Tag Archives: movie review

Poison Pen Pals: The delightful “Wicked Little Letters” will deliver a chuckle

March 28, 2024 | by Sammi Leigh Melville

Images courtesy of Sony Pictures Classics.

Director Thea Sharrock’s “Wicked Little Letters,” penned by Jonny Sweet, gives us a peek at a hilarious but true story from early 1900s Britain, all beginning with a letter.

There are actually quite a few letters, as the title suggests, all addressed to Miss Edith Swan. They are short, comically profane and anonymous—though the Swan family has an idea who the sender is. Edith (Olivia Colman) had previously tried to befriend the neighbor, Rose Gooding (Jessie Buckley), an Irish immigrant whose foul mouth and disreputable lifestyle—her daughter has even been seen playing the guitar (gasp!)—has left her with very few friends.

Now, the police are involved. Given Rose’s boisterous, messy personality, they don’t need much in the way of evidence to convince them to arrest her—although Woman Police Officer Moss (Anjana Vasan) needs more evidence to convince her, as it makes objectively little sense for the culprit to be Rose. But Moss is not on the case, and her snooping gets her a warning from her superior. Naturally, Woman Police Officer Moss is not going to let that stop her.

What follows is a fast-paced, sharp and altogether delightful race to discover who the real culprit is before Miss Gooding is convicted in court. While the beginning of the film feels a bit expository (naturally, Edith tells the whole backstory to the police), the storytelling picks up as it goes, and while never straying too far from simple, “Wicked Little Letters” finds fulfillment in its characters.

The relationship between Edith and her father, played by Timothy Spall, is satisfyingly horrific, and the psychological damage that spins off of that brings an immediate likeability to Edith (small content warning for abusive parenting). And there is not a moment where the audience won’t be in love with Rose—a free spirit and quite sure of herself to boot. Colman and Buckley play against each other fantastically, and Vasan’s cool, shrewd composure is a great base to the heightened antics that ensue.

For a story revolving around a court case, it is inevitable that bridges will be burned and lives will be ruined, but “Wicked Little Letters” will have you leaving the theater with a smile on your face. Don’t miss this gem, coming to Midtown Cinema this April.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

April Events At Midtown Cinema

Harrisburg Jewish Film Festival 
“Remembering Gene Wilder” (2023)
Sunday, April 7 at 2 p.m.

Trivia Night
Midtown Cinema 
Tuesdays, April 9 & 23

Down in Front! Comedy Riffing
“Birdemic: Shock and Terror” (2003)
Friday, April 12 at 9:30ish

3rd in the Burg Movie Night  
“Hot Fuzz” (2007)
Friday, April 19 at 9:30 p.m.

Saturday Morning Cartoons
“Dr. Seuss’ The Lorax” (2012)
Saturday, April 20 at 11 a.m.

“Shrek” (2001) 
Saturday, April 27 at 11 a.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Shifting Perspectives: “Monster” offers a tender tale, is also a masterpiece

December 28, 2023 | by Sammi Leigh Melville

Photo courtesy of Well Go USA.

It is always a treat to see director Kore-eda Hirokazu return with another film, and this time, it’s his best film yet. “Monster,” written by Sakamoto Yûji, is an artistic masterpiece and a tribute to humanity, a story told three times, each time from a different perspective.

The film presents as a puzzle, offering up little pieces of truth that don’t quite seem to fit together initially, until the following perspective offers more context. There are cues along the way—fire engine sirens, the blaring of brass instruments, etc— to help you keep track of where in the narrative you are, though admittedly it’s easy to get lost. But stick with it—the puzzle is well worth it.

The first perspective almost seems to hint at something paranormal. Saori (Ando Sakura), notices an odd change in the behavior of her son, Minato (Kurokawa Soya), and begins to piece together that his homeroom teacher, Mr. Hori (Nagayama Eita), is being abusive. She is even able to pry some corroborating evidence from Yori (Hiiragi Hinata), Minato’s schoolmate. She begs the school to do something, but no one seems willing to help her remove the monster she perceives Mr. Hori to be from the school.

Then we see Mr. Hori’s version of the events. And then we see Minato’s version. And each perspective provides a shift.

While the title of the film prepares us to seek out a definitive representative at any given moment in the film, by the end, we are struck not by the monster in all of us but the humanity that the story has revealed in each character. The result is a beautiful, tender, heart-wrenching story that resonates so well with the world we’ve all built around ourselves.

