No Escape / **½ (R)

Jack Dwyer: Owen Wilson

Annie Dwyer: Lake Bell

Lucy Dwyer: Sterling Jerins

Beeze Dwyer: Claire Geare

Hammond: Pierce Brosnan

Kenny Roger: Sahajak Boonthanakit

The Weinstein Company presents a movie directed by John Erick Dowdle. Written by John Erick Dowdle & Drew Dowdle. Running time: 103 min. Rated R (for strong violence including a sexual assault, and for language).

“No Escape” is somewhat of an anomaly in today’s movie market. It’s a throwback to the films of the 70s in the way it doesn’t adhere to the current politics about making movies. It’s an original story, a thriller that doesn’t draw from a “true story” about actual people who live through an actual harrowing world event. It involves a fairly big name Hollywood actor working well outside of the genre stereotypes and the niche he’s built for himself. And, it’s the first foray outside the horror genre by its writing/directing team, the Brothers Dowdle.

That’s not to say it’s above pandering to its audience with Hollywood cliché. In fact, the screenplay is the major drawback of this otherwise fairly well-made film. It doesn’t have the grit and grime of a 70s screenplay, even though it should. It handles its audience with kid gloves and its characters as archetypes, missing out on that real-life feel this story deserves. Yet, it’s still somewhat refreshing to see a movie that isn’t rooted in some sort of comic book or well-established film franchise after the Summer of the Sequel/Reboot that we all just endured. I wasn’t all that displeased with most of the franchise entries this summer, but there’s something of a relief that comes with watching a film that has all of its story and mythology contained within its individual running time.

Jurassic World / *** (PG-13)

Owen: Chris Pratt

Claire: Bryce Dallas Howard

Gray: Ty Simpkins

Zach: Nick Robinson

Hoskins: Vincent D’Onofrio

Simon Masrani: Irrfan Khan

Lowery: Jake Johnson

Vivian: Lauren Lapkus

Barry: Omar Sy

Dr. Henry Wu: B.D. Wong

Universal Pictures presents a film directed by Colin Trevorrow. Written by Rick Jaffa & Amanda Silver and Colin Trevorrow & Derek Connelly, Based on concepts created by Michael Crichton. Running time: 124 min. Rated PG-13 (for intense sequences of science fiction violence and peril).

The whole concept behind Hollywood sequel making is counter to the notion of criticism. While a critic tries to guide and educate an audience on what will entertain and enlighten them, the purpose of a sequel is generally to make money off of fulfilling an expectation of the exact same approach to the exact same effect as the previous—or best—film in a franchise. So it is left to the critic to merely report whether the filmmakers have achieved a repeated effect or have failed. When you get a tent pole film like “Jurassic Park” that is filled with spectacle and thoughts, it becomes problematic for the studios, which inexplicably feel the need to reproduce the spectacle but rarely the insight.

Spectacle minus the insight was certainly the problem with the previous two movies in the “Jurassic” franchise. In fact, “The Lost World: Jurassic Park” and “Jurassic Park III” were so lacking in any sort of science fiction themes and insight that the latest in the series—the long-awaited reboot “Jurassic World”—totally ignores the existence of the second and third films. In doing so it returns the story to the roots of its science fiction foundation. Once again the characters are dealing with the themes of the original film about the dangers of playing God with science, the impossibility of containing nature and even some new ideas about the need of some humans to push every scientific development toward weaponization.

Straight Outta Compton / *** (R)

O’Shea “Ice-Cube” Jackson: O’Shea Jackson, Jr.

Andre “Dr. Dre” Young: Corey Hawkins

Eric “Eazy-E” Wright: Jason Mitchell

Antoine “DJ Yella” Carraby: Neil Brown, Jr.

Lorenzo “MC Ren” Patterson: Aldis Hodge

Tracy “The D.O.C.” Curry: Marion Yates, Jr.

