If you’re going to see just 1 Oscar-nominated film…see 5!

So here we are, almost Academy Awards time…Have you seen all the films? Have you heard the scores? And what’s the difference between Sound Editing and Sound Mixing anyway?

This is an unusual year for me as I haven’t seen all the films but if you asked me which one of the nominated films to see—what would I recommend? My answer may surprise you. I would tell you to go see the Oscar-nominated Live Action Shorts!


Seeking out shorts!

This doesn’t mean that I think the Best Picture nominations aren’t deserving! I’ll give you a quick run-down of how I’d rate them another time, perhaps. What makes this collection of five films from five countries so remarkable? These gems of great storytelling will move you, inspire you, and make you cry or laugh. They represent a distillation of what makes movies amazing: the craft of storytelling at it’s most focused and assured!  So please, go seek out the Shorts Programs. Many big cities are screening the Oscar-nominated Live Action and Animated Shorts and the Documentary Shorts are also brilliant–though that is a 3-hour program.


  • Ennemis Intérieurs — my least favorite

    Sélim Azzazi

    La Femme et le TGV –what a brilliant poster!

    Timo von Gunten and Giacun Caduff

    Silent Nights — just brilliant and Kim Magnusson’s 6th nominated film!

    Aske Bang and Kim Magnusson

    Sing — great film for the whole family

    Kristof Deák and Anna Udvardy

    Timecode — when you gotta dance!

    Juanjo Giménez


Film Festivals: why they are more important than ever!

I’m obsessed. It’s true. There are very few people who dedicate this much time attending, working and curating film festivals; my life is is ALL about film and I love it. As I embark on the journey to help birth two new film festivals in the Front Range of Colorado, one might question why? Do we need another film festival? Aren’t Sundance, Cannes, TriBeca and SXSW covering all the bases? So few people attend local film festivals in the early years of a festival…why do I work so hard to get these events off the ground? Why bother?

Here’s the thing…Americans are insulated. We are living in a very divisive time and so many of us are surrounded by like-minded individuals. Our lives are lived in bubbles of work, family, church and community. There is little opportunity or dollars to travel if you’re working hard to stay employed.  And little time off to pursue the pleasures of the arts or hobbies or time to just BE. Politics have become an issue that raises blood pressure and angry words. There are alarming changes to government policies and threats to art, education and environment. What does this look like from the perspective of countries outside our own? Do you know? Do you care?

Rather than turn inward, or turn off—I find community in the shared experience of cinema. When there were threats to the EPA, I went to the Wild and Scenic Film Festival and listened to the cheers of nature-lovers applauding the work of environmentalists. When the ACLU seemed overwhelmed by government actions, I went to the United Nations traveling film festival where civic-minded film lovers rallied friends to march, donate and celebrate successes here and worldwide.

Not everyone is fortunate to live in a town with an art house theater. Fort Collins, CO, has a gem of an art house theater. The Lyric Cinema Cafe will soon be moving but currently there are screenings of the Oscar-nominated Shorts and on Feb 28th, short films created by local filmmakers in 48 hours! Tonight, I’m going to a screening billing itself as a film festival. I love how Wandering Reel Film Festival describes it’s mission:

“Artists have long been at the forefront of social innovation. The Wandering Reel believes in the power of film art to effect positive change, to bring people together through shared cultural experiences and to promote peace and justice around the world by inspiring conversation between individuals and communities through the common experience of cinema. By exposing under-served communities with films that are artful in their meaning and compassionate and conscious in their approach, the boundaries that divide people can be slowly stripped away, cultures can be enriched and peace grown across the globe.”

Learning about other cultures and other worlds is so important. Documentaries are so crucial to spreading knowledge and helping us learn about our world. Yes, we need to decompress and laugh at Batman, The Lego Movie but the experience just doesn’t compare to the satisfaction of seeing Hidden Figures! This fictionalised account of a true story benefits from the amazing cast but it’s the STORY; the true story that draws you in. There’s a feeling of community when you hear the applause in a crowded theater; when you know that we’ve all shared an experience and learned something together. Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race written by Margot Lee Shetterley.

We can all be transported and moved by a true story compellingly told.


