Kelley Kali in a scene from Kelley Kali’s and Angelique Molina’s film I’M FINE (THANKS FOR ASKING), playing at the 2021 San Francisco International Film Festival, April 9 -18, 2021. Courtesy of SFFILM
In the winning indie I’m Fine (Thanks for Asking), a recently widowed mom has lost her housing and goes on a one-woman crusade to get herself and her daughter back into an apartment. With a one-day deadline to earn the last $200 for a rental deposit, she races the clock through a series of misadventures – both comic and tragic – roller skating around Pacoima, braiding hair and making app-based food deliveries. And she’s putting on the best face, hiding her homelessness (and even convincing her 8-year-old that they’re “camping”). I’m Fine (Thanks for Asking) makes powerful statements about housing security and the gig economy in a oft funny, always accessible movie. It’s the first feature for the female, BIPOC filmmakers – shot on a low budget during a pandemic.
A scene from Bo Maguire’s film SOCKS ON FIRE, playing at the 2021 San Francisco International Film Festival, April 9 -18, 2021. Courtesy of SFFILM
Socks on Fire is Bo McGuire’s tale of his own family’s inheritance battle over a Hokes Bluff, Alabama, bungalow. The family of church-going Bama football fans – and one drag queen – is jarred and wounded by the mean behavior of one aunt. Enriched by old home movies and re-enactments, this ain’t your conventional talking head documentary. Socks on Fire swings between funny and operatic, and there’s a sweet remembrance of a grandmother in here, too. Won Best Documentary at the Tribeca Film Festival.
A scene from Kentucker Audley’s and Albert Birney’s film STRAWBERRY MANSION, playing at the 2021 San Francisco International Film Festival, April 9 -18, 2021. Courtesy of SFFILM
The very trippy and ultimately sweet fable Strawberry Mansion is set in a future where people’s dreams are taxed. An Everyman tax auditor (co-writer and co-director Kentucker Audley) is assigned to the dreams of an elderly artist and is plunged into an Alice in Wonderland experience with her dreams, and his dreams, and a romance, to boot. Strawberry Mansion is also a sharp and funny critique of insidious commercialism.
Socks on Fire had its North American theatrical premiere at a drive-in event – complete with live drag queen performances – as SFFILM’s centerpiece event. I’m Fine (Thanks for Asking) and Strawberry Mansion can be streamed at home through April 18. Tickets are available at SFFILM.
A scene from Ran-hee Lee’s film A LEAVE. Courtesy of SFFILM
Ran-hee Lee’s unpretentious A Leaveis a surprisingly insightful slice-of-life into the modern global workplace. It opens on Day 1893 of a labor sit-in, as laid-off workers hold out to get reinstated in their longtime jobs. They have obviously lost this struggle a long while ago, although not everyone is ready to internalize that fact and move on. Middle-aged Jaebok, one of the sit-in;s remaining leaders, decides to take a leave from organizing that he characterizes as “like taking a leave from work”.
With some distance from the day-to-day campaign, he’s back in his apartment, and back to clogged drains and surly teenagers. He realizes that, without a paycheck, he cannot give his kids what they need (and his bright, promising older daughter needs college tuition). So, Jaebok finds a job in the new economy.
A scene from Ran-hee Lee’s film A LEAVE. Courtesy of SFFILM
It turns that his new job is as a temp contract worker in a sweat shop that supplies a big company like the one that laid him off. His new boss sells the opportunity with, “the company is disaster-free” – a low bar if ever there were one.
Jaebok, used to a decades-long career path with a single employer is puzzled by the revolving door of fellow workers. Only one young guy stays for more than a couple days, and many of the others must be undocumented immigrants working illegally.
The younger worker is not used to any continuity of co-workers – and not used to having relationships with his co-workers, something that Jaebok thinks is normal. The kid believes that asking for an eight hour shift is quaint.
A Leave is the first feature for writer-director Ran-hee Lee. She knows how to tell a little story in a little movie, which is not faint praise at all. Sometimes a little story is the best way to unmask great truth.
Lee uses non-actors in the film Her leading man is a 49-year-old guy who was laid off in real life and then picked up a temp job as a low wage contractor with undocumented, very green co-workers.
I screened A Leave for the SFFILM, where it won a jury mention.
