Category Archives: Drama

The Top 25 Films of the last 20 years

November 3, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 1, 2025)

Time keeps on slippin’, slippin’. I can’t believe I’m entering my 20th year contributing to Hullabaloo. Technically, it was 19 years ago that my pal Digby graciously offered me a crayon, a sippy cup and weekly play date on her otherwise grownup site so I can do my little scribbles about pop culture (to be precise, my first review was published November 18, 2006). That’s a lot of sticky floors and buckets of stale popcorn under my belt, so for giggles I thought I’d comb through the archives and pick the top 25 from the (estimated) 600 first-run films I’ve reviewed since 2006. As per usual-not ranked, but presented alphabetically.

Roll film!

Another Earth (2011) – Writer-director Mike Cahill’s auspicious narrative feature debut concerns an M.I.T.-bound young woman (co-scripter Brit Marling) who makes a fateful decision to get behind the wheel after a few belts. The resultant tragedy kills two people, and leaves the life of the survivor, a music composer (William Mapother) in shambles.After serving prison time, the guilt-wracked young woman, determined to do penance, ingratiates herself into the widower’s life (he doesn’t realize who she is). Complications ensue.

Another Earth is a “sci-fi” film mostly in the academic sense; don’t expect to see CGI aliens in 3-D. Orbiting somewhere in proximity of Andrei Tarkovsky’s Solaris, its concerns are more metaphysical than astrophysical. And not unlike a Tarkovsky film, it demands your full and undivided attention. Prepare to have your mind blown.

After the Storm (2017) – This elegant family drama from writer-director Hirokazu Kore-eda is a wise, quietly observant and at times genuinely witty take on the prodigal son story. All the performances are beautifully nuanced; particularly when star Hiroshi Abe and scene-stealer Kirin Kiki are onscreen. Kudos as well to DP Yutaka Yamazaki’s painterly cinematography, and Hanargumi’s lovely soundtrack. Granted, some could find the proceedings too nuanced and “painterly”, but those with patience will be richly rewarded. Full review

Applause (2009) – Paprika Steen delivers a searing performance in this Danish import, directed and co-written (with Anders Frithiof August) by Martin Zandvliet. Technically, Steen is giving two searing performances; one as an embittered, middle-aged alcoholic stage actress named Thea Barfoed, and another as the embittered, middle-aged alcoholic “Martha”, as in “George and Martha”, the venomous, bickering couple who fuel Edward Albee’s classic play, Who’s Afraid of Virginia Woolf.

As you might guess, the clever theatrical allusions abound throughout, with interwoven vignettes of Thea’s nightly performances as “Martha” serving a Greek Chorus for her concurrent real-life travails. While she continues to wow adoring fans with her stagecraft, the acid-tongued Thea makes a less-than-glowing impression on the people she encounters in her off-stage life (mostly due to the fact that she’s usually half in the bag by lunchtime).

While I’ve seen this story before, it’s been some time since I’ve seen it played with the fierce commitment Steen brings to it. Thea’s shame spiral binges evoke Patty Duke’s Neely O’Hara in Valley of the Dolls at times, but I felt Steen’s overall performance (and the writing and directing ) strongly recallsJohn Cassavetes’ Opening Night.

In that 1977 film, Gena Rowlands plays, well, an insecure, middle-aged alcoholic stage actress, who is starring in a play that mirrors her real life angst. And just like the late, great Rowlands, Steen is a force of nature; a joy to watch. She is fearless, compassionate and 100% convincing. After all…she is an actress. (Full review)

Blade Runner 2049 (2017) – So many films passing themselves off as “sci-fi” these days are needlessly loud and jarringly flash-cut. Not this one. Which is to say that Blade Runner 2049 is leisurely paced. The story is not as deep or complex as the film makers want you to think. The narrative is essentially a 90 minute script (by original Blade Runner co-screenwriter Hampton Fancher and Michael Green), stretched to a 164-minute run time.

So why is it on my list? Well, for one thing, the “language” of film being two-fold (aural and visual), the visual language of Blade Runner 2049 is mesmerizing and immersive. I imagine the most burning question you have about Denis Villeneuve’s film is: “Are the ‘big’ questions that were left dangling at the end of Ridley Scott’s 1982 original answered?” Don’t ask me. I just do eyes. You may not find the answers you seek, but you may find yourself still thinking about this film long after the credits roll. Full review

Certified Copy (2010) – Just when you’re being lulled into thinking this is going to be one of those brainy, talky, yet pleasantly diverting romantic romps where you and your date can amuse yourselves by placing bets on “will they or won’t they-that is, if they can both shut up long enough to get down to business before the credits roll” propositions, Iranian director Abbas Kiarostami throws you a curve-ball.

Then again, maybe this film isn’t so much about “thinking”, as it is about “perceiving”. Because if it’s true that a “film” is merely (if I may quote Orson Welles) “a ribbon of dreams”-then Certified Copy, like any true work of art, is simply what you perceive it to be-nothing more, nothing less. Even if it leaves you scratching your head, you get to revel in the luminosity of Juliette Binoche’s amazing performance; there’s pure poetry in every glance, every gesture. (Full review)

Computer Chess (2013) – The most original sci-fi film of 2013 proved you don’t need a $300 million budget and 3-D technology to blow people’s minds. For his retro 80s-style mockumentary, Andrew Bujalski finds verisimilitude via a vintage B&W video camera (which makes it seem as if you’re watching events unfold on a slightly fuzzy closed-circuit TV), and “documents” a tournament where nerdy computer chess programmers from all over North America assemble once a year to match algorithmic prowess.

Not unlike a Christopher Guest satire, Bujalski throws idiosyncratic characters into a jar, and then steps back to watch. Just when you think you’ve got the film sussed as a gentle satirical jab at computer geek culture, things get weird…then weirder. Dig that final shot! (Full review)

The Grand Budapest Hotel (2014) – In the interest of upholding my credo to be forthright with my readers (all three of you), I will confess that, with the exception of his engaging 1996 directing debut, Bottle Rocket, and the fitfully amusing Rushmore, I have been somewhat immune to the charms of writer-director Wes Anderson. To me, “a Wes Anderson film” is the cinematic equivalent to Wonder Bread…bland product, whimsically wrapped.

At the risk of making your head explode, I now have a second confession. I kind of enjoyed The Grand Budapest Hotel. I can’t adequately explain what happened. The film is not dissimilar to Anderson’s previous work; in that it is akin to a live action cartoon, drenched in whimsy, expressed in bold primary colors, populated by quirky characters (who would never exist outside of the strange Andersonian universe they live in) caught up in a quirky narrative with quirky twists and turns (I believe the operative word here, is “quirky”). So why did I like it? I cannot really say. My conundrum (if I may paraphrase one of my favorite lines from The Producers) would be this: “Where did he go so right?” (Full review)

The Guilty (2018) – Essentially a chamber piece set in a police station call center, this 2018 thriller is a “one night in the life of…” character study of a Danish cop (Jakob Cedergren) who has been busted down to emergency dispatcher. Demonstratively glum about pulling administrative duties, the tightly wound officer resigns himself to another dull shift manning the phones.

However, if he was hoping for something exciting to break the monotony, he’s about to fulfill the old adage “be careful what you wish for” once he takes a call from a frantic woman who has been kidnapped. Before he gets enough details to pinpoint her location, she hangs up. As he’s no longer authorized to respond in person, he resolves to redeem himself with his superiors by MacGyvering a way to save her as he races a ticking clock.

Considering the “action” is limited to the confines of a police station and largely dependent on a leading man who must find 101 interesting ways to emote while yakking on a phone for 80 minutes, writer-director Gustav Möller and his star perform nothing short of a minor miracle turning this scenario into anything but another dull night at the movies. Packed with nail-biting tension, Rashomon-style twists, and bereft of explosions, CGI effects or elaborate stunts, this terrific thriller renews your faith in the power of a story well-told. I haven’t seen the 2021 U.S. remake…but I don’t see how you could improve on perfection. (Full review)

Happy Go Lucky (2008) – The lead character in British director Mike Leigh’s dramedy appears to exist in a perpetually cheerful state of being. Her name is Poppy, and her improbably infectious giddiness is brought to life in an amazing performance by Sally Hawkins. Poppy is a single and carefree 30 year old primary school teacher. She breezes around London on her bicycle, exuding “young, colorful and kooky” like Lynn Redgrave in Georgy Girl. She is nothing, if not perky. Some might say she is insufferably perky, but all she really wants is for everybody else to be happy, too.

