Sunday, February 18, 2018

A heads-up: TrustMovies is taking a short vacation....

...due to few-days visit from his daughter and grandchildren.

He'll be back in action mid-week. 

Till then, see a movie and enjoy yourself!

Friday, February 16, 2018

Two new series come to Netflix streaming: ALTERED CARBON and BABYLON BERLIN

The future (a little-too Blade Runner-ish in style: see below) and the past (Germany shortly before its pre-WWII fascist takeover) are the subjects of two new continuing series via Netflix streaming. ALTERED CARBON imagines our world (along with some off-worlds) a very long time time from now, when the very wealthy -- gheesh, them again! -- can live forever, while the rest of us are mostly slave labor who work, work, work and then die. The big difference here is that everyone's "life force" is now embedded in a small item called a "stack,"  which gets implanted somewhere behind one's neck. So, no matter what happens to your body, if your stack remains OK, you simply change into a new "sleeve" -- the term for whatever body is currently available (at a price, of course) for use by someone whose old one is damaged beyond repair.

This odd new kind of body-hopping makes for some very amusing fun at times -- the best of all being a Thanksgiving dinner at the home of an Hispanic family whose grandmother has recently departed. But the family -- most of them, anyway -- want their abuela back for the holiday and so her stack is implanted into the only available sleeve, that of a recently departed criminal who is bald, portly and mustachioed. The ensuing conversation is one of the most amusing things I've seen all year, and when the subject turns to religion, faith, and this whole idea of "eternal life," the series suddenly also becomes quite intelligent and insightful.

The main plot has to do with a murder mystery involving one of those very rich (James Purefoy, above -- and, yes, he's full-frontal again and as big and beautiful as you'll have remembered from Rome) -- which needs to be solved by the series' hero (a very sexy and buffed Joel Kinnaman, below).

Unfortunately this main plot keeps getting derailed far too often and quite unnecessarily via violent action scenes that become tiresome almost immediately.  These, of course, are why most of our younger and increasingly stupid crowd tunes into a shows like this, but eventually the action/violence has more of a numbing effect than anything else because it keeps detracting from rather than adding to the interest of the plot.

One subsidiary character that proves his worth is the Edgar Allen Poe-like artificial intelligence creation (played by Chris Conner, shown below) who is both the hotelier and the hotel (called The Raven) which he manages. (AI, it seems, has come a very long way over the ensuing eons). Mr. Connor proves lots of witty fun, and the series perks a bit whenever he appears.

Altered Carbon is the creation of a writer/producer named Laeta Kalogridis, and she has hit a number of ever-current hot buttons with her new series -- mostly those that push the sex and violence envelopes. I've reached the middle of episode seven at this point (there are ten nearly hour-long ones in the first season), but I don't think I'll continue. Another two and a half hours is more than I want to spend in a supposedly brand new world that turns out to be too much of the same-old same-old, even as it keeps losing rather than gaining interest because of those endless action sequences, as well as from simply tossing too many characters at us, both from the past and the present (even if they turn out to be incarnations of the same people). Tighter would be better, Ms Kaolgridis. But then, of course, we might not have enough episodes to fill up an entire series.


BABYLON BERLIN proves that the past can be every bit as fascinating as some imagined future -- if you rely on interesting characters and depth of characterization rather than a bunch of tiresome action scenes. Created by a trio of smart German filmmakers -- Henk Handloegten, Achim von Borries and Tom Tykwer (that last name best-known over here for Run Lola Run, Perfume, Cloud Atlas, 3 as well as the late and somewhat lamented Netflix series Sense8) -- this German cable presentation was co-directed by all three men and co-adapted (from the novel by Volker Kutscher) by them, too.

Set in the late 1920s in Germany's new Weimar Republic, which was already in major trouble, what with severe inflation and unemployment adding to the post-WWI problems of the state. With the right wing already railing against the rise of Communism, and various divisions of it -- Stalinists, Trotskyites and Leninsts -- jockeying for power, the term "hot bed" doesn't begin to describe the Berlin of this time.

Into all this comes our maybe hero Gereon Rath (Volker Bruch, above), a police commissioner from Cologne, ostensibly to help with a local investigation but with an agenda of his own, of which we will eventually learn. Our heroine Charlotte Ritter (Liv Lisa Fries, below) is doing all she can to keep her family out of complete poverty, which includes a new day job helping the police department and night work as a prostitute.

