FlixChatter Review: ENOLA HOLMES (2020)


When I first saw the name of this film, I didn’t think right away that it’s somehow connected to Sherlock Holmes. Well, the trailer sure revealed she is indeed the teen sister of that famous literary sleuth. Apparently it’s also based on a book series by Nancy Springer called The Enola Holmes Mysteries.

Well, let’s just say the cast for the role of Enola is spot on! Millie Bobby Brown, who at 16 is exactly the age of the character she’s playing (at least by the time of its release) is the kind of smart, spunky heroine that can carry a movie on her own able shoulders. Even with co-stars such as Helena Bonham Carter as her mom, Henry Cavill as Sherlock and Sam Claflin as Mycroft, Millie is the one who commands attention and I was immediately invested in her journey.

The movie shows young Enola (Sofia Stavrinou) who grows up with her mother Eudoria in an English cottage as her two older brothers are off studying abroad. Naturally the two are close and Eudoria practically teaches her gifted daughter everything she knows, from literature, art, physics, to martial arts. With a mother who’s also her best friend, things are rosy for Enola… until one day, her mother goes missing.

Now, as someone who actually lost a mother at the exact age of 16 (actually my mother passed on my sixteenth birthday), the film resonates with me in a strong way. In fact, I remember tearing up a bit as Enola is in distress when she can’t find her mother. Naturally, Enola isn’t going to be in mourning for long, her mother didn’t raise her to simply wallop in self pity.

Soon she summons her older brothers, and the meet-up by the train station is quite amusing as neither of the brothers recognize her. Granted she was just a baby when they went away. I love that the movie emphasizes the sleuthing aspect in a fun way, and I cheer every time Enola figures out a clue left by her mother. The playful way of Harry Bradbeer‘s direction, where Enola often breaks the fourth wall and address the viewers, made for a fun, entertaining family movie. Though there are certain intense fighting moments, this is a safe movie to watch with the whole family, especially young girls, given the uplifting message of female empowerment.

I don’t want to give too much away with the plot, but given election time is near in the US, the film’s message is perfectly-timed. Yet it doesn’t feel preachy, but comes organically as Enola discovers more revelations about her mother’s disappearance. Along her journey, she encounters a mysterious young Lord Tewkesbury (Louis Partridge) who somewhat distracts her from her mission to find her mom. But the one person I find the most memorable, and also essential in Enola’s personal growth, is when she meets Edith (Susan Wokoma) at a martial art class.

If you want to stay in London, be tough… be tough! Live the life. But don’t do it because you’re looking for someone. Do it because you’re looking for yourself. – Edith

Wokoma sure has some of the feminist-friendly quotes in the film. Upon meeting Sherlock himself, she astutely points out this observation…“Politics doesn’t interest you because you have no interest in changing a world that suits you so well.” Touchè!

I wish there were more interactions between Millie and Bonham-Carter, but certainly, the few times they do meet feels quite special. Much has been made about Cavill’s softer, more emotional portrayal of Sherlock (Netflix was sued by the Arthur Conan Doyle’s estate for this exact reason). I actually laughed when I read that. Yes, Cavill’s Sherlock portrayal is certainly ‘nicer’ here, but compared to Claflin’s callous and overbearing Mycroft, naturally he seems far more sympathetic. I was actually more distracted by Cavill’s ginormous torso that threatens to bust out of that form-fitting Tweed suit. Sorry but I prefer skinnier/leaner Cavill before he bulked up as Superman. His acting skills is pretty average that his Sherlock isn’t really anything special (nowhere near as fun as Benedict Cumberbatch’s version). It’s no hyperbole to say that Enola doesn’t just outwits her highly-educated older brothers, but Millie also runs circles around those two actors effortlessly. But Claflin at least manages to act and portray a character quite different from his usual roles. Oh and despite playing Cavill’s older brother, Claflin is actually 3 years younger than him.

There is as much battle of wits and actual physical battle here, especially for Millie. There are at least two really intense fights between her and Burn Gorman who plays a hired assassin. Given Millie is also a producer in this movie, she must have wanted to do more action-y roles. It’s quite a feat to watch her fight not only a much older man + a skilled fighter, but she does it in a Victorian dress! I recognize that one of the locations used in the final action scene, also involving Frances de la Tour as the Dowager, which is the Hatfield House. I immediately remember the Armoury’s black and white checkered floor as it’s also used in various movies, most recently Pride and Prejudice and Zombies.