Now, before you think this is heading in the direction of a whimsical fable, a la Amelie, you have to remember, this is Mike Leigh, and he generally doesn’t do “whimsical”. Through a string of compassionate, astutely observed and beautifully acted films about contemporary British life (High Hopes, Life is Sweet, Career Girls, Naked and Secrets and Lies) Leigh has proven himself a fearless storyteller when it comes to plumbing the well of real, raw human emotion. This “Leigh-ness” comes into play with the introduction of a character that will test the limits of Poppy’s sunny optimism and faith in humanity.

When all is said and done, I venture to say that Leigh is actually making a somewhat revolutionary political statement for this cynical, post-ironic age of rampant smugness and self-absorption; suggesting that Poppy’s brand of bubbly, unflagging enthusiasm for wishing nothing but happiness unto others defines not just the root of true compassion, but could be the antidote to societal ills like xenophobia, child abuse and homelessness. See it and decide for yourself. (Full review)

In the Loop (2009) – Political satire is not dead; it’s just been sort of resting …at least since Wag the Dog sped in and out of theaters in 1997. Armando Iannucci and co-writers Jesse Armstrong, Simon Blackwell, Ian Martin and Tony Roche (much of the team responsible for the BBC series The Thick of It) mined the headlines and produced a nugget of satirical gold with In the Loop, recalling the days of Terry Southern and Paddy Chayefsky, whose sharp, barb-tongued screenplays ripped the body politic with savage aplomb.

The filmmakers take aim at multiple targets, and hit the bull’s eye nearly every time with creatively honed insults delivered in deliciously profane pentameter by all members of a fine cast that includes Peter Capaldi, Tom Hollander, David Rasche, Mimi Kennedy, and James Gandolfini. (Full review)

The Irishman (2019) – If I didn’t know better, I’d wager Martin Scorsese’s epic crime drama was partially intended to be a black comedy. That’s because I thought a lot of it was so funny. “Funny” how? It’s funny, y’know, the …the story. OK, the story isn’t “ha-ha” funny; there’s all these mob guys, and there’s a lot of stealing and extorting and shooting and garroting. It’s just, y’know, it’s … the way Scorsese tells the story and everything.

I know this sounds weird, but there’s something oddly reassuring about tucking into a Scorsese film that features some of the most seasoned veterans of his “mob movie repertory” like Robert De Niro, Joe Pesci and Harvey Keitel; akin to putting on your most well-worn pair of comfy slippers. And with the addition of Al Pacino …fuhgeddaboudit! (Full review)

Killer Joe (2012) – This is a blackly funny and deliriously nasty piece of work from veteran director William Friedkin. Jim Thompson meets Sam Shepherd (with a whiff of Tennessee Williams) in this dysfunctional trailer trash-strewn tale of avarice, perversion and murder-for-hire, adapted for the screen by Tracy Letts from his own play.

While the noir tropes in the narrative holds few surprises, the squeamish are forewarned that, even at 76, the late Friedkin still had a formidable ability to startle unsuspecting viewers; proving you’re never too old to earn an NC-17 rating. How startling? The real litmus test occurs during the film’s climactic scene, which is so Grand Guignol that (depending on your sense of humor) you’ll either cringe and cover your eyes…or laugh yourself sick. (Full review)

Love and Mercy (2014) – Paul Dano’s Oscar-worthy performance in this film as the 1960s era Brian Wilson is a revelation, capturing the duality of a troubled genius/sweet man-child to a tee. If this were a conventional biopic, this would be “good enough” as is. But director Bill Pohlad (and screenwriters Oren Moverman and Michael A. Lerner) make this one go to “11”, by interpolating Brian’s peak period with his bleak period…the Dr. Eugene Landy years (early 80s through the early 90s). This “version” of Brian is played by John Cusack, who has rarely been better; this is a real comeback performance for him. There are no bad performances in this film, down to the smallest parts. I usually try to avoid hyperbole, but I’ll say it: This is one of the best rock’n’roll biopics I’ve seen in years. (Full review)

Man on Wire (2008) – Late in the summer of 1974, a diminutive Frenchman named Philippe Petit took a casual morning stroll across a ¾” steel cable, stretched between the two towers of the then-unfinished World Trade Center. On the surface, this may appear to be a straightforward documentary about this eccentric high wire artist who was either incredibly brave, or incredibly stupid. In actuality, it is one of the best suspense/heist movies of the decade, although no guns are drawn and nothing gets stolen. It is also very romantic, although it is not a traditional love story. Like Petit’s sky-high walk itself, James Marsh’s film is ultimately an act of pure aesthetic grace, and deeply profound. (Full review)

The Master (2012) – As Inspector Clouseau once ruminated, “Well you know, there are leaders…and there are followers.” At its most rudimentary level, Paul Thomas Anderson’s film is a two-character study about a leader and a follower (and metaphorically, all leaders and followers). It’s also a story about a complex surrogate father-son relationship (a recurring theme in the director’s oeuvre). And yes, there are some who feel the film is a thinly disguised take-down of Church of Scientology founder L. Ron Hubbard.

I found it to be a thought-provoking and startlingly original examination of why human beings in general are so prone to kowtow to a burning bush, or an emperor with no clothes; a film that begs repeated viewings. One thing’s for sure- the late Philip Seymour Hoffman and Joaquin Phoenix deliver a pair of knockout performances. Like all of Anderson’s films, it’s audacious, sometimes baffling, but never dull. (Full review)

Moonage Daydream (2022) – David Bowie invented the idea of “re-invention”. It’s also possible that he invented a working time machine because he was always ahead of the curve (or leading the herd). He was the poster boy for “postmodern”. Space rock? Meet Major Tom. Glam rock? Meet Ziggy Stardust. Doom rock? Meet the Diamond Dog. Neo soul? Meet the Thin White Duke. Electronica? Ich bin ein Berliner. New Romantic? We all know Major Tom’s a junkie…

Of all his personas, “David Jones” is the most enigmatic; perhaps, as suggested in Brett Morgen’s trippy film, even to Bowie himself. More On the Road than on the records, Morgen’s kaleidoscopic thesis is a globe-trotting odyssey of an artist in search of himself. This is anything but a traditional, linear biography. Morgen doesn’t tell you everything about Bowie’s life, he simply shows you. Even if David Jones remains elusive as credits roll, the journey itself is absorbing and ultimately moving. Think of it as the Koyaanisqatsi of rock docs. (Full review)

Never, Rarely, Sometimes, Always (2020) – Writer-director Eliza Hittman’s timely drama centers on 17-year old Autumn (Sidney Flanigan) , a young woman in a quandary over an unwanted pregnancy who has only one real confidant; her cousin, BFF and schoolmate Skylar (Talia Ryder). They both work part-time as grocery clerks in rural Pennsylvania (a state where the parent of a minor must consent before an abortion is provided). After a decidedly unhelpful visit to her local “crisis pregnancy center” and a harrowing failed attempt to self-induce an abortion, Autumn and Skylar scrape together funds and hop a bus to New York City.

Hittman really gets inside the heads of her two main characters; helped immensely by wonderful, naturalistic performances from Flanigan and Ryder. Hittman has made a film that is quietly observant, compassionate, and non-judgmental. She does not proselytize one way or the other about the ever-thorny right-to-life debate. This is not an allegory in the vein of The Handmaid’s Tale, because it doesn’t have to be; it is a straightforward and realistic story of one young woman’s personal journey. The reason it works so well on a personal level is because of its universality; it could easily be any young woman’s story in the here and now.(Full review)

No Country for Old Men (2007) – The bodies pile up faster than you can say Blood Simple in Joel and Ethan Coen’s masterfully constructed 2007 neo-noir (which earned them a shared Best Director trophy). The brothers’ Oscar-winning screenplay (adapted from the Cormac McCarthy novel) is rich in characterization and thankfully devoid of the self-conscious quirkiness that has left some of their latter-day films teetering on self-parody.

The story is set among the sagebrush and desert heat of the Tex-Mex border, where the deer and the antelope play. One day, good ol’ boy Llewelyn (Josh Brolin) is shootin’ at some food (the playful antelope) when he encounters a grievously wounded pit bull. The blood trail leads to discovery of the aftermath of a shootout. As this is Coen country…that twisty trail does lead to a twisty tale.

Tommy Lee Jones gives a wonderful low-key performance as an old-school, Gary Cooper-ish lawman who (you guessed it) comes from a long line of lawmen. Jones’ face is a craggy, world-weary road map of someone who has reluctantly borne witness to every inhumanity man is capable of, and is counting down the days to imminent retirement (‘cos it’s becoming no country for old men…).