Suge Knight: R. Marcos Taylor

Tomica: Carra Patterson

Kim: Alexandra Shipp

Jerry Heller: Paul Giamatti

Universal Pictures presents a film directed by F. Gary Gray. Written by Jonathan Herman and Andrea Berloff and S. Leigh Savidge & Alan Wenkus. Running time: 147 min. Rated R (for language throughout, strong sexuality/nudity, violence and drug use).

Despite the conservative political push of the 80’s lead by the Reagan White House, that decade was a particularly progressive time in which to grow up. As a child of the 80’s, I was heavily influenced by pop culture and heavily invested in the politics centered around it, more so than I even realized at the time. Tipper Gore’s heralding of the Parental Advisory label that was adopted by the recording industry seemed a tumultuous event in the eyes of a wide-eyed, music-obsessed prepubescent. Later, the banning of 2 Live Crew’s controversial “As Nasty As They Wanna Be” album was a neon sign of the times that most certainly were a-changin’ despite the wishes and desires of the conservative right. In the middle of all of this, heading the charge was a rap group from Compton, California that managed to bridge the gap between many of our diverse cultures in this country by introducing, not just the black community to gangsta rap, but the entire country with their debut album “Straight Outta Compton”.

Sadly, almost 30 years after N.W.A’s seminal album began the tide of change by exposing to the world what much of the black experience in America was like, we still find ourselves struggling with the same issues of misunderstanding the racial divide and dealing with the same issues of racism that were at the heart of what inspired those musicians at that time. Perhaps it is fitting then that now is the time that we finally get to see a movie chronicling the struggles of those musicians in a film that shares its name with their debut album. “Straight Outta Compton” brings to fruition many years of work by the two most successful members of that group, Dr. Dre and Ice Cube, to bring their story to the silver screen. As such, it doesn’t seem the harshest examination by the men it is mostly about, but it is an intriguing and entertaining document on one of the most influential bands in modern music.

Spy / ***½ (R)

Susan Cooper: Melissa McCarthy

Rayna Boyanov: Rose Byrne

Rick Ford: Jason Statham

Nancy B. Artingstall: Miranda Hart

Sergio De Luca: Bobby Cannavale

Aldo: Peter Serafinowicz

Karen Walker: Morena Baccarin

Elaine Crocker: Allison Janney

Bradley Fine: Jude Law

20^th Century Fox presents a film written and directed by Paul Feig. Running time: 120 min. Rated R (for language throughout, violence, and some sexual content include brief graphic nudity).

Daniel Craig will have one more movie as James Bond left on his contract after the new Bond film “Spectre” is released this fall. After Bond 25, should Craig or the Bond producers decide to go in different directions, it will be time once again to consider a new Bond. Jude Law might very well be in the running, as I believe he was when Craig was cast in the role. He’s handsome, charming, has a dreamy smile, and yet he can be deftly serious and people are willing to let it slide when he uses a woman or two to get what he wants. These are all traits of his character, Bradley Fine, in the new movie “Spy”. The catch is that although Fine is a successful spy for the CIA, he is not the spy of which the title refers.

No, comedic character actress Melissa McCarthy plays the spy of the film’s title. You see the movie is a send up of a sort of spy flicks like the James Bond series. Even more so the movie is an overt criticism of the ideology and clichés of the spy genre and of Hollywood in general. McCarthy is plump and short and funny and everything that a serious action movie heroine is not. And yet, considering all of that, I would hesitate to call “Spy” a spoof of the super spy genre. The opening credit sequence and song could very well pass for an actual James Bond credit sequence. Director Paul Feig and McCarthy approach the movie with a sincerity that would make it an almost plausible spy action/comedy thriller if it weren’t so openly criticizing its own inspirations.

San Andreas / *** (PG-13)

Ray: Dwayne Johnson

Emma: Carla Gugino

Blake: Alexandra Daddario

Lawrence: Paul Giamatti

Ben: Hugo Johnstone-Burt

Serena: Archie Panjabi

Ollie: Art Parkinson

Daniel: Ioan Gruffud

Warner Bros. Pictures presents a film directed by Brad Peyton. Written by Carlton Cuse and Andre Fabrizio & Jeremy Passmore. Running time: 114 min. Rated PG-13 (for intense disaster action and mayhem throughout, and brief strong language).

