By William Wolf

THE BEST TEN FILMS OF 2018  Send This Review to a Friend

The films on this list have been selected from among those released in New York theaters during the year and are listed in order of preference.

1. Blackklansman

2. Cold War

3. Becoming Astrid

4. Roma

5. Fahrenheit 11/9

6. The Insult

7. Capernaum

8. Happy as Lazzaro

9. RBG

10. On the Basis of Sex

Other outstanding films of 2018 listed in no particular order include: A Star is Born; Leave No Trace; Lives Well Lived; Memoir of War; A Private War; The Death of Stalin; Can You Ever Forgive Me?; The Front Runner; The Other Side of the Wind; Wildlife; Tea With the Dames; If Beale Street Could Talk; Green Book; Widows; Back to Burgundy; Measure of a Man; The Wife; Chappaquiddick; Eighth Grade; Rodin; Operation Finale; The Bookshop; Crazy Rich Asians; Nelly; Vice; Colette; Love, Gilda; The Ballad of Buster Scruggs; Pick of the Litter; The Guilty; Submission; Summer 1993; At Eternity’s Gate; The Favourite; First Reformed; Boy Erased; Shoplifters; Shoah: Four Sisters; Searching for Ingmar Bergman; Monrovia, Indiana; The Price of Everything; On Her Shoulders; The Waldheim Waltz; Studio 54; Call Her Ganda; Lizzie; American Chaos; Bisbee ’17; Let the Sunshine In; Godard mon amour; Lou Andreas-Salomé –The Audacity to Be Free; Ben is Back, Three Identical Strangers, Summer 1993 and Itzhak.

FINALLY LONG-IN-THE-MAKING 'THE MAN WHO KILLED DON QUIXOTE' READY TO HIT MOVIE THEATERS  Send This Review to a Friend

Terry Gilliam is not a man to give up easily. Thirty years ago he first had a vision to make a film inspired by the Don Quixote story by Miguel de Cervantes. It wasn’t until 1998 that the money was raised to get started, but the production ran into problems. Now, his “The Man Who Killed Don Quixote” has been completed and is scheduled to open April 19 presented by Alacran Pictures.

Gilliam, first known for his being part of the Monty Pythons, subsequently battled persistently through an array of casting problems, legal fights and other obstacles that would discourage a director with less resolve.

In 2002 I reviewed a film that was called “Lost in La Mancha” a documentary by Keith Fulton and Louis Pepe that detailed the downfall of the attempt to make “The Man Who Killed Don Quixote.” I wrote: “This is an engrossing account, blow by blow, of what happed to derail the film that was loosely based on the classic by Cervantes. The weather, problems with Illness, insurance and financing proved to be insurmountable. A key ingredient was the illness of star Jean Rochefort, the distinguished French actor signed to play the Don Quixote character, with Johnny Depp as co-star. The time of Rochefort’s absence became longer and longer and the delays caused complication after complication.”

The obituary was premature. Gilliam eventually bounced back and now, here we are with a completed film that played at the 2018 Cannes Film Festival. Audiences here will finally get a chance to evaluate Gilliam’s vision and see what he has finally achieved. Gilliam wrote the screenplay with Tony Grisoni.

The film involves Toby, a former film student who had made a film inspired by the story of Don Quixote in a Spanish village, Now, no longer the idealistic student, he is a very commercial director who makes advertising films. Upon returning to the village, he discovers that the man who played Quixote is now elderly and really believes he is Quixote. He is played by Jonathan Pryce. Toby is portrayed by Adam Driver.

Gilliam has elaborated in production notes about the film: “Now, the project is about films and filmmaking and what films do to people who are involved in the making of them. Our ad man has been transformed into someone who had made a student film, ten years previously in a little village in Spain. When he comes back to that village, thinking it’s going to be wonderful and as fabulous as when he was working there, he finds that most of the people in the village don’t like him. He has destroyed lives.”

This is a complex story with an action-filled plot. Gilliam has created an imaginative production. It includes clashes, sexuality, colorful characters and relationships. The film was shot in locations across Spain, Portugal and the Canary Island of Fuerteventura.

