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Reviews
CSI: Miami (2002)
A campy, guilty pleasure! My favorite of the 3 CSI shows.
CSI: Miami ("CSIM")is arguably the campiest show in the CSI franchise. While the original CSI (Vegas) is known for its dark, morbid feel, and CSI NY for its grittier, "street" atmosphere, CSIM's hallmarks are bright colors; beach scenery; half-naked beautiful people; flashy clothes, cars, settings, etc.; and, of course, the "King of Camp" himself, Horatio Caine. Sort of like the city of Miami itself, subtlety is not CSIM's strong suit, so the show is known for being slightly over-the-top. But you know what? I've loved it all from day one.
David Caruso may have his detractors, but Horatio ("H") Caine and his (in)famous one-liners are practically an institution. During the episodes, I find myself waiting for H to deliver one of his zingers, and I always get a kick out of it when he does. And David approaches his role with just the appropriate amount of "tongue in cheek" so that we know he gets the joke. David doesn't take himself, or H, too seriously, and viewers aren't meant to either.
The CSIM cast-members share an easy, believable chemistry that makes their characters seem more like family than merely co-workers. H, the head of the department, serves as a father-figure to the CSI's in his charge, particularly Eric Delko (Adam Rodriguez), the impossibly-handsome Cuban-American CSI who specializes in underwater recovery and fingerprinting. In the 1st episode of Season 8 ("Out of Time"), we learn that it was H who encouraged Eric to enroll in the police academy and become a CSI, which was the beginning of a mentor-mentee relationship between them. It's personal moments and tidbits like these that make CSIM so engaging to watch.
The only other original cast-member who's still on the show is Calleigh Duquesne (Emily Procter), the blond Southern belle with a thing for firearms, and specializing (naturally) in ballistics. Since Season 1, Procter has done a great job of portraying the many layers of Calleigh's character, giving viewers a glimpse into the real (and sometimes raw) emotions that lie beneath her perky, unflappable exterior. Ryan Wolfe (Jon Togo), Natalia Boa Vista (Eva La Rue), and Frank Tripp (Rex Linn) round out the team.
No review of CSIM would be complete without acknowledging the beloved cast-members who've left the show. First is Tim "Speed" Speedle (Rory Cochrane), whose acerbic wit was sorely missed after Speed died in Season 3. Alexx Woods (Khandi Alexander), the Medical Examiner (M.E.) and surrogate mother to the CSI team, left the show at the end of Season 6, though she still makes occasional guest appearances.
Season 8 saw the introduction of 2 new cast-members: Jesse Cardoza (Eddie Cibrian), a former cop turned CSI, and Walter Simmons (Omar Miller) who transferred from the night-shift. These 2 were ostensibly brought in to fill the void left by the departing M.E., Tara Price (Megalyn Echikunwoke), and Eric Delko. While Walter has fit in easily and established a nice rapport with the cast (his humorous exchanges with Ryan Wolfe are a pleasure to watch), the jury is still out on Jesse. The character doesn't seem to "gel" with the rest of the team, nor does Eddie Cibrian appear to be a good "fit" for the show. So far in Season 8, I've found myself missing the chemistry shared by the old cast. Fortunately, Adam Rodriguez (Eric Delko) has just announced that he'll be returning to the show full-time next season (S.9), so hopefully that will be a step in the right direction towards getting that old "magic" back again.
All in all, while there are certainly more realistic, hard-hitting police TV shows out there, few of them are as much fun as CSIM. And I say hats-off to the show for not trying to be something it's not. This spin-off was always intended to be a campier, flashier version of its predecessor, and CSIM has remained true to that concept from the start. If "true crime" is what you're seeking, then you might want to look elsewhere. But if you're looking for an enjoyable night-time drama series set against the backdrop of a police department, then you could do a lot worse than CSI: Miami.
Body Shots (1999)
Fairly mediocre, but entertaining
"Body Shots" is meant to be equal parts a "Mars vs. Venus" study of young adult sexuality, and a cautionary tale about the hardcore-clubbing/sex-with-random-strangers lifestyle. Unfortunately, this film fails to get either point across convincingly. The movie actually stars off pretty entertainingly, establishing the friendships among the male and female protagonists who will later meet up with one another for some late-night shenanigans. Especially engaging are the short vignettes in which the characters give us an inside glimpse into their personal thoughts on dating, love, and sex. But this tongue-in-cheek, introspective tone gets lost somewhere around the middle of the movie, when the plot suddenly shifts gears and turns into a "Lifetime-movie-of-the-week" look at acquaintance rape and its link to overindulging in alcohol and/or drugs. Sadly, this half of the movie fails to satisfy as well, since it leaves things very much up-in-the-air at the end.
