whose real identity, is Dr. Renault’s secret.

BATMAN (1943) – Dr. Daka – 15 episode serial remains one of the better screen interpretations of the Batman. Also the first. Naish plays the villain, the evil Dr. Daka, which happens to be my favorite Naish role.

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J. Carrol Naish as the evil Dr. Daka in the 15 episode serial BATMAN (1943). 

SAHARA (1943) – Giuseppe – Classic Humphrey Bogart World War II adventure tells the story of a group of survivors in an army tank facing the Nazis in the desert. Naish was nominated for an Oscar for Best Supporting Actor.

CALLING DR. DEATH (1943) – Inspector Gregg- Horror movie with Lon Chaney Jr. where Chaney plays a doctor who believes he has murdered his wife.

THE MONSTER MAKER (1944) – Markoff – Naish plays a mad scientist who injects his victims with a serum that causes them to become seriously deformed. Why? Because he can! Also stars Glenn Strange as the giant, who would go on later that year to play the Frankenstein Monster in HOUSE OF FRANKENSTEIN (1944), which would also star Naish.

JUNGLE WOMAN (1944) – Dr. Carl Fletcher – horror movie featuring Paula the ape woman. (Not to be confused with Mildred the Monkey Woman. Or Clara the Cat Woman. Or Madge the Avon Lady. Seriously, though, Paula the ape woman???) Also stars Evelyn Ankers.

HOUSE OF FRANKENSTEIN (1944) – Daniel – my second favorite J. Carrol Naish role after Dr. Daka. Naish plays the hunchback Daniel, assistant to Boris Karloff’s evil Dr. Niemann, who falls for the beautiful gypsy woman Ilonka (Elena Verdugo) but his love is not returned as she has eyes for the doomed Larry Talbot/The Wolf Man (Lon Chaney Jr.) in one of the film’s better story arcs. With Boris Karloff as Dr. Niemann, Lon Chaney Jr. as the Wolf Man, John Carradine as Dracula, and Glenn Strange as the Frankenstein Monster.

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Naish and Karloff searching the ruins of Frankenstein’s castle in HOUSE OF FRANKENSTEIN (1944).

A MEDAL FOR BENNY (1945) – Charley Martin – Second and final time Naish was nominated for an Oscar for Best Supporting Actor in this war drama based on a story by John Steinbeck.

STRANGE CONFESSION (1945) -Graham – another horror movie with Lon Chaney Jr.

THE BEAST WITH FIVE FINGERS (1046) – Ovidio Castanio – classic horror movie starring Peter Lorre about a murderous severed hand. Written by Curt Siodmark.

THE MAN FROM U.N.C.L.E (1966) – Uncle Giuliano- guest spot on the popular 60s spy TV show in the episode “The Super-Colossal Affair.”

GET SMART (1968) – Sam Vittorio – guest spot on the classic Don Adams comedy in the episode “The Secret of Sam Vittorio.”

DRACULA VS. FRANKENSTEIN (1971) – Dr. Frankenstein – Naish’s final film role is in this dreadful horror movie which falls under the “it’s so bad it’s good” category. Plays a wheel chair bound Dr. Frankenstein. Also notable for being Lon Chaney Jr.’s final movie. He actually fares worse here than Naish, as his character doesn’t even have any dialogue. Horrible, grade Z stuff.

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Lon Chaney Jr. and J. Carrol Naish in DRACULA VS. FRANKENSTEIN (1971), the final film roles for both these actors.

 

Naish passed away on January 24, 1973 from emphysema at the age of 77.

J. Carrol Naish – January 21,  1896 – January 24, 1973.

I hope you enjoyed this partial look at the career of J. Carrol Naish, one of the hardest working and most effective character actors of his day.  His horror movies were few and far between, but he was always memorable in them.

Thanks for joining me today on IN THE SHADOWS and I hope you’ll join me again next time when we look at the career of another great character actor.

Thanks for reading!

—Michael

 

 

 

 

TAG (2018) – Uneven Comedy Actually Based on True Story

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The craziest thing about the new comedy TAG (2018) is that it’s actually based on a true story.