I thoroughly enjoy this movie and as I mentioned before, Millie’s portrayal is definitely a huge factor. I love that she fully embraces her fearless spirit, but her rebellious nature isn’t simply to get attention, but it’s part of who she is. Yet she’s also not heartless, and I appreciate certain moments where she gets emotional. Now, I am glad the movie resists a full-on romance between her and Tewkesbury, while there’s obviously a hint of a crush between the two attractive teens. It’s definitely a beautiful movie for the senses, thanks to cinematography by Giles Nuttgens and music by Daniel Pemberton. The witty script by Jack Thorne and Bradbeer’s energetic direction sure makes for a delightful adaptation. I don’t even mind seeing more of Enola Holmes’ adventures!

4.5/5 stars


Have you seen ENOLA HOLMES? Well, what did you think?

SEPTEMBER 2020 Viewing Recap + Movie of the Month

Well, happy first full week in October!! I do love Fall in MN, though I wish we had a much longer Autumn than Winter. Though at least with working-from-home situation, I don’t have to worry about having to scrape my windshield after work or worry that my car wouldn’t start when temps gets way below zero!

Well, it’s a rather quiet month movie-watching wise, as we only managed to venture into the theater once in early September to see TENET. Have you seen it yet? Well here’s my review if you’ve missed it. Somehow I didn’t get to see too many new movies this month… September was quite a busy month at work so I was often too tired to watch movies on weeknights that I’d rather read a book instead. So I did finish The House of Medici: Its Rise and Fall by Christopher Hibbert. Hopefully I have more time to watch movies this month.

Anyway, here’s my recap:

New-to-me Movies

TENET

Love, Guaranteed
Somehow I was intrigued watching this Netflix rom-com, and y’know what, despite its inherent cheese and predictability, it actually wasn’t as horrible as I had feared.  Come to think of it, this is perhaps the first movie I saw Rachael Leigh-Cook in a lead role. She’s got such cute outfits in this movie.

Lady J
My friend who knew my predilection for period dramas recommended this French film to me and I’m glad I watched it! It’s a gorgeous film set in the 18th century France about a widow who plans a rather elaborate revenge against a notorious ladies-man marquis who breaks her heart, but it’s got quite an unexpected twist.

The Social Dilemma

Enola Holmes (review upcoming)

The Bookshop
A slow yet captivating film set in 1950s in a small coastal town in England. Florence Green, a widow who opens a bookshop to help with her cope with the loss of her husband, faces a polite but ruthless local opposition. It’s quite slow going at first, but yet it has a mesmerizing and mysterious quality. It somehow made me want to open my own book shop (though not sure I could be as patient as Florence with the townsfolk!)


TV Shows/Miniseries

The Imagineering Story – Disney+

As someone who grew up watching Disney movies and have been to several Disney parks in the US, this is definitely a fascinating in depth-look at the history and creation of the Disney theme parks and attractions around the world.


 Rewatches

It’s kind of an eclectic rewatch collection this month… you probably wonder, why Reign of Fire??! Heck, I have no idea either, there’s no explanation for why I wanted to rewatch a grim, humorless movie where Matthew McConaughey and Christian Bale are battling fire-breathing dragons (in a year that’s supposedly 2020 no less!).  Now of course I have to have a dose of period dramas, especially Jane Austen, hence Persuasion and Possession (two very different movies btw, and the latter is NOT based on Austen novel).

I rewatched only about 3/4 of The Proposal as I was spending a couple of nights in a resort in Brainerd Lakes, MN and that was the only thing worth watching on TV. Oh I did buy Gladiator 4k blu-ray after listening to The Art of the Score podcast during our weekend getaway up north. Give that podcast a listen if you love soundtracks, it’s a lot of fun and insightful!


First Watch in October

PERRY MASON – HBO

My hubby decided to get HBO Max again after we got the free trial to watch Westworld season 3 a while ago. There are SO many good shows to watch, but we settled on PERRY MASON even though we’re not familiar w/ the original series. We do like a good mystery show and Matthew Rhys is such an underrated actor. We’re only two episodes in and I definitely want to see more!


