Movies to See Right Now (Thanksgiving Weekend edition)

Photo caption: George Clooney in JAY KELLY. Courtesy of Netflix.

This week on The Movie Gourmet – a plug for my favorite romantic comedy of the year, The Baltimorons, a perfect watch-at-home choice for the Holidays.

I’ll soon post a new review of the George Clooney film Jay Kelly, which is a witty and poignant screen version of the Harry Chapin song Cat’s in the Cradle. I liked it, but you can wait until it streams on Netflix on the weekend after this one.

Thanksgiving weekend is a great time catch a prestige, or even movie, or even a popcorn movie at a movie theater. Recently, I’ve enjoyed some movies at my local multiplex equipped with Dolby’s ATMOS sound. ATMOS really enhanced the thrills in A House of Dynamite and One Battle After Another and the music in Frankenstein and Deliver Me from Nowhere. Look for it.

CURRENT MOVIES

Matthew McFadyen in DEATH BY LIGHTNING. Courtesy of Netflix.

ON TV

Turner Classic Movies is airing the 1962 version of Requiem for a Heavyweight. Anthony Quinn is Mountain Rivera, a fighter whose career is ended by a ring injury by Cassius Clay (played by the real Muhammad Ali). His manager, Jackie Gleason, continues to exploit him in this heartbreaking drama. Mickey Rooney, whose acting I usually despise, is real, natural and just perfect in this film. There’s no boxing in this clip, but it illustrates the quality of the writing and the acting.

THE BALTIMORONS: vulnerability, recovery, good-hearted laughs

Photo caption: Liz Larsen and Michael Strassner in THE BALTIMORONS. Courtesy of IFC.

Here’s the perfect film for the family to watch on Thanksgiving Weekend (after the littlest kids have gone to bed). In the goodhearted and witty comedy The Baltimorons, a cracked tooth sends a guy to an emergency dentist and launches them into a nighttime adventure through Baltimore that could result in romance. It’s a funny movie about second chances.

Each of them faces a very problematic invitations. Cliff (Michael Strassner) has been sober for a few months, but he hasn’t found work. His lack of resources and his failed suicide attempt have left him in an unhealthy power imbalance with his girlfriend. He’s got to choose between his promised appearance at the girlfriend’s family holiday gathering and the chance to perform again at a pop-up comedy show organized by his buddies. Problem is, he is terrified that he can’t be funny without drinking.

The dentist Didi (Liz Larsen), in contrast, has a strong business and owns a nice home. But she’s personally reeling from her divorce, which has left her lonely and gashed a hole in her confidence. Didi is suffering the humiliation of a courtesy invite to the Christmas party hosted by her ex-husband and his new wife. So, we have two talented people in moment pf vulnerability and recovery. An impounded car sends them out together, and comic situations ensue.

What happens is funny, but The Baltimorons succeeds because of its humanity – we really care about Cliff and Didi.

Cliff and Didi would make an unlikely romantic pairing. He’s already in a serious relationship, after all. She is significantly older, and more well-educated. She’s highly functional, and he’s a floundering goof.

The Baltimorons reflects the sharp comic sensibility of writer-director Jay Duplass. With his brother Mark, Duplass wrote and directed Baghead, Cyrus and Jeff Who Lives at Home, and has since been busy directing/producing in television and acting (Transparent, Lynn Shelton’s Outside In). This is the first feature he has directed since 2012. At its world premiere, The Baltimorons won the Best Narrative Feature award at SXSW.

I saw The Baltimorons at its third public screening, at the SLO Film Fest with Jay Duplass in attendance. It won the SLO Film Fest’s Best of Fest. It’s now available to stream from Amazon, AppleTV, YouTube and Fandango.

Movies to See Right Now

Photo caption: Mohammed Ali Elyasmehr, Majid Panahi and Hadis Pakbaten in IT WAS JUST AN ACCIDENT. Courtesy of NEON.

This week on The Movie Gourmet, new reviews of It Was Just an Accident, which won the Palm d’Or at Cannes, and Richard Linklater’s tribute to the French New Wave, Nouvelle Vague.

