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		  Thumbnails Oct 19 
		by Tony Medley 
		Untouchable (9/10): Runtime 98 minutes. NR. 
		This is a portrait of evil, a fat slob who made lots of award-winning 
		films but who abused his power by molesting and exploiting women. It’s 
		told mostly by his victims, and their stories are hair-raising. While it 
		starts with Harvey Weinstein and his brother, Bob, in Buffalo as concert 
		promoters, it quickly segues into their success in the movie business. 
		In no time at all Harvey is on top of the world and every woman of whom 
		he can take advantage. The Casting Couch has been alive and well in 
		Hollywood since the dawn of motion pictures in the 1910s. I don’t know 
		how Harry Cohn and others used it, but these stories aren’t of women 
		exchanging sex for roles; rather they are blatant rapes that are 
		described in detail. It is an emotional movie to sit through, but well 
		worth the sit. On Hulu. 
		Downton Abbey (8/10): Runtime 122 minutes. 
		PG. I might be the only person who never watched one second of the PBS 
		series, so I went into it knowing nothing. Movies should stand on their 
		own but when producers make a TV series that lasts, what, five years? 
		And then choose to end it by making a feature film that wraps everything 
		up, one might think that without exposure to what came before, sitting 
		through this would be a drag. And, to be truthful, the first half hour 
		did crawl by. But then it picked up and I enjoyed it. The acting is 
		superb and the production values second to none. And after the story 
		picks up, it definitely holds interest. If you are a fan of the series 
		it is undoubtedly 10/10. 
		The Goldfinch (8/10): Runtime 149 minutes. 
		R. While there doesn’t seem to be much story here, there is a constant 
		feeling that there’s more there that we don’t know. Director John 
		Crowley does an outstanding job of keeping up the pace, aided by 
		exceptional music by Trevor Gureckis that keeps tension in the movie 
		when you aren’t sure exactly why. All the performances are very good, 
		which is one of the reasons the movie holds interest. If you read the 
		book, though (I didn’t), and know the ending it might not be as 
		palatable. 
		Raise Hell: The Life And Times Of Molly Ivins 
		(7/10): Runtime 91 minutes. NR. 
		Molly Ivins was a vitriolic political columnist as far to the left as 
		she could get. She was a good writer and had a sense of humor. In 
		addition to calling out the truth about the second George Bush (which 
		was generally discounted due to her known prejudice), she admirably and 
		bravely faced her death with equanimity and humor. It gets 7/10 because 
		it is entertaining, in spite of its fawning partiality. 
		Vita and Virginia (5/10): Runtime 110 
		minutes. R: The ambience of the period is outstanding. But not only is 
		the film slow and tedious, they cast two beautiful actresses to play two 
		of the least attractive women of the 1920s; so much for verisimilitude.
		 
		Ad Astra (5/10): Runtime 122 minutes. PG-13: 
		This Brad Pitt vehicle is as absurd as the archaic early ‘50s TV series
		Tom Corbett, Space Cadet. But Tom was before landing on the moon 
		when space travel was truly a figment of the imagination. What’s Ad 
		Astra’s excuse? 
		Hustlers (3/10): Runtime 110 minutes. R: 
		This tepid, watered down, sanitized chick flick of strip club ladies 
		getting some kind of twisted revenge on the men they entertain misses 
		the mark entirely. Excruciating to watch, it has the typically hard to 
		swallow slice of life dialogue endemic to all these films. Not even 
		Sarah Bernhardt or Bette Davis could make this dialogue digestible. 
		Where’s my Roy Cohn? (1/10): Runtime 97 
		minutes. PG-13: While this is interesting, it is so terribly biased and 
		clumsy it should be taught in film school as an epitome of artless 
		advocacy which has no place in a proper documentary. Just one example of 
		its callousness, it makes the gratuitously cruel claim that Cohn’s 
		mother was the ugliest woman in New York. Cohn was a difficult guy with 
		a lot to criticize (that’s an understatement), but he deserves a more 
		even-handed treatment than this one that obviously went into the project 
		with its mind made up and its eye on the target of Donald Trump, who 
		apparently made the titular statement. 
		
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