Movies – Page 96 – The Movie Gourmet

ABACUS: SMALL ENOUGH TO JAIL: an underdog has his day

June 7, 2017June 7, 2017 by movie gourmet

Nobody likes a bully, and the documentary Abacus: Small Enough to Jail tells the riveting story of an American family business bullied into a nightmarish fight for survival. We meet the members of family, the Sungs of New York, and relive their existential struggle. It’s a compelling story, well-told.

Thomas Sung founded the Abacus Federal Savings Bank, a small bank in New York’s Chinatown, and passed on the management of the bank to his daughters. The bank’s customers are almost all Chinese from the neighborhood. The bank management discover a corrupt loan officer, fire him and turn him in to regulators. But prosecutors go on to blame the whole loan department and then the bank leadership – and file criminal charges against the bank. Suddenly, the Sungs are in a fight for their professional lives.

The Manhattan prosecutor was looking for a scapegoat for the financial crisis of 2008. Let’s remember that the global crisis was caused by the biggest players in the American financial system. The very biggest financial institutions were guilty of overt corruption – the banks were packaging and selling worthless financial products and the credit rating agencies were falsely labeling them as valuable. Banks were making crazy, unsustainable and predatory home loans. Insured accounts turned out to be not really insured.

But those crooked big banks were “too big to fail” They were bailed out by the taxpayers and escaped accountability for their crimes. Here’s what is mind-boggling: to this day, the tiny Abacus Federal Savings Bank remains the ONLY bank that has faced criminal charges from the financial crisis. Hence the movie’s subtitle “Small Enough to Jail“.

Abacus: Small Enough to Jail comes from the documentarian Steve James, who directed Hoop Dreams, the masterpiece that both Roger Ebert and Gene Siskel picked as the best movie of 1994, as well as the more recent Ebert celebration Life Itself. Abacus is brilliantly sourced – James was able to get prosecutors, defense attorneys and even jurors on camera, along with the entire Sung family.

Getting to know the individuals in the Sung family is one of the pleasures of viewing Abacus. Let’s just say that it’s a mistake to take a family business to court when the whole family are lawyers.

Right at the beginning of Abacus, James makes an inspired choice – he matches the family patriarch and bank founder Thomas Sung with George Bailey from It’s a Wonderful Life. And the engrossing saga of the Sungs begins.

PARIS CAN WAIT: female fantasy (disputed) and tantalizing food

June 18, 2017May 31, 2017 by movie gourmet

Here’s an entertaining piece of fluff. In Paris Can Wait, Diane Lane plays Anne, the neglected wife of movie mogul Michael (Alec Baldwin). A show biz emergency has short-circuited their European vacation in Cannes, and the Michael’s French partner Jacques (Arnaud Viard) offers to drive Anne to Paris. It should be a seven-hour drive, but Jacques stretches it out to take in as many fine dining experiences as he can pack in.

The flirtatious but gentlemanly Jacques is an expert gourmand and a militant epicurean. And he has resolved to make Anne feel special in ways that her husband doesn’t, at least anymore. Anne enjoys the attention, but she is anything but naive. She and the audience are expecting Jacques to make a pass at any moment.

As the closing credits rolled, most of the women in my audience applauded. Above all, Paris Can Wait is a fantasy from a woman’s point of view. That woman is director Eleanor Coppola, who, at the age of 81, has made her first fiction film. Coppola had previously made what is perhaps the best ever “making of” documentary, the 1991 Hearts of Darkness: A Filmmaker’s Apocalypse, which chronicled the making of her husband Francis Ford Coppola’s Apocalypse Now!. Eleanor and Francis have been married since 1963, and their daughter Sofia just won Best Director at the 2017 Cannes Film Festival for her remake of The Beguiled.

The great and underutilized Diane Lane is such a masterful and magnetic actor. Anne is an unchallenging role, but it’s still hard to imagine anyone better. In the 1980s, Lane started her run of The Outsiders, Rumble Fish, The Cotton Club and as Paulette Goddard in Chaplin. Her most unforgettable role was probably as Lorie in the 1989 classic miniseries Lonesome Dove. My own favorite Diane Lane performance was the one for which she was Oscar-nominated, in 2002’s Unfaithful. I’ll watch her in anything.

