This drama film centers on Melanie (Stefania Lavie Owen) a teen about to graduate high school planning to go to USC to study medicine like her late father. Melanie and her mother Dawn (Lili Taylor) are shown to have a close relationship in the wake of Melanie’s father’s passing. For her part, Dawn is portrayed as somewhat over-anxious and neurotic.
One day, Dawn accuses their next door neighbor of being verbally aggressive after she and him get into an argument that Melanie never sees. As time passes, Dawn becomes more and more convinced that this unseen neighbor is following her and otherwise persecuting her and Melanie with an increasing intensity of accusations. Starting with throwing rocks at the windows, progressing to building equipment designed to torture her. At first, Melanie dismisses these notions as an exaggeration of her mother’s anxiety due to her leaving for school. Unfortunately, it soon becomes apparent that Dawn is suffering from delusions and has been for some time. The remainder of the film follows Melanie as she tries to balance loving and helping her mother whose condition worsens, with her desire to have her own ordinary teen experiences. Meanwhile, Dawn tries to convince Melanie and others that what she is experiencing is real and that she needs to protect herself and those around her from this threat.
Director and writer Inon Shampanier and co-writer Natalie Shampanier craft a very thoughtful story with this film. It would be easy for this film to be a coming-of-age story that features mental illness as simply a gimmick or new wrinkle to an established formula. Here however, the Shampaniers instead give audiences a brutally honest portrait of how when dealing with mental illness, it can fully consume not just the person with the illness, but the people closest to them. The script gives full respect and attention to all of its characters.
We the audience go on Melanie’s journey as her confusion turns to fear and eventually anger as she realizes the extent of her mother’s illness. At the same time, the film spend’s enough time with Dawn so the audience empathizes with her frustration over the fact that people seem dismissive and belittling of her pain and suffering, which to her is genuine. It is this thorough examination and empathy which helps ensure that the film does not come across as an exploitation but a study in how mental illness affects people and their relationships.
Audiences will latch onto the film in large part due to the dimension of the characters, and the actors here bring these characters to life completely. Stefania Lavie Owen steals the movie, playing the full range of Melanie’s emotional journey without ever slipping into overacting as someone striving to be a loving daughter while also maintaining her sense of self. Lili Taylor is also superb as Dawn, embodying the anger, isolation and resentment of someone who feels that those around her are not taking her concerns seriously, and how dealing with mental illness can strain individuals professional and personal relationships.
The two leads also do a great job at crafting a dynamic that implies a genuine bond and history, with their own unique hobbies and idiosyncrasies. Ian Nelson also gives a strong supporting performance as Daniel, a boy in Melanie’s class pursuing her affections who has some mental health struggles of his own. Not only does this romantic subplot add depth to Melanie’s character and story, but Daniel’s struggles provide Melanie with insights about her mother.
In addition to a strong script and cast, the soft piano heavy score by Ariel Blumenthal serves as the perfect accompaniment to this quiet, thoughtful character study. In addition to the original music, songs from Lily Kershaw compliment the score beautifully without being overbearing and the lyrics perfectly suit the themes and story.
Paper Spiders is a film that thoroughly, honestly and empathetically looks at mental illness and many of its ramifications. Featuring great writing, two strong leading performances, and great music, viewers should seek this film out.
5 Great Shows to Watch When You’re Trying to Relax and Support Your Mental Health
It’s important to use your downtime wisely so that you can feel your best. If you don’t spend time relaxing, then you’re going to have a hard time dealing with stress. Working too much and constantly focusing on getting things done can be exhausting, and that’s why spending a bit of time just watching a fun TV show feels so great. There are a lot of amazing shows out there that you can check out, but some of them might be better than others when it comes to helping you to relax.
Read on to learn about five great shows to watch when you’re trying to relax and relieve stress. It should help you to find some shows that you can turn to when you just need to chill. All five of these shows are good for different reasons. Hopefully, at least one or two of them will be just what you’re looking for when you’re trying to take it easy after a hard day.
1. Planet Earth
Planet Earth is one of the best shows that you can turn to when you’re just trying to relax and get ready for bed. It’s a very soothing show to watch that can be very interesting when you want to pay attention to it. For the most part, it’s a beautifully shot show that showcases all sorts of animals in their natural habitats. You can learn a lot by watching the show, but it’s also just a nice thing to have on while you zone out after a stressful day at work.