We’re now in prime movie season, It Was Just an Accident, Frankenstein, A House of Dynamite, and One Battle After Another are all in theaters or on Netflix – and they’re all on my Best Movies of 2025 – So Far. Die My Love, with the year’s best acting performance, by Jennifer Lawrence, is in theaters, too

Eleanor the Great and One Battle After Another are now streaming on home video, although they’re still expensive to rent.

CURRENT MOVIES

Jeremy Allen White in DELIVER ME FROM NOWHERE. Courtesy of 20th Century Studios.

IT WAS JUST AN ACCIDENT: trauma, revenge and complications

Photo caption: Ebrahim Azizi (right) in IT WAS JUST AN ACCIDENT. Courtesy of NEON.

The powerful (and often funny) drama It Was Just an Accident begins with a minor driving incident that triggers memories of traumas Those memories spark a new life-and-death situation.

Vahid (Vahid Mobasseri) is a workaday auto mechanic with a dodgy back. We later learn that he was locked up by the Iranian government and repeatedly tortured. Vahid was blindfolded during his ordeal, but he remembers the voice of the secret policeman who tormented him and the squeaky limp of his prosthetic leg. Now he hears what he believes is that voice and that squeak – and he impulsively kidnaps the man, intending revenge.

Problem is, the guy (Ebrahim Azizi) denies being the torturer and his explanation of his prosthetic leg is plausible. So Vahid tracks down former fellow prisoners to confirm the guy’s identity.

Vahid and his peers were not dissident ideologues, but just factory workers who complained about not being paid for months. Nevertheless, they were all severely traumatized by their experience, and each of them really, really hates their torturer.

Their suspect is sedated and trussed up inside a box in Vahid’s van, as Vahid picks up each of his witnesses. All of them have different personalities. Vahid is impulsive (obviously), and the photographer Shiva {Mariam Afshar} is clear-headed and decisive. One of them, Goli (Hadis Pakbaten), is in her wedding dress for a photo session and comes with a bewildered would-be groom (Majod Panahi). The most volatile one, Hamid (Mohammed Ali Elyasmehr) seems to be seriously mentally ill.

Mohammed Ali Elyasmehr, Majid Panahi and Hadis Pakbaten in IT WAS JUST AN ACCIDENT. Courtesy of NEON.

The motley group faces a moral question – is it just to kill the man who committed atrocities against them? Or would that act of violence lower them to the moral level of the hated regime?

And Vahid’s impulsiveness has presented them with a practical problem. There is the matter of kidnapping, whoever this guy is, so could they get away with letting him go? Would it be suicidal to release a vicious killer who knows where Vahid works? There doesn’t seem to be any way to put the toothpaste back into the tube.

As they careen around Tehran in a van with a live body in a box, circumstances get unpredictably more complicated – and absurdly funny – all the way to the emotionally devastating ending.

Mariam Afshari in IT WAS JUST AN ACCIDENT. Courtesy of NEON.

Written and directed by the acclaimed Jafar Panahi, It Was Just an Accident is a harsh critique of the Iranian government, both for its worst human rights violations and for its petty corruption. Making this film was an act of incredible courage by Panahi. Remarkably, Panahi shot this movie secretly, including even some scenes in in plain sight on the streets of Tehran.

Panahi is a critical and industry favorite because he is persecuted by the Iranian government. By supporting Panahi, the cinema world supports free expression and human rights in Iran.

He’s also a damn fine filmmaker, the only director to win the Golden Bear at the Berlinale, the Golden Lion at Venice, the Golden Leopard at Locarno and the Palm d’Or. How Panahi shot a movie this great IN SECRET is miraculous.

It Was Just an Accident won the Palm d’Or at Cannes and is high on my list of the Best Movies of 2025 – So Far. It’s now in theaters.

