BEETLEJUICE BEETLEJUICE – Review by Valerie Kalfrin

To enter the underworld, we learned from the original Beetlejuice, you need to draw a door. In the new film Beetlejuice Beetlejuice, Michael Keaton’s maniacally mischievous demon draws a cartoonish bomb complete with a long fuse, all the better to blow us away. Twenty-six years after Keaton and director Tim Burton introduced this madcap “ghost with the most,” an underworld rogue who claimed he could scare away the living, the two have reunited for a sequel stuffed with macabre humor, immersive world-building, and eye-popping (and sometimes gut-spilling) special effects, costumes, and makeup.

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BEETLEJUICE BEETLEJUICE – Review by T.J. Callahan

Hey all you ghouls and flesh bags, welcome to Nostalgia Theatre. It’s been 36 years since The Juice was loose and he’s finally ready to reanimate to save himself and the Netherworld in the sequel to Beetlejuice. It’s called Beetlejuice Beetlejuice, you know, for Beetlejuice 2. Are ya hip? Or is your’s missing? While there are some good gags, with the best being as the credits roll, it can’t compare to its classic counterpart, which, by the way, if you haven’t seen you’ll be lost in the new one.

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BEETLEJUICE BEETLEJUICE – Review by Susan Kamyab

Beetlejuice is back! The original film was released in 1988 and now Michael Keaton returns to reprise his iconic role. Surprisingly, the sequel is better than the first movie. I recently rewatched the original, which I loved as a kid, and it didn’t quite hold up and should not have been rated PG. Beetlejuice Beetlejuice is appropriately rated PG-13, and it has an engaging fun story from the start.

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BEETLEJUICE BEETLEJUICE – Review by Nadine Whitney

Tim Burton hits a lot of familiar beats in his much belated sequel to his classic 1998 film. Michael Keaton has lost none of his vigour as Beetlejuice, but the character is less interesting the second time around. Catherine O’Hara’s Delia is the scene stealer. In terms of long-gestating legacy sequels there have certainly been worse examples, and there have been far better. It’s one of Tim Burton’s more successful recent efforts. Beetlejuice Beetlejuice has enough colour, flair, and humour to make it enjoyable, but it’s not a pinch on the original.

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Rosario Dawson on DOPESICK, the Opioid Crisis and Representing – Leslie Combemale interviews.

Cast as a crusading DEA Agent in Dopestick, Rosario Dawson comments on the opioid crisis: I think this show, and why we’re in DC pushing it, is about the fact that we are not just trying to entertain people. We want this to be something that profoundly changes the game. You could feel it from every single person in the crew, because I have family and friends who have succumbed to the opioid crisis. 2020 had a record high of overdoses, and 75% of those overdoses were opioids. So we need to do something about it, and hopefully the show motivates people to do just that.

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WORTH – Review by Martha K Baker

Worth succeeds on so many levels. Backed by the Obamas’ production company, the impressive feature film addresses the massacres that occurred on Sept. 11, 2001. It concentrates on compensating deaths and injuries to more than 3,000 victims, that is, on the work of two men, Ken Feinberg and Charles Wolf.

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WORTH – Review by Liz Braun

What is a human life worth? That’s something lawyer Ken Feinberg has spent his career figuring out. Feinberg was Special Master of the September 11th Victim Compensation Fund. His job was to put a dollar value to every 9/11 victim to determine how much money each family would receive; it was a complex, unpleasant job that saw Feinberg work three years pro bono.

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Director Sara Colangelo on the Ensemble and the Moral Conundrum of WORTH – Leslie Combemale interviews

Based on the memoir What is Life Worthby Ken Feinburg, the lawyer in charge of the 9/11 Victim Compensation Fund, Worth is a fictionalized behind-the-scenes look at how dollar values were assigned to relieve the personal tragedies suffered by those who lost loved ones in the Twin Tower calamity. Starring Michael Keaton as Feinberg, the film is the third feature for director Sara Colangelo, who speaks about its serious theme and brilliant stars.

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THE TRIAL OF THE CHICAGO 7 – Review by Susan Granger

Best known for his sharp, perceptive dialogue, peppered with succinct soliloquies, writer/director Aaron Sorkin has crafted a timely, yet talky tale, utilizing flashbacks and newsreel footage. Free speech and demonstration are interpreted as lawless rioting with the government and its supporters expressing complete faith in the police. Perhaps Sasha Baron-Cohen’s Abbie Hoffman puts it best: “The institutions of government are wonderful things, but right now are populated by some terrible people.”

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THE TRIAL OF THE CHICAGO 7 – Review by Martha K Baker

Those who did not live through the Democratic National Convention in Chicago in 1968 or follow coverage of the trial of seven men, the excellent film, The Trial of the Chicago Seven will read as incredible. Just unbelievable. For starters, men accused of being in a conspiracy had never met before that August. For another, a judge appeared to be unqualified at least, viciously loony-tunes at most.

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