BLACKBERRY (2023)

May 12, 2023

Greetings again from the darkness. There aren’t too many companies who have reached the pinnacle of their industry, only to later flop due to lack of innovation or a stubborn insistence on holding on to the past. Tremendous success and absolute failure are not typically associated with the same company. Blockbuster Video and Pan Am Airlines come to mind as examples of industry leaders whose refusal to adapt, culminated with closure, and it’s likely that Blackberry belongs in the category, at least as presented here by writer-director Matt Johnson and co-writer Matthew Miller, adapting the book by Jacquie McNish.

Socially awkward pals, Mike Lazaridis (played by Jay Baruchel) and Doug Fregin (played by the film’s director Matt Johnson), co-founded Research in Motion (RIM). The film picks up in 1996 when Mike and Doug are making their first presentation of their breakthrough handheld data delivery-email machine, which they have named Pocket Link. These are two genius nerds with no concept of how the outside business worlds functions, and the executive to whom they are pitching is so distracted that his only feedback is, “You need a new name.” In a fascinating twist, that same executive, Jim Balsillie (Glenn Howerton, “It’s Always Sunny in Philadelphia”) ends up saving not just the new product, but also the company.

Balsillie presents himself as a fireball, take charge, full-steam-ahead kind of guy. It’s quite a contrast to nerdy Mike and easy-going Doug. Mike is a quiet guy committed to perfection in his work, while Doug wrangles the tech developers with a culture of video games, movie night, and an overall fraternity environment. Balsillie’s arrival as a vocal outrage expert and brash businessman changes everything, and he and Mike drive the newly named BlackBerry to levels not previously seen. We do get a humorous anecdote from a shirt stain (even though it’s not a true story), and in fact, there is quite a bit of humor throughout.

We are informed that the film was “inspired by real people and real events”, so some dramatic license is expected. Perhaps the best comparison is THE SOCIAL NETWORK (2010), and while that film was more polished, I personally found this one more entertaining and accurate from a business sense. An excellent supporting cast includes Cary Elwes, Saul Rubinek, Michael Ironside, Martin Donovan, Rich Sommer, and SungWon Cho, and the film’s real draw is the contrast between Jay Baruchel’s mousy but brilliant Mike, and Glenn Howard’s powerhouse portrayal of the egotistical Balsillie. Baruchel’s scene where he reacts to the new iPhone is alone worth the price of admission.

At its peak, BlackBerry had 45% market share and had earned it’s “CrackBerry” label in the business world. Apple’s 2007 introduction of the iPhone not only rocked the BlackBerry company, it shook up the world. The Canada perspective is noted (RIM was based in Waterloo, Ontario), as is Mike’s aversion to ‘made in China’, perhaps the ultimate reason for the fall. It’s likely that BlackBerry has become a Case Study in Business Schools, although the fast-paced and pressure-packed world of tech continues to require a balance of decisions focused on current markets and never-ending innovation for the future.

Opens on May 12, 2023

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2 Comments | Comedy, Drama | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

MONICA (2023)

May 12, 2023

Greetings again from the darkness. The emotional strain associated with being estranged from one’s family reaches a level only those involved can comprehend. In this touching film from writer-director Andrea Pallaoro and co-writer Orlando Tirado, we focus on the return and attempted re-connection of one such person.

The first 15 minutes of the film move at an excruciatingly slow pace, as we get a feel for Monica’s (Trace Lysette, “Transparent”, HUSTLERS 2019) everyday struggles. It appears there is no joy in her life as relationships unravel, and she attempts to find her way. A phone call notifies of her mother’s deteriorating health due to a brain tumor. The news draws Monica back home for the first time since she left years ago. Greeted with a hug from her sister-in-law Laura (Emily Browning, SUCKER PUNCH 2011), Monica meets her nieces and nephews for the first time. A reunion with brother Paul (Joshua Close) is initially quite awkward. The siblings do get their moment a bit later, although it’s when Monica is by her mother’s side that the film excels.

Patricia Clarkson plays Eugenia, a woman whose brain tumor is wreaking havoc not just on her physical presence, but also her emotions. At times, she’s merely a child calling for her own mother, while at other times, she’s hard-headed and demanding that she can take care of herself … this despite the constant attention from her caregiver, Letta (Adriana Barraza, BABEL 2006). She doesn’t appear to recognize Monica, and a running theme is, “Are you going to tell her?” We feel Monica’s pain as she attempts to find solace in merely being close to her mother, but it’s in the bathtub scene where Clarkson’s incredible talent shines through, and the many webs of deceit and uncertainty reach a conclusion.

