'Bloody Nose, Empty Pockets' A Review

Bloody Nose, Empty Pockets is an intimate drama masquerading as a documentary that follows the last day of a local dive bar in Las Vegas. In unobtrusively follows the two employees as they open and run the bar and as various regulars and locals come and go.

Shot in a fly-on-the-wall manor as to evoke documentary but it quickly becomes apparent that this is artifice. This conceit wouldn't be an issue if the movie was transparent but it clearly intends for the viewer to buy into it as a reflection of reality. For anyone who has seen this year's Wendy the jig is up relatively quickly as they share some actors but it becomes clear to any viewer when Michael(Michael Martin) talks about being an actor and his clearly studied and deliberate "performance" unfolds.

The mumbled periodically incoherent dialogue spews from these desperate, banal, oblivious(if still tragic) characters. They wax poetic about their failures as their increasing intoxication erupts in pointless aggression and a base lusting that reflects the worst behaviors seen in corner bars between 2 and 4am. 

There is an assumption on the part of the filmmakers that drunks are compelling but for anyone having spent any protracted amount of time around drunks while sober this is unquestionably false. They are pathetic, sad, infantile, perhaps worthy of sympathy but not of interest.

Perhaps in this year there is something to be said for the community a bar brings, and the movie has a few, extremely sparring, emotional moments, but overall the feeling is one of pointless grime. There is an obtuseness displayed as to the reality of alcoholism, a propping up of the alcoholic mythos that is not only harmful but outright dopey. For every Bukowski or Hemmingway there are millions of neglectful, suffering, destructive drunks and their stories should be careful and cautionary not celebratory.

A failure and an irresponsible failure at that.

Currently available for rent on most VOD platforms.

Don't See It.

The Alcoholic Mythos

The alcoholic is not romantic
charming maybe

pathetic occasionally

mercurial definitely

tragic always

but not romantic

on some level we know this

we recognize the mundane destruction

of addiction

the disturbing despair

of the disease

but our stories seldom reflect this truth

media props up the tired archetypes

the alluring genius creative (Mank)

the alluring genius creative that love may "fix" (Crazy Heart, A Star Is Born)

the broken man tortured by his past (Manchester By The Sea)

addiction as dominant personality trait (Colossal, Words & Pictures et al.)

on and on

the truth is alcoholism is ugly, messy, sad

foreboding and heartbreaking for those caught within it's wake

terrifying and inexorable for those caught within it's grasp

no more romantic or dramatic than any other wasting disease

it has no preference 

creative or comely, rich or rough

it afflicts with one purpose- ruin

there is seldom a narrative about the most interesting aspect of the alcoholic

their opportunity for redemption

their chance to change.

'Ma Rainey's Black Bottom' A Review

Ma Rainey's Black Bottom is a drama adapated from the August Wilson play of the same name. It follows real life 'Mother Of The Blues' Ma Rainey(Viola Davis) during a recording session in 1920's Chicago. The film opens on various band members waiting for Ma to show up for the session and ambitious trumpter Levee(Chadwick Boseman) plans his own muscial career with an eye on Ma's girlfriend. The band tells stories and kills time before Ma comes into the studio like a force of nature.

Davis gives an absolutely electric and dominant performance as the legendary singer, authoritative and unyielding but just below the surface, behind her impenetrable armor of personality, you can see her insecurities and jealously. It's a remarkable powerhouse of a turn, coming from Davis who never fails to deliver, it's wonderful to see her go so big, so powerful. Boseman, in the final role of his career, is dangerously mercurial, not the stalwart hero we've seen him before, but complicated, questionable, ambitious but deeply scarred. It's a wide-ranging and compelling character, full of contradictions and manic rage. The limited supporting players build out the cast solidly but ultimately the film is a two hander even though Davis and Boseman barely share screentime they, and their inevitable conflict, are the stories sole focus.

A perfect soundtrack with some diegetic performances bring dimension and texture to the film, the costumes and sets perfectly create the historical context for the actors to shine, but if there is a flaw it is that of any stage play-to-film adaptation, it still feels very much like a play. At times it can be too sedentary, there are, in essence, only two locations. Characters monologue and we wait for a cut-to that never comes. The same was true of Fences and August Osage County, the filmmakers are too faithful to the source material so don't utilize fully the medium in which they're working. The film feels constrained in a way it doesn't have to be and as such some of the crescendo moments don't carry the same weight, in a theater on a stage the would sing, on film it can feel a bit odd.

