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Review: 'Tótem,' a haunting drama about a family at a turning point, will stay with you forever

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Review: 'Tótem,' a haunting drama about a family at a turning point, will stay with you forever

One of the first and last things you see in “Tótem,” Lila Avilés’ lovely and astonishing second feature, is a shot of a young girl’s face. It’s a beautiful face, with gentle eyes, a radiant if infrequent smile and a quiet wisdom well beyond its years. When you meet the 7-year-old Sol (Naíma Sentíes), she’s giggling with her mother, Lucia (Iazua Larios), in a public restroom, trying on a rainbow-hued clown wig that she’ll wear at a party later that evening. When you see her for the final time, the delight has faded from her expression, and all that remains is a kind of wistful desolation, a desire to cling fast to a childhood that she knows is about to change forever.

In between these two shots, a long day and an entire world come vibrantly into focus. For much of the movie, which runs a compact but overflowing 95 minutes, we are in a large, crowded house somewhere in Mexico City, where preparations for the party are underway. The guest of honor is Sol’s terminally ill father, Tona (Mateo García Elizondo), observing what will likely be his final birthday. He’s been too sick to see his daughter recently, and even after she arrives at the house, dropped off by her mother, she’s kept away from him for as long as possible. And so, left to her own devices, Sol wanders from room to bustling room, a shy, watchful presence set adrift in a churning sea of grown-ups.

The roving handheld camera, wielded by the cinematographer Diego Tonorio, follows after her, bearing witness to all manner of family fractiousness along the way. Avilés’ technique has grown looser, more mobile and rough-hewn than in her 2018 debut feature, “The Chambermaid,” a meticulously composed portrait of a worker in a luxury hotel. But the achievement of “Tótem,” Mexico’s official (but sadly unnominated) submission in this year’s Oscar race for international feature, is not all that different from that of its predecessor: to capture the spirit of a place.

As if to underscore that notion, the movie soon ushers in a visiting medium who might help reverse Tona’s terrible decline. Avilés, directing the movie from her own screenplay, finds an effortless human comedy in this woman’s noisy arrival, following her as she weaponizes water buckets and even a piece of bread in her quest to cleanse the house of its dark, demonic influences. There’s humor, too, in the curmudgeonly gripes of Sol’s grandfather (“I’m not in the mood for your satanic bulls—,” he growls into his electronic larynx) and also in the stress of Sol’s aunt Nuri (Montserrat Marañon) as she looks after her own young daughter, nurses several drinks and rushes to bake a birthday cake for the party.

Mateo Garcia Elizondo and Naíma Sentíes in the movie “Tótem.”

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(Kino Lorber)

When that cake finally emerges hours later, after a smoky kitchen disaster, we see that it’s been decorated with an imprint of Van Gogh’s “Starry Night” — a passing but revealing detail (Tona is a painter) in a movie that refuses to linger. Avilés keeps her camera insistently on the prowl, as if she were eager to keep tabs on everyone in the house (the number keeps growing) at every moment. Her powers of observation miss nothing: roughhousing children, bickering adults, pets scampering underfoot. Amid the tumult, there are brief, blissfully peaceful shots of ants skittering up and down a wall, and also of a snail slithering across Sol’s open palm. Beneath this one roof, all creation seems to converge.

The eye with which Avilés surveys this unwieldy human and animal circus is at once strikingly unsentimental and sweepingly egalitarian. Those bugs and slugs will soon expire, and so will the fast-fading Tona. Portraits of terminal illness are nothing new in the movies, but if this one registers with particular force, it’s precisely because Avilés’ filmmaking, terse and relentless, refuses to slow down for Tona. As he wastes away in his bed, making his occasional long, agonizing trips to the bathroom with the help of his attentive nurse, Cruz (Teresita Sánchez), we can already sense life moving on without him.

The moment when Sol is finally permitted to see her father is fleeting, piercing and suffused with the most helpless kind of love. There’s clearly more to the story here; we long to see Sol’s happier days with him, and perhaps to learn more about her parents’ relationship, which appears to have ended some time before. There’s also more to learn about the tensions bubbling up between Nuri and another aunt, the friends who toast Tona at his party and the financial burdens that at one point turn the gathering into a fundraiser. It takes a confident storyteller to avoid the trap of overexplanation, to give us only a partial glimpse of her characters’ lives, and these narrative elisions have the effect of deepening rather than undercutting the story’s realism.