MOVIE(S) OF THE MONTH

The Social Dilemma + Enola Holmes

Social Dilemma + Enola Holmes

I’ve reviewed The Social Dilemma and I have Enola Holmes‘ review in my draft folder. I highly recommend them both and I do think these two movies are good to watch with your family, albeit for very different reasons.


Well that’s my viewing recap of September. What about you, and what’s YOUR favorite film of the month?

TWIN CITIES FILM FEST unveils 2020 lineup! 70+ Movies set to screen and stream online.

TCFF 2020

TORONTO STANDOUT NOMADLAND NAMED CLOSING NIGHT TITLE, CRITICALLY-ACCLAIMED BLACK BOYS TO OPEN FEST OCT. 22

For first time ever, TCFF to showcase catalog of premieres, documentaries and Midwestern productions via hybrid model that includes physically-distanced screenings, live-stream exclusives as well as digital on-demand. 2020 program to include special series dedicated to technology, female filmmakers and BIPOC communities


Minneapolis, Minnesota (October 1, 2020) — The Twin Cities Film Fest, presented by VumaTV, announced its full 2020 film schedule Thursday, set to screen Oct. 22-31 via a ‘Hybrid’ format that will include online on-demand streaming through TwinCitiesFilmFest.org as well as select distanced screenings at the Kerasotes ShowPlace ICON Theatres at The Shops at West End. TCFF 2020 marks the organization’s 11th anniversary and arrives at a time where many visual arts organizations are struggling to stay open and continue providing their service of bringing communities together.

“There was never a doubt that TCFF was going to take place this year,” said Jatin Setia, TCFF’s Executive Director. “We know the positive impact that film arts, independent storytelling, and unique perspectives can have on the fabric of our culture and community.  We wanted to lean into the opportunities and hit ‘fast forward’ on what our organization could bring to the wider arts conversation during this most difficult year. I’m so proud of my team and our supporters in making sure that TCFF not only happens this unprecedented year, but it leaps forward and innovates new ways to bring a cinematic community together to share a vision — and a conversation.”

The festival opens Oct. 22 with the acclaimed documentary Black Boys, an intimate, inter-generational story that offers profound insight into black identity and opportunity at the nexus of sports, education and criminal justice. Director Sonia Lowman will appear in a pre-recorded conversation.

This year’s closing night selection is NomadlandChloe Zhao’s festival award-winning drama starring Frances McDormand as a displaced widow who chooses a nomadic lifestyle. The film won the coveted people’s choice award at the Toronto International Film Festival, instantly catapulting it into the Oscar conversation.


Editor (Ruth’s note): I’m beyond thrilled that NOMADLAND is one of TCFF’s lineup this year!! That’s the one film I’ve been hugely anticipating, as I absolutely loved Zhao’s sophomore feature The Rider.

Nomadland‘s synopsis: Following the economic collapse of a company town in rural Nevada, Fern (Frances McDormand) packs her van and sets off on the road exploring a life outside of conventional society as a modern-day nomad. The third feature film from director Chloé Zhao, NOMADLAND features real nomads Linda May, Swankie and Bob Wells as Fern’s mentors and comrades in her exploration through the vast landscape of the American West. Here’s the teaser:


Other notable 2020 selections: Sound of MetalDarius Marder’s directorial debut, which features a powerful performance from actor, rapper, and activist Riz Ahmed;

Sylvie’s LoveEugene Ashe’s new Harlem romance starring Tessa Thompson;

and Uncle Franka comedy by Alan Ball, the writer of American Beauty, True Blood and Six Feet Under, featuring an all-star cast including Paul Bettany, Steve Zahn and Sophia Lillis.

The majority of this year’s festival selections will be available via the TCFF STREAMS platform at TwinCitiesFilmFest.org, a new TCFF initiative that launched earlier this year to give a platform to MN Connected filmmakers.  The online platform will feature premieres of award winning narratives, documentaries and shorts curated from all across the country.  Several notable film categories include TECH Series, HER Series, MN Connected films, and the newly launched EMPOWER Series focused on BIPOC stories and storytellers.