There is not a single actor in the film who doesn’t nail their part, though a personal favorite performance was Hiiragi’s nuanced take on the world. And a special note must be made for the musical score, written by Sakamoto Ryuichi, which carries you deep into every moment. Every inch of “Monster” is gorgeously rendered.

This is a film you aren’t going to want to miss. Make sure to catch it at Midtown Cinema this January.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

January Events At Midtown Cinema

January Film Openings
“Monster”
Friday, Jan. 12

“The Zone of Interest”
“Poor Things”
Friday, Jan 26

Down in Front! comedy riffing
“Curse of the Faceless Man” (1958)
Friday, Jan. 12 at 9:30 p.m.

3rd in the Burg Movie Night
“The Big Lebowski” (1998)
Friday, Jan. 19 at 9:30 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Out of This World: “Under the Skin” leads a monthlong spotlight of aliens on film

October 30, 2023 | by Sammi Leigh Melville

Photo courtesy of A24.

This November, the name of the game is aliens.

Midtown Cinema will be screening all sorts of films about extraterrestrials and quite the variety of them, as well. From the classic “Alien”/“Aliens” pairing to “The Man Who Fell To Earth” to “It! The Terror From Beyond Space,” there are a variety of films to choose from.

But this reviewer’s favorite alien films are the ones that have a lot to say about humanity. And for what it’s worth, most of them do say something… but the prize winner is “Under The Skin,” director Jonathan Glazer’s close-up take on Michel Faber’s book of the same name.

The book and the movie are vastly different. While Faber’s story is a character-rich external take on the meat industry and animal cruelty, the film is more of a zoomed-in, stretched-out character piece, in which its protagonist (played by Scarlett Johansson) is very different but just as textured (deceptively so).

The first half of the film takes us on a spine-chilling, disturbing and erotic journey, revealing the unnamed protagonist’s goal—to lure human men into a trap to harvest their organs. A caretaker of sorts, disguised as a motorcyclist, seems to be following her around to pick up any remaining pieces that she can’t handle herself. Our nameless protagonist seems cold to the fact that she is harming individuals. In fact, she seems to view them with as much (or as little) empathy as she views an ant.

In the second half of the film, however, something changes. Maybe it’s the last man she ensnares that hits her with a pang of empathy or maybe it’s the fly she sees throwing itself at the window, trying to break free. Whatever it is, it causes our leading lady to break out of her role as temptress and try to lose herself in the world she was trying to use.

“Under The Skin” is more than just a thought-provoking alien film—it strives to make you uncomfortable. And it’s heavy on the sex, but not in a titillating way. In fact, it strives to show you many different shades of sex (sex for the purpose of entrapment vs. entrapment for the purpose of sex—so for those who need it, there’s your content warning for attempted rape). But also sex as connection and as an experience—one of many that she tries out in order to understand the humans around her. The film leaves much up to interpretation, and some might argue the pace is a bit glacial. However, all of these elements combine to create something truly stark and foreign. Johansson gives a surprisingly rich performance for a character who emits so little emotion, and the result is fascinating.

While there are plenty of great films playing for this month’s alien-themed repertory, make sure you leave time to see “Under The Skin,” playing Nov. 21 and 25.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

November Events At Midtown Cinema

An Out-of-this-World November

“Alien” (1979)
Friday, Nov. 3, 9:30 p.m.

“Aliens” (1986)
Saturday, Nov. 11, 9:30 p.m.
Sunday, Nov. 12, 7 p.m.

“A Quiet Place” (2018)
Saturday, Nov. 18, 9:30 p.m.
Sunday, Nov. 19, 7:45 p.m.

“The Man Who Fell to Earth” (1976)
Tuesday, Nov. 21, 7:15 p.m.
Sunday, Nov. 26, 7:15 p.m.

“Under The Skin” (2013)
Tuesday, Nov. 21, 7:30 p.m.
Saturday, Nov. 25, 9:30 p.m.

Family Series presents
“E.T. The Extra-Terrestrial” (1982)
Saturday, Nov. 4, 11 a.m.
Sunday, Nov. 5, 6:30 p.m.

Sunday Docs Series presents
“Ariel Phenomenon” (2017)
Sunday, Nov. 5, 2 p.m.

Down in Front! comedy riffing presents
“It! The Terror from Beyond Space” (1958)
Friday, Nov. 10, 9:30 p.m.

3rd in the Burg Movie Night presents
“Close Encounters of the Third Kind” (1977)
Friday, Nov. 17, 9:30 p.m.
Sunday, Nov. 19, 7 p.m.