Yes, documentaries are more important than ever; I completely agree with Simon Kilmurry! I would argue that we also need places to see these compelling documentaries. That’s why we need film festivals. How many documentaries are screening at your local cineplex? You need to seek them out on the Nature Channel or PBS; you need to set your DVR. I’m on a mission to bring them to you, in your town, to help build community and showcase your local talented film community. I hope you’ll join me!

See you at the Boulder International Film Festival March 2-5 and at the Front Range Film Festival April 20-23! And stayed tuned for news about Lyons, Nederland and the newest film and craft festival: Boulder Beer and Film Festival in September!

Please put this important documentary on your must see list for tomorrow night! A perfect companion film to the brilliant documentary, I’m Not Your Negro about the life of James Baldwin. Because, Black Lives Matter!


Maya Angelou in 1974.
Maya Angelou in 1974. Wayne Miller/Magnum, via PBS
‘Maya Angelou: And Still I Rise,’ 8 p.m., PBS (Check Local Listings)
This two-hour “American Masters” biography covers the astonishing breadth of Angelou’s work as a singer, performer, poet, author and activist, and includes footage from throughout her life as well as candid interviews.
KQED has a thorough companion archive to the documentary, which is particularly poignant because Angelou hosted a 10-part series on KQED in 1968 called “Blacks, Blues, Black!”

Fall Film Festival Favorites


Four Fall Festivals in three months!

Fall is a grand time to be a cinephile. Studios release their “important films”; the ones they hope the Oscar voters will remember. There are independent films that have landed distribution deals at film festivals and these gems are making their way to local art-house cinemas. A few films with festival buzz are about to hit a theater near you. Often these films don’t stick around long if they don’t find their audience…so here’s what I’d recommend.

Moonlight: Barry Jenkins has created a film of exceptional power. A slow-burning film essay on growing up poor, black and feeling hopeless…facing bullies, family addiction and a daily trail just to make it to school. Using three different talented young actors, the story feels both personal and universal and there’s not a false note or preachy moment. Great support from Naomie Harris as the mother helpless in her addiction spiral and Janelle Monáe as the mother figure who nurtures the boy. An amazing look at one boy’s arduous journey to manhood. I’d rate this film 4 shots of spiced rum for it’s Florida setting.

Eagle Huntress: We need stories of female empowerment now more than ever, and Otto Bell’s documentary of the first girl to become an eagle hunter in the Mongolian Steppes is both beautiful and exciting. Otto Bell’s note about filming  This is a film to take your daughters and sons to and I hope that it gets the wide release it deserves. 4 shots of whiskey to drive away the winter chill.

Lion: A Hollywood film that certainly doesn’t need my endorsement, it’s the amazing true story that makes this film stand out. Directed by Garth Davis and heralded by the Weinstein Company, Lion will have enjoy wide release. Dev Patel is gorgeous in this film even if his character is a moody, restless young man. Nicole Kidman adds considerable warmth as the caring adoptive mother…but it’s the young actor, Sunny Pawar, who steals your heart and the film! As the 5 year old Indian boy who is lost and then rescued into a new life, Saroo is torn from his home and his land. Sunny plays Saroo as a determined young man; full of hope and not looking for pity. I liked that the film doesn’t sugar coat the life of an orphan and the conditions in the orphanage. 4 cups of good Indian tea served with an Aussie biscuit.

My other favorite films: Una, a grueling, mesmerizing film with Rooney Mara and Ben Mendelsohn playing broken individuals trying to regain their lives after an underage affair. L’Avenir, a very French film starring Isabelle Huppert as a woman who’s life is unraveling but she keeps her cool and creates herself anew.

Films I’m looking forward to seeing: A Man Called OveCertain Women  and 20th Century Women

What a ride…Telluride!

There are as many ways to enjoy Telluride as there are reasons to go to this glorious mountain town: festivals, skiing, and nature!  For some visitors, it’s the stars…you feel so close to the star-filled sky in this village with it’s Dark Sky policy.  And then, there are the other Stars; the Film Stars that descend on this tiny town for the Telluride Film Festival every year.

Just like any other festival I’ve ever attended, film-goers flock to the screenings with the most glamorous guests.  Even in this rarified atmosphere of film as fine art and a welcome respite from the paparazzi, the screenings that fill up are the ones with the Big Names.  This makes seeing the really good films more difficult.  The bigger budget (and often, more mediocre) Hollywood films, screen multiple times and in all the big venues. When the true gems of the festival create a buzz, there’s little chance to see them in the remaining day or two, especially when those films are screening in the smaller houses!