The cast is outstanding. Javier Bardem picked up a Best Supporting Actor statue for his turn as a psychotic hit man. His performance is understated, yet menacing, made all the more unsettling by his Peter Tork haircut. Kelly McDonald and Woody Harrelson are standouts as well. Curiously, Roger Deakins wasn’t nominated for his cinematography, but his work on this film ranks among his best. (Full review)

The Old Oak (2024) – The bookend of a triptych of working-class dramas set in Northeast England (preceded by I, Daniel Blake in 2016 and Sorry We Missed You! in 2019), The Old Oak marks 87-year-old director Ken Loach’s 28^th film.

The story (scripted by Paul Laverty) is set in an economically depressed “pit town” on the Northeast coast of England in 2016 (which was 2 years into the implementation of the UK’s Syrian Vulnerable Persons Resettlement Scheme), and centers on TJ (Dave Turner), a former labor organizer barely making ends meet as owner and proprietor of “The Old Oak” pub.

One day, a busload of Syrian refugees appears and disembarks in the center of town. Unfortunately, not all the locals appear willing to roll out the welcome wagon. When xenophobic catcalling escalates into a scuffle that results in a young Syrian woman’s camera getting damaged, TJ intervenes and defuses the situation.

What ensues is rife with Loach’s trademarks; not the least of which is giving his cast plenty of room to breathe. The ensemble (which ranges from first-time film actors to veteran players) delivers uniformly naturalistic performances. Hovering somewhere between Do the Right Thing and Ikuru, The Old Oak is raw, uncompromising, and genuinely moving (rare at the multiplex nowadays), with an uplifting message of hope and reconciliation. If this is indeed its director’s swan song-what a lovely, compassionate note to go out on. (Full review)

Once Upon a Time in Hollywood (2019) – “Surely (you’re thinking), a film involving the Manson Family and directed by Quentin Tarantino must feature a cathartic orgy of blood and viscera…amirite?” Sir or madam, all I can tell you is that I am unaware of any such activity or operation… nor would I be disposed to discuss such an operation if it did in fact exist, sir or madam.

What I am prepared to share is this: Leonardo DiCaprio and Brad Pitt have rarely been better, Margot Robbie is radiant and angelic as Sharon Tate, and 9-year-old moppet Julia Butters nearly steals the film. Los Angeles gives a fabulous and convincing performance as 1969 Los Angeles. Oh, and Once Upon a Time in Hollywood is now my favorite “grown-up” Quentin Tarantino film (after Jackie Brown). (Full review)

Rampart (2011) – In a published interview, hard-boiled scribe James Ellroy once said of his (typical) protagonists “…I want to see these bad, bad, bad, bad men come to grips with their humanity.” Later in the interview, Ellroy confided that he “…would like to provide ambiguous responses in my readers.” If those were his primary intentions in the screenplay that drives Oren Moverman’s gripping and unsettling 2011 film (co-written with the director), I would say that he has succeeded mightily on both counts.

If you’re seeking car chases, shootouts and a neatly wrapped ending tied with a bow-look elsewhere. Not unlike one of those classic 1970s character studies, this film just sort of…starts, shit happens, and then it sort of…stops. But don’t let that put you off-it’s what’s inside this sandwich that matters, namely the fearless and outstanding performance from a gaunt and haunted Woody Harrelson, so good here as a bad, bad, bad, bad L.A. cop. (Full review)

Samsara (2011) – Whether you see Ron Fricke’s film as a deep treatise on the cyclic nature of the Omniverse, or merely as an assemblage of pretty pictures, doesn’t amount to a hill of beans in this crazy world. The man who gave us the similar cinematic tone poems Chronos and Baraka drops a clue early on in his latest film, as we observe a group of Buddhist monks painstakingly creating a sand mandala (it must take days).

At the very end of the film, we revisit the artists, who now sit in silent contemplation of their lovely creation. This (literal) Moment of Zen turns out to be the preface to the monks’ next project-the ritualistic de-construction of the painting (which I assume must take an equal amount of time). Yes, it is a very simple metaphor for the transitory nature of beauty, life, the universe and everything. But, as they say, there’s beauty in simplicity. (Full review)

Skyfall (2012) – Assembled with great intelligence and verve by American Beauty director Sam Mendes, this tough, spare and relatively gadget-free 2012 Bond caper harkens back to the gritty, straightforward approach of From Russia with Love (the best of the early films).

That being said, Mendes hasn’t forgotten his obligation to fulfill the franchise’s tradition of delivering a slam-bang, pull out all the stops opening sequence, which I daresay outdoes all previous. Interestingly, the film’s narrative owes more to Howard Hawks than it does to Ian Fleming; I gleaned a healthy infusion of Rio Bravo in Neal Purvis, Robert Wade and John Logan’s screenplay.

Star Daniel Craig finally settled comfortably into the character with this entry; his Bond feels a little more “lived in” than in the previous installments, where he was a little stiff and unsure about where he should be at times.

This is one of the most beautifully photographed Bond films in recent memory, thanks to DP Roger Deakins (one particularly memorable fight scene, staged in a darkened high rise suite and silhouetted against the backdrop of Shanghai’s myriad neon lights, approaches high art). Bond geeks will be pleased; and anyone up for pure popcorn escapism will not be disappointed. Any way you look at it, this is a terrific entertainment. (Full review)

Weathering With You (2020) – It was a marvelously gloomy, stormy Sunday afternoon in late January of 2020 when I ventured out to see Japanese anime master Makato Shinkai’s newest film. Little did I suspect that it would come to hold such a special place in my memory…for reasons outside of the film itself. I’ll admit I had some problems with the narrative, which may bring into question why it’s in my top 25 . That said, I concluded my review thusly:

Still, there’s a lot to like about “Weathering With You”, especially in the visual department. The Tokyo city-scapes are breathtakingly done; overall the animation is state-of-the-art. I could see it again. Besides, there are worse ways to while away a rainy Seattle afternoon.

I have since seen it again, twice (I bought the Blu-ray). Like many of Shinkai’s films, it improves with subsequent viewings. Besides, there’s no law against modifying your initial impression of a movie. That’s my modified opinion, and I’m sticking to it. (Full review)

Won’t You Be My Neighbor? (2018) – In his affable portrait of the publicly sweet, gentle, and compassionate TV host Fred Rogers, director Morgan Neville serves up a mélange of archival footage and present-day comments by friends, family, and colleagues to reveal (wait for it) a privately sweet, gentle, compassionate man. In other words, don’t expect revelations about drunken rages, aberrant behavior, or rap sheets (sorry to disappoint anyone who feels life’s greatest pleasure is speaking ill of the dead).

That is not to deny that Rogers did have a few…eccentricities; some are mentioned, others implied. The bulk of the film focuses on the long-running PBS series, Mr. Rogers’ Neighborhood, which debuted in 1968. With apologies to Howard Beale, I don’t have to tell you things are bad. I think this documentary may be what the doctor ordered, as a reminder people like Fred Rogers once strode the Earth (and hopefully still do). I wasn’t one of your kids, Mr. Rogers, but (pardon my French) we sure as shit could use you now. (Full review)

Adventure, Culture Clash, Documentary, Drama

Beds Are Burning: Top 10 Films for Indigenous Peoples Day

October 14, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 13, 2025)

What a difference an administration can make.

On October 9th, 2020, then-President Trump issued an official Columbus Day Proclamation, which read in part:

Sadly, in recent years, radical activists have sought to undermine Christopher Columbus’s legacy. These extremists seek to replace discussion of his vast contributions with talk of failings, his discoveries with atrocities, and his achievements with transgressions. Rather than learn from our history, this radical ideology and its adherents seek to revise it, deprive it of any splendor, and mark it as inherently sinister. They seek to squash any dissent from their orthodoxy. We must not give in to these tactics or consent to such a bleak view of our history. We must teach future generations about our storied heritage, starting with the protection of monuments to our intrepid heroes like Columbus. This June, I signed an Executive Order to ensure that any person or group destroying or vandalizing a Federal monument, memorial, or statue is prosecuted to the fullest extent of the law.

I have also taken steps to ensure that we preserve our Nation’s history and promote patriotic education. In July, I signed another Executive Order to build and rebuild monuments to iconic American figures in a National Garden of American Heroes. In September, I announced the creation of the 1776 Commission, which will encourage our educators to teach our children about the miracle of American history and honor our founding. In addition, last month I signed an Executive Order to root out the teaching of racially divisive concepts from the Federal workplace, many of which are grounded in the same type of revisionist history that is trying to erase Christopher Columbus from our national heritage. Together, we must safeguard our history and stop this new wave of iconoclasm by standing against those who spread hate and division.