NOUVELLE VAGUE: a subversive trickster bets that he is an artist, too

Photo caption: Zoey Deutch and Guillaume Marbeck in NOUVELLE VAGUE. Photo credit. Jean-Louis Fernandez; courtesy of Netflix

With Nouvelle Vague, one of America’s greatest filmmakers, Richard Linklater, pays tribute to the French New Wave, which invigorated global cinema and inspired generations of American indie filmmakers. Nouvelle Vague, Linklater’s first film in French, tells the story of Jean-Luc Godard making his first film, the groundbreaking and influential Breathless. And it’s a hoot.

The French New Wave was a period when the young film writers at a cinema magazine got to direct their own movies. Basically, this was a time in the late 1950s when a bunch of movie nerds got to create their own cinema, resulting in a burst of freshness and originality. Godard’s peers Francois Truffaut and Claude Chabrol had already transitioned from film critic to movie director, but Godard still hadn’t directed his first film, and he was itching to get started.

With all the arrogance of a 29-year-old novice who is certain of his abilities, Godard famously proclaimed that all you need to make a movie is a girl and a gun. This is that film.

In Nouvelle Vague, Godard (Guillaume Marbeck) gets the casting gift of a famous Hollywood starlet, Jean Seberg (Zoey Deutch), to team with his boxer buddy Jean-Paul Belmondo (Aubry Dullin, who is an acting novice. Godard leads his cast and crew on an anarchic 20-day shoot that Godard makes up as he goes along, with no script and no shooting schedule, which challenges the mental health of his producer Georges de Beauregard (Bruno Dreyfurst). No one can tell if the film, if it gets finished, will be any good.

The key here is the character of Godard himself (brilliantly played by Marbeck in his feature debut), who is posing as an important artist even as he tries to become one, wearing sunglasses day and night. A subversive trickster, he is strong-willed and self-confident for sure, but is he just a narcissistic dilettante? Is his artistic vision just a delusion? So, the making of Breathless is a wild ride, one turns out to be interesting because we know that Breathless will turn out to be an artistic success and an important, influential film.

Linklater fills the Nouvelle Vague with a Who’s Who of French New Wave figures and plenty of jokey references to that style of filmmaking. LInklater even shows the last scene of Truffaut’s The 400 Blows, with its indelible freeze-frame, reflected in Godard’s sunglasses.

So, can you enjoy Nouvelle Vague even if you’re unfamiliar with the French New Wave, and haven’t seen any Godard films? Yes. The madcap nature of the shoot, and the other characters all reacting with amusement, frustration and disbelief to Godard’s outsized personality are plenty entertaining.

But, if you a cinephile, then Nouvelle Vague is a Must See. Linklater’s references are delightful. The actors physically look just like the real people they are playing, and Zoey Deutsch looks phenomenal in Seberg’s iconic blonde pixie cut and Breton stripes. Not many faces resemble Belmondo’s but Aubrey Dullin’s does; Dullin perfectly captures Belmondo’s rogueish charm and working class lack of pretension.

This is the Jean-Luc Godard of his early masterpieces (Breathless, Contempt, Band of Outsiders), before his arrogance made him into a tiresome polemicist. That later insufferable Godard is satirized in Godard, Mon Amour by Michel Hazanavicius (The Artist), which would make a fine second feature on the double bill. (I have found all of the Godard films since 1967’s Weekend to range from disappointing to completely unwatchable.) 

Nouvelle Vague is streaming on Netflix.

Movies to See Right Now

Photo caption: Jacob Elordi in FRANKENSTEIN. Courtesy of Netflix.

This week on The Movie Gourmet, new reviews of Jennifer Lawrence ablaze in Die My Love, the Netflix miniseries Death By Lightning and the artsy period allegory Harvest, to go with recent reviews of Frankenstein, A House of Dynamite, Deliver Me from Nowhere, Nuremberg and Blue Moon. The Palm d’Or winner at this year’s Cannes Film Festival, It Was Just an Accident, opens more widely today, so expect my review in the coming week; I’ve heard and read good things.

I will not be seeing Now You See Me Now You Don’t because the film’s trailer exposes the screenplay as stupefyingly lazy. Why would you have Woody Harrelson, born in 1961, putting down a kid born in the 2000s for using the word bummer, which came into wide use in the Hippie 1960s?