Gillian has further stated: “I had begun work on ‘Don Quixote’ in 1989, and despite the many obstacles, I was thrilled that, 400 years after the death fo Cervantes, my project was now in production. Don Quixote is a dreamer, an idealist and a romantic, determined not to accept the limitations of reality, marching regardless of setbacks, as we have done. I have found in Spain and Portugal all my dreamed places and, at long last, I am bringing the story of The Knight of the Mournful Countenance to a contemporary audience.”

Gilliam has a long list of credits. Films he has directed include “Brazil,” “Time Bandits,” “Jabberwocky,” “The Adventures of Baron Munchausen,” “The Fisher King,” “Twelve Monkeys” and “Fear and Loathing in Las Vegas.” He is, of course, especially remembered as one of the Monty Pythons. He co-directed “Monty Python and the Holy Grail” with Terry Jones, and for Monty Python’s “Life of Brian” he was production designer, actor, writer an animator.

He has been nominated for various awards, including Oscars. Probably a new award should be created for Gilliam: The Determination Prize. Posted March 25, 2019.

HUGH HEFNER'S AFTER DARK: SPEAKING OUT IN AMERICA  Send This Review to a Friend

In addition to the sexy spreads in his Playboy Magazine, the late Hugh Heffner had a side of him that led to articles in Playboy by major writers about important subjects and a dedication to fighting for liberal causes. Hefner at specially interesting moments was on display in his television shows “Playboy Penthouse” (season 1959-1960) and “Playboy After Dark” (seasons 1968-1970). Now, thanks to the entertaining new documentary: “Hugh Hefner’s After Dark: Speaking Out in America,” you can get to see amazing clips from those shows involving top performers of the time.

The film, directed by Canadian director-producer Brigitte Berman (she is originally from Germany) from a script she wrote with her co-producer, her late husband Victor Solnicki, is being shown in New York, as part of the annual series that Telefilm Canada is presenting at the IFC Center, 323 Sixth Avenue, to reflect the independent spirit of Canadian cinema. (Berman’s film can be seen on Friday March 8, at 7 p.m.) Berman has made more than 100 documentaries during her career.

Hefner’s informal living-room style programs featured “drop-in” guests on a racially well-integrated basis that was unique in TV at the time. Some southern stations wouldn’t carry the shows. You can have the pleasure of viewing clips from performances by such stars as Nina Simone, Sarah Vaughan, Ray Charles, Pete Seeger, Josh White, James Brown, Joan Baez, The Byrds, Sammy Davis, Jr., Moms Mabley, Linda Ronstadt, Steppenwolf, Tony Bennett and various others. What’s fascinating is you get to see what they were like way back then.

Some of those still alive are interviewed for comments. There are also contemporary comments by Bill Maher and Whoopi Goldberg, for example. There is a narration by Tom Wilson.

While the special pleasure lies in seeing those clips, one finds that Berman has much more on her mind than excavation. She sees the Hefner shows as tied in with the need to spotlight important issues of today. Hefner’s desire to speak out is catapulted into today’s urgencies, some of which, such as battles for racial equality, still are pertinent and make headlines.

The political points scored in the latter part of the film can at times get somewhat repetitious, but they are certainly central to the film’s main thesis, as reflected in the title.

The greatest pleasures come from seeing all of the entertainers turning up to chat with Hefner and give examples of their talent. It is as if we are watching parts of a variety show. An excellent job was done finding the clips and putting them together. Berman previously directed “Hugh Hefner: Playboy, Activist and Rebel” (See Search for review) when Hefner was alive. He made an appearance at the Toronto International Film Festival, where I first saw that film (Hefner died in 2017). Berman’s valuable latest opens a fresh window on the television contributions he made as part of his legacy. At IFC Center, 323 Sixth Avenue. Reviewed March 4, 2019.

NEW FRENCH FILMS IN RENDEZ-VOUS WITH FRENCH CINEMA 2019   Send This Review to a Friend

It’s that time of year again for the annual Rendez-Vous with French Cinema series presented by the Film Society of Lincoln Center and Unifrance (February 28-March 10). A select group of those being screened was shown to the press in advance, and among those I found some that were excellent.

My favorite is “Mademoiselle de Jonquières,” a sophisticated drama based on Denis Diderot’s “Jacques the Fatalist” and impeccably directed by Emmanuel Mouret. The film stars the wonderful Cécile de France as the widowed Madame de La Pomeraye, who prides herself on not being swept away by seductive men with less than honorable intentions.