“Our Right to Gaze” (2023)
Shorts from Black filmmakers
Sunday, Nov. 12, 7:30 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Art & Activism: New documentary digs deep into the life of musician Joan Baez

September 28, 2023 | by Sammi Leigh Melville

Photo courtesy of Magnolia Pictures.

Joan Baez, known both for her folk music and her activism, has a darkness in her.

That darkness has followed her for her entire life, haunting her even through her illustrious career. But did anyone know of her troubles? Directors Miri Navasky, Maeve O’Boyle and Karen O’Connor took the task of telling her story, pulling back the veil on this talented, tormented woman.

The documentary gives a thorough examination of her life, from her seemingly happy childhood with her mother, father and two sisters to her musical career, her relationships throughout the years, and her journey to unlocking the memory of past traumatic experiences with her family.

Utilizing home video footage, therapy tape recordings, journal entries and drawings, the documentary often feels like a therapy session itself, revealing some deeply intimate parts of Baez’s life. Although, given the span of time in which the footage was filmed, it’s no wonder that the filmmakers got so much honesty from her. Both Joan’s sister, Pauline, and her mother appear in footage (and her father’s voice), her mother having died in 2013 and her sister in 2016, and the film is framed by Baez’s final tour in 2018.

The tour is a fascinating juxtaposition with the rest of her life. As she worries that her voice isn’t what it used to be, we see that little bit of darkness creeping in and are able to see, scene by scene, what might influence the person she is today. It makes for a very well crafted dance of memories and information, and a sharpened image of who Baez really is.

It’s a side of Joan Baez that may never have been seen before. What a beautiful film—thoughtful and striving to connect the dots in as respectful a way as possible. You won’t want to miss this film when it hits Midtown Cinema this October.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

October Events At Midtown Cinema

Film Openings

Sept. 29, “Stop Making Sense” (1984)

Sept. 29, “Flora and Son”

Oct. 6, “Exorcist: Believer”

Oct. 6, “Strange Way of Life”

Oct. 13, “Joan Baez: I Am a Noise”

Oct. 13, “Taylor Swift | The Eras Tour”

Oct. 20, “Killers of the Flower Moon”

Famous Movie Dates Series
“Mean Girls” (2004)
Tuesday, Oct. 3 at 7:30 p.m.

Down in Front! comedy riffing
10th Anniversary Party &
“Jason Goes to Hell: The Final Friday” (1993)
Friday, Oct. 13 at 7:30 p.m.

3rd in the Burg Movie Night
“Hocus Pocus” (1993)
Friday, Oct. 20 at 9:30 p.m.

Saturday Morning Cartoons
“Coraline” (2009)
Saturday, Oct. 7 at 11 a.m.
Sunday, Oct. 8 at 7 p.m.

Sunday Doc Series

“Horror Noire: A History of Black Horror” (2019)
Sunday, Oct. 1 at 5:30 p.m.

“In Search of Darkness: A Journey into Iconic ’80s Horror” (2019)
Sunday, Oct. 8 at 5:30 p.m.

CINEM-Aaah! Series

“All Your Friends Are Dead” (2022)
w/Director TalkBack
Friday, Oct. 6 at 9:30 p.m.

“Friday the 13th” (1980)
Friday, Oct. 6 at 10 p.m.
Saturday, Oct. 7 at 9:30 p.m.
Tuesday, Oct. 24 & Tuesday, Oct. 31 at 7:30 p.m.

“A Nightmare on Elm Street” (1984)
Friday, Oct. 6 at 9:45 p.m.
Saturday, Oct. 21 at 9:45 p.m.

“Trick ‘r Treat” (2007)
Tuesday, Oct. 10 at 7:30 p.m.

“Get Out” (2017)
Sunday, Oct. 8 & Tuesday, Oct. 10 at 7:15 p.m.

“The Devil’s Rejects” (2005)
Saturday, Oct. 14 at 9:30 p.m.

“The Blair Witch Project” (1999)
Saturday, Oct. 14 at 9:45 p.m.
Sunday, Oct.15 at 8:30 p.m.

“Cybergrime Festival 2023”
Horror anthology from queer filmmakers
Saturday, Oct. 14 at 10 p.m.
Sunday, Oct. 22 at 8:30 p.m.

“Rocky Horror Picture Show” (1975)
Saturday, Oct. 21 at 10 p.m.
Saturday, Oct. 28 at 7:30 p.m. & 10 p.m.

“Halloween” (1978)
Tuesday, Oct. 24 & Tuesday, Oct. 31 at 7:15 p.m.
Saturday, Oct. 21 at 10:15 p.m.