On the talent side, the cast and acting were OK, if not Oscar-worthy. I was able to buy Tara Reid's portrayal of a rape victim, which was a pleasant surprise. However, Amanda Peet seemed to be just going through the motions, for some reason.
Unfortunately, two of the film's most intriguing characters -- Trent (Ron Livingston) and Whitney (Emily Procter) -- are also its most under-utilized. You get the sense that there's a lot going on beneath Trent's smarmy, devil-may-care exterior, but unfortunately, the film barely scratches the surface of his character. Similarly, I found myself wanting to explore the reasons why Whitney is perfectly happy to engage in the kinkiest sex acts with a man she barely knows, but the thought of him spending the entire night, or, worse yet, the prospect of falling in love, absolutely terrify her. Procter does a pitch-perfect job of giving viewers just enough of a glimpse into "the pain behind the perky smile" to leave us wanting more. Towards the end of the movie, it looks like we may not have seen the last of Trent & Whitney, but, true to form, the movie leaves us hanging there, too.
All in all, "Body Shots" is definitely worth seeing if you can find the DVD in one of those retail "bargain bins," like I did; or if you're looking for a fairly entertaining way to pass the time on a rainy Saturday afternoon. Otherwise, much better movies have been made on the subject matter.
Lady in the Water (2006)
Shyamalan brings IMAGINATION back to film!
M. Night Shyamalan's movies tend to trigger one of 3 knee-jerk reactions in viewers: (1) you love them; (2) you hate them; or (3) you don't understand them. After seeing some abysmal critics' reviews for LITW, I honestly went into the theater with pretty low expectations, and was pleasantly, and impressively, surprised by this movie. LITW is truly a modern fairy tale / bedtime story for grown-ups. It is a cerebral fantasy movie that demands equal parts thinking-cap and imagination from the viewer, but if you are willing to let Shyamalan lead you through the story, the rewards are well worth it. On the other hand, if you are not prepared to follow the abundant nuances, metaphors, symbolism, and subtle character developments in LITW, and are looking for a cut-and-dry thriller or light weekend fare, then this is not your movie. I think that some viewers (and critics) didn't really understand LITW, because they wouldn't let themselves take in all of the stylistic originality and artistry that the movie has to offer.
I won't spoil the movie (for those who haven't seen it), by describing the plot/character details here. But, suffice it to say that you are so busy becoming engrossed in the characters and the story, and trying to figure out the riddles in this movie, that it is only at the end that you realize the LITW has left you with a lesson that makes you think well after leaving the movie theater. The movie's subtle, but powerful messages about true leadership, catharsis through altruism, the power of human togetherness, and self-discovery resonated with me and other viewers who were willing to open their minds enough to see them. LITW is not a movie that can be enjoyed "on the surface." You have to either totally immerse yourself in the movie, or not watch it at all. Otherwise, you're left with a sense of dissatisfaction that some viewers have reported feeling at the end of the movie. On a related side-note, I can't help but think that the way many negative movie critics reacted to LITW had, at least, something to do with Shyamalan's tongue-in-cheek portrayal of the movie-critic character in the movie. After all, the movie critic is a know-it-all who almost derails the other characters' efforts with his high-and-mighty (and ultimately WRONG) advice. Shyamalan had the guts to slyly thumb his nose at the movie-critic establishment, and was, of course rewarded with excessively bitter reviews from some of the targets of his fun-poking. Mere coincidence? I think not.
