A Taste of Cherry (aka Ta'm e guilass) was the winner of the Palme d'Or at Cannes in 1997, but is also on movie critic Roger Ebert's "Most Hated" list. I can totally understand both of these opinions. 

Mr. Badii is driving, slowly and deliberately, all around the Iranian countryside. He's looking for a man to help him just throw 10 spadefuls of dirt. Not a spoiler since it's in the movie description, but Mr. Badii dug a hole under a cherry tree, and he plans to commit suicide there. He only needs someone to come by and check to make sure he's dead, then fill the hole. He's very matter-of-fact, and sure that it's such a simple task that he'll have no problem finding someone to do it. He starts by pitching it as a chance to make a lot of money for a small job, but when he is turned down over and over again, he ends up just begging people to help him. He never talks about why he wants to commit suicide, but the general subject is discussed throughout the entire film. Various facets of suicide belief range from fear, to religion, to understanding. 

The beautiful long shots through the window of Mr. Baldii's truck as he winds through the dusty Tehran landscape turn the location into the main character. Mr. Badii doesn't give much information about himself or his story. His personality does not give anything away, it's even and pragmatic. He has even features, and a calm demeanor. We don't even find out his first name. Although he is in the film from the first minute to the last, it is not about him. It's about the people who come in contact with him and how they feel about suicide. 

It's hard to discuss the ending without giving away key points or surprises, so I'll just tell you how it made me feel. There are essentially two parts to the ending. The first brought up a lot of emotions - sadness, hope, chill, loneliness, wonder. Honestly, it could have just ended there - and I would have thought about it for weeks. However, because of the sensitive subject and how film boards like to operate, there must be more in this case. The second part of the ending was crass, loud, jarring, and unsatisfying. Still, I thought about it for weeks. 

"A Taste of Cherry" is available on Netflix DVD as all fine foreign films are. 

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Who doesn't love Morgan Freeman and Diane Keaton? Both have long acting histories that are rich with both comedy and drama, and plenty of awards. In "5 Flights Up," they play Alex and Ruth Carver, a couple trying to sell their apartment which, as you may have guessed, is on the fifth floor with no elevator. Their niece, Lilly (played by Cynthia Nixon) is a suit-wearing, fast talking, real estate agent who runs around screeching at them about bids, deadlines, and the New York Real Estate market. Since Alex and Ruth have lived in the same place for forty years, they have no idea what to do and spend most of the movie completely confused. 

There are two side stories - one about a terrorist attempting to blow up a bridge, and one about their dog, Dorothy, who has an expensive surgery. Along the way, they meet a young girl whose mother is in the market for an apartment, two "dog ladies" that are adopting a baby, a psychiatrist who wonders if she can get patients from the rest of the building's tenants, and a rude couple who appeared to not want to sell to a mixed-race couple. 

We have lots and lots of flashbacks - how Alex and Ruth meet-cute, why they have no children, how they acquired their little dog, and Alex's art career. Nothing new to see here, in fact, nothing much new in the entire movie. Keaton is her usual neurotic self, while Freeman is the calming force (and voice!). The most interesting scene is when Ruth (as a young woman) talks to her family about her impending marriage to Alex, and her mother tries to be supportive without wanting to. Ruth doesn't use this time to teach, to help her mother bod with Alex, or to enlist her sister's help - she just rants and raves. 

It was a pleasant Saturday afternoon movie - no violence, no conflict, not really any tough decisions despite Nixon's insistence that everything be decided immediately, while swinging her phone and designer handbag around wildly. I guess that it's a bit more interesting for people who live or have lived in New York City. Those outside don't really care about the NYC real estate market, or how cutthroat it is. The screenplay is written by Charlie Peters, the writer of "Krippendorf's Tribe," which is a horrendous movie, so the bar there was pretty low. All we came to see was Keaton and Freeman, though, and that was a very satisfying mission accomplished. 

"5 Flights Up" was a flash in the theaters, but you can catch it on Netflix DVD. 

They have no family in town, and no jobs, and Alex is constantly saying he loves a great view...why wouldn't they just move to Connecticut?  

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This is exactly the kind of DVD that I joined Netflix for, 14 years ago. Classic, quirky, informative, unknown. They are available at any time from http://dvd.netflix.com. 