“Nosferatu” (1929)
w/live score by Nick Werner
Wednesday, Oct. 25 at 7:30 p.m.

“It Follows” (2015)
Friday, Oct. 27 at 9:30 p.m.
Saturday, Oct. 28 at 8:30 p.m.

“Chucky” Double Feature
Sunday, Oct. 22
“Child’s Play” (1988), 6:30 p.m.
“Bride of Chucky” (1998), 8:20 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Messy, Like Life: “Mutt” is a fabulous film that’s also authentic

July 28, 2023 | by Sammi Leigh Melville

Photos courtesy of Strand Releasing.

Vuk Lungulov-Klotz’s “Mutt” is an absolutely phenomenal film that takes a stroll straight to your heart.

At first, the term “Mutt” seems a bit harsh during the setup of the film. Feña (Lio Mehiel), having undergone breast reduction surgery and perhaps unintentional social surgery, explains to an acquaintance that, just because he hasn’t given himself genital surgery doesn’t mean he’s any less of a man. It is partially conversations like these, and a number of other reasons, that Feña finds himself with a different crowd of friends and disconnected from a lot of people he knew previously, including his family.

But suddenly, those he was close with prior to transitioning begin to pop back into his life unexpectedly. His father (Alejandro Goic) is visiting in order to renew his green card; his ex (Cole Doman) is back in town; and his sister (MiMi Ryder) comes looking for him when she gets her period for the first time and their mother doesn’t give her the time of day. Simultaneously navigating a bustling New York City without a car and navigating several tumultuous relationships without any warning, Feña makes the effort to reconnect with his past, all the while knowing that these connections may end up just being temporary.

“Mutt” may be one of the most naturally occurring stories I’ve seen in a while. The relationships feel natural, the acting feels genuine. Though many things go wrong for Feña narratively, the culminating events of his very stressful couple of days don’t feel like they’re being forced on us. They unfold with boldly realistic nuance, never quite trespassing into over-sentimentality at the expense of Feña’s character development. Overall, the story feels really satisfying, in a messy, haphazard sort of way. True to life as it can ever be.

Mehiel gives a breathtakingly honest performance, shading in the details of their complex character with ease. And the supporting cast rounds out the film nicely. Each and every relationship in this film is so delicately woven, and the result will suck you right in.

Don’t miss your chance to see “Mutt” at Midtown Cinema this August.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

August Events At Midtown Cinema

Music on the Patio
Every Thursday, 6 to 8 p.m.

Film Opening
“Theatre Camp”
Friday, Aug. 4

Free Outdoors Film
“Inside Out” (2015)
Saturday, Aug. 5, at dusk

“The Sandlot” (1993)
Saturday, Aug. 19, at dusk

Cat Video Fest
Aug. 6 to 13

Down in Front! Presents
“Ballistic: Ecks vs. Sever” (2002)
Friday, Aug. 11 at 9:30(ish)

3rd in the Burg Movie Night
“Deadpool”
Friday, Aug. 18, 9:30 p.m.

National Theatre Live
“Fleabag”
Sunday, Aug. 20, 7 p.m.

Sunday Docs Series
“Summer of Soul” (2021)
Sunday, Aug. 20, 4 p.m.

Trivia Night on the Big Screen
Tuesday, Aug. 22, 7 p.m.

Late Night Frights Presents
“Barbarian” (2022)
Friday, Aug. 25, 9:30 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

More Catharsis than Comedy: It may not be a perfect movie, but “The Miracle Club” elicits a “strange draw”

June 29, 2023 | by Sammi Leigh Melville

Image courtesy of Sony Classics.

Years ago, a scandal arose in a small village on the outskirts of Dublin. And now, following the death of a woman and a local charity talent show, the past is about to resurface.

Except it’s not “now.” Director Thaddeus O’Sullivan’s film, “The Miracle Club,” takes place in the late ‘60s, a setting that seems to accentuate the broiling drama of the working-class Irish women at the film’s core.

Chrissie (Laura Linney) said that she would not return to Ireland until her mother had passed, and now that she’s there, she realizes that everyone has forgotten that wasn’t her decision. When she was just a teenager, she got pregnant, and her mother, her best friend, Eileen (Kathy Bates), and her boyfriend’s mother, Lily (Maggie Smith), turned on her. The result (in a nutshell) was that Chrissie moved to America, and her boyfriend drowned in the sea.