Arnaud Viard, a French actor whose work, mainly on French TV, I wasn’t familiar with, is perfect as the debonair but vulnerable Jacques. As we would expect, Alec Baldwin is excellent as the self-absorbed blowhard Michael.

Paris Can Wait is probably even more of a travelogue than a romantic comedy. France is a beautiful country, and Jacques and Anne get to drive and picnic through the most scenic parts. And then there’s the food – serious food porn! This is by no means an excellent movie, but if you enjoy France, and if you enjoy eating anywhere, this is a harmlessly fun 90 minutes.

[NOTE: The Wife disputes a) that this is a widespread female fantasy and b) that is was the women clapping in the theater, and she finds my “female fantasy” characterization to be offensive. On the first point, she says that the story here is NOT something that would appeal to all or most women. I remain convinced that a story in which a woman is found desirable by a non-threatening man who lavishes attention on her does appeal to women, at least more than to men (who I believe prefer non-platonic screen relationships). On the second point, it is true, as she points out, that I always have us sit in the very front of the theater, and, with our backs to the rest of the audience, I did not actually see who was applauding.]

THE COMMUNE: funny funny squirm

May 25, 2017 by movie gourmet

In the Danish family drama The Commune, Erik (Ulrich Thomsen) is an architecture professor married to the television newscaster Anna (Trine Dyrholm). Erik is very reserved, tends to be harsh and does not suffer fools. Anna is bubbly. They have a watchful 14-year-old daughter.

Erik inherits a huge house and wants to sell it. Anna wants to move the family in. Erik points out that it’s totally impractical and too expensive to keep up. Anna suggests taking in their friends as tenants – essentially starting a commune. After all, it’s the 1970s. What could possibly go wrong?

The folks who move in, of course, are a collection of oddballs. Anna embraces everyone’s eccentricities, and Erik tries, but it’s hard for him. At this point, we think we’re watching a comedy of manners – but we’re wrong.

The Commune is really the story of Erik and Anna and their marriage. Each is having a mid-life crisis that will test their marriage. The foibles of the commune are just a distraction.

Trine Dyrholm gives a remarkable performance as Anna. Is Anna shockingly open-minded and permissive, a desperate enabler or is she masking an internal implosion?

I loved writer-director Thomas Vinterberg’s earlier films Celebration (Festen) and The Hunt (Jagten). Vinterberg’s Funny Funny Squirm rhythm in The Commune reminds me of Celebration. But the payoff in The Commune just doesn’t match Celebration and The Hunt, which are exceptionally good films. I especially detested the death of a character in The Commune, which I found to be grossly manipulative.

Still, Dyrholm’s performance is stunning, and Vinterberg remains a master at the cold-eyed observation of human behavior. I saw The Commune at Cinequest.

DVD/Stream of the Week: HACKSAW RIDGE – unimaginable bravery disconnected from acts of violence

May 23, 2017May 23, 2017 by movie gourmet

My video pick for Memorial Day Week is Mel Gibson’s powerful Hacksaw Ridge. Just before the 2017 Oscars, The Wife and I finally got around to watching Hacksaw Ridge, which had been nominated for a Best Picture Oscar. Before you see this movie, you need to know that it’s a true story – otherwise you wouldn’t believe it. It’s the story of American Army Medic Desmond T. Doss who single-handedly rescued 75 fellow soldiers at the Battle of Okinawa and became the first Conscientious Objector in American history to be awarded the Congressional Medal of Honor.

Hacksaw Ridge shows Doss (Andrew Garfield) growing up in rural Virginia as a devout Seventh Day Adventist. After Pearl Harbor, Doss feels compelled to serve his country but, as a religious pacifist, he can’t sign up for combat. So he enlists as a conscientious objector to become a combat medic. He’s thrown into a combat unit for training and endures bullying from both his officers and his fellow troops.

Doss and his unit are ordered into the Battle of Okinawa. They must climb a 350-foot cliff on cargo netting, The Americans can carry up radios, bazookas, machine guns and flamethrowers but not anything heavier than that. The Japanese are not contesting the climb up because they have set up a killing field on the ridge-top, which they have fortified with concrete pill-boxes. The Japanese have also constructed a network of tunnels, in which they can wait out the US naval artillery bombardments.

