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Arts & Entertainment

Gravity Defied! WSU’s StageWright Flies High, Again!

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Packed house. Excellent Performances. Beautiful Evening! Once again, Wright State’s Arts prove their national recognition is well-earned. The StageWright concert at the Levitt Pavilion on September 11th was nothing short of magical. From the bands, to the dancers, to the singers…WSU knows how to perform for the crowd, and they did it again!

Put together by WSU’s Dan Zehringer, the event, now three years old, continues to grow in performances and crowd size. The weather was cooperative as well…cool breezes, cold beers, and a fabulous sunset. Supporters of all things WSU ‘raidered-up’ in the audience to hear their colleagues and friends perform.

 

 

 

 

 

 

 

The event kicked off with WSU Army and AFROTC color guard, and a rousing trumpet ensemble, which included the National Anthem. Following was a percussion ensemble that got the crowd ‘going!’ Two performances by WSU Dance students stunned the crowd; one with it’s intricate percussion, the other, lively and fun . The Jazz ensemble followed suit, bringing some ‘swing to the thing!’ The event closed with a invigorating version of Wicked’s ‘Defying Gravity!’

 

Sue Edwards, WSU President, addressed the crowd, reminding them to join the university for all their shows throughout the year. and of course the beloved ArtsGala 2026. Bravo Raiders!! Bravo!

     

 

TIFF Day #8 – 2025

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Hello Dayton937 & NEON Fans,

Today was a short day with just 2 films…this is due to things partially slowing down and to the fact that I went to see Lady Gaga tonight at Scotiabank Arena.  It’s been a pretty terrific day, but I’m certainly showing signs of slowing down. I have a couple films tomorrow (Friday), and then it’s back to Dayton on Saturday.

My first film of the day was a teen comedy – DRIVER’S ED (dir: Bobby Farrelly – USA) “Bobby Farrelly’s charming Driver’s Ed follows a high school senior (Sam Nivola from The White Lotus) who hits the road to save his relationship with his college-bound girlfriend, with his principal (Molly Shannon) and driving instructor (Kumail Nanjiani) in hot pursuit.” (TIFF Catalog) There are some teen comedies that I really like – CLUELESS, MEAN GIRLS, and EASY A to name a few.  This new film from the director of DUMB & DUMBER, THERE’S SOMETHING ABOUT MARY and CHAMPIONS (which we played) is not one of them. Though not without some funny moments, this film had plot holes galore and was mostly not funny.  It also seemed quite possible that the screenwriter hadn’t spent much time recently in a high school classroom.  There are enough f-bombs and some sweet character chemistry to make this film popular on a streaming service, but I don’t see it being a theatrical hit.
There is no trailer yet for this movie, but here’s a still photo:

My second film for the day will be a big contender this year – HAMNET (dir: Chloé Zhao – United Kingdom) “Academy Award–winning director Chloé Zhao (Nomadland, TIFF ’20 People’s Choice Award) helms this lush and tender drama about William Shakespeare (Paul Mescal) and his family, as seen through the eyes of his thoughtful wife Agnes (a luminous Jessie Buckley).” (TIFF Catalog) Though lovely and deliberate from the start (visually, musically, performance-wise), it took a little while for me to be completely swept away.  But I did indeed get swept.  Jessie Buckley will get an Oscar nomination (and possibly win), and the film will be recognized in many other categories. Upon walking back to my apartment, I started crying again thinking of a couple scenes…and again upon recounting the film to my boyfriend.  Chloé Zhao has made a really impressive film about family, loss and the healing power of art, and I will certainly be seeing it again.

Lady Gaga put on a really terrific show tonight.  My boyfriend has been wanting to see her perform live for nearly 20 years…and we had good seats in a very energized arena.

Thanks so much for reading.

My best,

Jonathan

TIFF Day #7 – 2025

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Hello Dayton937 & NEON Fans,

Today was a full day!  In addition to the movies and a nice star appearance surprise, my boyfriend flew into town to join me for my last few days here.  He and I will see del Toro’s FRANKENSTEIN together on Friday (as well as Lady Gaga in concert on Thursday night)…but otherwise, he’s here to enjoy the city while I’m screening films.

It’s my rule that if I don’t watch a movie from beginning to end, I can’t include it here in my TIFF blog.  But I’m going to make a bit of an exception.  For my first movie today, there were only 2 people in line when I arrived – so I knew it wasn’t going to be hard to get a spot…so I popped into POETIC LICENSE for about 20 minutes.  This is the directorial debut from Maude Apatow, and from what I saw, it was pretty charming.

My first film of the day was a touching lesbian drama based on a true story – JULIAN (dir: Cato Kusters – Belgium, Netherlands) “Two women’s unique campaign for marriage equality inspires a poignant screen love story by director Cato Kusters.” Fleur & Julian decide to get married…and in an effort to bring more awareness to same-sex marriage, they decide to get married in all 22 countries that allow it.  Unfortunately, Julian it’s revealed that Julian isn’t well…and this story hops back and forth in time to tell their story.  It’s beautifully made and certainly unique.  I think it will find a lot of success on the festival circuit.

Next up was a film with Jodie Foster in the lead – Speaking French! – A PRIVATE LIFE (dir: Rebecca Zlotowski – France) “Oscar winner Jodie Foster stars in this slyly comic psychological thriller from director Rebecca Zlotowski (TIFF ’22’s Other People’s Children), in which a suspicious death yields a series of twists that lead back to old grievances — and maybe even to past lives.” (TIFF Catalog) This film is fun, twisty, and full of surprises…until it loses a bit of steam.  Jodie is really wonderful, but the last 15 minutes were like someone snuffed the candle. With Sony Classics pushing this title into 2026, I suspect they’ve lost hope of much award-season play/recognition.
There’s no trailer for this film yet, but here’s a clip:

I quickly made it to my next screening (which was largely on my list because of Tilda Swinton) – BALLAD OF A SMALL PLAYER (dir: Edward Berger – United Kingdom) “This seductive character study from Oscar-winning director Edward Berger (TIFF ’24’s Conclave), stars Oscar nominee Colin Farrell as an obsessive travelling gambler and Oscar winner Tilda Swinton as the dogged detective determined to track him down.” (TIFF catalog) At first glance, this blaring and colorful film that’s full of excess seems nearly impossible to have come from the same director who brought us CONCLAVE – but interestingly, there are some similarities.  The score (also by Volker Bertelmann) hits some similar notes….and there’s an embrace of ritual (despite the chaos) at its core.  Set mostly in Macau (of which the producer said, “puts Vegas to shame”), this film is visually stunning.  And of course Swinton brings a fresh energy to the film.  Overall, I liked it…but that was partially heightened due to the Q&A.  This film merits the big screen…but I don’t think Netflix will push to really get it out.

