Rating: About Ratings
Opens: 03/16/2018
Running Time: 109
Rated: PG-13
Cast: Nick Robinson, Josh Duhamel and Jennifer Garner.
Crew: Director: Greg Berlanti. Producers: Marty Bowen, Wyck Godfrey, Isaac Klausner, Chris McEwen and Pouya Shahbazien. Executive Producer: Timothy M. Bourne. Screenwriters: Elizabeth Berger, Isaac Aptaker and author Becky Albertalli ("Simon vs. The Homo Sapiens Agenda."(Cinematographer: John Gulesarian).
REVIEW: By: Lana K. Wilson-Combs

Although the new teen dramedy, “Love Simon” plays more like a Lifetime TV movie, there’s no mistaking its earnestness.

Then again, the film’s director Greg Berlanti has had his pulse on the television world for years producing and directing hit shows such as “Supergirl” “Black Lightning” and “Arrow” among others.

“Love Simon” is a coming-of-age story which centers around 17-year-old Simon Spier played by Nick Robinson. He was also terrific in last year’s teen romance movie, “Everything, Everything.”

Simon comes from a nearly perfect family. His dad Jack (Josh Duhamel, TV’s “Unsolved: The Murders of Tupac and the Notorious B.I.G.”) is a former college football star. His mother Emily (Jennifer Garner, TV’s “Llama, Llama”) is a therapist and modern-day June Cleaver. Simon’s little sister, Nora (Talitha Eliana Bateman, “Annabelle: Creation”) loves to cook, but isn’t always very good at it. Still, they all encourage her efforts.

Simon goes to the best suburban school and hangs out with his buddies Leah (Katherine Langford, TV’s “13 Reasons Why”), Nick (Jorge Lendborg Jr., “Spider-Man: Homecoming”) and Abby (Alexandra Shipp, “Straight Outta Compton” and upcoming “Shaft”).

They’re like most any other high school kids. They eat out together, listen to music and gossip about girls and guys. However, Simon likes guys. It’s a secret he’s been keeping and one that’s slowly consuming him. He can’t tell his parents or his friends he’s gay. He does find solace from an anonymous online friendship with another closeted guy at school named Blue. Simon tries to figure out just who it is he’s been communicating with and his imagination gets the best of him in class.

It could be the cute black guy named Bram (Keiynan Lonsdale, TV’s “Legends of Tomorrow”), Cal (Miles Heizer, “Roman J. Israel, Esq.”and TV’s “13 Reasons Why”) or the hunky Lyle (Joey Pollari, TV’s “American Crime”).

For the moment, Simon’s mysterious internet friend is about the only thing he has to look forward to along with starring in the high school production of Cabaret which is under the direction of drama teacher Ms. Albright (a fabulous Natasha Rothwell, Netflix’s “The Characters”). She must contend with a motley crew of not so talented students including the show’s gregarious ringleader, Martin (Logan Miller, TV’s “Guardians of the Galaxy”).

This guy is the attention seeking class clown. You know the one who is just so obnoxious that you wish you could ignore him but can’t.

And thanks to Martin’s insecurity and stupidity, poor Simon finds himself caught up in a terrible situation that jeopardizes his secret.

Generally, these sort of teen, romance movies are predictable and simplistic. Thankfully, “Love Simon” strikes a different and refreshing tone. The characters really act like high schoolers and it’s easy to identify with all of them. Tony Hale, on the other hand, as the comical school principal was kind of hit or miss for me.

Overall, there’s a keen authenticity to “Love Simon” and the director really nails and captures all the topsy-turvy emotions of adolescence.

Robinson brings such an endearing quality to his character Simon that we like him from the start and even more as the movie goes on and especially when his life starts to sputter out of control.

And any movie—teen or otherwise—that opens with the Brenton Wood soul, classic “Oogum Boogum” song and features The Jackson Five’s version of “Someday at Christmas” like “Love Simon” does, will always get high praise from me.

Be sure to catch my movie talk segment on the Kitty O'Neal Show Fridays at 6:40 p.m. on radio station KFBK 1530 AM and 93.1 FM.