Davis and Boseman soar above the minor adaptation issues and the story is brought to vivid and heartbreaking life.

Currently streaming on Netflix.

See It.

'The Last Blockbuster' A Review

 The Last Blockbuster is a documentary about the beginning and mostly end of video rental stores, Blockbuster as the biggest corporate chain of these, and the last surviving store in Bend, OR. The movie uses talking head interviews from various b and c-list celebrities, archival footage, and 'real-time' footage following Sandi the manager of the Bend store as she works tirelessly to keep the store afloat.

Part nostalgic investigation, part feature length episode of VH1's 'I Love The 90's!' there is a lot to love about this little documentary. From a formal standpoint it does nothing new, all the standard pieces are there, but the subject matter is so specific and so fringe when it was once so ubiquitous it makes for an intriguing look back for those born prior to 1990 and a bizarre time capsule for those born after.

The movie is far from hard hitting but there is some interesting points and musings about corporatization, the value of community space, the attraction of physical media, and the currency of culture prior to the digital age.

I love letter to the video store and a celebration of the lone Blockbuster that has held firm.

Available to rent on most VOD platforms.

Rent It.

'Soul' A Review

Soul is an animated metaphysical dramady, the latest from Pixar. Middle school music teacher Joe(Jamie Foxx) is stuck at his job and in his life, he aspires to be a working jazz musician but never got his shot. After a promising audition Joe is set to fulfill his dreams but falls down a manhole cover. He finds himself on the path to the 'Great Beyond' but is determined to return to Earth, he escapes and accidently becomes a 'mentor' for an unborn soul, 22(Tina Fey), who agrees to try to help him get back to his life.

Foxx gives a wonderfully layered and emotive vocal performance. It paired with the animation convey one of the rawest most fully rounded human portrayals to come from Pixar. Fey is good as 22 and the growth of the character is inexplicably tied to the journey of Joe but either her performance or the character garner less engagement than was intended. The supporting cast is absolutely stacked with talent and they all deliver- Rachel House as Terry the soul accountant is incredible, Donnell Rawlings as Dez the barber brings a gust of energy and compassion, Phylicia Rashad as Libba Joe's mother is familiar but surprising, the list goes on.

The cast is peerless but the music brings the film to life, diegetic and non-diegetic music weave in and out of the story with effortless but evocative fluidity. The themes and ideas are so rich and human, the visuals, especially the various 'afterlife' renderings feel so fresh and textured. It's a truly inspiring feat they've pulled off given the tightrope of plot that could easily go from thoughtful to bleak to maudlin. If there is a fault it is that it is, perhaps, too adult for some of the youngest viewers in the household.

Pixar's boldest, dexterous film in years.

Currently streaming on Disney+

Don't Miss It.

'Wonder Woman 1984' A Review

 Wonder Woman 1984 is a superhero movie, the second in the Wonder Woman series. The movie opens on a flashback, young Diana aka Wonder Woman is competing in the Amazon's multi-stage athletic competition and after making a mistake attempts to cheat in order to win but is prevented by Antiope(Robin Wright) and told "no true hero is born from lies". In 1984 Diana(Gal Gadot) is working at the Smithsonian as Diana and fighting crime as Wonder Woman when she comes into contact with the Dreamstone, a monkey paw style wishing object. Max Lord(Pedro Pascal) a smarmy wanna be oil tycoon is on the hunt for the stone and hapless new employee at the Smithsonian Barbara(Kristen Wiig) is drawn into its orbit with unforeseen results.

Gadot carries the movie with assurance and the character is more rounded here than the previous installment where she was fresh off the island of the Amazon's. She's powerful but vulnerable, graceful yet human. It's a tough balance but the return of Chris Pine helps to give her emotional stakes. Pine goes pretty big and his humor and charm are a much needed addition. Pascal goes even bigger and his greedy, greasy, pathetic tycoon is delightful. Wiig begins as a version of a character we've seen from her many times but transforms into something dark and sinister that is surprising and a good counterpoint to Gadot's Diana. All in all a solid performance from the leads and supporting cast.

A wonderful thrumming 80's soundtrack, bang-on period costumes, and some fairly elaborate compelling action make for a vivid production. It's entertaining, it's got heart, it's sleek. The plot is a bit cumbersome and the climactic battle falls into the old DC trap of CGI slugfest but its forgivable.