Along comes Edouard Baer as the Marquis, known for his winning the hearts of women and then dropping them. Madame and the Marquis become just friends, but slowly and surely he ingratiates himself while cautiously keeping any distance from romance. Madame takes his behavior as an indication that he is really a sincere fellow, at least as far as his relationship with her is concerned. Of course, she falls for him, but soon there are signs of his being away too long, and when she tests him by telling him that she has lost her passion for him, this leads him, now feeling free, to make a similar confession with regard to her.

Now Madame plots an intricate course of pure vengeance. She sets him up with a plan she makes with a needy mother and a daughter who worked at a brothel. The daughter poses as a religious novice too committed to God to have a relationship with a man. As you can imagine, the Marquis becomes obsessed with the desire to have her.

How all of this is carried to the extreme in Madame’s ultra-devious plotting makes for some very entertaining viewing as one follows the scheme step by step. The dialogue is extremely witty, the acting excellent. What will happen in the relationships? There is a scene with the look that Cecile de France manages to give her character at the ending that reveals so much.

The tone of the film is just right throughout, and those who enjoy sophistication in movie-going should have a good time at this film that deserves a commercial showing in art theaters here.

My second favorite is “Amanda,” directed by Mikhaël Hers. The film involves a close and supportive brother and sister relationship, with the sister raising a seven-year-old daughter on her own. Vincent Lacoste plays David, who is young and trying to get his life together. Ophélia Kolb plays the sister, who is full of spirit and a very warm person.

Life is suddenly torn asunder when the sister is one of those killed in a terrorist attack in a park where she is picnicking. A young woman, played by Stacy Martin, a pianist with whom David is in a tentative relationship, has had her hand severely injured in the attack, rending her unable to pursue her piano playing.

What is David to do? He is not only faced with telling Amanda what happened to her mother, but he is faced with the decision of whether to place Amanda elsewhere or try to raise her while sorting out his own life.

What makes this film work especially well in addition to the relationship forged between David and Amanda is the performance of Isaure Multrier as Amanda. Her face was made for the camera, and she is a stunningly impressive in the role. One feels for her every step of the way, from the emotional shock of losing her mother to her emerging anger and rebellion, and then to steps toward her having to accept what happened and move on. This heartfelt drama makes one stop and think about the fate of so many victims and families who have had lives shattered by terrorism.

Another film to be recommended is “Invisibles,” directed by Louis-Julien Petit, which is important, emotional and also entertaining in examining the lot of homeless women in the face of bureaucracy and insensitivity.

Women with a conscience and a sense of dedication are running a shelter for the homeless in need of food and a place to stay. The operation is illegal but the do-gooders are determined to not only keep helping in the face of a decreed shutdown. They insist on continuing their efforts to train the women to be able to get jobs.

An excellent collection of cast members play all of the diverse characters, from the homeless to their would-be rescuers. We get to know their strengths and quirks and root for success in aiding the victims of society. The film’s viewpoint can have the effect of insisting on our taking a look at the homeless around us, and wondering about the back stories of such persons whom we pass on our streets.

Obviously the programmers thought highly of “The Trouble with You,” directed by Pierre Savadori, because they chose it for opening night. I find it pretty silly and far-fetched. Adèle Haenel plays Yvonne, who reads bedtime stories about her late husband to their child glorifying his exploits as a police investigator. Flashbacks keep showing wham bam action sequences in which, in comic book style, Vincent Elbaz as the husband and father dispatches his criminal adversaries.

But what happens when Yvonne, herself a cop, discovers from a colleague that her husband, instead of being a hero lionized by a statue in a public square, was a crooked guy involved in robbery kickbacks? She is especially distraught that an innocent man is imprisoned as a result of trumped up charges, and sets out to make things right. Add romantic complications.

The film’s method is broad comedy, but it becomes more frenetic and outrageous than funny, and thus leaves the impression of people working extra hard to breathe life into material that was flimsy to begin with.

A better film is “Maya,” directed by Mia Hansen-Løve, which focuses on French war reporter Gabriel, played by Roman Kolinka, when he is released after having spent time after being taken as a hostage while covering fighting in Syria. He has clearly been deeply shaken by his hostage experience and what he went through, and he needs to find ways to get back to normal.