There's a high-jacked freight train, a printing press run by the Trotsky faction, a massacre by the Stalinists, an underground pornography ring, and a femme fatale blond who dons a number of disguises along the way. How these plots and characters broaden, deepen and coalesce provide Babylon Berlin's engine, which runs surprisingly smoothly and quickly towards its who-knows-what destination.

Performances are first-rate, from leads down to the very small roles, and the look of the series is simply terrific. Every scene proves an absolute pleasure to view and it all looks real, too -- alternately ritzy and outhouse-dirty. I've never been to Germany, let alone the Germany of the 1920s, but all this sure strikes me as real, enticing and revolting

Part noir, part would-be history, part adventure, love story, and lots more, the series is a surprise in so many ways. Tykwer and his cohorts should be very, very proud. As of now TrustMovies is only into part seven of the 13 episodes in season one. But unlike Altered Carbon, this is one series I plan to finish. Both are available now in the U.S. (and probably elsewhere, too) via Netflix streaming.

Thursday, February 15, 2018

Catching up with Steven Spielberg's THE POST -- yet another of last year's "bests"

Why did it take TrustMovies so long to finally go see THE POST -- the Steven Spielberg-directed and Liz Hannah/Josh Singer-written movie about the release of the Pentagon Papers and the ensuing freedom-of-press fight between the then-current Nixon administration and The New York Times and The Washington Post? I'm not sure, but when I finally got around to it yesterday at a local Boca Raton theater, I was riveted from first scene to last. This is mainstream movie-making at its very best. 

Some study (if not any actual memory) of history will be a big help to younger audiences viewing the film, but what is most impressive -- outside of Mr,. Spielberg's crack direction which, thankfully, goes over the top only once (the unnecessary soaring of John Williams' music at the film's climax) -- is its incredibly adept screenplay by Ms Hannah (above, left) and Mr. Singer (above, right) that compresses events so well that we follow the entire story easily and delightedly, but also with unexpected trepidation -- due to what is going on in our country today.

Even if many of us will remember the outcome of what happened here, we certainly did not know the details -- nor could we imagine how well and how fully the screenwriters, director and magnificent cast bring these all to fine life.

Not only do Singer and Hannah get the big details right, they manage to insert some lovely small ones, too (that lemonade stand!), that bring the movie additional heft, while providing just the right touch of humor and savvy. Leaving this pair out of the Oscar nominees seems especially stupid. Ditto the absence of Mr. Spielberg in the Best Director category.

And, while we're on the subject: Tom Hanks' omission as Best Actor, too. His performance here as Ben Bradlee (above, right) is as good as he has ever given us, letting us see sides of this actor that have so far been kept under wraps. Meryl Streep's performance as Katherine Graham (above, left) is as on-the-mark as this actress always manages, and she once again garners another nomination to add to her many.

What may surprise you most among the crack cast assembled here, is how good (and how extraordinarily different from what they so often are asked to do) are actors like Bruce Greenwood (above, right, playing Robert McNamara) and Bob Odenkirk (as Ben Bagdikian).

Aside from the skill with which the movie has been made, what makes it so important just now is the chance to see and understand what freedom of the press means to America and why we are in danger of losing it to our present Republican-led executive, legislative and judicial branches of government. What The Pentagon Papers proved was how several administrations -- Democratic and Republican -- had consistently lied to the American people about the war that was currently being waged. Now we are seeing and hearing these kinds of lies again, along with those concerning almost everything else. The change that has now occurred is that too many Americans can no longer differentiate a fact from a fib. Suddenly, just about anything can be labeled "fake news."

Put The Post on your must-see list, either now or once it hits home video. From 20th Century Fox and running just under two hours, the movie, which appears to have pretty remarkable "legs," is undoubtedly still playing in a theater near you. Click here to find those closest to your particular neighborhood.

Wednesday, February 14, 2018

1945: Ferenc Török's elegant, bleak view of post-WWII Hungary opens in South Florida

We've seen a lot of Holocaust horror, along with post-Holocaust family films and secrets-and-lies investigations about coming to terms with it all. What we've explored least of, perhaps, is tales of Jewish homes and property taken over by non-Jews after the various round-ups and deportations that took place in Nazi-conquered countries throughout Europe. (We got just a taste of this in Sarah's Key and certain other films.) This loss of property, though certainly not as important as the lives lost, is at the heart of the new Hungarian film 1945.