In a year basically bereft of action or superhero movies WW84 is a welcome diversion although it doesn't deviate much from the formula.

Currently streaming on HBOMax.

See It.

The Best Part In Gattaca

When Ethan Hawke's Vincent

(born without genetic tampering

unlike most people in this future world)
is swimming against 

his gene-perfect brother Anton

like they use to do as kids

where Anton always won

but Vincent won the last time 

then disappeared

and this scene is the rematch

and again Vincent is winning

and they go far out

the salty waves are crashing

the land is nowhere in sight

and Anton begins to drown

Vincent, of course, saves him

and on the beach Anton comes to

asks his brother "how'd you do it?"

and Vincent says

"I never saved anything for the way back."

'Black Bear' A Review

Black Bear is a psychological drama about a screenwriter Allison(Aubrey Plaza) who goes to a remote cabin to work on a script. Two vignettes unfold perhaps ideas for her scripts or fever dreams or memories or who knows what.

Plaza gives all she's got and she's compelling, after Parks & Rec she's made many indie films with wide ranging types of roles but also varied success. Here the material isn't worth her effort, she attempts to bring some emotional honesty and interest to what is pretentious writer/director's Lawrence Michael Levine "artsy" dramatization of his banal crude marital issues. Unfortunately Plaza is doomed to fail because the material is more appropriate for Days Of Our Lives than intrigue or catharsis. Than other main cast members are Sarah Gordon as Blair and Christopher Abbott as Gabe who are sufficient if uninspired. The supporting cast breathe much needed life into the movie but they serve basically as observers, instigators to the main trio's pedestrian "conflict".

The location, all shot at the remote cabin, is beautiful and evocative. The handheld camera work claustrophobic, nervy, and effective. The score pulsing and full of suspense if somewhat derivative. The production all in all is solid. But the substance is lacking and the movie hinges on this shift from one scenario to another with the actors shifting roles in a way that is a good thought experiment but confusing and flat in execution.

It is, in essence, a story about 30-something artists. But the behavior and issues the plot revolves around are more appropriate for privileged horny teenage theater kids revealing in the faux-drama of a cast party.

Available for rent on most VOD platforms.

Don't See It.

'Sound Of Metal' A Review

Sound Of Metal is a drama about drummer/recovering heroin addict Ruben(Riz Ahmed) who goes deaf while on tour with his bandmate/girlfriend Lou(Olivia Cooke). Lou contacts Ruben's sponsor who sets him up with a spot at a facility for deaf recovering addicts run by Joe(Paul Raci).

Ahmed certainly gives a lot of energy and focus to his performance and in the 2nd act this pays off big with his time learning/accepting his deafness and relating to his new community. He fairs less well in the beginning and end when focus is given to the over-wrought co-dependent relationship with Lou which comes across more as melodrama than compelling character study. Cooke also suffers from, presumably, the pretensions of the script in this regard. She's a fine actor but neither her nor Ahmed can rise above the quagmire of circuitous immature relationships fumblings the script lays out. Raci is wonderful, transcendent even. And the heart of the film, the really gas of it, is Ruben's time at the facility working with Joe and the other deaf participants(many played by deaf actors). That is where the real growth and humanity lies in the film and it's incredibly moving, authentic, and hopeful.

Filmed in a couple limited locations with a fair amount of shakey handheld camera work it successfully submerses the viewer into Ruben's POV. The occasional pounding metal score as well as the audio track, conveying Ruben's loss of hearing, are both very effective as well as the occasional diegetic performance. It works together beautifully to shine a light on a story that is frequently overlooked in Hollywood and Ruben being a musician adds an interesting layer of complexity. But by contrast the B plot, about Ahmed and Lou, feels very much Hollywood, feels very much A Star Is Born in it's portrayal of the romantic and angry recovering addict and in the shallow tumult of the relationship. 

Ultimately a good film that could have been a great one with an award winning performance from Raci.

Currently streaming on Amazon.

See It.

Ten Key

I had a theory for awhile
that between high school

and college

there should be a time

of compulsory service

not in the military but at a bank

to instill the fundamentals-

saving, spending, and the dreaded

budgeting

for money seems the ever-present issue

for the burgeoning adult

not out of carelessness but ignorance.