Every year, the Twin Cities Film Fest identifies a Social Justice Cause and programs a special series of films to call attention to a specific social issue. This year’s cause is “affordable living” and the film series includes stories spotlighting housing, healthcare, childcare and eldercare.  Through the generosity of local companies (Spire Credit Union, Dominium Apartments, City of St. Louis Park and AARP Minnesota), all films in the Changemaker Series will be presented free to all viewers. Minnesota Lt. Gov. Peggy Flanagan is being presented with the 2020 TCFF Changemaker Award at the festivals’ Virtual Gala (Oct 2nd – 4th)  in recognition of her work towards affordability.


TCFF’s complete 2020 schedule is listed below.  Tickets are on-sale starting tomorrow, Oct 2nd. All of the In-Person theater screenings at the ICON Theaters will be reserved for TCFF Donors, Members and Sponsors on a first come first served limited capacity.  To learn more about how to attend these screenings, please visit www.twincitiesfilmfest.org.

For all of the ONLINE films, simply check out the lineup on the website and purchase the films.  All films will be available for purchase for $9/film with a few offered for free.

An ‘All Access STREAMING Pass’ is also available for $50 on the website providing access to ALL of the 70+ films online. Click on the banner above to purchase.

The passes are such an incredible deal!! Get it soon so you can order your tickets right away. Trust me, it’s SO worth it!!


2020 TWIN CITIES FILM FEST SCHEDULE

In Theater Films:  ICON Theaters

(Only Available to Sponsors, Donors and Members – Reservation Required)

Thursday Oct 22nd
Black Boys,
Sonia Lowman – 6pm and 8pm

Friday Oct 23rd
Sound of Metal,
Darius Marder – 6pm and 8:45pm

Saturday Oct 24th
Sylvie’s Love,
Eugene Ashe – 6pm and 8:45pm

Friday Oct 30th
Herself,
Phyllida Lloyd – 6:30pm
Uncle Frank, Alan Ball – 8:30pm

Saturday Oct 31st
Nomadland
, Chloé Zhao – 6pm and 8:30pm

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Special Streaming Events on TCFF Website

Sunday Oct 25th
Inside Lets Deal Live
, Steve Zahn/Rick Gomez – 5:30pm
The New Corporation: The Unfortunately Necessary Sequel, Jennifer Abbott/Joel Bakan – 7pm

Monday Oct 26th
Definition Please,
Sujata Day – 7pm

Tuesday Oct 27th
Hollywood Fringe,
Megan Huber, Wyatt McDill – 7pm

Wednesday Oct 28th
Through The Night,
Loira Limbal – 7pm

Thursday Oct 29th
Women In Blue
, Deirdre Fishel – 7pm

Saturday Oct 31st
Black Boys
, Sonia Lowman – 5pm


To learn more about TCFF, events, film submissions or to donate, visit twincitiesfilmfest.org


So yeah, TCFF 2020. BRING. IT ON!

FlixChatter Review: Netflix’s The Haunting of Hill House (2018)


HALLOWSTREAM Series

Shirley Jackson‘s 1959 novel The Haunting of Hill House is a classic work of horror literature. Eerie, atmospheric, and poignant, this ghost story has been adapted on more than one occasion with varying degrees of success: the 1963 film The Haunting is a mostly faithful adaptation and a classic in its own right, while the 1999 version with the same name is…to put it nicely, a product of its time. And while Mike Flanagan’s 2018 Netflix mini-series is pretty much an “in name only” adaptation, it still manages to capture the tense, beautiful, heartbreaking tone of its source material.

Victoria Pedretti

The Haunting of Hill House sees the Crain family forced to confront memories of their old home after the youngest sibling, Nell (Victoria Pedretti), dies there, seemingly having taken her own life. Flashing between the past and present, we see how trauma they endured at Hill House has followed them throughout their lives- and how hard it is still trying to pull them back.

Because this show premiered two years ago and was wildly successful, resulting in tons of articles and videos reviewing and analyzing it, I doubt I’ll have any new hot takes, but because its highly-anticipated follow-up, The Haunting of Bly Manor (loosely based on the Henry James novella The Turn of The Screw), is coming out next month and will be covered in my HallowStream series, it seemed like a good idea to revisit Hill House in preparation for the new season.

