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Friday, October 20, 2017

Review: Batman vs. Two-Face

Adam West vs. William Shatner

By Chris Sabga



Release Date: October 17th, 2017 – U.S.
Rating: PG
Genre: Animation, Action, Comedy
Running Time: 72 minutes
Director: Rick Morales
Writers: Michael Jelenic, James Tucker
Cast: Adam West, Burt Ward, William Shatner, 
Julie Newmar, Jeff Bergman, Sirena Irwin, 
Thomas Lennon, Lee Meriwether, William Salyers, 
Lynne Marie Stewart, Jim Ward, Steven Weber, 
Wally Wingert 


In the 1960s, Adam West's Batman and William Shatner's Captain Kirk were two of the most iconic characters in all of television. In "Batman vs. Two-Face," a sequel to the wonderful "Batman: Return of the Caped Crusaders" set in the colorful "Whap! Pow! Bang!" universe of the 1960s "Batman" show, West and Shatner are together at last – terrible TV movies notwithstanding – as both best friends and archenemies. Thanks to the powers of animation, they haven't aged a day since the '60s.

At the beginning, we are introduced to Dr. Hugo Strange's latest invention: a device that sucks out and isolates the evil from Gotham's super-villains. What could possibly go wrong? With a quack like Strange at the helm, it doesn't take long to find out. Things go awry – because of course they do – and undefeated lawyer Harvey Dent (who bears a striking resemblance to a young William Shatner) is transformed against his will into the villainous Two-Face. I was not expecting that in the first five minutes of the film.

After rehabilitation and plastic surgery, Dent is allowed to practice law again. However, the former legal ace is now reduced to being the assistant to the assistant district attorney. It's quite a fall from grace – and a ready-made formula for a super-villain origin story. Or is it? When Two-Face (Shatner) inevitably resurfaces, Batman (West) refuses to believe his "old chum" Dent is the man behind the dual identity this time – despite the repeated protests of a jealous Robin (Burt Ward).

"Return of the Caped Crusaders" featured such a memorable rogues gallery of villains – The Joker, The Penguin, The Riddler, and Catwoman – that any sequel would be hard-pressed to top them. While Shatner's Two-Face is a more-than-worthy adversary, he's not the only one who makes an appearance. "Batman vs. Two-Face" dips deep into the lore of '60s Batman show and trots out a couple of suitably corny c-level baddies: the felonious pharaoh King Tut (Wally Wingert) and the literary lout The Bookworm (Jeff Bergman). If you didn't just smile, you've never seen the magical TV series all of this is based on.

(And if you're a fan of the other villains, don't worry: there are several cameos and a surprising deleted scene – hidden in plain sight on the Blu-ray – featuring arguably the most popular criminal adversary in Gotham City nowadays.)



Adam West and Burt Ward have never sounded better. Julie Newmar's Catwoman also returns in a reduced role (along with another cat-related surprise I won't spoil). Shatner is surprisingly restrained in his voicing of Two-Face – if you were expecting his usual long pauses and various Shatner-isms, they're not really there – but he does a nice job of making Dent and Two-Face sound distinctive from each other.

Like "Return of the Caped Crusaders" before it, "Batman vs. Two-Face" feels like an extended episode of the old show – and that's exactly how it should be.

Which movie is better? I slightly favor the first because I remember feeling so so giddy with glee watching a reunion unfold before my very eyes that I never thought would be possible. But I've heard from Bat-fans who prefer this one. Either way, you're going to have a great time.

In one of the extras, Burt Ward revealed that he and Adam West have been submitted to "The Guinness Book of World Records" as the only two actors who have worked together over the span of 50 years. "Batman vs. Two-Face" ended up being Adam West's final role before his death at the age of 88. The very end of the credits features a touching text tribute to the "Bright Knight" that is guaranteed to make even The Joker shed a tear or two. These are special films, and we're lucky to have them.

