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Kevin with actress Mary Badham (on his left) and his mother, Annabelle, circa January 2009 (family photo)

Actress Mary Badham. The legendary film TO KILL A MOCKINGBIRD. My late mother, Annabelle, who died in 2009. The prevalence of racism and bad behavior in America today. All of these things hit me in a whole new way this past week when I accidentally stumbled across the original recording of an in-person interview I did with Ms Badham back in 2009, a piece that is no longer available online (it originally appeared on the defunct PlaybackSTL site). I’m sharing most of the complete interview here, but more importantly, the context has changed considerably, rendering this trip into the past more than a little noteworthy. Yes, TO KILL A MOCKINGBIRD is still one of my three or four all-time favorite movies, and yes, racism still exists… not just the straightforward kind that is depicted in the classic 1961 film, but a far more widespread and violent strain that makes the news somewhere almost daily. I can talk about either subject for hours. But this old interview captures transcendent moments from the last “evening out” that my mom and I enjoyed together, in January 2009. Just a few weeks after the occasion that led to this interview, a revival of TKAM at Washington University’s Edison Theatre, my mom suffered a terrible fall. She was seriously injured, and despite some promising efforts by a couple of doctors to get her to recover, it wasn’t meant to be. She slipped away in April 2009. Among many, many things that were noteworthy about my mom was her gift for cheerful understatement, and occasionally, eyebrow-raising surprise. A bombshell she dropped on her four kids one day was that she had gotten to hang out with author Harper Lee one day and see a screening of TO KILL A MOCKINGBIRD with her the year it opened, thanks to a mutual friend named Mae McCleavey. I never sat down and interviewed Mom herself, despite knowing I probably SHOULD on many an occasion. If I told most people that the reclusive author watched the movie made of her masterpiece with my own mother, I wouldn’t blame them for being skeptical. How could such a thing happen? But… this interview features a golden moment, Mom actually telling Mary Badham, the gifted actress who played Scout in the movie, that yes, she sat in a theatre with Harper Lee. Hearing her speak after all these years is more than a little emotional for me, as is virtually everything Mary had to say about the film. So yes, this one is “from the vaults” all right, but in light of the context the present day provides, it might as well be new. I’m grateful I came across this, because the disc on which it appears was not labeled accurately.


I don’t have to repeat the praise here that I bestowed on the Gregory Peck masterpiece in my original article. TKAM is a beloved film all over the world, one of Hollywood’s most successful film adaptations ever, not to mention the historical impact of Harper Lee’s original novel (which STILL finds crackpot right-wingers trying to ban it even today cause of all that “critical race theory” stuff. Don’t get me started). But what I am happy to share is that the movie was a singularly worthy entry in the family-viewing contest I experienced growing up and beyond. Very, very few movies could meet the approval of every single member of my family – varied bunch that we were – when we would get together to watch something. TO KILL A MOCKINGBIRD stood almost alone in that regard. Both the snobbiest among us and the most open-minded among us were willing to watch the exploits of Atticus Finch, Scout and Jem (and that Boo Radley guy) for yet another time. And to a person, we were all emotional afterward… again. “What a great movie!” someone would remark. How amazing a thing, that this remark could have come from any of the six of us. That, my friends, is unprecedented. When I met the adult Mary Badham, the lady who gave what is easily one of the best performances by a child actress in history (I told her as much, which was a thrill for me), I had a chance to tell her about our family viewings of the film, how my sister would sometimes say “Hey, Boo!” when she called me up, how one of us might query the other, “What in the Sam Hill are ya DOING?,” gleefully reciting another of Scout’s great lines from the film, and how I’d written to Gregory Peck once when he was still alive, talking about my love for the film. He sent me an autographed photo, bless his heart. And upon meeting Mary Badham, I got HER autograph on a famous pose of her and Peck, meaning that I’ve got a treasured scrawl from the two main stars of a genuine movie masterpiece. Yes, I’m a fanboy for stuff like this. Can’t help it. Mary was tickled by my enthusiasm, but she’s heard these things so many, many times… as the interview makes clear. And sitting nearby, respectfully not interrupting until the very end, was my mother. The whole thing is just unbelievable to me, honestly. My last “night out” with Mom, spent in the company of “Scout”! Not bad, eh? So here’s that interview from January 2009…


THE MULE: What stands out the most from your time filming the movie?

MARY: Mostly just having fun. We had a ball! We really did. We played a lot, we laughed a lot… it was playtime! It wasn’t like work. Our wonderful director, Bob Mulligan, he made it so easy. He really did. All these guys had small children they were dealing with at home at that period in time. So they knew how to communicate with children. We had so much fun!

THE MULE: They had a certain way of talking to you, then?

MARY: Yeah, very easy. Real down to earth. They didn’t talk down to us. Bob Mulligan, one of the things that made him such a fabulous director… he would get down to our level, he would kneel, literally, just squat down and talk to us face to face like two adults talking. I never remember him talking down to us. It was always like, “Okay, this is the deal, this is what we’re gonna do.” And that’s what we did! It was great fun.

THE MULE: I guess you had to do multiple takes of scenes?

MARY: Oh yeah. Whenever you’re shooting a film, you wanna get different angles that you can cut together. But I had a particular problem. I not only knew MY lines, I knew everybody else’s! If I thought someone was struggling, I would sit there and mouth the lines! Bob would yell “Cut! Now, dear… this is film! We can see your mouth moving. Please don’t do that!” (Mary chuckled at this point in the interview) Poor Phillip (Alford, who plays Gem). It made him crazy! I don’t think he’s ever forgiven me for that!

THE MULE: You guys keep in touch?

MARY: Oh yeah! I’m probably closer to him than I am to my own brothers. He’s so funny! Wish he could be here tonight, but he’s on another job.


THE MULE: And you’ve talked elsewhere about how much you enjoyed working with Gregory Peck. Not a bad gig for a youngster!

MARY: It was wonderful. We had a fabulous relationship that lasted right up until before his death. I was up to the house just a few weeks before. His whole family has been just so lovely through the years. They’ve been a great source of comfort for me. I lost my parents very early. My mom died three weeks after I graduated from high school, and my dad died, like, two years after I got married, and I got married when I was 21. So to have that kind of a role model was wonderful. He really imprinted on me some basic things, of getting a good education, of working hard, coming to work prepared or doing your job well.

THE MULE: You absorbed a lot from him…

MARY: I mean, it was also all the years in between! It was nothing for me to pick up the phone and he’d say, ‘Hi kiddo, whatcha doing?’ When you’re living in a trailer in Loachapoka, Alabama, in the middle of a field, getting blown away by tornadoes, it’s kind of a comforting thing to have Gregory Peck call you on the phone and go, ‘How ya doing, kiddo?’ He was just so awesome.

THE MULE: His influence on the law profession is legendary, also; much has been written about that. Everyone knows about Atticus Finch.

MARY: Absolutely. When we were on the road in his one-man show, I could not tell you the number of people in the audience that said either they became a lawyer or their daughter, or their son or some member of their family became a lawyer because of his role. And they still use it in law schools. They teach TO KILL A MOCKINGBIRD. Which I think is wonderful!