My time as a teller

taught me more about money

than classes or familial guidance

ever could

and day after day bearing witness

at times facilitating

the financial foibles of the rich and poor

noting the eccentric economy of the old

the desperate over-drafting of the young

corruption, hustles, counterfeits

I learned the current of cash flow

not secret or sacred but simple

capital as tool not sacred-cow.

It was mostly thankless work

underpaid and maybe menial

but I miss my fingers dancing

on the number pad 

imputing accounts, denominations,

deposits and liquidations

mastering that skill

soon to be extinct

if already fading- ten key.

'Jingle Jangle: A Christmas Journey' A Review

 Jingle Jangle: A Christmas Journey is a musical family holiday film about a once great toy maker Jeronicus Jangle(Forest Whitaker) who's brought low by the theft of his ideas by former protege Gustafson(Keegan-Michael Key) and the untimely death of his wife. But when his granddaughter Journey(Madalen Mills) comes to visit him before Christmas a spark is reignited.

Whitaker gives a wonderfully odd performance, full of heart, delight, and cantankerous charm with an accent choice which is bizarre but playful and effective. Key is rather ineffectual as the "villain" but he convey's enough mustache-twirling glee to entertain. A lot is up to Mill's wide-eyed and determined optimism and she delivers. The supporting players are all perfectly cast and the precarious steam-punk meets old school family musical tone is pitched just right for both a holiday message and maximum enjoyment.

The soundtrack is excellent and catchy, the musical numbers lavish and exuberant. The Victorian costuming and set design are dazzling and transportive. The film is adventurous enough, fantastic enough to feel different and unique, but the feel of it- the plot and the themes are familiar enough to warm the heart. Perhaps too saccharine for the jaded but sure to please for any family.

A joyful, visually rich, contemporary fairytale. A modern holiday movie with one foot in the past nodding to classic stories with a modern look and pulse.

Currently streaming on Netflix.

See It.

'Hillbilly Elegy' A Review

Hillbilly Elegy is a drama based on the memoir of the same name. The movie follows JD(Gabriel Basso as older, Owen Asztalos as younger) as he struggles with his family situation and attempts to bootstrap himself into prosperity.

Both Basso and Asztalos are either miscast or lacking in ability. Neither presents credible human performances, perhaps the fault is from the script and source material, its as if the life of JD is romanticized, his memory polished and performed not for the purposes of truth but to convey a particularly crafted(and unbelievable) story. Amy Adams as JD's opiate addicted and abusive mother Bev struggles, a rarity for her, as the character is underwritten and the story never takes the time to really address the cycle of abuse or the real despair or cause of addiction. Glenn Close as JD's grandmother fairs better, but even she cannot transcend the fact the script is not a human story but a web of archetypes retroactively varnished to fill the particular origin story JD the person wants to telegraph. The other characters are mere set dressing- Freida Pinto as Usha JD's girlfriend and Haley Bennett as Lindsay JD's sister particularly are given short shrift.

Filmed mostly in Georgia visually it suffices but for a movie so supposedly centered on a particular region and culture it seems like an oversight. The score is maddeningly present, cacophonous telegraphing every syrupy sweet moment or thundering the anguish onscreen. It is beyond distracting, it is atrocious, paired with the performances it renders the movie farcical. 

There are substantial problems here- the characters seem to face their problems with an obstinacy and ignorance that make them unsympathetic, hillbilly culture is given lipservice but not really explored, examined, or shown in any meaningful way, JD himself is pretty shitty to his family and his girlfriend, none of the characters seem to learn anything or transform in any way. So the question is why? And the only answer is that the book on which the movie is based was a best seller. More universally the movie attempts to make this story of poverty and struggle singular when in fact it is universal. Instead of trying to communicate how universal the fight for security and success is they attempt to convey how different this group and situation is when in fact it is anything but. All types of people are affected by addiction, by poverty, by abuse, by circumstance. And in not taking into account this fact they miss the whole point, rendering Hillbilly Elegy not only ineffective but borderline incomprehensible.

A startlingly huge miss, obtuse farce, with the melodrama of a soap opera but without any of the fun.

Currently streaming on Netflix.

Don't See It.

'Mank' A Review

Mank is a biopic about screenwriter Herman Mankiewicz(Gary Oldman) that uses his writing of the script of Citizen Kane, in an isolated desert hotel while recovering from a broken leg, as the anchor point while flashing back a decade to show the events leading up to it as well as various inspiration points for the script.