Monday, October 16, 2017

Review: The Babysitter

A Gory Good Time

By Chris Sabga



Release Date: October 13th, 2017 – U.S.
Rating: TV-MA
Genre: Horror, Comedy
Running Time: 85 minutes
Director: McG
Writer: Brian Duffield
Cast: Judah Lewis, Samara Weaving, Robbie Amell, 
Hana Mae Lee, Bella Thorne, Emily Alyn Lind, 
Andrew Bachelor, Leslie Bibb, Ken Marino, 
Samuel Gilbert, Zachary Alexander Rice, Doc Duhame, 
Jean Claude Leuyer, Miles J. Harvey


"The Babysitter" is a fun movie. It won't change the world. It may not contend for any awards. It probably won't make any top ten lists (except maybe mine). But none of that matters – because when it comes to pure unbridled enjoyment, few films this year have been better.

This is the kind of movie where you know what the last line of dialogue will be before it even begins, but that doesn't matter either. There's comfort in its cliches. Even though "The Babysitter" sticks to the same basic framework we've seen countless times before in other horror movies, it's keenly aware of the tropes it's embodying and parodying.

It's a horror-comedy that's probably more comedy than horror, but blood gets shed here by the gallon; as exaggerated as the effect is, it's certainly not for the squeamish.

Cole (Judah Lewis) has to be the biggest baby on the block. He's the only kid in his class who still has a babysitter. But he has convinced himself to be okay with that, because his babysitter, Bee (Samara Weaving), looks like a 1980s pin-up model with her long flowing blonde locks and thick pink lipstick. Why does he need a babysitter? I assume it's because he's seemingly afraid of everything. Cole asks his mother (the always welcome Leslie Bibb) if he's a coward – he uses a less PG word, of course, in a funny scene. Out of earshot, she agrees that he is. His list of fears include spiders, needles, bullies, even driving a car. I have no idea why his father (Ken Marino) is giving him driving lessons in the first place, though. That initially made me assume Cole must be close to 15 – really too old for a babysitter. As it turns out, he's only 12 – which is probably still slightly too old. Still, the scene does build to something later on. That's one of the strengths of the screenplay – all of the quieter early moments do eventually pay off in big and small ways.

On the school bus, Cole's best friend, Melanie (Emily Alyn Lind, of the prolific Alyn Lind family that's all over the place), convinces him to stay up past his bedtime to see what babysitters do after their little charges have been tucked in for the night. The naive boy googles an "adult" word he's just learned but he remains confused by the meaning. He doesn't know quite what to expect as he crouches down by the stairwell in his jammies to spy on his babysitter and her friends (played by Robbie Amell, Hana Mae Lee, Andrew Bachelor, and Bella Thorne). A game of Spin the Bottle leads to a few racy kisses and the other usual teenage shenanigans.

Then the murder, mayhem, and bloodshed begins!

Young Cole is traumatized by what he has just witnessed, but he knows he has to act fast. From this point on, "The Babysitter" becomes a chase movie, as the little boy is forced to outrun, evade, and somehow outsmart his suddenly twisted babysitter and her warped cadre of cronies.

The inevitable kills are gruesome but creative. The situations surrounding them are comical: Robbie Amell's murder-happy character is shirtless for most of the movie, for no apparent reason, while Bella Thorne's vapid cheerleader repeatedly laments losing a (presumably) surgically-enhanced breast during the melee.

All of this works because of the believable bond established between babysitter and boy. In a sweet early scene, they discuss who would be on their "Intergalactic Dream Team" composed of various science-fiction characters – such as Captain Kirk, Picard, and Jeff Goldbum from "Independence Day," among others. It's heartwarming to see Bee channel her inner geek to make Cole feel more at ease – she's clearly familiar with these shows and isn't just pretending to share a common bond with the kid for the sake of a paycheck. Therefore, despite her depraved desire to take the "blood of an innocent," she remains oddly likable throughout the film.

"The Babysitter" is over-the-top in its blood-soaked violence and wildly suggestive dialogue, but it also has an innate niceness about it that makes it a very enjoyable – and yes, pleasant – way to spend a dark, stormy night.

You can watch "The Babysitter" on Netflix.

Thursday, August 31, 2017

Review: The Debt

The Cost of History. The Price of Vengeance.

By Chris Sabga

Note: "The Debt" was released on this date seven years ago. Presented below are my thoughts from 2010, with only a few alterations made for clarity or to interject my current perspective.