THE MULE: The legacy of the film is unprecedented, honestly. Few works of art have had such a widespread influence. What has that been like for you through the years?

MARY: It’s pretty amazing. I tell people constantly, this is not just a black and white 1930s issue. This book touches on family issues, social issues, women’s issues, racial issues. The whole nine yards. And everything that’s important about the way we need to live our lives, and the way we need to think about our culture and our country, it’s all there. That’s what makes it important. Let’s face it, bigotry and racism and hatred and ignorance haven’t gone anywhere. They’ve just changed their clothes, that’s all. So it’s all things that we need to pay attention to. We need to work toward making ourselves better. Getting our education system fixed. Getting our families fixed FIRST, education second. We’ve really got to get control of all those things.

THE MULE: It’s a miracle how this film seems to appeal to just about everyone… my family watched it repeatedly through the years. We all loved it!

MARY: It’s wonderful. There’s families that sit and watch this film every year. It’s an annual event that they do, like, before Christmas or during fall. Fall seems to be the choice of times when most people do it. But there are whole families that just gather around and watch it.

THE MULE: There are so many scenes imprinted on my psyche. When Scout first sees Boo Radley, and she wrinkles up her face and takes time to get out the words “Hey, Boo,” I gotta tell you, that scene brought tears to my eyes more than once. I kinda feel what you did there, it’s BEYOND acting. It’s like UBER-ACTING or something. Just transcendent.

MARY: (Mary smiles and nods at this point in our interview) The one that gets me is in the courtroom, when they say, “Jean-Louise, stand up. Your father’s passing!”

THE MULE: Oh golly, my friend Kathy has mentioned that same scene to me before, she loves it also! How did you get this part in the first place?

MARY: My mom was an actress, she was with the local town theatre. And she took me in to try out. I didn’t know anything, I was just this dumb little kid from Alabama.

THE MULE: (I express amazement that Mary had no previous acting experience. After all, she became the youngest actress ever to be nominated for an Oscar for Best Supporting Actress, for her work in the film)

MARY: You have to understand… the script and the life portrayed; everything was so close to my real life.


It was at this point in the interview that a couple of reps came along to alert Mary it was time for her next interview. Graciously, however, she chatted with my mother for a few more moments. Mom told her it was all true how much my family loved the movie, and how we quoted the dialogue often. I asked if she had mentioned to Mary yet about seeing the film with the author. She grinned broadly and pointed to three imaginary seats.

I sat RIGHT here with the teacher. And Harper. And ME!”

That’s just amazing!” Mary whispered.


Mom and I then posed for two memorable photos with Ms Badham and hugged her, before reluctantly but giddily moving on. I was emotionally moved to the point of almost being speechless. There weren’t any adequate words to sum up what I was experiencing. And now, 13 years later, there still aren’t. To paraphrase a line from the classic film itself: “I was to think of these things many times… of Mary Badham, of my enthusiastic mother, of the impact of a beautiful movie on both the world and my own heart, and how I got to sit face to face with ‘Scout,’ and tell her how grateful I was for what she’d given us.”

MARY BADHAM, currently on tour with TO KILL A MOCKINGBIRD as Mrs Henry Dubose (left photo courtesy: DKC/O&M, right photo credit: JULIETA CERVANTES)

UPDATE: Mary Badham can currently be seen as Mrs Dubose in a touring production of TO KILL A MOCKINGBIRD that also features Richard Thomas as Atticus and Melanie Moore as Scout. The production was originally supposed to hit Broadway for a spell, but one of the producers decided that would not be financially feasible. TKAM fans will have plenty of other chances to enjoy the fabled story as it comes to cities throughout the country up through June 2023. Aaron Sorkin adapted this production from Harper Lee’s novel, with Jeff Daniels earning widespread acclaim for his performance as Atticus in the initial run on Broadway. You can read more about the touring show at:


(GRAVITAS VENTURES/SAVE THEM WILD DOGS (96 minutes; Unrated); 2020)

Wow. I remember a review of the Viggo Mortensen film A HISTORY OF VIOLENCE, in which the writer used the effective line “You won’t know what hit you” to summarize the dastardly plot. That’s how I felt at the conclusion of the genuinely compelling new film UP ON THE GLASS. I really don’t want to give away much here, because this film is worth experiencing on your own, without knowing key details beforehand. It manages to be suspenseful, visually appealing and non-formulaic throughout most of its 90-minute running time, and that is quite an achievement. So here’s what I can say. Jack DiMercurio (Chase Fein), the main star of this unique film, is a restless, introspective sort who is not given to explaining his emotions or thoughts very easily, and has an uncertain employment history. He’s agreed to spend some time at the lake house of his old friend Andy Shelton (Hunter Cross), who’s a bit too abrasive and honest, but is a successful businessman who seems to have good intentions. Andy’s wife Liz (Chelsea Kurtz) is only talked about for the first portion of the movie. We learn that Jack may have once been involved with her and gets moody when her name comes up. We also have to endure the obnoxiousness of a third friend, “Mose” (Steve Holm), who joins his old buddies for the weekend. At first you think this movie is going to be a character study of these three friends, starting to feel their ages, drinking too much, and questioning each other’s life choices. They’re in a beautiful setting along Lake Michigan, enjoying the shoreline and the imposing sand dunes Andy takes them to so they can lose themselves. “There’s space out there. Men need that,” Andy tells his pals. But though we’re shown some memorable scenery, and these guys overall seem to be basically likable, friction soon develops. Andy pushes Jack to share more than the latter is comfortable with. “I think you’re TOO smart,” he tells him matter of factly. “It trips you up. You overthink things.”

UP ON THE GLASS (Chase Fein, Hunter Cross, Steve Holm) (publicity still)

For this part of the film, I was admiring the believability and charisma of the characters, especially Jack, and the bright, striking cinematography by Mark Blaszak. I was intrigued. But then there is a sudden, rather implausible event that changes the entire nature of the film. Hopefully no one gives it away to you because, despite this didn’t-see-that-coming development, the film trades on a different kind of suspense and a couple of pretty rich themes from then on. Although we’ve been treated by this point to the appearance of a couple of lovely women from town, store employees Becca (Jessica Lynn Parsons) and Kate (Nikki Brown), their part in the story is mostly minimal. Not so when Liz shows up at last. Chelsea Kurtz does a fine job investing Liz with depth of character and conflicting emotions. She and Fein have clear chemistry and authentic-sounding conversations, and there is some seriously good acting going on here, as a sense of buried romantic potential must compete with a few other developing themes. You sort of WANT these two to get together. A dripping faucet in the kitchen, which Jack promises to fix at least twice, provides a metaphor for the passing of both time and opportunity, and these two terrific actors really do make you want to see what will happen in the next scene. The grim nature of reality, however, prepares you to expect bad stuff. Director and co-writer Kevin Del Principe shows plenty of command with his helming of this tale, and he has the patience to trust that most audiences will take the ride, slow though it may be at times. I think he has the makings of an exceptional filmmaker.