Fast-forward to one year ago (feels like decades)…On October 11th, 2024 (and for the 4th year in a row), in addition to an official Columbus Day Proclamation, then-President Biden issued an official Indigenous Peoples’ Day Proclamation , which read in part:

On Indigenous Peoples’ Day, we honor Indigenous peoples’ strength, courage, and resilience. We celebrate the vast contributions of Indigenous communities to the world. And we recommit to respecting Tribal sovereignty and self-determination and working to usher in a new era of our Nation-to-Nation relationships.

The history of America’s Indigenous peoples is marked by perseverance, survival, and a deep commitment to and pride in their heritage, right to self-governance, and ways of life. Since time immemorial, Indigenous peoples have built and sustained powerful Tribal Nations, cultivated rich cultures, and established vibrant communities. And their discoveries and knowledge still benefit us today. But because of our Nation’s failed policies of the past, generations of Native peoples have faced cruelty, violence, and intimidation. They were forced to leave their homelands, prohibited from speaking their own languages and practicing their sacred traditions, and forced into assimilation. Indigenous lives were lost, livelihoods were ripped away, and communities were fundamentally altered. Despite the trauma and turmoil, Indigenous peoples have persisted and survived. Their stories are testaments to the bravery and resolve of generations to preserve their heritage, cultures, and identities for those to come after them.

Today, Indigenous peoples lead in every way, share their histories, and strengthen their communities. They are also stewarding lands and waters, growing our shared prosperity, and celebrating the good of our Nation while pushing us to tell the full truth of our history. Indigenous peoples have long served in the United States military, fighting for democracy. And Indigenous communities continue to be an integral part of the fabric of the United States, contributing so much to our shared prosperity. […]

From day one, I have worked to include Indigenous voices at the table in all we do. I have appointed Native Americans to lead across the Federal Government, including the Secretary of the Interior, Deb Haaland — America’s first Native American Cabinet secretary — and so many others serving in key roles in my Administration. I was proud to re-establish the White House Council on Native American Affairs to help coordinate policy. Together, we have taken historic steps to improve the consultation process between Federal agencies and Tribal Nations. […]

When my Administration reauthorized the Violence Against Women Act in 2022, we included historic provisions to reaffirm Tribal sovereignty and expand Tribal jurisdiction in cases where outside perpetrators harm members of their Nation. And recognizing the ties of Indigenous peoples across North America, I supported a Trilateral Working Group with Canada and Mexico to ensure Indigenous women and girls in all three countries can live free from violence.

My Administration is also preserving important ancestral Tribal lands and waters. I have protected and conserved more than 42 million acres of our Nation’s lands and waters. I established, expanded, or restored 11 national monuments. […]

On Indigenous Peoples’ Day, we recognize that it is hard work to heal the wrongs of the past and to change course and move forward, but together, nothing is beyond our capacity. May we take pride in the progress we have made to establish a new era of Tribal sovereignty and Indigenous self-determination — one grounded in dignity, respect, and friendship.

NOW, THEREFORE, I, JOSEPH R. BIDEN JR., President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim October 14, 2024, as Indigenous Peoples’ Day. I call upon the people of the United States to observe this day with appropriate ceremonies and activities. I also direct that the flag of the United States be displayed on all public buildings on the appointed day in honor of our diverse history and the Indigenous peoples who contribute to shaping this Nation.

*sigh*

That was then, and (sadly) this is now:

Today [October 13, 2025] our Nation honors the legendary Christopher Columbus — the original American hero, a giant of Western civilization, and one of the most gallant and visionary men to ever walk the face of the earth. This Columbus Day, we honor his life with reverence and gratitude, and we pledge to reclaim his extraordinary legacy of faith, courage, perseverance, and virtue from the left-wing arsonists who have sought to destroy his name and dishonor his memory. […]

Commissioned by Ferdinand and Isabella of Spain, Columbus and his crew boarded three small ships — the Niña, Pinta, and Santa Maria — to set sail on a perilous voyage across the Atlantic. He was guided by a noble mission: to discover a new trade route to Asia, bring glory to Spain, and spread the Gospel of Jesus Christ to distant lands. […]

Guided by steadfast prayer and unwavering fortitude and resolve, Columbus’s journey carried thousands of years of wisdom, philosophy, reason, and culture across the Atlantic into the Americas — paving the way for the ultimate triumph of Western civilization less than three centuries later on July 4, 1776.

Outrageously, in recent years, Christopher Columbus has been a prime target of a vicious and merciless campaign to erase our history, slander our heroes, and attack our heritage. Before our very eyes, left-wing radicals toppled his statues, vandalized his monuments, tarnished his character, and sought to exile him from our public spaces. Under my leadership, those days are finally over — and our Nation will now abide by a simple truth: Christopher Columbus was a true American hero, and every citizen is eternally indebted to his relentless determination. […]

Oh…did I mention that missive came from The Resolute Desk of (returning) President Donald J. Trump? Unlike his Oval Office predecessor, he has not issued a companion proclamation that also acknowledges Indigenous Peoples’ Day. Perhaps that is because Trump’s illustrious Secretary of, uh…”War” has already made this administration’s stance regarding the history of America’s Indigenous people quite clear:

Defense Secretary Pete Hegseth announced in a video post [this past September] that soldiers who participated in the 1890 massacre of more than 250 women, men, and children at Wounded Knee will keep Medals of Honor that many have said should be rescinded.

On December 29, 1890, some 500 troops of the U.S. 7th Cavalry Regiment surrounded a group of Lakota people who were camped at Wounded Knee Creek on the Pine Ridge Reservation in South Dakota.

The Lakota had been forced to march to Pine Ridge from the Standing Rock Indian Reservation after U.S. Indian Agency Police killed Lakota Chief Sitting Bull, who led his people during years of resistance to U.S. government policies that forcibly relocated Indigenous people from their homes to reservations.

The troops entered the camp to disarm the Lakota. During a brief scuffle between a soldier and a Lakota man who refused to surrender his weapon, the rifle fired, alarming the rest of the troops. The soldiers began firing on the Lakota, many of whom tried to flee the assault. The attack left more than 250 Lakota dead; over half of those killed were women, children, and elderly tribal members, and most of the dead were unarmed.

Despite the extreme cruelty and the killing of so many innocent people, Medals of Honor were given to 19 soldiers for their actions and conduct.

For generations, Native American groups, including the Cheyenne River Sioux Tribe and the National Congress of American Indians, advocates, state lawmakers from South Dakota, and members of Congress have called for the awards to be rescinded.

A century after the massacre, Congress apologized to the descendants of the people killed at Wounded Knee, but did not revoke the awards, AP reported. […]

“We’re making it clear that (the soldiers) deserve those medals,” Hegseth said, before adding that “their place in our nation’s history is no longer up for debate.”

“We salute their memory,” he said in closing. “We honor their service, and we will never forget what they did.”

Even a stopped clock…

I actually agree with the Secretary on that last part: we should never forget what they did.

At any rate…in honor of this Indigenous Peoples’ Day, I’ve selected 10 related films that are well worth your time.

Arctic Son — I first saw this documentary (not to be confused with the unrelated 2013 film Arctic Son: Fulfilling the Dream) at the 2006 Seattle International Film Festival. Andrew Walton’s film is a classic “city mouse-country mouse” story centering on a First Nations father and son who are reunited after a 25-year estrangement.

Stanley, Jr. was raised in Washington State by his single mom. Consequently, he is more plugged in to hip-hop and video games than to his native Gwich’in culture. Troubled by her son’s substance abuse, Stanley’s mother packs him off for an extended visit with Stanley Sr., who lives a traditional subsistence lifestyle in the Yukon Territories. The initially wary young man gradually warms to both the unplugged lifestyle and his long-estranged father. Affecting and heartwarming.

The Chant of Jimmie Blacksmith — One of the highlights of the “Australian New Wave” that flourished in the 70s and 80s, writer-director Fred Schepsi’s 1978 drama (adapted from Thomas Keneally’s novel, which is loosely based on a true story) is set in Australia at the turn of the 20th Century.

Jimmie Blacksmith (Tommy Lewis) is a half-caste Aboriginal who goes out into the world to make his own way after being raised by a white minister and his wife. Unfortunately, the “world” he is entering from the relative protective bubble of his upbringing is that of a society fraught with systemic racism; one that sees him only as a young black man ripe for exploitation.