2. The Joy of Painting
The Joy of Painting has been the go-to show for many people for a long time. This is a show that aired for thirty-one seasons, and that means that there are many episodes that you can check out. Bob Ross is the host of the show and he paints beautiful paintings while talking in a calm fashion. It might very well be the most relaxing show ever.
You could also use this show to learn how to paint by following along with Bob Ross. Some people find painting to be a very soothing activity that helps to relieve stress. This show is still relaxing to put on in the background even if you aren’t going to be trying your hand at painting yourself. This one comes highly recommended, but there are some people who might find it to be a bit dull.
3. Forged in Fire
Forged in Fire is a good show that appeals to people who are looking for a bit more action. This is a competition show where people forge blades that will eventually be tested by masters of the craft. It’s a show that is often funny, but it’s also interesting to see the different types of knives and swords that the contestants have to make. If you don’t find this competition show to be up your alley, then you could try one of the many cooking competition shows that you can find on streaming services these days.
4. The Simpsons
The Simpsons is considered to be one of the best shows ever made for a reason. It’s a show that means a lot to many people, and that’s why so many like to watch it when they’re unwinding. It could be a great show to put on while you’re laying on the couch and reflecting on the day. You’ll be able to enjoy a few laughs and watch your favorite episodes from the series assuming that you have a Disney Plus subscription.
5. Impractical Jokers
Impractical Jokers has been one of the most ridiculous shows on cable for a long time now. The premise of four best friends competing to embarrass each other has provided many laughs over the years. Laughter is something that can help you to wash away the stress from a hectic workday. If you need to laugh and you just want to watch something that’s objectively kind of stupid (but still funny), then Impractical Jokers might be your show.
Online Therapy Can Help You to Manage Stress More Effectively
If you’re having a tough time managing stress, then you might want to reach out to a professional. Online therapy is a great way to talk to someone about what’s going on in your life. You can learn to cope with stress much more effectively, and you’ll be able to work through any other issues that you’re experiencing. Click here to learn more about how you can get help with your issues today.
“Lizard” is a short film that presents what seems to be an everyday situation in an African Christian region. The viewer follows a girl that gets ejected from Sunday School and experiences excessive faith and terrible danger while seeming to see a lizard in her mind.
“Lizard” is a very depressing film with dry colors and a cinematography that mostly captures close-ups of unhappy faces. It depicts the helpless situation of growing up under circumstances Western and European Countries could never understand. Somehow though, it isn ́t really sure what its final message is as it ends on a very thought-provoking danger.
There is a constant mood that occurs, being emerged by haunting sounds that reminded me a bit of Denis Villeneuve ́s films: It ́s about the suspense that danger might be around any corner. These sounds are dark and constant, and while they might not scare you, they build up some kind of intimidation that explodes at the climax and leaves the viewer shocked.
Additionally, the colors are very powerful. They are very dry and mostly not shown which makes them feel so unpleasantly and disturbingly. There is no peace in this certainly mostly unknown and foreign region. These are the pictures that feel like something. The dryness makes you think of this living situation. If you then add a little girl to it, you catch the viewer ́s empathy for the situation, but only the situation. Because “Lizard” fails to express something else besides that boundary. It seems too afraid to cross it.
There is a lot of faith thematized in “Lizard”, but this is the part where the makers are too afraid to go further than just show a daily situation. There is nothing extreme about the faith. It ́s not like a depiction of the excess of the 3rd Revelation like in Paul Thomas Anderson ́s “There Will Be Blood”. The sermon might be pretty aggressively spoken, but there is nothing wrong about that as long as there is no violence. The faith is trusted, and the people are fully committed, but “Lizard” fails to make a statement about that. It is more of a presentation than a critique. Don ́t get me wrong, a film doesn ́t necessarily have to be a critique, but “Lizard” achieves at most an atmosphere, but never feelings nor developments.
