Most of us don't need a reason to eat breakfast. We wake up hungry and pretty much anything will do — as long as coffee comes with it.
But writers such as Leslie Kelly try to be imaginative. So she's not content with simply suggesting we all eat oatmeal. Or yogurt with fruit. Or even bacon and eggs (though as a longtime friend and former Spokesman-Review colleague, I know she has some special liking for bacon).
So as a writer now for Allrecipes.com, Kelly is charged with coming up with unique ways to think of, and even prepare, food. And one of the posts that you'll find on her author page involves that first meal of the day. It offers up the notion of salad — salad — for breakfast.
You'll can find any number of food/cooking websites. But I haven't found one that surpasses Allrecipes.com, for menu suggestions or for — as Kelly demonstrates — novel ways to tackle meals that we eat every day in ways that so often become either mundane or cliche.
Though, seriously, who could ever get tired of bacon?
Another week and another grand lineup of Hollywood's finest will be screening at your neighborhood metroplex. Friday's openings are as follows:
"Sausage Party": The Hollywood Reporter describes this animated film as "an R-rated comedy about food products waiting to be sold at a supermarket." Seth Rogen (one of four screenwriters) gives voice to a hot dog who harbors lust for a bun (voiced by Kristen Wiig). Forgive the pun, but … it was the best of times, it was the wurst of times.
"Indignation": Writer-director James Schamus adapted Philip Roth's novel about a young Jewish kid (Logan Lerman) attending a mostly gentile Ohio college in 1951 who has trouble adapting to an adult world of unfamiliar expectations. It's Roth, so you know it'll be literary. In other words, no happy ending.
"Pete's Dragon": This blend of live-action and computer-generated Disney remake of its own 1977 production tells the story of a young boy who is both friend and protector of an actual dragon and what happens when some townsfolk attempt to capture the creature. Question: Is the dragon's name Puff?
"Anthropoid": A based-in-fact historical study of Operation Anthropoid, which involved the assassination in 1942 of Nazi SS General Reinhard Heydrich by a British-trained team of Czech and Slovak agents. The German authorities responded with their usual degree of compassion and understanding.
"Florence Foster Jenkins": Veteran British director Stephen Frears offers up this biopic about the title character (played by Meryl Streep) whose riches bought her the chance to sing at Carnegie Hall, even though her vocal abilities would have made Tiny Tim seem like Luciano Pavarotti.
It seems like theaters have been filled with nothing but superheroes and supervillains for the last few months, but this weekend brings about the final comic book movie – and, arguably, the last major blockbuster release – of the summer.
You hear a lot these days about culture. As in, it’s important to respect the traditions that different peoples of the world abide by. Not just the ways they live and talk but also the values they hold, the customs they follow, the rituals to which they pay homage. The need for this is so obvious it’s hardly worth mentioning.
Except that it’s also a point of argument, too. Because what happens when cultures clash, as they have since the first moment one group of humans encountered another group – one that talked differently, that acted differently, that simply looked … different? The result quite often is fear and mistrust, and just as often violence. Some aspects of human interaction never seem to change.
So a balance has to be found, one that is inclusive instead of exclusive, one that recognizes – and even respects – differences while working hard to find at least a sense of common ground. And according to world-famous cellist Yo-Yo Ma, one good way to find that needed sense of community – regional, national and international – may be through music.
Ma is the focal point of Morgan Neville’s documentary “The Music of Strangers,” which carries the subtitle “Yo-Yo Ma and the Silk Road Ensemble.” It was back in the year 2000 when Ma, who spends so much time on the road that his son once thought he worked for the airport, had an idea: Why not invite a group of diverse musicians to participate in a musical experiment?
That experiment, which took place at the Tanglewood Music Festival, featured a unique confluence of players including a bagpiper from Spain, a clarinetist from Syria, musicians from China and Iran who play stringed instrument as exotic as they are unfamiliar, and a host of other players, most of whom we never get to meet up close and personal.
Which may be the only negative thing that I can say about “The Music of Strangers.” For while I appreciated getting to know the Galician bagpiper Christine Pato, the displaced Iranian Kayhan Kalhor and equally displaced Syrian Kinan Azmeh, I wanted to know far more than Neville is able to give us during his film’s 96-minute run time.
The problem, of course – and it’s hardly a problem at all – is that Neville has to make room, however languidly, for a theme. And he has to make time for the music.
The theme can be summed up in Ma’s declaration that “The clearest reason for music, for culture, is that it gives us meaning.” It is that meaning that comforts Pato when dealing with a mother who is losing her memory, that comforts Kalhor and Azmeh in their domestic alienation, that helped Chinese musician Wu Man survive her country’s Cultural Revolution.
And the music? To this untrained ear, it seems like a perfect blend between East and West, with room for everyone to add in a distinctive riff or three. As the Syrian Azmeh says, "Music … can it stop a bullet? Can it feed someone who is hungry? Of course it can’t."
It can, however, both nourish and help meld our disparate souls. And sometimes that’s enough.
Sharma Shields, author of "The Sasquatch Hunter's Almanac," wrote that " 'Joyride' is a novel of collisions — between vehicles, yes, but even more powerfully between people. Buckle in for a searing, brutal, sexy read."