My next film was a real treat – CALLE MÁLAGA (dir: Maryam Touzani – Morocco, France, Spain, Germany, Belgium) “Senior Maria (Carmen Maura) finds herself at odds with her adult daughter who has begun, without first consulting her mother, the process of selling the family home in Tangier where Maria still lives.” (TIFF catalog) Since the late 80’s, when I first saw WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (on VHS), I’ve been in love with Carmen Maura.  Since this wasn’t the first screening of this film, and because it was at Scotiabank (a multiplex), I didn’t think Maura would attend…but she did, and it was a treat.  This film is one of my favorites of the fest.  It’s very fresh, and it comes with equal parts comedy and heartbreak.  Maura, who will soon be 80, announced that she’ll soon likely retire. This film is special, and seeing her in person was incredible.
There’s no trailer yet for this film…but here’s a still photo from the film and a photo I snapped (lighting was not good – so it’s pretty grainy).

My next movie was another from the “Midnight Madness” section…and it was more than I bargained for – F*!K MY SON! (dir: Todd Rohal – USA) “Todd Rohal (The Catechism Cataclysm, Uncle Kent 2) violates all boundaries of good taste in this gleefully profane adaptation of Johnny Ryan’s underground comic about a decrepit mother (Robert Longstreet) who will stop at nothing to get her mutant son (Steve Little) laid.” (TIFF catalog) This movie started out with so much promise.  The “pre-show” was hysterical, the introduction of characters had a certain John Waters-vibe…it was irreverent, campy and in terrible taste.  There were certainly some big laughs (and the audience was all in), but then it became revolting and offensive.  Sure – that’s exactly what it wanted to be – but it wasn’t for me.
There’s no trailer yet for this one, but here’s a still photo:

Only 2 more days of TIFF left for me.

Thanks for reading,

Jonathan

The Beat Goes On: Dayton’s Next Generation Carries Forward the City’s Legendary Funk Legacy

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On Thursday, September 18, The Brightside Music & Event Venue will transform into a celebration of both Dayton’s storied past and its promising musical future. “From Dayton With Funk” promises an electrifying evening featuring three dynamic local acts: Luv Locz Experiment, MelinaMarie, and Freakquency. These rising stars will perform a carefully curated mix of iconic funk classics alongside their own original compositions, creating a bridge between the city’s golden age of funk and its contemporary renaissance.

The event offers more than just entertainment. Attendees will have the opportunity to view exclusive Dayton-centric segments from the PBS documentary WE WANT THE FUNK! providing historical context and celebrating the city’s often-overlooked contributions to American music culture. It’s a rare chance to see how Dayton’s musical DNA continues to influence artists today.

Luv Locz Experiment headlines “From Dayton With Funk”

What sets “From Dayton With Funk” apart from typical concert experiences is its commitment to supporting the region’s cultural infrastructure. Proceeds from the event will benefit PBS stations ThinkTV (Dayton) and CET (Cincinnati), and the Yellow Springs Film Festival, organizations that champion public media and arts programming throughout the area. In an era where funding for public broadcasting and independent arts initiatives faces constant challenges, events like this demonstrate how local music scenes can support broader cultural initiatives.

“It’s about more than just a night of great music,” explains event organizer, Libby Ballengee. “We’re investing in the platforms that help preserve and share our community’s stories.”

While the evening will undoubtedly feature beloved classics that have defined Dayton’s sound for generations, the focus on original material from contemporary artists ensures this isn’t merely a nostalgia trip. Luv Locz Experiment, MelinaMarie, and Freakquency represent different approaches to funk’s evolution, each bringing their own influences and innovations to the genre’s traditional foundation.

The Brightside Music & Event Venue, known for its intimate atmosphere and excellent acoustics, provides the perfect setting for this multi-generational celebration.

The beat that started decades ago in Dayton continues to pulse through the city’s venues, studios, and hearts. On September 18, that beat will be louder than ever, carrying forward a legacy while writing new chapters in the ongoing story of Dayton funk.

HOW TO GO?

Thursday, September 18

Doors: 7:00 PM / Show: 8:00 PM

The Brightside Music & Event Venue

All ages welcome!

🎟️ Tickets: http://bit.ly/44LlW9T

  • General Admission – $25 (Advance) Limited seating available throughout the venue 

  • VIP Table for 2 – $150 Reserved seating at premium tables near the stage (not on dance floor).

  • VIP Table for 4 – $200 Reserved seating close to the stage for your whole crew (not on dance floor).

  • General Admission Day of Show – $30 (we accept cash or credit at the door)

For more information about The Brightside Music & Event Venue and upcoming shows, visit their website here, or follow them on social media.

TIFF Day #6 – 2025

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Hello Dayton937 & NEON Friends!

As we get into day 6 & 7, some things slow down a bit.  Many folks in the industry are heading home, some special press & industry programs are wrapping up, and tickets are slightly easier to acquire.  But that doesn’t mean there aren’t sill a lot of films to see.  I’m here through Friday (Day #9) for screenings…so there’s still plenty to see (but I’ll be heading out for a concert on Thursday night – so a fun shift of focus while I’m here).