The disaster flick is a cinematic summer pastime that goes back even further than Spielberg’s supposed creation of the summer blockbuster with his movie “Jaws”. In fact, the 70s were known for a large number of Hollywood disaster pictures. We love disaster flicks. They’re usually bloated, overblown excuses for ridiculous action sequences populated by too many stars—including the ones that have been nominated for Best Picture Oscars—but we can’t stay away from them.

It’s been a few years since the last big budget disaster flick. No, “Sharknado” doesn’t count. I’m talking about theatrical releases and big budgets here. Roland Emmerich ruled the modern disaster flick with movies like “Independence Day” and “The Day After Tomorrow”, but he left a hole when he submitted his sworn last disaster flick “2012”, depicting the supposed end of the world predicted by the end of the Mayan calendar.  Director Brad Peyton (“Journey 2: Mysterious Island”) has filled that hole by placing a big giant hole in the middle of California in the new film “San Andreas”.

Pitch Perfect 2 / *** (PG-13)

Beca: Anna Kendrick

Fat Amy: Rebel Wilson

Emily: Hailee Steinfeld

Chloe: Brittany Snow

Jesse: Skylar Astin

Bumper: Adam DeVine

Kommissar: Birgitte Hjort Sørensen

Pieter Krämer: Flula Borg

John: John Michael Higgins

Gail: Elizabeth Banks

Universal Pictures presents a film directed by Elizabeth Banks. Written by Kay Cannon. Running time: 115 min. Rated PG-13 (for innuendo and language).

So when “Pitch Perfect” was released in theaters in 2012, I’m guessing I wasn’t alone in thinking, “Yeah, a movie about a cappella singing competitions? I’ll catch it at home if it gets good reviews.” The movie only made a little over $5 million on its opening weekend. Not exactly breaking the box office. Then people started talking about it, and word of mouth was that it was worth the admission price. By the end of the year it had netted over $68 million at the U.S. box office and was a huge hit on home video formats. A $5 million opening weekend isn’t supposed to do that.

With its snappy dialogue, great musical numbers and the introduction of Rebel Wilson as a fresh face in comedy, a “Pitch Perfect” sequel became inevitable. So here it is three years later, the girls who make up the musical group The Bellas are three years older, and the audience gets pretty much the same treatment for their encore. That’s what we’re paying for, so that isn’t a complaint. As a critic, it leaves little to discuss beyond the plot, but I enjoyed myself, so I’ll give it another whirl too.

Poltergeist / ** (PG-13)

Eric Bowen: Sam Rockwell

Amy Bowen: Rosemarie DeWitt

Kendra Bowen: Saxon Sharbino

Griffin Bowen: Kyle Catlett

Madison Bowen: Kennedi Clements

Carrigan Burke: Jared Harris

Dr. Brooke Powell: Jane Adams

Boyd: Nicholas Braun

Sophie: Susan Heyward

20^th Century Fox and MGM present a film directed by Gil Kenan. Written by David Lindsay-Abaire. Based on the 1982 screenplay by Steven Spielberg. Running time: 93 min. Rated PG-13 (for intense frightening images, brief suggestive material, and some language).

There are some who are calling the present period in cinematic history the Golden Age of Independent Horror. It is true that there have been a good deal of innovative horror films released over the past decade. We’ve seen the rise of Spanish and Korean horror masters, like Guillermo del Toro and Joon-ho Bong. “Saw” changed the horror landscape forever. The first “Paranormal Activity” was original and genuinely frightening. And even as recently as this year we’ve seen innovative horror films like “It Follows”. Perhaps, however, horror directors are getting a little full of themselves and are forgetting the basics of filmmaking as they apply to horror.