It’s a blood bath. Historically, this was an extraordinarily brutal battle – even by War in the Pacific standards. And so director Mel Gibson, who never shies away from violence, graphically depicts that violence. Of course, being Mel, he can’t resist a few completely gratuitous moments, including a hara-kiri and the very cool-looking slo-mo ejection of casings from an automatic weapon. But, generally, the movie violence is proportionate to the real-life violence.

Nevertheless, the real focus is on the bravery of the US troops, of which Doss’ is extraordinary. Their and his courage to climb the cliff a SECOND time – after learning what it is like on top – is unimaginable.

Andrew Garfield is superb as Doss, playing him with a goofy and infectious grin, whose niceness and sweetness masks formidable strong will. I’ve never see him as Spider-Man, but Garfield’s work in Red Riding, The Social Network, 99 Homes and now Hacksaw Ridge has been very impressive.

There isn’t a bad, or even mediocre performance in Hacksaw Ridge. You can’t tell that Aussies Teresa Palmer, Hugo Weaving and Rachel Griffiths (Brenda in Six Feet Under) aren’t from Blue Ridge Virginia. Sam Worthington and Vince Vaughn are especially good as Doss’ commanders.

I’ve been a fan of Hugo Weaving since he so compellingly played a blind man in the 1991 Proof (also our first look at a very young Russell Crowe). Since then, Weaving has earned iconic roles in the Matrix movies and V for Vendetta and is usually the most interesting performer in big budget movies. Here Weaving plays Doss’ father, not just as the mean drunk who terrorizes his family, but as a vet still reeling from the PTSD of his own WWI combat experience.

Hacksaw Ridge deservedly won Oscars for both film editing and sound mixing. Gibson’s directing is excellent, as is the work of cinematographer Simon Duggan (who shot Baz Luhrman’s otherwise dreadful but great-looking The Great Gatsby).

Make sure that you watch through the epilogue and closing credits to see and hear the real life folks portrayed in the film.

You can rent Hacksaw Ridge on DVD from Netflix and Redbox or stream it from Amazon, iTunes, Vudu, YouTube and Google Play and DirecTV.

[SPOILER ALERT: I have also read on the Internet about something that is NOT in the movie. Reportedly, when Doss was being evacuated by stretcher after being wounded by the grenade, he ROLLED OFF the stretcher when he passed another wounded soldier and demanded that the stretcher bearers take the other guy. Doss then CRAWLED the final 300 yards to the cargo netting to rescue himself. Again reportedly, Mel Gibson kept this out of the movie because he thought the audience just couldn’t be expected to believe that it really happened.]

RADIO DREAMS: stranger in a strange and funny land

May 18, 2017 by movie gourmet

The droll dark comedy Radio Dreams explores the ambivalence of the immigrant experience through the portrait of a flamboyant misfit, a man who rides the roller coaster of megalomania and despair. That misfit is Hamid Royani (Mohsen Namjoo), the director of programming at an Iranian radio station in the San Francisco Bay Area. Radio Dreams opens tomorrow for a one-week-only run at the Roxie Theater in San Francisco.

Hamid, an author in Iran, is a man of great certainty, with an unwavering sense of intellectual superiority He assumes that everyone should – and will – buy in to his idiosyncratic taste. This results in extremely random radio programming, and Hamid tries to sabotage everything that he finds vulgar (which is everything that might bring more listeners and revenue to the station.)

With his wild mane and indulgent programming, we first think that Hamid is simply batty. But immigrants to the US generally forge new identities, and we come to understand that Hamid has not, perhaps will not, forge that new identity. His despair is real but it’s hard to empathize with – he might be a legitimate literary figure in Iran, but he’s probably a pompous ass over there, too.

The highlight of Radio Dreams is Hamid’s reaction when he is surprised that Miss Iran USA, whom he has dismissed as a bimbo, might have literary chops that rivaling his.

Hamid has concocted a plan to have Afghanistan’s first rock band visit with the members of Metallica on air, and that’s the movie’s MacGuffin. As we wait to see if Metallica will really show up, the foibles of the radio station crew dot Radio Dreams with moments of absurdity. There are the cheesy commercials about unwanted body hair, Hamid’s obsession with hand sanitizer, a radio jungle played live on keyboards EVERY time, a new employee orientation that focuses on international time zones, along with a station intern compelled to take wrestling lessons.