While Jimmie is inherently altruistic, every person has their limit, and over time the escalating degradation and daily humiliations lead to a shocking explosion of cathartic violence that turns him into a wanted fugitive. An unblinking look at a dark period of Australian history; powerful and affecting.

Dead Man — Rhymes with: “deadpan”. Then again, that could describe any film directed by the idiosyncratic Jim Jarmusch. As far as Kafkaesque westerns go, you could do worse than this 1995 offering (beautifully photographed by the late Robby Müller).

Johnny Depp plays mild-mannered accountant and city slicker William Blake (yes, I know) who travels West by train to the rustic town of Machine, where he has accepted a job. Or so he assumes. Getting shooed out of his would-be employer’s office at gunpoint (a great cameo by Robert Mitchum) turns out to be the least of his problems, which rapidly escalate. Soon, he’s a reluctant fugitive on the lam. Once he crosses paths with an enigmatic Native American named Nobody (the wonderful Gary Farmer), his journey takes on a mythic quality. Surreal, darkly funny, and poetic.

The Emerald Forest — Although it may initially seem a heavy-handed (if well-meaning) “save the rain forest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper.

Powers Boothe plays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting the job site on the edge of the rain forest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally reunited with his now-teenage son (Charley Boorman), the challenge becomes a matter of how he and his wife (Meg Foster) are going to coax the young man back into “civilization”.

Tautly directed, lushly photographed (by Philippe Rousselot) and well-acted. Rosco Pallenberg scripted (he also adapted the screenplay for Boorman’s 1981 film Excalibur).

The Gods Must Be Crazy — Writer-director Jamie Uys’ 1984 cult favorite is a spot-on allegory regarding First World/Third World culture clash. The premise is simple: A wandering Kalahari Bushman named Xi (N!xau) happens upon a discarded Coke bottle that has been carelessly tossed from a small plane. Having no idea what the object is or how it got there, Xi spirits it back to his village for a confab on what it may portend. Concerned over the uproar and unsavory behavioral changes the empty Coke bottle ignites within the normally peaceful community, Xi treks to “the edge of the world” to give the troublesome object back to the gods. Uys overdoes the slapstick at times, but drives his point home in an endearing fashion.

The Last Wave —Peter Weir’s enigmatic 1977 courtroom drama/psychological thriller concerns a Sydney-based defense lawyer (Richard Chamberlain) who takes on five clients (all Aboriginals) who are accused of conspiring in a ritualistic murder. As he prepares his case, he begins to experience haunting visions and dreams related to age-old Aboriginal prophesies.

A truly unique film, at once compelling, and unsettling; beautifully photographed by Russel Boyd. Lurking just beneath the supernatural, metaphysical and mystical elements are insightful observations on how indigenous people struggle to reconcile venerable superstitions and traditions while retaining a strong cultural identity in the modern world.

Mekko — Director Sterlin Harjo’s tough, lean, and realistic character study is set in Tulsa, Oklahoma. Rod Rondeaux (Meek’s Cutoff) is outstanding in the lead, as a Muscogee Indian who gets out of jail after 19 years. Bereft of funds and family support, he finds tenuous shelter among the rough-and-tumble “street chief” community of homeless Native Americans as he sorts out how he’s going to get back on his feet. Harjo coaxes naturalistic performances from his entire cast. There’s a lot more going on here than initially meets the eye; namely, a deeper examination of Native American identity,

Powwow Highway —A Native American road movie from 1989 that eschews stereotypes and tells its story with a blend of social and magical realism. Gary Farmer (who resembles the young Jonathan Winters) plays Philbert, a hulking Cheyenne with a gentle soul who wolfs down cheeseburgers and chocolate malts with the countenance of a beatific Buddha. He has decided that it is time to “become a warrior” and leave the res on a quest to “gather power”.

After choosing a “war pony” for his journey (a rusted-out beater that he trades for with a bag of weed), he sets off and is waylaid by his childhood friend (A. Martinez) an A.I.M. activist who needs a lift to Santa Fe to bail out his sister, framed by the Feds on a possession beef. Funny, poignant, uplifting and richly rewarding. Director Jonathan Wacks and screenwriters Janey Heaney and Jean Stawarz keep it real. Look for cameos from Wes Studi and Graham Greene.

This May Be the Last Time — Did you know that the eponymous Rolling Stones song shares the same roots with a venerable Native-American tribal hymn, that is still sung in Seminole and Muscogee churches to this day? While that’s far from the main thrust of Sterlin Harjo’s documentary, it’s but one of its surprises.

Harjo investigates a family story concerning the disappearance of his Oklahoman Seminole grandfather in 1962. After a perfunctory search by local authorities turned up nothing, tribal members pooled their resources and continued to look. Some members of the search party kept up spirits by singing traditional Seminole and Muscogee hymns…which inform the second level of Harjo’s film.

Through interviews with tribal members and musicologists, he traces the roots of this unique genre, connecting the dots between the hymns, African-American spirituals, Scottish and Appalachian music. The film doubles as both history lesson and a moving personal journey.

Walkabout — Nicholas Roeg’s 1971 adventure/culture clash drama introduced audiences to charismatic Aboriginal actor David Gulpilil (who also appears in another film on my list, The Last Wave). Gulpilil is an Aboriginal teenager (“Black Boy” in the credits) who unexpectedly encounters a teenage “Girl” (Jenny Agutter) and “White Boy” (the Girl’s little brother, played by Luc Roeg) while he is on a solo “walkabout” in the Australian Outback.

The sun-stroked and severely dehydrated siblings have become stranded as the result of a family outing gone terribly (and disturbingly) awry. Without making any promises, the Aboriginal boy allows them to tag along; teaching them his survival techniques as they struggle to communicate as best as they can.

Like many of my selections here, Roeg’s film challenges us to rethink the definition of “civilization”, especially as it pertains to indigenous cultural identity.

Previous posts with related themes:

Free Leonard Peltier

Yanuni

Hey, Viktor!

Lakota Nation vs the United States

Beans

Waikiki

Caterpillars

Ainu Mosir

Birds of Passage

Angry Inuk

The Revenant

Tibet in Song

Bury My Heart at the Visitor Center [essay]

Drama, Romantic Comedy, Social Satire, Tribute

Oh god, Annie

October 13, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 11, 2025)

I have to say…not a big fan of the circle of life lately.

Diane Keaton has died. She was 79.

PEOPLE can confirm the legendary actress died in California on Saturday, Oct. 11. “There are no further details available at this time, and her family has asked for privacy in this moment of great sadness,” a spokesperson tells PEOPLE.

Keaton rose to fame in the 1970s thanks to her role in The Godfather films and her collaborations with director Woody Allen. She won an Oscar for Best Actress for 1977’s Annie Hall. Her long career included movies like The First Wives Club, multiple collaborations with director Nancy Meyers and the Book Club franchise.

The actress was born in Los Angeles in 1946 as Diane Hall, and was the oldest of four children. Her father was a civil engineer, while her mom stayed at home. […]

Keaton performed in plays in high school, and after graduating in 1964, she pursued drama in college. But she soon dropped out and moved to New York to try to make her way in theater. She took her mother’s maiden name, Keaton, for her professional name, because there was already a Diane Hall registered with Actors’ Equity. […]

Her film debut was in 1970’s Lovers and Other Strangers, but her big break came when Francis Ford Coppola cast her as Kay Adams, the girlfriend of Al Pacino’s Michael Corleone, in The Godfather, released in 1972. The movie was based on the novel by Mario Puzo but Keaton didn’t read the bestseller before her audition and didn’t really know what the film was about.

“I think the kindest thing that someone’s ever done for me … is that I got cast to be in The Godfather and I didn’t even read it. I didn’t know a single thing,” she told PEOPLE in 2022. “I just was going around auditioning. I think that was amazing for me. And then I had to kind of read the book.” […]

Looking back on her career, Keaton told PEOPLE in 2019, “I don’t know anything, and I haven’t learned. Getting older hasn’t made me wiser. Without acting I would have been a misfit.”

Keaton never married. “Today I was thinking, I’m the only one in my generation of actresses who has been a single woman all her life,” she explained to PEOPLE in 2019. “I’m really glad I didn’t get married. I’m an oddball. I remember in high school, this guy came up to me and said, ‘One day you’re going to make a good wife.’ And I thought, ‘I don’t want to be a wife. No.’”