As co-written (with Gábor T. Szántó) and directed by Ferenc Török, shown at right, 1945 takes place in that particular year, after World War II had ended and, for the first time since the deportation,  Jews -- just two of them, actually: an old man and a young one (shown below) -- arrive by train to this sleepy little Hungarian town. Why have they come, and what do they want?

From the outset, it is clear that, however quietly and subtly the townspeople take this all in, they are, to a man and woman, hugely disturbed by the Jews' appearance. Yet it is also clear that they've been aware that, someday down  the road, this would most likely happen.

As the movie progresses, and the two Jews make their way slowly toward the town, the townspeople -- from the powerful town clerk (Péter Rudolf, below, left) down to the town drunk and some lowly housewives -- fret and finger-point, give in to guilt, hide their ill-gotten valuables and/or try to decide their best course of action.

Russia is already controlling Hungary, though the iron hand of its insane Communist dictator has not yet made its power fully felt, yet it is clear that the citizens are already taking sides. And today happens also to mark the wedding of the town clerk's son (Bence Tasnádi, above, right) to a pretty local girl (Dóra Sztarenki, below, right), of whom the groom's mom (Eszter Nagy-Kálózy, below, left) heartily disapproves -- for reasons that will soon (and then later, too) become clear.

The journey toward town of the Jews, together with all the tsuris this causes the townspeople and even their priest, brings out the rather shocking inhumanity of man toward his fellow men, while setting the stage for a showdown of sorts.

And yet, throughout, 1945 is resolutely un-melodramatic. as it unfolds slowly and gracefully, if consistently fraught with fear and anguish. The elegant cinematography (by Elemér Ragályi) is often stunningly beautiful, with its final image as Holocaust-redolent as you could wish. I admit that the film moves slowly at times, and it sometimes scores its points a bit too obviously, as well.

Overall, though, 1945 proves a strong enough indictment of Hungary (and also of nearly all the Nazi-conquered countries) in its treatment of the Jews to warrant a viewing and the accompanying discussion that will surely arise.

From Menemsha Films and running 91 minutes, the movie opens here in South Florida on February 16 -- in Miami at the AMC Aventura 24, in Fort Lauderdale at The Classic Gateway Theatre, in Tamarac at The Last Picture Show, in Boca Raton at the Living Room Theaters and the Regal Shadowood, and at the Movies of Delray and Movies of Lake Worth.

Personal appearance!  
Moviegoers can meet the director of 1945, Ferenc Török, on
Friday, Feb. 16, at Movies of Delray at 12:30pm, 3:00pm, 5:20pm; 
and at The Classic Gateway Theater, 7:20pm and 9:30pm. 
On Saturday, February 17, he will appear at the Movies of Delray 
at 12:30pm, 3:00pm, and 5:20pm, at the Regal Shadowood at 4:50pm 
and at Tamarac's The Last Picture Show at  7:10pm. 
On Sunday, February 18, look for him at the AMC Aventura 24 at 1:45pm 
and at the Living Room Theaters in Boca Raton at 4:30pm and 6:50pm. 
For more information readers can visit  

Tuesday, February 13, 2018

François Ozon is back with DOUBLE LOVER, a box of yummy poison candy for Valentine's Day

When, at the end of his career, the work of French filmmaker François Ozon, gets a going-over by movie buffs, I suspect there will be some gnashing of teeth regarding exactly what kind of films for which he was most noted. Were these the campy comedies (Sitcom, 8 Women) or the oddball/otherworldly (Ricky)? The dark and ugly (See the Sea, Criminal Lovers) or the period pieces (Angel, Potiche and Frantz), each as hugely different from the other two as possible? One thing nearly all his films have in common to one degree or other is Ozon's peculiar sense of camp, which infuses even his most serious pieces.

Ozon's kind of camp (the filmmaker is pictured at left), TrustMovies feels, transcends the merely gay and over-the-top stuff we're so used to seeing.

There is a sense of playfulness and fun to even his darkest work that keeps reminding us that, yes, this is just a movie, but still, movies can tell us special things and in a manner than almost nothing else can.