Last night, I got home very late and wrapped up my blog without mentioning what a terrific evening I had.  Between my 3rd and 4th screenings, I met up with Susan Strong again (our former Board member who now lives in Minneapolis) along with her husband and two friends from Springboro.  It was fun to recount what I’ve seen and hear about the films that had made impressions on them.  They’re all on their way home today after having seen 10 films over the course of 4 days.  Here’s a picture of us together:

It was really hard to get out of bed this morning, but I made it to my first film – COUTURE (dir: Alice Winocour – USA, France) “Anchored by a memorable performance from Oscar winner Angelina Jolie, this compelling new film from Alice Winocour (TIFF ’22’s Paris Memories), set in the Parisian fashion industry, weaves multiple threads of women and girls from Ukraine, France, and Sudan, in the lead up to a fashion show.”  This story of a few different women who all cross paths during a few days preparing for a big fashion event has its moments of intrigue (I mostly liked watching the clothes being made)…but the stories never felt deep enough (a rather weak screenplay doesn’t help matters) and/or the performances didn’t really feel honest enough.  The subject matter was primed for good drama, but I never felt invested.  At the end of the day, I feel like there’s material here for a solid short film – but as it stands, it didn’t work for me.
There’s no trailer for the film yet, but here’s a still photo:

My next film is a story that’s based on only a couple known facts from a director I admire (though I haven’t seen more than a few titles from him) – THE CAPTIVE (dir: Alejandro Amenábar – Spain, Italy) “In 1575 Algiers, a young soldier named Miguel de Cervantes is held for ransom — unaware he’s on the path to becoming one of history’s greatest storytellers. This bold, visually stunning film is a reimagining of the true story behind Cervantes’ transformation.” (Amenábar did films like THE OTHERS and THE SEA INSIDE…so I was all the more intrigued to see this film.) Before writing DON QUIXOTE, Cervantes was a prison…and that is one of the facts that we know – but not much else.  In this film, Amenábar tells us that Cervantes told stories to boost morale to other prisoners…and his stories became noticed from the Bajá of Algiers.  The production design is lovely, and the story is brutal, sexy and full of sadness & despair – but also hope.  It was a nice surprise.
This film doesn’t have a trailer yet, but here’s a clip:

Next up was the 2nd film of Richard Linklater’s at the festival – but this one in French – NOUVELLE VAGUE (dir: Richard Linklater – France) “The latest from Oscar-nominated indie auteur Richard Linklater is an effervescent, meticulous recreation of the making of Jean-Luc Godard’s legendary 1960 feature debut Breathless, the film that heralded the arrival of the French New Wave.” (TIFF catalog). A charming love letter to the French New Wave, this film pays homage in numerous ways – in technique, casting, design and more. Though I think being familiar with the players helps a lot in understanding the film (and even I felt like I needed a major history brush-up while watching), this film does work without knowing a whole lot about the era.  That said, it did make me want to run home and re-watch BREATHLESS with a new set of eyes…so it certainly worked on that level.

My last film of the night was a big winner at Cannes this year – IT WAS JUST AN ACCIDENT (dir: Jafar Panahi – Iran, France, Luxembourg) “Winner of this year’s Palme d’Or at Cannes, the latest from Iranian auteur Jafar Panahi — his first following his most recent prison sentence — follows a group of citizens pondering revenge against a man they believe was their torturer.” (TIFF catalog) This film reveals itself and its motivations in really interesting ways…and how it speaks to global politics is really frightening (like the reason these people had been taken as prisoners was because they were protesting their rights).  What’s really fascinating about this film is that it’s a thriller/political thriller…and a comedy.  Huh?  It doesn’t seem possible, but there are moments that are completely zany…but the last 15 minutes are incredibly intense.  Panahi was in attendance, and he spoke so eloquently of being held prisoner, making films under underground, and wishing for the complete fall of the regime in Iran  – it was inspiring.  What an incredible way to see this film.  Many thanks to my friend from Cinetic for securing me the incredible ticket.

I’ve got another full day tomorrow…then I start to slow down a bit. Thanks so much for reading!

Jonathan

TIFF Day #5 – 2025

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Hello Dayton937 & NEON Fans,

I saw four films today, and they were quite spread out…as today (errr, yesterday) was my first Midnight Movie of the festival.  I can already tell it’s gonna be rough waking up in about 4 hours.

My first movie of the day was a hot ticket – THE TESTAMENT OF ANN LEE (dir: Mona Fastvold – United Kingdom) “Mona Fastvold, co-writer of The Brutalist, examines the life and beliefs of Ann Lee, one of pre-Revolutionary America’s most seminal religious figures, in The Testament of Ann Lee — with Amanda Seyfried as Lee and a stellar cast including Tim Blake Nelson.” (TIFF catalog) It’s been a long time since I sat through a long film that I really disliked.  Going into this, I knew it was a musical.  Going into this, I knew it was about religion.  Going into this, I knew it was 2 hrs & 17 min.  I’m not opposed to any of those things, but boy, oh boy, this film did not work for me.  There were historical elements that I found intriguing here – like certain aspects of the Shaker religion that are intriguing – like their pacifism, their belief in equal rights and anti-racist ideals…but I could learn these things without this film.  Though some musical numbers were intriguing and certainly seemed necessary (the Shakers were essentially referred to as “shaking Quakers”), the introduction of electric guitars to the music in later scenes made me dislike the film even more.  All that said, I’m glad I stayed until the end – as the last 15 minutes painted a very interesting picture.
There is no trailer yet for this film, but here’s a still photo:

My next film had hints of  early Michel Gondry-like whimsy – ETERNITY (dir: David Freyne – USA) “Set in the afterlife, this stirring drama from director David Freyne (TIFF ’17’s The Cured) features Elizabeth Olsen (TIFF ’24’s The Assessment) and Miles Teller (Whiplash) as souls in transit — and a troubled love triangle.” (TIFF catalog). This film was an escapist treat, and it even got a round of applause from the industry folks (a rarity for Press & Industry screenings).  This colorful, escapist film was tender and full of laughs, and Da’Vine Joy Randolph steals a lot of scenes, but everybody is terrific. I smile-cried on-and-off throughout. (This is one of those movies where I will want to pause scenes just to appreciate the set pieces and props.  Everything about creating this world is thoughtful and fun.)