So, as much as I want to say that the plot point of a group of adults still playing tag is rather ridiculous, it actually happened. There really were a group of childhood friends who continued to play tag well into adulthood.

As a famous sports announcer used to say, how about that!

And that’s exactly the story that TAG has to tell.

Hogan (Ed Helms), Bob (Jon Hamm), Kevin (Hannibal Buress), Chilli (Jake Johnson), and Jerry (Jeremy Renner) have been friends since childhood, and now as adults, they continue to play the game of tag which they used to play as kids. It’s their way of both keeping young and keeping in touch, literally. Once a year, during the month of May, regardless of where they are, they find each other and play tag, and no one wants to be stuck being “it” for a year once the month ends.

And the one friend who has never been “it” is Jerry. He’s so good at the game that he’s never been tagged. Not once. And so the other four friends gang up on him with the plan of finally making Jerry “it.”

I have to admit, watching adult males doing whatever it takes to tag their friend and make him “it,” whether it be by taking fake jobs to get close to their target, wearing an old lady disguise, breaking into homes, and even crashing AA meetings, is fairly amusing. Up to a point.

I judge comedies by how much I laugh, and watching TAG, I laughed fairly often, but most of these laughs came during the first half of the movie. For the most part it’s a likable enough comedy, but it never becomes a laugh-to-you-cry type of experience. And that’s because even though this is based on a true story, the novelty of watching adult males playing tag only goes so far.

The jokes and situations needed to be sharper. The screenplay by Rob McKittrick and Mark Steilen is okay.  It does a nice job showing the lengths these guys go to in order to win the game, but during the film’s second half it’s just begging for things to get over the top and completely out of control, but this doesn’t happen, as the story goes for some sentimentality instead.

The recent comedy GAME NIGHT (2018), another “friends” comedy with a different contrivance -friends playing a murder/mystery game that unknown to them was in fact real— I thought had a stronger screenplay, with more jokes that worked and much funnier situations.  TAG has its moments, but it doesn’t stay consistently funny throughout.

The cast is fine. Ed Helms sort of has the lead role, as his character Hogan seems to try the hardest to win the game. Helms can do this sort of thing in his sleep, which is part of the problem. It’s nothing we haven’t seen Helms do before. I enjoyed him much more cast against type in a dramatic role in CHAPPAQUIDDICK (2017).

I’m a big Jon Hamm fan, and he kinda plays it straight here. He spends most of the time reacting to what his other friends are doing.  I would have preferred to have seen Hamm stretch his acting chops and go for some comedic timing.

The guy who is really funny is Hannibal Buress as Kevin.  He gets some of the best lines in the movie.

Jake Johnson is okay as Chilli, but the character is rather annoying and is certainly the least likable of the friends, which is saying a lot since Jeremy Renner’s character Jerry isn’t likable either.  I enjoyed Johnson much more on the TV show NEW GIRL (2011-18).

I can’t say that I enjoyed Jeremy Renner all that much either. His character Jerry spends most of the film talking down to his friends and acting superior to them. I get that he’s supposed to the tag champion, but the writing here does the character and the story no favors by making him a very unlikable guy.

And even though this is based on a true story, I doubt the game included the intricately choreographed stunts and fight moves that Jerry uses to elude his friends. Strangely, these CGI enhanced scenes, which reminded me a lot of the action scenes in the movie KINGSMAN: THE SECRET SERVICE (2014) were among the least funny scenes in the film.

On the other hand, some of the earlier scenes of physical comedy, scenes where Chilli tries to leap from a fire escape and where Jon Hamm’s Bob tries to smash through some unbreakable glass, for example, are funny.  Much of the film relies on the use of heavy slapstick rather than verbal jokes, but with mixed results, as a lot of those polished staged action scenes just don’t tickle the funny bone.