I am typically not one for fairy tale or fantasy movies, because the plots and characters seem so far removed from reality that I can't relate to them. For that reason, neither the Lord of the Rings nor the Harry Potter films moved me much. I think it says a lot about LITW and Shyamalan's unique style that I actually came to CARE about the characters and the outcome of their story. Balancing suspension of disbelief with elements of reality is a difficult and delicate task; one which I think Shyamalan pulls off very well with LITW. The characters all seem so real (like people you might find in your neighborhood), but yet you don't find it odd that they all participate so whole-heartedly in a scenario that goes far beyond the logical and explainable. If J.K. Rowling can invent "muggles," why shouldn't Shyamalan have his "narfs" and "scrunts," especially when he uses them to such wonderful effect? At the end of this movie, the kid in me wanted to cheer. Shyamalan achieves a fairly-tale ending without melodrama or sensationalism, while still leaving the viewer feeling positive and uplifted. After all, isn't that the whole point of a fairy tale? ;-)
The Devil Wears Prada (2006)
Devilishly good fun! Meryl Streep shines.
I was much more entertained by the TDWP than I expected to be. The movie took the best parts of the book, humanized the characters, and made them more 3-dimensional than they were on paper. Meryl Streep demonstrates once again why she is one of the "grandes dames" of celluloid, in a pitch-perfect portrayal of Miranda Priestley. Although Streep consistently maintains Miranda's hard edge and bitingly-comedic sarcasm throughout the movie, she also gives us glimpses into the woman behind the mask without watering-down the character the audience loves to hate. I was really pleased to see that the end of the movie refused to insult the audience's intelligence by having Miranda see the "error of her ways" and undergo a complete (and unrealistic) character transformation. Rather, she maintains her devilish charm while being wise enough to recognize--and respect--the differences between herself and her 2nd assistant, Andy.
Anne Hathaway does a really good job in TDWP, and holds her own in her scenes with Streep--no easy task, since pretty much everyone looks like an amateur next to Meryl. While Anne fittingly brings a bit of that wide-eyed innocence to the role of Andy (which made her a pre-teen sensation in the "Princess Diaries" and the like), it does not completely define her character. It was great to see Hathaway push the envelope a bit, and to show the tension between that innocence and the cutthroat sink-or-swim world of high-fashion publishing.
The rest of the cast also does an admirable job. Stanley Tucci is a gem as Miranda's long-suffering sidekick, Nigel, and Emily Blunt shows why she's a young face to watch in Hollywood. And, of course, you've got to love Simon Baker as the incurable, impossibly-handsome rake, Christian Thompson. He is the ultimate guilty pleasure in this movie; the guy you know is no good for Andy, but who is so disarmingly charming that you want to see them hook up anyway. I was not the only woman in the movie theater hoping that Andy would dump her boyfriend Nate and get together with Christian! (No small feat, since Adrian Grenier is pretty easy on the eyes as well).
The only reason I took 2 stars off this movie was the forced "reconcilation" between Andy and Nate. He had no qualms about moving to Boston to chase his dream of becoming a chef, and I don't think that Andy had any reason to be apologetic about pursuing her career goals just as fervently, whether at Runway magazine or elsewhere. To be quite honest, Nate seemed more like a whiner and an impediment than a supportive boyfriend you would want Andy to get back together with. But this is the only minor pet-peeve I have about this film. Otherwise, TDWP was a great movie that I actually enjoyed even more than the book (for a change!), and will definitely be picking up when it's released on video. Watching Meryl Streep do what she does best is worth the price of admission alone.
Inside Man (2006)
Savvy and suspenseful heist flick!
I am not normally one for cops-and-robbers movies, but the impressive cast of "Inside Man" made me decide to give this movie a shot. I am really glad that I did. Spike Lee really shows his penchant for making an impressive heist flick, in addition to his already admirable body of work in other types of films. "Inside Man" was a sophisticated, fast-paced and smartly-told heist movie that really did justice to the genre. Denzel Washington played the lead role of the perceptive (if slightly jaded) police-detective Keith Frazier, to understated perfection. Denzel is a natural at this type of role, and it is a pure testament to his incredible acting ability that he manages to make it seem fresh every time. Watching him match wits with Dalton Russell (played "to a T" by the perfectly-cast Clive Owen), at every turn kept me on the edge of my seat until the very end. Owen deftly avoided turning his character into a one-dimensional thug, bringing such nuance to Russell that, by the end of the movie, we didn't want him to get caught just as much as we wanted Frazier to get his man. The rest of the cast only served to further enhance this movie, in particular, the inimitable Christopher Plummer, who brought a sort of iconic quality to the sinister, villainous Arthur Case. As with all movies of this sort, some viewer suspension of disbelief was required, but to belabor those few instances would be mere nit-picking, given the overarching strengths of this movie. "Inside Man" gave the viewer a candid look of the inner workings of the minds on both sides of the heist puzzle without resorting to cheap or obvious plot devices, putting this movie a cut above the fray of would-be bank robbery movies. Of course, it would not be a "Spike Lee joint" without some sort of socio-political message, which came in the form of the Holocaust sub-plot within the movie. But, rather than making this the main focus (which would have been another type of movie altogether), Lee used the Holocaust undertones to provide some "back-story" for the characters (an element which is usually sadly lacking in heist movies), and to raise the stakes of the cat-and-mouse game. "Inside Man" easily made its mark as one of the more intelligent, contemporary heist flicks to grace the cineplexes in a long while. If you're a criminal-suspense aficionado, you'll love it; and if you aren't, you will be by the end of this movie! Highly recommended.