Edward R. Murrow was an award-winning American journalist for CBS during the time of WWII. He did live broadcasts from Europe, as well as producing a variety of special reports. On April 2, 1945, Murrow and fellow reporter Bill Schadel were the first reporters at Buchenwald concentration camp, and the first to talk to emaciated survivors. 

In 1953, Murrow created a wonderful show called "Person to Person," which were just casual discussions with famous people. He chose those who were setting trends for the culture of the fifties, without knowing that many of them would become legends...even super legends.

The first disc is the best one. Murrow interviews John F. Kennedy, who had just been elected to the United States Senate. Murrow was obviously unfamiliar with him, but Kennedy was a passionate interview, outlining his hopes and dreams for the future of the United States. Kennedy was accompanied by his wife, Jackie, who was demure and smiling...yet to grow into the incredibly strong woman that we knew and loved. 

Robert Kennedy was brash and smiling, at ease in front of the camera, even with Murrow's prying questions. His wife, Ethel, welcomed Murrow and cameras into their home, showing off their children and pets...and their lavish lifestyle. 

My favorite one was Murrow's interview was Eleanor Roosevelt in her New York apartment. It is much smaller that anyone would imagine a former President's wife would ever occupy. She loves it, though, and shows us every inch. She admits that she doesn't cook, answers her own fan mail, and gets a lot of invitations to speak. She mentions wanting to help everyone, and reading mail from people who disagree with her as well as those who think she is still in the White House. She's very humble, and seems even surprised that anyone would care how she lives. 

These amazing interviews give you a glimpse into history. From Danny Thomas and his wife showing off their Christmas tree, to Norman Rockwell proudly showing off his studio and describing his creative process, you'll be warmed by the peek into these great people. Other icons on Disc 1 are Esther Williams, Billy Graham, Dick Clark, Andy Griffith, and Art Linkletter.

Discs 2 and 3 include Marilyn Monroe, Frank Sinatra, Humphrey Bogart and Lauren Bacall, and Frank Sinatra. Find a lot more discs like this at http://dvd.netflix.com. 

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I chose to rent "Thoroughbreds" from Netflix DVD because it was Anton Yelchin's last movie before his death at the age of 27. I didn't know what to expect, but the first few minutes had a distinct "Heathers" feel to it with the distinct, ennui-laced dialogue between two privileged girls. It's the kind of conversation that makes me want to yell, "GET A JOB, THEN YOU'LL HAVE REAL PROBLEMS!" 

The story focuses on two rich schoolmates, Olivia Cooke as Amanda, who is angry for no apparent reason other than thinking she has a much better grasp on real life than everyone else. Anya Taylor-Joy is Lily, a perky, studious girl with a hatred for her stepfather, Mark (Paul Sparks). One of the most humourous conversations was one of the first between Amanda and Lily when they were starting to be honest with each other:

Lily : Have you been showering?
Amanda : Recently, only every couple of days. Nobody said anything so I assumed I was getting away with it.
Lily : Well, you're not.
Amanda : Not sorry I tried.

After that, it kind of spiraled into what I assume are writer/director Cory Finley's observation's on life. Finley is a member of Youngblood, a group of young writers. The cinematography was a nice combination of shadows and blocking, positioning each actor's head and body in just the right spot. Lyle Vincent was the brains behind all of that, using natural light for most of the shots. I'll be looking for other films that feature Vincent's work...he does have a knack for framing. 

The stepfather turns out to be Bad to Lily and her mother, so the girls want to kill him of course. Like other movies of this ilk, the girls hatch an unlikely plan to do this which, in Chapter Three, involves Yelchin. He has a very small part as Tim, a drug dealer who is a potential hit man that Amanda and Lily try to hire to kill Mark.

There's an interesting twist as various plans go awry, and the end of the film far makes up for the triteness of the beginning. It is bittersweet, but plays out in a very disconcerting way that will have you questioning what Amanda and Lily's lives will be, and questioning your own morals. The movie poster touts it as "wickedly funny" (not so much) and "unpredictable" (most definitely). More dark than comedy, it's worth the watch. 

If you're looking for a Netflix DVD with more Anton Yelchin, try "Odd Thomas" or "Charlie Bartlett."