Writer-director Babak Jalali is an adept storyteller. As the movie opens, we are wondering, why do these guys have musical instruments? Why are they talking about Metallica? What’s with the ON AIR sign? Much of the movie unfolds before Hamid Royani emerges as the centerpiece character.

Hamid is played by the well-known Iranian singer-songwriter Mohsen Namjoo, “Iran’s Bob Dylan”. This is only Namjoo’s second feature film as an actor. He’s a compelling figure, and this is a very fine performance.

Except for Namjoo, the cast is made up of Bay Area actors. Masters of the implacable and the stone face, all of the actors do deadpan really, really well.

As befits the mix of reality and absurdism, here’s a podcast by the characters in Radio Dreams. I saw Radio Dreams at the Camera Cinema Club, and Babak Jalali took Q&A after the screening by phone from Belgium.

Radio Dreams is the second feature for Jalali, an Iranian-born filmmaker living and working in Europe. He shot Radio Dreams with a small crew over only 24 days in San Francisco. About 60% of the dialogue was scripted and 40% improvised. The band in the movie, Kabul Dreams, really is Afghanistan’s first rock band, they did get to meet Metallica in real life and the PARS-FM were filmed at a real Iranian radio station in the Bay Area.

Babak Jalali is a promising filmmaker and Radio Dreams is a movie that we haven’t seen before.

THE DINNER: emotional potboiler

May 11, 2017May 11, 2017 by movie gourmet

In the emotional potboiler The Dinner, Richard Gere plays Stan, a Congressman under a whole lot of pressure. His career-topping legislation is up for a vote tomorrow and he a few votes short. He’s navigating the perils of the 24-hour news cycle as he runs for Governor. And a scandal from his own family is threatening to erupt. It doesn’t look like he’s going to get much help from Kate (Rebecca Hall), his self-described trophy wife, who is very tightly wound.

Stan’s brother Paul (Steve Coogan) knows about pressure because his wife’s Claire cancer episode crushed him into a mental breakdown. He’s out of the asylum, but he’s still a basket case, clinging to a modest level of functionality. Claire (Laura Linney) is now able to run the family, and she’s a rock.

Now the four of them meet at an exclusive and trendy restaurant to discuss how to handle a family crisis. Paul can’t get over his resentment and jealousy of Stan. To describe the plot of the The Dinner as a family meal is like calling The Revenant the story of a hike in the woods. Accustomed to making deals in politics, Stan has to work things out with two hyper-protective mother bears and a volatile and hostile loony. Is Kate really shallow and brittle? She may surprise us as one tough tough-as-nails negotiator. And what is Claire really capable of to protect her child? The pressure builds and builds, all the way up to a shattering and ambiguous ending.

Coogan sheds his usual smugness and delivers a stunning portrait of mental illness. His Paul has the all-time movie meltdown in a high school classroom, and another amazing monologue given to an empty classroom. He has pathetically grasping conversations with a son who now only patronizes him. Coogan’s searing performance is reason enough to see The Dinner.

The Dinner is also a showcase for Linney, Gere and Hall. Adepero Oduye (12 Years a Slave, The Big Short) is excellent (and realistic) as Gere’s never-off-duty chief of staff. Chloe Sevigny nails a character who has the knack of saying exactly the wrong thing to defuse an awkward situation. The always interesting Michael Chernus provides chuckles as the restaurant’s ringmaster, who presents one pretentious course after another. The restaurant’s locally sourced and extravagantly presented food does look and sound delicious, even if each dish is so overly precious.

The Dinner explores a very thorny philosophical question: what is the parental responsibility to help a child who has done something unforgivable? Is it better to let him face harsh consequences, even if it will ruin much of his life? Or is it better to help him avoid those consequences so he can get a second chance at a normal life?

I went to see The Dinner because it was directed by (and its screenplay adapted by) Oren Moverman, and I very much admired Moverman’s The Messenger and Rampart. He has a gift for getting great performances from his cast and for portraying the moments in life that are the most emotionally explosive.

A QUIET PASSION: she was unhappy and so are we

May 10, 2017 by movie gourmet

Cynthia Nixon plays the 19th Century American poet Emily Dickinson in the biopic A Quiet Passion. Even though the Dickinson family was free-thinking for its era, Protestant New England society was severe as the women’s hairstyle. As I watched these characters navigate their world, the words “forbidding” and “stern” kept coming to mind. It was an age where the groom kisses his new bride on the cheek, and a euphoric outburst is “Reverend Wadsworth’s sermon took my breath away.”