The Break-Up (2006)
Not too bad...
While I won't be racing to buy the DVD when it comes out, it definitely was not a waste of my $10 to go see "The Break Up" at the movie theater. As movies go, it was pretty entertaining. Vince Vaughn was his usually comedic self as the schlumpy "every-guy," and he and Jennifer Aniston had a good rapport on-screen. I stop short of calling it "chemistry," because, while they played off each other very well on screen in terms of comedic timing, etc., there was none of that "sizzle" that one would normally expect in a movie about ex-lovers who're supposed to still love each other. That said, Aniston, Vaughn and the supporting cast provided more than enough laughs to entertain the audience throughout the movie. The ending of the movie could have been more satisfying, but endings to "break up/make up" movies are always difficult. If the leads get back together and live happily ever after, the movie is panned for being sappy. If they don't then the romantics criticize it. So while I personally was less-than-pleased with the ending of "The Break Up," I understand that writing an ending for the movie was a difficult job that could just never please everybody. My verdict: between a B and B-minus, i.e., no Oscar-winner, but there are a lot worse ways to spend 2-hours at the movies.
Syriana (2005)
Powerful movie, but could've been a bit more interestingly told/ 6.5
Syriana is the archetypal movie that had a great message, storyline, writing, and acting, but which could have benefited from a slightly more interesting delivery. While nowhere near as slow-paced as the much-hyped "English Patient," "Syriana" was, surprisingly, a movie that took its time. Part of the problem was with the way the movie had been promoted, i.e., as a fast-paced, action thriller, which made audiences expect more tangible action at the beginning of the movie than it actually delivered. The first time I went to see this movie, the person I was with feel asleep during the first 15-20 minutes, and we ended up leaving the theater. I am really glad that I decided to give this movie a second look on my own.
Syriana was the type of movie that delayed gratification a bit, but if you stuck around through the middle and end of the movie, the wait was well worth it. After the initial warm-up period (which was, admittedly, on the long side), "Syriana" evolved into a taught, smartly told international espionage thriller that held my interest until the end. The cast did an admirable job on this film; it was nice to see Clooney try the action/spy hero with a bit of a more serious twist than we've seen in the Ocean's Eleven movies and the like.
The only reason why I give this movie a 6.5 is the agonizingly-slow lead-up. "Syriana" is not a movie for instant-gratification types, and you have to be in the mood to deal with heavy subject matter when you watch it. But if you're up to the task, the movie does not disappoint.
Closer (2004)
Finally, a dramatic movie for adults!
After seeing scores of so-called R-rated movies that seemed more targeted to teenagers than adults, I really appreciated the refreshing change of "Closer." This layered, subtle, sexy drama demonstrated the tangled web woven by men and women in relationships, without being the least bit soapy or melodramatic. This is attributable, I think, to the impressive cast of actors in the movie. They did an excellent job of portraying the multi-dimensional, real, and flawed characters in "Closer." Julia Roberts pushed the acting envelope in this movie showing that, while she may still be one of "America's sweethearts," she is up to the task of playing in imperfect woman with a dark side. Clive Owen--with his brooding good looks and intense acting style--was perfectly cast in this movie. Natalie Portman displayed an acting sophistication far beyond her years, capturing her the dueling aspects of her character: the lost little girl vs. the woman who wears her sexuality like a mask to avoid true intimacy. If you're looking for a solid drama with the plot/character development and maturity to captivate an adult audience, then "Closer" is your movie.