Henry Thomas as father Hugh

While the mini-series isn’t a retelling of the novel, there are so many little references to it that fans of the book can appreciate. The most obvious are the names of the Crain family members: father Hugh (Timothy Hutton/Henry Thomas) is the name of the house’s original owner in the novel; siblings Nell (Victoria Pedretti/Violet McGraw), Luke (Oliver Jackson-Cohen/Julian Hilliard), and Theo (Kate Siegel/Mckenna Grace) are the names of the three guests of Hill House; and Shirley (Elizabeth Reaser/Lulu Wilson), of course, is a reference to author Shirley Jackson. Besides the names, there are smaller details- Nell’s cup of stars, the “Welcome home, Eleanor” message written on the wall, the phantom hand holding, Olivia’s story about rocks falling from the sky, and probably several others that I missed during both times watching. My favorite nod to both the book and the ’63 film is a cameo from Russ Tamblyn, who played Luke in the original film, as Nell’s psychiatrist, Dr. Montague- the name of another character from the book. Despite the show not being a direct adaptation of the novel, there’s clearly still plenty for book fans to nerd out about.

The Haunting of Hill House not only appeals to book nerds, but theater nerds, because so much of the show feels like a play- unsurprising, as the novel lends itself well to theatrical adaptation. Each of the main characters gets at least one beautifully written monologue in the series; Theo’s monologue toward the end of episode 8 is gut-wrenching, Luke’s eulogy in episode 7 will break my heart every time, and Nell’s farewell to her siblings in the last episode has already become an iconic television moment. Even some of the supporting characters (Mrs. Dudley, played by Annabeth Gish, Poppy Hill, played by Catherine Parker, and Leigh Crain, played by Samantha Sloyan) have some juicy monologues that I kind of want to borrow the next time I audition for any community theater productions. Episode 6 feels especially theatrical thanks not only to some excellent dialogue, but to the nearly 16-minute-long uncut and unedited take at the beginning of the episode. It’s done so seamlessly and so skillfully that I didn’t even notice it during my first watch, and I had to keep reminding myself of it during my second watch.

The eponymous Hill House

Obviously such rich dialogue and such demanding scenes wouldn’t be nearly as impressive without a talented cast, and The Haunting of Hill House absolutely has that. The actors playing the five siblings-both in the present and in flashbacks- have such fantastic chemistry, especially Elizabeth Reaser as Shirley and Katie Siegel as Theo (my sister and I have definitely had the “Did you just punch me in the boob!?” fight from episode 8 on more than one occasion). The young actors playing the siblings in flashbacks are unbelievably good, but the standouts for me are Lulu Wilson as Shirley, who had already started making a name for herself in horror before this (in Flanagan’s Ouji: Origin of Evil-which, incidentally, was the first movie I ever reviewed for FlixChatter- and Annabelle: Creation), and Violet McGraw and Julian Hilliard as twins Nell and Luke, who, besides being incredibly cute (Violet’s reading of “Maybe it’s a cotton candy machine!” in episode 2 melts my heart), are given some seriously heavy scenes to perform and do so spectacularly; their nightmare speech to Olivia (Carla Gugino) in episode 9 is especially chilling. Speaking of Carla Gugino, she gives a captivating performance throughout the series; seeing her go from a warm, loving, free-spirited mother to an unhinged wretch is magnificent.

Carla Gugino

Of course, I can’t end this without talking about the real reason I’m including it in my HallowStream series: the scares. While The Haunting of Hill House has more of a slow burn than other horror series, being half family drama, it is still a ghost story. There are several jump scares throughout the show, but they all feel earned. The hidden ghosts all over the house add a level and tension and unease, because you’re not sure if you saw something. The production design of the enormous, decrepit, labyrinthine mansion is everything you could want in a haunted house. My only real critique is that the CGI can look a little cheap and unimpressive at times, but those moments are few and far between.

Even after watching The Haunting of Hill House twice, I can easily see myself returning to this show, finding new things to appreciate, and still jumping out of my skin at the scary parts. It’s a great one to watch this Halloween season, and I can’t wait to see what Mike Flanagan has planned for The Haunting of Bly Manor.

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Have you seen The Haunting of Hill House? Well, what did you think?

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FlixChatter Review: The Social Dilemma (2020)

To say social media is addictive is really putting it mildly. Even as someone who’s relatively new to social media (I’ve actually opened a personal Facebook account just three years ago when I made my first short film), it’s impossible to refute the impact of social networking. Gone are the days when we actually use our phone to make/receive a phone call… that’s hardly the reason why we can’t put our phones down.