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Which is not to say that “Tótem,” its title rich with spiritual portent, is entirely tethered to the real. This is a movie about a celebration astride the abyss, and, as it continues, it takes on the eerie power of a séance. By a certain point we seem to have wandered, alongside Sol, into a strange netherworld between life and death. It’s as if we have become the ghost in the machine, the specter looming behind the camera, and we want, against all reason, to comfort her, to let her know that she is neither unseen nor alone. The sensation soon passes, as many sensations do. But you can’t quite shake it off, or rid yourself of this movie’s cumulatively shattering power.

‘Tótem’

Not rated

In Spanish with English subtitles

Running time: 1 hour, 35 minutes

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Playing: Starts Friday at Laemmle Glendale and Laemmle Monica Film Center, West Los Angeles

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Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review

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Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review

NEW YORK (OSV News) – Cartoon characters can devolve into dullards over time. But some are more enduringly appealing than others, as the adventure “The SpongeBob Movie: Search for SquarePants” (Paramount) proves.

Yellow, absorbent and porous on the outside, unflaggingly upbeat SpongeBob (voice of Tom Kenny) is childlike and anxious to please within. He also displays the kind of eagerness for grown-up experiences that is often found in real-life youngsters but that gets him into trouble in this fourth big-screen outing for his character.

Initially, his yearning for maturity takes a relatively harmless form. Having learned that he is now exactly 36 clams tall, the requisite height to ride the immense roller coaster at Captain Booty Beard’s Fun Park, he determines to do so.

Predictably, perhaps, he finds the ride too scary for him. This prompts Mr. Krabs (voice of Clancy Brown), the owner of the Krusty Krab — the fast-food restaurant where SpongeBob works as a cook — to inform his chef that he is still an immature bubble-blowing boy who needs to be tested as a swashbuckling adventurer.

The opportunity for such a trial soon arises with the appearance of the ghostly green Flying Dutchman (voice of Mark Hamill), a pirate whose elaborately spooky lair, the Underworld, is adjacent to SpongeBob’s friendly neighborhood, Bikini Bottom. Subject to a curse, the Dutchman longs to lift it and return to human status.

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To do so, he needs to find someone both innocent and gullible to whom he can transfer the spell. SpongeBob, of course, fits the bill.

So the buccaneer lures SpongeBob, accompanied by his naive starfish pal Patrick (voice of Bill Fagerbakke), into a series of challenges designed to prove that the lad has what it takes. Mr. Krabs, the restaurateur’s ill-tempered other employee, Squidward (voice of Rodger Bumpass), and SpongeBob’s pet snail, Gary, all follow in pursuit.

Along the way, SpongeBob and Patrick’s ingenuity and love of carefree play usually succeed in thwarting the Dutchman’s plans.

As with most episodes of the TV series, which premiered on Nickelodeon in 1999, there are sight gags intended either for adults or savvy older children. This time out, though, director Derek Drymon and screenwriters Pam Brady and Matt Lieberman produce mostly misfires.

These include an elaborate gag about Davy Jones’ legendary locker — which, after much buildup, turns out to be an ordinary gym locker. Additionally, in moments of high stress, SpongeBob expels what he calls “my lucky brick.” As euphemistic poop gags go, it’s more peculiar than naughty.

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True to form, SpongeBob emerges from his latest escapades smarter, wiser, pleased with his newly acquired skills and with increased loyalty to his friends. So, although the script’s humor may often fall short, the franchise’s beguiling charm remains.

The film contains characters in cartoonish peril and occasional scatological humor. The OSV News classification is A-I – general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

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Reiner family tragedy sheds light on pain of families grappling with addiction

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Reiner family tragedy sheds light on pain of families grappling with addiction

When Greg heard about the deaths of Rob and Michele Reiner, and the alleged involvement of their son Nick, the news struck a painfully familiar chord.

It wasn’t the violence that resonated, but rather the heartache and desperation that comes with loving a family member who suffers from an illness that the best efforts and intentions alone can’t cure.

Greg has an adult child who, like Nick Reiner, has had a long and difficult struggle with addiction.

“It just rings close to home,” said Greg, chair of Families Anonymous, a national support program for friends and family members of people with addiction. (In keeping with the organization’s policy of anonymity for members, The Times is withholding Greg’s last name.)

“It’s just so horrible to be the parent or a loved one of somebody that struggles with [addiction], because you can’t make any sense of this,” he said. “You can’t find a way to help them.”

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Every family’s experience is different, and the full picture is almost always more complicated than it appears from the outside. Public details about the Reiner family’s private struggles are relatively few.

But some parts of their story are likely recognizable to the millions of U.S. families affected by addiction.