What promises to be about what can happen to hostages who gain freedom eventually turns into a less interesting love story. Gabriel, who spent his childhood in Goa, travels there, where he is attracted to the young Maya (Aarshi Banerjee), the daughter of his godfather. He is not seeking a relationship but Maya, who had been going to school in London, finds him attractive as older and worldly.

A relationship develops between them, but Gabriel has journalism and his profession as a war correspondent deeply ingrained in him and in the process of healing he still finds himself longing to get back to covering battlefronts. Director Hansen-Løve adds spice to the film by providing us with intriguing India settings. But the film’s veer toward romance undercuts what might have been a more meaningful story.

“School’s Out,” directed by Sébastien Marnier, addresses the need to save the environment, but its plot is most peculiar. It starts with the early suicide of a teacher, and then proceeds to dramatize students who needle a new substitute teacher, Pierre Hoffman, played by Laurent Lafitte, upset by the challenge from the youths.

They prove to be an unruly and defiant lot with a penchant for what seems to be bullying a lad and other displays of violent behavior. They are engaged in secret activities, and Hoffman begins to try to track what they are doing after class. It turns out that they are poised to take guerilla action against industrial pollution.

That’s a neat idea, but where the film falls down is in making the youths a sort of obnoxious cult instead of just committed commandos. Why must they be such weirdos?

What are we to make of “Paul Sanchez Is Back!”, directed by Patricia Mazuy? Sanchez, a murderer on the loose who disappeared ten years ago in confounding the police, has been legendary in a local area. Suddenly a man appears, sending messages that he is Paul Sanchez. There are doubts.

Young, inexperienced cop Marion, played Zita Hanrot, is intrigued and wants to find out if the rumor is true. Of course, we meet the man claiming to be Sanchez, and a complex plot is set in motion, involving intrigue, danger, confrontations, doubts, violence—you name it—as Marion goes her merry way, manipulating older cops into following her theories and course of action.

What is the truth? Is he really Sanchez, or some guy who has a motive for wanting people to think he is Sanchez? How much you to enjoy the film will depend largely on how much of the plot and events you are willing to swallow.

The Rendez-Vous series includes many other films and various talks and events, all adding up to the opportunity to learn what’s happening in the world of French cinema. At the Walter Reade Theater (unless otherwise noted), 165 West 65th Street. For further information and tickets: filmlinc.org. Reviewed March 2, 2019.

TRUMPTY DUMPTY  Send This Review to a Friend

WALLED IN

Trumpty Dumpty sat on a wall,

Trumpty Dumpty had a great fall,

All of the Republican women and men,

Couldn’t put Trumpty together again.

NEW YORK FILM FESTIVAL 2018--COLD WAR  Send This Review to a Friend

Polish director Pawel Pawlikowski’s “Cold War” is a very hot movie. (See my Best Ten films of 2018 list.) Inspired by the lives of his late parents, he has created a turbulent love story that rages on both sides of the iron curtain. Exquisitely filmed in realistic black and white, “Cold War” is rich in visual atmosphere as it dramatizes the opposing political realms under which the lovers maneuver in their on-again, off-again relationship. The film, shown at the 2018 New York Film Festival, is now going into commercial release.

Handsome Tomasz Kot plays Wiktor, a pianist for a Polish folk song troupe. (The film’s score is a major plus.) He is rapidly smitten by a beautiful singer, Zula, portrayed by the captivating Joanna Kulig. She is clearly manipulative in figuring out a way to be in the forefront of an audition. How can Wiktor resist? There is resentment on the part of an older woman colleague who recognizes what is happening as Zula catapults into a starring presence in the choir. Troupe manager Kaczmarek (Borys Szyc), also attracted to Zula, is extremely jealous.

A love affair between Wiktor and Zula blossoms and deepens. But there is increasing pressure on the folk company to inject more Stalinist propaganda into its programs. (Kaczmarek knuckles under as a cooperative fuctionary.) Having to conform gets to a point that Wiktor cannot stand and he plans an escape to the West. Zula pledges to go with him. But she doesn’t show up at the rendezvous, and he takes off on his own.

There begins a period of longings and reconnections, Wiktor plays piano at a jazz club in Paris, and you know that Zula will eventually turn up. But working out a life together is fraught with complications.

A driving underlying force is Zula’s feeling for her homeland despite all, and Wiktor feels that too. The film indicates how unsettling it is to leave one’s roots behind, as many emigrants have discovered. For all that is politically problematical, Poland still has a strong pull on both, even with Wiktor in danger if he returns.