Release Date: August 31, 2010 – U.S.
Rating: R
Genre: Drama, Thriller
Running Time: 113 minutes
Director: John Madden
Writers: Screenplay: Matthew Vaughn, Jane Goldman, 
Peter Straughan. 
Original Film ("Ha-Hov"): Assaf Bernstein, 
Ido Rosenblum
Cast: Helen Mirren, Tom Wilkinson, Ciarán Hinds, 
Jessica Chastain, Marton Csokas, Sam Worthington, 
Jesper Christensen 


"The Debt" details the legend of three young Israeli agents and the dangerous secret mission they risked their lives to complete – or did they?

Their names are Rachel Singer, Stephan Gold, and David Peretz. Helen Mirren, Tom Wilkinson, and Ciaran Hinds play the older versions of these characters, while Jessica Chastain, Marton Csokas, and Sam Worthington ("Avatar") do the heavy lifting as their younger incarnations.

This movie presents an intriguing fictional take on real-life historical events. It begins in 1997 as a book is being presented about the trio's exploits. Back in 1966, they were sent to capture a Nazi – the Butcher of Birkenau – who experimented on Jews during World War II.

Mirren, Wilkinson, and Hinds are all fine in their parts, but the film really belongs to Chastain, Csokas, and Worthington. When "The Debt" was first released in 2010, I don't think I had ever seen Chastain or Csokas before. They do a tremendous job. I remember thinking that Chastain must have been an unknown foreign talent – that's how convincing she is in this role. Obviously, the California-born actress has since gone on to great success. Worthington has the least flashy part, but it's a good performance considering how different it is from the charismatic, tough soldier he played in "Avatar."

The dreaded Butcher (portrayed by Jesper Christensen) is downright chilling at times. At first, he lulls the audience in with a false sense of security despite his odious character. But from time to time, his true roots will surface out of the blue, and you won't believe some of the truly ugly things he says. Even after all these years, the Butcher remains one of the most detestable cinematic villains of the decade – because of the root of his evil comes from a very real and unfortunate place in human history.



Remade from the 1997 Israeli movie "Ha-Hov," "The Debt's" foreign roots are obvious right away from its feel and pacing alone. Hollywood generally doesn't make these types of films.

If you still haven't seen "The Debt," do yourself a favor and avoid reading or viewing anything about it. I went into the movie almost cold – aside from watching the trailer a few times – and that's definitely the best way to experience it.

"The Debt" isn't perfect – for example, I would've switched the roles Wilkinson and Hinds played – but it presents a number of interesting themes.

Does the burden of truth outweigh the legacy of history? Or as Entertainment Weekly's Owen Gleiberman so eloquently stated, "In a place that’s as haunted by history as Israel is, can a lie ever really serve to prop up a larger truth?"

Does the price of justice come at too high a cost?

And is it ever too late to seek revenge?  

Monday, July 17, 2017

Remembering Martin Landau

A Magical Career

By Chris Sabga

Martin Landau has always been one of my all-time favorite actors. His death at the age of 89 – on the same day as legendary horror director George A. Romero – was a 1-2 sucker punch.

But what a life Landau lived!


North By Northwest

After several television roles, Martin Landau's first appearance on the silver screen – as the menacing Leonard in Alfred Hitchcock's "North by Northwest" – was quite possibly the greatest film debut anyone could ask for.

He took a big risk in the way he portrayed Leonard in the 1959 film: "I chose to play [him] as a homosexual – very subtly," Landau admitted in an interview – a taboo no-no for that time period.

Landau became an instant star.

Spock You

For the next two decades, he crisscrossed between film and TV appearances. His most notable work on the small screen was in "Mission: Impossible" and "Space: 1999." He turned down the role of Spock in "Star Trek." That iconic character, of course, went to Leonard Nimoy instead. Ironically, Nimoy ended up essentially replacing Landau on "Mission: Impossible."

The Ups and Downs of a Great Career

Among Landau's many film roles during this period, he played opposite Sidney Poitier in the unnecessary, contradictory, overrated mess of a sequel "They Call Me Mister Tibbs!" The first film featuring the groundbreaking Virgil Tibbs character, "In the Heat of the Night," remains an essential classic. "They Call Me Mister Tibbs" doesn't come close to its predecessor's greatness, but Landau was good in it.