“This is really bringing to light something that’s going on in homes across the country,” said Emily Feinstein, executive vice president of the nonprofit Partnership to End Addiction.

Over the years, Nick Reiner, 32, and his parents publicly discussed his years-long struggle with drug use, which included periods of homelessness and multiple rehab stints.

Most recently, he was living in a guesthouse on his parents’ Brentwood property. Family friends told The Times that Michele Singer Reiner had become increasingly concerned about Nick’s mental health in recent weeks.

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The couple were found dead in their home Sunday afternoon. Los Angeles police officers arrested Nick hours later. On Tuesday, he was charged with their murder. He is currently being held without bail and has been placed under special supervision due to potential suicide risk, a law enforcement official told The Times.

Experts in substance use cautioned against drawing a direct line between addiction and violence.

“Addiction or mental health issues never excuse a horrific act of violence like this, and these sort of acts are not a direct result or a trait of addiction in general,” said Zac Jones, executive director of Beit T’Shuvah, a nonprofit Los Angeles-based addiction treatment center.

The circumstances around the Reiners’ highly publicized deaths are far from ordinary. The fact that addiction touched their family is not.

Nearly 1 in 5 people in the U.S. has personally experienced addiction, a 2023 poll from the Kaiser Family Foundation found.

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Two-thirds of Americans have a family member with the disease, a proportion that is similar across rural, urban and suburban dwellers, and across Black, Latino and white respondents.

“Substance use disorders, addiction, do not discriminate,” Jones said. “It affects everyone from the highest of the high [socioeconomic status] to people that are experiencing homelessness on Skid Row. … There is no solution that can be bought.”

During interviews for the 2015 film “Becoming Charlie,” a semi-autobiographical film directed by Rob Reiner and co-written by Nick Reiner, the family told journalists that Nick, then in his early 20s, had been to rehab an estimated 18 times since his early teens. Nick Reiner has also spoken publicly about his use of heroin as a teenager.

Such cycles of rehab and relapse are common, experts said. One 2019 study found that it took an average of five recovery attempts to effectively stop using and maintain sobriety, though the authors noted that many respondents reported 10 or more attempts.

Many families empty their savings in search of a cure, Feinstein said. Even those with abundant resources often end up in a similarly despairing cycle.

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“Unfortunately, the system that is set up to treat people is not addressing the complexity or the intensity of the illness, and in most cases, it’s very hard to find effective evidence-based treatment,” Feinstein said. “No matter how much money you have, it doesn’t guarantee a better outcome.”

Addiction is a complex disorder with intermingled roots in genetics, biology and environmental triggers.

Repeated drug use, particularly in adolescence and early adulthood when the brain is still developing, physically alters the circuitry that governs reward and motivation.

On top of that, co-occurring mental health conditions, traumas and other factors mean that no two cases of substance abuse disorders are exactly the same.

There are not enough quality rehabilitation programs to begin with, experts said, and even an effective program that one patient responds to successfully may not work at all for someone else.

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“There is always the risk of relapse. That can be hard to process,” Greg said.

Families Anonymous counsels members to accept the “Three Cs” of a loved one’s addiction, Greg said: you didn’t cause it, you can’t cure it and you can’t control it.

“Good, loving families, people that care, deal with this problem just as much,” he said. “This is just so common out there, but people don’t really talk about it. Especially parents, for fear of being judged.”

After the killings, a family friend told The Times that they had “never known a family so dedicated to a child” as Rob and Michele Reiner, and that the couple “did everything for Nick. Every treatment program, therapy sessions and put aside their lives to save Nick’s repeatedly.”

But the painful fact is that devotion alone cannot cure a complex, chronic disease.

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“If you could love someone into sobriety, into recovery, into remission from their psychiatric issues, then we’d have a lot fewer clients here,” Jones said. “Unfortunately, love isn’t enough. It’s certainly a part of the solution, but it isn’t enough.”

If you or someone you know is experiencing a mental health crisis, help is available. Call 988 to connect to trained mental health counselors or text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.

Jake Reiner, Nick Reiner, Romy Reiner, Michele Singer Reiner and Rob Reiner attend Four Sixes Ranch Steakhouse’s pop-up grand opening at Wynn Las Vegas on Sept. 14, 2024.

(Denise Truscello / Getty Images for Wynn Las Vegas)

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The Housemaid

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The Housemaid

Too good to be true? Yep, that’s just what Millie’s new job as a housemaid is—and everyone in the audience knows it. What they might not expect, though, is the amount of nudity, profanity and blood The Housemaid comes with. And this content can’t be scrubbed away.

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