Look At This Trailer For "LOVE...

Rated: PG-13
Opens: 03/16/2018
Tomb Raider

Rated: PG
Opens: 03/09/2018
A Wrinkle In Time

Rated: R
Opens: 03/09/2018

Rated: R
Opens: 03/02/2018
Death Wish

Rated: R
Opens: 02/23/2018
Game Night

Rated: PG-13
Opens: 02/16/2018
Black Panther


Halls Of Anger Title: Halls Of Anger
Year Released: 1970
Running Time: 96
Production Company: Mirisch Corporation
Director: Paul Bogart
Director of Photography: Burnett Guffey
Screenwriter: John Herman Shaner and Al Ramus
Author: Lana K. Wilson-Combs

REVIEW: Editor's Note: While this "Old School Video Pick" of "Halls of Anger" has run before, I couldn't help but update a few things in it after recently watching it again along with a few other Calvin Lockhart movies, like "Melinda" and "Rain." Lockhart was an enormously talented actor who left us way too soon.

Audiences may best remember Calvin Lockhart, as the tall, dark and handsome actor who...

The Disaster Artist <b>( March 13) </b> Title: The Disaster Artist ( March 13)
Year Released: 2017
Running Time: 103
Production Company: A-24 Pictures
Director: James Franco
Review By: Lana K. Wilson-Combs


Prior to the sexual misconduct allegations leveled against James Franco, the actor was on a roll for his wild and crazy movie, “The Disaster Artist.”

Franco won “Best Actor” at the Critics’ Choice Awards and may have been headed for Oscar glory.

Still, you can now catch what all the hoopla was about since “The Disaster Artist” is on DVD.

“The Disaster Artist” is a movie for everyone who has followed their dreams only to have them crushed or failed spectacularly at any endeavor.

Written by Scott Neustadter and Michael H. Weber, “The Disaster Artist” is based on Greg Sestero and Tom Bissell's non-fiction book of the same name.

“The Disaster Artist” is about the making of actor/producer Tommy Wiseau's 2003 film “The Room,” which is considered “one of the worst movies ever made.” But a funny thing happened during “The Room’s” theatrical run. Although audiences ridiculed the low budget, black comedy--reportedly made for $6 million--they also turned out all over the world to see it.
Consequently, “The Room” garnered a cult-like status and remains a treasure among Wiseau’s legion of cinephiles.

So, leave it to Franco to produce, direct and star in “The Disaster Artist,” a movie that in many ways not only mocks “The Room,” but also pays homage to it in such a bizarre and so-bad-it’s good-kind-of-way.

The movie takes place in 1998 and Franco stars as Tommy Wiseau, a mysterious, long-haired looking dude with a strange accent from New Orleans or Europe—no one really knows.

But, Tommy, who looks like he’s in his mid-30s--no one really knows his age for sure either--apparently has money up the wazoo. He also has a passion for acting and filmmaking that won’t quit, although his San Francisco acting school teacher Jean Shelton (Melanie Griffith, TV’s “The Path”) wishes he’d immediately find another line of work to pursue.

While in class, Tommy meets 19-year-old Greg Sestero (Dave Franco, James’ little brother), a model/actor from Walnut Creek, California who has “the look” and with some polish and work could potentially make it in the business. Maybe.

Despite Tommy being the laughing stock of his acting class, Greg is fascinated by Tommy’s indomitable spirit and the two soon bond.

Before long, they decide to move to Los Angeles and pursue their acting dreams since Tommy has an apartment there too.

Well, Greg is in it to win it. He doesn’t waste any time and meets an agent named Iris Burton (Sharon Stone, TV’s “Mosaic”) who lands him a few small gigs. He also hooks up with pretty, young thing named Amber (Allison Brie, TV’s “GLOW” and “BoJack Horseman”).

Meanwhile, Tommy is trying to get his big break, but nothing is really clicking. He doesn’t do himself any favors when he intrudes on Judd Apatow at a restaurant while he’s trying to enjoy a nice, quiet dinner.

