Review: 8 Heads in a Duffel Bag

Comedy - 1997
Starring: Joe Pesci, Andy Comeau, Kristy Swanson, David Spade & Todd Louiso
Director: Tom Schulman
Writer: Tom Schulman

The film begins auspiciously enough; Tommy (Joe Pesci) a middleman for two assassins is hired to transport eight severed heads to their mob boss to prove their owners are dead. This would be his last job before his retirement so to play it safe, he takes a plane instead of driving because, you know, airport security was less stringent in 1997. While on board the plane, Tommy meets Charlie (Andy Comeau) a college student set to meet his girlfriend (Kristy Swanson) and her parents (George Hamilton & Dyan Cannon) in Mexico. Naturally their duffel bags get switched and madness ensues.

If you're interest hasn't peaked by that small synopsis you may want to stay away from this one, but for the rest of us, you're in for a mixed bag. The story unfolds somewhat predictably though definitely not without energy. Joe Pesci who has been able to hone-in on his inner Guido since Goodfellas, barks, snaps and growls to the point where every scene he's in is utter magic. Even with a situation as cliche as being on the phone while an impatient extra circles behind you is done with panache. His costars however play their parts with less success. Andy Comeau has the appearance of your typical rube but he doesn't have the the attention to detail more experienced actors have. Playing it safe he seems frazzled when he should be panicked. David Spade and Todd Louiso who play Charlie's college friends and are shoehorned into these series of unfortunate events fare better but get a little annoying towards the end. Aside from Pesci, the only person who really hits a home run is Ernestine Mercer who plays Swanson's no-nonsense grandmother.

"8 Heads" however, is a fun time waster and manages to keep things light despite its dark subject matter. Writer/Director Tom Schulman who also wrote "What About Bob?" and "Honey, I Shrunk the Kids" manages to keep the pace of your average farce without reinventing the wheel. And yes, there are head puns in this picture but the groaner aren't the only thing this film has going for it.

I recommend: Renting It

In Defense of Inception and Social Network

With the lion's share of the awards thus far going home with end-of-the-year favorites like The King's Speech this season, it seems that a few movies are being unfairly disappointed at every turn. To sooth my own mind, I have taken the time to make the case for two movies nominated by the Academy Awards for Best Picture yet not in the best position to win.

Inception: Some have blamed Christopher Nolan's latest trek down the rabbit hole as being too convoluted. This I think is a cop out to those who either didn't understand the film or did so too quickly to give it any credit, therefore labeling it overly esoteric. "we get it, you mean I have to sit here for another hour-and-a-half," I hear them mutter. While it's hard to defend against those unwilling to give the film credit, the fact is Nolan's confident direction does keep the attention for over two hours; no easy feat in today's 90-120 minute screen-time mark. This is done without cheap gimmicks but with unbridled suspense that mirrors Hitchcock's best (another director who never received Best Directing credit). The setpieces are astonishing and the acting, while not up to award worthy level, is still real enough to evoke sympathy.
Predictably, many have found Nolan's recent blockbuster resume to be working against him. After all why would the Academy Awards give an Oscar to a film that grossed $292 million domestically when surely films still in theaters are struggling to get traction. This logic was no doubt in use when 2008's The Dark Knight was completely frozen out of the Awards, and while Inception has been nominated this year for Best Picture, Nolan once again has no directorial bragging rights. His career in some ways echos that of the great Steven Spielberg, who had been snubbed quite a few times by the Academy. But while Spielberg eventually won his statuette for a timely and awe inspiring drama a la Schindler's List, some have argued Nolan has yet to transcend and make truly bold film choices. I would argue that by trying to elevate the rock'em-sock'em summer blockbuster he has already made the proverbial bold choice. Inception is beautiful and intense and manages to showcase an original, emotionally engaging story that is not only popular and culturally significant but mindbogglingly complex as well.

