Lulu Wang's lovely family dramedy, THE FAREWELL, opens here in South Florida

Already lauded with near unanimous critical acclaim, coupled to positive audience ratings, THE FAREWELL, a new film from Lulu Wang, is all about a young Chinese-American woman and the family reunion in China that she has with her grandmother, who's just been diagnosed with terminal cancer.

If this sounds like a recipe for the maudlin "family" films we often get from television, do note that Ms Wang, pictured at left, has offered us a unique experience, during which a smile will rarely disappear from your face, nor a chuckle from your throat. The Farewell is a movie that gives that overused entertainment term "dramedy" a good name. Yes, it is moving -- but it is equally funny, charming and most of all surprising. And it ends with two quick scenes/moments -- the first on the streets of New York City, the second above a housing project in China -- that are so brilliant, so perfect, I hope they'll take your breath away, as they did mine.

The conflict in The Farewell has to do with whether or not to keep grandma's diagnosis a secret from her, letting her imagine that she is really doing OK, with little more necessary than to recover from her bad cold and cough. The Chinese branch is determined to do just that, while the Chinese-American group -- personified by the grand-daughter, Billi (a wonderful performance from Awkwafina, shown front row, center, above), and her parents -- are much less certain of what should happen here.

As writer/director, Ms Wang gives us culture clash served up with both a gimlet eye and a genuine feeling for how deep go the differences in Chinese and American culture. Little is easy here, save for the wonderful affection between grand-daughter and grandma (called Nai-Nai and played with a serenely dour comedic sense by an elderly newcomer named Shuzhen Zhou, above, right).

Over its maybe just slightly long 100 minutes, the movie fairly steeps you in Chinese culture. Even when you don't understand it all -- just like the Japanese bride of the family cousin, whose upcoming wedding is the supposed reason for this sudden get-together -- you will indeed understand that you damn well better watch and listen and figure out everything you can. And you will, as Ms Wang does not make things that difficult to understand. Along the way, as I say, that smile will rarely leave your face. By the finale, you will have partaken in the not just expected very moving and emotional scene but in so much more, as well.

I rather wish that, in addition to getting to know grand-daughter and grandmother, we might have learned more about that cousin and his bride (above), and a couple more of the extended family members. There was time for this, but instead it was spent somewhat repetitiously on Nai-Nai and Billi. But that's a small price to pay for so much else that works so splendidly here. And the two-moment ending, as I say, is sheer cinematic wonder.

From A24, in English, Mandarin and a little Japanese and Italian (all with English subtitles), The Farewell opens nationwide today. Here in South Florida, you can find the film in Broward County at the Paradise 24, Davie, and the Gateway 4, Fort Lauderdale. In Palm Beach County, look for it at at the Cinemark Palace, Living Room Theaters and Regal Shadowood, all in Boca Raton; at the Cinemark 14 in Boynton Beach; at the Movies of Delray, Delray Beach; and at Cobb's Downtown at the Mall 16 in Palm Beach Gardens. In Dade County, it's playing at the Aventura Mall 24, Aventura; The Landmark at Merrick Park 7, Coral Gables; the O Cinema, Miami Beach; the South Beach 18, Miami Beach; and the Sunset Place 24, South Miami. Wherever you live around the country, click here to find the theater(s) nearest you.

NUMBER ONE FAN: DVDebut for Jeanne Herry's dark/funny/oddly real study of obsession

In NUMBER ONE FAN (Elle l'adore), her first full-length film, French writer/directer (sometimes actress, too) Jeanne Herry offers a very interesting and different look at obsession: that of a middle-aged woman fan's adoration of her "hero," a super-popular singer who is equally obsessed with his own career and reputation. What makes the film so unusual is Ms Herry's approach -- which is not from any of the usual angles we might expect.

The filmmaker (shown below) refuses to turn this into a comedy or a tragedy or even the

kind of mystery/police procedural we often see. And yet, as the movie moves along, it becomes, without seeming to even try, all of the above. And it does so while remaining, moment to moment, utterly real without ever resorting to any of the usual "movie" techniques (super-snappy editing and/or pounding music to ramp up the suspense).

Instead things stay relatively quiet and calm, even as they grow increasingly bizarre. This is an unusual "technique," to say the least, but in the end it pays off rather well.

In the starring roles, Ms Herry is fortunate to have two fine (and terrifically appropriate) actors: Sandrine Kiberlain (shown above) and Laurent Lafitte. Ms Kiberlain has always excelled (in literally every role she appears), especially when she plays the oddball outsider, as here. She captures that peculiar obsessive quality that fans bring to their adoration, which allows them to concentrate on their idol to the diminution of all else in their lives -- from their children to their employment.