Developing something, especially characters, is a very difficult task for a short film. But it ́s not about the characters, it ́s just about the child in this world. This is what makes the atmosphere very strong. The given impressions combined with the stunning SFX and colors depict unimaginable situations. This is what the climax of the film is about. When a character is suddenly out of nowhere held at gunpoint, that is when the atmosphere explodes into an intense silence that could define life. But then “Lizard” stops to proceed. If it would have gone a bit deeper, it might have achieved some feelings. Terror and violence are often used,
as nobody in the world wants to embody them. This is why these ending images speak so much louder than words, and why “Lizard” is actually a good short film.
This leaves only one question: What about the lizard? Is it just a sense of incoming danger or is it possibly the child ́s fear of Jesus? Latter would actually be very interesting, but as previously said, “Lizard” doesn ́t go deep enough to really thematize something like that. Nevertheless, its images are still silencing and partly even shocking.
All in all, “Lizard” is a good short film that is at its best in its most silence moments. Intimidating SFX create a suspense of danger, and colors and cinematography combine into a desperate mood. Only the thematic fails to be expressed properly throughout the entirety. Subjects aren ́t depicted enough, and there is no critique or message. Still, “Lizard” is definitely worth a watch.
Tom Clancy’s Without Remorse Synopsis: Seeking justice for the murder of his pregnant wife (Lauren London), John Kelly (Michael B. Jordan), an elite Navy SEAL, uncovers a covert plot that threatens to engulf the United States and Russia in an all-out war.
The militarized intrigue behind Tom Clancy’s robust novels used to be a common fixture on the big screen. Illustrious stars like Harrison Ford, Ben Affleck, and Sean Connery highlighted an old generation of thrilling actioners that occasionally tapped into their surrounding zeitgeist (the mileage varied, but The Hunt for Red October still holds up). After some notable success, a changing of Hollywood tides and a failed Jack Ryan reboot (remember Shadow Recruit?!?!) forever morphed the brand’s big-screen reverence.
Brands can only remain dormant in Hollywood for so long, which explains the new Michael B. Jordan-led espionage thriller Tom Clancy’s Without Remorse. Amazon’s latest swing at event cinema (the streamer wisely acquired the potential franchise starter during Paramount’s pandemic selling spree) boasts a superstar talent and a worthwhile nucleus for taunt entertainment. The film’s innate promise is part of what makes its tired execution such a frustrating task to endure. It’s a blank espionage story stuck on a loop of dated action contrivances, ironically operating without remorse towards the film’s more worthwhile connotations.
Even in a midtier mixed bag, Michael B. Jordan’s radiant abilities are still on full display. The Creedstar’s instant gravitas and emotive physicality catapult him to instant action hero status, with his impressive talents being the sole cog holding this wayward narrative somewhat together. As the grieving John Kelly, Jordan skillfully manifests the character’s raw pain into his onslaught of vengeful actions. It’s impressive seeing just how much weight the actor imbues into such a thankless role, showcasing a promising future as a potential headline action star.
I’d love to see what Jordan can bring to future vehicles, but I’m not sure if a Without Remorse sequel would be the best use of his talents (it’s made clear this might not be the end for John Kelly). As a potential franchise starter, screenwriters Taylor Sheridan and Will Staples submit a flavorless and shockingly rudimentary effort. The narrative delves down a generic tale of revenge and corruption, rarely taking necessary breathers to flesh out the purposeless players involved. Audiences can see how the film could delve deeper into Kelly’s volatile violent streak or America’s disenfranchised treatment of its military heroes, yet the screenplay doesn’t seem to have much interest. It all reaks of a workman-like aroma, doing the bare minimum to satisfy the audience’s action craving.
Where the material suffers, uninspired filmmaking choices aren’t equipped to pick up the slack. Director Stefano Sollima competently stages a few high-profile action sequences, but none of these frames are injected with much energy or texture. The action feels oddly weightless, never nailing the Clancy balance between blockbuster entertainment and real-world impact (for an R-rated film, the seldom use of blood and grizzly images are odd to see). A few well-choreographed frames (a certain plane crash is shot with creative camera angles) can’t mask the action film’s overall banality.
Michael B. Jordan is an effervescent superstar talent. However, even his acclaimed talents cant carry Without Remorse’s generically crafted tale of espionage and deceit. Unless you’re a Clancy completionist or a diehard fan of middling dad movies, just stick to the original Clancy films.