Disappearing Acts (2000)
Finally, a real urban romance!!
I saw "Disappearing Acts" a couple of times on HBO back when it 1st came out, and I bought the DVD several months ago. I must admit that, at first, I was a tiny bit skeptical about whether I'd like a made-for-HBO movie. But I should have known that the "Dream Team" of Gina Prince-Bythewood and Sanaa Lathan (director & lead actress of "Love and Basketball") would deliver the goods. From the beginning, this movie just felt REAL - no glossy sets, clothes, etc. Just the genuine simplicity that you would find in the homes/lives of everywoman or everyman. This lack of unnecessary trappings allowed the characters to take the spotlight, and made their struggles seem really genuine and believable.
As usual, Sanaa Lathan lit up the screen with a natural talent and presence rarely seen nowadays, especially among younger actresses. She demonstrated incredible acting range in this movie, conveying Zora's initial infatuation, lust, and ecstasy, which gave way to pain, frustration, hurt and, ultimately, forgiveness and reconciliation. Wesley Snipes gave a surprisingly good performance as Franklin. I had previously only seen him in action movies (Blade, etc.), but in "Disappearing Acts," he showed his ability to break out of the action-hero box. While a more "conventionally-handsome" actor could probably have been cast as Franklin, I don't know whether he would have done the job here. Wesley has always been good at playing characters that are more significant by what they don't say rather than what they do. That was a good fit for the role of Franklin, with his multiple demons and insecurities. Plus, Sanaa and Wesley had a strong on-screen chemistry that made you understand why Zora and Franklin found it so difficult to let each other go. (That refrigerator love scene practically melted my TV screen!) Casting an absolutely stunning "GQ-type" black actor to play Franklin probably would have been a bit truer to the look of the character as he was portrayed in the book, but there's no guarantee that a beautiful male lead would have generated the same sort of sensuality that made this movie so riveting. And when it comes down to it, you can suspend disbelief on looks if the acting and vibe between the actors are strong enough. Chemistry and on-screen charisma can't be faked.
I thought that the movie was pretty true to the book, although, naturally, there was artistic license taken here and there. The movie did a fine job of getting across the book's message that although lust/passion are easy, forging a real relationship takes work and sacrifice, even if it means letting the person you love go so that they can deal with their own issues. I think that many women (and men) can relate to what it's like to get into a co-dependent relationship where both parties lose themselves to some extent (hence the title of the movie/book). Overall, this was a very good, well-acted movie, which did the book justice.
Out of Time (2003)
Fun, fast-paced suspense!!
Like several other reviewers, when I first saw this film back in 2003, it didn't "wow" me, mostly because I had just seen Denzel in much deeper movies. Granted, "Out of Time" won't (and didn't) win Denzel any Oscars, but, who cares? I recently watched the DVD, and found it to be a fun, sexy thrill-ride of a movie ... sort of a "thinking man's" suspense movie. It's fun to see Mathias "Matt" Whitlock stay one step ahead of everyone else, while trying not to break a sweat. Denzel is one of the few actors with the charisma to pull off this "film-noirish" movie, skillfully managing to be the good/bad/funny guy all at once. Few actors can manage to have such sizzling on-screen chemistry with the actresses playing both his wife AND his paramour, but hey, it's Denzel. The remainder of the cast is not only easy on the eyes, but their acting enhances the sultry, dark tone of the movie. The stunning Sanaa Lathan "owns" her role as the sensual "Black Widow," Anne Harrison, and she's got chemistry to burn with Denzel. Sanaa has always played understatedly sexy female characters, and it's nice to see her embrace and play up her sex appeal in this movie. It would have been easy for Sanaa to turn the character into a out-and-out tart, but her subtle acting style and projection of character through her eyes and spot-on body language create a character with a lot more nuance than this film could have gotten away with. Eva Mendes demonstrates why she's one to watch in Hollywood. Her character also generates scads of sexual tension with Matt, and she slips easily into the role of detective without over-acting the part. She also manages to be sexy without coming off as a bimbo playing at being a cop. Dean Cain is a pleasant surprise as Anne's abusive ex-football-player hubby. His innuendo-laden banter with Matt is a treat to watch. And Matt's medical-examiner sidekick is a real hoot, so much so that, at times, he almost steals the show. (Almost, because it is Denzel, after all). If you are in the mood for some lighthearted, dirty, suspenseful fun, I would recommend "Out of Time."