My next film of the night was a Canadian film made with indigenous people – BLOOD LINES (dir: Gail Maurice – Canada) “The second feature from director Gail Maurice (ROSIE, TIFF ’22) is a singular film: a Métis same-sex romance led by actor Dana Solomon, who is a revelation.” (TIFF catalog). This film’s strength is in its photography and it representation.  It was made so much stronger by a lovely Q&A with the director and several people from the cast.  Sadly, I felt the screenplay rushed some of the story/development…but was too slow at other moments.  What was so fresh about the material was that the lesbian pairing was unflinching…being gay was at no point scorned or even questioned…and that was refreshing.  I don’t think a little film like this will find distribution, but I’m glad it’s out in the world.
There is no trailer yet for this film, but here’s a still photo:

My last film of the day was visually dazzling – DUST BUNNY (dir: Bryan Fuller – USA) “A 10-year-old girl procures the services of a hit man (Mads Mikkelsen) to kill the monster under her bed in this whimsically macabre feature debut from acclaimed television showrunner Bryan Fuller (Pushing Daisies, Hannibal).” (TIFF catalog) This was a true Midnight Movie (I’ve seen films from this category before, but never actually at midnight…and I wasn’t alone – it was Sigourney Weaver’s first Midnight Movie, too…and it was so fun to see her in person).  The design of this film was so polished and hyper-stylized, there were times I couldn’t tell if the entire set was CGI or if the practicals were just enhanced.  The script was great, Mads and Sigourney were fantastic, and the little girl – Sophie Sloan – was absolutely incredible.  Between the elevated production design and fun childlike playfulness of it all, it felt like a horror version of AMELIE.  There were moments I had no idea what was going on…and I don’t know if it was because I was so tired or because the overall production was simply too stimulating.  This film will find a dedicated cult audience for sure.

 

I’m not sure if I’ll get four films in tomorrow, but I’m pretty certain I’ll see at least a couple winners.

Thanks for reading,

Jonathan

Catch Jonathan’s previous tiff posts:

The illuminated sign on King Street West indicates the start of the festival!

Day 1 post

Day 2 post

Day 3 post

Day 4 post

TIFF Day #4 – 2025

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Hello Dayton937 & NEON Fans!

It’s only Day #4, and I’m starting to drag a bit.  That said, I’ve now seen 15 films, met up with old friends, rubbed elbows with some big wigs, written a daily blog, kept up with NEON business from home and hobnobbed with some colleagues…all in just 4 days…so it’s no surprise.  When 15 minute naps are possible, I take them.

The first little photo on this blog entry is a brilliant marketing effort for my first film of the day – DEAD MAN’S WIRE (dir: Gus Van Sant – USA) “Featuring captivating performances from Bill Skarsgård, Dacre Montgomery, Colman Domingo, and Al Pacino, Gus Van Sant’s latest recreates the strange, fascinating true story of the 1977 kidnapping that made aspiring Indianapolis entrepreneur Tony Kiritsis into an eccentric outlaw folk hero.” (TIFF catalog). It’s so hard not to contextualize this film into right now with so many people embracing Luigi Mangione – as this is a story of a man who felt wronged by a mortgage company and their capitalistic greed.  I did not know the story of Tony Kiritsis, but this film and its character’s motives speaks greatly to the anti-establishment, and it  feels like an homage to films from the 70’s (and it works on a lot of levels).  Though I initially questioned some of Bill Skarsgård’s choices as too performative and over-the-top, I eventually bought into them as part of true character choices.  It’s a tight film, and I think it will find distribution.
There’s no trailer yet…just this still:

My next film was my first documentary of the festival – MODERN WHORE (dir: Nicole Bazuin – Canada) “Andrea Werhun and Nicole Bazuin challenge toxic misconceptions about sex work and sex workers with great audacity and high style.” (TIFF catalog). I agreed with so much of what this film had to say, but I found its style and form as trying too hard – with campy aesthetics and too much “winking” at the camera. It seems like it will be well-suited for clickbait on a streaming service…and maybe that’s where it’s message really needs to be heard.

My next film before my first small break of the day was & SONS (dir: Pablo Trapero – United Kingdom, Canada) “This dramatic adaptation of David Gilbert’s 2013 novel, co-written by Oscar-winner Sarah Polley and directed by Pablo Trapero (TIFF ’15’s The Clan), stars Bill Nighy as a reclusive literary superstar who calls his sons home for an unbelievable announcement.” (TIFF catalog). I adore Bill Nighy and Imelda Staunton, so I had to check out this film. I don’t want to give away too much of this film – as the surprise announcement that Nighy’s character makes is a stunning…and leads to some debate (within the film and the audience in the lobby).  I’m wondering how this film will be marketed…will they reveal this announcement or try to keep it under wraps?  At the end of the day, Nighy is a big (though physically shrinking) alcoholic who commands a room when he has something to say.  I found his character off-putting – but the performance quite good.  That said, it’s Staunton who is the soul of the film.  She has the best moments and will break your heart.   There’s one climatic-like scene that turned me off a bit…but I was also terribly tired during this film…so I’m going to be a bit forgiving. It’s well done overall.
There is no trailer yet, just a still photo:

My last film of the day was from Steven Soderbergh – who works as well in the indie world as big Hollywood – THE CHRISTOPHERS (dir: Steven Soderbergh – United Kingdom) “The great Ian McKellen and I May Destroy You’s Michaela Coel make a brilliant pairing in Oscar winner Steven Soderbergh’s incisively witty chamber comedy about art, commerce, and avarice.” (TIFF catalog) With a very strong screenplay and incredible central performances from McKellen and Michaela Coel, this whip-smart film is as funny as it is touching.  Though McKellen couldn’t attend due to doctors’ orders, he sent along a personal greeting to the TIFF audience…as we were the very first to see the finished film.  The Q&A following the film with Soderbergh, Coel and writer Ed Solomon and actor Jessica Gunning was fantastic.  I’m 15 films deep at this point, and THE CHRISTOPHERS is my personal favorite.
There’s no trailer yet, just a still:

An add-on of THE TESTAMENT OF ANN LEE is happening tomorrow morning (as I had hoped), so I need to make my way out early to get a spot in line.

Thanks so much for reading,

Jonathan

Catch Jonathan’s previous tiff posts:

The illuminated sign on King Street West indicates the start of the festival!

Day 1 post

Day2 post

Day 3 post

TIFF Day #3 – 2025

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Hello Dayton937 & NEON Fans,

Day #3 didn’t start off the way I had hoped.  At 8:00 every morning, there’s a chance to get last-minute, public tickets for the day…and I sadly didn’t get anything for the mid-afternoon slots that I wanted.  This isn’t a huge surprise since it’s the first Saturday of the festival.  Tickets are at a premium.  I did get in line for a movie I wanted to see this morning, and arriving an hour early seemed like a good idea.  It was…but it wasn’t.  When I got to the TIFF Lightbox (the venue for the screening), there were already a hundred people in line.  I was glad I got there early – until I realized they were mostly there for a different film.  I was there for STEVE, and they were mostly there for an even later film called THE TESTAMENT OF ANNA LEE (which I had on my list…but didn’t fit with the rest of my day).  I’m hoping a screening of ANNA LEE get added – as I would like to see it.