And Shann Ray, author of "American Copper," added this: "Travis Naught captures the culture of beauty and the culture of despair with the eye of a hawk skirting the nimbus ofthe sun. At just the right moments, his eye draws us down and into thedrama of our collective existence, breaking us in two, giving us the sights,sounds, and tastes of love … and in the end, devastating us both by the reality of what remains and the haunting echo of what we've lost. His prose is clean, his novel absorbing. Joyride is a bright engine of horsepower, chrome, and speed."
Now that it's clear that "Nerve" opens today, you might want to know what some of the nation's critics are saying about the horror flick starring Julia Roberts' niece, Emma.
Katie Walsh, Los Angeles Times: " 'Mr. Robot' meets 'Battle Royale'… a neon-saturated teenage dream, high on first kisses and digital hearts."
Jeanette Catsoulis, New York Times: "[The] screenplay … amounts to little more than a string of flashy stunts before fizzling to a contrived close. For all its hints at imminent catastrophe, 'Nerve' feels surprisingly tame."
Owen Gleiberman, Variety: " 'Nerve,' let's be clear, isn't a movie to take seriously, yet its fast lunge at topicality — the way it uses the contest at its center as a lightning-rod metaphor for how young adults interact in the digital age — is part of what's fun about it."
And just for good measure:
David Ehrlich, indieWIRE: "Blisteringly cool one moment and ridiculously silly the next, this punchy and propulsive late-summer surprise is able to capture the way we live now because it displays such a vivid understanding of the reasons why we live that way."
According to the AMC website, two smaller movies have been added to Friday's opening list (though, actually, their first showings are Thursday night — go figure). The two additional openings are as follows:
"Cafe Society": A young New Yorker (Jesse Eisenberg) heads for Hollywood to work for his talent-agent uncle (Steve Carell) and endures a number of lessons in life and love. Expect to hear some jokes at the movie industry's expense.
"Captain Fantastic": The head (Viggo Mortensen) of a family living remotely must, following a tragedy, deal with the wants and needs of his maturing children. In other words, teens wanna party.
To say Ricky Baker is incorrigible would be a massive understatement. Barely into his teens, the parentless New Zealand boy for most of his life has been shunted from one foster family to the next. And even a short list of his transgressions – which includes thievery, vandalism, arson and more – would be enough to earn him a trip to juvenile hall.
But Ricky – one of two central characters in New Zealand writer-director Taika Waititi’s feature film “Hunt for the Wilderpeople” – is being given one last chance. Either he makes a go of it with the backwoods couple Bella and Hec, or juvey looms large in his future.
That’s where Waititi’s film begins, with Ricky being shepherded to his new home by a by-the-book child-care worker and her ever-compliant police-officer partner. But instead of treading the plotline of so many previous stories of mismatched partners, “Hunt for the Wilderpeople” transforms into a wild, at times fantastic, trek that – for a number of reasons – never ignores the emotional strains that, gradually, link and then bind these partners securely.
The first twist comes early on when, after just beginning to accept his new home, Ricky is jerked suddenly back into insecurity. And his response is classic: He heads into the bush, convinced that he is better off on his own. That he gets immediately lost and runs through his rations in about the first half hour, is as humorous as the near-catastrophe he inadvertently caused before leaving. And that sense of humor is what filmmaker Waititi uses to keep his movie from sliding into melodrama.
The second twist involves Hec – played by veteran actor Sam Neill – whose pursuit of Ricky comes first out of a sense of obligation but evolves into eventual affection for the boy. And why not? As played by Julian Dennison, as winning an adolescent actor as you’re apt to find, Ricky is a total charmer.
That the two bond even as they become the focus of a national manhunt fits naturally into Waititi’s narrative, with Hec being cast not only as a kidnapper but also a pervert. We know the truth, of course, which sets the tone as “Hunt for the Wilderpeople” dashes toward its climax, which involves an eccentric bushman, dozens of police vehicles and Ricky’s acting like off-road NASCAR driver.
Waititi gets a lot out of his cast. Even at age 13, Dennison is a natural-born performer. Though she’s not onscreen that long, Rima Te Wiata as the earthy, loving Bella makes a sincere impact. And Neill, some of whose best performances over a long career have pitted him with children, is the same as ever: low-key but carrying emotions that simmer just below the surface.
Not everything that Waititi comes up with works. The characters of the child-care worker and her lackey are played too broadly, and at times the film’s pacing feels just a tad too frenetic.
But those are quibbles. “Hunt for the Wilderpeople” tackles some fairly serious issues, but it handles those issues with just the right sense of the sweet.
For those who love their graphic novels brought to the big screen, Fathom Events is offering a special treat on both Monday and Tuesday, July 25-26: A special screening of DC Comics' animated feature "Batman: The Killing Joke."
Coproduced by DC Comics, Warner Bros. and Fathom Events, the film reunites filmmakers involved with the popular "Batman: The Animated Series," and includes both cast members: Kevin Conroy as The Batman and Mark Hamill as The Joker.