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I will admit this right off the bat: I am not a big fan of Natalie Portman. As Dorothy Parker wrote about Katharine Hepburn, "She runs the gamut of emotions from A to B." If I apply that to Portman, then it puts us both in good company. Because of that, the movie didn't grab me from the beginning, despite the Crosby, Stills, and Nash background music as she thought about her husband who supposedly died in service to our country. Honestly, as she is pulled back and forth around his disappearance, I feel nothing coming from her. She's just as blank as Queen Amidala. Even when things should have been really terrifying, her face looked like she'd just had botox. Good thing I rented this on Netflix DVD (http://www.dvd.com) so I can return it easily!

​Anyway, about the movie.  The premise is interesting - a no-woman's-land where things aren't at all what they seem. A group of women are sent in to figure it out. They aren't trained much, so they take a lot of needless risks. A whole lot. Despite seeing all kinds of mutations and other oddities, they still don't believe other strange things when they see them. It's like a bad 80s horror film where the guy who says, "I'll be right back," never comes back. 

If I sound cynical, it's because I am - "Annihilation" tries way too hard to bring odd things into the picture, then dispense with them right away. "I don't want to stay here tonight." "We have to. It's too late to move on." That dialogue could have (and probably is) in almost every movie ever made. The Shimmer itself was no more interesting than anything we've seen in the new "Lost in Space," or the Australian Outback. Everything they find, they immediately go up close to it without protection or go off alone. Even Navy Seals don't do that. 

I won't spoil the end, but it is way too easy to figure things out when the explanation is just waiting for you at the end. There's no real use of anyone's intellect to figure out what's happening. Portman plays a biologist, whose big revaluation is that different flowers shouldn't grow from the same stem. I wonder if they just took LSD if they'd have a better adventure. Honestly, the bending and loss of time was the most unsettling thing - if the writers had done something with that - well, that would have been a bit better. 

If it sounds like "Annihilation" was a waste of my time - it was. The good thing is that because I wasted my time, you don't have to waste yours. Skip it. 

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 If you're like many people, every Christmas season, you watch your favorite Christmas-themed movies. Mine are "Elf," "Santa Claus: The Movie," "Home Alone," "Miracle on 34th Street" (both versions), and "Die Hard" (of course!). The very best Christmas story of all time, however, is Dickens' "A Christmas Carol." 

The story of miser Ebenezer Scrooge, a tyrant and general jerk who is visited by the ghost of Marley, his deceased business partner, followed by three ghosts on Christmas Eve is a beautiful tale of misery and redemption. It's a perfect reminder to us about the true spirit of Christmas - and that it's never too late for us to change for the better. As a result of the over-arching moral themes and charming plot, this book has been adapted over and over again for film and television. 

My favorite version is the one with Alistair Sim that was released in 1951...it's shown on network TV every year. One of the joys I've discovered with Netflix DVDs is that there are so many - and each has its own charm. Scrooge was played as a straight drama by such greats as Reginald Owen (1938), Patrick Stewart (1999), George C. Scott (1984), Michael Hordern (1977), Seymour Hicks (silent - 1913), Kelsey Grammer (2004), and even Marlo Thomas as Ebby Scrooge (1977), to name just a few. Of course, there are comedies as well - the best being "Scrooged," with Bill Murray (1988). Untold numbers of animated versions were created, like "Mr Magoo's Christmas Carol" (1962) and Mickey's Christmas Carol (1983). Jim Carrey even made an animated version in 2009. Several TV shows produced special episodes with the "Christmas Carol" story line, like "Doctor Who," "Sanford and Son," "Beavis and Butthead," and "Blackadder." The best TV adaptation comes from "Family Ties," in which Alex Keaton (Michael J. Fox) sees the error of his "bah, humbug" ways, and buys his family unusual gifts from the local convenience store. 

Personally, I never get tired of being walked through a full range of human emotion as the ghosts walk Scrooge through his life. The moment when Scrooge realizes that he can and wants to be a better person, and when he sees how that affects everyone his life -- never ceases to bring out the tears. There isn't anyone who can't learn from any adaptation of "A Christmas Carol." You can find many of these on the Netflix DVD service (http://www.dvd.com), and get your Scrooge on during December - or any month! Just search for "A Christmas Carol" or "Scrooge," and you'll be able to choose from all your favorite actors - and many that you haven't heard of. 