My first film of the day was a powerful one. STEVE (dir: Tim Mielants – Ireland, United Kingdom) “Oscar winner Cillian Murphy anchors this gripping adaptation of a bestselling novella from 2023. Faced with ever-increasing pressures, the head of a crumbling reform school for boys navigates a pivotal, fraught day while clinging to a fading sense of hope.” (TIFF catalog)  This story is set on the day when a camera crew has descended on this school to do a interest piece.  The pairing of lead actor & director (who both worked together on SMALL THINGS LIKE THESE) is a strong partnership…but  everyone in this ensemble is terrific – the teachers, the staff, the cameracrew, the boys (it was nice to see Tracey Ullman in a dramatic (but sometimes still funny) role).  It’s a film that’s scary, touching and emotionally taxing, and I wish all people who deal with at-risk youth would see it…as well as people who deal with funding issues. This statement from the TIFF catalog sums it up beautifully. “STEVE is a bruised elegy for institutions under siege and a character study shaped by the courage of those who persist within them; a chamber piece of forceful commitment, lost boys, and stubborn acts of hope.” Sadly, I think this film will get lost in the heap of Netflix and not get a proper theatrical release.

Next up was highly anticipated…as I’m a big Saoirse Ronan fan.  It’s been fun watching Ronan grow up on screen at TIFF – from ATONEMENT to BROOKYN to LADY BIRD to ON CHESIL BEACH to this new film – BAD APPLES (dir: Jonatan Etzler – United Kingdom) ” The satirical thriller Bad Apples stars Saoirse Ronan (Lady Bird) as a primary school teacher forced to take drastic action because of a foul-mouthed, violent student, and uncovers how her community will turn a blind eye to the most outrageous events to preserve harmony and their sense of safety.” (TIFF catalog) I had no idea that this film would be so thematically similar to my first of the day…but tonally, theses films are from completely different planets. This dark, satirical comedy starts off with notes of honesty and then goes bonkers.  That said, you can’t wait to see what happens next.  At its core, it’s a film about teachers being under-resourced for at-risk kids…but it also has a lot to do with how the public will turned blind eyes to issues if their lives are better due to someone else’s pain and suffering.  There’s a lot to un-package about what could easily be tossed aside as just a dark comedy.
There is no trailer yet for BAD APPLES, just a still photo.

An friend from Searchlight got me a prime-seat ticket to the world premiere of my last film for today – RENTAL FAMILY (dir: HIKARI – United States of America, Japan) “Oscar winner Brendan Fraser stars as an American actor in Tokyo who suffers a colossal case of impostor syndrome when he becomes a professional surrogate in this wise and whimsical dramedy from director HIKARI (TIFF ’19’s 37 Seconds).” (TIFF catalog) This crowd-pleaser of a film is full of laughs…but with an undercurrent of sadness. Brendan Fraser plays Phillip, a man who lives alone in Japan (with a REAR WINDOW-like vantage point from his apartment) – feeling quite lonely and trying to find acting roles.  He stumbles upon a company that wants him to be substitute character in people’s lives – a man to introduce to your parents, an author to interview your father so he can feel special in his old age, a dad so your daughter can have two parents when interviewing for a prestigious school.  It’s a fascinating concept (I have seen this concept before in a Yorgos Lanthimos film called THE ALPS…though not at all a crowd-pleaser), and the director confirmed that it’s an actual business in Japan. Though the service fills some familial gaps, it can also be dangerous work – physically and emotionally – for both client and actor.  The film got a nice standing ovation, and HIKARI and Fraser did a nice Q&A.  I think this film will be well received by audiences later this season.

I should be back to 4 films tomorrow.  We’ll see.

Thanks for reading,

Jonathan

Catch Jonathan’s previous tiff posts:
Day 1 post

Day2 post

TIFF Day #2 – 2025

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Hello Dayton937 & NEON Fans!

Today took some fun turns…including a great text from an old friend at Searchlight Pictures – offering me a great seat for tomorrow’s premiere of RENTAL FAMILY.  I’m excited to fit in another public screening of a highly anticipated film.  You’ll be able to read all about it tomorrow.

I started day #2 with a lesbian coming-of-age story – THE LITTLE SISTER (dir: Hafsia Herzi – France, Germany) “Hafsia Herzi’s sensitive and affecting coming-of-age drama The Little Sister tells the story of Fatima, a devout young Muslim woman, as she struggles to balance the dictates of her religion with her sexuality.” Beautifully shot with great performances, this synopsis really spells out this film.  There’s nothing terribly new here, but it’s done very well and honestly…and the characters make it worth spending time with this film. (TIFF catalog) No trailer…but here’s a clip:

There wasn’t much to go on except for some name recognition for my next film – TUNER (dir: Daniel Roher – United States) “Documentarian Daniel Roher dazzles with his narrative debut, a whip-smart thriller about an unusual safecracker (Leo Woodall).” (TIFF catalog) Because it was starring Dustin Hoffman & Leo Woodall (who I loved in the ONE DAY series), I took a chance.  The set-up, the characters, the writing…it was so fun. A piano tuner with a hearing disorder (where loud sounds cause terrible pain) stumbles into underground work as a safecracker.  If you look at the scribblings I write in the dark, you would see that I was loving this film for the first 30+ minutes. I was writing things like “what a find” and “this is so fun.”  Then it took some ridiculous turns and a lot of its charm was lost for me.  Overall, I still liked the film…I just didn’t like how big and over-the-top it got.
There is no trailer yet for TUNER…just some still photographs.  Here’s one:

After a cocktail with dear friend and former NEON Board member Susan Strong  and her husband Bob (who now live in Minneapolis), I was off to my next film.  While in line, a man behind me asked what films I had seen so far…and after chatting for a bit, he asked what I do.  I told him I run an arthouse cinema in Ohio…and he asked if we were playing TWINLESS.  I explained that we had just opened the film today…and that I was a fan of actor/director James Sweeney.  To that, he pulled out his phone and called James and handed the phone to me.  What a treat!  This could only happen at TIFF!  David Permut was the producer’s name, and he shared some details about upcoming productions he has in the works.  And interestingly, he plans on producing the next film from Agnieszka Holland…who directed the next film I saw – FRANZ (dir: Agnieszka Holland – Czech Republic, Germany, Poland) “Toggling between past and present, the latest from filmmaker Agnieszka Holland is a masterful tour de force portrait of legendary writer Franz Kafka, who remains celebrated worldwide for his books, short stories, fables, and aphorisms.” (TIFF Catalog). I’ve been an admirer of Agnieszka Holland’s work since I saw EUROPA, EUROPA when I was 18, and her 1993 film THE SECRET GARDEN is one of my favorite adaptations of children’s literature.  This new film is certainly Holland’s most experimental work.  It’s a challenging film about a challenging author – working on multiple timelines and commenting on how he has been “clichéd” and turned into a tourist attraction in Prague. Holland and most of the cast were at this screening, and the Q&A added some very interesting insight into the film.  Seeing Holland in person was a treat.  Even during the Q&A, she was directing.