UP ON THE GLASS (Chelsea Kurtz) (publicity still)

I simply can’t say a word about the ending. I watched this film early in the morning, letting a couple of its big surprises wash through me, and I want to enjoy my feeling of sheer admiration, something I don’t feel near enough these days after I screen a film. You do NOT get a neat resolution of anything with UP ON THE GLASS. It does almost nothing that you want or expect it to do. It certainly gives you a couple of complex characters with shifting motivations. And it creates its own brand of intense suspense that for me was truer to what might happen in real life than a dozen bigger budget films. And I liked all six of the principal actors, with something pretty unforgettable being captured here by Chase Fein. He’s an actor to watch. Judging from a few less enthusiastic reviews on IMDB, not everyone was enamored with Del Principe’s directorial vision, however, and you certainly could be forgiven if you don’t like the main plot twist or the way you’re left hanging at the end. But I genuinely admired this film for how it avoided the obvious at most turns, and tried to hint at much bigger themes and character conflicts than what we usually get on screen. I won’t forget UP ON THE GLASS, that’s for sure, and I plan to follow the careers of virtually everyone who played a part in making it.



Whenever I’m assigned a review for a low-budget indie type film, usually something I’ve never heard of before, I have a tendency to mentally prepare myself for an experience that’ll be tedious and hard to write about, as has been the case more than a few times. It’s just that there are only so many ways to make a film genuinely entertaining and interesting; the “surprise factor” is a rarity in below-the-radar films. Imagine my pleasant reaction, then, when LIMBO turned up, on a particularly bad day for me when I was mostly making myself kill time, and lo and behold it grabbed me right away and didn’t let go. There have been other films that combined the legal profession and the underlying theme of good versus evil – THE DEVIL’S ADVOCATE comes to mind – but there is enough clever, offbeat stuff in LIMBO to make it a worthy viewing experience. A timeless theme that has occurred throughout the history of films is given some curious new life here thanks to writer/director Mark H Young’s clear interest in the whole “heaven or hell” debate. And yes, I was surprised.

LIMBO (Veronica Cartwright) (publicity still)

A bad brute of a guy, Jimmy Boyle (Lew Temple) commits a senseless murder of a mother of three (Veronica Cartwright in a brief but memorable appearance), and must face justice. It’s giving nothing away to say that he dies himself; the film is concerned with whether he’s going to go to hell, or get a “redemption” that would allow him to go to heaven. So two attorneys in a dingy underworld office must argue the case: Balthazar (Lucian Charles Collier), a young looking guy with an oddly casual accent, gets to make what surely appears to be an open-and-shut case for why this reprehensible killer should go straight to hell, even though the “witnesses” called indicate he had a horrible, abusive father and a drug-addict mother. But not so fast: the white-suited new attorney for Jimmy, an attractive gal named Cassiel (Scottie Thompson) has some pluck and energy to take a deeper look into Jimmy’s past; this includes exploring his atypical relationship with a self-aware prostitute named Angela (Lauryn Canny). Balthazar is being pressured to “close this case down” quickly by a nasty rep for Lucifer named Belial (a fiery Peter Jacobson). And it sure seems like Jimmy is irredeemable; in fact, Cassiel tries to quit the case, figuring this is just NOT going so well. But Mark H Young has some things he wants to say about humanity and justice. “I’m very confused,” Cassiel tells Balthazar at one point. “I put my trust in God. But now that I’ve seen what humans can do with my own eyes, I don’t know what I believe anymore.” And the film does take a more interesting than you’d expect view of what makes a guy bad, with a couple of interesting twists.

LIMBO (Richard Rhiele, Lucian Charles Collier) (publicity still)

There is some dark humor along the way, and a crucial bit of acting levity by Richard Riehle as Phil, a wisecracking stenographer, whom film fans will remember from his role as Tom Smykowski in the cult film OFFICE SPACE. I enjoyed the understated, sort of weary back-and-forth between Collier and Thompson, two actors I was not familiar with; there’s a grudging mutual respect for the very separate worlds of good and evil that each has to represent. We do see various demons with minimal horns sticking out of their heads, including Riehle’s character, walking in and out of various scenes, and there’s an amusing sequence in a hell bar. And by the time Lucifer himself appears near the end (James Purefoy, adding to the endless unique interpretations of a character we’ve been conditioned to ALWAYS be curious about), enough interesting stuff has unfolded in this movie to make Purefoy’s performance a genuine delight.

LIMBO (James Purefoy) (publicity still)

While Temple is mostly one-dimensional in his portrayal as Jimmy, he is certainly unsettling to watch and provides a mostly compelling story arc. Thompson and Collier are both so unconventional they make things move along rather briskly, and Jacobson and Riehle are excellent. LIMBO aims for a fresh look at the most timeless theme in the world, that being good versus evil – and there are times when the plot is really a stretch. Jimmy doesn’t give us enough depth to care that much about him, and certainly there are questions of plausibility throughout. But I truly liked the setup of this film, and the whole notion of everyone getting a “trial” to see which way they are going after they die. The script has more panache than I expected, and I would say Young is a director to watch. I was never bored watching LIMBO; in fact, I am kind of eager to see it again. That’s a surprising thing for me to say, considering my not so enthusiastic attitude when the opening credits first rolled.


(GLOBAL DIGITAL RELEASING (78 minutes; Unrated); 2020)

If a movie primarily consists of talking, and mostly features just two or three characters, a few things are essential. First, those characters should be distinctive and somewhat charismatic. Second, the thematic material covered should be compelling and fresh in some way. Third, the film needs to be shot and lit effectively. The little indie film TWO WAYS TO GO WEST gets about 50% of each of those categories down effectively. It looks good; everything is pretty sharp and clear, and the many, MANY closeups of the three leads help us get to know them and form at least some kind of opinion.

TWO WAYS TO GO WEST (Drew Kenney, Paul Gennaro, James Liddell) (publicity still)

Those characters, Gavin (James Liddell, who also wrote and produced the film), Marty (Paul Gennaro) and Shane (Drew Kenney) portray old school chums who have loads of problems and are not too happy with each other for most of this movie. Gavin is a struggling addict who’s made some movies; one of these gets some attention early on in a discussion and we even see a poster for that film, a nice touch. Marty is the most organized and proactive of the trio; he’s trying to put a small bachelor party together for Shane but finds himself appalled by the behavior of his two chums. Shane has a fiancé that he’s struggling to commit to. Gavin is sort of involved with a Las Vegas dancer named Addison (Levy Tran), who is from the Philippines, is covered with tattoos, but seems to have the most common sense of all of them. So about those three essentials: the characters are “sort of” distinctive, and certainly physically appealing and masculine, but they don’t reveal much depth. They say a lot of abrasive things to each other over and over (“What’s wrong with you?” is a recurring line, and “You always take everything much harder than everyone else” is a charge leveled at Gavin), express disapproval, and talk about women – a LOT. Gavin is fighting the drug thing with only partial success. We don’t necessarily get much insight about his habit, but we DO see that he’s giving it his best shot not to go under. Shane tends to be selective in what he shares, and it’s revealed that he slept with someone important to Gavin in the past. There is some bad blood. Marty is really disappointed in his pals, to say the least, and has little faith that they will ever be there for HIM, in ways that he tries to express.

