Won’t You Be My Neighbor?

For someone who grew up admittedly being “scared to use words,” Fred Rogers certainly found an effective way to communicate.

“Won’t You Be My Neighbor?” is equally effective in chronicling the beloved educational television program “Mister Rogers’ Neighborhood,” by combining behind-the-scenes looks and clips from the series; interviews with members of the Rogers family, and colleagues or guests from the show; direct-address and archived footage or voice-over from the star himself.

And the documentary-style film covers just about everything, from the show’s inception to its final episode to the passing of its host to the legacy he left behind.

The program took ordinary elements – “… low production values, an unlikely star, simple sets…” – and turned it into something extraordinary by daring to be everything that children’s television was not; it wasn’t fast or flashy or loud.

Mister Rogers felt it was important to “help children become aware that what is essential in life is invisible to the eye.”

The show was simple and direct and honest – and special. And so is “Won’t You Be My Neighbor?”

“When I look at the camera, I think of one person – not any specific person… but it’s always personal.”

And with that the faces of one child after another slowly make their way across the screen, the image of Mister Rogers subtly reflected in the bottom corner to fully express the impact of his statement; he may not know them by name, but clearly he’s speaking directly to every single one of these kids.

Look at the way he interacts with the children, the intensity with which he listens to them.

It’s fascinating to learn how some of the flesh-and-blood characters came to be and to learn the origin of the inhabitants of the Neighborhood of Make Believe – especially Daniel Striped Tiger, whose likeness is used in narrative illustrations throughout.

And it’s impressive to not only see but understand the journey of how this show came together – the impetus behind it; the research and effort initiated to develop meaningful discussions; the obstacles, challenges and potential derailments that surfaced along the way.

With the show, Mister Rogers took a “wonderful tool” of socialization and gave it power – because he listened, and he made children feel important, and he addressed the issues no one else would: death and divorce and children getting lost.

There was an episode on mistakes, during which Daniel Striped Tiger doubts his worth, and one of the show’s producers was both shocked and impressed by the topic: “I can’t believe Fred had the courage to put this into words,” she said.

The show deftly handled timely social issues, such as racial segregation and political assassination.

And by doing so it opened the doors of communication and gave parents ideas on how to talk to their children about serious matters.

But it always came back to this: “Sometimes we need to struggle with tragedy to feel the gravity of love.”


I took way too many notes while watching this flick, but it’s because everything here is so important and deeply profound in its simplicity.

“Won’t You Be My Neighbor?” doesn’t present any real surprises; it isn’t that kind of movie.

Instead it’s a full-range look at one man’s “abiding interest in children and an equally abiding belief that they deserve more from public television.”

It’s whimsical and nostalgic, thought-provoking and sweet. It shows how “Mister Rogers’ Neighborhood” encouraged artistic expression and emotional exploration: “What do you do with the mad you feel?”

And it’ll hit you in the feels, man.

Whether or not you grew up watching Mister Rogers’ program – I did, but now I feel like I didn’t appreciate it enough – this flick outlining its intricacies definitely is worth checking out. It’ll make you long for the days when the world was simpler and slower and kinder.

His calming voice and friendly smile were welcome invitations to this quirky and wonderful little world.

Thank you, Fred Rogers, for making sure everyone who watched “Mister Rogers’ Neighborhood” knew and understood what it felt like to be special, “by just your being you.”

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

Jurassic World: Fallen Kingdom

Steven Spielberg had us all convinced in 1993 that the dinosaurs were back, when “Jurassic Park” roared onto summer movie screens and went bonkers in worldwide box office totals.

Its 1997 sequel, “The Lost World: Jurassic Park” didn’t fare nearly as well, and 2001’s “Jurassic Park III” did even worse, pulling in paltry numbers by comparison.

In 2015 the franchise got new life – and a new cast – when “Jurassic World” once again brought the dinos to the screen and subsequently resurrected ticket tallies.

You’d think that after four of these bad boys the lesson from them all would be as clear as amber: Don’t… eff… with science.

And if you do, don’t then eff with your experiment – because it most likely will tear off your limbs before devouring your entire body.

Yet, here we are.

In the latest, “Jurassic World: Fallen Kingdom,” disaster threatens the prehistoric life on dino-island Isla Nublar, sparking debate over whether to save the dinosaurs or let nature right a human wrong.