That’s a bad time and place to be innovative or iconoclastic. And a horrible time for a woman to seek recognition for her art. The Quiet Passion’s Emily Dickinson is in a constant state of social rebellion and always unappreciated as a poet.

She clearly appreciates the sexism of the era and is enraged by the injustice. She sees through the unnecessary constrictions of the religiosity of the day and is disgusted. Unfortunately, she also holds everyone to impossible standards. She suffers emotionally, and then begins to suffer physically. All of this makes her very unpleasant and difficult to live with.

Cynthia Nixon is a fine actress and vividly conveys Dickinson’s unhappiness. Nixon, of course, is known for playing Miranda, by far the most interesting character in Sex in the City. Nixon gets to showcase her wit when Dickinson and her sister (Jennifer Ehle) repress laughter during a hilariously awkward tea with Reverend Wadsworth and his abstemious and anti-social wife.

All of the cast in A Quiet Passion is good, with the exception of the hammy Duncan Duff, who plays Dickinson’s brother, who apparently was known for tightening his brow and popping his eyes. Catherine Bailey gets to sparkle as she pops off the wicked bon mots of Dickinson’s super ironic friend Vryling Buffam.

The British director Terence Davies is a critical favorite, and generously employs arty touches like static shots of long duration and the subjective view. But I have never warmed to his films.

Davies often follows scenes from Dickinson’s life with a voice over of a Dickinson poem on the same subject. So Dickinson’s poetry comments on Dickinson’s life. The problem is that The Quiet Passion is a daisy chain of unlinked anecdotes. For a linear story, the whole thing is distractingly disjointed.

The Quiet Passion is a dreary and ponderous film. I was actually rooting for Emily to die so the movie would be over.

TRUMAN: how people say goodbye

May 8, 2017 by movie gourmet

Javier and Ricardo Darin in TRUMAN — Javier Cámara and Ricardo Darin in TRUMAN

This may be the best movie I’ve seen this year. In the deeply emotionally affecting and humane Spanish film Truman, Tomás (Javier Cámara) leaves Montreal to pay a surprise four-day visit to his longtime friend Julián (Ricardo Darin) in Madrid. Julián has been battling cancer and has just received a very grim prognosis. Julián has chosen to forgo further treatment, and his cousin and caregiver Paula (Dolores Fonzi) is hoping that Tomás can talk Julián out of his decision.

Julián is a roguish bon vivant, although now hobbled by illness. Tomás is a responsible family man. As the four day visit unfolds, Tomás tags along as Julián cavalierly settles his affairs. Because of the circumstances, even the most routine activity is heavily charged with emotion. Julián, who has always been a wild card, is now a tinderbox always on the verge of erupting into some socially inappropriate gesture. Julián is particularly focused on arranging for adoption of his beloved and ponderous dog Truman.

Julián is a wiseacre, but his reaction to a moment of kindness from an very unexpected source is heartbreaking. Julián goes to say goodbye to his son, and then the learn a fact afterward that make this encounter exponentially more poignant. Truman has an especially sly ending – the granting of one last favor, however inconvenient.

The Argentine actor Darin is one of my favorite screen actors: Nine Queens, The Secret in their Eyes, Carancho, The Aura. As a man living under a death sentence, Julián has adopted a bemused fatalism, but is ready to burst into rage or despair at any moment, and Darin captures that perfectly.

I was blown away by Javier Cámara’s unforgettable performance, at once creepy and heartbreaking, in the Pedro Almodovar drama Talk to Her. Cámara is a master of the reaction, and his Tomás stoically serves as the loyal wing man to a friend with hair trigger unpredictability, often in a state of cringe.

The Argentine actress Dolores Fonzi (The Aura) is excellent as Paula, whose caregiver fatigue finally explodes.

Packed with bittersweet emotions, Truman is never maudlin. The Spanish director Cesc Gay, who co-wrote Truman, has created a gentle and insightful exploration into how people can say goodbye. There’s not a single misstep or hint of inauthenticity. Again, Truman is one of the best films of the year.

(Note: The crappy trailer below fails to capture all the humor and deep emotion in this film.)