Set in Silicon Valley, the documentary fuses investigative documentary with tech experts who helped build the social networking platforms, and narrative drama that present how a family is dealing with the social media addiction. The concept being presented here is hardly surprising, but it’s still pretty alarming to reflect that the obsessive appeal of social networking isn’t a bug, it’s a feature – that’s the exact logline on Netflix.

I personally don’t think the dramatic narrative are necessary to grasp the concepts director Jeff Orlowski and his subjects are presenting here, but they are quite entertaining and certainly makes the big ideas like social engineering, and surveillance capitalism more relatable on a human level. What I find most fascinating are the fact that the experts being interviewed had a hand in building the platforms they are exposing and calling disturbing, even malevolent.

Two of the experts in particular, Tristan Harris, a former Google Design Ethicist and Justin Rosenstein, former Google & Facebook Engineer (who’s one of the people who invented the LIKE button) have some particularly damning revelations about the Big Tech industry. While we think of them as innovative industry that create ‘tools’ to make our lives more connected are nothing more than profit-driven industry that gain their billions trillions from manipulating human behavior.

”There are only two industries that call their customers ‘users’: illegal drugs and software.”

”If you’re not paying for the product, then you’re the product.”

”Social media is a marketplace that trades exclusively in human futures.”

Many of these tech experts admit that they too became addicted to their own products, even after spending hours building them, they too still fall prey to what those platforms are build for. One of the most intriguing part of the dramatization is when multiple AI (played by Vincent Kartheiser) are manipulating a teenage boy (Skyler Gisondo), complete with a digital dummy akin to a voodoo doll, to keep him engaged on screen as much as possible. It seems funny and hyperbolic, but the experts, especially Tristan Harris are saying the engineers behind these platforms are paid big bucks to ‘enslave’ us for their own gain. Facebook, Instagram, Twitter, etc. are not a passive ‘tools’ like a bicycle waiting to be used, but on the other side of these platforms, there are engineers who work with acute, unscrupulous precision to ensure that their users are addicted to their products.

I’ve already limited my time on many social platform and disabled notifications even before I watch this film, and I’m not one of those people who check their phone first thing in the morning either. But I have to admit that on occasion I had been so distracted by social media that an hour or two have gone by without me realizing it! It’s really terrifying to take in just how dangerous social media has become as the AI and algorithm become increasingly smarter and adept at predicting what we want to see/hear/buy/vote, etc. Most people who weren’t born in the age of social media (I’m going to date myself here, but I still had to do my college research using a Microfiche machine at the library!), I realize that technology as powerful as social media is going to have an evil, dark side to it, but I doubt many young people are conscious of it. Even if they are, they probably are too pressured by their peers to limit their use of it.

My heart goes out to the parents of Gen Z, those born between 1997 and 2012, as mobile phones have become available to them since they’re in middle school. It’s no wonder that there’s skyrocketing levels of depression among children and teens… it’s bad enough kids get bullied in person, but being bullied through social media that reach beyond their own school/community is another matter. The film also touched upon some of the dire social implications all over the world. For example, it talks about how Facebook is used to spread false information, including Covid misinformation, and how it’s used to incite violence by white supremacist, etc. It even has an influence in something as horrifying as the genocide in Myanmar against the Rohingya Muslim minority.

The Social Dilemma might seem hyperbolic at times, and I feel that is on purpose for a cautionary tale such as this one. I certainly find if eye-opening and sobering, even downright terrifying at times. It potently illustrates just how important it is for people to connect on a human level outside of the digital ecosystem. It’s also a visually-arresting film with beautiful animation to illustrate various points. I think it’s important for documentary filmmakers to use creativity to deliver information in an entertaining way, and Orlowski certainly did that. If there is one documentary you should watch this year (well, of any year), I can’t recommend this one enough.


Have you seen The Social Dilemma? I’d love to hear what you think!

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On The Basis of Sex and RBG are re-released in theaters – In tribute to justice Ruth Bader Ginsburg

Los Angeles, California, September 22, 2020 – In tribute of Justice Ruth Bader Ginsburg’s life and unparalleled legacy upholding justice, Focus Features and Magnolia Pictures jointly announced that they will be re-releasing On the Basis of Sex and RBG, both films about the iconic Supreme Court Justice, this coming Friday in theaters, alongside the films’ availability via on-demand platforms. Both film companies will be donating their net proceeds from the films’ theatrical re-release to the American Civil Liberties Union (ACLU) Foundation in support of their Women’s Rights Project, which was co-founded by Ginsburg back in 1972.