In 1982, Landau appeared along with Jack Palance and Donald Pleasence in "Alone in the Dark" (not to be confused with the much-maligned version directed by Uwe Ball and starring Christian Slater and Tara Reid). The horror thriller is about a pair of mental patients (Landau and Palance) who break out of a hospital in order to torment their psychiatrist (Pleasence). I have to admit: I've never seen it – but I've always wanted to. Unfortunately, the DVD has been out of print for years and there's seemingly no Blu-ray or digital release on the horizon. While it surely can't match the expectations I've built up for it in my mind, it still sounds like nutty fun. There is (or was) a low-quality version on YouTube, but I can't bring myself to watch it that way. Eventually, I will get my hands on this holy grail!

After decades in Hollywood, Landau's greatest fame would arguably occur in the 1990s and beyond.

Karloff Does Not Deserve to Smell My Shit!

Bela Lugosi never uttered those words about Boris Karloff, but Martin Landau famously did when he played Lugosi in 1994's "Ed Wood." Tim Burton and Johnny Depp – the director and star of "Ed Wood," respectively – are generally "mood" people for me. In other words, I have to be in the mood for them – and I'm usually not. Yet, "Ed Wood" remains one of my favorite films ever – and Martin Landau is the main reason why. As the long-suffering and loyal Lugosi, his incredible performance is undeniably the heart and soul of the film. Landau was richly recognized for his work in "Wood" by winning the Academy Award for Best Supporting Actor in what has to be one of the most competitive categories I've ever seen: Samuel L. Jackson for "Pulp Fiction" and Gary Sinise for "Forrest Gump" were also nominated the same year. (He also nominated before in the same category two years in a row – but didn't win – for 1988's "Tucker: The Man and His Dream" and 1989's "Crimes and Misdemeanors.")

Sal Bandini – Wanna Wrestle!!!

What in the living holy hell was the great Martin Landau doing in a professional wrestling vanity project like 2000's "Ready to Rumble"? I still don't know! He did work with wrestler George "The Animal" Steele a few years earlier in "Ed Wood," so perhaps that had something to do with it? But whatever Landau's reasons were, like the old pro he was, he made the most of it.

This is what I wrote about his appearance and performance at the time (for IGN.com):
"As awful as some of the material is, there is one bright spot – the character of Sal (Martin Landau). His hilarious performance as King's 105-year-old trainer saves the movie from complete disaster. It is a shame that he isn't used more often, but he definitely steals the scenes he's in. He must be a huge wrestling fan. Either that or he needs money desperately. How else can anyone explain why such a distinguished and celebrated actor would agree to partake in such a dud?"
I've warmed up to "Ready to Rumble" in the years since. No, it's still not a good movie – or anything close to resembling one. Woefully inaccurate and mind-numbing in its dumbness, it displays an astounding lack of respect for wrestling – which makes no sense to me, because what other audience was this intended to attract? But Martin Landau – good old Martin Landau – is an absolute treat to watch.

The Magic of the Movies

At best, 2001's "The Majestic" was stylish but wildly uneven. At worst, it was artificial and sappy. Despite that, it contains one of my favorite performances and speeches ever. Of course, both came courtesy of the wonderful Martin Landau.
"Any man, woman, child could buy their ticket, walk right in. Here they'd be, here we'd be. 'Yes sir, yes ma'am. Enjoy the show.' And in they'd come entering a palace, like in a dream, like in heaven. Maybe you had worries and problems out there, but once you came through those doors, they didn't matter anymore. And you know why? Chaplin, that's why. And Keaton and Lloyd. Garbo, Gable, and Lombard, and Jimmy Stewart and Jimmy Cagney. Fred and Ginger. They were gods. And they lived up there. That was Olympus. Would you remember if I told you how lucky we felt just to be here? To have the privilege of watching them. I mean, this television thing. Why would you want to stay at home and watch a little box? Because it's convenient? Because you don't have to get dressed up, because you could just sit there? I mean, how can you call that entertainment, alone in your living room? Where's the other people? Where's the audience? Where's the magic? I'll tell you, in a place like this, the magic is all around you. The trick is to see it."
It's such a beautiful mission statement and rallying cry for why we all love going to the movies so much. Despite the rude patrons, bright cell phones, and numerous other drawbacks, there's still nothing else quite like the theatrical experience.

When Martin Landau was up on that screen, it was magic.  

