A guy walks into a bar; the bartender immediately recognizes that the patron is pissed off. Sliding the man a beer, he asks, “What’s ailing you?”, to which he replies, with a loud, booming voice, “ALL LAWYERS ARE ASSHOLES!!!”. There is only one other person in the establishment, someone sitting at the other end of the bar. . . his ears perking up, he immediately shouts, “I take offence to that.” Taken aback, the new patron asks, “Are you a lawyer?”, to which he concludes, “No, I’m an asshole”. All joking aside, lawyers, despite not being the main players in writer/director Noah Baumbach’s 2019 Academy Award Best Picture nominee Marriage Story, play an integral part in the piece. Following Charlie (Adam Driver) and Nicole (Scarlett Johansson), their so called marriage story is quickly becoming a separation and divorce story. Living in New York, Charlie is a renowned theatre company owner and playwright (by no means rich, but respected), his wife his actress muse. . . an edgy Hollywood teen actress that has transitioned to respected stage performer. With a young son, Henry (Azhy Robertson), their marriage has run its course. . . Nicole returning home to California (with their son) to film a pilot for a new series, Charlie must balance his hectic life, attempting to run his troupe while racking up frequent flyer miles to visit his son.

It is funny what passes through your brain when something as monumental and horrible as Kobe Bryant’s unexpected death is heard (even more heartbreaking that his thirteen year old daughter Gianna, and seven others died in the helicopter crash). Logic and reason no longer control your mind, and it is as if a movie reel flashes before your eyes. For me, I immediately thought of a day almost fourteen years ago to the day when the Toronto Raptors seemed to have things in complete control (up fourteen against the Los Angeles Lakers at half). It was January 22nd, 2006, the day Kobe took over – almost forty-two minutes, twenty-eight field goals made (forty-six attempted), seven threes. . . a total of eighty-one points (that helped further his legend – the second highest total ever behind only Wilt Chamberlain’s one hundred). Then, the horrific 2011 Lokomotiv Yaroslavl plane crash flashed before me – 44 dead, including former NHL superstar Pavol Demitra (who I knew). You think of Jordan, Shaq, the championships, and the colossal loss. . . in complete pain for his wife, daughters and parents (who must now try to pick up the pieces after this tragic accident). You start to hear the reaction coming out – shock and disbelief. . . perhaps Tiger Woods’ forceful “excuse me” upon hearing the news from his caddy after finishing his round of eighteen sums that up nicely – for it seems surreal.

You just can’t beat a good idea. . . which is why most iconic stories have found their way onto the silver screen more than once – case in point, Little Women. Reuniting the director/actor dream team of Greta Gerwig and Saoirse Ronan just two short years after their success with Lady Bird, this 2019 effort follows adaptations released in 1917, 1918, 1933, 1949, 1994 and a 2018 tv movie (and no less than eight television versions) – I’ll leave it up to you as to what that proves (perhaps that classics are eternal. . . or maybe, that Hollywood can no longer muster up even one original idea). Gerwig, adapting one of her favourite novels (written by Louisa May Alcott), creates a visually striking world, from its perfectly framed opening shot to its closing scenes, the lush, New England landscape a brilliant backdrop for this nineteenth century tale. Each home, architectural flourish, costume choice, and colour selection painting a nuanced, impressionist piece of artwork.

Ranked as the 17th greatest British film of all-time by the British Film Institute (and perhaps a bit more surprisingly, finding itself on the Vatican’s top 45 “great films” – in the “art” category), 1951's The Lavender Hill Mob, written by T.E.B. Clarke (winning him the Oscar for Best Writing, Story and Screenplay) and directed by Charles Crichton (A Fish Called Wanda), is a clever send up of the crime caper. Setting out to write an authentic crime story, Clarke actually went to the Bank of England, looking for advice. The Bank formed a special committee, the screenwriter asking numerous questions as they basically laid out the only way such a heist could work (by today’s standards, this seems absolutely ludicrous), meaning that, what we see in this 1951 feature is an accurate portrayal of what it would have taken to rob this iconic institution.