R.I.P. Barbara Harris (1935-2018)

Barbara Harris in Nashville

Actress of stage and screen Barbara Harris died on August 21, 2018 at the age of 83 in Scottsdale, Arizona. Among the accomplishments of her career were several Tony and Golden Globe-nominated performances as well as prominent work in films like Nashville, Peggy Sue Got Married, and Grosse Pointe Blank. With a rich career that spanned several decades, she leaves behind an impressive legacy of quality performances and Broadway shows that were inspired by her charisma. Her work continues to live on in the students that she taught after retiring from acting as well as the great work that she did on camera. She had an exciting, unique career that's hard to match, and it makes her all the more fascinating as a result.

Legitimate Theater: #4. "Freaky Friday" (2016)

Freaky Friday

Welcome to Legitimate Theater: a column dedicated to movie-based stage musicals. The goal of this series is to explore those stories that originated in films and eventually worked their way onto Broadway and beyond. By the end of each entry, there will hopefully be a better understanding of this odd but rampant trend in modern entertainment. Are these stories really worth telling through song and dance? How can it even compare to the technical prowess of a camera and seamless editing? Join me on this quest as I explore the highs and lows of this trend on the third Wednesday of every month and hopefully answer what makes this Legitimate Theater.

Composing Greatness: #3. Rachel Portman - "Chocolat" (2000)

Scene from Chocolat

Welcome to Composing Greatness: a column dedicated to exploring the work of film composers. This will specifically focus on the films that earned them Oscar nominations while exploring what makes it so special. This will be broken down into a look at the overall style, interesting moments within the composition, and what made the score worth nominating in the first place. This will also include various subcategories where I will rank the themes of each film along with any time that the composer actually wins. This is a column meant to explore a side of film that doesn't get enough credit while hopefully introducing audiences to an enriched view of more prolific composers' work. This will only cover scores/songs that are compiled in an easily accessible format (so no extended scores will be considered). Join me every Sunday as I cover these talents that if you don't know by name, you recognize by sound.

Review: "BlacKkKlansman" is a Giant Gut Punch of Profound Film Making

Scene from BlacKkKlansman

By the age of 61, most storied filmmakers have done their best work and are in the "safe" era of their careers. Not Spike Lee. While his career has never been nothing short of abrasive and confrontational, his latest BlacKkKlansman is a film that comes like a foot knocking down a door. Much like the general discourse, he's mad at the problematic race relations of the modern era and wants to have a blunt discussion of why we should be angrier about it. Over the course of his film, he has created one of the most delightful, uncomfortable, prophetic, energetic, scary films of his career. Even from its title, which alludes to the Ku Klux Klan characters at the center of the story, it doesn't come subtle. But on the bright side, Lee is one of the few old hats that are angry with a purpose, and it's so nice to have a film this immediate to prove the value of art to change discourse, provided everyone stops and listens.