The women in the cast actually score a bit higher than the men.  Isla Fisher is hilarious as Hogan’s wife Anna. She makes Anna an over the top intense character, and it’s the type of thing that’s missing from her male co-stars’ performances. As such, it’s my favorite performance in the movie

I’m also a fan of Annabelle Wallis, a talented actress who is still waiting for her break-out film role.  She’s been in such movies as ANNABELLE (2014), KING ARTHUR: LEGEND OF THE SWORD (2017), and, ugh, THE MUMMY (2017), and she was also on the TV show PEAKY BLINDERS (2013-2016). She plays it straight here as the newspaper reporter who decides to tell the guys’ story, but she’s very good in what otherwise could have been a forgettable role. She’s someone to watch going forward.

Director Jeff Tomsic gets mixed results with this one. I thought the plot was a good one. It was fun to watch how far these guys would go to play tag, and early on the physical comedy was pretty uproarious, but the film actually becomes less funny as it goes along because the concept of adults playing tag gets old quick without a strong script to add depth and keep things going.

I also never got the feel for how close these guys were. They said they were friends, but we don’t really see it other than in the context of the silly game of tag.

And I didn’t really like the Jeremy Renner “action” scenes at all. I thought they were the most phony and unfunny parts of the film.

TAG has its moments, and these moments were good enough to make me laugh here and there, but taken as a whole, it’s not quite the solid comedy it starts out to be. Like most games of tag, it kinda fizzles out after a while.

—END—

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

OCEAN’S 8 (2018) – Mildly Entertaining Heist Tale

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Truth be told, I’ve never been a fan of the OCEAN’S movies.

The Steven Soderbergh-directed trilogy did little for me in spite of its impressive cast, led by George Clooney. Of course, the first one, OCEAN’S ELEVEN (2001) was a remake of the 1960 film, OCEAN’S 11 starring Frank Sinatra and Dean Martin.

With that in mind, I wasn’t all that excited to see OCEAN’S 8 (2018), the all- female take on the OCEAN’S formula, starring Sandra Bullock as Debbie Ocean, younger sister to Clooney’s Danny Ocean, but I wanted to check it out anyway, mostly because of its cast.

For me, the Soderbergh OCEAN films always held such promise: they had fabulous casts and told fun lively tales about bold heists of Las Vegas casinos, but the trouble was, they just weren’t that fun and lively. The culprit? Scripts that just never brought the characters or the stories to life.

So, now comes OCEAN’S 8, where the heist features an all-woman team. Would the results be any different?

Sadly, no.

OCEAN’S 8 opens with Debbie Ocean (Sandra Bullock) getting out of prison after convincing the parole board that all she wants to do is live a normal crime-free life. Once out of prison, this promise last all of two seconds as she immediately scams her way into purchasing items from a high-end boutique followed by a hotel room. And before you can say Rat Pack she’s already assembling her team for her big heist which she had been planning during her five-year prison stay.

Ocean’s team includes Lou (Cate Blanchett), Rose Weil (Helena Bonham Carter), Tammy (Sarah Paulson), Amita (Mindy Kaling), Constance (Awkwafina), and Nine Ball (Rihanna). The job? To steal a diamond necklace, which they intend to do by manipulating the famous Daphne Kluger (Anne Hathaway) into wearing it to New York City’s annual Met Gala where they plan an elaborate scheme to remove it from her neck and get it out of the building undetected.  It’s a job which would make her older brother Danny proud.

I had the same problem with OCEAN’S 8 that I had with the other OCEAN movies: love the cast and the plot, but the script not so much.

You can’t find too much fault with the cast here. They’re fun to watch, but none of the actors are enough on their own to carry this lackluster tale to higher places.

Sandra Bullock lacks the charm of George Clooney in the central role, and so you don’t have that same “bad boy does good” feeling going on here. It’s the type of thing that Cary Grant used to be able to pull off with ease- the thief who you actually really like.  Clooney could do the same.  Bullock here, interestingly enough, comes off as more of a villain than Clooney ever did.  Her take on the “family business” is far less playful than Clooney’s.

Cate Blanchett is okay as Lou, but it’s the supporting cast who actually make more of a mark. In particular, Rihanna as Nine Ball and Awkwafina as Constance both add considerable spunk and energy to their roles. Even though their roles aren’t any more developed than the others, I enjoyed watching these two whenever they were on-screen.

Likewise, Sarah Paulson was also very enjoyable as Tammy, as she, too delivers a spirited performance.