Now, 40 years later, Eileen has a lump on her breast, Lily has one leg that’s longer than the other, and their friend, a young woman named Dolly (Agnes O’Casey), has a mute son. And the three of them are trying to win a trip to Lourdes, France, where rumor has it the Virgin Mary visited and caused a domino effect of miracles throughout the years. Father Dermot (Mark O’Halloran) convinces Chrissie to make the trip for a chance at more emotional healing, and so three generations of women are off on a tangled and complicated journey that brings out every skeleton in their closet. These women go searching for miracles and discover their own miracle of love and reconciliation.

It’s a bit tricky to pin this one down in terms of a review. Was it a good film? Well, it has a good story, though the writing isn’t always great—and good acting, though there are some weak points in the directing that could have strengthened the performances. And funnily enough, the film’s marketing may be a hinderance. Though every promotional site calls the film a comedy (one even describes it as “joyful and hilarious”), “The Miracle Club” could be better described as a story of four women processing their grief and trauma, with some comedy around the edges.

From this reviewer’s perspective, the comedic bits are not, by far, the most compelling parts. For instance, the entire purpose of the husbands in the film is comic relief, as they realize they need to survive for a week without their wives. But the film would not have faltered for a second without their inclusion (my suspicion is that they wanted to add Stephen Rea into the supporting cast). Nor did it greatly need Dolly’s fourth-wheel story arc. Though she is an endearing character and O’Casey is an on-screen delight, it does feel like she is wholly separate from her friends’ tangled web.

That being said, the film has a strange draw to it, and, in just an hour and a half, it will provide some major catharsis to its audience. It’s got good bones and a good cast, and that, really, is all a film needs to stand on its own these days. “The Miracle Club” will play at Midtown Cinema this July.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

July Events At Midtown Cinema

Music on the Patio
Every Thursday, 6 to 8 p.m.

Harrisburg Fringe Festival
July 6 to 9

Film Openings
“Miracle Club”
Friday, July 14

“Barbie” and “Oppenheimer”
Friday, July 21

“Theatre Camp”
Friday, July 28

Down in Front! Presents
“Grizzly 2: The Revenge!”
Friday, July 14, 9:30 p.m.(ish)

Free Outdoor Films
“Jaws”
Saturday, July 15, sundown

“Cabaret”
Thursday, July 27, sundown

3rd in the Burg Movie Night
“The Last Unicorn” (1982)
Friday, July 21, 9:30 p.m.

National Theatre Live
“Good”
Sunday, July 16, 5 p.m.

“Best of Enemies”
Sunday, July 23, 5 p.m.

“Fleabag”
Sunday, July 30, 7 p.m.

Trivia Night on the Big Screen
Tuesday, July 25, 7 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Past, as Present: “Blue Jean” depicts the warmth of community, but also shows how little has changed

May 31, 2023 | by Sammi Leigh Melville

Image courtesy of Magnolia Pictures

Georgia Oakley’s “Blue Jean” gives us a beautiful portrayal of a woman (and an era) struggling with sexual identity—and it’s not too far off from the struggle that persists today.

Jean (Rosie McEwan), a high school gym teacher who recently ended her heterosexual marriage, has admitted to herself and her friends and family that she is a lesbian—but is not quite ready to admit it to her coworkers. A situation that may seem pretty ordinary at first—keeping your work life and personal life separate—is magnified by the fact that Jean lives in 1980s England, when Margaret Thatcher’s Section 28 has been newly enacted, forbidding the “promotion of homosexuality” and putting anyone throughout the country who has come out as gay under fire. Even Jean’s sister, while giving a lukewarm attempt to be supportive, makes it clear that her sexual identity makes her somehow less trustworthy.

Jean keeps her secret in order to keep her job—something her girlfriend, Viv (Kerrie Hayes), is understanding of, but not entirely patient with. Her circle of friends, all lesbians who meet every night at the local gay bar, are a loving, caring group, but Jean refuses to let them come to the basketball scrimmage games she coaches at the school because she’s worried that people will make assumptions and villainize her as the lesbian gym teacher preying on her students.

The real tension begins when Jean begins to suspect that a new girl, Lois (Lucy Halliday), might also be gay. Jean may not see herself in the new student, but Viv certainly does—it’s that deer in the headlights look, she says. Though, from this viewer’s perspective, Lois’ eyes are full of hope when she shows up at the bar, 15 years old and unabashedly trying to fit into a world of societal misfits, as her classmates have already dismissed her. Jean is not ready to let her two worlds collide (and her private world be risked), but Lois desperately needs a community to engage with, and so the conflict begins to unfold.

McEwan brings such a perfect nervous and melancholy energy to Jean. We are so easily able to follow her in her emotional journey, with every little nuance McEwan gives—and her chemistry with Hayes is fantastic.