A scene from Ran-hee Lee’s film A LEAVE. Courtesy of SFFILM
A scene from Angeles Cruz’s NUDO MEXTECO. Photo courtesy of SFFILM
In Nudo Mixteco, we visit an indigenous Mixtec village in Southern Mexico and get three dramas for the price of one. It’s the annual festival, and three long-absent locals return home. One is there for her mom’s funeral. another to intervene in her daughter’s welfare and the third has just decided that’s time to come back home.
Nudo is Spanish for “knot”, and the three stories form a loose braid. As in Kieślowski’s Blue/Red/White, the characters in each plot thread can be spotted in the others.
In each story, the women face constraints of patriarchy and traditional culture. An out lesbian has built a life in the city, but her father in the village cannot accept her sexuality, and even blames it for her mother’s death. Another woman also works in the city, and has left her daughter to be cared for by her sister in the village; reports of the daughter’s behavior trigger concern stemming from the mom’s own childhood sexual abuse.
In the third story, a village man has been working in the US. He had promised his wife that he would be gone six months, but it’s been three years. He expects that he can resume their lives as before, but his wife has moved on. Each feels betrayed by the other, and the village is convened to reach a community decision on a just outcome.
Nudo Mixteco is the debut feature for writer-director Angeles Cruz, who has won Ariels (Mexico’s Oscars) for her short films. Cruz is an accomplished actress, who was nominated for a best actress Ariel in 2018.
I screened Nudo Mixteco at SFFILM, where it won a jury award.
A scene from Angeles Cruz’s NUDO MEXTECO. Photo courtesy of SFFILM
Kelley Kali in a scene from Kelley Kali’s and Angelique Molina’s film I’M FINE (THANKS FOR ASKING), playing at the 2021 San Francisco International Film Festival, April 9 -18, 2021. Courtesy of SFFILM
In the winning indie I’m Fine (Thanks for Asking), Danny (Kelley Kali) is a recently widowed mom who has lost her housing and is on a one-woman crusade to get herself and her daughter back into an apartment.
Scraping together her earnings from here and there, she’s only $200 away from enough deposit for a new apartment. That 200 bucks is the MacGufffin of I’m Fine (Thanks for Asking), and Danny frantically roller skates around Pacoima, braiding hair and making app-based food deliveries.
With a one-day deadline, Danny races the clock through a series of comic and tragic misadventures, suffering more than her share of indignities. She’s desperate, but she still bypasses the off-ramps that would sacrifice her independence and personal integrity.
It’s also important to Danny that no one knows that she’s a mom who is homeless. Danny (Kali), Danny has even been telling her precocious 8-year-old daughter Wes (Wesley Moss) that they’re “camping”, but Wes is about to catch on.
Danny does let her situation slip to a couple of friends; (ironically, one’s housing depends on a new boyfriend and the other has inherited his). She gets more judginess than unconditional support.
We hear of “one paycheck away from being homeless”, but what about those hard-working folks in the informal economy who don’t get any paycheck at all? I’m Fine (Thanks for Asking) makes powerful statements about housing security and the gig economy in a oft funny, always accessible movie.
I’m Fine (Thanks for Asking) is an authentic and clear-eyed portrait of a woman navigating out of a fix. Danny is not an artificially noble character – not all of her choices are ideal. But she is driven by devotion to her daughter.
In a tour de force performance, Kelly Kali is a tornado of hustle. They say that acting is reacting, and Kali’s face tells us when she is thinking “I’m not going to go THERE” or “WTF am I going to tell my kid?”. Her Danny puts on the best possible face in a way to convince her acquaintances (without being convincing to the clued-in movie audience).
Deon Cole (Blackish) delivers a brief, magnetic turn as one tempting and very bad potential choice for Danny.
This is the first feature for co-directors Kelley Kali and Angelique Molina, who co-wrote I’m Fine (Thanks for Asking) with Roma Kong (also first feature). (Kali was also one of nine co-directors credited on The Adventures of Thomasina Sawyer). This film is especially well-paced, as Kali and Molina economically set up the situation that Danny and Wes are in and then keep up with Danny as she spurts from vignette to vignette on her quest.
Let’s not overlook that this is another example of female filmmakers, on the hunt for quality source material, writing it themselves. And they shot it on a low budget during a pandemic. With the matter of fact masking of the characters, I’m Fine is ever COVID-conscious.