Lysette’s performance as Monica captures the vulnerability that allows the film to work. Is she isolated or trapped … or is it both? It’s a role that takes 45 minutes of screen time before she’s allowed a smile, though her Cocteau Twins t-shirt is appreciated. Pallaoro’s approach here is restrained (an understatement), and he gives up backstory hesitantly, and in small doses and hints. No scene is overrun with dialogue. Cinematographer Katelin Arizmendi uses close-ups effectively to convey the emotional strain and unseen barriers to closeness. The result is a strong family drama on relationships, decisions, acceptance/rejection, and health issues.

Opens on May 12, 2023

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Posted by David Ferguson

MERCY (2023)

May 12, 2023

Greetings again from the darkness. Imagine if Liam Neeson’s character in TAKEN had also been a skilled trauma surgeon … and a woman. If so, the result would be similar to the main character here, Michelle, played by Leah Gibson. Michelle is that rare former military doctor with special ops skills. She’s also a mother to a young son, and experiences a traumatic event in the opening scene in this film from director Tony Dean Smith and writer Alex Wright.

Michelle (Ms. Gibson) returns to civilian life as a single mother and secures a job as a surgeon at a small suburban hospital where a former military affiliate is Chief of Surgery. She’s making the best of her new life, and has secured the night off work to take her son to a big soccer match for his birthday. Before they can leave the hospital, a gunshot victim arrives – one needing Michelle’s special skills. Of course, we have seen what she hasn’t … the gun shot victim is part of the local Irish mob known as the Quinn Brotherhood, and though his wounds occurred during a crime, there is a twist.

Jonathan Rhys Meyers plays Sean Quinn, the hot-headed son of Patrick Quinn (Oscar winner Jon Voight). The two butt heads as the elderly Patrick looks for a negotiated agreement under duress, while the young Sean thinks everything can be solved with intimidation and violence. Not helping matters is a rookie FBI agent who has the youngest Quinn son (the above-mentioned gunshot victim) in custody.

There is plenty of noise, gunfire, and tough-talking throughout the film, but we never believe that Michelle is in much danger – thanks to her ‘very particular set of skills.’ Although she has acted regularly for the past 15 years, we wouldn’t call Leah Gibson a familiar face. She is, however, up to the challenges of this physically demanding role. Even Jonathan Rhys Meyers is all in as the psychopath gangster, and despite his turn in “The Tudors”, he has never reached the level of stardom I predicted after MATCH POINT (2005).

Jon Voight is now 85 years old, and his storied career includes key roles in MIDNIGHT COWBOY (1969), DELIVERANCE (1972), COMING HOME (1978), MISSION: IMPOSSIBLE (1996), and a career renaissance with “Ray Donovan” … the role most similar to his character in this movie. Outside of Mr. Voight, the film has a distinct B-movie look and feel, although the clown in the hospital was a nice touch and almost made up for the lame ‘salutes’ we are subjected to.

in select theatres on May 12, 2023, and on demand on June 2, 2023. 

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Posted by David Ferguson

PETER PAN & WENDY (2023)

April 28, 2023

Greetings again from the darkness. In 1904, J.M. Barrie finished “Peter Pan, or the Boy who wouldn’t Grow Up”, and since then the story has been re-imagined on stage, on the silver screen, and even with a live TV production. Every generation gets their version (sometimes more than one), and the most famous (or infamous) are the 1953 animated Disney classic, the 1991 Steven Spielberg live action version HOOK, the 2003 live action version that never really captured a wide audience, and the fairly recent 2015 flop PAN from Joe Wright. At the core of the story is that none of us really want to grow up and take on the responsibilities of adulthood, and to avoid such a wretched future, we’d be willing to fly off in the middle of the night to a place called Neverland and fight an evil pirate while chasing great adventures.

If you want to explore the optimistic and playful aspects of the story, then Walt Disney animation and director Steven Spielberg are your best bets. On the flip side, you wouldn’t expect the director of A GHOST STORY (2017) and THE GREEN KNIGHT (2021) to follow suit. Writer-director David Lowery and his co-writer and collaborator Toby Halbrooks (Polyphonic Spree) on those projects wouldn’t be expected to dwell on the cheery aspects of the story, and they certainly don’t. Instead, we get exactly what they expertly deliver in their work – lush photography and a slightly twisted perspective on what makes people (young and old) tick.