Tommy demands he listen to him recite some lines. An infuriated Apatow tells Tommy that he’s terrible and will never work in the industry in a million years. “But after that,” says Tommy clearly unfazed by Apatow’s stinging diss.

Still, Tommy gets the bright idea to write and produce his own movie—with his unlimited finances--and insists that Greg be part of it.

The title? “The Room.”

Talk about flying by the seat of your pants. Tommy doesn’t know the first thing about filmmaking, although he does hire some talented people to be part of the production. (Ari Graynor, TV’s “I’m Dying Up Here”), June Diane Raphael (TV’s “Grace and Frankie” and “Curb Your Enthusiasm”) Josh Hutcherson (TV’s “Futureman”) and Zac Efron (“Baywatch”).

Seth Rogen (“Neighbors 2: Sorority Rising”) is Tommy’s script supervisor and he runs a tight ship. He also runs into plenty of issues with Tommy. For starters, Tommy has no sense of time and shows up whenever he wants and treats his crew badly. Not only can’t Tommy remember his lines, which he wrote by the way, but he says them so incoherently it’s mindboggling.

When “The Room” is finally completed, the movie makes its debut to a packed auditorium that includes the cast and crew and an introduction from Tommy.

It doesn’t take long for everyone in attendance to see just what a disaster this thing is. They laugh like crazy at the terrible dialogue and acting.

Tommy is visibly upset that his passion project has been turned into a big joke. That’s until Greg points out that although everyone laughed, they were having a great time and loved the movie. When Tommy goes on stage, he’s greeted with a standing ovation.

While James and Dave share some hilarious moments throughout the film, James takes “The Disaster Artist” beyond broad satire to give it a healthy dose of edginess.
(Highly Recommended).

The Shape Of Water <b>(March 13) </b> Title: The Shape Of Water (March 13)
Year Released: 2017
Running Time: 123
Production Company: Fox Searchlight Pictures
Director: Guillermo del Toro
Review By: Lana K. Wilson-Combs


Guillermo del Toro’s wellspring of creativity has been on display ever since his 1993, debut film, “Cronos,” along with the critically acclaimed creature features “The Devil’s Backbone” (2001) and “Pan’s Labyrinth” (2006).

So, “The Shape of Water” seems like a natural progression in his cinematic career.

The movie resonated with audiences in so many ways and it was rewarded this year with Academy Awards for “Best Picture,” “Best Director” (del Toro), “Best Original Score” (Alexandre Desplat) and “Best Production Design.” The film also took home the same honors for the Critics’ Choice Awards which was voted on by yours truly.

Like most of del Toro’s films, “The Shape of Water” is captivating and unpredictable, but this magical, romantic fantasy feels like his most passionate achievement yet.

“The Shape of Water” is set in Baltimore 1962 against the backdrop of Cold War era America. It’s here we meet Elisa Esposito, (Sally Hawkins, “Paddington 2”) who was violently abused as an orphan child and had her vocal chords cut out.

Now mute, Elisa makes a decent living working at a high-security underground, government facility.

Aside from her friendly co-worker, Zelda Fuller (Octavia Spencer, “Gifted”) and her cat loving neighbor Giles (an excellent Richard Jenkins, TV’s “Berlin Station” and “Comrade Detective”), Elisa is pretty much a loner. She enjoys her cozy apartment, taking relaxing baths and watching musicals on her small TV.

But, Elisa’s life takes a lively and lovely dramatic turn when an odd looking, sinewy creature in a metal cage known as “The Asset/Amphibian Man” (Doug Jones, TV’s “Star Trek: Discovery” is hauled into her office.

Colonel Richard Strickland, (Michael Shannon, “Nocturnal Animals”) oversees the creature research team that found the Amphibian Man in the Amazon. The colonel and lab scientist, Dr. Robert Hoffstetler (Michael Stuhlbarg, “The Post”) plan to conduct an experiment on it which will give the United States a leg up on scientific research.

However, the colonel is not as sympathetic towards the blue tinted being and abuses it with an electric cattle prod. Thankfully Dr. Hoffstetler has much more compassion toward it. Then again, he has some ulterior motives at play here too.