I’m Fine (Thanks for Asking) won two jury awards at SXSW and can be streamed through April 18 at SFFILM.
A scene from Marilyn Agrelo’s film STREET GANG: HOW WE GOT TO SESAME STREET, playing at the 2021 San Francisco International Film Festival, April 9 -18, 2021. Courtesy of SFFILM
This year’s San Francisco International Film Festival (SFFILM) opens tomorrow, April 9, and runs through April 18. As always, it’s a Can’t Miss for Bay Area movie fans. This year, you can attend at home: with the exception of a few drive-in events at Fort Mason, the movies can be streamed.
The menu at SFFILM includes 42 feature films and 56 shorts from 41 countries, with 13 world premieres and 20 North American or US premieres. Of the 103 total films, 57% have female directors and 57% are directed by BIPOC.
Besides the streaming, here’s what’s new in this year’s SFFILM:
After years of programs impeccably curated by Bay Area treasure Rachel Rosen, Jessie Fairbanks takes over as Director of Programming. (And this is the first SFFILM fest for new SFFILM Executive DIrector Anne Lai.)
A cross section of movies highlighted as Family-friendly films, something that more film festivals should do. Introduce the kids to good cinema!
Mid-Lengths – a competition of five movies with hard-to-program running times of 30-50 minutes.
The festival’s Closing Night Film is Marilyn Agrelo’s documentary Street Gang: How We Got to Sesame Street, the origin story of the beloved children’s show.
I’ve screened some of the films, and I’ll be recommending some indie gems soon.
Olivia Cooke and Thomas Mann in ME AND EARL AND THE DYING GIRL
Here’s a MUST SEE – the unforgettable coming of age Me and Earl and the Dying Girl, a brilliant second feature from director Alfonso Gomez-Rejon. The title suggests a weeper (and it is), but 90% of Me and Earl is flat-out hilarious. It’s high on my list of the Best Movies of 2015 .
Greg (Thomas Mann) is a Pittsburgh teenager who has decided that the best strategy for navigating high school is to foster good relations with every school clique while belonging to none. Embracing the adage “hot girls destroy your life”, he gives the opposite gender a very wide berth. Outwardly genial, Greg is emphatically anti-social in practice, except for his best friend Earl (Ronald Cyler II). But he even refuses to admit that Earl is his friend, describing him “as more of a co-worker”.
Greg’s parents disrupt Greg’s routine by forcing him to visit his classmate Rachel (Olivia Cooke), who has just been diagnosed with leukemia. Rachel doesn’t want any pity, so this is awkward all around until Greg makes Rachel laugh, which draws him back again to visit -and again. A friendship, based on their shared quirky senses of humor, blossoms, but – given her diagnosis – how far can it go?
Rachel is delighted to learn that Greg and Earl shoot their own movies – short knock-offs of iconic cinema classics. She first laughs when she finds that he has remade Rashomon as MonoRash. Their other titles include Death in Tennis, Brew Velvet and A Box of Lips Now.
Ronald Cyler II and Thomas Mann in ME AND EARL AND THE DYING GIRL
Why is Me and Earl so successful? Most importantly, it perches right on the knife-edge between tragedy and comedy, and does so more than any movie I can think of. As funny as it is, we all know that there’s that leukemia thing just under the surface. But, with its originality and resistance to sentimentality, Me and Earl is the farthest thing from a disease-of-the-week movie.
Any movie lover will love all the movie references, as well as Greg and Earl’s many short films. Gomez-Rejon shot these shorts with Super 8, Bolex, digital Bolex and iPhone. Jesse Andrews adapted his own novel, and, as Gomez-Rejon expanded the number of “films within the film”, he called on Andrews to supply him with the new titles – and there are scores of them, right through the ending credits.
Finally, Me and Earl’s art direction is the most singular of any coming of age film. In fact, all the art direction led to the movie’s very satisfying ending; Gomez-Rejon brought in those surprises on the wall at the end – it’s not in the novel.
But Me and Earl and the Dying Girl is at its heart a coming of age story. Sure, the character of Greg is an original, but the life lessons that he must learn are universal.
