Changing times: Gorgeous, tradition-bound, coastal Sicily in the 1960s is the locale for Paolo Licata's ALONE WITH HER DREAMS

Yet another "find" from the increasingly indispensable Corinth Films, ALONE WITH HER DREAMS (the Italian title is the even lengthier Picciridda - Con i piedi nella sabbia) is the first feature film from director Paolo Licata, co-adapted from the novel by Catena Fiorello by Signore Licata, Ms Fiorello and Ugo Chiti. This is yet another small, independent, foreign film not picked up for theatrical release here in the USA that is very much worth seeing and savoring.

Filmmaker Licata (shown at right) hasn't merely found  some breathtaking locations in which to film this coming-of-age tale of a young girl separated from her parents, who must go abroad to earn a living to support the family, taking with them their younger child and leaving a very lonely Lucia (newcomer Marta Castiglia, above and below) in the care of her seemingly cold and domineering grandmother. No, he has used  these marvelkous locations to maximum effect.  

Granny is played by a wonderful Sicilian actress (TrustMovies has seen her a few times already, but this, he suspects, 

may be one of her best performances), Lucia Sardo (shown below, right, of The 100 Steps and The Sicilian Girl). Ms Sardo allows us to slowly understand the reasons for the grandmother's reticence and anger, as well as the great love she feels for her granddaughter and why she feels that she must keep this hidden.

Hiding and silence is the Sicilian answer to many problems, and it is to the film's great credit that it finally and thoroughly shows us how and why this simply adds to those problems. Setting the novel and film in the late 1960s, when change was quietly, slowly appearing -- even in Sicily -- allows us to see the tip of several icebergs that took their time before coming to the surface, from feminism to GLBT concerns to emigration/immigration.

Though the tale eventually encompasses some very heavy-duty events, Licati's style manages to avoid melodrama, while the excellent performances, beautiful landscapes and emotional, often-heart-tugging family dynamics will keep you more than glued to your screen.

From Corinth Films, in Italian with English subtitles and running just 95 minutes, Alone With Her Dreams is a movie to seek out and enjoy on a number of levels. It makes its DVD and digital debut this Tuesday, February 23 -- for purchase and/or rental. (I believe it will be available for Amazon Prime members to view at no charge.)

Home-vid debut for old-fashioned, don't-miss, highly collaborative film, THE ETRUSCAN SMILE

One of those rare examples of a huge international collaboration -- an Israeli directing duo (Oded Binnun and Mihal Brezis, shown below, with Ms Brezis on the left), five screen-writers adapting a popular Spanish novel by José Luis Sampedro, filmed in Scotland and San Francisco and featuring actors from both sides of the Atlantic -- THE ETRUSCAN SMILE works better than you could possibly imagine, thanks to the skill, talent and sheer love gifted by everyone involved. Sure, the plot is probably as recycled as anything you've lately (or formerly) seen, yet every would-be cliche is either turned a tad askew or simply brought to such pulsating and believable life that you don't simply go along with it, you fucking embrace it.

Let's start with the movie's star, Brian Cox (at top and below): If this versatile and amazing actor is not considered one of England's "national treasures," along with the likes of Maggie Smith or Judi Dench, it must only be because he has fought so long and hard for Scottish independence from Britain. Here he plays an aging fellow named Rory, diagnosed with a disease for which he must travel from his home on the beautiful coast of Scotland to the USA for proper treatment, and to the San Francisco home of his estranged son, his daughter-in-law and his new grandson. Yes, you can easily predict the outcome, but getting there is so filled with beauty, fun, small surprises and spot-on performances that it's the journey, as they say, and not destination that proves most important.

Mr. Cox, utterly penetrating, specific and aglow -- whether he's the star bad guy, as in the current series Succession; a mere supporting player, as in the recent what's-going-on-here? thriller Last Moment of Clarity; or merely the best Winston Churchill I've yet seen -- adds luster to anything in which he appears. He's also a gracious, giving actor who never seems to "hog" the screen. Consequently, all the supporting performers shine, too, including the very fine JJ Feild (below, right, one of the great movie villains in the delightful and under-rated thriller, Not Safe for Work) and Thora Birch (below, left) as, respectively, the son and daughter-in-law.