This makes for an odd combination, to say the least, keeping us often off-balance. But when Ozon makes it work, as in his best films -- In the House, Time to Leave and Under the Sand  -- it opens our eyes, mind and heart in a way that can only be described as Ozonian.

In his latest endeavor, DOUBLE LOVER, the filmmaker has adapted a novel by Joyce Carol Oates, Lives of the Twins, and made yet another movie about the effects of the convergence of psychology, trauma and sexuality on a human being. Similar in some ways to another of his recent films, The New Girlfriend, the movie is not among his best, but, as usual with Ozon, it is so much fun to view visually as it bumps along, you will not, I think, be at all bored. It helps, too, that he is using three very attractive and charismatic actors as his leads: Jérémie Renier and Marine Vacth (above, left and right), along with a still-gorgeous Jacqueline Bisset (below, left).

To talk at all about the plot here will mean that I am "lying" to you because viewers cannot always be sure that what they're seeing and hearing is even true. So let's just leave it that we're dealing with a quite beautiful young woman (Ms Vacth), who has some stomach problems that appear to be psychosomatic and so her physician recommends she consult a psychiatrist (M. Renier) to help solve them.

It is such a pleasure to view these two very attractive performers, whom we see here looking their absolute best, whether clothed or naked (imagine a therapy session like the one below!), that the increasingly convoluted plot -- with enough holes to remind you of a very large chunk of swiss cheese -- keeps threatening to spin completely out of control.

Yes, twins are involved here, which means we get a double dose of the glorious Ms. Renier, and if you're a cat lover, you'll get a couple of beautiful examples of this species, too. There's a nosy neighbor (Miriam Boyer), a gynecologist (Dominique Reymond) who seems oddly familiar later on in this movie, and finally Ms Bisset, who helps bring all the various puzzle pieces together.

Yeah, you'll probably find it a bunch of hooey, overall, but so cleverly put together is it, and so very beautiful is the lovely Ms Vacth from first scene to last (yes, Chekhov's gun makes its appearance, with the usual rule played out) that I suspect you'll have had a good enough time to make a viewing of Double Lover worthwhile.

The movie seems especially appropriate for Valentine's Day, given Ozon's sense of humor and his delight in offering us what one might see as a poisoned bon-bon wrapped up initially like a lovely dream that unfortunately proceeds into nightmare.

From Cohen Media Group, in French with English subtitles and running 107 minutes, Double Lover opens tomorrow, Wednesday, February 14, in New York City (at the Quad Cinema and AMC Empire 25), Los Angeles (at Laemmle's Playhouse 7 and Royal), San Francisco (at the Landmark Opera Plaza Cinema) and Philadelphia (at the Landmark Ritz East). Elsewhere? I would hope that the film will play in other venues around the country over the weeks/months to come, but I could find no link to any list of playdates.

Monday, February 12, 2018

Iran confidential! Ali Soozandeh's animated TEHRAN TABOO serves up his birth country's hypocrisy on a rotoscope platter

Whew -- better prepare yourself for things you will not have seen in any Asghar Farhadi film.

The new TEHRAN TABOO, combining gorgeously colored rotoscope animation with the sleaziest of subject matter, begins with a woman giving a cab driver a blow-job while her young son chews gum in the back seat. When the cab driver, mid-b/j, suddenly sees his daughter holding hands with her boyfriend as the young couple walks down the street, he throws a fit. And mom stops sucking just long enough to tell him what a hypocritical asshole he is. Yes, this certainly leaves Disney in the dust -- along with even Ralph Bakshi.

From oral-sex-while-driving, we proceed to the likes of a black-market operation to restore a woman's virginity, a judge of the Islamic Revolutionary Court who sets up that prostitute and her son in a very nice apartment, a loan officer in a bank who makes shady deals, a kind of Dubai sex trade offering Iranian virgins, abortions, whoring and lots more (or less, depending on your viewpoint).

The director and writer here, making his U.S. theatrical debut with this film, is Ali Soozandeh, shown at right, and -- if he lives through the death threats sure to arise in Arab countries because of the content of his film -- I would think that we'll be hearing from him again very soon.

It will come as little surprise that Mr. Soozandeh has been living in exile in Germany since he was 25 (he turns 48 this year), and though it has taken him awhile to give us this unusual film, TrustMovies would say it has been worth the wait. Although it may seen initially that the filmmaker is "piling it on a bit thick," it soon becomes clear that it is the stupid, nasty and beyond-the-pale hypocrisy of the Islamic state and its irredeemable patriarchy, especially where matters sexual are concerned, that Soozandeh has pilloried so very well.