The Social Network: A timely piece of out-of-the-headlines dramatization that manages to do the impossible, make today's .com world emotionally investing. Again despite critical acclaim, Social Network does have its detractors. The main character Mark Zuckerberg (played with panache by Jesse Eisenberg) is instantly unlikeable and Aaron Sorkin's rapid fire script may be trying for some. I argue that a script that beguiles its audience to keep up isn't exactly a negative. Additionally, Zuckerberg's facebook.com has 600 million users across the globe and while the movie was made predominantly by social network outsiders, the term "don't bite the hand that feeds you" instantly comes to mind. Still while many things have been revved up for our viewing pleasure in the film it doesn't take away from the fact that it's a good story. After all, Titanic's central love story was completely fictional yet it still managed to win record acclaim.
While we may be reluctant to admit it, Zuckerberg's situation is somewhat relatable. Who hasn't lost a friend to selfishness or managed to embarrass a loved one only realizing afterward what you have done. Like Taxi Driver's Travis Bickle, Zuckerberg is a frightening character because he represents the dark side of human nature. This point is further driven home by Justin Timberlake's Sean Parker who acts as a devil on Zuckerberg's shoulders to Eduardo Saverin's angel (played by Andrew Garfield).

In the end both of these films will likely win for Best Original and Adapted Screenplays but like A Clockwork Orange, The Graduate, Who's Afraid of Virginia Woolf? and Dr. Strangelove, the aforementioned films will likely be passed over by superb yet predictable fare. Yet while Oscar bait like True Grit and The King's Speech take their laps, a new generation of filmmakers will eventually have their time in the sun and the conventions of yesteryear will fall by the wayside in favor of the complex and the controversial.

Review: The Conversation

Year: 1974
Genre: Drama
Stars: Gene Kackman, John Cazale & Harrison Ford
Directed: Francis Ford Coppola

Overview: This film journeys into the underworld of the private surveillance business and while doing so grasps at the universal themes of communication, guilt and redemption. Harry Caul (Gene Hackman) is a lone wolf-type who spends his hours sifting through other people's conversations threw video and audio surveillance. While his work has given him acclaim he becomes increasingly secretive and paranoid. Hired to record a conversation between a couple in the park, Harry becomes anxious over their fate and suspicious of his employer.

Writing: The script reads like an Euripides tragedy as conversations are skewed, things are taken out of context and the omnipotent powers that be maneuver their invisible hand. In the middle of it all a quiet, well meaning guy is left with a crisis of conscience and a heavy heart. The dialogue sometimes verges on the benign but its mostly to highlight the subtext of Harry's vulnerable psyche.

Directing: In between the first two Godfather movies, Francis Ford Coppola made this quiet little film, creating nothing short of a minimalist masterpiece. The hallmark plotting is deliberate and the interior shots are often colorful yet stark and lonely. Even when Harry travels to a surveillance convention, the scene becomes alienating, helping us better connect with Harry as he ventures further down the rabbit hole. Shot mostly in San Francisco, the director doesn't sacrifice the cities rich history and culture as he gives the audience a virtual tour, most of which is lost however in an engrossing storyline. Copolla knows how to make an insightful film worthy of discussion, additionally however, he does what I think is a cinematic oddity; he builds a consensus in his audience based on emotions of the protagonist. Like in Apocalypse Now, you may not believe in his political point but you can definitely relate to his richly drawn characters even as they are put in extraordinary situations.

Acting: While Gene Hackman has become iconic for his portrayal of no-nonsense characters, Harry Caul has a vulnerability that intrigues. Like many of the actors who share the screen with him, the audience wants to be let in to his closed inner-self and like any good actor, everything Hackman says he does so without speaking. John Cazale, likewise gives in a reliable performance though not as memorable as Godfather II. As Harry's hungry protege, Cazale's Stan makes his intentions to make a name for himself very public giving Hackman much to give evil glares to. Also worth mentioning is Robert Duvall's performance who, like in To Kill a Mockingbird manages to take the air out of the room without saying a single word.

Bankability: Providing big name actors, even by today standards, The Conversation is a Robert De Niro away from a star studded smorgasbord. The plot however might detour some as the usage of any other descriptors would ruin the film. Believe me when I say the back of the cover doesn't do it justice.

ALL-Factor: As with most films, this film doesn't have a Apatow sense of humor or a Spielberg sense of wonder. What it does have is a Hitchcock sense of suspense and a richness of color and characterization that only Coppola can provide. In today's modern world where communication technology has become the norm, surveillance still leaves us all weary. With that in mind, The Conversation has become more topical and universal in post-9/11 America than it ever was in the 70's.