Oldman is formidable which is no surprise, creating an interesting charming character, but there is a benign lack of depth to the character. Who the character is or what he actually believes is screened by the unceasing stylized period patois, word play and asides mask what is actually happening both in reality and emotionally. The script also leans heavy into the tired and damaging genius-drunk archetype, Mankiewicz who in actuality tragically died of alcoholism in his 50's, is portrayed here certainly over-imbibing but the disease is given no weight, no cost, nothing beyond the false Hemingway style trapping of the inebriant as muse. It's egregious. The supporting cast are all solid notably Arliss Howard as MGM head LB Mayer, Charles Dance deliciously as William Randolph Hearst, and surprisingly Amanda Seyfried as Marion Davies, but all are not given much to do, the plot and the style take precedence over character and as a result the film doesn't solicit much emotional investment. Odd given the Mayer character has a great monologue about movies having to effect their audience emotionally.

Directed by David Fincher(from a script by his father) the production is meticulous and confident, the visuals have a stark clarity with nods to the filmmaking styles of the period in which it's set. The score by Trent Reznor and Atticus Ross is effective if unimaginative. All in all the filmmaking itself is top notch but it cannot overcome the lack of narrative focus and the shallowness of the characters.

Much time is spent on the 1934 gubernatorial election in California which certainly has some parallels to the present but the film has no real comment about it nor general message drawn from Mank's life or the campaign in particular. We never actually get to know much about who Mank was or what his influence would be. Ultimately the film only leaves you with a desire to watch Citizen Kane.

Impeccable crafting of an underbaked script.

Currently streaming on Netflix.

Rent It.

Bread

Who was the first betrayer
the loaf or the baker

was it gummy gluten

bubbling in it's treachery

or the contagion

of the celiac inquisition

Not long ago

grain was survival

bread the signpost 

of civilization

in our abhorrence for carbs

lest we forget where our prosperity sprung

'Godmothered' A Review

Godmothered is a family fantasy comedy about fairy godmother in training Eleanor(Jillian Bell) who goes on one final mission to help Mackenzie(Isla Fisher) in order to save the Godmother school which is endanger of being shut down. Eleanor is surprised to discover Mackenzie is not a child but an adult widow of two and that perhaps happily-ever-after isn't as simple as she thought.

Bell continues her hot streak(Brittany Runs A Marathon, Sword Of Trust), the character a perfect match for her sensibilities- a combination of physical comedy, fish-out-of-water absurdity, and plenty of heart. Her open naivete and single-mindedness bring plenty of comedy but also doesn't shirk on dimension or message. Fisher plays against type- the put-upon, overworked, anxious single-parent- and pairs beautifully with Bell. Her role is certainly less fun but she provides much needed grounding for the story and her journey and struggles are given weight without being cliched or maudlin. The supporting cast are all kind of delicious with wonderful turns from Jane Curtain and June Squibb as higher ranking godmothers, Utkarsh Ambudkar as Grant Mackenzie's bro-y boss, and Mary Elizabeth Ellis as Paula Mackenzie's sister who doesn't have a huge part but quietly and unquestioningly supports her sister and her nieces and the film does not call attention to this or make up some reason for it, she's simply a good sister, that's it.

In the mold of Enchanted this fairy-tale meets real-world cross over provides solid humor and emotional payoff. The production is sleek and vibrant, the soundtrack light and catchy, with enough magic to make it fun but with enough stakes for it to eclipse fluff. It may look a little like a made-for-TV flick but the robust and talented cast paired with a playful narrative that has some actual emotional weight make it singular in this years varied holiday film offerings.

Funny, moving, and feel-good without being saccharine.

Currently streaming on Disney+.

See It.

'Fatman' A Review

Fatman is a holiday action movie about Chris Cringle aka Santa Claus aka The Fatman(Mel Gibson) who finds his government subsidies diminishing as more and more children are getting coal, in order to keep his factory afloat he's forced to take on a military contract in the off season. During this financial crisis a psychopathic child who, justly, received coal hires a hitman(Walton Goggins) to go after King Christmas himself.