We first meet Wendy (the talented Ever Anderson, offspring of Milla Jovovich and director Paul WS Anderson) as she frets over being shipped off to boarding school, while still finding the energy to stage sword fights with her younger brothers in all corners of the upstairs bedroom they share. Yet another piece of broken furniture results in the parents (Alan Tudyk, Molly Parker) lecturing Wendy about how her time for fun has passed and she should set an example for her brothers. This is the same evening (and very early in the film) where Tinker Bell (Yara Shahidi) and Peter Pan (newcomer Alexander Molony) show up to whisk the three kids away from drudgery and towards adventure and fun.

What to say about Neverland … the “lost boys” aren’t really living a carefree, desirable life, and fun seems to be a bit hard to come by. Their leader, Peter Pan, is certainly a moody dude. Adventure does strike every time Captain Hook and his band of pirates attack. Jude Law seems to relish the role and his handlebar mustache, gravelly voice, and grumpy demeanor is one of the film’s highlights – along with comedian Jim Gaffigan (underrated as an actor) as first mate Smee.

In this iteration, Peter Pan is a bit of a blah character, as the focus is on Wendy and Captain Hook. We do get the origin story for Peter and Hook, and the visuals (Newfoundland, Faroe Islands) from cinematographer Bojan Bozelli are matched by composer Daniel Hart’s score. Director Lowery has modernized the tale by having the Lost Boys include boys and girls of multiple nationalities, a biracial Tinker Bell, and a heroic Tiger Lily played by Alyssa Wapanatahk. Kids will enjoy the flying scenes, sword fights, and the giant crocodile, however, it’s fair to wonder if the film is too dark and joyless for youngsters … plus the focus on Hook’s disenchantment is more for grown-ups than kiddos. In fairness to Lowery and Halbrooks, they were also behind the excellent and underappreciated PETE’S DRAGON (2016).

We have come to accept that Disney classics are being re-made and re-imagined as live action flicks, and it’s no surprise that some are better than others.

Now streaming on Disney+

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2 Comments | Action, Drama, Fantasy | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

POLITE SOCIETY (2023)

April 27, 2023

Greetings again from the darkness. If you have ever wondered what it might look like if Quentin Tarantino consulted on a modernized Pakistani version of Jane Austen … well, writer-director Nida Manzoor shows us (with no actual assistance from QT), including stylized martial arts, class warfare, and an obsession with a stuntwoman career. It’s Ms. Manzoor’s first feature film (she created the TV series “We are Lady Parts”) and she presents an extremely creative film with a balance of silly and dark themes that proves immensely entertaining.

Relative newcomer Priya Kansara stars as Ria, a private school student highly determined to achieve her goal of becoming a working stuntwoman. She remains laser-focused on this despite her teacher and parents laughing off such nonsense and re-directing her towards becoming a doctor. Ria also adores her older sister Lena (Rita Arya), although worried about her since she recently dropped out of art school and seems to be rudderless in life.

Things change quickly for everyone once rich mama’s boy/doctor Salim (Akshay Khanna) begins courting Lena. Ria senses things aren’t right with the relationship and is also convinced that Lena should resume her dreams of being artist, rather than being pursued by the handsome, rich, too-good-to-be-true suitor. Ria and her best friends Clara (Seraphina Beh) and Alba (Ella Bruccoleri) scheme to undercut the relationship, but they are no match for Salim’s mother (a terrific Nimra Bucha), who sports the best evil Grinch grin you’ve ever seen.

Director Manzoor divides the film into five chapters: A tale of two sisters, EID Soiree, Operation Wife Hunter, Assault on Shah mansion, and The Wedding. Each chapter offers comedy and action, and a matching of Ria’s wits and instincts against the plans and beliefs of others. Ms. Kansara impresses as an upstart female Jackie Chan with superior acting chops. She executes the physical martial arts sequences beautifully, yet also shows promise in the quieter, more intimate moments when emoting and dialogue matter. She is certainly one to watch … as is filmmaker Nida Manzoor. Anyone who can entertain at this level deserves the opportunity to do so as frequently as possible.