Conclusion: Communication is the key according to Coppola, and in this film, the protagonist must deal with the encroachment of technology in day to day life and how it can either enrich us or destroy us. First and foremost however, The Conversation is a quiet, close and personal movie about a man unsnarling his life, his ethics and his relationships, trying to free himself from the guilt he possesses. Anyone with a few hours to kill should definitely watch this suspenseful and important film.

Review: Mystery Team

Year: 2009
Genre: Comedy
Stars: Donald Glover, D.C. Pierson & Dominic Dierkes
Director: Dan Eckman

Overview: A trio of child detectives were once the talk of the town solving childish mysteries like who's been sticking their fingers in their neighbors blueberry pie. Now at the age of 18, Jason, the master of disguise; Duncan, the boy genius and Charlie the strongest kid in the world must contend with a real murder, that and the fact that their innocence is at odds with reality.

Writing: The jokes come at the screen in rapid fire precession, delivered with a breezy staccato that keeps up with the best SNL skits. Though there are a few more "suspenseful" moments in the third act that aren't as jovial, the gags just don't let up and many of them hit their mark. Its funny that the idea of a post-modernist take on Encyclopedia Brown hasn't occurred to anyone before. Anyone who has read kiddie mystery novels knows this kind of naivety is ripe for parody. As for the mystery...well like a love story tagged on a buddy comedy, it only serves as a vehicle to more hilarity and isn't engaging in its own rite.

Directing: Director Dan Eckman, completes his first feature with this film and manages to balance the humor very well. Unfortunately when the movie gets a little more serious as the mystery comes to its predictable climax, the directors freshman colors start to show. One particular scene near the end the movie seems to veer off base in more than one way and goes on a tangent on maturity and friendship. What follows is a textbook example of character development that could have been beneficial if not treated as trite filler. One can hope that Eckman's next project will give him the opportunity to unleash the imagination that seems constrained here.

Acting: All three leads deserve praise for their energetic portrayals. D.C. Pierson makes Duncan an amiable mix of Mandark from Dexter's Lab and Napoleon Dynamite. Dominic Dierkes's Charlie is dumb and quiet but like Steve Carell's dimwitted weatherman in Ron Burgundy, he makes to make an impression. Donald Glover however manages to steal the show and most of its running time. Though he may sometimes be a nuisance, Glover's staunch determination and aw-schucks personality pulls the ensemble together. Bobby Moynihan also deserves credit as Jordy, the boys' confidant whose psyche is cracking under the reality of his pitiful existence.

Bankability: The film was written, produced and stars the cast of the internet comedy troupe Derrick Comedy who are famous for their skit "Bro-Rape". While Donald Glover contends that ultimately the group was made famous for fart jokes, they wanted to make a serious effort to make comedy gold. After a few months of filming and editing the movie was released at Sundance where it got a warm reception but got a barely noticeable theatrical debut. For fans of the troupe, this movie is a welcome sight and for others this film may not be the funniest movie ever but its a fun little diversion.

ALL-Factor: This film is a comedy first and foremost, and while it may have under the surface themes and can swerve into dramatic territory it all becomes filler to the scatological jokes. Thankfully the jokes themselves are excellent getting much of the humor from three naive boys at odds with the disgusting netherworld of crime.

Conclusion: While not downright hilarious, Mystery Team has a certain pluck that makes it all worthwhile. The jokes come fast and loose, the acting is well done and the directing is excellent for a first feature. The movie runs a spriteful 94 minutes and works on most levels. My only contention is the mystery itself which can be unyarned within the first 10 minutes but as someone on said "its not the destination its the journey".

List: Saving Graces-The Thing That Makes the Movie

There are a lot of movies out there and its hard to tell which ones are worthy of praise or contempt. Still, even if a movie works mechanically there are still a few key moments that raise it up a level simply for its sheer presence. These moments may include a cameo, a scene or character that epitomizes the movie or it may just be a few words of dialogue. Here is a set list of ten great "things" that make a specific movie and three that almost ruin them.

10. Absence of Malice: Wilford Brimley as Judge Wells
For those who haven't seen this 1981 drama, don't. Though it features some decent performances from Sally Field and Paul Newman, it hasn't worn well with age and the over all premise of a newspaper reporter used to leak a false story is anti-climatic. Wilford Brimley makes a small ten minute appearance near the end of the movie as Judge Wells, a no nonsense, shoot from the hip kind of guy who sifts through all the bull and tells everyone to shut up and get this thing solved already. I'll answer the obvious...yes the mustache also makes an appearance.