Rosanna Arquette (below, left) is lovely, too, as a museum official and unexpected romantic interest, while actors like Peter Coyote (at center, two photos below) and Treat Williams (three photos below) bring the necessary professional-polish-plus to their roles.

Sub-plots such as the son's wanna-be chef career, the protection and survival of original Scots languages, and the too-helicopter parenting of that grandson are nicely woven into the whole, so the movie bounces along beautifully throughout.

Speaking of that grandson, TrustMovies does not usually have all that much to say about performances by very young children, but the little boy in The Etruscan Smile (shown at bottom and played by two youngsters, Oliver Epps and Elliot Epps) is as adorable as any kid this age I've seen on film.

My spouse noted that the filmmakers must have spent literally days and days getting all this amazing footage of the child. Either that, or those Epps toddlers are just naturally happy little scene stealers.

A word also must be said the for the sparkling and often gorgeous widescreen cinematography (by the great Javier Aguirresarobe) whose exteriors or Scotland (above) and interiors of lush apartments and/or museums (below) help make this a don't-want-to-take-your-eyes-off-it movie experience.

It is also a very moving one. We were not dried-eyed by the finale, nor do I suspect you will be. But all your attention here, as well as your smiles and tears, are well earned. This is old-fashioned, classy, story-well-told moviemaking at its finest.

From Lightyear Entertainment, running 107 minutes and distributed in the USA via MVD Entertainment Group, The Etruscan Smile, after a virtual theatrical release in April and May, is available now on home video via DVD, Blu-ray and digital streaming. 

Feel-good family fun, with some fine music included: Brett Haley's HEARTS BEAT LOUD

The best thing about HEARTS BEAT LOUD is its original music via Keegan DeWitt, sung to a fare-thee-well by the movie's stars, Kiersey Clemons and Nick Offerman. We hear this music almost from the film's beginning and it continues off and on throughout. You can easily believe it would get noticed, grow popular and perhaps even start some careers in the process.

Beyond the music is what TrustMovies is beginning to view as a typical Brett Haley movie (as with I'll See You in My Dreams and The Hero): low-key, pleasant, with properly calibrated ups and down, and although the subjects raised may be deep, the handling of them is not.

Yet each of Haley's films (the co-writer/director is shown at right) offers an enjoyable, feel-good time, and best of all, the filmmaker never wraps it all up too cozily at the finale. Some questions remain unanswered and things are always left open for further possibilities (both good and bad).

Haley's co-writer, as usual, is Marc Basch, and the screenplay the two have concocted this time around involves a Brooklyn father (Offerman, shown above, right, and below, left) and his late-teen daughter (Ms Clemons: above, left, and below, right) about to leave for a pre-med course at UCLA. The two have long made music together (the mom of the family having died some years back), so Dad wants one last jam session together, at which daughter suddenly comes up with a song she's been working on that has definite possibilities.

That's pretty much it for plot -- oh, daughter gets involved with an attractive local girl (Sasha Lane, below), even as dad finds himself attracted to his friendly landlord (Toni Collette, further below) -- the only big question arising here is whether daughter must or maybe will give up her medical studies to pursue a musical career.

Inserted into all this is a grandmother (Blythe Danner) suffering from dementia who occasionally shoplifts and create sort-of problems. While it's always a pleasure to see Ms Danner at work, this character seems so needless to the tale told, and her arc really goes nowhere, that the movie would be a bit tighter and shorter without her.

Better used and more germane is the bartender/old friend of dad's, played by Ted Danson, below, who gives his neightbors good advice and even better booze now and again. Otherwise, the movie is easy-going, pleasurable and rather predictable. But the music, as I say, is quite good, and so are each of the performances.

All in all, this is just about what we've come to expect from a Brett Haley movie, but, as someone once asked, What's not to like?  

From Gunpowder & Sky and running a pleasantly-paced 97 minutes, Hearts Beat Loud opens this Friday, June 8, in New York (at the Regal Union Square and the Landmark at 57 West) and Los Angeles (at the Arclight Hollywood and The Landmark in West L.A.). Here in South Florida, as well as elsewhere around the country, the movie opens the following Friday, June 15. In the Miami area, look for it at the AMC Aventura, the O Cinema Wynwood, and Regal's South Beach 18 and in Fort Lauderdale at The Classic Gateway.

