Soon, some L’s, but first…

Asparagus (1979)

Lusciously animated in a style both realistically drawn and stop-motion, this is a short, hypnotic look at all things asparagus and asparagus-like, made by the marvelous Suzan Pitt. My guess is, she does not like asparagus.

Verdict: YES.

♦ ♦ ♦

The Fabelmans (2022)

Steven Spielberg has made a few movies, and had some modest success in Hollywood. He makes serious films which are seriously fine, but I prefer his wide-eyed ‘wow’ popcorn flicks — Close Encounters, Jaws, Jurassic Park, Raiders of the Lost Ark, etc.

This time, Mr Spielberg made his own biopic, and it’s got both his filmmaking sides — the serious, but also a wide-eyed ‘wow’ spin on being Steven Spielberg.

Dad (Paul Dano, good) is a scientist who reminds me of my own scientist dad, only Dano’s skinnier and not a Christian. Mom (Michelle Williams, spectacular) is a frustrated pianist and expert on the human soul, except her own. Seth Rogen and Judd Hirsch make big impacts, and some kid named Gabriel LaBelle does a pretty good job playing Spielberg, or, excuse me, Sammy Fabelman. Music by John Williams, of course.

The Fabelmans is a big schmaltzy valentine to the movies, and a more serious look at the Fabelman/Spielberg family, which gifted him all the blessings of upper-middle class, and parents willing to indulge a boy’s interest in moviemaking.

For fans of Spielberg (which should be anyone who loves movies), some crucial moments of his artistic development are presented — his first camera, first special effects, first time squeezing something more from an actor who offers less. Along with, of course, the agony of introductions to the stupid world of adults and adult problems, including antisemitism and anger and being bullied and a few smooches.

There’s no knowing which of these incidents are true, but almost all of it feels real, and my impression is that even the few moments that don’t seem authentic, that’s on purpose. Spielberg is polishing lessons learned way back when, and finally, more fully understanding them.

The Fabelmans was already a BIG YES, but nothing, nothing, nothing on planet Earth or anywhere in this solar system or beyond prepared me for the final scene. I was in tears, and also laughing my ass off, and I shall say no more about that except, thanks, Claude, for recommending this film while leaving that surprise for me, and thanks, Mr Spielberg, for giving it to us.

Verdict: BIG YES.

♦ ♦ ♦

The Sacrifice (1985)

Alexander is an old man with a young wife and toddler son who could be his grandson. The boy has nothing to say, the movie has lots, but you need to reset your chronometer first.

It’s from Russkie moviemaker Andrei Tarkovsky, who loves long takes, with long silences as characters decide what to say next, and in this flick both seem long even by Tarkovsky standards. After much talking and many silences, just when it seems Tarkovsky is trying to out-Bergman Ingmar Bergman, military jets roar overhead and the news on TV says the jets are on their way to launch World War III.

After that, you’d expect the tone of the film to change, but it doesn’t, really. What it’s already been, it becomes moreso. Alexander says God is nonexistent, but under the circumstances he recites The Lord’s Prayer and negotiates a deal with the Almighty, promising to give up everything if his family is spared.

I’m a firm believer that all Godtalk is nonsense, but this is pretty good Godtalk (again, under the circumstances), and Alexander remains true to his deal with the nonexistent omnipotence.

I’ll end my plot summary there, but things get deeper. The Sacrifice is stubbornly, magnificently what it is — intense, dreamlike, thoughtful, beautiful, and frickin’ smart.

It would be fun to show this to someone whose favorite movie is Guardians of the Galaxy or maybe Air Force One. It would lull them into a coma, but they’re already in a coma so maybe this would wake ’em up. Chances are, this movie isn’t for them, but anyone willing and able to sit still for something heady will be gobsmacked.

Verdict: BIG YES.

PS. Reading after watching, I’ve learned that the film’s Bergman feel is on purpose. The Sacrifice was made with Bergman’s cooperation, Bergman’s cinematographer, stars Erland Josephson from numerous Bergman films, and was photographed on the island of Fårö, where Bergman made most of his best-known movies. It’s basically a bonus Bergman, and one of my favorites, but there are a few I haven’t yet seen. And I’d better see them soon; the jets are roaring overhead…

11/11/2026

Logo illustration by Jeff Meyer.
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If you can’t find a movie I’ve reviewed, or if you have recommendations, please drop me a note. And I mean it — if you ask, I will get you the movie.
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No talking once the lights dim, and only real butter on the popcorn, not that fake yellow stuff.