I thought Helena Bonham Carter gave the best performance in the movie as the manic and apprehensive Rose Weil. It’s nothing I haven’t seen Carter do before in her long and successful career, but that doesn’t mean she doesn’t do it well.  I pretty much enjoyed her scenes in this one the most.

And Anne Hathaway does what she is supposed to do, as the wealthy celebrity Daphne Kluger, but it’s not really a role that moved me in any particular way, which doesn’t help the story, since she wasn’t someone I felt deserved to be an unwitting participant in a major jewel heist.

Which brings me to the weakest part of the film, the screenplay by Gary Ross and Olivia Milch.  The biggest knock against it is, like the earlier OCEAN films, it’s just not sharp enough with its humor or its story to make me care all that much. There’s nary a memorable line or scene to be found.  I’ve always found the OCEAN films to be only mildly entertaining, responsible for providing a minor diversion for a couple of hours, but hardly all that exciting or fun.  OCEAN’S 8 is the same.

And in terms of story, the heist has very little meaning. Anne Hathaway’s Daphne Kluger is no villain, and so there’s no feeling that she deserves to be robbed. Plus, since the jewels aren’t even hers, she’s not even the one being robbed. There’s also very little motivation for Sandra Bullock’s Debbie Ocean, other than that crime seems to run in her family’s genes. There are hints, as in the first George Clooney OCEAN film, that the heist is personal, as Debbie uses the crime to get back at the man who put her in prison, but this plot point remains minor throughout the film.

In addition to writing the screenplay, Ross also directed OCEAN’S 8, and while the film looks good, in terms of pacing, things never really build to a satisfactory climax.  I thought the whole film just seemed off somehow.

Ross also wrote and directed the first HUNGER GAMES movie in 2012, and his work on that film was much stronger than his work here.

OCEAN’S 8 might entertain you, especially if you’re a fan of the previous OCEANS movies, as it’s pretty much the same exact formula, but if you’re not really into the George Clooney films, I can’t see how you’d enjoy this one any better.

Underneath all the glamour and glitter, OCEAN’S 8 is just a mediocre heist tale, a mild diversion, the type of film you might want to catch at home rather than at your local theater.

And while an OCEAN’S 9 may be inevitable, what should come first is an OCEAN’S 101 for the writers who write the screenplays for these movies.  Now that would have some value.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

BOOK CLUB (2018) – Boasts Considerable Star Power with Fonda, Keaton, Bergen, and Steenburgen

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Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen in BOOK CLUB (2018)

First of all, even if this movie had been bad, I still would have been impressed with its star power.

I mean, you have Jane Fonda, Diane Keaton, Candice Bergen, and Mary Steenburgen sharing equal time as the four lead characters in BOOK CLUB (2018), a charming tale of four lifelong friends who still get together once a month for their book club meetings and who decide to spice up their lives by reading Fifty Shades of Grey.

But I’ll cut to the chase and get to the good news, which is BOOK CLUB is not a bad movie. In fact, it’s quite the opposite.  It’s a really good movie.

Diane (Diane Keaton), Vivian (Jane Fonda), Sharon (Candice Bergen) and Carol (Mary Steenburgen) are all feeling old. They decide to shake things up a bit by reading the novel Fifty Shades of Grey by E.L. James for their monthly book read, and soon their conversations turn to sex. It’s a subject that’s on all their minds, but at their age, they simply don’t feel comfortable talking about it or even thinking about it. Reading the novel changes all that for them.

Carol tries to spice up her love life with her husband Bruce (Craig T. Nelson) who has only just recently retired and just doesn’t seem himself lately. The sequence where Carol secretly slips some Viagra into his drink and their subsequent argument in their car which leads to them being pulled over by the police is one of the funnier bits in the film.

Vivian becomes reacquainted with an old boyfriend Arthur (Don Johnson), while Diane, whose husband had recently passed away, meets a pilot Mitchell (Andy Garcia) who’s very much interested in her. And Sharon, a federal judge who believes she’s way past the age of dating, is egged on by her friends to get back into the game, especially when she learns her ex-husband is marrying a young woman who’s the same age as their son. Sharon enters the world of online dating, which leads her to meet a friendly accountant George (Richard Dreyfuss).