Dreams, machines and family fuel Kamiyama Kenji's animated delight, NAPPING PRINCESS

If the new animated movie from Japan entitled NAPPING PRINCESS seems initially a little too childlike and "adorable" to merit your full attention, hold on for just a bit. If you do, you'll soon find yourself involved in a tale of alternate universes -- one a kind of dream world, the other a reality that is heavily linked to the dream. Initially, I wondered why they hadn't entitled this one, Dreaming Princess, but after viewing this really quite good children's film, I realize that the word "napping" is a lot more fun, reflective, too, of the main character's energy and smarts.

As written and directed by Kamiyama Kenji, shown at left, the story here is actually rather complicated (I wouldn't be surprised if some older children may have to pause the Blu-ray or DVD along the way and explain certain things to their younger siblings), involving family history, an automotive dynasty, stolen technology for self-driving cars, and lots more.

All of which gives this animated charmer additional freight, weight and wonder. Napping Princess is by turns sweet, thrilling, funny, moving and consistently one hell of a visual treat.

I wish that the stills shown below were of better quality because they simply do not do justice to what will be up there on your screen (via the Blu-ray version, at least). The colors are spectacular and the animation quite delightful. You'll particularly notice early on the film, I think, the breakfast that our heroine, Kokone, sets in front of her dad because you'll want to grab a fork and dig right in.

The landscapes, based on the actual Japanese locations, are also lovely, while the tale told here -- of an automobile dynasty and the struggle for its control -- will seem both specifically Japanese and simultaneously indicative of so much our Capitalist world today.

Technology -- not only auto-making but smart phones, tablets, and the like --  come into play, as do cute little teddy bears, all of which makes the movie oddly enjoyable on several levels. Mr. Kamiyama's achievement lies in how he manages to bring all this together in so relatively seamless a fashion.

By the end you may find yourself surprisingly moved by the unfolding story of a shattered family and how it is reunited -- well, somewhat, at least. All the leading characters are brought to life quite well visually and aurally, and as the story gains momentum, you'll enjoy everything from plot twists and car/motor-bike chases to fights between monsters and robots (think Pacific Rim but a lot shorter and more fun) plus some inter-generational trauma and drama.

Whatever you do, don't miss the sublime visuals that accompany the end credits. These give you, in a lovely animated version of archival footage, the family's backstory in a series of sweet, incisive snippets: a most charming end to a very surprising movie.

From Shout! Factory and GKIDS and running a lengthy but never boring 112 minutes, and available in both the original Japanese version with English subtitles, and the English-language dubbed version (for younger children), the excellent two-disc set containing both Blu-ray and DVD, with a host of special features included (the 15-minute interview the writer/director Kamiyama is definitely worth seeing), the package hits the street tomorrow, Tuesday, January 30.

Todd Haynes' WONDERSTRUCK may leave you (and your kids) in that special state. I hope so.

Finally: A children's movie that really is for children. And for their parents. And maybe especially for their grandparents. (WONDERSTRUCK is set back in time in both the 1920s and the 1970s.) Best of all, this is not one of those Marvel or DC "stupid-hero" films, of which we've seen far too many of late. At the press screening I attended a month back, here in Fort Lauderdale, as the end credits rolled, there was a burst of spontaneous applause the likes of which I've not heard in all my two years down here in Florida. There were only maybe a dozen of us critics at the screening, but that applause sounded like it was coming from a hundred or more.

As much as TrustMovies has enjoyed and appreciated the films of Todd Haynes (shown at left: Carol, I'm Not There, Far From Heaven), he would not have guessed this guy capable of directing a movie for children that worked this well. (But, then, he was equally surprised by the success of David Lowery in directing the Pete's Dragon remake.)

Mr. Haynes' use of everything from the terrifically talented young actors involved to some fine, collage-like animation, an amazing diorama and New York City's American Museum of Natural History, in combination with the increasingly lost art of genuinely imaginative storytelling (the screenplay is by Brian Selznick, from his book of the same title) joins to make Wonderstruck a wonderment indeed.

Haynes and Selznick have divided their film into two stories that eventually connect. One is that of the young girl, Rose, played with wondrous openness and grit by newcomer Millicent Simmons (above), who leaves her comfortable New Jersey home to journey to New York City back in the 1920s to find and meet her idol and famous actress (brought to life by Julianne Moore). The other story, set in the 1970s, follows Ben (Oakes Fegley, shown below, the fine young actor who also played Pete in that Dragon movie), who comes to New York City to find the father he has never known, after his mother (Michelle Williams) has died in an accident.