Thursday, June 29, 2017

Coming to America: A Royal Anniversary Celebration

Coming to America Premiered on June 29, 1988 – and Became an Instant Classic

By Chris Sabga



Ready to feel old? "Coming to America" is almost 30. It premiered nearly three decades ago, on June 29, 1988. That makes it 29 years old, to be exact, in 2017.

It was an instant classic.

Everyone knows the story by now (and if you don't, see the movie ASAP!): Prince Akeem (Eddie Murphy) is tired of living a lavish lifestyle of resplendent royalty – which includes being bathed by beautiful women and having his shoes tied for him. "I tied my own shoes once!" the domineering King Jaffe Joffer (the great James Earl Jones) confessed to his son. "It is an overrated experience." (I agree!)

But Akeem's problems go beyond baths and shoelaces.

Being the prince of Zumunda, Africa, also means submitting to an arranged marriage. "I want the woman to love me for who I am," Akeem insists, "not because of what I am." Therefore, the Prince of Zamunda declares that he's coming to America to find his bride. "But where," his servant and friend Semmi (Arsenio Hall) wonders, "can one find a woman with grace, elegance, taste, and culture? A woman suitable for a king." The answer, of course, is Queens.

Queens, New York, that is.

The prince immediately finds a job in America – as a janitor. He works at a fast food restaurant called McDowell's – not to be confused with McDonald's, you see. "Look, me and the McDonald's people got this little misunderstanding," his new boss, Cleo McDowell (John Amos, "Good Times"), explains. "See, they're McDonald's – I'm McDowell's. They got the Golden Arches, mine is the Golden Arcs. They got the Big Mac, I got the Big Mick. We both got two all-beef patties, special sauce, lettuce, cheese, pickles, and onions, but their buns have sesame seeds. My buns have no seeds." McDowell's, however, has something McDonald's never will: Lisa (Shari Headley), the boss's beautiful daughter.




As good as Eddie Murphy and Arsenio Hall are in this movie, especially together, James Earl Jones steals every scene as the bombastic King Jaffe Joffer. Madge Sinclair, who portrays Queen Aoleon, is every bit as superb – especially when she stands up to her overbearing but loving husband: "Put a sock in it, Jaffe," she chastises, "the boy is in love." 

Indeed, it's love at first sight for Akeem.

And it was love at first sight for audiences when "Coming to America" premiered in 1988 – and in all the decades since. Not one single person I know dislikes the movie. It's remembered with such great warmth, fondness, and affection. The mere mention of it never fails to elicit a smile from a person's face. Even my own immediate family unanimously loves the film, and we're all very different people in every other way. That's because there's something for everyone in "Coming to America." The performances, characters, writing, and dialogue are all exceptional – and exceptionally hilarious. 

In the 1980s, Eddie Murphy was known primarily for his wisecracking, blue collar, off-color roles in "Trading Places," "Beverly Hills Cop," and "48 Hrs." While those remain cherished classics, "Coming to America" stands out for one reason: its inherent sweetness. Yes, the movie certainly earns its "R" rating with several raunchy jokes and situations, but it's ultimately nice and innocent in a way the others aren't. That is the secret of its success.

Fun Facts:
  • Diehard fans of "Coming to America" already know that both Eddie Murphy and Arsenio Hall portray multiple characters. Their makeup by Rick Baker was nominated for an Oscar that year. Beetlejuice won, which I suppose is understandable, but my heart is with "Coming to America."
  • "Coming to America" was Cuba Gooding Jr.'s first film. He plays the boy in the barbershop.
  • Look for Samuel L. Jackson in a small role as the robber who holds-up McDowell's.
  • Future "E.R." standout Eric LaSalle shows up as Lisa's boyfriend.
  • Comedian and future "Family Feud" host Louie Anderson is behind the McDowell's counter as the fry cook.
  • Frankie Faison chomps cigars and chews scenery as Murphy and Hall's landlord/slumlord.
  • Akeem's fictional homeland of Zamunda in Africa was named after Bob Zmuda, who is best known for his association with Andy Kaufman.
  • "Coming to America" contains a great reference to "Star Wars" (Episode IV): King Jaffe Joffer commands: "Do not alert him to my presence. I will deal with him myself." In "Star Wars," Darth Vader orders: "No. Leave them to me. I will deal with them myself." James Earl Jones portrayed both characters. He played Jaffe and provided the voice of Darth Vader.
  • There is also a reference in "Coming to America" to Eddie Murphy's earlier film "Trading Places": Ralph Bellamy and Don Ameche reprise their roles as Randolph and Mortimer – only this time, they're homeless and penniless. Akeem helps them out by handing them a sizable chunk of cash. Would Murphy's Billy Ray Valentine from "Trading Places" have been so generous? Probably not.