9. Cannibal - The Musical: The First 5 minutes
Fans of the Comedy Central staple South Park will probably recognize this film based on the true story of Colorado miner and cannibal Alferd Packer. Before the beginning credits role, the infamous Packer jumps out from behind the foliage to savagely beat and dismember his fellow travelers. The rest of the movie is slow at times but provides a few chuckles here and there. Nothing however compares to the first five minutes of this student film.

8. Superman Doomsday: The Mechanical Spider and the Unamused Bystander
Those who have seen An Evening with Kevin Smith no doubt recall his discussion with an executive over the writing of the new Superman Movie. In his discussion the exec, with no knowledge of the subject matter, insists on putting a giant mechanical spider in the film; an idea that eventually made its way into Wild Wild West. In Superman Doomsday Toyman suspends a school bus full of children on a skyscraper using a...mechanical spider. As Superman saves the day once again, an unamused bystander voiced by and suspiciously dressed like Kevin Smith utters "Yeah, like we really needed him to bust up the mechanical spider, right? Lame!" I know, its a lot of setup but as a person immersed in the nerd culture, I appreciated the ruse.

7. Mullholland Dr.: The Sex Scene
The entire movie plays out like a dream; disjointed, otherworldly and very very strange. Regardless those with the patience to sit through David Lynch's dreamworld will no doubt be rewarded with the steamiest lesbian sex scene to come out in a long time featuring a young and nimble Naomi Watts and Laura Harring.

6. Harry Potter and the Goblet of Fire: The Death of Cedric Diggory
Robert Pattinson made a name for himself as the obnoxiously lovelorn vampire Edward in the Twilight series. But before being cast in the role that will inevitably ruin his career he played the part of Goblet of Fire hopeful Cedric Diggory. Known by Potter fans as the first 'good guy' to die in the series. Seeing Pattinson's Franken-face suddenly absent of life makes Goblet of Fire an especially delicious treat for Twilight haters like myself. Sorry Robert, I'm sure you're a nice guy but you signed on for the role so expect every guy dragged to see one of your dreadful movies to be sending spiteful thoughts.

5. Toy Story 2: Geri
Pixar have a nearly flawless record of making high quality animated features while also keeping artistic integrity and license. Not only are their feature length movies amazing, but so are their award winning shorts. Geri was one of those said shorts where the titular character plays himself in a game of chess; Its simple but amusing. So when Geri made an appearance as the toy repair man in Toy Story 2 the smile never left my face.

4. Shakes the Clown: Robin Williams as Marty Fromage
This movie is beyond terrible lacking any discernible plot, comportment or humor. It's only saving grace is Robin Williams (Who refused to be accredited in this film) as mime instructor Marty Fromage who coaxes Bobcat Goldthwait to be the best mime he can be. Likely improvising most of his lines Robin Williams elevates this movie from worst crap ever to just crap.

3. Pulp Fiction: Christopher Walken...just Christopher Walken
I have never gotten the Walken mania molded in our culture today. Though he has a magnetic stage presence he reminds me of a middle school student whose ego got too big after getting the lead in the Christmas recital. Still his brief scene in Pulp Fiction as Captain Koon was oddly hilarious as he talks to an old war friend's son. What starts out as a touching scene ends with a vivid description of hiding time-pieces in rancid orifices.

2. Zack and Miri Make a Porno: Justin Long and Brandon Routh
Facing the trying experience of their high school reunion, Zack and Miri meet up with Bobby Long an old high school flame of Miri who unbeknown to them has become a gay porn star. Though the film is middling from the usual Kevin Smith fare, the appearance of Superman himself Brandon Routh as Bobby Long makes the scene chuckle-able. Add on the improvisational diatribes of Justin Long as Bobby's deep voiced boyfriend and you got a near perfect reunion scene.

1. Napoleon Dynamite: The Dance
2004's sleeper hit Napoleon Dynamite is an exercise in the bizarre and entered the phrase "gosh" into the American lexicon. Though many including myself have written off this movie as the Bio-Dome of the 2000's the last twenty minutes of the film provided much needed coolness. Aiding his friend Pedro run for student-body president, school oddball Napoleon sheepishly enters the stage beguiling the audience to brace for an embarrassing scene. Instead Napoleon dances his heart out impressing the student body and giving the movie a brisk and feelgood ending.