The world that Oakley builds is tense, and every aspect of the film seems to highlight why its titular character is blue. And though the story is set in the ‘80s, it feels extremely relevant to current events. If it weren’t for the radio programs talking about Margaret Thatcher, and the British accents, this story easily could have taken place in the modern-day U.S. South. The fact that such history is repeating itself only adds an even tenser layer to the story—something we should fully expect to see popping up more and more in film as LGBTQIA+ rights continue to be called into question.

What makes “Blue Jean” sing is how it focuses on accountability and support. While there is plenty of despair to dole out in every scene, there is also a beautiful depiction of the care and response from the family that the queer community has created.

That’s enough of a reason to see “Blue Jean,” even if you disregard the quietly piercing performances and the complexity of the conflict in the story. Don’t miss a chance to see the film this June at Midtown Cinema.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

May Events At Midtown Cinema

National Theatre Live presents

“Othello”
Sunday, June 4, at 5 p.m.
Sunday, June 18, at 5 p.m.

Down in Front! comedy riffing presents

“Frankenstein Meets the Space Monster” (1965)
Sunday, June 4, at 7:30 p.m.

The Edward S. Finkelstein Harrisburg Jewish Film Festival
June 9 to 11

“The Galilee Eskimos” (2007)
Friday, June 9, at 5 p.m.

“Matchmaking” (2022)
Saturday, June 10 at 9 p.m.

JFF Book Club Brunch presents

“The Little Traitor” (2007)
Sunday, June 11, at 9 a.m.

“Air Born” (2022)
Sunday, June 11, at 7 p.m.

3rd in the Burg Movie Night

“Star Trek II: The Wrath of Kahn”
Friday, June 16, at 9:30 p.m.

National Theatre Live presents

“Fleabag”
Sunday, June 25, at 7 p.m.

2023 Outdoor Film Series
Presented by Friends of Midtown
All films start at dusk.

“Labyrinth” (1986)
Saturday, June 10

“Black Panther” (2018)
Saturday, June 24

“Jaws” (1975)
Saturday, July 15

“Cabaret” (1972)
Thursday, July 27

“Inside Out” (2015)
Saturday, Aug. 5

“The Sandlot” (1993)
Saturday, Aug. 19

If you like what we do, please support our work. Become a Friend of TheBurg!

One Last Chance: A complex family dynamic plays out beautifully in “Monica”

April 27, 2023 | by Sammi Leigh Melville

Photo courtesy of IFC Films.

If you’re up for a film that tells as little as possible, but says so damn much, you might want to check out Andrea Pallaoro’s most recent film, “Monica.”

Pallaoro is insistent on creating portraits of women—his last feature was titled “Hannah”—and there will apparently be a third portrait that will fill out this loose trilogy. And “Monica” is a beautiful contribution. The film is seen from the perspective of its titular character, a woman who, years ago, was kicked out of her home by her mother for wanting to be who she was—a woman.

As trans stories go, this one feels different. Monica (Trace Lysette) learns that her mother’s (Patricia Clarkson) health is declining and is given the opportunity to travel home and see her one last time before her mind goes. She decides to go—a decision that does not immediately reveal its complexity. It takes a while for Monica’s troubled history with her mother to be brought up, and it is never stated outright that Monica is trans. Pallaoro drops context clues along the way that build her character, until a conversation with her brother (Joshua Close) tips the scales of understanding.

Monica’s fears are beautifully relayed by Pallaoro’s decision to trickle forth information. She is uncertain of what her mother’s reaction will be if she tells her who she is, and so she introduces herself as Monica and nothing more.

One might expect a film with a trans protagonist to focus on identity—the journey she took to let her true self come out, the conflict she met along the way. But Monica has had years to unwrap her identity, and, while we don’t know too much about what that past entails, we do know pretty immediately in the film. Pallaoro makes constant use of Monica’s cell phone to reveal what’s happening in her head—that her focus has turned to connection.

Here, we have a woman who chose to be herself at the loss of her family, and a woman who chose to side with her beliefs, also at the loss of her family. The film gives us very little information of either party’s life prior to this reunion, which may actually be a credit. It is less about making amends than it is about the time they have left.

“Monica” holds a particular power in the unspoken. While films that portray the clash of trans vs bigot, or the redemption of a parent who has come around, can be very cathartic, this film shows a different side of the coin, weaving in the tension of Monica’s uncertainty with her desire to be there with family. It is never confirmed that her mother knows who she is, and maybe she doesn’t. But there’s a whole lot of context that points to her knowing, making use of the time she has with her daughter.