All of these stories work well, which is no surprise when you consider the quality of the actors involved here.  But BOOK CLUB is more than just fine acting.  It also has a very good screenplay by Bill Holderman, who directed, and Erin Simms.  It’s witty and honest, and the comedy here isn’t ridiculous or silly, but sincere and heartfelt.  And you definitely will laugh while watching this one.

But having four amazing actresses in the movie certainly doesn’t hurt, and all four are well worth the price of admission.

First of all, Jane Fonda looks absolutely amazing. She’s 81 years old, but you wouldn’t know it by looking at her. She looks twenty years younger.

I’ve had a crush on Diane Keaton ever since ANNIE HALL (1976) and after seeing BOOK CLUB I think I still have a crush on her. She exudes intellectual sexiness. Her story in BOOK CLUB is probably the one that is most developed of the four.  The sequence where she first meets Mitchell on a plane is laugh out loud funny,

Once they start dating, they have strong feelings for each other, but Diane feels like she needs to be committed to her two adult daughters, and she feels if she were involved in a relationship so soon after their father’s death it would hurt them, but Mitchell makes the case that it’s okay for her to be happy.  Keaton and Andy Garcia share some of the movie’s best scenes together, and they enjoy a strong onscreen chemistry.

One part of Diane’s story that didn’t work for me was her relationship with her two adult daughters.  They treat Diane like she’s 90 years old, as they worry about her living alone and want her to move to Arizona to live with them.  This seemed unrealistic to me since Diane seemed quite capable of living on her own.

Mary Steenburgen and Craig T. Nelson succeed as the long married couple Carol and Bruce who in spite of their recent difficulties really do still love each other, and this comes out beautifully in their performances.

Candice Bergen’s scenes are also very funny as she tries to navigate the world of online dating, like when she inadvertently takes a photo of herself with her computer camera while she’s wearing a facial mask. Her scenes with Richard Dreyfuss are also quite good.

In addition to Jane Fonda, Diane Keaton, Candice Bergen, and Mary Steenburgen there’s also a very strong supporting cast.

Andy Garcia is excellent as Mitchell, the pilot who falls easily in love with Diane.  It’s probably the best Garcia performance I’ve seen in years.

Craig T. Nelson is equally as good as Carol’s husband Bruce. One of his best scenes is when he explains his recent moods to Carol, saying that his retirement left him very scared about what there was left to do in his life, and it shook him badly, which is another good example of the sincerity of the screenplay.

Don Johnson enjoys quality screen time as Arthur, and Richard Dreyfuss makes the most of his very brief screen time as accountant George.

I really enjoyed BOOK CLUB, from the acting of all involved, to the funny and sincere script, to the cinematography, as there are some very picturesque shots of the skyline around Mitchell’s home in Arizona.

The film also does well with its theme, that we are not meant to be alone.  It’s Jane Fonda’s Vivian, probably the most successful of the four, who continually tries to make the argument to the contrary, citing that she knows how all relationships end, and so she is perfectly happy to ignore them and live her life without them. But when she meets Arthur again, she realizes that in spite of all her success as an independent woman, she’s missing something in her life.

For Diane, it’s the validation that it’s okay to be happy, that she doesn’t have to stay in mourning over the death of her husband in order to respect her daughters’ feelings.

Sharon learns that it’s never too late to start dating, and Carol discovers that being married to the same man for years upon years doesn’t have to take away from their sex life.  It just takes communication.

I laughed a lot during BOOK CLUB, as did the decent sized audience I saw it with.

BOOK CLUB is a witty look at four successful senior women who start off having some fun talking about sex for the first time in a while and then find themselves using these conversations as a springboard to re-connect with members of the opposite sex, something they didn’t think was still possible for women their age.

It tells an uplifting and very funny story that will have you laughing throughout in this very amiable comedy by Bill Holderman featuring four powerhouse actresses, Jane Fonda, Diane Keaton, Candice Bergen, and Mary Steenburgen.

That’s some impressive star power.

—END—