“It’s a correction,” Dr. Ian Malcolm (Jeff Goldblum, in his quirky Jeff Goldblum-ish manner) insists.

But Eli Mills (Rafe Spall) wants to do “the right thing” (sure, buddy) and transport 11 species – “more, if possible” – to a new home, where they’ll be secure and free.

“… a sanctuary. No fences, no cages, no tourists – just as nature intended,” he says.


If you assume everything will go smoothly, well then A) you’ve clearly never seen one of these flicks, and B) I’ve got news for you.


The mayhem is pretty much similar to what we’ve seen before but different enough that it’s relevant, interesting, suspenseful – and even a little bit sad.

Yep, you heard me. Sniffle.

Revisiting the island is really what sells this thing. The flowing lava and explosions, the shrieking and deep growls, the chases and close calls all are even more intense because of the effective shaky camera and accompanying score.

It legitimately looks and feels like the end of the world, and the dinos are probably all, “Not this crap again!”

I love the newbies tagging along this time with Claire Dearing (Bryce Dallas Howard) and Owen Grady (Chris Pratt, meow!!)

Systems analyst Franklin Webb’s (Justice Smith) trepidation and over-exaggerated fear are completely understandable and entirely hilarious; dude’s got the best screams.

And Zia Rodriguez (Daniella Pineda) is confident and tenacious AF; she’s clearly not impressed with or intimidated by “beefcake” raptor wrangler Owen.

On that note, I’ll see just about anything in which Pratt Pratt stars, and he once again turns on the charm and wit. Dig!

I noticed several instances of images or sequences that seemed to pay homage to the original (and the best, let’s be real) “JP” film in the series. Some of the over-the-monitor shots of Franklin recalled images of Ray Arnold (Samuel L. Jackson); the close-up of that Jeep mirror, with its visible and reminiscent advisory; the tethered goat; the dumbwaiter.

This franchise set an insanely high standard for itself with that first flick, and while nothing will ever match the splendor of the original “Jurassic World: Fallen Kingdom” definitely has enough action and energy and humor to justify giving it a look.

“Life… finds a way.”

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.


New Line Cinema

Why would Hogan “Hoagie” Malloy (Ed Helms) interview at Bob Callahan’s (Jon Hamm – meow!) place of business in the hopes of landing a job for which he’s severely overqualified?

Well, because Hoagie is “it,” of course, and he’s looking to pawn that curse off on Bob – with a simple “Tag.”

“We just never stopped playing,” a voiceover explains, while images of kids playing Tag circa 1983 slowly lay the foundation for this ridiculously lively flick.

The movie tells the tale of lifelong friends – Hoagie and Bob, along with Randy “Chilli” Cilliano (Jake Johnson), Kevin Sable (Hannibal Buress – love this guy!), and Jerry Pierce (Jeremy Renner) – who have been taking part in this playground game for 30 years.

For real.

And the premise of “Tag” is “inspired by a true story.”

Yes, for real. Cool, right?

During the month of May for the past three decades, these five friends have traveled to different cities or states and have donned elaborate disguises to tag each other and keep the game going.

But now… “Jerry’s retiring,” Hoagie tells the others. There’s a good chance he’ll exit with a clean record and “make us all look like fools.”

Jerry, with his ninja-like skills, has never been tagged; the explanations and visuals accompanying this revelation are hilarious, by the way.

“We’ve got a real shot at Jerry this year,” Hoagie squeals with childlike enthusiasm, because he knows exactly where the elusive Jerry will be and when.

Game. On.

“Tag” isn’t just about the game, but it’s during those moments that the movie is at its funniest.

Director Jeff Tomsic blends slowed motion with real-time action, often alternating between the two speeds in the same scene – and those visuals, along with descriptive-movement narration, delivers some riotously funny moments.

And one of my favorite scenes has Chilli, Hoagie and Bob standing in a small circle, quickly and repetitively tagging the next guy after being tagged by the other (no tag-backs!).

Tomsic spins the camera around the trio in the direction opposite the rotation of their incessant tags, and I dare you to not laugh. It’s trippy and stupid and hilarious, and it fully expresses the playful nature around which this flick is based.

Ed Helms is a great choice to anchor this crew because he’s naturally funny. I mean, “The Office” and “The Hangover”? C’mon!

And I looooove seeing the often-serious Hamm in goofy comedic roles. That chair scene had me on the floor.