Wednesday, May 31, 2017

Small Screen: Why You Should Be Watching The Carmichael Show

Influenced by Norman Lear and Unafraid to Tackle Bill Cosby, Jerrod Carmichael is Creating Must-See-TV

By Chris Sabga



In the 1970s, screenwriting and producing legend Norman Lear ruled the small screen – television – with groundbreaking programming that explored politics, religion, and life from all angles. Whether it was Archie and Meathead going back-and-forth about hot topics on "All in the Family" or a middle-aged woman having an abortion on "Maude," Lear's shows captured the gritty reality of America the way few others ever had – or ever have since. 

However, instead of creating a trend that lasted through the '80s and beyond, Lear's blunt but nuanced vision of the world disappeared in favor of more wholesome and "family-friendly" shows like "The Cosby Show" (which I will get back to shortly), "Full House" and everything on ABC's "TGIF" block. While I certainly grew up loving those as well, there was nothing that could compare to Archie Bunker or "The Jeffersons."

In 2016, I read an article about a show I'd barely heard of, NBC's "The Carmichael Show," tackling a show we've all seen, "The Cosby Show." Everyone knows the shocking and sordid story of Cosby's downfall by now: Comedian Hannibal Buress made a "joke" about Cosby's holier-than-thou attitude toward the young African-American community, with the "punchline" being that Cosby is a rapist.

"Pull your pants up black people! I was on TV in the '80s," Buress mocked, imitating Cosby. "Yeah, but you rape women, Bill Cosby, so turn the crazy down a couple notches."

From there, endless numbers of women came forward stating they'd been drugged and raped by the '80s sitcom "role model." Cosby went from being lauded a hero who could do no wrong – his sterling influence tenuously linked by "The New York Times" to the rise of America's first black President, Barack Obama – to an internationally reviled pariah who made the whole world feel disgusted and ashamed for ever liking him in the first place.

"The Carmichael Show" was going to go there. The Season 2 episode – titled "Fallen Heroes" – covered Bill Cosby from every angle, including the uncomfortable ones. In one conversation, the characters debated the guilt they felt for being fans of "The Cosby Show" back in the '80s and the unspoken lament that his actions had tainted their childhood memories. How do you reconcile the same man who brought such joy to so many people with the information we have now? Is it okay, the Carmichaels questioned, to still be entertained by a brilliant comedian who is so repulsive in his personal life? Every member of the family had their own wildly differing – and sometimes taboo – take on Bill Cosby and "The Cosby Show."

Norman Lear would have been proud. (Actually, he is!) The Cosby episode – and "The Carmichael Show" in general – is exactly the kind of television Lear would have been writing and producing in the 1970s. It stars comedian and actor Jerrod Carmichael – playing a character of the same name – with an incredible cast portraying his family: Loretta Devine and David Alan Grier as his parents, Amber Stevens West as his biracial girlfriend (a topic that comes up more than once during the course of the show), and LilRel Howery and Tiffany Haddish as his brother and ex-sister-in-law.

After reading about the Cosby episode, I knew I had to catch up and binge-watch "The Carmichael Show" from the beginning! "Fallen Heroes" is but one of the many thought-provoking topics "Carmichael" covers. In the first two seasons, the show has memorably debated gentrification ("Gentrifying Bobby"), depression ("The Blues"), gay and transgender issues ("Gender"), and various other trending topics.

Two of the most memorable episodes, for me, both took place in the second season:

In "The Funeral," the stoic but sometimes blustery patriarch of the Carmichael clan, Joe Carmichael, is tasked with planning his father's funeral. Joe's breakdown at the end and admission that his dad had abused him is powerful, heartbreaking, and absolutely gut-wrenching. It's one of the finest moments of David Alan Grier's long and distinguished acting career. (Bonus: Look for "Jeffersons" alum Marla Gibbs as Joe's mom.)