I’m taking this one personally. Frankly, I don’t know where to start. She was in so many of the films that formed me as a cineaste. I was weaned on the New Hollywood, and she was one of the key players. For all you youngsters in the audience…what is this “New Hollywood” I speak of, you may ask? In a 2017 essay about the demise of neighborhood movie theaters, I wrote:

Some of my fondest memories of the movie-going experience involve neighborhood theaters; particularly during a 3-year period of my life (1979-1982) when I was living in San Francisco. But I need to back up for a moment. I had moved to the Bay Area from Fairbanks, Alaska, which was not the ideal environment for a movie buff. At the time I moved from Fairbanks, there were only two single-screen movie theaters in town. To add insult to injury, we were usually several months behind the Lower 48 on first-run features (it took us nearly a year to even get Star Wars).

Keep in mind, there was no cable service in the market, and VCRs were a still a few years down the road. There were occasional midnight movie screenings at the University of Alaska, and the odd B-movie gem on late night TV (which we had to watch in real time, with 500 commercials to suffer through)…but that was it. Sometimes, I’d gather up a coterie of my culture vulture pals for the 260-mile drive to Anchorage, where there were more theaters for us to dip our beaks into.

Consequently, due to the lack of venues, I was reading more about movies, than watching them. I remember poring over back issues of The New Yorker at the public library, soaking up Penelope Gilliat and Pauline Kael; but it seemed requisite to live in NYC (or L.A.) to catch all these cool art-house and foreign movies they were raving about (most of those films just didn’t make it out up to the frozen tundra). And so it was that I “missed” a lot of 60s and 70s cinema.

Needless to say, when I moved to San Francisco, which had a plethora of fabulous neighborhood theaters in 1979, I quickly set about making up the deficit. While I had a lot of favorite haunts (The Surf, The Balboa, The Castro, and the Red Victorian loom large in my memory), there were two venerable (if a tad dodgy) downtown venues in particular where I spent an unhealthy amount of time in the dank and the dark with snoring bums who used the auditoriums as a $2 flop: The Roxie and The Strand.

That’s because they were “repertory” houses; meaning they played older films (frequently double and triple bills, usually curated by some kind of theme). That 3 years I spent in the dark was my film school; that’s how I got caught up with Francis Ford Coppola, Stanley Kubrick, Martin Scorsese, Robert Altman, Hal Ashby, Terrence Malick, Woody Allen, Sidney Lumet, Peter Bogdanovich, Werner Herzog, Ken Russell, Lindsay Anderson, Wim Wenders, Michael Ritchie, Brian De Palma, etc.

Keaton has been a fixture in my film universe since 1972, the year I saw my first ‘R’-rated feature at age 16. That film was, of course, The Godfather. I’d like to be able to brag that I was able to “sneak in”, but this was a military base (Theater #1 at Fort Wainwright, Alaska) so I had to be accompanied by a parent or guardian; hence I tagged along with my best bud and his parents.

However, it wasn’t until 5 years later that I became truly smitten with Keaton, thanks to her star-making turn in Woody Allen’s classic romantic comedy Annie Hall (I mean…who didn’t?)

Effortless charm. It wasn’t until after I saw Annie Hall in 1977 that I discovered Allen’s “earlier, funny” films with Keaton. One of my favorites from this period is his satire Sleeper:

Someone once famously observed regarding another screen partnership: “Sure [Fred Astaire] was great, but don’t forget that Ginger Rogers did everything he did…backwards and in high heels.” While she and Allen are not dancing, per se in that particular scene from Sleeper, Keaton holds her own with skillful comic timing (physical comedy is a dance of sorts).

Another gem from this period is Love and Death (1975). I love Keaton’s line delivery here:

Keaton knocked it out of the park again with her performance in Manhattan (1979).

Of course, Keaton’s career cannot be defined solely by her work with Allen, nor be relegated to playing a series of kooky and lovable characters. She proved herself to be a fine dramatic actor as well. She directed several films, including the unique 1987 documentary Heaven (tough to track down, but a recommended watch). She also explored other horizons as a creative artist, e.g. she published a book of still photography in 1980 called Reservations.

More “oddballs” the caliber of Diane Keaton, please. She will be missed.

Here are some more recommendations:

Looking for Mr. Goodbar – Considering that she was still basking in the critical accolades for her audience-pleasing Oscar-winning performance as the kooky and lovable Annie Hall, it was a bold career move for Diane Keaton to immediately follow it up with a leap into the relative darkness of Looking for Mr. Goodbar.

Writer-director Richard Brooks adapted his 1977 drama/neo-noir from a novel by Judith Rossner (which was based on the sensationalized real-life 1973 murder of a 28-year old NYC schoolteacher). Keaton gives an outstanding performance as a young woman with a repressive Catholic upbringing who moves to a seedy downtown apartment to escape the verbal abuse and restrictive rules laid down by her tyrannical father (Richard Kiley).

Her newfound sense of freedom and self-confidence sparks a sexual awakening; she soon slips into a double-life, teaching deaf children at an inner-city school by day, and cruising the singles bars at night looking for casual sex (and discovering recreational drugs along the way). When she begins juggling relationships with two men (Richard Gere and William Atherton), her life begins to take a darker turn. Tuesday Weld gives one of her best performances as Keaton’s sister.

The film divided critics at the time; some were upset at Brooks’ deviation from Rossner’s novel (I can’t speak for that, as I’ve never read it). Others appeared chagrined that the film (for them at least) lacked a moral center. Speaking as someone who turned 21 the year the film came out, I’d say it captures the zeitgeist of the “Me Decade” to a tee; I see it as a companion piece to John Badham’s Saturday Night Fever.

Play it Again, Sam – I don’t know what it is about this particular Woody Allen vehicle (directed by Herbert Ross), but no matter how many times I have viewed it, I laugh just as hard at all the one-liners as I did the first time I saw it. Annie Hall and Manhattan may be his most highly lauded and artistically accomplished projects, but for pure “laughs per minute”, I would nominate this 1972 entry, with a screenplay adapted by Allen from his own original stage version.

Allen plays a film buff with a Humphrey Bogart obsession. He fantasizes he’s getting pointers from Bogie’s ghost (played to perfection by Jerry Lacy) who advises him on how to “be a man” and attract the perfect mate. He gets more pragmatic assistance from his best friends, a married couple (Diane Keaton and Tony Roberts) who fix him up with a series of women (the depictions of the various dating disasters are hilarious beyond description). A classic.

Shoot the Moon– Be forewarned: Alan Parker’s 1982 drama about the deterioration of a marriage pulls no punches (it is right out as a “date night” movie). Albert Finney co-stars with Diane Keaton as a couple with four kids whose marriage is about to go kaput. As in Kramer vs. Kramer, the film essentially opens with the split, and then focuses on the immediate emotional aftershocks and its profound impact on all family members. Absolutely heartbreaking, but beautifully acted by a skilled cast that includes Karen Allen, Peter Weller, and Dana Hill. Bo Goldman scripted, and Michael Seresin’s cinematography is lovely (the Marin County environs almost becomes a character itself).

Reds – It’s a testament to Warren Beatty’s conviction and legendary powers of persuasion that he was able to convince a major Hollywood studio to back a 3 ½ hour biopic about a relatively obscure American Communist (who is buried in the Kremlin, no less). As we know now, of course, this 1981 film turned out to be a critical success, and garnered a dozen Oscar nominations (it won three, including Best Director).

Diane Keaton turns in one of her best performances as Reed’s lover, writer and feminist Louise Bryant. Maureen Stapleton earned a Best Supporting Actress trophy with her portrayal of activist Emma Goldman. Jack Nicholson is perfect as the mercurial playwright Eugene O’Neill. Beatty assembled an amazing group of surviving participants, whose anecdotal recollections are interwoven throughout, like a Greek Chorus of living history.

Memorable scene here:

Also recommended:

Interiors

The Little Drummer Girl

Crimes of the Heart

Baby Boom

Something’s Gotta Give

Drama, On Music, Rock 'n' Roll

Blu-ray reissue: Slade in Flame (***)

September 29, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

Slade in Flame (BFI; Region ‘B’ only)

Akin to Mott the Hoople, it may be arguable among music geeks as to whether Slade was truly “glam” (they were a bit on the “blokey” side- as the Brits would say), but they are nonetheless considered so in some circles, and this 1974 film was released during the heyday of space boots and glitter, so there you go.