M. Lafitte (above and below) brings his gorgeous face and physique to the fore, as a top-grade performer so used to the "entitled" spotlight that, when an accident happens that would have any remotely "normal" person calling for an ambulance and/or the police, instead reacts only in his celebrity "career protection" mode. On one level this is beyond crazy; one another, it is simply standard practice for the narcissistic celeb.

How events pile up and go quietly to shit is also somehow expected. But the manner in which Ms Herry handles it all is certainly not. One one level the movie becomes an oddball police procedural involving a pair of romantically involved cops (Pascal Demolon and Olivia Côte, below, respectively, left and right), one of whom is, as her lover describes it, a nymphomaniac. This provides not only some very weird-but-understandable plot points, but a chance for the two actors (below) to strut their stuff, believably and enjoyably.

How the movie winds up (and down) is low-key but effective, turning much of what we've seen on its head. Holding it all together is Ms Kiberlain, who has one scene toward the finale in which she is under questioning in the police station -- and allowing her character to give the performance of her life -- that should offer enormous evidence, were any still needed, of what a supremely expert actress she is.

From Distrib Films US and Icarus Films Home Video, the DVD hits the street this Tuesday, October 2 -- for purchase and/or rental.

Vanity, thy name is James Fanizza, who writes, directs and stars in new GLBT film, SEBASTIAN

Yes, SEBASTIAN does indeed smack of what we used to call a "vanity" production -- having been written, directed, starred in and co-produced by one, James Fanizza. Mr. Fanizza (shown on poster at left, top, and at bottom, right) is an attractive blond fellow and not a bad actor if only a so-so writer and director. His co-star, the chunky/hunky Alex House, who plays the eponymous secondary character, comes off a bit better because he has been given less "acting" to do and does what he has with a certain appealing reticence.

Adequately shot on video by Kalen Artinian, this Toronto-set tale is basically the same-old/same-old so far as way too many gay movies are concerned. Coincidence-prone and featuring a "hero" who is pretty much a shallow, lying asshole (who seems totally unaware of this fact), the movie does finally provide some sort of an explanation of why this guy is the way he is. Trouble is, that explanation seems every bit as manufactured as the rest of the movie.

In its way, Sebastian represents a side of gay life that's all too present and is, I suppose, a kind of reaction to the past hundred or so years of repression, transgression and adjustment to being "different." Even so, the movie remains a bit of a bore, especially when set against so many other, better GLBT films of recent times. One of its supporting actors is Katya Zamolodchikova (aka Brian McCook, below), who starred as Katya on RuPaul'sDrag Race.

Although there is some witty dialog on display, too much of the talk sounds like it came from a self-help manual. At time the film appears to be counting down every last gay cliché in the book, coupled to a bunch of self-improvement tropes and (as even its own characters point out) a tele-novela -- but without any of the latter's high gloss. Toward the finale, which provides enough angst to fill a dozen films, Fanizza's film descends into full-out melodrama.

At best Sebastian is a adequate time-waster. At worst, it's yet another reason some of us gays often avoid "gay" movies. Oh, yes, and about that quote atop the DVD box art, "And it does get steamy", don't get your hopes up. This one's about as "steamy" as that pasta from yesterday that you've just taken out of the fridge. From Wolfe Video, the movie hits the street on DVD tomorrow, Tuesday, February 6 -- for both purchase and rental.

Prevarication reigns (and rains): Phil Allocco's goofy, funny rom-com, THE TRUTH ABOUT LIES

Though it has been sitting around for two years now, hitting the festival circuit while waiting for release, a rom-com called THE TRUTH ABOUT LIES -- written and directed by Phil Allocco (shown below), who earlier made a name for himself as guitarist in the band, Law & Order  -- turns out to have been worth the wait. The movie is funny, charming and goofy as hell, and it sports a first-rate cast of good-looking actors who also know how to create the proper chemistry together, as well as nailing the humor as easily as the romance. 

You will have to suspend your disbelief a bit at some of the whoppers you'll be asked to accept here, but since Allocco has made his movie all about lying, and his leading man, the hugely under-appreciated comedic hottie, Fran Kranz (shown below in romantic mode and and further below in comedic), handles these lies with such amazing aplomb that, for maximum enjoyment and fun, it's best to simply go along on this wild ride. 

The filmmaker's point would seem to be that we all lie to each other all the time, but if we can just ground those lies in a healthier life style -- a decent job, apartment, mate, diet and more -- then we'll get by just fine. What? How dare he! 