All these events going on are connected through the handful of characters we meet and grow to understand if not love -- from the mute son of that prostitute (above, center) and the rather sweet young man (below, left) who (on ectasy) has taken the virginity of a girl he's only just met... that bank officer and his wife, mother and diabetic dad, all of whom begin acting as baby-sitters to the young boy (his mom has told them she works night at a local hospital) and even the sleazy judge himself (below, left), who handle divorces in his own inimitable manner.

As complicated, awful and perverse as life gets for these people, instead of blaming the individual, you will probably come to feel the strongest revulsion for the social/cultural/political set-up that has spawned the lives they lead.

As connections are made and the plot keeps unfurling into greater and more terrible circumstances,  most of what we've come to think we know and believe about these people is called into question. And if the black cat and its litter of kitten may initially strike you are a little too sentimental, wait a bit. Everything comes homes to roost here.

Watching this film and then thinking back to the more veiled and subtle work of that fine filmmaker Farhadi, you can better understand why so much of what he gives us must be tamped down to pass the censors. For something more "unvarnished," take a look at Tehran Taboo and be grateful that, for now at least (until the election cycle, perhaps), we here in the USA must only put up with those idiotic and venal Republicans and their unstable moron of a leader, Donald Trump.

From Kino Lorber, in Persian with English subtitles, and running 96 minutes, this unusual piece of animation has its U.S. theatrical premiere this coming Wednesday, February 14 (yes, it's a Valentine's Day delight), at New York City 's Film Forum before hitting another dozen or more cities around the country. To see all currently scheduled playdates and venues, click here and then scroll down.

Sunday, February 11, 2018

February's Sunday Corner With Lee Liberman: BIG LITTLE LIES

At an awards ceremony in late 1917, Nicole Kidman attracted some notice for her demonstrative kiss of co-star, Alexander Skarsgård, before she mounted the stage to accept her award. After watching Skarsgård play her sadistic spouse in BIG LITTLE LIES (BLL), this viewer enjoyed seeing Kidman differentiate in public between the abuser who suffocates her with violence and the actor who plays the part. (Skarsgård perfected this M. O. as a particularly memorable vampire in HBO’s True Blood, a much wider-ranging vehicle for his acting chops.)

This ingenious and surprisingly well-crafted, seven-episode series is many things: real estate, lifestyle, and violence porn plus a murder mystery. The NYT reviewer Mike Hale called it a “compendium of cliches about upper-middle-class angst.” But its slickly designed surface (often referenced by the automatic rise of a shade on a picture window exposing a gorgeous rolling expanse of ocean that begins each episode) is package gloss.

BLL carefully constructs the package beauty and then leaps beyond Desperate Housewives angst to seduce with absorbing drama.

 Adapter/screenwriter David E. Kelley (at left), director Jean-Marc Vallée, and cinematographer Yves Bélanger, play a neat trick: They dazzle the audience with drool-worthy excess and then slowly unspool everyday domestic miseries that blot out the beauty of sparkling sun, glinting waves, and glass-walled houses (as below, the home of Laura Dern’s character, Renata).

This creative threesome purposely shows that good writing, direction, and some breathtaking images can reduce the campy trademarks of TV melodrama to wallpaper in the face of a carefully-spun, compelling story. The tension between enviable lives and suffering over the minutiae of daily life seems to be the modus operandi here. (Are these folks so ill-tempered because their sense of entitlement has raised their expectations too high?) At any rate, the viewer is unwittingly drawn into these characters’s lives, ignoring their apartment-size kitchens and their ocean vistas to instead mindfully attend to the troubles they are muddling through.

The book on which the series is based was written by Liane Moriarty, an Australian, whose novel of suburban angst is domiciled in suburban Sydney. It was a NYTimes best seller, as have been other novels of hers. Kelley places Moriarty’s story in ocean-front Monterey, California.

The story involves five women, their six-year-old first graders, their spouses, therapists, teachers, nannies, neighbors, and the police. (Below, the kids -- from l: Ziggy, twins Josh and Max, Amabella, Skye, and Chloe.)