Lysette and Clarkson’s delicately nuanced performances resonate powerfully on the screen together, and, for every delicate question that the film refuses to speak out loud, we find an answer in our own hearts as the film goes on.

Don’t miss your chance to see “Monica,” which plays at Midtown Cinema this month.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

May Events At Midtown Cinema

Alfred Hitchcock: Master of Suspense Film Series

“The Birds” (1963)
Sunday, May 7 at 7:30 p.m.

“Psycho” (1960)
Sunday, May 14 at 7:30 p.m.
Friday, May 19 at 9:30 p.m.

“Rebecca” (1940)
Sunday, May 21 at 7:30 p.m.

Down in Front! comedy riffing presents

“Iced” (1989)
Friday, May 12 at 9:30ish

National Theatre Live presents

“The Crucible”
Sunday, May 14 at 5 p.m.

Moviate Film Festival
May 19 to 21

AAPI Festival presents
A free screening of
“Everything Everywhere All at Once”
Friday, May 19 at 9:30 p.m.

AAPI Festival presents
The documentary
“Feeling Asian”
Saturday, May 20 at 3 p.m.

National Theatre Live presents

“Best of Enemies”
Starring David Harewood and Zachary Quinto
Sunday, May 21 at 5 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Keys & Conflicts: A music legend struggles in “Little Richard: I Am Everything”

March 30, 2023 | by Sammi Leigh Melville

Photo courtesy of Magnolia Pictures.

“You ain’t supposed to hide nothing—you’ve got it. God gave it, show it to the world!”

These are the words of Little Richard, the flamboyant father of rock ‘n’ roll. Many men have claimed that title over the years—the “father” part, not the “flamboyant.” But Lisa Cortés’ documentary, “Little Richard: I Am Everything,” makes one hell of an argument in his favor. And not only that, but it gives us a glimpse at the tumultuous relationship that he had, not with music or drugs or sex, but with God and himself.

The film takes us through Little Richard’s life decade by decade, from the 1930s when he was a little boy in Macon, Ga., aspiring to be a minister, all the way to his death in 2020. We learn about Sister Rosetta Tharpe inviting him onto the stage for the first time ever. We learn about his drag persona, Princess Lavonne. We learn about the cleaned-up lyrics of “Tutti Frutti.”

Audiences Black and white flocked to him—at a time when it was dangerous for Black and queer people to have that sort of affection publicly projected towards them. He projected sex in a non-threatening way, but was still overshadowed by white musicians who copied his music and were the “safer” choice for white audiences.

The film continuously comes back to Little Richard’s faith. As a queer Black man in the era that he lived, it was unfortunately inescapable that he would find conflict, not only from the public eye, but within himself.

Cortés shows the constant back-and-forth that Little Richard had with the desire to be who he was and who his God wanted him to be. The documentary shows outright renouncement of his queerness. At other times, he admits to the struggle he has, and yet at other times, as quoted in the film, “It’s hard to tell how much is running towards God versus running away from himself.”

The film is an incredible insight into who Little Richard was, with plenty of celebrity surprises and a killer soundtrack to boot. The magic that he brought to his music and to the stage is given physical attribute via visual effects—a move that at first seems like it comes from nowhere, but feels like a good fit by the end of the film. In several scenes, we “see” the music in gusts of glitter, practically brandishing a god-like tone around the legend of Little Richard as his story plays out. This extra shading by Cortés makes his struggle with his faith even more fascinating.

If nothing else (and that is overlooking a lot), the film gives us an insightful, 360-degree view of who Little Richard really was: the father of rock ‘n’ roll—the king—the god himself—and everything else he worked so hard to be.

“Little Richard: I Am Everything” will play at Midtown Cinema in April.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

April Events At Midtown Cinema

National Theatre Live presents

“The Seagull”
Starring Emilia Clarke
Sunday, April 2 at 5 p.m.

“Little Richard: I Am Everything”
Documentary Screening
Tuesday, April 11 at 7:30 p.m.

Down in Front! comedy riffing presents
“Killer Fish” (1979)
Friday, April 14 at 9:30ish

“Miss Congeniality”
Describe your perfect date.
Tuesday, April 25 at 7:30 p.m.

Studio Ghibli Festival
April 21 to 27

Friday, April 21
“Nausicaä of the Valley of the Wind,” 7 p.m.
“Spirited Away,” 9: 30 p.m.

Saturday, April 22
“Ponyo,” 2 p.m.
“Spirited Away,” 5 p.m.
“Howl’s Moving Castle,” 8 p.m.