I also want to warn you off of The Summer Book, which you may see algorithm-recommended on your streaming platform and which I discussed in October.

REMEMBRANCE

Actor Tatsuya Nakadai starred in Akira Kurosawa’s two great color epics Ran and Kagemusha, and played the foil to Toshiro Mifune’s hero in Yojimbo.

CURRENT MOVIES

ON TV

THE LIFE OF BRIAN

On November 15, Turner Classic Movies airs one of the great satires, Monty Python’s Life of Brian, which brilliantly skewers Biblical epics, left-wing militants and political correctness, the origin story of Christianity, religion and human nature, generally. Life of Brian also makes my lists of Worst Teeth in the Movies and Least Convincing Movie Hair.

HARVEST: peasants get the shaft

Photo caption: Caleb Landry Jones in HARVEST. Courtesy of MUBI.

The artsy allegory Harvest is a period piece, and it takes a while to figure out just what period of European peasant history we’re in. The look of Harvest immediately reminded me of The Return of Martin Guerre, set in 16th century France. But Harvest’s story takes place in Scotland between 1750 and 1860, in the Highland Clearances; in this period, landowners switched to more profitable, less labor-intensive agriculture, thereby depopulating huge swaths of Scotland.

The central character is Walter (Caleb Landry Jones), who is, unusually, a peasant by choice. He had been manservant to a landowner, but fell in love with a rural woman and moved to her village. Walter is more cosmopolitan than his neighbors; although he isn’t familiar with maps, he quickly grasps the concept.

Walter’s former boss and current landlord is Master Kent (Harry Melling), a gentle soul adrift as he mourns his late wife. Kent is not just a kind landlord, he is laughably lenient as he overlooks bad behavior by his peasants.

But as Kent’s wife estate is settled, he is replaced by the ruthless, smirking relative Jordan (Frank Dillane of Urchin), who can’t wait to get rid of all these inconvenient peasants so more sheep can graze. There is, of course, nothing the peasants can do about it.

So, Harvest seems to be an allegory about the inhumanity of unbridled capitalism. That shouldn’t take two hours and 19 minutes to tell, but that’s how long Harvest drags on.

I was eagerly anticipating Harvest because of my admiration for its Greek director, Athina Rachel Tsangari. Her Chevalier was one of my Best Movies of 2016. (In 2011, Tsangari brought her hilariously offbeat Attenberg to SFFILM.) Harvest is Tsangari’s first English-language feature, and she used a different co-writer this time, which did not help with the resultant film.

If you must stream it, Harvest is available on AppleTV.

DIE MY LOVE: Jennifer Lawrence ablaze

Photo caption: Jennifer Lawrence in DIE MY LOVE. Courtesy of MUBI.

In perhaps the year’s best onscreen performance, Jennifer Lawrence delivers an astonishing portrait of a young woman’s mental breakdown in Die My Love. Lawrence plays Grace, a writer who marries Jackson (Robert Pattison), whose job requires him to be on the road for days at a time. They move into Jackson’s inheritance, a ramshackle house in Montana outside the town Jackson’s mom Pam (Sissy Spacek) lives in. And they have a baby.

Grace is playful and imaginative, and she adores her baby. But she’s isolated at home with no relief from the grind of the baby care. She has lost her interest in writing. She becomes tired, irritable and down in the dumps. Jackson is selfish, clueless about Grace’s changing needs, and has a knack for doing exactly the wrong thing, like bringing home the most annoying pet dog on the planet.

Grace’s mother-in-law Pam, who likes Grace, sees that she is struggling and tries to help. But Grace slides into depression with ever more alarming symptoms and decompensates. Finally, Grace’s behavior shocks Jackson, who starts doing everything he can think of to help, but he is ill-equipped, and it’s too little, too late.

Many actors would love to portray an explosive meltdown, and Lawrence makes you lean back in your theater seats when Grace goes off. But Jennifer Lawrence’s genius is most apparent in the moments that she is just BEING in her condition and in the moments that she is trying to hold it together for others. As Grace’s psyche evolves, this is a performance of astonishing texture and nuance.