Love & Basketball (2000)
One of the best contemporary love stories of all time - A++
I recently bought the "Love & Basketball" special edition DVD, after having watched it at the theater when it first hit the box-office, and again on pay-per-view over 3 years ago. Watching L&B again after 3+ years, I was reminded of why I absolutely fell in LOVE with it in the first place. So many things that Monica and Q experienced in each "Quarter" of the movie brought back memories of my own high school and college experiences. In many ways, L&B was a coming-of-age movie for me. (Not to mention that the soundtrack is a fabulous trip down musical memory-lane). L&B is a poignant and touching modern story love story that follows the evolving lives and love of two young African-American athletes, as they navigate through the complications and changes thrown at them as they mature into adulthood. Sanaa Lathan is a standout in this movie. As always, with consummate ease, she infuses "humanness" and sincerity in to every character she plays. The on-screen chemistry between Sanaa and Omar is so perfect it just tugs at your heartstrings. It turns out they were a real-life couple around the time the movie was filmed/released, but real-life romance does not always guarantee on-screen chemistry (just look at "Eyes Wide Shut" with Nicole Kidman and Tom Cruise). Fortunately, Sanaa and Omar's real-life chemistry came across wonderfully on screen. I think that the first love scene between Monica and Q is one of the most beautiful, touching, and tastefully done scenes of its kind in film. I NEVER cry at movies, and I was a little misty-eyed at the end--not typical for a love scene. Also, the second-to-last scene where Monica and Q play basketball one-on-one for Q's heart--accompanied by a spot-on track by Meshell Ndegeocello--brought a tear or two to my eyes. L&B is a classic love story, but it deftly manages to avoid triteness or unoriginality by giving the viewer subtle glimpses into several of life's realities as they impact Monica and Q. The marked disparity in opportunities for male and female athletes underscores the entire movie, and we get an inside look as Monica invests sweat and tears pursuing her dream. We also see the sacrifices and strength of both Monica and some of the supporting female characters in the movie, such as Monica and Q's mothers, and Monica's teammates. I loved the ending of this movie as well. By giving the audience a positive glimpse into the future, L&B delivered the "happy ending" that we've come to expect from romantic movies, without being corny, overly-sappy or unrealistic. L&B is a wonderful (under-recognized), timeless love story that will touch athletes and non-athletes like, and it is a "must" for any movie collection. A+
Something New (2006)
"Something New" is something special.
It usually takes a lot for a movie to be added to my list of all-time favorites, but "Something New" easily made the grade. Most so-called romantic comedies are either too trite and sappy to be funny, or depend only on simplistic slapstick humor for laughs, at the expense of true romance, emotion, and plot development. Refreshingly, Something New manages to serve up a generous heaping of both romance and comedy in spades. Kudos to director Sanaa Hamri and a stellar cast for bringing a fresh perspective to interracial romance, a subject that is too often preached at the audience, rather than engaging them. Something New delivers its messages about love, acceptance and openness with subtle artistry - this movie makes you think, but you're thoroughly entertained in the process. I couldn't have picked a better cast for this movie. Sanaa Lathan (of whom I'm a long-time fan) is a gem, performing her role with an understated intensity that captures the character of "Kenya" perfectly. Simon Baker (as "Brian") is the perfect counterpoint to Sanaa's subtly-acted character in this movie, managing to look thoroughly smitten but genuinely expressive and altogether real, unlike so many of the over-acted romantic male lead roles in film today. I did not know of Simon Baker before this film, but I'd now like to check out some of his other work. His excellent turn in Something New has made a new fan out of me! Sanaa and Simon's love scenes steam up the screen, but they have such great acting chemistry that there's no need for an overload of skin. There's no gratuitous flesh-flashing here, which gives the film its PG-13 rating, while delivering more than enough smoldering sensuality and emotional intensity to satisfy "grown up" viewers. All-in-all, Something New is an uplifting movie, with a universal lesson: Love doesn't always follow a plan or "list." Sometimes a person that looks perfect "on paper" is not your soul-mate, and Mr./Ms. Right may come into your life in the most unexpected of forms. Something New is the type of movie whose timeless, skillfully-delivered message will continue to resonate with viewers well into the future.