Buress’s relaxed demeanor and composed delivery always is a treat; his casual comedy is truly hypnotic.

Let’s be real, though: Every one of these guys is upstaged by Hoagie’s wife, Anna (Isla Fisher). Her intensity for the game, despite not actually being a participant, is like nothing I’ve ever seen, and her outrageous outbursts crank the funny factor to 11.

“Tag” is more than hilarity and hijinks and a super competitive game; “It’s not about trying to get away from each other; it’s a reason for us to stay in each other’s lives.”

The movie is filled with silly humor and absurd physical comedy, and it once or twice sacrifices tact for a laugh (which I’m fine with, for the record). But watching these guys joke with one another and reconnect over 105 minutes is as enjoyable as watching them run around playing the game itself.

Will Jerry get tagged? Only one way to find out.

Tag; you’re it!

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

Ocean’s 8

“You are not doing this for me. You are not doing this for you. Somewhere out there is an 8-year-old girl, lying in bed, dreaming of becoming a criminal. Let’s do this for her.”

That Debbie Ocean (Sandra Bullock – whom my friend Kate praised at the start of this flick by exclaiming, “She’s in her (effin’) fifties, and she looks like that!”) sure knows how to give a pep talk.

The estranged sister of known thief Danny Ocean (George Clooney, who of course called the shots in three previous “Ocean’s” movies) calmly delivers this tongue-in-cheek mission statement to her strong and more-than-capable posse before attempting “one of the biggest jewelry heists in history,” setting the wheels in motion for the latest in the numbered “Ocean’s” series, “Ocean’s 8.”

This time the prize is “big ‘ol dangly Liz Taylor jewels” that have been locked up underground for 50 years.

And Debbie’s had some time – “five years, eight months and 12 days, give or take” – to consider and concoct her perfect plan: to rob the Met Gala.

For snobs who care, it’s “GAL-uh,” not “GAY-luh.”

To help with the job, Debbie carefully assembles a crack team of ladies, including her ex, Lou (Cate Blanchett); jewelry maker Amita (Mindy Kaling); computer hacker extraordinaire Nine Ball (Rihanna, not bad!); Constance (Awkwafina, an absolute delight), a quirky street hustler and wily pickpocket; conventionally unconventional mom Tammy (Sarah Paulson); and Rose Weil (Helena Bonham Carter), whose fashion-designer image is tarnished and who’s up to her wide, ditzy eyes in debt.

But this scheme over which they’re all sophisticatedly salivating isn’t without its glitches – because what’s the fun in that?

Bullock always is a favorite and seems to be having an effortless blast here. And really, all of these ladies are fantastic, each complementing the group in her own way.

I love that these characters are so focused and crafty and acutely dominant, that they’re always seemingly one step ahead while delicately making most of the fellas look like boobs.

One exception is James Corden as Insurance Investigator John Frazier. His fast-talking, I’ve-seen-this-shit-before attitude is pure gold.

Keeping with the stylized “Ocean’s” tradition, director Gary Ross (“Pleasantville”) uses a slew of funky and whimsical transitions – some of which use visual elements from one scene to cross over to the next, such as showing a close up of clothes hangers sliding along a closet rod as a way to guide the next scene into place.

Or having tiles of images flip onscreen like falling dominos, one section at a time, as the action changes settings.

Or showing the picture shifting like a slide puzzle, alternately appearing from the top or bottom of the screen and coming together to bring about a complete, new scene.

And then there’s that music – so consistent and heisty, like the “Pink Panther” theme, without the familiarity. You know what I mean.

I noticed on several occasions the use of mirrors or reflective surfaces, which I initially thought was simply a clever and artsy way to simultaneously show action from wholly different vantage points. And it totally is.

But then I realized it’s also a deceptively sneaky technique to almost offer too much to look at, thereby causing distractions and allowing for unpredictability while we’re busy looking in the wrong direction.

Wink. So smart!

“Ocean’s 8” definitely has a lot going on. There are some surprises and hearty chuckles, and while it’s not overly suspenseful it’s still a thoroughly engaging and oh-so-fun chapter in the “Ocean’s” storybook.

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

Solo: A Star Wars Story

“A long time ago, in a galaxy far, far away…”.

You know how this goes.

And with that intro first made famous in 1977 Harrison Ford stepped onto movie screens and into the hearts of audiences as Han Solo, the overconfident smuggler pilot with the pompous sneer and an attitude to match.