The basic plot, which focuses on The Joker's rise as a villain, is as follows: "Now escaped from Arkham Asylum, The Joker devises a plan to prove that one bad day can make anyone as insane as he is — setting his sights on Commissioner Gordon. It's up to the Dark Knight to put a stop to The Joker's latest scheme and save one of Gotham City's finest."
One of the special features involves actor Hamill (better known as Luke Skywalker) explaining how he was cast in the project. The other is a behind-the-scenes look at how The Joker's dance scene was choreographed.
And, of course, Hollywood is jumping all over the project. Some reports even list the potential cast.
But long before that fictional re-enactment of the book is released, Inland Northwest audiences will have a chance to see a documentary about the story. In fact, thanks to a recommendation by the Spokane International Film Festival, word is out that a public screening of the Public Television series "American Experience" will be held free of charge.
Not only will movie fans get to enjoy the movie, but they'll have the opportunity to meet members of the SRRA and be in line to pick up a number of door prizes (t-shirts, copies of Brown's book, a gift basket and more).
Get ready to go where no human (man, woman or other) has gone before on Friday when the new "Star Trek" offering opens. The week's scheduled national releases are as follows:
"Star Trek Beyond": The crew of the Enterprise finds itself stranded on a distant world and has to band together to defeat a force that threatens to destroy them all. In other words, pretty much the same plot of every "Star Trek" episode ever made. Expect loads of CGI.
"Ice Age: Collision Course": Engaged in their respective middle-age crises, the familiar characters in this fifth entry in the "Ice Age" series face an even bigger challenge — how to avoid extinction coming in the form of a giant asteroid. Fiction, meet reality.
"Lights Out": Turns out something is lurking in the dark, and a young mother must struggle to discover the source of its power. One question: Where are the Warrens?
One of the best long-form, true-crime documentaries I've ever seen was produced by ESPN. My review, which I wrote for Spokane Public Radio, follows:
I don’t remember everything about June 17, 1994. What I do remember is this: I was just leaving a gym on the North Side of Spokane, looking forward to enjoying a cold beer, when I noticed people in the lobby crowded around a TV.
Naturally curious, I joined them. And I began to watch one of the most bizarre would-be getaways in American crime history. A white Ford Bronco was creeping along a Los Angeles freeway, pursued by a convoy of police black-and-white cruisers. It became immediately clear – the news announcers were just as intrigued as the rest of us – that this Bronco carried the former football player and movie star O.J. Simpson.
These 22 years later, long after his subsequent murder trial, its controversial verdict and the turbulent aftermath, Simpson is again in the news. His story is simply something that we as a nation can’t let go of. The FX Network covered it in the dramatic production “The People v. O.J. Simpson: American Crime Story,” and now the sports channel ESPN – as part of its critically acclaimed “30 on 30” documentary series – has produced “O.J.: Made in America.”
Available by streaming on ESPN.go.com, “O.J.: Made in America” is far more than a mere sports documentary. It is nothing less than a sociological, historical and cultural-anthropological look at race relations as they have developed over the past several decades in the United States.
Told in five parts, each in excess of 90 minutes, it comprehensively covers all things Simpson: his football years – both for USC and later for the NFL Buffalo Bills; his post-football jobs as a pitchman for Hertz Rent a Car and star of the “Naked Gun” movies; his love affair with future wife Nicole Brown; the murder of Brown Simpson and Ron Goldman; Simpson’s flight in the Bronco, and his subsequent arrest, trial and all the attendant drama; and, finally, Simpson’s post-acquittal life, which slowly unraveled in Miami and then Las Vegas, where he committed the crime that would, this time, earn him a long prison sentence.
Directed by Ezra Edelman, whose works include co-producing the documentary “Cutie and the Boxer,” “O.J.: Made in America” uses hours of impressive archival news footage to provide the backdrop for how and why Simpson’s not-guilty verdict came down, despite the LAPD having amassed a virtual mountain of evidence. As lead prosecutor Marcia Clark said, “I’ve never seen so much evidence, even on the first day, as I did in that case.”
Clark is just one of dozens of interviewees, all of whom had much to say about Simpson and more. The cast includes some of Simpson’s lifelong friends, some of the detectives who investigated the case – including Mark Fuhrman – members of Simpson’s defense team, the so-called Dream Team; journalists, civil-rights activists, and even a couple of jurors, at least one of whom makes it clear that she voted to acquit Simpson because of the LAPD’s history of brutalizing the city’s African-American community.
The overall result is a fascinating look at today’s America – and how we got this way.
From the days when True Detective magazine thrilled readers in the 1920s, to today's cable-TV shows such as "Homicide Hunter" (on Investigation Discovery) or "Snapped" (on Oxygen Network), true-crimes have titilated a variety of audiences.
Steve Oliver knows that. He's explored it as an author ("Moody Gets the Blues," "Moody Forever," etc.), he's explored it as a one-time bookstore owner and he continues to explore it as a publisher.
As Oliver himself wrote, "The Dark City Mystery Magazine is the product of a community of crime and mystery writers and fans who spend an inappropriate amount of time exploring the dark side of human nature as expressed by its criminal behavior."
You may be among their number. If so, welcome to Oliver's Dark City.