How these stories weave together so beautifully and delightfully -- using New York's American Museum of Natural History in perhaps the most thrilling and meaningful manner I've yet seen on film (one that puts those Night at the Museum movies rather in the shade) -- is as wondrous as all else in the film, and the scenes involving the children at play (and learning) are so filled with energy, believability and sheer joy that they take their place among the great "kid" scenes movies have given us.

Ms Moore (above) plays yet another dual role (as she does in the better-than-you've-heard and under-appreciated Suburbicon), and she is alternately hard and soft, caring and not-so, and of course aces at both.

How Haynes' and Selznick's movie works itself out is less surprising than it is a kind of consistently visual (while mostly non-verbal) amazement. The movie deals in large part with deafness, and the way it handles this -- via conception, execution and especially performances -- is, I think, exceptional, original and quite moving without ever needing to jerk those tears.

How Mr. Haynes achieves this, with the help of Mr. Selzlnick, of course, is what makes him such a singular and thrilling filmmaker. Do stay through the end credits, which are joyful, explosive, colorful and finally meaningful, too. A word must be said, too, for the other and already quite seasoned young actor in the film, Jaden Michael (above, right, and below, left), who plays Jamie, the kid who encounters Ben on the city's street and befriends him. Young Master Michael is certainly the equal of his two fine co-stars. Mr. Haynes has managed to encourage (or maybe simply allow) three indelible child performances to burgeon here, and great thanks are in order. This is magical movie-making.

One of the year's best films, Wonderstruck -- from Amazon Studios and Roadside Attractions and running a just-right 115 minutes -- after opening last week on the coasts, will hit South Florida this Friday, November 3. In Miami, it plays the AMC's Aventura Mall and Sunset Place, the Cinepolis Grove 15, and Regal's South Beach 18; in Fort Lauderdale at the Gateway 4; in Boca Raton at the Regal Shadowood 16, in Boynton Beach at the Cinemark 14, and at The Movies of Delray. On the following Friday, November 10, it will opens throughout the country. Click here to find the theater(s) nearest you.

Brant Pinvidic's WHY I'M NOT ON FACEBOOK is a smart -- and very necessary -- documentary

Confession: TrustMovies is not on Facebook, either. He was, for a short while some years back -- until he realized that he was wasting incredible amounts of time being in touch with people he didn't care that much about and for whom he did not have the time or energy. So he severed all Facebook connection (he was never impressed with the site's so-called security measures, anyway) and will never return there. He does have a Twitter account and is easily reached by email or phone. (He also admits that the image he has retained of Facebook founder Mark Zuckerberg from that fine film, The Social Network, had a certain influence here, too.) Which is all by way of saying that when he saw the title of the new documentary WHY I'M NOT ON FACEBOOK, he knew he had to view it.

You should, too. This is one of the best documentaries I've seen this year, and it is certainly one of the most necessary, as it holds up a mirror to both Facebook itself and to the American (and probably international) public and its current and ever-more life-deadening "quirks." The film's creator and director, Brant Pinvidic, shown at left, seems like a cute, smart, energetic family man whose suspicions about Facebook are more than justified by the evidence he has amassed and then, along with his excellent lead editor and producer, Dean Shull, put together in such an intelligent, entertaining manner. The result is a film that will surprise you, even as it pulls you up short and makes you think, then think again.

Along the way we meet the real Winklevoss twins, along with some of the folk Facebook has helped make "famous" (like the Pink Lady, below). We also learn how Facebook has become the leading Job-Finder of modern times (as well as one of the main job losers, too: a product of how stupidly its users use it). Mr. Pinvidic is careful not to demonize Facebook -- as his evidence piles up, at times his movie threatens to become instead a commercial for the site -- and he even creates his own Facebook identity (who is Steve Steel?!).

The movie shows us how Facebook has helped catch criminals (often because they actually post on the site about their crimes: Ah, that ever-growing need for fame!).  We meet one young high school girl who appears to be addicted to the site; her behavior here is so sad and awful that it practically demands an "intervention." And that matter of privacy? Well, as Pinvidic points out, even without Facebook, privacy these days is just about over.