The directorial debut for Richard Loncraine (Brimstone and Treacle, The Missionary, Richard III) the film is a gritty, semi-biographical “behind the music” drama (don’t expect A Hard Day’s Night) about a working-class band called Flame (suspiciously resembling the four members of Slade, wink-wink) who get chewed up and spit out of the star-making machine (this just in: managers and A & R people are back-stabbing weasels).

It’s admittedly not a genre masterpiece, but the film is bolstered by a great soundtrack (all Slade originals, naturally) and the casting of Tom Conti (playing a soulless record exec with great aplomb). An amusing scene where lead singer Noddy Holder’s character gets locked into a stage coffin presages a similar hardware malfunction depicted in This Is Spinal Tap. Another memorable scene has the band risking life and limb to access the broadcast booth for an on-air interview at an offshore pirate radio station (the story is set in the late 60s).

BFI’s 2025 remastered Blu-ray edition is a vast improvement over Shout! Factory’s 2004 DVD, in both image and sound quality. Extras include a newly recorded audio commentary with the director and film critic Mark Kermode, a new 9-minute interview with Tom Conti, a 54-minute 2002 interview with Noddy Holder, and more. Note: Requires an all-region player.

Drama, On Music, Rock 'n' Roll

Blu-ray reissue: Breaking Glass (***1/2)

September 29, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 27, 2025)

Breaking Glass (Fun City Editions)

Released on the cusp of the Thatcher era, writer-director Brian Gibson’s 1980 film is a No Wave take on A Star is Born, with a nod to the classic UK kitchen sink dramas of the 1960s. 26 year-old singer-songwriter Hazel O’Connor delivers a naturalistic performance as a disenfranchised young gas station attendant who aspires to be a rock star…but strictly on her own terms. To wit, the lyrics she furiously scribbles into her notebook are not exactly “moon-June” love sonnets; take “Big Brother”, for instance:

They’ll tear out your heart, throw it knee-deep in a cart
Cause that’s what they do with the scum like me and you
And you feel as if you died, whilst you’re standing on the line
And you wonder all the time why can’t you cry?
But the people in control don’t care for you
They are just a robot with a job to do
And when your used, exhausted, they’ll be rid of you
As soon as look at you, go to the back of the queue!

Not destined to be a chart-climber, that one. Despite the ridicule and sexism she constantly weathers, she eventually gets the attention of a street-hustling manager (Phil Daniels) who sees her potential and helps her put a decent band together (including a young Jonathan Pryce on sax). However, when she lands a recording contract, the inevitable compromises begin once a more seasoned, smooth-talking (and weaselly) industry exec (Jon Finch) begins to wrest control of her career (let the eternal battle between Art and Commerce commence).

O’Connor does her own singing (she also co-wrote the songs with soundtrack producer Tony Visconti). I see the film as a companion piece to Lou Adler’s 1981 Ladies and Gentlemen, the Fabulous Stains and Gillian Armstrong’s 1982 rock musical Starstruck (I wrote about both films here).

Fun City’s 2025 edition is a bit light on extras, but boasts a long-overdue restoration, improved audio, and (most notably) reinstates the original UK cut (the previous Olive Films reissue was not restored, and featured the U.S. cut, which is 10 minutes shorter).

Animated, Comedy, Documentary, Drama

Lazy, hazy, crazy: Top 10 Summer Idyll Films

July 14, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 12, 2025)

Since it’s now officially summer, I thought it would be a good excuse to cull a list of my 10 seasonal favorites for your consideration. These would be films that I feel capture the essence of these “lazy, hazy, crazy” days; stories infused with the sights, the sounds, the smells, of summer. So, here you go…as per usual, in alphabetical order:

Jazz on a Summer’s Day– Bert Stern’s groundbreaking documentary about the 1958 Newport Jazz Festival is not so much a “concert film” as it is a fascinating and colorful time capsule of late 50s American life. Don’t get me wrong, there are plenty of gorgeously filmed numbers spotlighting the artistry of Thelonius Monk, Anita O’Day, Dinah Washington, Louis Armstrong, etc. and the performances are outstanding.

The effect is like “being there” in 1958 Newport on a languid summer’s day. If you’ve ever attended an outdoor music festival, you know half the fun is people-watching, and Stern obliges. Stern breaks with film making conventions of the era; this is the genesis of the cinema verite music documentary, which wouldn’t come to full flower until a decade later with films like Don’t Look Back, Monterey Pop, Woodstock and Gimme Shelter.

Last Summer– This underrated 1969 gem is from the husband-and-wife film making team of director Frank Perry and writer Eleanor Perry (who adapted from Evan Hunter’s novel).

On the surface, it’s a character study about three friends on the cusp of adulthood (Bruce Davison, Barbara Hershey and Richard Thomas) who develop a Jules and Jim-style relationship during an idyllic summer vacation on Fire Island. When a socially awkward stranger (Catherine Burns) bumbles into this simmering cauldron of raging hormones and burgeoning sexuality, it blows the lid off the pressure cooker, leading to unexpected twists. Think Summer of ’42 meets Lord of the Flies; I’ll leave it there.

Beautifully acted and directed. In 2022, Davison and Thomas appeared in Season 4 of the Netflix series Ozark (although they didn’t share any scenes).

Mid-August Lunch– This slice-of-life charmer from Italy, set during the mid-August Italian public holiday known as Ferragosto, was written and directed by Gianni Di Gregorio (who also co-scripted the 2009 gangster drama Gomorra).

Di Gregorio casts himself as Giovanni, an easy-going middle-aged bachelor living in Rome with his elderly mother. He doesn’t work, because as he tells a friend, taking care of mama is his “job”.

One day, his landlord drops in. He wants to take a weekend excursion with his mistress and asks for a “small” favor. In exchange for forgiveness on back rent, he requests Giovanni take a house guest for the weekend-his elderly mother. Giovanni agrees, but is chagrined when the landlord turns up with two little old ladies (he hadn’t mentioned his aunt). Soon after, Giovanni’s doctor makes a house call; in lieu of a service charge he asks Giovanni if he doesn’t mind taking on his dear old mama as well (Ferragosto is a popular “getaway” holiday in Italy).

It’s the small moments that make this film such a delight. Giovanni reading Dumas aloud to his mother, until she quietly nods off in her chair. Two friends, sitting in the midday sun, enjoying white wine and watching the world go by. In a scene that reminded me of a classic sequence in Fellini’s Roma, Giovanni and his pal glide us through the streets of Rome on a sunny motorcycle ride. This mid-August lunch might offer you a limited menu, but you’ll find every morsel worth savoring.

Mommy is at the Hairdresser’s- Set at the beginning of an idyllic Quebec summer, circa 1966, Lea Pool’s beautifully photographed drama centers around the suburban Gauvin family. A teenager (Marianne Fortier) and her little brothers are thrilled that school’s out for summer. Their loving parents appear to be the ideal couple; Mom (Celine Bonnier) is a TV journalist and Dad (Laurent Lucas) is a medical microbiologist. A marital infidelity precipitates a separation, leaving the kids in the care of their well-meaning but now titular father, and young Elise finds herself the de facto head of the family. This is a perfect film about an imperfect family; a bittersweet paean to the endless summers of childhood lost.

Smiles of a Summer Night– “Lighthearted romp” and “Ingmar Bergman” are not normally synonymous, but it applies to this wise, drolly amusing morality tale from the director whose name is synonymous with somber dramas. Bergman regular Gunnar Bjornstrand heads a fine ensemble, as an amorous middle-aged attorney with a young wife (whose “virtue” remains intact) and a free-spirited mistress, who juggles a few lovers herself. As you may guess, this leads to amusing complications.

Love in all its guises is represented by a bevy of richly drawn characters, who converge in a third act set on a sultry summer’s eve at a country estate (the inspiration for Woody Allen’s A Midsummer Night’s Sex Comedy). Fast-paced, literate, and sensuous, it has a muted cry here and a whisper there of that patented Bergman “darkness”, but compared to most of his oeuvre, this one is a veritable screwball comedy.

Stand By Me– Director Rob Reiner was on a roll in the mid-to late 80s, delivering five exceptional films, book-ended by This is Spinal Tap in 1984 and When Harry Met Sally in 1989. This 1986 dramedy was in the middle of the cycle. Based on a Stephen King novella (adapted by Raynold Gideon and Bruce A. Evans) it’s a bittersweet “end of summer” tale about four pals (Wil Wheaton, River Phoenix, Corey Feldman and Jerry O’Connell) who embark on a search for the body of a missing teenager, during the course of which they learn hard life lessons. Reiner coaxes extraordinary performances from the young leads, and Richard Dreyfus provides the narration.