Sunday, April 23
“Howl’s Moving Castle,” 2 p.m.
“Spirited Away: Live on Stage,” 4 p.m.
“Ponyo,” 5 p.m.
“Nausicaä of the Valley of the Wind,” 8 p.m.

Thursday, April 27
“Spirited Away: Live on Stage,” 7 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Layers of Truth: “No Bears” feels like real life, which it sort of is

January 31, 2023 | by Sammi Leigh Melville

Photo courtesy of Janus Films.

“There are no bears. Nonsense! Stories made up to scare us! Our fear empowers others. No bears.”

Promotional content of the Iranian film, “No Bears,” claims the film is composed of two love stories thwarted by societal demands. But I would go so far as to claim that there is a third love story—that of director Jafar Panahi and his craft.

All of these love stories are tragic.

Panahi takes to the screen, at least in fictionalized constructs, as our main character, and, in fact, the entirety of the story is seen through his eyes as he attempts to make a film remotely from another country.

Short note: outside of this fictional story, Panahi actually was arrested in 2010 for supporting protests and was barred from making movies and leaving Iran for 20 years. While it is clear that he has defied the former restriction (he has made five films since then, all of which were smuggled out of the country and screened at film festivals), he seems to be stuck by the latter point, or at least as far as the narrative of this film goes.

There are three narrative tracks to the film. The first is Panahi’s journey as he attempts to direct a film without crossing the Iranian border, using video chat to give direction to actors miles away. His film crew, recognizing the less-than-ideal situation every time the wifi in Panahi’s village goes out, offers to smuggle him across the border, but Panahi refuses, worrying about what might happen if he’s caught. But even his small attempts to film in the village cause more trouble than satisfaction for the filmmaker.

Which leads us to narrative number two: the reaction of the village to a woman, Gozal (Darya Alei), who was promised at birth to a man, finding love with another man, Solduz (Amir Davari). Panahi takes a photograph of the forbidden couple on the street, and the villagers appear at his door, demanding the photograph as evidence against Solduz. Everything Panahi does to fix the problem seems to get him into further trouble. The narrative focuses less on the forbidden lovers than it does on the tension in the village and the promised man’s bruised pride. Perhaps the love story here is more about the village’s love for tradition.

The third story is that of a couple, Bakhtiar (Bakhtiyar Panjeei) and Zara (Mina Kavani), who are trying to emigrate out of the country and flee to a better place, but are having a difficult time securing a second fake passport for the trip—and Zara refuses to leave the country without Bakhtiar. Theirs is the story that Panahi is filming via video chat, taking their situation and turning it into a nicely wrapped version of itself for the camera. But it becomes clear that the outcome of the couple’s illegal immigration will differ greatly from the outcome of Panahi’s film—that is to say, not happily ever after.

At times, “No Bears” feels like a slice of life. But there is so much packed into the film that will leave you plenty to think about long after the credits roll. It is a film that insists, though it is framed as fiction, that there is more reality to it than initially indicated. Though cloaked with this heaviness, the film is still refreshingly beautiful, and Panahi makes quick work of making the cast of characters come to life.

The end of Panahi’s love story is not over yet. However, as “No Bears” plays in theaters across the United States, he has reached a low point in his arc, now in prison for a sentence of six years that the Iranian government states was previously handed down. While we hope for his release, we may as well enjoy “No Bears” for the dark, barely fictional piece that it is.

Midtown Cinema is located at 250 Reily St., Harrisburg. For more information, visit www.midtowncinema.com.

February Events At Midtown Cinema

First Run Film Opening

“Saint Omer”
Friday, Feb. 3

National Theatre Live presents

“Much Ado about Nothing”

Sunday, Feb. 5, 5 p.m.

First Run Films Opening

“No Bears”

“Turn Every Page”
Friday, Feb. 10

Down in Front! riffs on

“Streets of Fire” (1984)
Friday, Feb. 10, 9:30 p.m.

FraserFest presents

“Blast from the Past”
Sunday, Feb. 12, 7:30 p.m.

Valentine’s Day Film

“When Harry Met Sally” (1989)
Tuesday, Feb. 14, 7:30 p.m.

3rd in the Burg Movie Night

“Pink Floyd: The Wall”
Friday, Feb. 17, 9:30 p.m.

National Theatre Live presents

“The Seagull”
Sunday, Feb. 19, 5 p.m.

First Run Films Opening

“Close”

“Emily”
Friday, Feb. 24

If you like what we do, please support our work. Become a Friend of TheBurg!

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