Opening in theaters on April 28, 2023

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1 Comment | Action, Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , , | Permalink
Posted by David Ferguson

R.M.N. (2023)

April 27, 2023

Greetings again from the darkness. Welcome to ‘Hypocriteville”. Or the town of Bigotry. Or Xenophobia City. Regardless how vile each of these labels might be, they each fit in the Transylvania community at the heart of writer-director Christian Mungiu’s latest film. Of course, as with most derogatory labels, the accused would never admit the shoe fits, and paraphrasing Shakespeare, would likely protest too much. Mungiu’s brilliant 2007 Palme d’Or winner 4 MONTHS, 3 WEEKS AND 2 DAYS was inexplicably not nominated for a Best Foreign Language Oscar, and he proves again his unique mastery of the medium.

Our introduction to Matthias (Marin Grigore) occurs as he violently head butts his rude supervisor after being disrespected. Matthisas then returns to his home community where he encounters Ana (Macrina Barladeanu), the mother of his young son. Rudi (Mark Edward Blenyesi) is 8 years old, and he has recently witnessed something in the forest that has frightened him into silence. Ana does what she can to comfort him, while Matthias pushes him to ‘man up’ and face his fears. Matthias also re-connects with his former lover, Csilla (Judith State), who is the manager of the local bakery in town.

Csilla is working diligently to hire more employees at the bakery in order to qualify for grant money. The problem is that no locals want to work for minimum wage. Instead, many locals head to Germany and other areas for higher paying jobs, and the conflict arises when Csilla hires a couple of men from Sri Lanka. It’s at this point where this mishmash of citizens begins their racist rants … this despite being a mixed community where many friends and family member have headed out to find jobs in other areas. “Not in my backyard” is a phrase used so often in communities fighting against some cause, and that’s exactly what’s happened here.

Mungiu’s excellent film peaks with a 15 minute (or more) single take scene – a town hall meeting where a couple of dozen citizens speak out showing their small-mindedness. It’s painful to watch, yet also mesmerizing. Csilla and Matthias are front and center for the scene and both are superb, especially Csilla’s facial reactions and Matthias’ cowering (this after flaunting his powerful masculinity for so much of the film). By the time this scene concludes, this viewer was mentally exhausted while also being in awe. It’s this reaction which makes that final scene so confounding and seemingly out of place. Mungiu taps into the human behavior that we so often question these days, and he does so in a way that never preaches or judges. It’s truly exceptional filmmaking … except that final scene.

**NOTE: In Romania, an MRI is RMN (the film’s title)

Opens April 28, 2023

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1 Comment | Drama, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

32 SOUNDS (2023, doc)

April 27, 2023

Greetings again from the darkness. We tend to believe that we are either participating in an activity (cooking a meal, riding a bike, playing a sport, etc), or sitting idly as a spectator (watching TV, listening to the radio, attending a kid’s play, etc). However, documentarian Sam Green is here to prove that there is another option, participatory listening. This is the action of listening “with”, rather than listening “to” … being fully present and attuned as you take in and process the vibrations of life occurring all around you. This could be a babbling stream, the rustling of leaves, or even the grinding of icemaker gears in your ten-year-old refrigerator. OK, Mr. Green doesn’t mention that last one, but you get the point.

Whether Director Green, whose 2003 documentary THE WEATHER UNDERGROUND was nominated for an Oscar, would agree with this being described as ‘experimental’ filmmaking, it’s clearly a different approach. At SXSW, he had an experiential set-up for viewers, and he recommends headphones for full effect. At a minimum, the film deserves an elite sound system, and some audience participation (closing of eyes, etc).

Most movie lovers appreciate when sound effects are used effectively and creatively, but Green is not just interested in the use of sound in cinema, but also in everyday settings. We get a clip of a ‘bad educational film’ used in schools to explain the physiology of the inner ear, and he even uses a whoopee cushion to make a point about ‘funny’ sounds and the expectations we have for specific sounds. We see Foley artist Joanna Fang creating sounds, and how her ‘cheat’ sounds are often more readily accepted than the real thing due to those expectations.

Annea Lockwood, the subject of Green’s 2021 documentary short, has spent a lifetime making and analyzing different sounds. She’s now 81 years old and studies the difference of underwater vs surface level sounds at a river, and the value of listening ‘with’, rather than listening ‘to’. She also shares her favorite quote from Roman Poet Ovid, “Everything changes, and nothing is lost”. This quote ties into the theory of Charles Babbage who suggested that all sounds throughout history are still floating in the air, and that we might be able to recapture those – meaning nothing is lost.