Ford’s rugged good looks and playful demeanor have not only won over “Star Wars” fans since “A New Hope” but essentially defined his character (and, y’know… that Indiana Jones guy).

I mean, when you hear the name Han Solo, the image that comes to mind is that of Ford, right?

As such, creating a Han Solo prequel with someone other than Ford in the legendary role seemed like an unimaginable undertaking. And honestly, I had my reservations.

But when I found out that “Solo: A Star Wars Story” was being directed by Ron Howard, I quickly became more curious than concerned. I mean, who better than Ford’s “American Graffiti” co-star to captain the ship and try to help us put a new face to the revered name.

As (the new) Han (Alden Ehrenreich – who?) himself assures: “I’ve got a really good feeling about this.”

For decades, everything we didn’t know about the character was just accepted.

But over the course of 135 minutes we learn the origin of everything we’ve probably never actually wondered about Han Solo – where the name came from; how he met Chewbacca (Joonas Suotama); the acquisition of that DL-44 blaster pistol; his love/hate relationship (“I know”) with Lando Calrissian (Donald Glover); how he ultimately will become (or, because of the timeline here, how he became) a part of the “Star Wars” saga.

We see familiar (and iconic) images, characters, and costumes; we hear familiar phrases, sounds, and names.

And keeping with the “Star Wars” tradition, music and/or sound effects accompany every second of this story (except for literally two, and that’s by design). It’s a genius technique that not only adds tension and excitement to each scene but also engages our senses throughout.

Ehrenreich looks the part; he’s got the cool hair and the sideburns, and much to my relief he eases into the Solo smirk, the sarcasm, and the cockiness we’ve come to know and love from this character.

Everything else will fall into place before this flick is over, and after a while you’ll no longer care to even make comparisons between the new Han and the old.

Let’s talk about Mr. Calrissian, shall we? The only thing more appealing than Lando’s fashion sense, flashy smile, and chill demeanor is that savvy glint in his eye. You know the one I mean.

Donald Glover nails all of that so epically, radiating the same cool smoothness that Billy Dee Williams harnessed to breathe life into this gambler. Glover’s Lando pretty much steals the show here, with just his presence alone; he really should have his own origin story (hint, hint).

“Solo: A Star Wars Story” maintains a sentimental connection to the “Star Wars” saga while emanating an altogether fresh vibe, with parts of it looking a little like “Mad Max” and other parts feeling a bit James Bond-like. But all of it has that “galaxy far, far away” quality. I’ll take that!

Is “Solo” a necessary cog in the machine that is “Star Wars”? Probably not.

But watching the puzzle of this smuggler’s early life piece itself together sure is a fun way to fill in the background of a character that has proven to be a favorite for decades.

And Alden Ehrenreich isn’t Harrison Ford, nor does he try to be. But as a young Han Solo he’ll do just fine.

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

For Bill…


I never met Bill Paxton.

But he was one of my all-time favorite actors. (Also, yes – that is his signature tattooed on the outside of my wrist.)

And after years – decades, really – of watching his films, seeing him charm the hosts and audiences of late night TV talk shows, and soaking up every bit of information offered in this entertainment publication or that I felt like I had a pretty good handle on the attributes that made him who he was.

And who he was… was a movie star, a family man, a story teller, a goof ball – and a simple guy with a genuine soul.

All of the things I thought I knew were more than validated on Father’s Day 2017. I was invited to attend a tribute for Bill in Manhattan, at which the people who really knew him shared their memories of going to school with Bill, or rooming with Bill, or performing with Bill.

And the words from those people who knew him in his “early years” shined a light on another aspect of who Bill was – a friend.

They read poems and delivered prayers. They recited Shakespeare. They quoted Bill and a character or two from his movies.

There was mention of “the third rail” and Bill’s fixation on that story and the specifics of way it was told.

His friend Rachel recalled walking across town with Bill one winter day; she was wearing a favorite dress, she said. A group of workmen noticed her, and her recollection of how Bill described them checking her out was no doubt heard in his unmistakable voice: “Those guys looked at you like you were a ham sandwich.”

And for a brief moment, Bill was there. And there was laughter.

We heard about Bill’s ability to make a “spectacular omelette.” The secret apparently lies in whipping the Dijon mustard just right.