TWO WAYS TO GO WEST ( James Liddell, Paul Gennaro, Drew Kenney) (publicity still)

So about that “thematic material” I mentioned? Well, “flawed male bonding” is the biggest take-away (including disappointed expectations of old friends), with the way relationships with women can impact things through the years. And also, cinematically speaking, the tensions, laughter and nostalgic asides that emerge in intimate, sustained conversation with those you think you know best. There are some believable dynamics and fast-moving discourse in this film, but it also gets tedious at times. You wait for a big revelation that doesn’t really come. By the time the film leaves the dark apartment where most of its “plot” takes place, and you get to see Marty in an actual diner talking to a sympathetic waitress who has a darkly funny story to tell (this story gives the film its name), the effect is oddly refreshing and memorable. And it helps set up a final conversation between the three friends that does have something to say about the passing of time, the possibility for change, and the ability of those we care about to face up to mistakes.

The film doesn’t quite earn any big emotions, and none of the three leads seems like someone compelling enough to imagine being old friends with (although they all try pretty hard to create real-life multi-dimensional chums convincingly). But as a talkie type film, it’s at least above average, and both the movie and its stars look plenty sharp, even if the emotional content goes flat at times. TWO WAYS TO GO WEST is directed by Ryan Brookhart, who does enough with his camera and perspective to make me think he’s got a promising future in character-driven films. He’s also chosen excellent country songs (including a couple by Suzanne Santo) to begin and end his little opus.




As much as I love science fiction movies, I’m not big into the whole Artificial Intelligence (AI) thing; cyborgs, robots, androids are okay (Deathlok, that canned dude from LOST IN SPACE, the Vision) but, a lot of times, the attempt to make these types into a “normal” human-like construct just leaves me cold. With that as background, I wasn’t sure about UNCANNY and where it would fall on the spectrum; the advance publicity and trailer promised a creepy sort of stalker thing with the possibility of a very violent second half. Uh… kinda.

UNCANNY (David Clayton Rogers, Mark Webber) (publicity still)
UNCANNY (David Clayton Rogers, Mark Webber) (publicity still)

The story has a rather claustrophobic feel… it mostly takes place in one location (an apartment/suite/laboratory called Workspace 18) with only three characters for roughly ninety-eight percent of the movie. David Kressen (Mark Webber, who strikes me as a younger version of the brilliant Jeffrey Combs) is a reclusive (and amazingly well-adjusted) boy genius who has been left to his own devices for the past ten years, charged with creating the ultimate robotic AI; his roommate, Adam (David Clayton Rogers), is the result of Kressen’s work and has taken his creator’s last name. The introduction of a third individual, reporter (and failed roboticist) Joy Andrews (Lucy Griffiths), is initially met with trepidation and mild annoyance from David and confusion from Adam. Joy has been sent to conduct a week’s worth of interviews for a feature story on Kressen and his work. She is totally taken aback when David reveals the truth about Adam and, thus, the three embark upon an intellectually stimulating few days; as the continued interaction leads to more intimate feelings between Kressen and Andrews, Adam begins to exhibit some very human reactions: Love, jealousy, confusion and, finally, hate and revenge. By the fourth day, the situation has become a bizarre lovers’ triangle, with Adam infringing upon and, at times, outright sabotaging the others’ time together. Adam also develops some new voyeuristic tendencies, which come to a head when he gives a gift to Joy, in the form of a prototype robotic eye with, naturally (and completely unknown to the receiver), a camera. The better to secretly watch you mediate in your underwear, my dear.

UNCANNY (David Clayton Rogers, Lucy Griffiths, Mark Webber) (publicity still)
UNCANNY (David Clayton Rogers, Lucy Griffiths, Mark Webber) (publicity still)

The whole movie is very quiet and serene, three highly intelligent beings discussing the things that they enjoy most and interacting in the most reasonable fashion imaginable… until the final twenty minutes or so. When Joy discovers what Adam has been up to, she takes Kressen aside to let him know what his creation is capable of; Kressen tells her she shouldn’t worry too much… it’s just Adam adjusting his learning curve and adding new stimuli and knowledge to his matrix. David does, however, confront Adam about his actions; Adam apologizes and – as far as Kressen is concerned – the incident is forgotten. Adam hasn’t forgotten and, when he tries to stick his tongue down Andrews’ throat, she objects and David chastises Adam, sending him to his room like a misbehaving child; a very childlike outburst from Adam stuns creator and reporter alike. That’s really the extent of the violence, though there is a nice (if rather anticipated) twist-ending that delivers the “evil corporate construct” message like a very quiet sucker-punch to the solar-plexus. That message, delivered by Rainn Wilson as the deliciously sinister Simon Castle, Kressen’s benefactor/employer, will send a chill down your spine and have you looking over your shoulder as you conduct your day-to-day life for, at least, a few days. And, that, friends, is what a good piece of science-fiction should do… leave you questioning the reality of the subject matter at hand; first-time screenwriter Shahin Chandrasoma (who is a surgeon specializing in robotic urology) and acclaimed director/editor Matthew Leutwyler have certainly accomplished that.

UNCANNY (Lucy Griffiths, David Clayton Rogers) (publicity still)
UNCANNY (Lucy Griffiths, David Clayton Rogers) (publicity still)

UNCANNY succeeded in holding my attention and stimulating my mind much more than I would have thought possible, given the subject matter and the subtly delicate approach. This kind of story probably isn’t for everybody… teens and young kids will undoubtedly be bored out of their gourds waiting for something, ANYTHING to happen and, by the time it does, will probably have given up on the whole thing. However, if YOU stay with it, I think that you’ll be grateful you didn’t give up on UNCANNY too soon. The movie is available on DVD and as a digital download.


(ARC ENTERTAINMENT/JAM FILMS (95 minutes; Rated PG-13); 2015)

The Squeeze

Can I tell you guys something? I don’t like golf. Never have and, considering my curmudgeon-like obstinacy and advanced years, probably never will. Everything about the sport (at least ’til Tiger came along… and, maybe, John Daly before him) is too quiet, too polite! I’ve only ever played the game (rather accurately dubbed by my father, “Cow Pasture Pool”) once. I shot a 64… I quit after the first hole. Here’s another little secret: I don’t like golf movies; except, of course, CADDYSHACK (and, yeah… I’ll even throw CADDYSHACK II in there, as well). Until now. THE SQUEEZE is more of a caper movie or a gangster movie but, with golf as the central element behind all of the intrigue and death threats, I think we can fairly safely call it a “golf movie.”

THE SQUEEZE (Jeremy Sumpter) (production stills)
THE SQUEEZE (Jeremy Sumpter) (publicity stills)

Most “based on actual events” stories are only marginally based on those events; THE SQUEEZE is no exception. Jeremy Sumpter (who was apparently in a television show called FRIDAY NIGHT LIGHTS… I’m sure the little girls know the one I’m talking about) plays golf savant Augie Baccas, a character loosely based on a guy named Keith Flatt. Baccas – like Flatt – is the Meadowlark Lemon of his small town’s golf club, winning a one day tournament by a course record fifteen shots. The flick begins, as most do, with Augie indulging in a game of cross country extreme golf with his friends, including his girlfriend, Natalie (played by Jillian Murray, whose resume includes the latest installment of the CABIN FEVER horror franchise). With Augie bemoaning his financial state and his inability to make a better life for his mother and little sister (all three are under the thumb of the abusive Baccas patriarch), golf and Natalie are his only escapes; he dreams of joining the PGA Tour and qualifying for the US Open.