Green isn’t fully committed to numbering the 32 sounds for us, although it seems like the number is easily exceeded during the runtime. There is a fascinating story about how the last surviving bird of its species repeatedly sent out a mating call, one which could no longer be answered. Most of us love the sound of waves crashing, but how about the striking of a match, or the whoosh of a golf ball being struck? And of course, Green touches on music and how it can bring back the memory of a certain moment. One premise is that it can be easier to hear if you can’t see, so there are a few segments where we are asked to close our eyes. Mostly this helps us realize that not only should we stop and smell the roses, we should also stop and listen to them … or even the ‘room tone.’

A nationwide rollout of the film begins April 28, 2023 at Film Forum in NYC.

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2 Comments | Documentary | Tagged: | Permalink
Posted by David Ferguson

GHOSTED (2023)

April 21, 2023

Greetings again from the darkness. I am often accused of taking movies too seriously rather than just sitting back and enjoying the entertainment value. Well, this latest from director Dexter Fletcher (ROCKETMAN 2019, EDDIE THE EAGLE 2015) is textbook ‘popcorn entertainment’ made for those who prefer to sit back and enjoy. There is plenty to like here and it did generate a few laughs, yet it’s still a movie that doesn’t hold up to much thought or post-viewing discussion. SPIDER-MAN collaborators Chris McKenna and Erik Sommers, and DEADPOOL collaborators Rhett Reese and Paul Wernick have joined forces on a script that somehow doesn’t have the dialogue zings that can keep pace with the action sequences.

An early meet-cute occurs as organic family farmer Cole Turner (Chris Evans bucking his Captain America persona) unknowingly flirts with market shopper Sadie Rhodes (Ana de Armas, fresh off her Oscar nomination for BLONDE, 2022), recommending she purchase a cactus rather than a Begonia once she discloses her work travel schedule. An all-day and all-night date ends with Cole telling his family that “she may be the one.” His caustic sister (Lizzie Broadway) skewers him with the funniest one-liners in the film while informing that his smothering texts and emojis have likely caused Sadie to ghost him.

It’s at this point where the clumsy organic farmer turns into an extreme stalker and heads to London … don’t ask what trick allowed him to track her. A photo op at Tower Bridge ends with Cole being abducted and presumed to be “The Taxman” (cue Beatles song), the only person with the code to unlocking a chemical weapon in the possession of arms dealer and dastardly bad buy Leveque (Oscar winner Adrien Brody). Of course, Sadie rescues Cole at the last minute, and her cover as an international art curator is blown … surprise! She’s actually a highly-skilled CIA spy.

Three major action sequences are featured: an exciting bus-in-reverse along a mountain side road in Pakistan, a fight scene aboard a private jet, and a guns-blazing shootout in a rotating high-rise restaurant. Ana de Armas is terrific in the action sequence and her rapport with Chris Evans (first noted in KNIVES OUT, 2019) elevates the toothless banter between the two. It’s a bit shocking that this group of writers couldn’t land on wittier and sharper comments for these two characters as they bounce around the globe … even racing up THE EXORCIST stairway. At times it feels like an episode of “Get Smart”, although the action sequences are first rate.

Supporting roles are held by Mike Moh, Amy Sedaris, Tate Donovan, and the always fun Tim Blake Nelson. Many will enjoy the hand full of cameos that pop up, at least one “Wilhelm scream”, and the sometimes obvious and/or cheesy song selection … a rare soundtrack to include both The Knack and Dua Lipa. The film leans more into cute than witty and danger, but with two of the most attractive stars working today, that’s forgivable. Just get your popcorn ready and sit back and enjoy this rom-com/action-thriller, and don’t think too much.

The film will be on Apple TV+ on April 21.

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3 Comments | Action, Comedy, Rom-Com | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

LITTLE RICHARD: I AM EVERYTHING (2023, doc)

April 21, 2023

Greetings again from the darkness. Good golly! Documentarian Lisa Cortes packs a lot into this profile of Richard Wayne Penniman, better known as Little Richard. Director Cortes sticks with a familiar structure for the biopic; however, two things stood out to me about this documentary: it features remarkably little music for a musical doc, and it works well for both those who are very familiar with the legendary performer and those needing an introduction.

In cradle-to-grave fashion, we learn about Richard’s mother and father, and that he was one of 12 children in the family from Macon, Georgia. Plenty of photographs and clips from the era are included, and things really kick in when the history of “Tutti Frutti” is discussed. Shifting a bit from its original meaning, Little Richard served up a searing version that shocked many. But what shocked him is that much tamer versions from Elvis and especially Pat Boone outsold his. I particularly enjoyed learning that Little Richard picked up his famous scream from gospel singer Marion Williams.