They told of the risks Bill took to produce forbidden performances in obscure places – on subway platforms or the rooftop tennis courts above the library (that’s a thing??) at New York University.

We learned of a production of “One Flew Over the Cuckoo’s Nest” and the invention of the “Shoeshine” character.

I listened as these friends and former roommates recalled meeting Bill and talked about their first impressions of him. Some were fascinated with him, some not-so-much – at first.

There were descriptive tales of Bill’s unwavering confidence, and his Texas drawl, and his interest in the intricacies of people and things – and their history or what made them specifically unique. His friends talked at length about Bill’s passion for aesthetics and his enthusiasm for art.

Bill’s son James talked about his dad’s boundless energy and how he’d go into drill-sergeant mode to get James up and moving in the morning: “Get your ass outta bed,” James jokingly grumbled, mimicking his dad’s articulation. “You’re burnin’ daylight.”

Again, it was Bill’s voice uttering those words. And again there was laughter.

I didn’t just listen to these stories; I watched how they were told – with enthusiasm and fond remembrances.

I observed their body language as each friend or family member spoke; there were grand gestures and tremendous smiles and looks off into the distance as details and emotions came flooding back.

I saw the smiles on their faces and the tears in their eyes. I heard them laugh and sniffle and pause, their words and movements and gazes of reflection altogether revealing the adoration in their hearts.

To them he wasn’t Bill Paxton, the actor; he was Bill Paxton, their friend.

And then there was that video.

Bill’s longtime friend and collaborator, Tom, put together a heartwarming collection of documentary footage of Bill with his dad, John. As it played out, the video morphed into a sort of memorial for Bill.

Our laughter turned to tears.

The movie clips and video snippets and personal photos and wistful piano all were beautifully combined in this visual poem detailing Bill’s “extraordinary life,” and the emptiness felt by everyone in that room was overwhelmingly realized.

Later at Toad Hall, we all raised a glass to Bill.

And it was there that I asked Bill’s friend Donal to tell me a “happy story about Bill.” Then I sat in wide-eyed delight as he walked me through the comprehensive and animated account of how Bill met the woman who later would become his wife.

It. Was. Amazing.

Donal is an insanely gifted storyteller. And I watched as the nostalgia of that tale brought a smile to his face, which in turn brought a smile to mine.

I was beyond grateful to have spent time with these people who were so welcoming and willing to share their memories, so that I could better know the man whose movies were and are such a huge part of my life.

And everyone who had anything to say that day gave this fan from Minnesota something to remember about this incredible man who clearly meant so much to so many.

There’s no question that Bill Paxton was one of my absolute favorites. Learning more about him through his family and friends made me sense his absence on an even grander scale. But I also felt a connection that I hadn’t before, like I was no longer just a fan.

I had learned more about Bill from those closest to him. Their memories of him had us laughing together and crying together. To think about all the lives touched by him and to understand the ways in which he touched them truly is its own reward. And that’s such a Bill thing.

No, I never knew Bill Paxton.

But I feel like I have a better and more personal idea of who he was – the story teller, the practical joker, the art enthusiast, the Hollywood actor who never forgot his roots, the dedicated family man, the lifelong friend. He will be remembered always.

This was my first time in New York; I took the trip solely for this event.

And being in that place on this day with these people was exactly where and when and with whom I needed to be.

You have just enjoyed the insights of Movie Addict Mel, a Bill Paxton fan who wrote this post to recognize what would have been the actor’s 63rd birthday. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.


The team – writer Diablo Cody and director Jason Reitman – that brought is 2007’s “Juno” and 2011’s “Young Adult” has now delivered “Tully.”

Haven’t seen “Young Adult” but have heard great things, and I understand it’s funny. I dig funny.

I saw “Juno” a handful of times in the theater and “fo-shizz” loved the movie’s impressive cast, its killer soundtrack, and that sharp-tongued sarcasm that guides my twisted existence.

So naturally, I was stoked for “Tully.”

But because it offers less laugh-out-loud humor and way more inherent reality “Tully” has a different vibe.

It’s clear at the film’s start that Marlo (Charlize Theron, also the star of “Young Adult”) and husband Drew (Ron Livingston) already have their hands full raising daughter Sarah (Lia Frankland) – and especially son Jonah (Asher Miles Fallica).

So the arrival of kiddo No. 3 completely drains their energies – especially Marlo’s.