THE SQUEEZE (Jillian Murray, Christopher McDonald, Jeremy Sumpter) (publicity stll)
THE SQUEEZE (Jillian Murray, Christopher McDonald, Jeremy Sumpter) (publicity stll)

After a particularly brutal confrontation with his father, Augie is offered a way to make enough money to remove his family from his drunken lout of a father. That offer comes from a gambler named Riverboat (a sleazy, almost endearing character portrayed by Christopher McDonald) who, driving cross country to Las Vegas for a poker tournament, after hearing a report of Augie’s phenomenal feat on the local radio station, changes course to locate the young man to convince him to come to Vegas and use his talents in high-stakes matches against unsuspecting golfers. Along for the ride is Riverboat’s high-maintenance wife, Jessie (Katherine LaNasa), whose provocative dress and coyly flirtatious demeanor are so distracting to opponents that she is as important to Riverboat’s game plan as are his gambling skills. Naturally, Natalie is concerned and angered that Augie would compromise his reputation and integrity for a quick buck, earned in a rather dubious fashion under the tutelage of an obvious shyster. She has Augie leaning toward turning down the offer until Riverboat waves a stack of hundred dollar bills under his nose. The decision made, Augie asks Natalie to look after his sister and mother and, though she refuses to speak to him, she does agree to keep an eye on his family.

THE SQUEEZE (Jeremy Sumpter, Jillian Murray, Christopher McDonald) (publicity still)
THE SQUEEZE (Jeremy Sumpter, Jillian Murray, Christopher McDonald) (publicity still)

Working their way to Las Vegas, Augie, Riverboat and Jessie play the best of the best at every course along the way, amassing a nice little nest egg for the ultimate Vegas fleecing: Riverboat plans to engage notorious card sharp and mid-level gangster Jimmy Diamonds (Micahel Nouri) in a poker game. After winning big, Riverboat suggests a golf match between Augie and Diamonds, giving the latter a chance to win his money back. Diamonds knows a ringer when he sees one and counters with a ringer of his own, reigning NCAA champion Aaron Bolt (Jason Dohring, who was in some movie about some television series that I never watched), who has made his own deal with a much more violent devil. Diamonds sets Augie up and, breaking in to his hotel room, tells Augie that if he does not lose the next day’s million dollar round to Bolt, he will end up in the deep end of a swimming pool with lead weights tied to his ankles. When Augie tries to get out of his deal with Riverboat, the gambler tells him in no uncertain terms that if he does not WIN the million dollar challenge, HE will kill him. With Augie caught between a rock and very hard place, the final third of the movie features enough twists and turns and all-out action (as well as some questions best left unanswered) to make THE SQUEEZE one cool thrill ride of a caper flick.

THE SQUEEZE (Christopher McDonald; Katherine LaNasa) (publicity stills)
THE SQUEEZE (Christopher McDonald; Katherine LaNasa) (publicity stills)

The attention to detail in the golf sequences is amazing. Sumpter (and, I understand, Dohring, as well) can really play and most of their golf shots – even the trick shots – are real and were generally first takes. Sumpter, in fact, could probably qualify for a spot on the Tour. Of course, the main reason that everything looks so legitimate is because writer/producer/director Terry Jastrow was a junior champion himself and actually caddied for Arnold Palmer; he also became a producer at ABC Sports at the age of 22, winning seven Emmy Awards for his groundbreaking golf coverage. The fact that he’s married to actress Anne Archer is merely a bonus as regards THE SQUEEZE. The family, relationship, gambling and action sequences range from stilted to over-the-top, though, honestly, a couple of the characters call for an over-the-top performance (particularly Jessie and, to a lesser extent, Riverboat); Sumpter’s portrayal of Augie is the most grounded and believable but, overall, the cast does a good job.

THE SQUEEZE (Michael Nouri) (publicity still)
THE SQUEEZE (Michael Nouri) (publicity still)

I’ve seen THE SQUEEZE reviewed as a “Faith-based” production and, I suppose, it does have certain elements that could cause it to be considered a morality play of sorts. However, there are also some dirty, gritty elements (coarse language, some drug use and sexual situations, not to mention the violence) that would probably exclude it from most “Family” movie lists. Having said that, parents shouldn’t necessarily shy away from making it a family movie night option; I wouldn’t be too concerned about allowing a twelve year old to watch it. The film would also make a great date night offering for Mom and Dad. If the actual game of golf was more like a cross between this flick and CADDYSHACK, I might actually find myself a bit more interested in it.




Taking dysfunction to an entirely new level, SEE YOU IN VALHALLA follows the Burwood family as they gather after several years apart to mourn their brother, a troubled young man who found peace living in a Viking colony. After Maxwell (played in pivotal flashbacks by Jake McDorman, whose most high profile role to date has been in AMERICAN SNIPER) – who had adopted the Viking name Magnus – and his girlfriend left the colony, she drifted back into drugs, dying of an overdose and sending the distraught young man spiraling out of control; taking justice into his own hands, Magnus attacked the drug dealer and his associates with a broadsword, effectively committing suicide by proxy.

SEE YOU IN VALHALLA (Jake McDorman) (publicity still)
SEE YOU IN VALHALLA (Jake McDorman) (publicity still)

The youngest Burwood, Johana, learns of her brother’s death from a television news report. As Johana (played by MODERN FAMILY’s Sarah Hyland, who is also a co-producer on the project) sits stunned, there’s a knock at her door; it’s Peter, her scheduled date. Telling Peter (Alex Frost) that she forgot about their plans, she apologizes and tells him about her brother. What Johana intended to be a casual get-together meant something far different for the smitten Peter, who immediately volunteers to accompany her back home. With Peter in tow, Johana heads for home, where she is greeted by her father, Woody (Conor O’Farrell), a man who had always been a bit distant toward his children and further distanced himself as he enveloped himself in grief after the death of his wife; with Woody is his live-in nurse (and former grocery delivery person), Faye (Emma Bell), a spirit so free that she is continually mere nanoseconds away from floating away. Already at the home is Jo’s older brother, Barry (played by Bret Harrison, who has starred in two of my favorite TV series of the past fifteen years, the deeply twisted GROUNDED FOR LIFE and the wildly underrated REAPER) and his life partner, Makewi (a more-than-a-little off-center performance from Steve Howey, who has an impressive resume, including a recurring role in SONS OF ANARCHY, but will probably forever be known for his role of Reba McEntire’s screwball son-in-law, Van on REBA).