Thomas Mann is hilarious as Greg; he could be a great comic talent in the making. Cooke and newcomer Cyler are also excellent. Nick Offerman and Connie Britton are perfect as Greg’s well-meaning parents, as is Molly Shannon as Rachel’s needy mom. Jon Bernthal also rocks the role of Mr. McCarthy, another great character we haven’t seen before – a boisterously vital, but grounded history teacher; Mr. McCarthy lets Greg and Earl spend their lunch hours in his office watching Werner Herzog movies on YouTube. (And Herzog himself reportedly loves the references.)
Alfonso Gomez-Rejon started as a personal assistant to Martin Scorsese and worked his way up to second unit director. With the startling originality of Me and Earl, he’s proved his chops as an auteur.
I saw Me and Earl and the Dying Girl in May 2015 at the San Francisco International Film Festival (SFFILM) at a screening with Gomez-Rejon.
Me and Earl and the Dying Girl is a guaranteed crowd-pleaser and a Must See. It’s available on DVD from Netflix and Redbox and streaming from Amazon, iTunes, Vudu, YouTube and Google Play.
If you’re like me and you worship the cartoons in The New Yorker, then the documentary Very Semi-Serious is a Must See. Very Semi-Serious takes us inside The New Yorker for a glimpse inside the process of creating and selecting the cartoons, chiefly from the perspective of cartoonist and twenty-year New Yorker Cartoon Editor Bob Mankoff. You will know Mankoff from his cartoon with the caption, “How about never? Is never good for you?”. (Mankoff has since left The New Yorker for Esquire and the website Cartoon Collections.)
We also meet rock star cartoonists that include Roz Chast and George Booth, along with The New Yorker Editor David Remnick and some aspiring cartoonist newcomers. We are boggled by the tens of cartoons each cartoonist pitches each week and the hundreds that the Cartoon Editor must review. Rejection is a major part of the cartoon life.
We also learn how Mankoff scientifically studies the eye movements of readers to see how/when/if we “get” the jokes. And we get to laugh again at HUNDREDS of cartoons.
I saw Very Semi-Serious at the 2015 San Francisco International Film Festival (SFFILM), and now you can stream it from Amazon (free with Prime), iTunes, YouTube and Google Play.
Charlie Hunnam in THE LOST CITY OF Z
photo courtesy of SFFILM
Because the San Francisco International Film Festival (SFFILM) was supposed to be underway now (it’s been cancelled for the COVID-19 emergency), here’s a film from SFFILM’s 2017 program. In auteur James Gray’s sweeping turn of the 20th Century epic The Lost City of Z, a stiff-upper-lip type British military officer becomes the first European to probe into the deepest heart of unmapped Amazonia. Finding his way through the lush jungles, braving encounters with sometimes cannibalistic indigenous warriors, he becomes obsessed with finding the lost city of an ancient civilization. I know this sounds like Indiana Jones, but it’s based on the real life of Percy Fawcett as chronicled in the recent book Lost City of Z by David Grann.
The Lost City of Z begins with an Edwardian stag hunt
through the verdant Irish countryside, complete with horses spilling
riders. This scene is gorgeous, but its point is to introduce the young
British military officer Percy Fawcett (Charlie Hunnam) as a man of
unusual resourcefulness, talent and, above all, drive. Despite his
abilities, he has been chaffing at the unattractive assignments that
have precluded his career advancement. In the snobby Edwardian military,
he has been in disfavor because his dissolute father had stained the
family name. One of Fawcett’s commanders says, “He’s been rather
unfortunate in his choice of ancestors”.
That yearning to earn the recognition that he believes he merits –
and to attain the accomplishments of a Great Man – is the core of this
character-driven movie. Fawcett resists yet another assignment away from
the career-making action, a mapping expedition designed to have a minor
diplomatic payoff. But it takes him on a spectacular Amazon exploration
that brings him celebrity – and backing for more high-profile
expeditions. Fawcett was surfing the zeitgeist in the age of his
contemporaries Roald Amundsen (South Pole), Robert Peary (North Pole)
and Howard Carter (King Tut).
In that first expedition, Fawcett becomes convinced that he can find the magnificent city of a lost civilization deep in the Amazon, a city he calls Z (which is pronounced as the British “Zed”). The Lost City of Z takes us through two more Amazonian expeditions, sandwiched around Fawcett’s WW I service in the hellish Battle of the Somme. That final expedition ends mysteriously – and not well.