Pablo Larrain, Joseph Cedar, Isabelle Huppert moderator: Annette Insdorf and Mia Hansen-Love



2016 was no different, but what a fabulous line-up of films!  The Arrival with Amy Adams was the one film that seemed to always have to turn away the crowds.  Three films that I really wanted to see, I didn’t make it to: Graduation, Toni Erdmann and Through The Wall.  I didn’t attempt to see some of the bigger films that will soon be released but I did enjoy the hot mess that is La La Land.   Amusing, romantic, and fanciful, it’s a fun Hollywood musical.  Ryan Gosling and Emma Stone have great chemistry.   The score and choreography are wonderful. Sadly, it’s suffers from poor editing and the last third of the film is a muddled mess.  Still, it was a delight and I’d give it 4 coupe glasses of champagne (out of a possible 5).

My favorite film of the Fest: Inner Workings, the new short from Disney directed by Leo Matsuda!  Delightful, heartwarming and a complete story in it’s short running time. I’d rate it 5 margaritas (not during work) out of 5!


In the features category, my heart belongs to Frantz! François Ozon has crafted an indelible film full of grief, loss and longing all set in a small German village shattered by the loss of life during WW2.  Using black and white cinematography to bring you into this period; the costumes, setting and acting seem so attuned to the time that it creates a documentary feel…and then when love and vitality touch the lives of the anguished young lovers (played with such sensitivity by Paula Beer and Pierre Niney), color brightens the screen and warms the mood.  I was swept away and found the story to be so rich that I wanted to see it again immediately.  5 German beers!

One film that I did end up seeing twice, and would rather have not seen at all…Bleed For This.  Aaron Eckhart gives a great supporting performance as the trainer to Miles Tiller’s underdog boxer in a soap opera of a tale that’s so loopy — it has to be true.  Ben Younger directs a cast of gum-snapping, beer-drinking stereotypes where alcoholism is cured with a short stay in the pokey.  Did we need another boxing movie?  Really?  1 can of Budweiser.

Una is an emotional roller coaster based on the play, Blackbird.  Almost a one-woman show, Rooney Mara is emotional-wrenching in her role as the young woman left frayed and broken by an encounter she still doesn’t fully comprehend.  As the small cast reveals the shocking details, the audience is along for the intimate, anguished reveal.  Master work by director Benedict Andrews.  5 shots of vodka…no chaser.  You’ll be shaken and stirred!

In the just-for-the-joy-of-it category: Lost in Paris.  Two physical comedians, Fiona Gordon and Dominique Abel, writer/directors, play characters named Fiona and Dom that keep careening into one another in Paris.  The French actress, Emmanuelle Riva, adds grace and depth to a film of childlike wonder. 3 bottles of French bubbly washed ashore.

Not a fan of the film Wakefield, I felt the character was a caricature of a man losing his grip on reality and Bryan Cranston gave a one-note performance in this unlikeable portrait. For a much more in-depth and believable parent and human being, there’s the soulful Isabelle Hubbert, radiant in her role of a woman who’s life is unraveling in Things To Come, directed by Mia Hansen-Løve.  Her performance has so many layers that you believe that her journey out of chaos will yield only stronger bounds with her family and an affirmation that she deserves a good life. 4 glasses of a good Bourdeaux!

All in all, a stellar year for the Telluride Film Festival.  So many films I wish I could’ve seen that I left with a feeling of yearning.  I look forward to seeing Manchester by the Sea when It’s released as I hear Casey Affleck’s performance is a revelation.

See you at the movies!


Moral of the story…seek out those Indies!

I love that this Indiewire post reflects the combined wisdom of 7 writers…and I agree with all of it. I wasn’t a fan of the The Lobster and I was bored with Love and Friendship, but there were some wonderful Independent films released this summer! Two of my favorites are still playing in some markets: Hunt for the Wilderpeople and Captain Fantastic–you must track them down! And treat yourself to the visual wonder of Kubo and The Two Strings!

9 Lessons Studio Films Should Take From The Indie World This Summer

It was the best of times for indies and the worst of times for blockbusters this summer. Here’s what studios need to learn.