Mad Max: Fury Road / **** (R)

Max Rockatansky: Tom Hardy

Imperator Furiosa: Charlize Theron

Nux: Nicholas Hoult

Immortan Joe: Hugh Keays-Byrne

Slit: Josh Helman

Rictus Erectus: Nathan Jones

Toast the Knowing: Zoë Kravitz

The Splendid Angharad: Rosie Huntington-Whiteley

Warner Bros. Pictures presents a film directed by George Miller. Written by Miller and Brendan McCarthy and Nico Lathouris. Running time: 120 min. Rated R (for intense sequences of violence throughout, and for disturbing images).

They say it is a fine line between genius and madness. When I was in college, we had a professor that might’ve proved this adage. He was a brilliant teacher and director known for sometimes spectacular behavior to get what he wanted out of his casts. As a teacher he loved to ask his students each Monday which movies we had wasted our money that weekend. He chortled at the latest “artistic” cinema we’d consumed as some sort of deep commentary on society, but… get him talking about George Miller’s post-apocalyptic adventure “The Road Warrior” and you’d hear him extemporize about the genius of modern cinema.

Avengers: Age of Ultron / *** (PG-13)

Tony Stark/Iron Man: Robert Downey, Jr.

Thor: Chris Hemsworth

Steve Rogers/Captain America: Chris Evans

Bruce Banner/Hulk: Mark Ruffalo

Natasha Romanoff/Black Widow: Scarlett Johansson

Clint Barton/Hawkeye: Jeremy Renner

Pietro Maximoff/Quicksilver: Aaron Taylor-Johnson

Wanda Maximoff/Scarlet Witch: Elizabeth Olsen

Ultron (voice): James Spader

J.A.R.V.I.S./Vision: Paul Bettany

Nick Fury: Samuel L. Jackson

Walt Disney and Marvel Studios present a film written & directed by Joss Whedon. Based on the Marvel Comis characters created by Stan Lee & Jack Kirby. Running time: 141 min. Rated PG-13 (for intense sequences of sci-fi action, violence and destruction, and for some suggestive comments).

POW! KRACKOOOM! KCHOW! BAMM!

These words typically associated with comic books could easily fill in for the sound effects in the opening sequence of “Avengers: Age of Ultron”, the second film in the “Avengers” franchise and eleventh overall in the Marvel Cinematic Universe. In fact, these and similar words could fill the soundtrack of almost the entire nearly 2 ½ hour running time of the movie. It is wall to wall to ceiling to floor action. It even has a little bit of the science fiction themes and soap operatic elements that sold so many of the children of the 80s on comic book culture.

For those who are doing their best to consume everything MCU they possibly can, the plot picks up the moment where this past week’s TV episode of “Marvel’s Agents of S.H.I.E.L.D.” left off. I was disappointed not to see at least a brief cameo by Agent Coulson, however. For those of you who just want to kick off your summer with a balls-out smash blockbuster action spectacular, don’t worry, you don’t need to have seen one second of the television show to understand and enjoy what’s happening on the big screen.

Criterion Thoughts—The 39 Steps (1935) ***½

UR, 85 min.

Director: Alfred Hitchcock

Writers: Charles Bennett, Ian Hay, John Buchan (novel)

Starring: Robert Donat, Madeleine Carroll, Lucie Mannheim, Godfrey Tearle, Peggy Ashcroft, John Laurie, Helen Haye, Frank Cellier, Wylie Watson

Alfred Hitchcock’s “The 39 Steps” plays as a movie trying to break out of the constraints of its times. It is an example of how Hitchcock needed the power and scope of Hollywood to jump the cinematic art forward in just the way he did after his marriage with Tinsletown. It is a movie that bursts at its cinematic seams for greater production value and a leap forward in storytelling for the format.