No one knows for sure what happened to Fawcett. In The Lost City of Z,
Gray leads us toward the most likely conclusion, the one embraced by
Grann’s book. If you’re interested in the decades of speculation about
Fawcett’s fate, there’s a good outline on Percy Fawcett’s Wikipedia page.
Fawcett comes with his own Victorian upper class prejudices, but he
has the capacity to set those aside for a post-Darwin open-mindedness.
Gray made it a point that the indigenous peoples in the movie are
independent of Fawcett; Gray shows them living their lives in a world
that Fawcett has found, not just advancing the plot points in Fawcett’s
quest. Four real tribes – and their cultures – are shown in the film.
As Percy Fawcett, with his oft-manic obsession and fame-seeking that
color his scientific curiosity and his old-fashioned Dudley Do-Right
values, Charlie Hunnam gives a tremendous, perhaps carer breakthrough,
performance. He’s been a promising actor in Sons of Anarchy and the overlooked thriller Deadfall) (and such a good actor that I never dreamed that he’s really British). Hunnam will next star as the title character in the King Arthur movie franchise.
Robert Pattinson is unexpectedly perfect as Fawcett’s travel buddy Henry Costin. With his Twilight dreaminess hidden behind a Smith Brothers beard, Pattinson projects a lean manliness. It’s probably his best performance.
Sienna Miller shines as Fawcett’s proto-feminist wife Nina. I first
noticed Miller (and Daniel Craig) in the underrated neo-noir thriller
2004 Layer Cake. Now Miller is still only 35 years old and has delivered other fine recent performances in Foxcatcher, American Sniper and (in an especially delicious role) High-Rise.
Director James Gray (The Yard, Two Lovers, The Immigrant) is
a favorite of cinephiles and of other filmmakers, but regular audiences
don’t turn out for his movies. That may change with The Lost City of Z,
a remarkably beautiful film that Gray shot, bucking the trend to
digital, in 35 mm. The jungle scenes were filmed in a national park in
Columbia. The cinemeatographer is the Oscar-nominated Darius Khondji.
Khondji shot The Immigrant for Gray and has been the DP of choice for David Fincher (Se7en) Alan Parker (Evita), Michael Haneke (Amour), and Woody Allen (Midnight in Paris).
Along with the stag hunt and the voyages up and down the jungle rivers,
there is also a breathtakingly beautiful ballroom scene and a gaspingly
surreal nighttime discovery of a rubber plantation’s opera house deep
in the jungle.
There have been other Lost Expedition movies, most famously Werner Herzog’s Aquirre, the Wrath of God and Fitzcarraldo. The Lost City of Z
shares an obsession, a quest and a mysterious tragic end with those
films, but it stands apart with its exploration of the motivation of a
real life character and the authenticity of Gray’s depiction of the
indigenous people.
Movie studios used to make an entire genre of very fun movies from Gunga Din and The Four Feathers through Lawrence of Arabia and Zulu
that featured white Europeans getting their thrills in exotic third
world playgrounds. We often cringe at the racist premises and the
treatment of “the natives” those movies today. Since the 1960s, the best
examples of the genre, like Raiders of the Lost Ark, have had an ironic tinge. With The Lost City of Z, James Gray loses both the racism and the irony, and brings us brings a straight-ahead exploration tale.
The Lost City of Z revives the genre of the historical
adventure epic, with all the spectacle of a swashbuckler, while braiding
in modern sensitivities and a psychological portrait. This is a
beautiful and thoughtful film. The Lost City of Z is available on DVD from Netflix and Redbox and to stream from Amazon, iTunes, Vudu, YouTube and Google Play.
Also see my notes from the director James Gray’s Q & A at the San Francisco International Film Festival. [And here are some completely random tidbits. There’s a cameo by Spaghetti Western star Franco Nero. And the closing credits recognize the “data wrangler”.]
The San Francisco International Film Festival (SFFILM) was set to open tomorrow before it was cancelled for the COVID-19 emergency, so in tribute, here’s a film from SFFILM’s 2019 program.
Rojo is Argentine writer-director Benjamín Naishtat’s slow burn drama. Rojo
is set just before the 1970s coup that some characters expect – but no
one is anticipating how long and bloody the coup will be. Several
vignettes are woven together into a tapestry of pre-coup moral malaise.