Tom Clancy’sWithout Remorse is available to stream on Amazon Prime.
Draft Day Synopsis: At the NFL Draft, General Manager Sonny Weaver (Kevin Costner) has the opportunity to rebuild his team when he trades for the number one pick. He must decide what he’s willing to sacrifice on a life-changing day for a few hundred young men with NFL dreams.
The NFL Draft is finally here! As a massive American football fan, I have made a goofy tradition of rewatching 2014’s Draft Day to celebrate the occasion. The Ivan Reitman film humorously dances away from practical NFL logistics, but in its place, the director creates a fast-flowing narrative about a life-changing day at the office. To celebrate my annual viewing, I will be scribbling down my live reactions to the film’s myriad of amusing wrinkles. Feel free to watch along!
(00:00:30): And we’re off! I’ll just say this off the top, the producers couldn’t have lucked into a better batch of NFL teams to use. The Clevland Browns are notorious early-round drafters, while the Jacksonville Jaguars hold one of the worst draft track records of recent memory (sorry Blake Bortles and Justin Blackmon). I do like how Reitman establishes the mythicism surrounding the NFL draft. More than any other professional draft, it’s an event that can forever change the fortunes of a wayward franchise. The inclusion of popular talking-heads like Mel Kiper Jr. and Jon Gruden also does a nice job of accenting the high-steak environment.
(00:03:45): The pan from one owner saying”who’s the most desperate guy you know” to the Cleveland Browns logo is almost too spot-on. Here’s where the film begins to introduce the melodrama between Kevin Costner’s spotlighted General Manager Sonny Weaver and his co-worker Ali (played by Jennifer Garner). Before we get to know either character, the screenwriters declare the odd couple is having a baby amidst their hectic work lives.
I don’t think Costner and Garner make the most convincing of romantic pairs, but they do share crackling chemistry as spirited co-workers looking to improve their fortunes. I really can’t say enough good things about Costner here. He has the raw gravitas and movie star charisma to captivate audiences even as he’s spouting NFL mumbo jumbo at them. While their relationship isn’t the most convincing, screenwriters Scott Rothman and Rajiv Joseph make up for it with their thoughtful contextualization of Clevland’s daunting losing streak. The film does a good job balancing its NFL textures with a general enough approach for non-sports fans to tag along for the ride.
(00:09:34): Seeing Chadwick Boseman is always a reminder of his effortless talents. As passionate draft prospect Vontae Mack (oddly similar to Khalil Mack who was selected a few years later), Boseman infuses his sparring role with boundless energy and confidence. It’s a part that would feel completely expendable in different hands, but Boseman personifies the roller coaster of emotions during the draft process with exuberant naturalism. NFL Running Back Arian Foster also makes a fitting cameo role as prospect Ray Jennings.
(00:14:20): Frank Langella is deliciously sinister as a ruthless NFL owner looking to “make a splash” during the draft. The veteran star knows just the right notes to play as a mustache-twirling villain. I will say, Langella’s hard-nosed character isn’t an entirely inaccurate portrayal of eager team owners. Whether it’s his constant grief or the greek chorus of angry radio personalities, NFL GMs face insane levels of pressure from their critical surrounding enviroment.
(00:17:45): Our first trade is in, let’s break it down!
The Cleveland Browns receive The Seahawks 2014 1st round pick (Number 1 overall). Draft Grade: D
It’s safe to say ESPN would not react kindly to Sonny Weaver Jr’s first trade. Three firsts put an unholy amount of pressure on potential star quarterback Bo Callahan to be the face of the franchise. Can he do it? That’s a big question mark. I love when Costner reveals the trade with his smoldering charm. The room’s generally uproarious reactions change once Denis Leary’s sharp-tongued coach begins to voice his displeasure. Leary’s acidic wit as a championship coach set in his old-school ways feels like a much-needed counter to Costner’s grizzly presence. His reactions throughout Sonny’s lengthy day are often the highlight of the film.