As is often the case with Hitch, he unsettles his audience with his opening images. A man buys a ticket at a box office and the next few shots are those of feet. Even the purchase of the ticket fails to show us a face or even a torso of the man we are following into a theater. Without seeing any faces and with a sequence of feet walking this way and that, we are immediately placed into the mindset of a sort of chase going on. And yet, we have no notion of who is being chased, or why, or who is doing the chasing. The inside of the theater is a scene of a degree of chaos.

Ebert Thoughts ‘15—The Motel Life (2012) ***½

R, 85 min.

Directors: Alan Polsky, Gabriel Polsky

Writers: Micah Fitzerman-Blue, Noah Harpster, Willy Vlautin (novel)

Starring: Emile Hirsch, Stephen Dorff, Elle Fanning, Joshua Leonard, Noah Harpster, Kris Kristofferson

Saturday is always the most surreal day of Ebertfest. I don’t know why. I wonder if they try to program the films in a way to produce an eerie sense of being adrift. It’s not a criticism. It just always seems that Saturday is the “lost” day of the festival, with characters trying to find their way through the morass of life. Saturday is the longest day of films and the atmosphere created by them makes it a sort of wonderful cinematic experience.

This year’s Saturday schedule included the films “Wild Tales”, “Ida”, “The Motel Life” and  “99 Homes”. I watched two of these this year and both have a distinct feel of despair about them. The first was “Ida”, with its black and white cinematography and somber subject matter; it certainly played into that atmosphere I described. “The Motel Life” is another strong fit for the Saturday feel.

Ebert Thoughts ‘15—Ida (2014) ****

PG-13, 82 min.

Director: Pawel Pawlikowski

Writers: Pawel Pawlikowski, Rebecca Lenkiewicz

Starring: Agata Trzebuchowska, Agata Kulesza, Dawid Ogrodnik, Jerzy TrelaAdam Szyszkowski, Halina Skoczynska

So, I’ve reviewed this film before. It’s easy to concentrate on the central character here, Anna, the nun who discovers she’s a Jew just before she takes her vows. This time I’d like to concentrate a little more on Wanda, her aunt. Wanda is a very interesting woman. This is the 1960s, and Wanda appears to be a fairly powerful woman as a state prosecutor. Wanda has as much of a journey to take as Anna here. It is Wanda who takes them on their search to find Anna’s parent’s graves. Of course, that journey leads to the revelation of a dark family secret, a secret Wanda must be very aware Anna will discover.

Ebert Thoughts ‘15—A Bronx Tale (1993) ***

R, 121 min.

Director: Robert De Niro

Writer: Chazz Palminteri (also play)

Starring: Lillo Brancato, Robert De Niro, Chazz Palminteri, Francis Capra, Taral Hicks, Katherine Narducci, Clem Casterta, Alfred Sauchelli Jr., Frank Pietrangolare, Joe Pesci

I got a different kind of story for my thoughts on the directorial debut of Robert De Niro and the break though of Chazz Palmiteri onto the cinematic scene. I’m not a huge fan of the film “A Bronx Tale”. I mean it’s good, but it isn’t as impressive as I feel it should’ve been. Palminteri’s writing might’ve worked better on stage than it does here. His primary message has to do with the two father figures for his central character with De Niro the real father and Palminteri a mobster surrogate, and how they both want the best for the kid, which is for him to stay away from the criminal life Palmiteri’s character has embraced. There are a lot of contradictions in Palminteri’s story and a great deal of social issues that are explored but never fully developed.

Ebert Thoughts ’15—The Son of the Sheik (1926) ***

UR, 68 min.

Director: Geo. Fitzmaurice

Writers: Frances Marion, Fred de Gresac, George Marion Jr., Edith Maude Hull (novel)

Starring: Rudolph Valentino, Vilma Banky, George Fawcett, Montague Love, Karl Dane, Bull Montana, Binunsky Hyman, Agnes Ayers

The biggest disappointment of missing Ebertfest each and every year is missing the Alloy Orchestra’s live accompaniment of the year’s silent feature. This year’s film is Rudolph Valentino’s “The Son of the Sheik”, a sequel to his film “The Sheik”, not that you have to see the first film to follow the second.