Elisa, has bigger and better plans for the creature. During her nightly rounds, she summons Zelda (Spencer) to help her free it from its cramped water tank. Oddly, Elisa becomes enraptured by this squishy thing. She even flirts with him, feeds him hard-boiled eggs, teaches him sign language and turns him on to Benny Goodman records.

Is there anything possibly more romantic?

Not in del Toro’s mystical and magical world. Elisa and the creature fall madly in love and Elisa is hell-bent on protecting her new, romantic interest at all costs especially since some Russian operatives have discovered the agency’s location and are coming after him.

Hawkins delivers a genuinely heart-felt performance. The wonderful, weird and erotic attraction she has with the creature and the twisty storyline and characters all make the “The Shape of Water” really special.
(Highly Recommended).

I, Tonya  <b>(March 13) </b> Title: I, Tonya (March 13)
Year Released: 2017
Running Time: 120
Production Company: AI Films
Director: Craig Gillespie
Review By: Lana K. Wilson-Combs


If there was ever a movie that flew under the radar, but soon garnered tremendous buzz right in time for the awards season, it’s the stirring biopic, “I, Tonya.”

Once word got out about just how good director Craig Gillespie and screenwriter Steven Rogers’ little drama was, it caught on like wildfire.

“I, Tonya” chronicles the life of figure skater Tonya Harding and her involvement in the 1994 attack on her rival Nancy Kerrigan.

This movie has it all, sex, revenge, family dysfunction and a pretty killer soundtrack to accompany all the tawdriness. There are laugh out loud moments in “I, Tonya” and heartbreaking ones as well.

Margot Robbie is superb as Harding and so is McKenna Grace (TV’s “Designated Survivor”) who plays the younger version of her.

Her crazy mother LaVona (Oscar winner/“Best Supporting Actress” Allison Janney, TV’s “Mom”) wants what’s best for her daughter, but you wouldn’t know it since she’s constantly berating the young girl and pushing her beyond her limits during her skating lessons.

Little Tonya loses it when her dad can’t cope and walks out on the family for good. The anger that she carries from that abandonment ultimately plays out later in life.

While Robbie is dynamic when we see her skating, she’s at her best during the film’s dramatic moments involving her mother and her lame husband Jeff Gillooly (Sebastian Stan, “Black Panther”).

"I Tonya" has such a dynamic narrative that when the big incident plays out with Nancy Kerrigan—who is rarely seen in the film--in some ways it feels almost anti-climatic. Almost. Robbie and Janney are simply remarkable and bring such verve to their roles it’s palpable.
(Highly Recommended).

Thor: Ragnarok <b> (March 6) </b> Title: Thor: Ragnarok (March 6)
Year Released: 2017
Running Time: 130
Production Company: Walt Disney Pictures
Director: Taika Waititi
Review By: Lana K. Wilson-Combs


New Zealand director Taika Waititi (“Boy” and “Hunt for the Wilderpeople”) brings his comedic sensibilities to “Thor: Ragnarok” which results in a wild, fun and funny trip into the Marvel Universe.

“Thor Ragnarok” picks up after “Avengers: Age of Ultron.” Thor, aka The God of Thunder (a jovial Chris Hemsworth, “Ghostbusters”), has been kind of hanging around. Actually, he’s been in the realm of Muspelheim and chained inside a dangling cage by the evil fire demon Surtur (Clancy Brown, TV’s “Tangled the Series”).

Of course, Thor cleverly manages to defeat Surtur all while exchanging some nifty one-liners with him. He also claims Surtur’s almighty and powerful crown. With it, Thor is convinced he can avert Ragnarok, the apocalyptic annihilation of Asgard his homeland.

When Thor returns to Asgard, he’s shocked to find his adopted shape-shifting brother Loki (Tom Hiddleston, “Kong: skull Island”) posing as his father Odin (Anthony Hopkins, “Transformers: The Last Knight”). Thor demands Loki help them find their father.

They get a big assist from doctor Stephen Strange (Benedict Cumberbatch, TV’s “Sherlock”) and travel to Midgard/Earth searching for Odin. They find him in Norway and he’s in poor health. Odin warns Thor and Loki about the rise of their long-lost sister Hela (a terrific Cate Blanchett, “The Jungle Book 2”), “The Goddess of Death” who sports a powerful, antler style headdress.