My last film of the night was ERUPCJA (dir: Pete Ohs – United States of America, Poland) “American filmmaker Pete Ohs observes the combustible chemistry between a Polish florist (Lena Góra) and a British tourist (Charli xcx) in this charming postcard of sapphic synchronicity.”  (TIFF catalog) TIFF calls Pete Ohs an “American filmmaker,” but I’ll go one step further and call him and “Ohio filmmaker.”  One of Ohs’ earlier films was called YOUNGSTOWN – a city just 20+ minutes from where I grew up (I have to find this movie). This new film stars CharliXCX – a musician/performer I’ve grown to admire more and more over the last couple years (her SNL sketches with Please Don’t Destroy were hysterical). With influences of the French New Wave, this little fly-by-night film was a stylized love letter to Warsaw.  Ohs, as well as cast members Jeremy O. Harris, Will Madden and Lena Góra were in attendance.  Once again, the Q&A added such great insight.  Finding out exactly how Ohs approaches his films (without a script, without much of a crew, etc.) was both intriguing and inspiring.
There is no trailer yet for ERUPCJA – just still photos.  Here is one of them:

And now it’s time for bed.  I’ll be up in about 6 hours…ready to pack in screenings again tomorrow.

Thanks for reading,
Jonathan

Did you miss Jonathan’s Day 1 post?

TIFF Day #1 – 2025

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Hello Dayton937 & NEON Friends!

I hit the ground running today.  I grabbed coffee from my favorite coffee spot in Toronto (The Daily Dose), and then I hopped in line during a downpour for my first of four movies of the day.  Luckily, my spot in line had a bit of coverage…dozens of other people were getting completely soaked.

In between movies, I met up with and ran into a few old friends/colleagues – which is always a fun part of the festival.

My first film of the day was THE CHORAL (dir: Nicholas Hytner – United Kingdom) “Starring Oscar nominee Ralph Fiennes (TIFF ’24’s Conclave), this heart-soaring period drama from director Nicholas Hytner (The Madness of King George) tells the story of young men raising their voices in song under the shadow of WWI.” I was really looking forward to this film.  From director Nicholas Hytner and screenwriter/playwright Alan Bennet, the pair who brought us THE HISTORY BOYS and THE LADY IN THE VAN, comes a film about how art can create community, inspire during moments of crisis and even be an act of defiance. Ralph Fiennes is quite strong in this film, and the voices are lovely…but I found the tone to shift a bit too much…with some content seeming rather misplaced.  Some emotional beats hit just right, but overall, it seemed too easy sometimes and trying too hard to be “adult” in others.

Next up was a film I attended because I was intrigued by its set-up.  Several critics had commented that the film “shouldn’t work…but it does.” A USEFUL GHOST  (dir: Ratchapoom Boonbunchachoke – Thailand, France, Singapore, Germany)  “Thai filmmaker Ratchapoom Boonbunchachoke upends pre-existing genres with a fantastical story about a ghost that inhabits a vacuum cleaner to become useful. This humorous and visually striking debut feature was the Grand Prix winner of Cannes Critics’ Week.” (TIFF catalog) For the first 30 minutes, I was completely in.  The film set up a crazy world, and I found it quite funny.  Eventually, some moments became quite tender – with something rather silly becoming rather touching.  But then the film wore out its welcome.  By the end of the 2 hrs 10 min, it was a big eyeroll…and I wish it had been shaved to about 90 minutes.

I was a little tired going into my next film – a political thriller set in Brazil. THE SECRET AGENT (dir: Kleber Mendonça Filho – Brazil, France, Netherlands, Germany) “Winner of multiple prizes at this year’s Cannes Film Festival, TIFF veteran Kleber Mendonça Filho’s sly, genre-bending political thriller stars Wagner Moura as Marcelo, a technology expert on the lam and seeking refuge in the Brazilian city of Recife in 1977.” (TIFF Catalog) This film took a while to reveal itself.  There were a couple different storylines at first…in different periods…and then more.  The cast is one of the best ensembles in a long time, and it’s quite a ride that doesn’t mind taking its time.  I personally would cut this film down a bit, but it takes some bold choices, and I applaud its decisions.

My last film of the night was my first public screening (meaning not just industry folks) – complete with red carpet, big stars and an awesome venue – The Princess of Wales Theatre (aka The VISA Screening Room)…and it was the best film of the day. SENTIMENTAL VALUE (dir: Joachim Trier – Norway, France, Denmark, Germany, Sweden, United Kingdom) “Stellan Skarsgård and Renate Reinsve lead an incomparable cast in Joachim Trier’s moving drama about a director’s bid to revive his career and repair his family’s broken bonds.” We played Trier’s last film – THE WORST PERSON IN THE WORLD – and I was quite interested to see what he would do next.  This familial drama is full of wonderful performances (with Renate Reinsve & Inga Ibsdotter Lilleaas having some of the most fantastic “sister chemistry” ever on screen) and has the best “first five minutes” of a movie I’ve seen in a long time – a set-up that really puts you right into the vibe of the film and gives us so much details about characters without feeling forced…it’s brilliant.  The trailer below sets a great tone, and that’s what this film is really about.  During the Q&A, Trier was asked about the use of music in his films.  He said that he had initially wanted to be a musician but was kicked out of two bands because he was a bad drummer…but that he wants his films to feel like music…leaving you with a vibe and a temperament.  The four lead actors of the film were on stage with Trier – Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas, and Elle Fanning – and they all brought something different to the conversation, but all shared an admiration for Trier and his process.