I love seeing the silent films. I don’t watch a lot of silent films, but Ebertfest ensures that I will watch at least one every year. I think that’s a good rule for any cineaste. You should watch at least one silent film a year. More would be better. It was such an innovative time in cinema. At Eberfest I’ve seen some of the best. More importantly, I’ve seen something from just about every silent legend.

Ebert Thoughts ‘15—Moving Midway (2007) ****

UR, 95 min.

Director/Writer: Godfrey Cheshire

Featuring: Charles Silver, Robert Hinton, Godfrey Cheshire, Dena Silver, Abraham Hinton

“Moving Midway” is exactly the type of movie that makes Ebertfest the unique cinematic experience that it is. Sure, Ebertfest screens movies with big name stars. They program incredible auteur works. But you’ll also find these little surprises here. “Moving Midway” is one of those rare masterpieces that becomes so through heart and passion that shines through without the flash and flare of budgets and known commodities. These cinematic treasures often come in the form of a documentary. This year, it is “Moving Midway” that wows and moves me with its simple premise that informs one of the most compelling and ambitious films of this year’s festival.

Ebert Thoughts ‘15—Goodbye To Language (2014) **

UR, 70 min.

Director/Writer: Jean-Luc Godard

Starring: Héloïse Godet, Kamel Abdeli, Richard Chevallier, Zoé Bruneau, Christian Gregori

I recently reviewed Jean-Luc Godard’s 1967 film “2 or 3 Things I Know About Her”. It’s easy to see with that film the track that had started in Godard’s career and would eventually lead him to a film like “Goodbye To Language”. While his less narrative, more documentary style worked well with the freer thinking of the late 60s, his cinematic philosophizing has become as confused as the world itself today. While there might be some value to be weighed into that notion, the consumption of it leaves something to be desired.

Ebertfest 2015

Tomorrow evening marks the launch of the 17^th Annual Roger Ebert Film Festival. It has now been more years since I’ve been than I ever attended. I miss it. It must be the most joyful film festival of the year, because every film there is there because it strives for excellence. Every audience member is there because they love film with a passion.

More so than any other year, I will not be able to see many of the entries. Six of this year’s 12 films are either currently in select theaters—i.e. no where near the cultural black hole in which I reside—or haven’t even been released yet. The three in theaters are “Girlhood”, which is not a spinoff of last year’s excellent “Boyhood” but rather a film about a group four teenage girls who explore what friendship means and the protection it provides. It is the third film by director Céline Sciamma’s to examine what it is like to be a girl. “Wild Tales” was one of this year’s Oscar nominees for Best Foreign Language film and was even considered a dark horse to steal the prize from eventual winner “Ida” (another of this year’s Ebertfest films). It is the rare multi-story feature that works well cohesively, prompting many critics to claim it as the best multi-story picture they’d ever seen. And finally, Ethan Hawke’s directorial debut “Seymour: An Introduction” is a documentary about the great classical pianist Seymour Bernstein. This film will close the festival in a slot that is traditionally reserved for a music-oriented film.

Home / ** (PG)

Featuring the voices of:

Oh: Jim Parsons

Gratuity ‘Tip’ Tucci: Rihanna

Captain Smek: Steve Martin

Lucy: Jennifer Lopez

Kyle: Matt Jones

DreamWorks Animation presents a film directed by Tim Johnson. Written by Tom J. Astle and Matt Ember. Based on the book “The True Meaning of Smekday” by Adam Rex. Running time: 94 min. Rated PG (for mild action and some rude humor).

“Home” is a perfectly entertaining movie for children of a certain age. It lacks—as more and more CGI animation efforts do these days—that vigor to press the animation boundaries once shattered by Pixar. I suppose DreamWorks Animation has always been the poor man’s Pixar, but its ambition seems to falter more with every successive effort. “Home” is just the most recent in the diminishing vibrancy of family centric CGI animation.