When "President Trump" aired, its episode title was both a jarring shock to the system and apparently ironic – portending an event that seemingly had no chance in hell of ever happening. At the time, Trump was just another candidate – albeit one who was steadfastly gaining momentum. Yet, here we are today: the episode "President Trump" and President Trump himself are now a reality.

Even though Jerrod Carmichael is the star of the show, he isn't afraid to take the unpopular position. Whether it's supporting controversial gentrification neighborhood overhauls or offensively trolling on social media, Carmichael's character is okay looking like "the bad guy." But he remains endearing – just as Archie Bunker always did, despite his blatant bigotry – because the show always sprinkles its tough issues with layers of warmth and tenderness.

No matter how heated the arguments get, "The Carmichael Show's" family dynamic is its biggest strength. The Carmichaels are real and relatable. They have a deep mutual love and respect for each other. That's why I love them back, even when they're making me mad!

The Carmichael Show airs on NBC. You can watch the first two seasons on Netflix.

Friday, April 28, 2017

Review: The Disappointments Room

Well, The Name of the Movie Certainly Can't be Accused of False Advertising...

By Chris Sabga



Release Date: September 9th, 2016 – U.S.
Rating: R
Genre: Horror, Drama, Thriller
Running Time: 85 minutes
Director: D.J. Caruso
Writers: D.J. Caruso, Wentworth Miller
Cast: Kate Beckinsale, Mel Raido, 
Duncan Joiner, Lucas Till, 
Gerald McRaney


In the olden days, well-to-do parents with disabled or deformed children sometimes locked them away and hid their existence from society. A less-than-perfect child was considered a source of "shame" and a "disappointment." They would be imprisoned in a tiny space – a "disappointments room" – with very little sunlight and no social interaction outside of parents and servants. Their lives were often – mercifully – brief.

If that tragic practice sounds like a terrific setup for a paint-by-numbers haunted house/ghost movie, congratulations, your name is D.J. Caruso or Wentworth Miller. (They wrote the screenplay.) Everyone else will lament the major missed opportunity to tell a compelling story about one of the darkest customs in American history.

Perhaps it's unfair of me to fault the movie for what it was never going to be – especially when I knew going in that it was a psychological horror thriller, not a historical drama – but the fascinating concept of a "disappointments room" has so much potential that's not realized.

Here's what we do get: The movie begins idyllically, with a seemingly happy family on a road trip – a wife, Dana (Kate Beckinsale), her husband, David (Mel Raido), and their little boy, Lucas (Duncan Joiner), buckled safely into his carseat – all singing "If You Want To Know Who We Are" by Gilbert and Sullivan. As they belt out the "We are gentlemen of Japan" portion of the song, the husband basks in the "American" experience they're enjoying. The wife points out that Gilbert and Sullivan are actually English. London-born Kate Beckinsale isn't though, at least not in this movie. That's always a disappointment to me, but she mastered her American accent to perfection back in 1999's "Brokedown Palace," so there's no need to shove her in a "disappointments room" for flexing her linguistic muscles and acting chops.

As it turns out, they're moving from a cramped apartment in the city to a giant house in the secluded countryside – never a good idea in this type of film – because Dana lost her infant daughter only three months after giving birth. Needless to say, she has been suffering psychological trauma since then. Before long, she discovers a mysterious room – a "disappointments room," of course – and starts to see the long-dead previous owner lurking around ("This Is Us's" Dr. K., Gerald McRaney, whose superb talents are completely wasted here in a throwaway role) and an ominous black dog reminiscent of "The Omen." There's also a handyman (played by the new "MacGyver," Lucas Till) who shows up to fix a roof leak. His presence seems to serve only one purpose, which I won't spoil.

I've spent so much time focusing on what "The Disappointments Room" isn't that I've given short thrift to what it is – a somewhat enjoyable psychological horror thriller with a decent little mystery driving it. I had a fair bit of fun watching it. There are certainly worse ways to spend a couple of hours.

The problem is, though, that the narrative never quite comes together in a completely satisfying manner. Spooky things happen, and then the movie is over.

What's real and what isn't? Ultimately, to the detriment of "The Disappointments Room," it never actually matters.