Hela used to be the leader of Asgard’s armies, but her ego apparently got too big for her antlers and she wanted more power like her big brother Thor.

She's been exiled now by daddy Odin and after all these years is a bit ticked off. Hela’s now ready to reclaim what she believes is rightfully hers and show she’s the baddest one of all in the Nine Realms. She wastes little time convincing Thor she’s not one to play with and decimates his trusty hammer to prove it.

Left with no power and unable to stop the wrath of Hela, Thor is banished to the dystopian planet Sakaar which is run by the flamboyant and maniacal Grandmaster (a funny Jeff Goldblum, “Guardians of the Galaxy Vol. 2”).

Somehow Loki manages to get in good with the Grandmaster. However, Thor is captured by a former legendary, drunken Valkyrie warrior turned bounty hunter known as "Scrapper 142" (the talented Tessa Thompson “Annihilation” and “Creed). She now works for the Grandmaster and he wants Thor to fight in his gladiator styled “Contest of Champions.” Thor’s opponent is none other than his “friend from work,” Hulk/Bruce Banner (the wonderful Mark Ruffalo, “Spotlight”).

Thor and the Hulk’s CGI filled smack down is one of the best action sequences in the movie. Even more enjoyable are the quieter and humorous moments they share especially when Thor discusses Hulk’s anger issues.

With time ticking away, Thor must also convince Loki, Valkyrie, the Hulk, Heimdall (an underused Idris Elba, “The Mountain Between Us”) and a rock like creature named Korg (director Taika Waititi) to escape from the Grandmaster to save Asgard, destroy Hela and get to her henchman, the Asgardian warrior Skurge (Karl Urban, “Pete’s Dragon”).

Can they do it? Well, you’d be foolish to bet against this motley crew.
What racially/controversial Broadway play did Calvin Lockhart star in with Angela Lansbury?
TRIBECA FILM FESTIVAL 2018 By: Lana K. Wilson-Combs:


Netflix recently announced its films and documentaries that will premiere at the 2018 Tribeca Film Festival which will take place April 18-29 in New York City.

Debuts include: “Cargo and Sunday's Illness” (aka “La Enfermedad Del Domingo”). Original Documentary Features: “The Rachel Divide” and “The Bleeding Edge.”


“CARGO”--(Netflix Launch: May 18, 2018) Stranded in rural Australia in the aftermath of a violent pandemic, an infected father desperately seeks a new home for his infant child, and a means to protect her from his own changing nature.

Directed by Ben Howling and Yolanda Ramke and written by Yolanda Ramke, “Cargo” boasts a top-line international cast including Martin Freeman, Anthony Hayes, Susie Porter, Caren Pistorius, Kris McQuade, Natasha Wanganeen and David Gulpilil. “Cargo” is produced by Samantha Jennings and Kristina Ceyton of Causeway Films (“The Babadook”). Russell Ackerman, John Schoenfelder and Mark Patterson also serve as producers.

“SUNDAY'S ILLNESS” (aka “La Enfermedad Del Domingo”) (Netflix Launch: June 15)

In “Sunday's Illness (aka “La Enfermedad Del Domingo”), Anabel abandoned her daughter Chiara when she was barely eight years old. Thirty-five years later Chiara returns with a strange request for her mother; she asks to spend ten days together. Anabel sees this trip as a chance to get her daughter back, but she doesn't know that Chiara has a hidden purpose and she'll have to face the most important decision of her life. Written and directed by Ramon Salazar (“10,000 Noches En Ninguna Parte”), the film stars Barbara Lennie and Susi Sanchez. “Sunday's Illness” is produced by Francisco Ramos and is executive produced by Rafael Lopez Manzanara.


“THE RACHEL DIVIDE" (Netflix Launch: April 27, 2018)

Self-described "trans racial" activist Rachel Dolezal ignited an unprecedented media storm when a local news station in Spokane, Washington outed her as a white woman who had been living as the black president of the NAACP.