SEE YOU IN VALHALLA (Bret Harrison, Steve Howey, Michael Weston, Sarah Hyland, Alex Frost) (publicity still)
SEE YOU IN VALHALLA (Bret Harrison, Steve Howey, Michael Weston, Sarah Hyland, Alex Frost) (publicity still)

The final piece of the Burwood family mosaic is oldest brother Don (Michael Weston), a holier-than-thou perfectionist who blames Woody for all of his (well-hidden) problems (actually, he blames his father for the extinction of the dinosaurs and every other ill that has beset this planet since the dawn of time). With the arrival of Don and his Nazi-in-training teenage daughter, Ashley (snarkily portrayed by Odeya Rush), the sniping, cheap shots and fist-throwing begins. Throughout it all, Jo manages to stay fairly well out of the line of fire… until the entire family convenes for supper, where Ashley admits her superiority over all others by announcing her plans to remain a virgin until marriage and qualifies that decision by pointing out that “at least I won’t have to get an abortion,” a subject that is a widespread rumor about Jo amongst the general populace but never discussed in the Burwood home. Johana, of course, takes umbrage to the condescending remark, which suddenly turns into a free-for-all yelling and shoving match between Woody and Don. Tragedy, quite naturally, ensues… something so startling that it brings the three quarreling siblings together and sees Pete and, especially, the zen philosophy of Makewi showing their true worth to this insane family to whom they have become, at the very least, satellites caught in their gravitational pull. The ending, a hair-brained scheme concocted by the two that brings the whole family together, is truly touching.

SEE YOU IN VALHALLA (Steve Howey, Sarah Hyland) (publicity still)
SEE YOU IN VALHALLA (Steve Howey, Sarah Hyland) (publicity still)

SEE YOU IN VALHALLA is a brutal look at familial in-fighting that really isn’t intended for the young’uns (the R rating is for some very coarse language more than anything else) and, though it borders on the realm of “chick flick,” there’s enough testosterone and subversive comedy (Makewi and Pete’s first encounter; Don and Barry’s argument about the latter allowing Ashley to indulge in an alcoholic beverage) to make it a great late-night date movie (several linear yards of very beautiful people certainly doesn’t hurt, either). Don’t get me wrong, it is far from perfect; there are more than enough cringe-worthy moments to fill a couple more movies but, I have come to the conclusion that great acting can overcome a marginal script and, conversely, no matter how great the script is, marginal acting will absolutely ruin it. In this case, the cast is first-rate (Howey, in particular, is a stand-out), as they manage to rise above some of the more questionable sequences to deliver an entertaining piece of family drama. Even a couple of rather convoluted plot devices involving Johana’s former boyfriend and the abortion rumor are well-acted, if not well-written. There are certainly worse ways to spend an hour-and-a-half than watching SEE YOU IN VALHALLA.


(Eric Gamalinda; 300 pages; AKASHIC BOOKS; 2014)


This story had me so confused for the first few chapters, I almost gave up on it; written in three distinct voices (and styles) and covering (at least) two different time periods on at least three continents (and an island nation or two), it took a while to get my head around what was happening, when it was happening and to whom. At some point, I noticed that the chapter titles… really weren’t; each character’s story had its own title; that’s when I went back to the beginning and figured out exactly what the heck was going on. Sometimes I can be a little slow on the uptake, but once I get on board with a concept, I can generally roll along rather nicely.

Author Eric Gamalinda (photo credit: ROME JORGE)
Author Eric Gamalinda (photo credit: ROME JORGE)

The story follows the paths of two young men, born just hours apart in neighboring huts in a poor village in the Philippines. Both men are unaware of the existence of the other or the reasons for their adoptions; their father, an American named Andrew Breszky, told their mothers (who didn’t know that Breszky was the other child’s father) that he was going to sell the babies for adoption and send the money back to the village to save their families the embarrassment of, not only being unwed mothers, but also giving birth to an American child. One of the boys was adopted by a woman in New York, the other by a couple from the south of France. The title of the story comes from the region of the moon where Apollo 16 landed in 1972, the year the boys were born; the mother in New York would give her adopted son letters from his father, with the return address listed as “Mister Breszky, the Descartes Highlands, the Moon.” Interspersed with his sons’ stories, the story of political prisoner Andrew Breszky unfolds, allowing the reader insight into the psyches of the two men, desperately seeking a long lost clue to who they are and why they act as they do. THE DESCARTES HIGHLANDS is a psychologically taut drama that unravels right in front of you, much like the relationships and mental stability of the two sons. Filipino author Eric Gamalinda spins a tale of lies and loneliness, of longing for the truth and for an acceptance that always seems to be at arm’s length; the acceptance is there – from parents, from girlfriends and lovers – but the pair can never quite trust their own feelings… to believe that what is being offered to them freely doesn’t come with some sort of string attached. Yeah… the story can be a bit confusing and, occasionally, mind-numbing in its intricacies but, if you stick with it, following the ups and downs, the in and outs… I guarantee that you will be richly rewarded. Gamalinda’s storytelling and bleak imagery is disturbingly realistic, his dialogue frighteningly authentic. It’s time that you put on your thinking caps and delve into THE DESCARTES HIGHLANDS.




When this movie was originally announced, there were grumblings and, in the case of Experience Hendrix (the company formed by some members of the Hendrix family to oversee everything Jimi), outright venom spewed at director/writer John Ridley, actor Andre Benjamin (Andre 3000 of the hip-hop/pop/rock duo, Outkast) and others associated with the project. The Experience Hendrix people demanded complete participation and final approval on every aspect of the movie, including who would play Jimi; they were adamant that Benjamin be replaced. When their demands were rebuked, they pulled all licensing of Hendrix’ music for use in the film. Feathers were also ruffled by the portrayal of certain of the man’s character traits and, no doubt, the characterization of his father, Al. I could never really understand the family’s dislike of Mister Benjamin but, I have read some rather ludicrous comments from others on the subject: Andre, according to one person, was several shades too dark to accurately portray the lighter skinned Hendrix (that one just absolutely boggles the mind); another cited Benjamin’s age (somewhere around 37 when filming began), stating that he was too old to play a 23 year old Hendrix (uh… that’s just ridiculous… let’s examine, shall we? The four high school kids from WELCOME BACK, KOTTER were all in their twenties when the series began – John Travolta was the youngest, at 21; Ron Pallilo was 26 and only four years younger than his “teacher,” Gabe Kaplan. That’s just one example… this kinda stuff happens regularly in movies and television), but if 60 is the new 40, then 40 is the new 27 and, suddenly, 37 isn’t so far removed from 23. Another… I’m gonna call it an “observation” that I’ve read (and heard from friends) is the fact that Andre is a “hip-hop” guy and, well, he couldn’t know anything about Jimi Hendrix (ay, caramba! I give up!). Of course, the major complaint is the fact that the film-makers could not use any of Jimi’s music. So, how does the movie stack up against all of that hate? Very well, thank you.