The film is full of humor and fun, too. At one point, our narrator wonders, Would Jesus have been on Facebook? Oh, wait: He already is. As the director reaches the home stretch, his movie really takes off. He addresses the psychology of Facebook lovers, and by extension, the rest of us, too. His conclusion as to why Facebook has become so important so fast is extraordinarily on the mark, I think. I'll let you discover the explanation for yourself. (Hint: its simultaneous appeal to two of our most powerful emotions/needs.) That way you'll have to see the movie -- which is worth your time in every respect.

Pinvidic's real reason for making Why I'm Not on Facebook, it turns out, is less about himself than about his family's desire to join the site, particularly that of his son, who is about to enter the teenage years. How the filmmaker resolves these issues turns his movie into something smart, suspenseful, ironic and, hell -- even feel-good, as he captures humanity and Facebook in a multitude of differing faces. It also explains why, as climate change engulfs us, the general populace will continue to follow their leaders' complete inaction and will instead post Facebook 'selfies' as the end approaches. "Shirley, look -- the water's up to my waist!"  "You think that's something, Fred? The water's already around my neck!" "Well, I've got you both beat, 'cause it's just now touching my blub blub blub..." (I do hope Apple is adding that underwater option to its iPhones.)

The documentary, just 77 minutes long and worth every one of them, will open via VOD this Tuesday, November 3. And maybe in select theaters, too? (That's what it says on the poster, top.). Any way you can see it, this one's a don't-miss experience.

Yoon-suk Choi/John Kafka's animated BACK TO THE JURASSIC proves a charming little winner

Are you tired of paying top dollar to see a new big-budget animated film in a theatre? Recent samples, often in 3D, can cost a family of five more than $100 to view. You and your kids might want, instead, to settle in on your couch and watch a new animated movie -- BACK TO THE JURASSIC -- that arrives, if I'm not mistaken, via a combo of Hollywood and South Korea, this coming Tuesday on DVD and Blu-ray.

Directed by Yoon-suk Choi and John Kafka, this what-you-might-call B-movie animation tells the tale of a dinosaur-obsessed school kid, his younger sister and best friend, Max (above), all of whom live in a town seemingly devoted to dinosaurs and their ilk (everything, from the museum to the local diner, is dino-themed). This youthful crew ends up taking a unexpected trip via time machine back to the Jurassic period where they encounter a multitude of dinosaurs, one of which (below and voiced by Melanie Griffith) takes a maternal interest in the threesome -- due to that time machine's looking an awfully lot like the dino egg she so recently was hoping to hatch.

TrustMovies admits that he was not expecting much from this movie, when he settled back on his daughter's couch with his grandson and began to watch. But what do you know? The film proved much better than expected. Charmingly plotted and written, and featuring voices of some first-rate talent (along with some second-rate who are used quite well), Back to the Jurassic is enchanting and fun from first frame to last.

Full of energy and more wit than you might have imagined, the movie handles themes like disobedient children, over-protective parents, sibling rivalry, and of course dinosaurs of both the benign and scary varieties with aplomb and pizazz. It proves consistently entertaining for the kids (my seven-year-old grandson rated it very highly and immediately told me that he wanted to see it again), while providing an easy, pleasant watch for adults, too.

The animation is very well done: immensely colorful, alternatingly bright and dark, and always enjoyable to view. The movie will immediately grab the attention of young kids and keep them focused (at one point I asked my grandson if he had understood one of the more sophisticated moments/situations, and sure enough, he had), and I suspect you adults may be surprised at how often this movie has you smiling.

Once the kids land in the prehistoric period, their respective parents must high-tail it after them and bring the crew back home. Mom (above, left) is voiced by Jane Lynch, but thanks to the very poor and incredibly incomplete website of the film's distributor, Alchemy, plus almost no information about the film available on the imdb, I don't know who voices Max's dad. Traveling through time and back is pretty much the plot, with the protagonists (the kids, parents and good dinos) set against their antagonists (a couple of very bad dinos, voiced by brothers William and Stephen Baldwin).

Running just 86 minutes, this fleet and frisky film is worth a look if you have young kids. It hits the street this coming Tuesday, June 9, on both DVD and Blu-ray.