Penny Thoughts ‘15—Moneyball (2011) ****

PG-13, 133 min.

Director: Bennett Miller

Writers: Steven Zaillian, Aaron Sorkin, Stan Chervin, Michael Lewis (book “Moneyball: The Art of Winning an Unfair Game”)

Starring: Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright, Chris Pratt, Stephen Bishop, Reed Diamond, Brent Jennings, Ken Medlock, Tammy Blanchard, Jack McGee, Vyto Ruginis, Nick Searcy, Glenn Morshower, Casey Bond, Nick Porrazzo, Kerris Dorsey, Arliss Howard, Reed Thompson, Spike Jonze

The 2015 regular season of Major League Baseball began today. There was a time when I never would’ve known it was the first day of baseball. I wish I still did not. I hate baseball. I hated it when I played it as a child. My parents made me play. Despite my hatred of it, that was probably the right thing for them to do. It did help build my character. They only made me play for so long and once I was a certain age they let me decide. The last year I played was the first year my age group did our own pitching; and the coach wisely chose me to be a pitcher. For the first time ever I actually enjoyed playing the game. No more left field. But sure enough, when I had a choice the next year, I didn’t even flinch when my parents asked if I wanted to play again. Nope! I was done with baseball.

Television Thoughts—Cougar Town (2009-2015)

TV-14, 6 seasons, 102 22-min. episodes

Creators: Kevin Biegel, Bill Lawrence

Directors: John Putch, Michael McDonald, Courtney Cox, Bill Lawrence, Gail Mancuso, Bruce Leddy, Chris Koch, Michael Spiller, Josh Hopkins, Jamie Babbit, Lee Shallat Chemel, Phil Traill, Ken Wittingham, Millicent Shelton, Randall Winston, Sam Jones, Brian Van Holt, Busy Philipps, Courtney Rowe

Writers: Kevin Biegel, Bill Lawrence, Melody Derloshon, Blake McCormick, Peter Saji, Mary Fitzgerald, Jessica Goldstein, Chrissy Pietrosh, Sean Lavery, Ryan Koh, Sam Laybourne, Sanjay Shah, Kate Purdy, Brad Morris, Emily R. Wilson, Michael McDonald, Gregg Mettler, Linda Videtti Figueiredo, Mara Brock Akil, Rachel Specter, Audrey Wauchope, Michael Lisbe, Nate Reger, Aaron Ho, Austen Faggen, Justin Halpern, Patrick Schumacker, Jen D’Angelo, Eric Ernst

Starring: Courtney Cox, Christa Miller, Busy Philipps, Dan Byrd, Josh Hopkins, Ian Gomez, Brian Van Holt, Bob Clendenin

Guest starring: Carolyn Hennesy, Ken Jenkins, Lamarcus Tinker, Sawyer Ever, Ryan Devlin, Spencer Locke, Brad Morris, Barry Bostwick, Collette Wolfe, Briga Heelan, Edwin Hodge, Nicole Sullivan, Shawn Parihk, Nick Zano, Scott Foley, Sarah Chalke, Sheryl Crow, Maria Thayer, Ryan Biegel, Lou Diamond Phillips, Yasmin Deliz, Michael McDonald, Shirley Jones, David Arquette, Jennifer Aniston, Cindy Crawford, Rachel Harris, Beverly D’Angelo, Susan Blakely, Matthew Perry, Paula Newsome, Alan Ruck, Lisa Kudrow, Nia Vardalos, Ahmed Best, Michelle Williams

Last Tuesday I had to hold back tears. One of my most beloved television shows came to an end. I wasn’t brought to the edge of tears because of the emotionally jarring conclusions for the characters’ to their story, however. No, their story’s end was just as ridiculous as just about any episode’s worth. No, I was nearly brought to tears because there just isn’t any other television series like it out there. The closest to it might be “Unbreakable Kimmy Schmidt”, but that one probably has higher aspirations.