Much has been written about just how dismal this year’s summer movies have been, but one of the silver linings in such a poor season has remarkably been indies. Where blockbusters like “The Legend Of Tarzan,” “Warcraft” and “X-Men: Apocalypse” failed, indies such as “The Lobster,” “Cafe Society” and “Love and Friendship” succeeded. And while studios were certainly rolling in cash when it came to “Suicide Squad” and “The Secret Life Of Pets,” critics weren’t exactly impressed. It was a rough season for studio films, but it won’t be a total waste if executives can learn from their mistakes and start course correcting. Below, we look towards the indie world in order to offer up the biggest lessons for studio films.

1)  World-Building Needs To Be Organic To The Story (“The Lobster”)

One of the critical and commercial indie hits of the summer movie season, “The Lobster” sends a bold message to studios that world-building works most effective (and is better embraced) when the story and the universe unfold naturally, impacting the characters in real time and not shoehorning in facts and details that bombard the viewer and take them out of the movie. Studios’ world-building obsession has created blockbusters crammed with add-on scenes and forced cameos that exist merely to say, “Hey, look! This is the world we’re creating and this is the next movie coming up.” This isn’t world-building, it’s advertising, and the results are as strained as they are awkward, removing the viewer from being invested in the story. “The Lobster” manages to create its own entire universe, complete with its own rules for the way society works and its inhabitants interact, without ever calling attention to its exposition. It’s a natural flow of information that absorbs us into the story while constantly adding revealing layers to the characters. If only blockbusters could be so smart. – Zack Sharf


2) “Ghostbusters” Failed, But Audiences Still Love Female-Led Comedies  (“Bad Moms”)

One of the most troubling narratives to emerge from the summer movie season was all the “controversy” surrounding Paul Feig’s “Ghostbusters” reboot, most notably how the film became a litmus test for the future of female-led comedies. “Ghostbusters” was not the box office success Sony needed, and reports say it will cost the studio at least $70 million, but that in no way means audiences aren’t hungry for more comedies with women front and center.

Just look at “Bad Moms,” which hails from up-and-comer STX Entertainment, an indie production and distribution company with its sights clearly set on the mainstream. Earning positive reviews and north of $90 million at the box office and counting, this raunchy mom comedy, starring Mila Kunis, Kristen Bell and Kathryn Hahn, is the official sleeper hit of the summer. “Bad Moms” proves that people will keep coming to the theater if your comedy delivers the laughs (regardless of gender), and it should encourage studios to keep on giving women the chance to get raunchy. – Z.S.

3) Hire Indie Directors And Don’t Compromise Their Vision (“Pete’s Dragon”)

When “Pete’s Dragon” director David Lowery spoke to our Eric Kohn about making the jump from his festival favorite “Ain’t Them Bodies Saints” to a big screen — and big budget — version of the beloved Disney property “Pete’s Dragon,” he emphasized that the studio made it clear that they were making a David Lowery film. That’s sort of the dream result of an indie director like Lowery going blockbuster, a story we see time and again, and not always with the best results (Colin Trevorrow made a gajillion dollars with “Jurassic World,” but that film doesn’t really speak to much of a personal vision or brand, and Marc Webb frittered away some of his best moviemaking years trying to relaunch a Spider-Man franchise that just, well, wouldn’t).

Lowery is the outlier here, an indie filmmaker with his own vision and style who was able to translate that to a massive new feature, seemingly enabled and encouraged by the studio system that employed him. Disney’s dedication to hiring indie directors — Alex Ross Perry directing a “Winnie the Pooh” film still, admittedly, sounds sort of like a fever dream — is great, but they’re really making strides when they allow those directors to be themselves. Lowery was able to do just that this summer, and the result is one of the year’s best films, full stop. – Kate Erbland

"Love & Friendship"

4) Kate Beckinsale Is A Major Movie Star — Don’t Forget It (“Love & Friendship”)

Kate Beckinsale is one of many actresses Hollywood has forgotten what to do with, and this summer she proved why that’s a damn shame. Ever since tackling the role of Selene in 2003’s modest hit “Underworld,” Beckinsale has been kept in a purgatory mostly full of vampire sequels, middling genre fare (“Van Helsing,” “Total Recall”) and dopey horror-thrillers (“Whiteout,” the upcoming “The Disappointments Room”). She’s often the best part of these movies, but then a movie like “Love & Friendship” comes along to remind you that Beckinsale doesn’t need an arsenal of weaponry or cheap thrills to leave you speechless. With the elegance of Jane Austen and the wickedly clever cadence of Whit Stillman in her pocket, Becksinale reminded audiences just how commanding, magnetic and irresistible her talent can be. Lady Susan is no easy character to pull off — a venomous flirt who you still need to end up falling for — but Beckinsale perfected the art of being a charismatic firecracker. Hollywood would be wise to remember this kind of talent. She’s capable of so much. – Z.S.