Felicity Jones as Ruth Bader Ginsburg
Felicity Jones as Ruth Bader Ginsburg in ON THE BASIS OF SEX

On the Basis of Sex and RBG were both originally released in 2018. On the Basis of Sex, which was released by Focus Features and presented by Participant, chronicled Ginsburg’s early life in law school and her groundbreaking case Moritz v. IRS, the first case ever to rule that gender discrimination is a violation of the U.S. Constitution.

The Oscar-nominated and Emmy-winning documentary RBG, directed by award-winning filmmakers Betsy West and Julie Cohen and released to theaters and on demand by Magnolia Pictures and Participant, chronicled the inspiring and personal story of Ginsburg’s rise to the nation’s highest court while becoming an unexpected pop culture icon. RBG is executive produced by CNN Films and is a Storyville Films production.  CNN is the North American broadcast distributor for the documentary.

Participant, a partner on both titles, will join the distributors on #ThankYouRuth, a social tribute campaign asking fans to share posts honoring the legacy of Justice Ginsburg.

Academy-Award® nominee Felicity Jones, who portrayed Ginsburg in On the Basis of Sex, said of her passing: “Ruth Bader Ginsburg gave us hope, a public figure who stood for integrity and justice – a responsibility she did not wear lightly.  She will be missed not only as a beacon of light in these difficult times but for her razor-sharp wit and extraordinary humanity. She taught us all so much. I will miss her deeply.”

Betsy West and Julie Cohen said in a joint statement: “From her Supreme Court chambers to her exercise room, what a privilege and a joy it was for us to train our cameras on RBG, and capture the story of this feisty, determined, brilliant woman who used her talents to make our world a better place.”

Focus Features and Magnolia Pictures said in a joint statement, “Justice Ginsburg spent her life upholding fairness, the law, and the rights of all Americans.  These films highlight only a small portion of her legacy to screen, but her vast impact on our country goes far beyond them. We hope that moviegoers are re-inspired by her passion, her courage and take that back into the world.” 


The films will be available in approximately 1,000 theaters nationwide.  Audiences should consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.


FlixChatter Review: SHORTCUT (2020)


Directed by: Alessio Liguori
Written by: Daniele Cosci

In Shortcut, five students (Jack Kane as Nolan, Zak Sutcliffe as Reggie, Sophie Jane Oliver as Bess, Zander Emlano as Karl, and Molly Dew as Queenie) are thrown into a nightmare when, after their bus is highjacked my an escaped criminal (David Keyes), they break down at the entrance of an abandoned underground military base, where they are menaced by a terrifying and bloodthirsty creature.

When I first read the description of the movie, it sounded like a rip-off of Jeepers Creepers 2. Fortunately, Shortcut is a unique and genuinely entertaining horror movie. The production design is great. The creature design is cool and creepy; it’s mostly kept in the shadows or shown in quick flashes, keeping the tension high and making it look more realistic. There are a couple full body shots of it where it just looks like a person in a cheap homemade costume, but they’re mercifully brief. The score is eerie, intense, and really helps create an unsettling tone throughout the movie.

Acting-wise, the cast is small but solid. The five main characters are teenagers, and the young actors all do an excellent job with their roles; they’re fun and realistic, and even the ones who are meant to be obnoxious are kind of endearing. There’s some dialogue that’s too cheesy to even pass off as teenagers trying to sound cool, but that’s more the writer’s fault than the actors. Terence Anderson is delightful as Joe, the bus driver, and it’s a shame he’s not in more of the movie. David Keyes as Pedro Minghella, the escaped convict, is spooky, unhinged, and will probably give me nightmares with his performance.

Overall, Shortcut is an enjoyable horror movie, and with the focus being on a group of kids and the film not being too bloody or gory, it would be a good one for young viewers just getting into the genre. Shortcut will be released in both theaters and drive-ins on Friday, September 25th- just in time to kick off the Halloween season.

laura_review


Shortcut is currently playing in 600+ theaters
VOD Release: December 22, 2020


Have you seen SHORTCUT? Well, what did you think?

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