And Now the Three Moments that Almost Ruined the Movie:
1. Falling Down: The Bazooka
All in all this 1993 movie from Joel Schumacher was actually pretty entertaining as one man wages a symbolic war against the frustrating cityscape of Los Angeles. Near the end of the movie however our wondering hero comes into the possession of a WWII anti-tank weapon and proceeds to walk down a traffic layered on-way ramp. After ranting to a road worker over the dubious reasons for the road construction halting the traffic, D-Fens, as he is known aims the bazooka at the road and shoots the missile into an underground and unmanned (we hope) maintenance area. This part of the film is a ludicrous distraction and an unrealistic blight on an otherwise solid film.

2. Across the Universe: "Hi my name is Jude"
Walking into the theatre with apprehension I was very weary of a musical revue featuring Beatles songs. Still I walked in with an open mind and actually enjoyed the first few numbers. Then as the male lead introduces himself to another of what are many flat characters, he announces his name as "Jude". Wow, way to hit the nail on the head. I wonder what song he's eventually going to sing. What followed was a 133 minute acid trip I desperately want to forget.

3. Hancock: Throwing the Fridge
On the face of it, a cynical view of superheros was much needed at the time. When comicbook adaptations were at their zenith, Hancock looked refreshing, featuring Will Smith as a boozed up superhero who is hated by his community for his disregard for public safety and private property. Enter in Jason Bateman a PR exec who helps Hancock change his image much to the disapproval of his wife played by Charlize Theron. The first hour or so had all the requisites for popcorn fun but somewhere in its second act, in less than a second it all changed. In an "interesting" turn of events, Charlize Theron is a superhuman too! And a hopelessly contrived mythology ensues. This of course was all revealed when Theron throws her fridge at the Fresh Prince knocking him in the dome...if we should all be so lucky. From now on when a movie changes so drastically in mood, plot and quality it will shall by thusly known as throwing the fridge.

List: Best 80's Theme Songs

10. Weird Science by Oingo Boingo
Featured in Weird Science
This is not the last movie to make this list by the late John Hughes. During his heyday he managed to make highly entertaining teenage films with catchy tunes including this 1985 sci-fi comedy about a pair of dorky kids who create the woman of their dreams. Featuring the sounds of Oingo Boingo fronted by cut and paste soundtrack maker Danny Elfman, Weird Science is a silly but sound piece of work.

9. Love on a Real Train by Tangerine Dream
Featured in Risky Business
Teenage sexual exploration and 80's superficial culture gets much needed lampooning in this Tom Cruise vehicle. Enticed by a seductive hooker and egged on by his friend, Joel (Cruise) reluctantly uses his upper crust family house as a brothel. Tangerine Dream provides the tantalizing music for a few of the key scenes. No words, just seduction.

8. Back in Time by Huey Lewis and the News
Featured in Back to the Future
Who isn't familiar with this Robert Zemeckis classic. Back to the Future has so many just great songs packed into its 116 minute run time. Still the stalwart little ditty that got into everyones heads as the credits rolled was Back in Time by Huey Lewis and the News. Also featured by them is The Power of Love played by Marty's band in the beginning of the film.

7. Footloose by Kenny Loggins
Featured in Footloose
Need I say more? It's Footloose!

6. Flash Gordon by Queen
Featured in Flash Gordon
This movie is partially saved from obscurity due to Queens epic introduction. Featuring a dull sports hero who saves the planet Mongo from certain devastation from the hands of Emperor Ming, the intro reminds us how truly silly the whole concept is; which is a good thing.

5. The Time of My Life by Bill Medley and Jennifer Warnes
Featured in Dirty Dancing
This song eventually won an Oscar as it was featured in a pivotal moment between teen heartthrob Patrick Swayze and Jennifer Grey. While the movie might be the quintessential 80's chick-flick one couldn't help but get a little melancholic hearing it after Swayze's tragic death. Patrick, we miss you.

4. Holiday Road by Lindsay Buckingham
Featured in National Lampoon's Vacation
Part do-wop, part AM pop, Holiday Road is one of those songs that gets in your head and never lets go. Unlike, say Build Me Up Buttercup or the Batman theme song, it isn't much of a bother.