Thanks for reading about my first day…there’s lots more to come.

Jonathan

Prepping for Toronto International Film Fest – 2025

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Hello Dayton937!

It’s hard to believe that Labor Day is here…and it will soon be time to head to Toronto again for the Toronto International Film Festival (TIFF).  The line-up at TIFF is extensive –  “209 features, 6 Classics, 10 Primetime films, and 66 shorts” – so I have a lot of decisions to make.  The pass that I have will allow me to see dozens of dozens of films with other press and industry folks (these are no-frills screenings…just the movies plus lots of networking and movie-talk while waiting in lines).  In addition, I will get 10 tickets to public screenings – the events that get media attention – red carpets, big stars, Q&A’s, etc.

I’ve been scanning the line-up and making some initial picks, but I definitely leave room for some word-of-mouth and industry buzz to guide my decisions once I’m in Canada.

On this side of the festival, here are a few titles I’m looking forward to seeing:

HAMNET is the new film directed by Academy Award winner Chloé Zhao (NOMADLAND).  I love the cast, and the film looks lovely.

ETERNITY looks like it will be fun.  I love the entire cast.

Richard Linklater’s NOUVELLE VAGUE – about the making of the French New Wave classic BREATHLESS (Linklater has 2 films at the festival…clearly a busy man).

There are a handful of films playing at TIFF that I’ve already seen – like ELEANOR THE GREAT (starring National Treasure June Squibb – opening Sept. 26 at THE NEON), BLUE MOON (Richard Linklater’s fantastic film starring Ethan Hawke, Margaret Qualley, Andrew Scott & Bobby Cannavale – which will be playing at the OUT HERE DAYTON Film Fest on October 10), and NUREMBERG (a fascinating courtroom drama about the Nuremberg trials starring Rami Malek, Russell Crowe and Michael Shannon – certain to be a NEON fan favorite this Fall).  Because I won’t be screening them at the festival, I won’t be “reviewing” them in this blog per se…but I urge you to find out more about each of them.

Starting Thursday, Sept. 4, I’ll keep track of each film that I see at TIFF in this daily blog.  I appreciate Dayton937 for allowing me to use this platform to keep my thoughts in order and stay in touch with NEON fans.  www.dayton937.com/tag/tiff

Thanks for reading!

Jonathan McNeal, manager of THE NEON

The Play That Goes Wrong at La Comedia

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Welcome to opening night of Cornley University Drama Society’s production of The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous” is the opening line from the acclaimed comedy, The Play That Goes Wrong. The play follows an amateur dramatic society’s attempt to stage a 1920s whodunit, which devolves into a series of comedic mishaps, including an unconscious lead actress, a poorly behaving corpse, and clumsy actors, all leading to a hilarious performance. 

Renaissance Festival Returns for 9 Weekends

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The moment you walk through the gates of the Ohio Renaissance Festival, the modern world seems to melt away. Instead of cars and concrete, you’ll find yourself strolling cobblestone lanes lined with timber-framed shops, the scent of roasting turkey legs drifting through the air.

Laughter echoes from a nearby stage as jesters perform clever tricks, while the thunder of hooves signals the start of a joust in the arena. Around every corner, artisans display hand-forged blades, delicate glasswork, and custom leather creations—each piece a reminder that craftsmanship is alive and well. Musicians wander the lanes with lutes and drums, inviting you to slow your pace and soak in the rhythm of another time.

What makes the festival special isn’t just its carefully built 16th-century village—it’s the energy of the people who fill it. Visitors arrive in elaborate gowns and shining armor, or just jeans and T-shirts, but all share a willingness to step outside the ordinary. For a day, you can eat like royalty, cheer for knights, trade jokes with a pirate, and disappear into a world that feels both far away and strangely familiar.

The Fest kicks off August 30, 2025  and runs through October 26, 2025 on – Saturdays, Sundays & Labor Day

Tickets:

  • ADULT DATE SPECIFIC TICKETS $32-35 (online) or IF AVAILABLE $35-38 (ticket booth)
  • Children $10 (ages 5-12) – Children tickets are NOT limited.
  • Children under 5 FREE

Must see Attractions: The Swordsmen, two itinerant gentlemen with sharp swords, quick reflexes and even quicker wits for an entertaining balance of comedy and the manly art of swordfighting. Death-defying, daring, dangerous, and dynamic, Ichabod Wainright will amaze and amuse you with the Wheel of Death. Theatre In The Ground (aka The Mudde Show) presents literary classics with a comedic twist performed in Ohio’s only Muditorium, where comedy meets Earth. The Kamikaze Fireflies feature dangerous feats and comedic stunts.

Test your skills in the gaming area, then visit the Tower of London Dungeon of Doom. Eat, drink, shop, enjoy the shows, ride human-powered rides, and visit with Royalty at the 2024 Ohio Renaissance Festival.

More than 150 world-class artisans display wares in this unique shoppers’ paradise. Master artisans demonstrate timeless arts of glassblowing, jewelry making, blacksmithing, stone carving, leather crafting, weaving and more.

Be Sure to enjoy Giant Turkey Legs, Steak-On-A-Stake, Barbecue, Wraps, Stuffed Spuds, Bread Bowl Stews, Pizza Parlor, Hearty Ales, Flavorful Wines, Delectable Desserts and Vegetarian selections offer even the most discriminating taste buds a true Taste of the Renaissance.

Special Dining Events you won’t want to miss:

Savor a 5-course dinner show featuring delectable starters, a diverse array of entrées, a heavenly dessert, PLUS a variety of alcoholic and non-alcoholic beverages, all complemented by a collectible tankard as a keepsake. Don’t miss out on this incredible dining experience!
One seating per festival day, 3:00 – 5:00 pm. Tickets run $85.99 ($80.00 + $5.99 fee), buy online.

5-Course Feast Royal Feast Menu

Starters: Fruit & Cheese Platter, Onion & Mushroom Bisque

Sides: Honey Roasted Carrots, Herb Roasted Potatoes

Main Courses: Beef, Poultry, and Pork

Desserts: Chef’s Selection

Beverages: A selection of alcoholic and non-alcoholic options.

 

Witches of Willy-Nilly Whiskey Tasting:
A Spirited Adventure at the Ohio Renaissance Festival!

