** "When we meet my character, he's a guy who at one time in his life felt  like he was master of the universe. And now that's not true anymore - and he's desperately trying to get back what he feels he's lost, his masculinity on the wane..."

Sex, Lies, And Security Camera Tape: Noah Wylie Talks 'At The Gates,' as a wealthy porn addict family man who hides his undocumented servants in his locked cellar, claiming the immigration cops are after them - or are they. An emerging 'cracks in the system cinema' trend in movies signifying here, a surprise subversive conclusion to these proceedings that lends a breathlessly euphoric rebellious irreverence to the notion of escapism in movies.

** "The emotion I feel is fury, it's rage. This is America, the system is on fire..."

Putting it all into perspective in the present time and more, is Pacifica host and investigative political analyst Garland Nixon. Uncovering 'what kind of monsters do we have - the same kind of monsters that started this country..."

** "With a sharp eye, a sharp tongue and a sharp pen, she states the obvious but forbidden..."

Arts Express Playhouse: A Solo Presentation Of The Poetry Of Caitlin Johnstone. Probing "when nuclear warheads are being moved into position, when weapons manufacturers can't keep up with the demand - when the pundits are making everyone stupid and crazy..."

** "What to watch after all nine seasons of Suits were exhausted - who knew the answer would be that next, we would all be live streaming genocide..."

Bro On The Global Television Beat: Arts Express Paris Correspondent Professor Dennis Broe raises the confounding question that 'the Western media tells us we are simply to be pleasantly horrified at the spectacle - while doing nothing about it..."

** "This aesthetic approach visually contrasts the encompassing familiarity of the mournful past, with the unpleasant strangeness of the technological present..."

Arts Express UK Desk: Brett Gregory probes the film essay Looking Forward - 'a series of images of unintentionally disfigured humanoids...' 

Memory: Superheroes In Shabby Clothing Review

Seemingly simmering lately beneath the surface of offbeat movies, but rising in measured movement through film narratives increasingly defined by rebel impulses, Memories appears to join that emerging direction. And in that regard, declining the boundaries long imposed by Wall Street financed Hollywood East and West, and the masquerading Pentagon calling the literally propped up political shots on sets.

Case in point, Memory, following on the heels of Augustus Meleo Bernstein's Latino helmed 'At The Gates.' And likewise further bypassing US cultural dominance, having been penned by a foreign, emerging cinematic voice, wouldn't you know it - young Mexican writer/director Michel Franco. 

Jessica Chastain and Peter Saarsgard are Syliva and Saul, two damaged New York City souls drawn together in an unlikely and potentially doomed relationship - Sylvia a group home for the mentally disabled worker still in recovery from alcoholism - and sexual victimization PTSD that continues to rule her life decades later. While Saul is under confined family care, stricken with progressive early onset dementia. That they somehow find one another despite family staged interventions, miraculously arises out of the power of music as a tender shared bond subliminally beyond the brutal system surrounding them. 

An outsider looking in perspective and much more - designating an emerging 'cracks in the system cinema' trend in movies signifying a surprise subversive conclusion to the proceedings - these films lend a breathlessly euphoric rebellious irreverence to the notion of 'escapist' in movies. And perhaps a revival of the instincts that propelled the Hollywood Renaissance of the '70's - actually reframed back then by the crushing HUAC Hollywood Blacklist preceding.

And somehow no longer the dominant muscular mythologies of pre-anointed blockbuster saviors in charge, human sensibilities and rebel urges are rising from the bottom, the broken, belittled oppressed outcasts unleashing a deceptively muted fury - while subversively redefining the 'happy ending' as well,  as rather new beginnings instead.

Prairie Miller, Rotten Tomatoes Review