I mean, check out that quick-edit montage of Marlo caring for the new addition: the crying, the diaper changes, the crying, the rocking, the napping, the crying, the diapers, the breast feeding, the napping, the crying, the diapers….

And the faster those images flash onscreen the more exhausting and endless the cycle becomes. The struggle for Marlo to remain a functioning human being is all too real. Did I mention the crying?

Her brother Craig (Mark Duplass) just wants his sister back, so he offers to pay for a night nanny.

“They’re like ninjas!” he emphatically states.

Then we meet Tully(Mackenzie Davis). And Tully is a life changer – but not in the way you might think.

This flick was at first tough to watch. Then about halfway through, it clicked. I got it. And it instantly made me look at these characters and their situations in a whole new way. The crafting and execution of this tale is altogether brilliant, and once it’s over you almost need to watch it again.

“Tully” is difficult. It’s a relief. It’s layered with complexity. And it’s so achingly real that it will slap you in the face. And then it will give you a much-needed hug.

As Marlo, Theron is discreetly superb. Her interactions with her husband, the kids, her brother, and Tully all feel respectively personal – and sweet, and repressed, and honest.

It’s like we’re reading her diary, and it’s one hell of a stirring investment.

“Tully” takes a long, hard look at real life. While it offers a few moments of amusement the film never tries to bullshit its viewers, which is refreshing.

You’ll feel a familiarity with these characters, because they represent people you actually know – and that kind of association is what makes “Tully” a significant revelation.

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

Avengers: Infinity War

Courtesy of Marvel Studios



Some eternal-deviant hybrids just want to watch the galaxy burn.

And in Marvel’s latest – and arguably most ambitious flick in the franchise to date – that villain is a gigantic and menacing force whose name alone elicits stares of dread and can pucker the asshole of even the toughest superhero.

“Tell me his name again,” a poker-faced Tony Stark (Robert Downey Jr.) insists.

His name… is Thanos.

(Gasp. Pucker.)

You’ve probably already seen this dude or heard his name bandied about, in “Avengers,” “Avengers: Age of Ultron” or “Guardians of the Galaxy.”

And as we quickly learn in the new “Avengers: Infinity War,” Thanos (Josh Brolin) is pretty much a big, purple, intergalactic bully: “He’s a plague!” Bruce Banner (Mark Ruffalo) emphatically states. “He invades planets; he takes what he wants!”

And what he wants are the half a dozen elemental crystals known to Marvel fans as Infinity Stones. Each representing an aspect of existence, these stones are pretty and colorful – and individually they pack a wallop like a donkey kick, so imagine the power all of them collectively would yield.

In the wrong hands, however, that power could mean disaster; anyone remember Ronin (Lee Pace) from “GOTG”?

And if there is any monster into whose hands these stones should never fall, it’s Thanos: “He could destroy life on a scale hitherto undreamt of.”

Yeah, that.

Doesn’t stop this brute from Fe-Fi-Fo-Fum-ing his way across the stars, looking to gather the stones and their omnipotent potential.

It’ll take one expansive team of superheroes to challenge this universal baddie and help save the world, the galaxy, the universe.

Who you gonna call? Wait, that’s wrong. You know what I mean.

Just about every character Marvel has put onscreen over the last 10 years makes an appearance (or gets a mention), and it’s possibly the greatest assembly of costumed characters in one of the most well thought-out and deftly handled stories – ever.

If you’ve seen all the stand-alone flicks, you’ll know exactly what’s going on – and you’ll probably be a little giddy over some of your favorites sharing screen time with more of your favorites. Squee!

If you haven’t – and I’m mostly stating this for my dad, who hasn’t seen “GOTG” (I KNOW!) and has refused to do so because there’s a talking raccoon (I’m sorry, Rocket; he doesn’t mean it) – but if you haven’t seen the distinct solo flicks there’s still enough offered here for you to follow the story, but you’ll be missing a lot of what makes these movies so much fun: the connections some of these players have with one another and the resulting conflict or sentiment; the intricacies of the narrative, with plot points from some of the other films better fleshed out and more nuanced here; the subtle digs and inside jokes that intricately define this character or that.