RADIO DREAMS: stranger in a strange and funny land

May 3, 2017May 1, 2017 by movie gourmet

The highlight of Radio Dreams is Hamid’s reaction when he is surprised that Miss Iran USA, whom he has dismissed as a bimbo, might have literary chops that rivaling his.

Except for Namjoo, the cast is made up of Bay Area actors. Masters of the implacable and the stone face, all of the actors do deadpan really, really well.

Babak Jalali is a promising filmmaker and Radio Dreams is a movie that we haven’t seen before.

NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER: big deals are not for little men

May 11, 2017April 29, 2017 by movie gourmet

In Norman: The Moderate Rise and Tragic Fall of a New York Fixer, writer-director Joseph Cedar and his star Richard Gere combine to create the unforgettable character of Norman Oppenheimer, a Jewish Willy Loman who finally gets his chance to sits with the Movers and Shakers. Norman’s gig is to find two real businessmen that he does not know, pretending to each to be the confidante of the other, and introduce them, hoping that they make a deal (a deal that he neither engineers or invests in), hoping that he can get a percentage as a finder’s fee.

Norman has not so much a ready smile as a compulsive one. Unencumbered by any sense of boundaries or propriety, he literally stalks the rich and influential like paparazzi stalk celebrities. He feigns familiarity and drops names (“a high official, I can’t say his name”). All he time, he tries, usually successfully, to stifle the odor of desperation.

I’ve spent over thirty years in politics, and in my business, it is said that there are Who Ya Know consultants and there are What Ya Know consultants. The most effective consultants combine both. If you’re only at the table to peddle the influence of Who Ya Know, you might be a little shady. That’s Norman.

I know the world of powerful and important people, a world that hustlers try to crash, and I’ve known people like Norman. And I know the Whack-A-Mole pressure of shepherding home a complex, multi-faceted deal. Norman’s character, while extreme, rings true.

Norman is everybody’s acquaintance but has no actual reputation of his own. No one knows where he lives or what deals he has structured before. He is so mysterious that we find ourselves even asking, is he homeless?

This may be Richard Gere’s best movie performance. Gere perfectly distills Norman’s obnoxious ambition to play with the high rollers and then his stress and bewilderment once he’s gotten to the high stakes table. The critic Christy Lemire writes, “You may not be able to root for him, but you can’t help but feel for him.”

Norman ingratiates himself to an Israeli politician (Lior Ashkenazi) and hits pay dirt when the politician unexpectedly becomes prime minister. Norman says, “for once, I have bet on the right horse”, and indeed Norman did spot a uniquely optimistic quality that other observers failed to recognize and appreciate. For the first time, Norman is relevant and at the exhilarating center of power.

Lior Ashkenazi is brilliant as the politician, a man who is able to recognize his own specific gifts. He is ebullient, and it’s easy to see how people can be attracted to his charisma and infectious confidence. His vulnerability is an appetite for fine things and a neediness for the flattery and attention that a poser like Norman can offer. Ashkenazi played a totally contrasting, much more nerdy, character in Cedar’s 2011 inventive and mostly successful character-driven dramedy Footnote.

Norman is juggling multiple balls in air, and he must make all of his deals pay off because they are all interlinked. It’s kind of like making an exotic bet at the racetrack like an exacta, a superfecta or a pick 6. If one part unravels, the whole thing will come crashing down. Norman has always been able to get by on bullshit, but now he’s has gotten his wish – to play at the highest level, where, at some point you’ve got to deliver. Here’s where “the tragic fall” comes in.

The stellar performances of Gere and Ashkenazi are but two highlights of Norman’s superb casting: Michael Sheen, Charlotte Gainsbourg, Harris Yulin, Steve Buscemi. Josh Charles plays a magnate who can sniff out a bullshit artist and can dismiss one with blistering efficiency. The always excellent Isaach De Bankolé (Night on Earth) is memorable in a tiny part. Hank Azaria sparkles as a character who confounds Norman with a taste of his own medicine. And we get to hear the glorious singing voice of Cantor Azi Schwartz.

As they say, if you can’t run with the big dogs, stay on the porch. Big deals are not for little men.

Note: Norman: The Moderate Rise and Tragic Fall of a New York Fixer weighs in at #16 on my list of Longest Movie Titles.