Ms. Cortes utilizes many interviews by Little Richard himself to cover his complex life filled with contradictions and new paths. His father kicked him out of the house for being gay, setting him up for a lifetime of searching for his true identity. Richard’s track included pushing the early boundaries of rock and roll, pushing further boundaries in the world of queerness, exploring many facets of religion and attempting to balance his belief in the bible with his love of orgies, and his lifelong search for a true identity.

It was the 1956 film, THE GIRL CAN’T HELP IT, that provided most people’s first glance of Little Richard performing. The same can be said for Fats Domino, Eddie Cochran, and Gene Vincent, among others, but none had the impact or the look and music of Little Richard. His many hits after “Tutti Frutti” included “Long Tall Sally”, “Lucille”, and of course, “Good Golly, Miss Molly”. It’s fascinating to hear Mick Jagger, John Waters, Tom Jones, and others provide the acknowledgment of Little Richard’s influence, however, even more interesting is listening to Little Richard himself walk us through his various stages of being. This is a man who, lacking an ounce of humility, proclaims, “I’m the one who started it all”, referencing Rock and Roll. He’s also the man who renounced his gay identity in order to embrace religion and begin preaching.

Little Richard was a master showman with a daring and hyper-energetic stage presence. None other than The Rolling Stones once opened for him on tour. His tongue-in-cheek catchphrase became “Shut up”, and he was heavily into drugs during the 1970’s. Little Richard was inducted into the Hall of Fame in 1986, and he has taken credit for the success of most every rock star over the last 70 years … and the fabulous closing montage makes it difficult to argue. Director Cortes does justice to the complex life of a complicated and talented man, and ‘Good Golly’, that was no easy task.

Opening in theaters and on Digital beginning April 21, 2023

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2 Comments | Documentary | Tagged: | Permalink
Posted by David Ferguson

JUDY BLUME FOREVER (2023, doc)

April 21, 2023

Greetings again from the darkness. It’s not unusual for readers to feel a connection to their favorite author, but very few can match the bond shared by writer Judy Blume and her followers. Co-directors Davino Pardo and Leah Wolchok set out to profile the writer whose staggering sales figures (more than 80 million books sold) pale in comparison to the impact she had on so many young girls.

A film adaption (directed by Kelly Fremon Craig) of Ms. Blume’s most well-known book, “Are you there, God? It’s me, Margaret”, is set for a release that corresponds to this documentary, so it’s likely her work is about to experience a revival of sorts. You might wonder how a 1970 book for adolescent girls could still have relevance today, and the answer is that the author is one of the few who addressed what mattered (and matters) to this group: masturbation, menstruation, relationships, body development. Blume’s work addressed these topics in such a way that girls could not only easily relate, but they felt comfort in knowing that they weren’t facing these changes alone. Blume became a best-selling author and a trusted advisor.

The filmmakers opt to include interviews with celebrities such as Molly Ringwald, Lena Dunham, and Samantha Bee, yet it’s the words from “normal” girls and women who recount the impact of the books that strikes an emotional chord. Watching Judy go through the mounds of letters she received from readers brings emphasis to what matters here. Yale University houses Blume’s archies, letters, and papers, and we sense the sentimentality as she re-reads some of these. Regular correspondence with writers Mary H.K. Choi and Lorrie Kim is remarkable, but it’s the consistent letters back and forth with Karen Chilstrom over so many years that pack an emotional wallop. Segments with Judy’s own children, daughter Randy and son Larry, are also included.

We learn Judy was a traditional 1950’s housewife who pursued a career of her own, a not-so-traditional move of the times. She persevered despite many closed doors, and went on to have incredible success doing exactly what she wanted in a style that bucked the trends. That she sold so many books is remarkable when you consider that the target audience for many of her books were too young to even buy books. We see numerous clips of Blume on TV Talk Shows telling her story … her confrontation with ultra-conservative James Buchannan is particularly entertaining. Although the film goes mostly in chronological order, only the most ardent fans will know what year a book being discussed was released. Now in her 80’s, Blume and her husband run a bookstore in Key West with a posted sign that reads … “We sell banned books.” What a fitting exclamation point to a remarkable woman and her career.

Streaming on Prime Video beginning April 21, 2023

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2 Comments | Documentary | Tagged: , , | Permalink
Posted by David Ferguson

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