Summer Wars– Don’t be misled by the cartoon title of Mamoru Hosoda’s eye-popping movie-this could be the Gone with the Wind of Japanese anime. OK…that’s a tad hyperbolic. But it does have drama, romance, comedy, and war-centering around a summer gathering at a bucolic family estate. Tokyo Story meets War Games? At any rate, it’s one of the finer animes of recent years. While some narrative devices in Satoko Ohuder’s screenplay will feel familiar to anime fans (particularly the “cyber-punk” elements), it’s the humanist touches and subtle social observations (reminiscent of Yasujiro Ozu’s films) that makes it unique and worthwhile.

A Summer’s Tale– It’s nearly 8 minutes into Eric Rohmer’s romantic comedy before anyone utters a word; and it’s a man calling a waitress over to order a chocolate crepe. But not to worry, because things are about to get much more interesting.

In fact, our young man, an introverted maths grad named Gaspar (Melvil Poupaud), who is killing time in sunny Dinard until his “sort of” girlfriend arrives to join him on summer holiday, will soon find himself in a dizzying girl whirl. It begins when he meets bubbly and outgoing Margo (Amanda Langlet) an ethnologist major who is spending her summer break waitressing at her aunt’s seaside creperie. Margo is also (sort of) spoken for, with a boyfriend (currently overseas). A friendship blooms. But will they stay “just friends”?

Originally released in France in 1996, this film (which didn’t make its official U.S. debut until 2014) rates among the late director’s best work (strongly recalling Pauline at the Beach, which starred a then teenage Langlet, who is wonderful here as the charming Margo).

In a way, this is a textbook “Rohmer film”, which I define as “a movie where the characters spend more screen time dissecting the complexities of male-female relationships than actually experiencing them”. Don’t despair; it won’t (as Gene Hackman’s character in Night Moves states regarding a Rohmer film) be akin to “watching paint dry”. Even a neophyte will glean the director’s ongoing influence (particularly if you’ve seen Once, When Harry Met Sally, or Richard Linklater’s “Before” trilogy).

Tempest– “Show me the magic.” Nothing says “idyllic” like a Mediterranean getaway, which provides the backdrop for Paul Mazursky’s seriocomic 1982 update of Shakespeare’s classic play.

His Prospero is a harried Manhattan architect (John Cassavetes) who spontaneously quits his firm, abandons his wife (Gena Rowlands), packs up his teen daughter (Molly Ringwald) and retreats to a Greek island for an open-ended sabbatical. He soon adds a young lover (Susan Sarandon) and a Man Friday (Raul Julia) to his entourage. But will this idyll inevitably be steamrolled by the adage: “Wherever you go…there you are”?

The pacing lags a little bit on occasion, but superb performances, gorgeous scenery and bits of inspired lunacy (like a choreographed number featuring Julia and his sheep dancing to “New York, New York”) make up for it.

3 Women– If Robert Altman’s haunting 1977 character study plays like a languid, sun-baked California fever dream…it’s because it was (the late director claimed that the story came to him in his sleep). What ended up on the screen not only represents Altman’s best, but one of the best American art films of the 1970s.

The women are Millie (Shelly Duvall), a chatty physical therapist, considered a needy bore by everyone except her childlike roommate/co-worker Pinky (Sissy Spacek), who worships the ground she walks on, and enigmatic Willie (Janice Rule), a pregnant artist who only paints anthropomorphic lizard figures (empty swimming pools as her canvas). As the three personas slowly merge (bolstered by fearless performances from the three leads), there’s little doubt that Millie, Pinky and Willie hail from the land of Wynken, Blynken and Nod.

Drama, The Environment

Tribeca 2025: The Wolf, the Fox, and the Leopard (***)

June 17, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

Many were increasingly of the opinion [that humans] made a big mistake in coming down from the trees in the first place. And some said that even the trees had been a bad move, and that no one should ever have left the oceans.

― Douglas Adams, from The Hitchhiker’s Guide to the Galaxy

What makes us “human”…is it nature, or nurture? How many times have you heard admonishments like “don’t wolf your food” or “you’re acting like an animal”? Are we not mammals, after all?

Writer-director David Verbeek tackles that age-old question in this speculative fiction yarn about the discovery of a young woman (Jessica Reynolds) who has literally been raised by wolves. Naturally, her first accommodation in the “civilized” world is a cold, clinical research facility, where she is poked and prodded and ogled at by people in white coats.

Frightened and confused, she barely has time to acclimate to these alien surroundings before a pair of cultish survivalists spirit her away to an abandoned offshore oil rig. The couple imprint themselves as parental figures and methodically indoctrinate her into their vision of an impending environmental apocalypse.

The trio seem well on their way to forming a cozy family unit-until the young woman discovers (much to her chagrin) that her “parents” have feet of clay (you can take the wolf-girl out of the forest…).

I see touchstones like The Wild Child, The Emerald Forest, Altered States, and Charly; but Verbeek has put a unique 21st Century spin on some time-worn themes. His secret weapon is Reynolds, who delivers an extraordinary performance that runs the gamut from running around on all fours and dining al fresco on small game to making small talk with her customers at the grocery checkout counter.

Drama, Male Bonding, Neo-Noir

Tribeca 2025: Inside (**1/2)

June 8, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 7, 2025)

Every time I try to swear off prison dramas…they pull me back in (and throw away the key). In the case of writer-director Charles Williams’ Inside, I was intrigued by the casting. Guy Pearce plays a grizzled long-term inmate who becomes mentor to a young man (Vincent Miller) who has just been transferred from a juvenile facility. When a notorious lifer (Cosmo Jarvis) who fancies himself a religious prophet takes an interest in the new inmate, an uneasy surrogate father triangle ensues.

There are three solid, intense performances here by the leads, but there are jarring narrative jumps which require some heavy lifting by the viewer. It’s possible that I was thrown off by the odd tics of Jarvis’ character. It’s an interesting performance (along the lines of Billy Bob Thornton’s Sling Blade character), but frankly I could not understand three-quarters of his dialog (perhaps a second viewing wherein I have the option of close-captioning will clarify some plot points for me). Until then…a guarded recommendation.

Drama, Family Issues, Politics, Troubled Teens

Tribeca 2025: Cuerpo Celesete (***)

June 8, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 7, 2025)

Adolescence can be an emotional roller coaster; likewise the grief process. Dealing with both at once is a daunting test of anyone’s mettle. Chilean writer-director Nayra Ilic Garcia’s meditative family drama opens on New Year’s Eve, 1990. Vivacious 15 year-old Celeste (Helen Mrugalski) is enjoying a beach holiday with her loving family and closest friends (I had to remind myself that Chile is below the equator).

This is not only a happy time for Celeste and her entourage, but for Chileans in general. General Pinochet’s brutal Junta is over for good, with democratically-elected Christian Democrat Patricio Aylwin set to take office in March of the new year.

However, just when everything’s looking up, Fate intervenes with a sudden death in the family. Celeste’s double-whammy of having to cope with growing pains along with an emotionally traumatic personal loss gives impetus to this moving and sensitively acted coming-of-age story. Garcia subtly weaves political analogy in the narrative; using the specter of Chile’s “missing” to mirror a nation coming to terms with collective grief, and the growing pains of a revived democracy that has lain dormant for far too long.

Drama, Family Issues

SIFF 2025: Color Book (****)

May 25, 2025 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 24, 2025)

Everyone processes grief differently. In the case of recently widowed Lucky (William Catlett) and his 9 year-old son Mason (Jeremiah Daniels) there lies an additional complication in the healing process: Mason is developmentally disabled and doesn’t appear to understand why his mother is no longer with them.

Now more than ever, Lucky’s paternal instinct drives him to bond with his son; and even if Mason isn’t registering the same emotional pain over their mutual loss, he wants to do everything in his power to be a comforting and reassuring presence for him. But Mason’s chief concerns remain steadfast: drawing in his coloring book and watching televised ball games.

Lucky hits on an idea to break the impasse: he’ll take his son to his first pro baseball game. It’s perfect…a father and son bonding experience that will make Mason happy and get both of them out of the house for a day. What ensues is a veritable Homeric journey across the Atlanta metro area, driven by Lucky’s determination to get his son to the ball park on time to catch the game, regardless of any number of obstacles.

They say there is beauty in simplicity, and this is a simple story, beautifully told. It’s an astonishingly assured debut for writer-director David Fortune, shot in black and white by cinematographer Nikolaus Summerer. A truly compassionate drama that keeps it real at all turns, capped off by two outstanding lead performances. Color Book is a must-see.