5) People Only Want To Play Video Games, Not Watch Them (“Hardcore Henry”)

There’s still a residual hope that video games can become the can’t-miss adaptation fodder that their comic book counterparts have largely become. “Hardcore Henry” wasn’t tied to any specific preeexisting property, but its regenerative main character and first-person POV was one of the purest attempts to replicate the feeling of playing a video game while sitting in a movie theater. The $14.3 million box office draw didn’t quite rise to the fervor that met the film’s TIFF Midnight premiere last fall, sputtering in wide release with a historically dismal opening. “Assassin’s Creed” will be a helpful litmus test to see if this generation of video game movies has any domestic staying power, but after tepid critical response to “Hardcore Henry” and “Warcraft” being a misfire on multiple levels despite its talented young director, maybe it’s time to reevaluate the efficacy of translating this medium-specific experiences to the big screen, regardless of who’s at the helm and the size of its budget. – Steve Greene

6) Cast Older Actresses In Lead Roles (Sally Field, Helen Mirren, Maggie Smith)

If you want to score with adult audiences, cast any number of women stars over 60 who keep pulling Baby Boomers to the multiplex. And “Florence Foster Jenkins” star Meryl Streep (age 67) isn’t the only one. Among the top indie grossers of 2016: “Eye in the Sky” (Bleecker Street, $18.7 million), Gavin Hood’s taut thriller starring Helen Mirren (71) as a British corporal fiercely chasing down terrorists with the help of American drone pilots; “Hello, My Name is Doris” (Roadside Attractions, $14.4 million), a romantic comedy starring Sally Field (69) as an older woman pursuing a younger office colleague; and “Downton Abbey” star Maggie Smith (81) in the dotty Alan Bennett role she originated decades ago, “The Lady in the Van” (Sony Pictures Classics, $10 million).

Last year, Sundance 2015 launched two $7 million hits starring Sam Elliott as the romantic interest of 72-year-old Blythe Danner (Bleecker Street’s “I’ll See You in My Dreams”) and (at one time) 76-year-old Lily Tomlin (Sony Pictures Classics’ “Grandma”). Studios would do well to remember that the core loyal demo who still has time to go out to movie theaters is older. Netflix gets it: Tomlin costars with Jane Fonda (78) in comedy “Grace and Frankie,” and the streaming service is reuniting Fonda with her frequent costar Robert Redford in the film “Our Souls at Night.” The studios deploy Mirren (“Red,” “Fast and Furious 8”) in supporting roles for the same reasons they hire her fellow-senior Morgan Freeman—she adds power and gravitas. Where’s that femme sequel to “The Expendables?” – Anne Thompson

7) Make Animation Look And Feel Exciting Again (“Kubo and The Two Strings”)

“Kubo and the Two Strings” may not have played a tune that multiplex audiences were eager to hear (the movie underperformed at the box office, raking in $92 million less than “The Secret Life of Pets” in its opening weekend), but Laika’s stop-motion masterpiece was music to my ears. In a world overrun with generic, soulless 3D animation — all round and plastic and insufferably cute — it was impossible not to be dazzled by the tactile quality of this story about a young boy on a quest for his samurai father’s armor. Kubo’s journey was as heartfelt as it was handmade, and this stunning late summer spectacle should serve as an urgent reminder that a little human touch goes a long way. – David Ehrlich

Hell or High Water

8) Patience Is A Virtue (“Hell Or High Water,” “The Childhood Of A Leader”)