Robert Pattinson and Jennifer Lawrence in DIE MY LOVE. Courtesy of MUBI.

Pattinson is excellent as Jackson, who the audience initially sees as a shit, but who becomes very sympathetic as he struggles to help Grace get right, before her illness destroys him, too. Sissy Spacek, is perfectly cast as Pam, who has her own struggles with grief and aging, but brings her good heart, intuition and common sense to become the audience’s surrogate.

What’s going on with Grace? I think The Wife was correct is suggesting that Grace came with an underlying bi-polar disorder which was exacerbated by the postpartum depression. Early in the movie, we see Grace as playful, but maybe that playfulness is a bit frenzied. Of course, it’s fun for Jackson then, but she’s destined to become way more than he can handle. Late in the movie, we see flashbacks from their wedding, and the signs are there.

Die My Love was directed and co-written by Lynne Ramsey, who seems to specialize in madness (We Need to Talk About Kevin, You Were Never Here). Ramsey keeps us off-balance by keeping us unsure about whether what is onscreen is Grace’s real experience or a dream, delusion, or hallucination. Both a black horse and the LaKeith Stanfield character appear to Grace multiple times, but perhaps only once each in reality. It’s just not always clear. After the movie, The Wife and I actually had different views about which of the ending scenes really happened or were imagined. This is smart, artsy filmmaking, which works to keep us guessing.

So, should you see Die My Love? It’s an epic acting performance in a well-made Feel Bad movie, so there you are. Die My Love is now in theaters.

DEATH BY LIGHTNING: a statesman, a hack, a lunatic and one great story

Photo caption: Matthew McFadyen in DEATH BY LIGHTNING. Courtesy of Netflix.

In the four-part Netflix miniseries Death By Lightning, Mike Makowsky (Emmy winner for Bad Education) creates a cracking good story out of an exceedingly obscure segment of our history. In a boring history class, this would be a period in which one President (James Garfield) served only six months and the other (Chester Arthur) was never elected President in his own right, with the big political debate being about patronage versus civil service. But there was also political intrigue, corruption, double crosses, a down-to-the-wire election, madness and murder – and Makowsky makes the story pop.

I’ll be commenting on the series itself, and then the history, and finally a personal perspective from my own life in politics. First, Death By Lightning itself. It’s 1880, and the Republican Party, desperate to keep control of the White House, faces a three-way race between the political heavyweights of the time; none of the three can muster a majority, and, after 33 ballots, the delegates settle on a compromise choice who wasn’t even running – James Garfield (Michael Shannon). And, they choose a guy with a completely conflicting political profile, Chester Arthur (Nick Offerman) as Garfield’s running mate; Arthur hadn’t been running, either. Now the fractured party has to reunite behind the unexpected standard-bearers, refill the empty party coffers and navigate though the minefields of controversy.

Most of us have heard of Garfield and Arthur because they were Presidents, but the most powerful and visible leaders of the age were James Blaine and Roscoe Conkling – political giants and personal rivals with a visceral hatred for each other. Death By Lightning accurately shows how Garfield and Arthur try to make their way within the overall battle between Blaine (Bradly Whitford) and Conkling (Shea Whigham). It helps that Conkling was an outrageous, venal, womanizing character with a unique haircut that Whigham gets to flaunt. Whigham’s colorful portrayal of Conkling is reason enough to watch Death By Lightning.

The other best reason to watch Death By Lightning is the performance of Matthew McFadyen as the series’ real main character, Charles Guiteau. Guiteau was a highly functioning schizophrenic narcissist who saw himself as deserving of high office and deluded himself into thinking that he had great value as a political advisor. Guiteau, in his grasping for status, also showed himself to be a cunning fraudster and an audacious compulsive liar. Guiteau’s frustration was that everyone he met saw through his harebrained scheming, crank ideas and pathetic pretensions. As insignificant as was Guiteau, he managed to significantly impact history as a presidential assassin. In Death By Lightning, as Garfield, Arthur, Blaine and Conkling engage in real political competition, Guiteau flits around as a crazy pest – and as a ticking bomb.