Mr. Allocco dares, all right, and he pretty much gets away with it, too, thanks to some clever writing, decent direction, and the ministrations of his first-rate cast. Mr. Franz has long been one of my favorite rom-com actors, and once again he acquits himself royally. Whether he's falling in love, above, or killing time in the men's room, below, with a couple of rolls of toilet paper, he's alternately sexy and funny and always fun. 

His suddenly former and soon-to-become girlfriends are played by Mary Elizabeth Ellis (below) and Odette Annable (further below), the former with a lot of anger and sass, the latter with such graceful beauty and charm that she'll sweep you off your feet, just as she does our hero his.

Allocco peppers his movie, via title cards, with frequent and often terrific quotes about lies and truth -- and their effect on us all. Many of these quotes are first-rate, and they'll make you think (and laugh) as much as does the movie itself. 

In the supporting cast are other good (and good-looking) performers such as Miles Fisher (below, as Kranz's best friend) and Chris Diamantopoulos (at bottom, playing Annable's husband). 

From time to time the movie will put you in mind of early-Woody Allen. But, hey, early Woody Allen ain't bad. And neither is The Truth About Lies. And if the movie will not set the world on fire (we can leave that to Donald Trump), it's nonetheless a pleasurable enough outing for those who appreciate the rom-com genre.

Opening theatrically in some 25 cities across the country this Friday, October 27 -- in New York City, it hits the Cinema Village; in Los Angeles at Laemmle's Monica Film Center -- the movie, running 94 minutes, will be available digitally, as well. Click here, then click on Screenings in the task bar, to view all currently scheduled playdates, cities and theaters.

Catching up tardily with one of the year's best documentaries: Yael Melamede's terrific (DIS)HONESTY: THE TRUTH ABOUT LIES

TrustMovies was in the midst of preparing for his move south when (DIS)HONESTY: THE TRUTH ABOUT LIES hit theaters last spring. It has taken him more than six months to catch up with this unusual and unusually fine documentary, but the wait was worth it, and he recommends the film to you now, as one of the best docs of this past year. It introduces us to (or maybe "reminds us of" would be a better wording) humanity's predilection toward hypocrisy, denial and, yes. lying and cheating. But instead of gloating in any tired, "told you so" manner, the movie -- just as does its "star" and narrator, the charming Dan Ariely -- actually proves more spirited than dispiriting, even hopeful about our chances of keeping this especially obstinate characteristic in check.

Mr. Ariely, shown at right, is funny and smart, as he tells us of his own story and the horrible accident that starts it off, and how this leads him to wanting to know more about mankind's need to prevaricate in various ways.

The film's director, Yael Melamede, shown left, does a fine job of moving us along and weaving together Mr. Ariely's ideas and lectures to a welcoming crowd with the stories of various liar and cheats, each of whom differs from the others in major ways as they tell their tales with a welcome honesty and quiet contrition. Their crimes vary in magnitude (in my estimation the state of Ohio has more to answer for than the mother it tosses into jail for trying to give her children a better education), but each one is a fascinating story, well worth telling.

These have to do with everything from college admissions and Wall Street insider trading (above) to cheating on one's spouse (below) and refereeing basketball (further below).

Along the way, we learn about various experiments in human behavior regarding lying and cheating, the outcomes of which will surprise and amuse. Who lies the most, folk: bankers or politicians? Who cheats more: men or women? Watch this movie, and you'll discover the answers.

We also learn about behavioral economics, rather than the more standard kind (the former is Ariely's specialty), and how "distance from the money" can make cheating easier. The film is full of juicy (perhaps unintentional at the time of filming) ironies, too. Watching Brian Williams report on how Marilee Jones was caught lying about her background is, well, too bizarrely funny for words.

Does "good lying" exist? And how about those lie detectors -- that can pick up when we're lying for personal gain but don't show a thing when the lie is for the betterment of a charity? The documentary goes into all this and more, and Ariely proves such a charming and witty raconteur that we'd probably stick around were the movie twice as long as its fact-filled, thoughtful 90 minutes.

Best of all, (Dis)Honesty doesn't simply point out the problem. It also shows us a few ways of helping circumvent it -- via suggestions put into practice in India, Scandinavia and elsewhere. "Lying," explains Ariely, "is not about being bad but being human. We all have the capacity to build a better, more ethical, more honest world." The movie shows us why & how.

Available on DVD as of December 1, you can order the film from various sources. Two of these are linked here and here.  Or watch it via Amazon Instant Video.