3. Don't You (Forget About Me) by Simple Minds
Featured in The Breakfast Club
This song however is a bit of a bother, but no 80's theme song list can be complete without The Breakfast Club and Simple Mind's memorable Don't You (Forget About Me).

2. Twist and Shout by The Beatles
Featured in Ferris Bueller's Day Off
Having fun can be hard work but Matthew Broderick's Ferris Bueller makes it look damn easy. Perched atop a parade float, the titular character moves and groves lip-syncing to The Beatles as the entire city of Chicago gyrates along.

1. Brazil by Geoff and Maria Muldaur
Featured in Brazil
Repeatedly looped into Terry Gilliam's opus, the song Brazil has the asinine catchy-ness and ironic optimism that makes it perfect for this dystopian masterpiece. Not quite a pop sensation, Brazil torments the brain until you end up silently muttering it to yourself whilst dazed out in front of the television.

Honorable Mention
Killer Klowns (From Outer Space) by The Dickies
Featured in Killer Klowns from Outer Space
The movie was awful but trust me when I say the song is good and very 80's

Review: The Visitor

Year: 2007
Genre: Drama
Stars: Richard Jenkins, Haaz Sleiman, Hiam Abbass & Danai Gurira
Director: Thomas McCarthy

Overview: Richard Jenkins stars as Professor Walter Vale a widower who apart from a lackluster interest in the piano has started phoning in life. Forced to attend a conference in New York City, Walter returns to his old apartment in the city to find two illegal squatters living in it. Reluctantly he allows them to stay and what starts as an uneasy relationship between Walter and his new roommates Tarek and Zainab becomes a warm friendship that is tested when Tarek becomes at risk of deportation.

Writing: The Visitor is a very low-key film with an understated tone that is highlighted in the gentle script. Characters are fleshed out to a fault as the character Walter's malaise makes him initially hard to deal with. Luckily Tarek's natural positivity not subtly changes the mood of the film but elevates Walter's disposition. The movie however falls into familiar territory during its third act when Tarek is faced with deportation and Walter watches and waits hopelessly with his mother played by Hiam Abbas. Fortunately the fine acting from the entire cast offsets any predictability and the end provided some emotional heft.

Directing:Thomas McCarthy's first film The Station Agent showed the emotional legitimacy of a group of odd but relatable characters. While the characters are no less fleshed out it seems he reined in his more fanciful predilections which shows in his direction. McCarthy's New York is shown with a realistic grittiness that while appropriate, isn't quite groundbreaking. McCarthy's strengths however aren't necessarily technical but rather in his ability to capture the emotions of people. In one scene Walter, not realizing anyone is home sits down in a chair and starts to play Tarek's drum. When Tarek appears he teaches Walter a few tricks starting Walter's gradual process of stripping his protective outer shell.

Acting: Veteran character actor Richard Jenkins shines in this movie, shedding off the layers of Hollywood typecasting to become a leading man. Films like this likewise give unrecognizable players like Haaz Sleiman and Danai Gurira opportunity to prove they can do their jobs just as well if not better than the top grossers. Much due applause however must be given to Hiam Abbass who simultaneously expresses remorse and strength as Tarek's mother.

Bankability: Richard Jenkins is the Stephen Tobolowsky of our generation obscuring himself through a varied and impressive body of work. Still most people would only know him as "that guy" so wouldn't be immediately drawn to this picture. Hiam Abbass has had some exposure to American audiences in small films like Amreeka and The Nativity Story but otherwise not a real draw either. Still, featuring topical subjects like immigration and having an overall uplifting message may be just what one needs to expand their horizons and the pacing of the movie keeps things on an even keel.

ALL-Factor: Despite a few awkward moments between Walter and his new cohorts, specifically learning how to play the drums, the film is essentially laugh free. The drama while lukewarm is accessible and doesn't sputter into melodrama territory. What is left is Thomas McCarthy's humanistic realism that has been the hallmark of his short but laudable directing career.

Conclusion: Conveying a realism that treats an abstract topic with humanity while expounding on the universal message that it is never to late to start something new gives this movie a sense of immediacy that rocks the attentive watcher to his/her core. Still, when one tries to expound realism in their art the consequences are nothing less than the risk of being dull or worse preachy. Luckily The Visitor avoids most of these pratfalls by giving a simple and earnest tale of humanity.