Gibson, who's reputation and rehabilitation over the past decade are questionable and may be a barrier of entry for some viewers, setting his personal life aside though, he's wonderful here as world-weary, embittered, tough as shoe-leather Santa. It's a bizarre character, in an even weirder story, but it works. Gibson's able to channel those two talents which made him a star initially- his facility with action and his humor. And although he and Goggins only share a single scene together it is an absolutely electric confrontation. Goggins, as always, is deliciously textured and idiosyncratic and though the heavy is a well he's gone to many times over the past couple years, the uniqueness of the story and the odd character keep it fresh. Marianne Jean-Baptiste as Ruth Cringle is great opposite Gibson and bolsters the precarious tonal harmony.

A focused particular production balance the two discordant tones- action/thriller and holiday adventure- better than it has any right to. The premise of the plot sounds kind of ridiculous but the narrative and the characters are shockingly well drawn. It's this peculiar amalgam of Fargo and The Santa Clause anchored by the commitment and sincerity of Gibson, Jean-Baptiste and Goggins, it provides humor, action, and if not catharsis then characters with real emotion.

Substantial fun and surprising thrills for this strange genre mash-up.

Currently available for rent on most VOD platforms.

See It.

'The Christmas Chronicles 2' A Review

 Christmas Chronicles 2 is a sequel to the 2018 movie, it follows Kate(Darby Camp) now a jaded teen who is forced to spend the holidays in Cancún with her mother's boyfriend who she anticipates will propose, both the trip and the proposal she resents. Meanwhile Belsnickle(Julian Dennison) a imbittered elf uses Kate to regain entry to Santa's Village and attack it. Kate, her soon to be step brother Jack(Jahzir Bruno) must help Santa(Kurt Russell) and Mrs. Claus(Goldie Hawn) to make sure Christmas endures.

Russell, like in the original, gives it, bafflingly and delightfully, everything he's got. The same is true of Dennison who is wonderful as the angsty teen come elf villain. But Camp is obviously out classed and Hawn isn't given much to do. Unlike the original, CC2 is filled with complicated and confusing lore, seemingly cribbed from the Santa Clause trilogy, which allows virtually no time for any scene to settle or any actor to do much other than hurry the plot forward to the next scene.

Mediocre CGI, an overstuffed script, and an imbalance in the casting and the casts efforts make it clear the surprising and comparatively simple The Christmas Chronicles should have been a one off.

Currently streaming on Netflix.

Don't See It.

'Happiest Season' A Review

 Happiest Season is a holiday romcom about a couple- Abby(Kristen Stewart) and Harper(Mackenzie Davis) sharing their first Christmas together. Before leaving for Harper's familial home Abby pick's up an engagement ring as she plans to propose, on the drive there however Harper reveals that she has yet to come out to her family and has told them Abby is her hetero roommate. Despite this Abby agrees to play the weekend out.

Both Stewart and Davis both struggle, valiantly, to bring emotional reality to the retro, uncomfortable premise, it doesn't help that their chemistry is more miss than hit. The supporting cast fairs exceedingly better with Dan Levy, as Abby's best friend John, Aubrey Plaza, as Harper's high school girlfriend Riley, and Mary Holland as Jane, all giving charming, funny, and most importantly fully formed human performances. It's not that some of the characters are unbelievable but its that they are so conservative, cruel, and self involved their inclusion in a light holiday romcom strains credulity. Harper's family, and her coming out difficulties and complexity are tonally more appropriate for a gritty drama.

Writer/director Clea Duvall puts together a polished, somewhat predictable piece of entertainment but the plot machinations weigh it down and confuse to the point of exceeding frustration. And perhaps there is some reality to it, Duvall has said it is somewhat autobiographical in inspiration, however in 2020 with 30-something protagonists the situation Harper essentially tricks Abby into participating in is traumatic and unhealthy to the extreme, and we are seemingly asked to overlook it as it is the essential set up of the movie. And the behavior of Harper's family, again based on reality or not, doesn't come across as cringe comedy simply cringe. Perhaps if the characters were a decade younger and the movie was set minimum a decade back in time it would make more sense. There's a lot of promise here but it is overstuffed and the actors are held back by the protracted conflicts and the humor is constrained by the characters lack of compassion for each other.

Representation is wonderful and it is a sign of progress when a lesbian holiday romcom can come out that is as uneven as every other hetero holiday romcom.

Currently streaming on Hulu.

Stream It.

Acceptance

born to flesh and bone
it is fruitless to bemoan
the stricture of the human throne

to rail and thrash

against the indurate truth

of mortality's troth

it need not be a prison

take circumstance as given

acceptance of what is not isn't

freedom from phantom control