(00:23:30): “Tell Schefter to stick his rumor up his a…”
A perfect gruff one-liner from Costner’s annoyed GM. This is where the film introduces the fresh-faced intern Rick played by Griffin Newman. In a testosterone-pumping environment full of hot-headed men, Newman’s mousey delivery makes a hilarious counter against the aggressive energy. His addition as a comedic change-of-pace gives some much-needed brevity between intense conversations.
Bo Callahan is also introduced here, sat by the side of his slick agent played by P Diddy himself. The casting team deserves ample credit for their selection of Josh Pence as the famed QB. As an amalgamation of smug NFL busts like Blaine Gabbert and Ryan Leaf, the character is a fitting representation of the type of self-obsessed star athletes that flame out of the NFL.
(00:29:23): The subplot involving Weaver Jr. operating amidst the death of his former coach father seems hackneyed at first glance, but the B-thread has more weight than some viewers may think. The NFL is a family business, with generations of players and coaches coming from a tree of sustained success (The Harbaughs, The Mannings, The Barbers). While the dynamic isn’t explored with the most depth, I do think it’s a thoughtful background piece to include about Sonny’s hardened character. Football is his life, so it makes sense that this draft seemingly possesses life-or-death steaks.
I love when the script opens up to the deeper machinations of an NFL team. Seeing the interplay between Weaver and his eager conditioning coach shows the varying perspectives that merge into one cohesive NFL team. The colorful array of NFL scouts also display some of the league’s questionable logic, often looking deeper into a prospect’s off-the-field hijinks rather than their performative nuances (it’s a joy to see Costner snapping off at these shallow executives). I also support how Reitman introduces sleight NFL montages to depict the storied greatness behind NFL lore. As always, the league is one defined by its long-running traditions
(00:38:45): Fresh off another lukewarm Costner and Garner exchange, we see journeyman quarterback Brian Drew (played by Superman himself Tom Welling) breakdown amidst revolving trade rumors. Drew is a relatively modest part of the narrative, but I am glad the writers gave this character some genuine perspective. As a rough comparison between Alex Smith and Case Keenum, Drew represents the kind of hard-working underdogs trying to exceed their meager expectations (it’s funny that the Chiefs try trading for Drew in the film considering they traded for Smith the offseason before).
The trading scene also re-introduces Reitman’s awkward inclusion of conjoined split-screen shots. I don’t know why the director thought a character’s shoulder needed to be bleeding into another frame, but this singular technique is likely to never be found again on the big screen (and for good reason).
(00:43:20): This sharp scene between Leary and Garner is one of the film’s most unappreciated frames. Both actors pitter-patter their perspectives with coy comedic touches, as both seem to be characters underestimating the other’s knowledge and abilities. It’s nice to see the usually affable Garner step into a role that employs her a more boisterous personality to work within.
The following frames focus on a Browns worker revealing dirt about Callahan’s good-boy image. It may seem foolish, but this is the kind of observant skepticism that all NFL prospects are treated with when they join the league. Team’s scout prospects like they are picking a future president, digging behind the unattainable levels of perfection these stars try to project.
(00:50:05): “You really think I’m going to give up Callahan for Taylor and Castillo? Maurice Castillo?!?!
I love this hot-headed confrontation between Leary and Costner. Both noted professionals clash over their vastly different perspectives, a concept that is certainly not uncommon in professional sports. Costner’s afflictions are particularly on point here, even bringing up a favorite cliched sports barb “looks like Tarzan plays like Jane” to accent his denouncing points. It’s a colorful moment, although not one without its shadings of authenticity.
Of course, we couldn’t have an NFL film without a shameless Roger Goodell cameo. I doubt any NFL fan is happy to see his face on the screen, yet you can’t have a draft without his robotic delivery leading off the proceedings.
(00:56:30): While digging into Bo Callahan’s draft film, the Browns team notices Bo operating with a certain skittishness in the pocket. This is a common fault for a lot of young quarterbacks, but I do have a hard time buying this being the first display of that notable weakness. With the in-depth ways that draft scouts break down film, that problem would’ve been discovered months ahead of time.
I’ve always felt that this middle patch is where the film suffers the most. The screenwriters take a break from the NFL machinations to dive head-first into Sonny’s revolving door of familial problems. None of the actors, including Ellen Burstyn as Sonny’s eager mother, can personify the simplistic melodrama with much nuance. I get wanting to have an entry point for mainstream audiences, but the film would be better off strictly focusing on the team’s complicated inner-workings.