Celeste (Kidman) is a perfect beauty and accomplished lawyer who stays home with her twin boys at handsome husband Perry’s (Skarsgard) needy urgings. They are caught in a cycle of passionate sex that grows increasingly violent (that is, Celeste turns Perry’s violence into sex as a means of pretending their coupling is not abuse but over-heated love-making). Busy-body Madeline (Reese Witherspoon, shown at right, two photos above) is on her second marriage and has two daughters — cherubic little Chloe and teenager, Abigail, from her first marriage; her life is a bit dull but she diverts herself with community projects and friends whom she mother’s. She is best friend’s with Celeste but takes up with newcomer Jane (Shailene Woodley, below) who has just moved to Monterey and lives in a tiny bungalow where she sleeps in the living room, giving her sweet-natured boy, Ziggy, the bedroom. Jane has a secret that she eventually tells Madeline — her son is the result of a rape that actively haunts, leading Jane to keep a gun under her pillow.

Renata (Laura Dern) is a high strung Silicon Valley executive who rants that her professional success makes everyone hate her and rages even more that her little girl, Amabella, is rumored to being bullied by Ziggy at school and yet no one is calling him to account. Bonnie (Zoë Kravitz) is a peace-maker, a ‘fruits and nuts’ yoga instructor married to Madeline’s ex-husband, Nathan. Their daughter, Skye, is friends with Chloe, and Bonnie and Nathan strive to co-parent Nathan’s daughter Abigail from his marriage to Madeline (Bonnie and family below). The relationship between the two families is fraught, to say the least.

The focus rotates among the households dwelling on one or another bit of domestic angst, but it gradually sharpens its scrutiny on the violence between Celeste and Perry, in which a therapist intervenes with more than usual insistence to explicitly warn Celeste of real threat to her well-being from Perry’s escalating rages.

There are two Greek-like choruses to these doings. The chorus of police launch the first episode and recur intermittently right up to the closing image in the series, seeking to solve the murder and remaining suspicious of the characters (through binoculars) even after the case has been resolved. Police activity alternates with a second chorus of friends and neighbors who gossip about the main characters.

Despite the choruses’ intermittent reminders that we have a murder here, the viewer barely pays attention, distracted by the daily interactions among the couples and their children. Then -- in the most satisfying resolution of who, what, and why -- we discover who was bullying Anabella, who is dead and how it happened. Kelley pulls the plot strands together in a few short moments consisting mostly of exchanged looks among the women and one resolute gesture, proving that a who-done-it can resolve itself with a completely satisfying, surprising, yet believable conclusion.

The story here, despite deliberately misleading cues, has not been about a murder at all, but about the day in/day out interactions among the women based on loyalty and affection, mixed with daily irritations and mistrust. Witherspoon’s Madeline, for instance, is bossy and irritating (Elle Woods 20 years later), so much so it was touch and go whether I would survive the first episode, but as we come to know her in different circumstances, a sympathetic and generous woman emerges from the package gloss. Laura Dern’s character, Renata, is even more shrill and unpleasant but she softens surprisingly when she gets new facts. Celeste emerges from semi-self-delusion to take control of her life. The group of women come together not as a group of victims or belligerents, but in a moment of collective understanding and mutual support, validating Hillary Clinton’s adage: It takes a village. 

Perhaps because the resolution was so swift and satisfying, talk of a second series has been marked with ambivalence — this gem can’t be topped; best let it stand on its own. However, screenwriter Kelley sought and received direction from Liane Moriarty in the form of a novella that gave him some guidance about where the characters are headed, and he has already completed a second set of episodes. Kidman, Witherspoon, Dern, Woodley, and Kravitz have reportedly already signed on or are in negotiations. Meryl Streep will join the cast as Perry’s mother.

I admit to having resisted watching this series having been there/done that with the contemporary suburban melodrama thing. But its star-power and award-winnings led me to want to find out what made it land in Time’s top tv shows of 2017. It turns out to have justified itself as a well-conceived enough puzzle, dressed up as suburban melodrama, to intrigue the average soap-ignorer. Nevertheless, I'm not sure I care enough for these people to watch another seven episodes about them, even if I sincerely admire Kelley’s previous work and this impactful and clever piece of plot-making.

Big Little Lies streams on HBO, with Season 2 due to air in 2019.

The above post was written by 
our monthly correspondent, Lee Liberman.