A prominent provincial lawyer Claudio (Darío Grandinetti) is invited
to participate in a scam. There’s a scary encounter of lethal
restaurant rage. It looks like Claudio, bobbing on a sea of moral
relativism, may well remained unscathed, but the arrival of crack
detective becomes a grave threat.
As Claudio weaves through his life, his society shows signs of
crumbling. There’s a failed teen seduction, an emotional breakdown at a
formal reception and a natural metaphor – a solar eclipse.
It’s funny when the audience finally connects the dots and
understands who the character nicknamed “the Hippie” is. And Naishtat
and Grandinetti get the most out of the scene where Claudio finally
dons a toupee.
We know something that the characters don’t know – or at least fully
grasp – how bloody the coup will be. Watch for the several references
to desaparecido, a foreboding of the coup. Argentina’s coup was known for the desaparecidos
– the disappeared – thousands of the regime’s political opponents went
missing without a trace, having been executed by death squads. In Rojo,
a very inconvenient madman dies and his body is hidden, there’s a
disappearing act in a magic show, and a would-be boyfriend vanishes.
In the thought-provoking documentary We Believe in Dinosaurs, filmmakers Clayton Brown and Monica Long Ross introduce us to Ark Encounter, a Kentucky attraction with a full-size replica of Noah’s Ark. Explicitly pro-creationism and anti-evolution, Ark Encounter is filled with interpretive exhibits that illustrate the Biblical story of Noah as historical fact, kind of a fundamentalist, evangelical Smithsonian. Ark Encounter is 45 miles from its sister attraction, the Creation Museum.
There’s a lot to think about – and even marvel about – here. First of all, the Ark Encounter is an impressive spectacle. In Genesis, God directed Noah to build the ark to be 300 cubits long, 50 cubits wide, and 30 cubits high. That means that this thing is a football field-and-a-half long and over four stories high. We get to meet and observe the technicians and artists as they build the animatronic Noah family and the reproduced animals.
The bigger story here, though, is the massive investment in anti-science propaganda. To justify their literal acceptance of Biblical content that is inconsistent with scientific fact, these folks behind the Ark Encounter believe that they need to discredit science itself. And they’re not just defending the literal occurrence of every Bible story, but also the chronology of Bishop Ussher who, in the mid 1600s, calculated that the earth was created in 4004 B.C. That means that the Ark Encounter aggressively explains that the Earth and the human race, despite fossil evidence, are each 6,000 years old – and that dinosaurs lived alongside humans (and voyaged on the Ark). It also means that they seek to discredit the Theory of Evolution and the scientific method itself (while enjoying its byproducts – vaccines, for example).
When you distill their beliefs, these neo-creationists are essentially turbanless Taliban. Just for perspective, after suppressing Galileo’s 1615 discovery of the earth-centered solar system, the Catholic Church started backpedaling in 1718. That means that 300 years ago, even the reactionary Church decided not to double down on denying scientific discoveries.
And what about the scientists? And people of faith who accept science? We Believe in Dinosaurs
brings us the perspectives of Ark Encounter opponents, most notably a
geologist, and a former neo-creationist, both native Kentuckians.
There’s also a local Baptist minister, who thinks that people of faith
can also accept science.
One of the stunning aspects of We Believe in Dinosaurs is the unexpected David-and-Goliath story. We might expect the science-deniers to be outmatched. But the folks with most primitive beliefs are the creative masters. Anti creationists are the Goliath, supported by hordes of believers, massive private investment, capacity for technical wizardry and even state support. On the other hand, scientists are not often skilled in or equipped with tools for political persuasion and mass communications. The pro-science folks are, like John the Baptist, a lone voice in the wilderness, losing the optics battle.
Brown and Long Ross have a point of view (that science is good), but they don’t make the Ark Encounter people ridiculous. We directly hear the Ark Encounter leadership’s public pronouncements, and we meet the earnest and often sympathetic folks who are using their considerable talents to build and fill the attraction. Brown and Long Ross let us hear from both sides and let us connect our own dots. Watch the closing credits to the very end to get the subjects’ unfiltered view of the filmmakers. And wait for the film’s super-creepy money shot – that of an animatronic figure reflecting on the fate of others.
I saw We Believe in Dinosaurs at its world premiere at the San Francisco International Film Festival (SFFILM). We Believe in Dinosaurs can be streamed from Amazon, Vudu, YouTube and Google Play.