JIMI: ALL IS BY MY SIDE ( Andre Benjamin and Imogen Poots) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE ( Andre Benjamin and Imogen Poots) (photo credit: PATRICK REDMOND)

Before getting into the meat and taters (so to speak) of the film, I would like to address several of the issues listed above. Let’s start with the biggie: Jimi’s music. The ban was limited to actual recordings of Hendrix and to songs that he wrote. The former really had no bearing on the production, as the music was performed by a crack group of session men (guitarist Waddy Wachtel, bassist Leland Sklar and drummer Kenny Aranoff), with vocals by Benjamin; the latter would have been devastating had the movie focused on Jimi’s legendary career past June 1967, because during the time span featured (June 1966 through June 1967), Hendrix had only released one album (ARE YOU EXPERIENCED in May ’67) and three singles (sure, two of those were “Purple Haze” and “The Wind Cries Mary,” but those also came out in May ’67). So, the music focuses on the time that Hendrix played rhythm and blues standards with Curtis Knight and such classic blues numbers as “Killing Floor” and “Manish Boy.” As far as I’m concerned, that works fine for me and plays into the narrative of Hendrix’ rise to stardom in England during that twelve-month period. The Hendrix family, no doubt, wanted to avoid much of the foibles and the darker side of, not only Jimi, but his father, as well; I gotta admit that I was shocked by a couple of violent outbursts in the film but, who among us can say they are foible-free and don’t possess a darker side to some extent? Now, as far as Andre Benjamin’s skin-tone, if he were a white guy in black make-up, I would see that as a definite problem; since, however, the performance and the voice and the mannerisms are the important thing here, I’m good, as Andre was spot on, based on just about every film clip I’ve ever seen or every audio clip that I’ve ever heard of Jimi Hendrix… except the hands… for some reason, the way he holds and plays the guitar and the way he uses his hands throughout just doesn’t match up with what Hendrix did. You saw my feelings regarding the age discrepancy, so we’ll move on from there to Andre 3000 being a hip-hop guy and not knowing anything about Hendrix. Really? I’m a pasty white guy from the middle of nowhere who grew up in the ’60s and ’70s as a pasty white kid from the middle of nowhere, but I know and love a wide variety of music and artists from the ’50s and earlier. And, hey, just to make that particular section of the populace even crankier, I listen to hip-hop, too.

JIMI: ALL IS BY MY SIDE (Andre Benjamin) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Andre Benjamin) (photo credit: PATRICK REDMOND)

If I have one complaint about JIMI… it’s that it tends to jump around a bit much, leaving a lot of the context of what’s happening up to the viewer (a noble tactic for a horror movie… not here). There are also several stop frames, where a character is identified (Keith Richard, Chas Chandler, Noel Redding) before moving into whatever scene is up next. The whole thing rather reminds me of an old John’s Children song called “Jagged Time Lapse,” which the songwriter, when asked what the title meant, replied, “It’s about jagged lapses of time, innit?” The movie starts at the end, on June 4, 1967, as the Jimi Hendrix Experience are about to take the stage at the Saville Theatre in London (of which, more later). We are quickly transported in time back one year, to the Cheetah Club in New York, where Jimi is playing with Curtis Knight. One of the audience members is the very bored, very spoiled girlfriend of Keith Richard, Linda Keith (played by the beautiful and unfortunately named Imogen Poots), who is immediately taken with the man hiding in the back corner of the stage, just waiting for his solo to come around. Flash forward to Linda turning Jimi on to acid and, later, trying to make him see just how gifted a musician he really is. When he tells her that he can’t leave Knight’s band because the guitar he’s using belongs to his employer, she buys him the white Gibson that would become somewhat of a trademark during those early days. As Linda becomes more involved with Hendrix, she begins to contact the movers and shakers within her circle (the Rolling Stones’ manager, Andrew Loog Oldham, co-founders of the newly formed Sire Records, Seymour Stein and Richard Gottehrer), actively seeking a management and recording deal for him. In a particularly humorous (and somewhat ironic) scene, the Stones’ guitar player, in a petulant pique of jealousy, visits Linda’s father to have him intervene in the situation with Jimi; Keith tells Mister Keith, “And he’s a drug addict. Did you know that? He has her strung out all the time.”

JIMI: ALL IS BY MY SIDE (Haylet Atwell and Andre Benjamin) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Haylet Atwell and Andre Benjamin) (photo credit: PATRICK REDMOND)

A chance meeting with Animals bassist Bryan “Chas” Chandler, at the end of an American tour (and the end of the original Animals line-up), finally garners Linda the guidance for Jimi’s career that she has been seeking: Chandler (played by a virtual doppleganger, Andrew Buckley) is retiring from playing and moving into management. The scene where Chas first hears Hendrix is an absolute priceless moment in the film, with Chandler’s eyes wide and jaw dropped as he’s mesmerized by the guitarist’s ability (if not his stage presence). Linda sets up a meeting between the two rockers and, literally, history is made as Chandler convinces Jimi to head for the much greener pastures of England, with promises of a much more diverse and open-minded approach to the burgeoning music scene there. Jimi arrives in London on September 24, 1966 but, still waiting for his work visa to be approved, his playing time is limited to a couple of minutes onstage. As Chas, Linda and Jimi make the rounds at all of the local clubs, Jimi is noticed by Kathy Etchingham (played by Marvel’s AGENT CARTER, Hayley Atwell, who, it should be noted, doesn’t look anything like Chas Chandler); likewise, Kathy is noticed by Linda, who becomes violently jealous when she catches the pair in bed together later that night (or, six weeks later… jagged time lapses, remember?). Linda simply picks up the guitar she had given Jimi and walks out the door as Jimi implores, “No, Linda, no. Not the guitar.” Kathy is elevated past groupie status to girlfriend, as she and Jimi are virtually inseparable; Linda realizes that her jealousy was misplaced (she and Jimi, though very good friends, were never anything more) and returns the guitar (actually, a pawn ticket for the guitar) and all seems right in the world of Jimi Hendrix.

JIMI: ALL IS BY MY SIDE (Tom Dunlea, Andre Benjamin and Oliver Bennett) (photo credit: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Tom Dunlea, Andre Benjamin and Oliver Bennett) (photo credit: PATRICK REDMOND)

As Hendrix and Chandler marched inextricably toward a return to the States and the legendary performance at the Monterey Pop Festival, there were, of course, several memorable events – all well documented – in those final months in London. Jimi needed a band; Jimi wanted a power trio like his idol, Eric Clapton, had with Cream. The auditions to find the perfect bass player and drummer, complimentary and exemplary players who could do what Jimi’s music and style demanded of them, were on. Noel Redding was tapped for the bassist position as much for his hair (“I like your hair, man. It’s wild, like Bob Dylan’s.”) and his vast musical knowledge as for his playing. In fact, Redding, a guitarist by trade, knew nothing about playing bass. When he asks how much the gig payed, Jimi tells him that everybody was broke, but that was cool: “Might as well hang out with us and be broke… and cool. It’s better than being just broke.” Feeling himself well on the way to being a rock star, Jimi calls his father, in Seattle to tell him the good news; his father is not impressed and, once more sensing that feeling of abandonment from his father, Jimi becomes moody and combative with those around him, who are only looking out for his best interests. Fulfilling a promise, Chandler takes Hendrix to see Cream at the Regent Street Polytechnic on October 1, 1966. Chas tells him that Clapton will meet him before the show; Jimi has him ask if he can sit in. This is one of the most famous first meetings in rock history; Hendrix plugs into Jack Bruce’s bass amp and asks the group if they know “Killing Floor,” starting the song cold, leaving Clapton, Bruce and drummer Ginger Baker to catch up. Bruce and Baker find the groove, but Clapton walks off stage without playing a note. Backstage, Eric asks Chandler, “Is he really that good?” Still searching for the third member of what was now to be known as the “Jimi Hendrix Experience,” Hendrix, Redding and Chanadler are debating the merits of the two finalists for the position. John “Mitch” Mitchell wins a hard fought battle over Aynsley Dunbar via a coin flip. Suddenly, we’re back to the beginning, with the band getting ready to take the stage at the Saville on June 4, 1967. With George Harrison and Paul McCartney in attendance, the Jimi Hendrix Experience would open the show with the just-released Beatles track, “Sergeant Pepper’s Lonely Hearts Club Band,” a gutsy move, but one that works. As he plugs in, Jimi turns to the crowd and, pointing to his ears, says, “Watch out for your ears.” The only thing that didn’t work for me in this scene was the guitar Hendrix was playing. I’ve seen film and photographs of the show and he was playing that white Gibson, not the painted flying V shown in the movie. A little artistic license, I suppose, wanting to show off another one of the man’s iconic guitars.

