400 Words on: Tyler Perry’s Duplicity (2025)

or, “Waiting-Out Your Shift on the Toilet”:
A spoiler-free mini movie review.


1 out of 5

“Life is like an onion. Peel it back one layer at a time. Sometimes you weep.”

– Carl Sandberg

Recently, I went to a boring live drama where the players hardly moved – not even to monologue. In media, you shouldn’t have this problem because editors exist, where theatre fills that gap with the ‘live’ experience.

Jack-of-all-trades Tyler Perry’s new Prime collaboration “Duplicity”, however, is so top-loaded with actors in closed rooms retching phlegmatic dialogue, that Perry seems overwhelmed by his own cinematic mediocrity, and reverts back to his theatrical training. This results in stagers either sitting or standing across from one-another completely stationary, endlessly overstating their positions. It’s the filmmaking equivalent of waiting-out the end of your shift on the toilet.

[cont’d]

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thank you, Cardinal Richelieu

to whom we owe our fabulous screws

A poem.


the smitten
are only going to give you
as much grace as they can.
nothing waits forever


unless you work across from them

often turning one-hundred-and-eighty-degrees
in their direction
not for them –
it’s just part of your job description;



accidentally break
at the same time as them,
back-and-forth, braiding one another between
the sink and the toaster oven.

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400 Words on: Caligula (1979)

A spoiler-free mini movie review.


NO STAR RATING

The following post contains language
that could be triggering.

If one tries to explain why they consider the ‘fall of the Roman Empire’ docudrama Caligula great, civilians won’t get it.

Then you show it to them, and not only will they still not get it, they are unlikely to speak with you again. Caligula is an ugly movie, in technique; aesthetic; and content combined (this is the Theatrical Version I’m talking about, presently).

[cont’d]

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Dub’s Take: It Ends With Us (2024)

A spoiler-free mini movie review.


1 out of 5

You are forgiven for thinking “It Ends With Us” (aka. IEWU) is an ‘important’ movie, what with all the rigamarole behind its scenes. Trust me to tell you like it is, and IEWU did not end soon enough.

Lion’s share of blame is awarded to director/star Justin Baldoni, and not for the same reasons as his now-mangled future career prospects: long passages are staged & shot flatly like community theatre, with a never-ending rooftop meet-cute beheading the pacing right out of the gate; line-readings recall Hulu’s “The Handmaid’s Tale,” built on plot reaction rather than action; and Blake Lively’s Lily Bloom is fitted into tight, sexy tops that certainly made me envious of her current beau Ryan Reynolds, but are a betrayal of the self-taught defences of her character on-screen.

Original author Colleen Hoover ain’t no saint neither, and IEWU’s greatest fault is its disingenuous take on domestic violence. These handful of scenes are told with an unreliable presentation, tricking the audience into wondering whether Baldoni’s toxic neurosurgeon Ryle isn’t such a bad guy… until the contemptuous slow-motion reveal in the third-act spells it out.

It’s hard to say whether IEWU would have benefitted from an unflinching eye opposed to the choppy PG-13 implications we got here instead. What’s crystal-clear, however, is both leads’ reverse dramatic-irony that would be overanalyzed in literary form (such as Ryle’s shoulder-shrugging in the climax) lands here with a thud because of the meandering cinematic handling of the core narrative. The hot & heavy courting Lily puts Ryle through is starkly contrasted to how easily triggered she is, despite his adamance of love, and neither’s behaviour is ever studied beyond its broad strokes.

This isn’t to fault Lively’s performance, which is about as good as the material will allow, but I only ever had empathy for Amy Morton’s underused Mama Bloom. Certain people in life continue to make poor choices despite being compulsively aware of the signs, but a romance centered around these otherwise well-educated, well-intentioned one-percenters who all run their own businesses is perhaps the wrong podium.

It Ends With Us is an overlong message movie that fails in its amateur, sanitized telling. Only you, the potential viewer, know whether you would have paid full price to see this in theatres. At what point can I walk out and still get a refund?


Poster sourced from impawards.com. What do you think? Keeping up with all the drama, I was expecting an oral sex scene after Lively’s lawsuit mentioned that Baldoni wanted more, only to find there wasn’t any simulated sex in the movie at all. Are you telling me that Justin wanted an oral sex scene just because? Does its feuding leads impact your impressions of the film itself? Are you like me, and the drama is the reason you decided to watch it in the first place? Let us know in the comments below!

the Freshii at the mall closed

or, do we even know what we want

A poem.


they exit the saloon doors
one after another like a
fashion show,
or open functions on an AS400

or ants, out of woodwork
marching vertically along split trenches of bark,
their petite outlines shadowed by the street lights
of the car park.
i don’t know how much time has passed.
i wasn’t keeping track, and
i’m almost hooting ash.


when do i have to go back?
so it looks more like i’m smoking

and less like a jackass?
it’s a great excuse, to be so old-fashioned
you’d rather you lived in an era you were able
than every five minutes having to excuse yourself
from the table.

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