Despite being drab and lifeless, many of this summer’s blockbusters trafficked in extreme violence that leveled metropolises: the mystical gods of “Suicide Squad” terrorized Midway City, Krang tried to level NYC in “Teenage Mutant Ninja Turtles: Out of the Shadows,” and the aliens of “Independence Day: Resurgence” sent the London Bridge falling down. But none of it resonated, given that all of these sequences boiled down to screeching CGI madness. What really succeeded were indies which valued quiet scenes over mayhem, so when violent moments broke out, they packed a true punch. Brady Corbet’s meditative “The Childhood of a Leader” took the relatively radical step of…introducing characters and letting them talk to each other. By the time a handful of stones in a child’s hand pulled the rug from under us, our voyeurism was shattered. And although David Mackenzie’s “Hell or High Water” was a bank robbery tale, gunshots burned because they upset the rest of the film’s shaggy calm. Texas never looked so lovely as the night before our central characters’ biggest heist, as they’re drinking beer, wrestling, laughing and bullshitting. By creating quiet moments between characters you root for and empathize with, these films hit so much harder than thousands of faceless citizens fleeing extraterrestrial doom. – William Earl

9) Trust Actors Who Want To Direct (“Captain Fantastic”)

Actors have been moving behind the camera to direct films since the beginning of the motion picture industry, but rarely does the end product turn out as well as actor-writer-director Matt Ross’ crowdpleaser “Captain Fantastic.” The feel-good dramedy starring Viggo Mortensen as a radical father raising six children in isolation in the woods should serve as an important reminder that actors who can communicate a distinctive vision for an emotionally powerful story should be given the opportunity to realize that vision, even on the large scale of a studio film. In the case of “Captain Fantastic,” a performance-driven film that relies on the chemistry of an ensemble cast, having a director that has been in an actor’s shoes was arguably a huge advantage. Ross has also no doubt learned from working with some of the top directors in the business, including fellow actor-director George Clooney (“Good Night and Good Luck”), Whit Stillman (“The Last Days of Disco”), Terry Gilliam (“12 Monkeys”) and Martin Scorsese (“The Aviator”). Prior to winning best director in the Un Certain Regard section at Cannes for “Captain Fantastic,” Ross directed the 2012 Sundance entry “28 Hotel Rooms.” – Graham Winfrey 

“Ab Fab” really Sad, Bad


Absolutely Fabulous, Sitcom
A show brilliant in its uncensored bad behavior and satirical humor, this series features Edina and Patsy, two hard-drinking, drug-taking, completely and outrageously selfish middle-aged women. Their cruel humor focuses on the hypocrisy of today’s society, much to the chagrin of Edina’s more moral and conservative daughter, Saffron.
First episode dateNovember 12, 1992
Final episode dateJuly 23, 2012
absolutely fabulous, the movie
Directed By: Mandie Fletcher
Written By: Jennifer Saunders
A film that strives to be a bigger, bolder version of it’s 30-minute sitcom series, Ab Fab is sadly, just louder, sadder and more frenetic. Granted, I have never found inebriated women falling down a laugh riot. Watching this film felt like recovering from a hangover with vapid people shouting inane things while wearing outlandish outfits…without the benefit of a cocktail or painkillers to relieve the headache.
Even if you’re a fan of the sitcom or a fashionista, the jokes are tired and the cameos do little to liven up the action. The best moments are the fantasy sequences when Edina (Jennifer Suanders) and Patsy (Joanna Lumleyare shown as powerful, desirable women.  Yes, they are still completely selfish hedonists but they’re also a lot of fun.  And the clothes are fabulous: tacky, loud and outlandish. If you haven’t seen the sitcom, you’d be hard-pressed to understand who many of these characters are, how they’re related or why they’d even put up with this chaos. Bubbles (Jane Horrockssteals the show with her outfits and snide comments but I found I was more exasperated than Saffron (Julia Sawalhawith the broads behaving badly schtick.
There are moments of levity. Watching the two of them hoover drugs and swill champagne while trying to think of outlandish solutions to their dilemma is amusing. Once the pair abscond with Lulu (Indeyarna Donaldson-Holness) and more importantly, her Daddy’s credit card — the movie gets a needed boost from the beauty in Cannes. Plus there’s a sweet subplot with a marriage proposal that shows a much-needed, softer side to Patsy. A more daring approach would have been to show a genuine relationship develop there; character growth instead of just wish fulfillment.
Any genuine emotions expressed by the characters are negated by undermining the moment with a lazy reveal (it’s an empty bed, she’s really alive, she’s not a she) and a quick change of scene to more frenetic action. There’s lots of razzle dazzle and lord knows, no one is looking for substance beyond two sozzled, aging broads who genuinely seem to care for each other…but you may find yourself wishing for at least one of those champagne flutes with a topper of vodka!
Rating: one flute out of five