As you’d expect, the personality quirks possessed by these heroes are on display once again: Tony’s playboy arrogance; Captain America’s (Chris Evans) steadfast righteousness; Spider-Man’s (Tom Holland) youthful enthusiasm; Dr. Strange’s (Benedict Cumberbatch) serenity; Rocket’s (Bradley Cooper) maniacal obsessions – snicker; Peter Quill’s (Chris Pratt, meow) over-confidence; Drax’s (Dave Bautista) detachment from the figurative; and on, and on, and on.

“Infinity War” brings together all the characters we love to do all the things for which we love them.

Some of these characters get what they want; some of them don’t. It’s a balance.

I’m not going to even hint at who’s on which side of that equation, because that would be taking away from what you want – a full-on, kick-ass, enjoyable movie experience.

And that’s exactly what “Avengers: Infinity War” delivers.

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

Summer Movies 2018

You’d certainly never guess it by looking out the window (thanks, Mother Nature). But a quick glance at the calendar indicates that summer is just around the corner.

No, for real.

And with the tank tops and flip flops also come some big time movies. This summer looks to once again offer a handful or two of sequels and continued stories of flicks we already know and love, as well as some new ideas in a variety of genres.

Whichever flicks are on your summer must-see list, I hope you enjoy and talk to your friends about them.

These are some of the titles I’m most looking forward to seeing. Here we go:

Avengers: Infinity War – April 27
Marvel’s super hero concept goes all out in the first big summer flick and brings together just about every costumed do-gooder in the franchise.

Infinity War” looks to be the mother of all comic book movies. I anticipate a ton of action; subtle humor with some inside jokes; tension between, of course, Tony Stark and Steve Rogers; that trademark Stan Lee Cameo – and a surprise or two.

Is it April 27 yet??

Deadpool 2 – May 18
A second helping of Ryan Reynolds slinging insults and serving up wise cracks while battling baddies in a fashion most charming? YES, please!

I mean, who isn’t excited for “Deadpool 2”? It’s gonna be all sorts of amazing.

Solo: A Star Wars Story – May 25
As a branched-off chapter of the Star Wars saga, “Solo” already has a built-in audience. Probably.

The origin of everyone’s favorite smuggler, scoundrel and hero piques curiosities, no doubt – but it’s a slippery slope when toying with such a classic and beloved character. Alden Ehrenreich (who?) has some mighty big boots to fill – and a fairly significant ego to distinguish. We’ll find out in May how he fares.

Oceans 8 – June 8
Move over, fellas; it’s time for the ladies to shine in this spin-off movie from the franchise rebooted by Steven Soderbergh in 2007’s “Oceans 11.”

Oceans 8” is neither a remake nor a sequel but rather another story spawned from the connection to a familiar character, and it’s chock full of female talent. Giggity!

Tag – June 15
I recently saw a trailer for this comedy about a group of friend continuing a decades-long playground game that’s apparently based on a true story.

Tag” looks kind of hilarious. And it’s got Jon Hamm. Meow.

Jurassic World: Fallen Kingdom – June 22
Is it any surprise that life once again “finds a way”?

Mixing Chris Pratt’s charm (and hotness, let’s be honest) with Jeff Goldblum’s kookiness, then adding dinosaurs and setting it all to that iconic anthem is the cinematic combination for which summers were made. Am I right?

Mission: Impossible – Fallout – July 27
Not sure if it’s the in-depth storylines, or the addition of Simon Pegg’s random humor, or that Tom Cruise is crazy enough to perform some of the most dangerous and gnarly stunts ever, but these “M:I” flicks have really upped the ante for big action blockbusters.

Fallout” looks like it’ll continue on that in-freakin’-credible path.

Christopher Robin – August 3
I absolutely lovedPaddington” and its sequel (which is even better, if you can bear-lieve that), and I’m hoping this Winnie-the-Pooh tale is equally as enjoyable with just as much heart.

The teaser trailer for “Christopher Robin” is altogether magical, so my hopes are high.

Let me know which movies you’re most looking forward to this summer. To help you out, here’s a list of the flicks coming soon to a theater near you:

Avengers: Infinity War

Bad Samaritan

MAY 11
Breaking In
Life of the Party

MAY 18
Book Club
Deadpool 2
Show Dogs

MAY 25
Solo: A Star Wars Story

Action Point

Oceans 8

The Incredibles 2

Jurassic World: Fallen Kingdom

Sicario: Day of the Soldado
Uncle Drew
Valley Girl

The First Purge

Ant-Man and the Wasp

Hotel Transylvania 3

The Equalizer 2
Mamma Mia! Here We Go Again

Mission: Impossible – Fallout
Sorry to Bother You
Teen Titans Go! To the Movies

Christopher Robin
The Darkest Minds
Mile 22
The Spy Who Dumped Me

Dog Days
The Meg

Captive State
Crazy Rich Asians
The Happytime Murders
Three Seconds

Slender Man


* Information courtesy of www.firstshowing.net. Release dates are subject to change.