The acting in Death By Lightning is superb. Shea Whigham, one of my favorite character actors, and Offerman get the flashiest roles, because Conkling and Arthur were such scallywags. Shannon has both gravitas and reserved magnetism as Garfield. Other standouts include Paula Malcomson as Guiteau’s fictional enabling sister, Betty Gilpin as Lucretia “Crete” Garfield and Dominic Applewhite as a young, idealistic party activist.

But the soaring, award-worthy performance is Matthew McFadyen’s star turn as Guiteau. McFadyen (Tom Wambsgans in Succession) is able to show how Guiteau could opportunistically turn on a dime as he reached for the influence he thought he was due, and how Guiteau just couldn’t keep it together when his lies were exposed. Ever watchable, McFadyen’s Guiteau never fails to entertain.

Incidentally, Death By Lightning was shot in Hungary on Hungarian sets with a Hungarian technical crew, but everything passes for America in 1880-81.

Shea Whigham and Nick Offerman in DEATH BY LIGHTNING. Courtesy of Netflix.

The history (contains some spoilers)

Death By Lightning is fictionalized, but accurately captures the politics of the day and the overall arc of the Garfield/Arthur/Conkling/Blaine/Guiteau story.

Even major American political figures, like Presidents and presidential candidates, had no real security at the time. People of the period must have thought of the Lincoln assassination as an awful, unthinkable one off. A regular person could approach and get up close to any politician or elected official, including inside the White House up to the door of the president’s office; (the Oval Office hadn’t been built yet.) 

Unlike today, when all the regular government employment is civil service, essentially all federal jobs were appointed politically. So, if you wanted to be a small town postmaster or a clerk in the Interior Department or consul to Naples, you needed to ask the President (or somebody else who could ask him) for the job. Indeed, that meant that the President of the US himself was always swarmed with job seekers.

Guiteau definitely had historical encounters with Blaine. I couldn’t find documentation of Guiteau meeting Garfield, Arthur or Lucretia Garfield, but those encounters depicted in Death By Lightning are all plausible, especially for someone as devious and persistent as Guiteau, who was always on alert to ambush famous people.

Other things that Death By Lightning gets right historically:

  • Arthur did feel compelled to reverse himself and enact Garfield’s program, which he had initially opposed.
  • Crete Garfield was indeed a key White House advisor of her husband’s. It’s not depicted in Death By Lightning, but the Garfields’ marriage became close after a very rocky first few years, as you can read on Crete Garfield’s Wikipedia page.
  • Guiteau really did join (and get kicked out of) a “free love” sect, the Oneida Community. The creeped-out women, who were having sex with the other men in the sect, did nickname him “Charley Gitout”.
  • All the details of Guiteau’s capture, trial and execution, including his expectation that President Arthur would pardon him in gratitude, his attempts to monetize his notoriety and the song he composed for the gallows, were EXACTLY as they happened in real life.
  • Roscoe Conkling really was that arrogant and flamboyant and really did sport that haircut with the curly locks on his forehead.

But this IS a fictionalized account:

  • Death By Lightning portrays Garfield as some sort of citizen farmer who was reluctantly involved in politics. In 1880, Garfield had been in Congress for 17 years and had risen to become the Chairman of the Appropriations Committee and then the Republican Floor Leader in the House. He was a professional politician and a national figure. This was a guy who had been elected to the State Legislature in his 20s, was able to recruit his own Civil War regiment at age 30, serve with distinction and rise to Major General rank by 34.
  • In Death By Lightning, Guiteau has a good-hearted, gullible sister Franny who enables his misadventures. In real life, Guiteau had no sister, but had a father who didn’t cause Charles’ mental illness, but who used corporal punishment and toyed with the Oneida Community himself, which certainly didn’t help.
  • Roscoe Conkling really did blunder his career away by resigning from the Senate, but I couldn’t find any source attributing his defeat to the combined efforts of his wife and his mistress.

It’s also not depicted in Death By Lightning, but Garfield, who was both a classics scholar and ambidextrous, would astound folks by writing in Greek with one hand and Latin with the other SIMULTANEOUSLY. Best Presidential party trick ever.