(01:14:05): After a slight rough patch, the draft is finally about to begin! Sonny makes one last call to Bo to confirm his lying tendencies before settling on his originally planned draft pick Vontae Mack (it’s revealed in a note he wrote the first scene). I always laughed at the way the screenwriters try to make sense of Sonny’s wide-ranging plans. He seems to be operating like a chicken with his head cut off through most of the narrative, nonsensically trading up to take a guy he could’ve gotten at Number 7.
I got to say though, the shocking moment where Mack’s pick is revealed truly comes to life. It’s the kind of gasping surprise that only a crazy draft moment can create. From a practical football perspective, selecting a better-known prospect like Mack is wiser in the long run than settling on a QB with questionable ethics. Mack has the kind of relentless motor that could make him a star in the NFL (I couldn’t cover this film without doing my best NFL scouting impersonation).
(01:22:10): The third act of this film is where Reitman truly takes the reigns as a director. The veteran stalwart implements the characters whirling emotions into a tense cat-and-mouse game for control. It’s only fitting that the decisions behind America’s Gladiators are treated with the same sort of pulse-pounding reverence onscreen.
After the Browns pass on Bo, the next three teams surprisingly ignore the quarterback despite his highly-touted resume. Acknowledging that Seattle could easily score Bo with the pick Sonny traded, Sonny makes a hail marry to trade one pick ahead of them in the draft. If a GM is going to pull off some sort of miracle trade, it has to be with the comically inept Jacksonville Jaguars!
(01:27:30): Let’s take a look at the insane trade Sonny pulls off with the Jaguars.
The Cleveland Browns receive the Jaguars 2014 first-round pick (Number 6 overall). Grade: B+
The Jacksonville Jaguars receive the Browns 2014 second-round pick, 2015 second-round pick, and 2016 second-round pick. Grade: D+
There is no fucking way this trade would happen in real life, or any life frankly. In the NFL, first-round picks are an unprecedented commodity, with that single pick giving teams their best chance at a future superstar player. No team, especially a bad one picking towards the top of the draft, would give away one of those lottery tickets for three tertiary selections.
Outside of the football fan perspective, this is an entertaining exchange between Weaver and a bumbling rookie GM. Shout out to character actor extortionate Pat Healy for the personality he injects into his one-scene role. The flurry of greek chorus comments from Weaver’s surrounding parties also elevates this scene, with Langella making an especially icey entrance as the pissed-off owner.
(01:33:40): We’ve finally arrived at the film’s signature moment, the massive trade that saves Sonny’s job and resets his previous mistakes. Before getting to the trade itself, this scene features some of the funniest, goofily machismo dialogue you can imagine. Hollywoodized exchanges like Sonny call another GM a “pancake-eating motherfucker” are rampant throughout, but the fantastical textures do play nicely with the film’s high-tension environment. As for the trade:
The Cleveland Browns receive their three first-round picks back and special teamer David Putney. Grade: A++
The Seattle Seahawks receive the Browns 2014 1st round pick acquired from Jacksonville (Number 6 overall). Grade: D–
Again, the screenwriters implement another far-fetched trade for audiences to indulge in. I don’t even know if GMs can technically trade back for picks they LITERALLY traded that same day. That being said, this moment exemplifies what the movie does best. Reitman skillfully combines his deep dive into the NFL’s inside baseball perspective with the cheerful allures of crowd-pleasing entertainments. While the mix may not make the best compliment for either side, it does create a rousing enough experience for sports fans and nonsports fans alike.
I never quite liked the film’s ending, pulling away right at the start of the NFL season rather than getting any payoff for Sonny’s bold decisions. A flash-forward to a potential Super Bowl trophy would’ve left a more satisfying conclusion for audiences to enjoy, especially given the film’s penchant for overly theatrical moments.
And that wraps up my rambling breakdown of Draft Day. No one will confuse this studio project as a classic (its meager 29 million box office intact ensured little fanfare during its initial release), but I am happy to see this spirited effort revitalized every time the draft comes around.This article has been stewing around in my head since the film’s debut, so I hope you enjoyed it!