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I have loved horror films since I was a child. I recall watching old Vincent Price films on Sunday afternoon, my favorite being "House on Haunted Hill." When the skeleton came dancing out of the vat of acid, I always watched through my fingers - but I did watch every time. From "The Fly" to "The Tingler," Price sent chills up and down my spine every time he spoke. I was fortunate to have met him when I was 15 after seeing him perform as Fagin in a stage production of "Oliver!" Even now, 25 years after his death, hearing the deep tones of Dr. Phibes' organ sends my hands up in front of my eyes.

Along with a love of horror films comes an enjoyment of everything scary that comes out for Halloween. Several years after first subscribing to Netflix DVDs, I decided to make a concerted effort to watch as many horror films as possible in October. Netflix offered all of my Vincent Price favorites (over 55 titles at this time), so I loaded up on them for the entire month. I enjoyed the impromptu film festival so much that I decided to repeat it the next year - watching as many Price movies as I could cram in between family and work. With a quick shuffle of my Netflix queue - they just kept coming. For over 10 years, I've been leaning heavily on Neflix (http://www.dvd.com/20years) for my horror film addiction. 

The third year, I tried something different - finishing off the AFI top 100 Thrills, which included a lot of horror and drama. The fourth year, I went for films with weird titles, like "Cockneys vs. Zombies" and "Dead and Breakfast." Most of them were so bad they were really good. That level of "bad" quality did not extend to the fourth year, when I went for films that were sequels. As you may suspect - they were bad bad. "Friday the 13th: Jason Takes Manhattan" and "Poltergeist 3" were so bad that I ditched the theme in the middle of the month and just watched whatever horror film I wanted. 

Over the years, I've really enjoyed most of the themes I chose, and I started sharing my October Horror Film Fest adventures with my social media friends, often posting reviews for each horror film. I was able to introduce young people to old black-and-white classics like Frankenstein and Nosferatu, later classics like "Rosemary's Baby" and "The Dunwich Horror," and a lot of my favorites like "King Kong" and "The Mummy" (the old and new versions of both). 

Last year's theme was "...of the Dead." Sure, I had "Night of the Living Dead," "Dawn of the Dead," and "Sean of the Dead." If you're looking for new films to watch, though, don't miss "Juan of the Dead," "Night of the Living Bread," and "Poultrygeist: Night of the Chicken Dead." 

One more aspect of the October Horror Fest: I'm working my way through all of the discs of the "Dark Shadows" soap opera of the sixties. My mother watched it all the time and I loved it. Netflix DVD has so many seasons that you'll never run out! 

You don't have to do horror - but pick your favorite genre, pick a month, and queue up a bunch of DVDs!

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If you only watch blockbuster movies, you miss some real gems. If I had never rented "Brigsby Bear" from Netflix, I would have never seen the preview for "Maudie," and that would have been a great loss. Not only would I have never seen the movie, I wouldn't have known about the life and artwork of Maud Lewis. 

"Maudie" is the true story of Nova Scotian folk artist Maud Lewis, whose colorful paintings have been increasingly popular in her later years. The oils are far from the most interesting thing about her, though. Sally Hawkins is amazing as Maud, who had rheumatoid arthritis and an "odd sense about her." Ethan Hawke is her (future) husband, also a loner and town oddball, who takes Maud in as a housekeeper. Both are almost unrecognizable as they melt into their respective parts. 

Sometimes sad, sometimes touching, sometimes angry - "Maudi" captures the hard road for Maud Lewis as she struggles to win even an ounce of respect from her family and, at the beginning, from Everett. When Maud starts working at Everett's house, they each have a lot of growing to do even to get along with the one other person who needs them. They grow closer, but even their version of "close" is unusual. When Maud's paintings become quite popular, they don't change a thing. They live in the same tiny house without electricity, living on only the bare necessities...but Maud starts painting the walls, and it becomes a work of art itself. 

In fact, the movie itself uses very simple scenery, costumes, and dialogue to tell what ends up being a very lovely story. Half of Ethan Hawke's lines are old school Canadian fisherman "grunts," but they say a lot in the context of the film. The couple's house is small and cramped, just like Maud...and we see it come to life as she paints its walls, just like she comes to life as she paints more and more...not becoming stronger physically, but emotionally.

Sally Hawkins gave a very strong performance in "Maudie," but she played almost the same character in "The Shape of Water," for which she earned an Oscar and a Golden Globe nomination. In my opinion, this was a much more transformative role and deserved a stronger nod.  Canadian film festival goers loved it, giving it several film festival awards. I hope that some day, US film goers appreciate "Maudie" as much as I do. 