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.

A Quiet Place

There is but one rule in John Krasinski’s brilliant and startling new horror-ish flick “A Quiet Place.”

It’s symbolized by a stoic look that’s accompanied by an index finger, extended vertically and pressed softly and to one’s lips.

Don’t. Make. A sound.

It’s a simple rule, really. And in this unsettling setting it absolutely is the difference between life and death, because – as the film’s tagline warns – “if they hear you, they hunt you.”

The “they” being referenced are relentless creatures about which little is known. But what the Abbott family does know – and what we discover upon scanning several newspaper headlines – is that these creatures are aggressively drawn toward sound.

Their attacks are swift and scary and non-discriminatory; the only relief is in knowing that death is immediate, which clearly is established in alarming fashion on “Day 89,” even before the film’s title appears onscreen.

Holy shhhhhhhhhh(it)!

This unexpected sequence is a jaw-dropper for sure, and it sensibly sets the tone for the level of importance with which silence is necessary.

For the most part the Abbotts – including dad, Lee (Krasinski); mom, Evelyn (Emily Blunt, Krasinski’s real-life wife); daughter, Regan (the spectacular Millicent Simmonds); and son, Marcus (Noah Jupe; loved this kid in last year’s “Wonder”) – carry on about their lives in a manner so quiet a church mouse would be proud.

They communicate via sign language. They walk barefoot, outdoors across a path of soft, white sand; and indoors by carefully stepping on pre-determined, marked areas to avoid creaky floor boards. The kids play Monopoly, mindful of the need to roll the dice on an area rug and move their cloth game pieces along the board so as not to make a peep.

But you know things cannot and will not be this quiet forever. I mean, otherwise there’d be no movie. Right?

Krasinski, probably best known as the smart-aleck, poker-faced practical joker Jim Halpert from NBC’s “The Office,” cranks up the serious meter here and does so much with so little.

The cast list? In the single digits.

The dialogue? Damn near non-existent, and the few lines that are spoken wouldn’t even fill a page of script.

Because of that, everything hinges on the visuals. It’s so important that the camera work and performances not only tell this story but carry the action and express the emotion necessary to tell it well.

And that’s where “A Quiet Place” really makes a statement – loud and clear.

Krasinski’s lens poetically mimics the flow and intensity of the action. Those slow tracking and panning shots mirror the careful movements of the characters and make it seem like the camera is tip-toeing, too – cautiously capturing the images without disruption or sound.

But then that panicked music kicks in, lending a pulsating heartbeat to select scenes as those subsequent quick edits effectively increase the pace of the action to match the film’s ferocity.

And ohhhh boy is it intense!

Is that the movie – or my heart about to beat right out of my chest??

I was impressed at how peripheral sounds differed depending on from which character’s perspective we were listening. It’s very subtle, but it’s such a smart way to further pull us into this narrative and connect us with the individual players.

This story is riveting and unique, and those tight shots make every scene unnerving as hell. Humans inherently want to survive, and “A Quiet Place” pushes that instinct to the brink – time and time again.

Because we’re aware of the consequences, even just the anticipation of noise in any fashion will leave you holding your breath, or paralyzed with dread, or wincing in wait.

I was pretty much a ball of anxiety throughout this entire movie – afraid to make a single damn sound. Anyone else?

That a movie can have this kind of effect on viewers is a triumph for the art of the cinema.

This is why we go to the movies: for the experience. We go to participate with the characters on screen – to hold our collective breath, to be afraid, to feel the tension, to hope for survival.

And trust me, “A Quiet Place” will have you doing all of that.

Bravo, Mr. Krasinski. And thank you for the ride.

You have just enjoyed the insights of Movie Addict Mel, a cinema dork and conversational writer. Follow her on Twitter @movieaddictmel, and “like” her Facebook page www.facebook.com/movieaddictmel. You also can email her at movieaddictmel@outlook.com.