Zula shows her love for Wiktor when he is imprisoned… but no further spoilers here. The film surges to an ending that is at one beautifully romantic but ultimately deeply upsetting as it achieves a well-rounded finale consistent with all that has gone before, even though one might wish for a different outcome.

It is no wonder that “Cold War” has been collecting awards. If you want to be sure not to miss one of the year’s best films, put “Cold War” on your must see list. An Amazon Studios release. Reviewed Dec. 20, 2018.

NEW YORK FILM FESTIVAL 2018--HAPPY AS LAZZARO  Send This Review to a Friend

A film that starts in the tradition of Italian neo-realism, “Happy as Lazzaro,” which was showcased at the 2018 New York Film Festival and now goes into commercial release, veers into a highly imaginative mode that escalates its creativity and establishes the work from Italy as among the year’s best. It stands as an important social commentary on class differences and exploitation. In addition, there is an implicit Biblical reference.

Alice Rohrwacher has done a superb job of direction from her screenplay, and she has as her leading actor the non-professional Adriano Tardiolo giving a riveting and deeply sympathetic performance in the title role of a young man with an ethereal screen-worthy face. The film is set in the past, with Lazzaro willing to cheerfully take on any task demanded of him in the community of tobacco farm workers exploited by the Marchesa Alfonsina De Luna (Nicoletta Braschi). The men and women are treated as serf-like sharecroppers.

The story is inspired by a 1980s case of a rich noblewoman, who became known as the tobacco queen and similarly exploited workers who had been cruelly kept ignorant of the fact that such sharecropping had been outlawed. The film details the daily lives of the characters under the Marchesa’s rule until they are rescued when officials discover the illegal abuse.

Before that plot development, we see the Marchesa’s layabout son, Tancredi (Luca Chikovani), making a friend of the impressionable Lazzaro, whom he personally exploits. Lazzaro thinks this is a sincere friendship. Eventually (spoiler here) tragedy strikes as Lazzaro tumbles to his death from a high cliff.

Anyone familiar with the Biblical story of Lazarus of Bethany, whom Jesus raises from the dead, can make the film’s connection as it jumps to the present when Lazzraro appears looking exactly as he did in his youth, much to the amazement of those who, now older, encounter him and are flabbergasted.

The film, rich in imagination, takes on a new dimension. Some of those freed from their lot as sharecroppers now are scrounging for a living in various ways. The Marchesa, having been exposed, is reduced to poverty. Lazzaro encounters the older Tancredi (now played by Tommaso Ragno) and a bizarre episode unfolds, demonstrating the moral superiority of those who had been the sharecroppers.

Rohrwacher’s film rises to become very special in its religion-tinged allegorical outcome. Scene after scene is superbly photographed (cinematography by Hélène Louvart). Perhaps the film could be trimmed a bit, but “Happy as Lazzaro” emerges as a film that may haunt your memory and engender special respect for this rare accomplishment. A Netflix release. Reviewed November 28, 2018.

NEW YORK FILM FESTIVAL 2018--ROMA  Send This Review to a Friend

Writer-director Alfonso Cuarón has searched into his own life to create “Roma,” his film set in the early 1970s in Mexico City, showcased as the centerpiece of the 2018 New York Film Festival and now in commercial release. It is both an intimate story and a look at the larger picture of society, within which the lives of a middle-class family and its devoted nanny and housekeeper unfold.

Central to the story, which is filmed impressively in black and white (the director was also the cinematographer) with all the realistic advantages the style communicates, is Yalitza Aparicio in the role as the dedicated Cleo. Remarkably, given her deeply sympathetic performance, Aparicio is not a professional actress. Cleo looks after a family, consisting of Sofia, the mother (Marina de Tavira), four children (three boys and a girl) and their grandmother. We briefly meet the unfaithful father, who goes off on a business trip with another activity in mind. There is also the important family cook, Adela (Nancy Garcia), who is very close to Cleo in friendship as well is in work.

There is special poignancy in Cleo’s relationship with the children, who are a handful, and one harrowing scene at the beach emphasizes how much Cleo cares for them. She works for modest wages, but when she gets into trouble, help is provided.