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I have been a classic movie fan since I was a small child. There was nothing to do on Sunday afternoon except watch old movies on our local affiliate TV station, and it seemed like they played the same 20 movies all over again. Foreign films, comedies, epics, horror - I learned to love it all. Typically, I had to wait for these movies to randomly come on TV and, because DVRs weren't a thing yet, I had to watch them when they were on. I was on Thanksgiving break in 2004 when I heard about Netflix. All I had to do was choose some movies, they'd send them to me, I watched them, and I'd send them back and get more. It seemed unbelievable - especially since I saw what they had available - which was pretty much everything!

I jumped in feet first, and before long, my first two movies were on their way: "Kill Bill 2"  and "Akira Kurosawa's Dreams" - both of which I rated five stores and have remained in my list of top movies of all time. Before long, I had a mailbox full of foreign film like "Blue," "The Decalogue," and another that is still one of my favorites: "I am Cuba." Every disc I received had the potential to be amazing...or a dud. The best part was that no matter what - I could send it back and get another quickly. 

In a few months, I took a chance on a black-and-white Indian film from 1958: "Pather Panchali." This film is the first of a trilogy directed by Satiyajit Ray. The story is simple - the head of a very poor family has to leave and take a job elsewhere, leaving his wife and two children to the elements. When he returns, his heart is broken to find that things didn't go as well as he had hoped. The cinematography was so lovely, and the story so simple and heartbreaking, that I devoured it and the other two in the trilogy:  "Aparajito" and "The World of Apu." I stepped a bit forward in Indian film with "Sholay" (1975), "Black," and "Dil Chanta Hai." I moved from drama, to comedy, and finally the inevitable step in Indian film: Bollywood musicals. Eventually, I saw a movie that changed my life: "Diwale Dulhania Le Jayenge" starring one of the top Indian actors: Sharukh Khan. I leapt headfirst into Bollywood with Shahrukh, through "Kuch Kuch Hota Hai," "Om Shanti Om," and my favorite, "Rab Ne Bana Di Jodi." I became such an Indian film buff that I never ceased to shock my co-workers from India with my knowledge of their film industry. Now, I use my love of Bollywood to make friends with co-workers and friends who are far from home and come to my city to work. It really is a small world, and Netflix DVD helped me make it a little smaller! 

Celebrate 20 years of Netflix DVDs with me by renting a Shahrukh Khan movie! 

20years.dvd.com/

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"Did you hear that? Jeff, are you 'Boston Strong'?" Jeff Bauman is nothing but strong, as we see in the 2017 movie, "Stronger," starring Jake Gyllenhaal as Bauman. 

The buildup to the accident is very quick, because that isn't what this movie is about. We see a quick exchange with his Costco co-workers, a brief scene with his girlfriend, and then we're at the 2013 Boston Marathon. The explosion is seen from afar, and there is no gore. In a scene or two, he's waking up in the hospital having had his legs amputated above the knees.

There aren't any politics, or gossip, or celebrity appearances. This is not a gratuitous movie to please your inner voyeur. It's a heartfelt retelling of the difficulty of Bauman's recovery, and I am sure that it doesn't even scratch the surface. 

One of the hardest scenes to watch is one where Bauman is trying to do a simple task - use the bathroom. Bauman's family fills the living room of his home, cheering on the Boston Red Sox and yelling through the door every time they see "Boston Strong" on a baseball bat or sign. Meanwhile, Bauman is on the floor just trying to tear off a few sheets of toilet paper by himself. His family throughout the movie enjoys the attention, but fails to give Jeff the kind of physical and emotional support he needs. When Bauman turns down an interview with Oprah Winfrey because the publicity is too much, they push back hard rather than trying to figure out how he feels. 

This movie is just as much about Jeff Bauman's girlfriend, Erin Hurley, as it is about him. She's the one who was running the Boston Marathon when the bombs went off. In the movie, she was almost at the finish line, but in reality, she was about a mile away. The race took place during one of their many breakups, and her feelings of guilt, anger, fear, and responsibility weighed heavy on her mind - and on their relationship. 

Ultimately, we get a glimpse into what it means to be an accidental celebrity. Bauman is approached everywhere he goes, yet gets out of traffic tickets and gets to throw out the first pitch for the Boston Red Sox. It's a mixed bag of emotions, but at the end of the day, he still has to do all of the recovery work himself. 

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