Embark on a magical journey of whiskey, bourbon, and scotch with the enchanting Witches of Willy-Nilly. Sip, savor, and learn at this exclusive tasting event.
At the Tipsy Cauldron at 1 pm every festival day. $43.76 ($40.00 + $3.76 fee)

 A fun tasting event hosted by the Witches of Willy Nilly. Enjoy six premium tastes of spiritous beverages that rotate throughout the season.

 

Please arrive to the Tipsy Cauldron by 12:45pm to check in and get your seat. Tickets not checked in by 12:45pm are subject to be resold.  Must be 21 years of age. 

WINE TASTING

This unique experience invites you to savor a selection of fine wines, each chosen for its historical significance and exceptional quality. Whether you’re a seasoned connoisseur or a curious novice, our host will guide you through the rich tapestry of flavors, sharing stories of winemaking traditions from bygone eras. Raise your goblet and toast to an unforgettable journey through the vineyards of history!

Check-in at 3 pm at the Noble Nook.

The tasting will begin at 3:15 pm and last for about 45 minutes.

Price: $43.76 ($40 + 3.76) includes tastes of 5 savory wines (2 whites, 2 reds and 1 Rose) rotating throughout the season.

Ohio Renaissance Festival

10542 Ohio 73
Waynesville, Ohio 45068

I-75, exit 38 on State Route 73

Hours:
10:30am – 7:00pm

McCoy on Movies: Honey Don’t

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Margaret Qualley shines in a dark, LGTBQIA+ dark comedy
that’s not as bright as her performance

Don’t have time to read a full, detailed movie review? Been meaning to talk about a movie for a while but just haven’t gotten around to telling a friend? Have no fear – get caught up with Quick Hits!

“Take notes … I’m the best thing about this film and you
know it.” Honey O’Donahue (Margaret Qualley) investigates
in a scene from Ethan Coen’s HONEY DON’T! Credit:

 

Karen Kuehn © 2025 Focus Features LLC. All Rights Reserved.
HONEY DON’T! 
 
There are exactly two reasons to see HONEY DON’T, the second installment of Ethan Coen’s “lesbian b-movie trilogy” written alongside his lesbian, non-traditional partner Tricia Cooke: (1) To watch Margaret Qualley, who stars as a queer, Bakersfield, CA-private eye that’s more masculine 1925 than she is 2025 in her demeanor, own every scene she’s in and (2) the gratuitous surely to some and likely not gratuitous enough to others nudity and sex crammed into the film’s 90 minute run-time. (Those who cheered the removal of the Pulse Nightclub crosswalk in Florida need not buy a ticket for reasons that should now be overtly obvious.
Moral objections to seeing LGTBQIA+ characters on screen – along with possibly the most corrupt preacher of the year in Chris Evans as drug dealing, murdering, fornicating church leader Drew Devlin – notwithstanding, HONEY DON’T finds Qualley outperforming the thin-yet-familiar material she is given to work with at every turn. That’s not to suggest that the other actors don’t bring their best to their roles as much it is to say what they were given to work with is b-movie pulp at best and sometimes, not in the best way. The film is far better, however, than the first installment in the Coen/Cooke three-pack, the long-forgotten, ostensibly goofy Drive-Away Dolls, but it’s staying power – outside of those who long to stare at star actors naked and/or REALLY enjoy ALL Coen brothers films (not just the hits) – is minor. Charlie Day adds a few laughs as a clueless detective, there are the standard schlubby/mysterious foreign Coen characters and quirky violence leading to a climax … But Bound, this is not.
So, if you’re wondering if you should put HONEY DON’T on your honey-do list, the answer is … Maybe – if you have 90 minutes to kill or just want to see an actress make honey out of a rather spent hive of a story that could have delivered so much more.
 

RATING (OUT OF FOUR BUCKETS OF POPCORN): 2 1/2 of 4

 

 

 

McCoy on Movies: Highest 2 Lowest

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Denzel Washington takes a musical journey to explore a man’s
morality, legacy in Spike Lee’s latest

Don’t have time to read a full, detailed movie review? Been meaning to talk about a movie for a while but just haven’t gotten around to telling a friend? Have no fear – get caught up with Quick Hits!

 
HIGHEST 2 LOWEST 
 
“I’ll just throw on a Yankees cap and no one will know I’m Denzel Washington … At best,
they’ll think I’m just Mariano Rivera …”  David King (Denzel Washington) takes a
very compromising ride in a scene from Spike Lee’s HIGHEST 2 LOWEST. © 2025 A24.

All Rights Reserved.

 

 
What is the price of fame and success? Can you retain the love of what brought you fame when the demands of your industry make it so much easier to copy and paste what’s popular versus striving for something original and true? What is the common thread between someone who wants to achieve the high life and someone who simply needs the opportunity to achieve it? 
 
While these are the central themes in Spike Lee’s modern take of the 1963 Akira Kurosawa film High and Low, the only question a potential movie goer needs to ask is the following: How much do you feel like diving into a tale as old as time that featuring a fresh coat of digital paint for the modern world? As music mogul David King, the man with “the best ears in the business,” Denzel Washington still knows how to take command of a scene, even when it may not be that compelling. 
 
Then again, Spike Lee throws in all his trademark love letter to New York elements well to advance the story of King, forced to decide between his money and saving the life of Kyle (Elijah Wright), the son of his chauffeur, Alan (Jeffrey Wright). The film’s best sequences occur hen using music – the famed Puerto Rican Day parade accentuated by the sounds of the Eddie Palmieri Salsa Orchestra as a backdrop for a key sequence, an intense lyrical back-and-forth between King and aspiring rapper Yung Felon (A$AP Rocky) – sticking with the film’s exploration of what type of a man King is: Will he be one that that values money and his legacy more than doing what is right .. Or can he do what is right at the risk of everything he has worked so hard to achieve going up in flames? While not exactly a perfect journey, it is one audiences (especially longstanding Washington fans) are more likely to enjoy than not.
 
RATING (OUT OF FOUR BUCKETS OF POPCORN):
 

 

Shakespeare in South Park

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The 16th annual Shakespeare in South Park presents “The Merry Wives of Windsor”
August 15, 16, and 17th at 8 pm
Come enjoy this famous work of humor and poetry! Open to the public and free (donations gratefully accepted).
Bring a lawn chair or blanket to South Park Green (Hickory at James).
If it rains, the performance will take place at Veritas Church, 500 Hickory.