JIMI: ALL IS BY MY SIDE (Imogen Poots; Andre Benjamin; Ruth Negga) (photo credits: PATRICK REDMOND)
JIMI: ALL IS BY MY SIDE (Imogen Poots; Andre Benjamin; Ruth Negga) (photo credits: PATRICK REDMOND)

I usually don’t go into such detail when reviewing a film but, as I said, much of this is canon as far as Jimi Hendrix is concerned. But… what about the movie itself? Andre Benjamin catches the essence of the young guitarist perfectly (except, as I mentioned, the hands), capturing especially well the phrasing and nuanced vocal patterns of the soft spoken Hendrix; most of the well-known people shown (mostly in cameos) look astonishingly like the real deals, which is an instant plus. The cast is superb, from top to bottom, including Ruth Negga (the girl in the flowered dress, Raina, in Marvel’s AGENTS OF SHIELD), who has a pivotal role as Ida, a woman wanting Jimi to use his fame as a catalyst for a racial uprising (Hendrix’ response is beautifully poetic and one that should be used universally); of course, like Kathy, she, too, is a groupie looking to bed another rock star. The script doesn’t pull any punches with the portrayals of Jimi and all of the others (Clapton, in particular) and, really, that’s all you can ask of a docudrama like JIMI: ALL IS BY MY SIDE. The film is rated R, primarily for language and the limited portrayal of drug use but, aside from that, this is a film that every music lover (well… except for those close-minded few that I discussed at the front of this thing) should see and will enjoy. Even without those classic Hendrix tunes.


(DVD and Digital; ARC ENTERTAINMENT/GATEWAY FILMS (101 minutes/Rated R); 2014)


To be quite honest, I was going to give this one a pass; on first blush, it just didn’t seem to be my particular cup of tea (either Raspberry or Cherry Vanilla… or, maybe, a simple English Breakfast Tea). To say the least, I was dead wrong. PLASTIC is a thrilling roller coaster ride of deceit, theft, violence, sex, drugs and a thumping electronic soundtrack. The film is based on (or inspired by) a true story but, then, aren’t they all?

The story revolves around four university con artists working a brilliant and seemingly flawless credit card scam. Ringleader Sam (played by Ed Speleers, who looks genetically produced from equal parts Eric Stoltz, Topher Grace and Rick Astley; he apparently, occupies an abbey located downtown) has gone to great lengths to insure the loyalty of his three co-conspirators (he hacked into their e-mails and used the information he found to either blackmail them or play on their sympathies). Fordy (Will Poulter), ostensibly, the group’s second in command, is the cool-headed realist, biding his time before he makes a move on Sam; Rafa (Sebastian De Souza) is a big dreamer stuck in a dead-end job; Yatesey (Alfie Allen, who stars in that one show about thrones) is the loose cannon, who would like nothing better than to excise Sam from his life (and, possibly, this earth). Yatesey and Rafa decide to freelance, attacking a man and stealing a briefcase in his possession. The owner of the briefcase, a gangster named Marcel (a delightfully evil Thomas Kretschmann), has gone to great extremes to protect his property, including placing tracking devices and cameras in it, which, of course, leads him (and two very large assistants) right to the boys’ lair (or dorm room, as the case may be). Marcel gives them until the end of the day to acquire a long list (about £60,000 worth) of items with their stolen card information, or else. They manage to fill Marcel’s wish list and discover that the “or else” is a shallow grave in the middle of nowhere. The lads make a deal with Marcel to obtain two million bucks in two weeks in exchange for their lives.

PLASTIC (Sebastian De Souza, Alfie Allen, Emma Rigby, Ed Speleers, Will Poulter) (publicity still)
PLASTIC (Sebastian De Souza, Alfie Allen, Emma Rigby, Ed Speleers, Will Poulter) (publicity still)

That deal sends them looking for help. The help is a girl both Sam and Yatesey had previously met at a bar. Sam remembered that Frankie (Emma Rigby, who is a dead ringer for Jill Ireland… plus, the Red Queen looks really good in a bikini) works for a credit card company as a data processor in overseas accounts. Sam’s plan is to be empathetic to lure Frankie into the scheme; her father is very ill and the family is drowning in medical bills. Once the girl is on board, she tells the guys that the best plan would be to go to America because, according to her inside information, she knows of several high-budget card holders that spend a lot of time and plenty of cash in Miami. So, using other people’s money (as they have since the beginning of the story), they head for the sunny beaches of Florida. Infighting, mistrust, jealousy and greed are at work, eroding the plan virtually from the time they land in Miami; The two low men on the totem pole, Yatesey and Rafa, plot against Sam, looking to get their fair share; initially, the plot takes the form of Yatesey using one of the fake cards at a strip club after Sam specifically tells the team to be careful how they are used. Of course, when the card is refused for “suspicious use,” the junior partners (including Fordy) run afoul of several very large bouncers.

PLASTIC (Emma Rigby) (publicity still)
PLASTIC (Emma Rigby) (publicity still)

From that point, things take a decidedly dark turn. As more and more people and ancillary businesses are drawn into the conspiracy, an international noose begins to tighten around the throats of the five thieves as police and Marcel seek justice in their own ways. From the scene in the strip club, the crosses and double-crosses begin to stack up, eventually pitting too rival criminal cartels against each other, with Sam’s team squarely caught in the middle. Hilarity, as they say, ensues. To say more would be undermining the purpose of this review, which is to get you to watch (purchase) this movie. Let’s say that the climax of PLASTIC is a thrill-a-minute, action-packed and wholly implausible ending… but, then, it based on a true story.

PLASTIC (Graham McTavish and Malese Jow) (publicity still)
PLASTIC (Graham McTavish and Malese Jow) (publicity still)

The R rating is for the violence, strong language, some nudity and drug use. Though it does drag in some parts, the payoff is definitely worth the price of admission. Bonus points are awarded, by the way, for the casting of Malese Jow (she plays Beth, the secretary and arm candy of one of the sleazier business-types that gets sucked into the scam). The role is small, but Malese has a way of commanding every scene she’s in. The DVD has a “Making of… ” special feature which is quite entertaining in its own right. The producers briefly interview a man named Saqib Mumtaz who, in 1997, was a member of the fraudulant group the film is based on; I would guess that, from the interview, the character of Rafa was based on Mister Mumtaz. Overall, a great movie, though you may wanna keep it away from the kiddies.