The trouble arrives when she finds herself pregnant after an encounter with a lout who refuses to have anything to do with her when she confronts him and says it is his child. Aparicio’s understated performance is what holds the film together even though we also become involved in the other characters.

Cuarón makes a point of stressing life in Mexico City, starkly dramatized by including shots of a major controversial event, a protest demonstration by students brutally confronted by rampaging police—an episode in 1971 called the Corpus Christi Massacre. The director handles this by showing what is happening from the viewpoint of Cleo and the grandmother who observe the demonstration and the police attack.

Thus we do not get just an isolated portrait of the family for whom Cleo works and its daily lifestyle and crises, but also the director’s take on the Mexico City he knows. All is surveyed masterfully in human terms via the story, casting, involving performances and direction, a combination that results in a major film of the year. A Netflix release. Reviewed November 21, 2018.

NEW YORK FILM FESTIVAL 2018--THE BALLAD OF BUSTER SCRUGGS  Send This Review to a Friend

Leave it to Joel and Ethan Coen to come up with a film that’s different, as they have with “The Ballad of Buster Scruggs," shown at the 2018 New York Film Festival prior to its commercial release. They have created a half dozen Western tales, presented as if based on a book, which is fictional and evidence of the extensive imagination shown by the Coen brothers.

The first episode makes it seem as if we are entering a blaze of satire. It is an often rollicking look at a singing cowboy, The Kid, played by Tim Blake Nelson. He is fast on the trigger, and when he walks into a bar, watch out. Nelson is extremely amusing in the role, and the Coens have come up with a gunplay variety, including one that is a particular hoot.

But the leading hilarity gives way to a mix, some of it also funny, but other portions serious, wistful or tragic. The Coens show storytelling command throughout as they spin tales set in the atmosphere of old west. The casting is smart too.

James Franco is Cowboy, who robs banks, which gets him into deadly trouble. In another episode, very sad, Liam Neeson runs touring show exploiting a deformed man who draws spectators. But when would-be customers turn their attention to another attraction, the impresario switches gears at the expense of his former lure.

Among the many cast members are Zoe Kazan, Tyne Daly, Brendan Gleeson, Jefferson Mays, Bill Heck, Granger Hines and Saul Rubinek. The segments vary in length, and at times one may wish the brothers had shortened the 132-minute opus.

There’s a section titled “The Mortal Remains,” consisting mostly of a stagecoach ride. Those assembled may make you think of the John Ford classic, “Stagecoach,” and I particularly enjoyed Tyne Daly as a passenger with a mission as she rides along with others and the talk becomes intense.

The effect of seeing this latest Coen film is like having gone back in time for a trip prompting thoughts about what made American westerns so unique, yet also standing as a hip modern take on it all from the perspective of two movie buffs who enjoy being different. A Netflix release. Posted November 8, 2018. `

NEW YORK FILM FESTIVAL 2018--AT ETERNITY'S GATE  Send This Review to a Friend

Julian Schnabel’s “At Eternity’s Gate” is especially important for two reasons. It provides a new look at the final days in the life of artist Vincent van Gogh and excellent actor Willem Dafoe gives an extraordinary and memorable performance as the artist.

Collaborating on a screenplay with the eminent Jean-Claude Carrière and also with Louise Kugelberg, director Schnabel peers into the sad fate of van Gogh and the pitiful situation in which he never sold a painting. The screenplay also depicts the artist’s death in a way that counters the more accepted idea of his having committed suicide.

Throughout Dafoe is superb in the portrait he gives us of van Gogh, a nuanced look at what his life was like in intimate terms. The supporting cast is first rate too, including Rupert Friend as his supportive brother, Theo, Oscar Isaac as Gauguin, Mathieu Amalric as the important Dr. Gachet, Emmanuele Seigner as Madame Ginoux and Mads Mikkelsen in a key role as a priest.

As one has come to expect from Schnable, he creates an impressive artistic atmosphere that in this case creates a vivid sense of the time in which the artist’s final days unfold. The superb cinematography by Benoît Delhomme helps enormously in achieving the affecting visuals.

An unusual mourning scene is chilling, with van Gogh’s coffin in the center of a room, and his paintings on surrounding walls, as visitors select art that he could not sell during his life. The scene is an inkling of the fame that will eventually embrace him posthumously and the enormous prices his work will ironically command. A CBS Films release. Reviewed October 27, 2018.

  

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