The politics (contains some more spoilers)

I really enjoyed Death By Lightning, and, as a history buff, especially as a student of American political history, I am admittedly a sucker for historical movies. But I also have spent four decades as a political professional, so I frequently DISLIKE movies about politics that I find naive, simplistic or implausible. So, please pay attention when I heap praise on Death By Lightning for capturing how people in politics really behave – especially those at the margins of politics.

Politics draws a lot of hard-working, ambitious people who are motivated by idealism, duty, hunger power, need for attention, and all kinds of reasons. But American democracy is, by definition a public process, and the high visibility attracts lots of mentally unstable people, too. Every politician – from school board member to presidential candidate – has been surprised by some unbalanced person with a crank fixation or worse. It;s the worst in California, where the Brown Act allows anyone to address any local government body on any topic, resulting in psychotics ranting nonsense at their captive audience of elected officials.

Of course, politicians WANT to be visible at public events. In what’s called the grip and grin, it’s traditional for candidates and their surrogates to get their photos snapped (and now we’re in the Selfie Age) with anybody, even those unknown to them. One anonymous guy who got his picture taken with First Lady Roslyn Carter turned out to be serial killer John Wayne Gacy.

While often a person immediately presents as crazy, sometimes you get a ways into the conversation before it happens. What I really love about Death By Lightning are the scenes with both Blaine and Lucretia, where Guiteau eventually makes the one overreaching remark that causes them to instantly recognize, oh, this guy is a crank.  

What people didn’t understand in 1880 was that Guiteau hadn’t opposed Garfield, as John Wilkes Booth did with Abraham Lincoln. Guiteau was a huge Garfield fan, who was disappointed when Garfield’s team found Guiteau too crazy for them to hire. (It was also crazy for Chapman to shoot Reagan in an attempt to impress Jody Foster.) I have spent my life in politics, and I can verify that there are a lot of Guiteaus out there.

Makowsky even takes shot at a contemporary politician; he has Garfield proclaim, “No matter how long America stands, there will still be Roscoe Conklings.”

Death By Lightning is streaming on Netflix.

Movies to See Right Now

Photo caption: Oscar Isaac in FRANKENSTEIN. Courtesy of Netflix.

This week on The Movie Gourmet, new reviews of the psychodrama Nuremberg, Guillermo de Toro’s Frankenstein, and the clear-eyed biodoc Kissinger. Frankenstein, on Netflix today, and A House of Dynamite, still in theaters, are two of the Best Movies of 2025 – So Far.

I also highlighted this week’s TCM broadcast of Powwow Highway. If you missed it, you can find it on the Criterion Channel. Or, for another early indie with an Indigenous lens, you can watch Smoke Signals from 1998 on Amazon, Apple, YouTube and Fandango.

I also want to warn you off of The Summer Book, which you may see algorithm-recommended on your streaming platform and which I discussed in October.

REMEMBRANCE

Three-time Oscar nominee Diane Ladd is known for Chinatown, Alice Doesn’t Live Here Anymore, Ghosts of Mississippi (she was a Mississippi native) and Primary Colors. She worked with her real life daughter Laura Dern in five movies, and in Rambling Rose, they became the first mom and daughter to be nominated for Oscars for the same movie. Early in her career, she appeared in Roger Corman’s biker exploitation film, The Wild Angels

CURRENT MOVIES

ON TV

Harold Russell, Dana Andrews and Frederic March in THE BEST YEARS OF OUR LIVES

We all need to feel better about America, even if we have to go back to 1946 to justify it with Turner Classic Movies’ November 11 broadcast of The Best Years of Our Lives. One of the greatest movies of all time, The Best Years of Our Lives, is an exceptionally well-crafted, contemporary snapshot of post WW II American society adapting to the challenges of peacetime. It won seven Oscars. And it’s still a great and moving film. When Frederic March, immediately back from overseas, sneaks back into his apartment where Myrna Loy is washing the dishes, I dare you not to shed tears at her reaction.