Since the controversy erupted, director Laura Brownson and team exclusively filmed with Rachel, her sons and her adopted sister Esther, capturing the intimate, vérité life story of a damaged character who lands squarely in the cross-hairs of race and identity politics in America--and exploring how that character still provokes negative reactions from millions who see her as the ultimate example of white privilege.

A Netflix original documentary, “The Rachel Divide,” is executive produced by Academy Award winner Roger Ross Williams.

“THE BLEEDING EDGE" (Netflix Launch: TBD 2018)

America has the most technologically advanced health care system in the world, yet medical interventions have become the third leading cause of death, and the overwhelming majority of high-risk implanted devices never require a single clinical trial. In “The Bleeding Edge,” Academy Award nominated filmmakers Kirby Dick and Amy Ziering (“The Invisible War,” “The Hunting Ground”) turn their sights on the $400 billion medical device industry, examining lax regulations, corporate cover-ups, and profit driven incentives that put patients at risk daily. Weaving emotionally powerful stories of people whose lives have been irrevocably harmed, the film asks: what life-saving technologies may actually be killing us?

Editor’s Note: Information used in this report obtained from Netflix publicity department press releases.



Lara Croft, (Alicia Vikander, “Ex Machina”) is the fiercely independent daughter of an eccentric adventurer who vanished when she was scarcely a teen.

Leaving everything she knows behind, Lara goes in search of her dad’s last-known destination: a fabled tomb on a mythical island that might be somewhere off the coast of Japan. But her mission will not be an easy one; just reaching the island will be extremely treacherous.

Suddenly, the stakes couldn’t be higher for Lara, who—against the odds and armed with only her sharp mind, blind faith and inherently stubborn spirit—must learn to push herself beyond her limits as she journeys into the unknown. If she survives this perilous adventure, it could be the making of her, earning her the name Tomb Raider.

“Tomb Raider: The IMAX 2D Experience” opens March 15 at 7:00 p.m. Tickets are on sale at the theatre box office and online at

The IMAX release of “Tomb Raider” will be digitally re-mastered into the image and sound quality of the IMAX Experience with proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images, coupled with the Esquire IMAX Theatre’s six story high and 80 feet wide screen, customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

The Esquire IMAX Theatre is located at 1211 K Street in downtown Sacramento, CA. For information on tickets and showtimes, please call 916-443-IMAX (4629) or visit the website at


IMAX, an innovator in entertainment technology, combines proprietary software, architecture and equipment to create experiences that take you beyond the edge of your seat to a world you’ve never imagined. Top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and, as such, IMAX’s network is among the most important and successful theatrical distribution platforms for major event films around the globe.

IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Shanghai and Beijing. As of Dec. 31, 2016, there were 1,215 IMAX theatres (1,107 commercial multiplexes, 16 commercial destinations and 92 institutions) in 75 countries.

Information obtained in this report from IMAX publicity.



As expected, Frances McDormand picked up the “Best Actress” Oscar award for her stirring performance in “Three Billboards Outside Ebbing, Missouri."

McDormand’s acceptance speech at the Academy Awards on March 4 at the Dolby Theater in Hollywood will be remembered as will her fiery backstage discussion with the media.

Here’s what McDormand shared with the press backstage about her win and the long, overdue equality movement for women that has swept through Hollywood since numerous allegations were leveled against movie mogul Harvey Weinstein.

Q. Congratulations! How are you?

A. Thank you. Don't give me any more attention because it will all go to my head. Come on. Ask away. I'm ready. I'm ready.

Q. Please explain your comment at the end, the two words "inclusion rider."

A. Right. I just found out about this last week. There is has always been available to all everybody that get that does a negotiation on a film, an inclusion rider which means that you can ask for and/or demand at least 50 percent diversity in not only the casting, but also the crew. And so, the fact that we that I just learned that after 35 years of being in the film business, it's not we're not going back. So the whole idea of women trending, no. No trending. African Americans trending, no. No trending. It changes now, and I think the inclusion rider will have something to do with that. Right? Power in rules.

Q. I want to ask you about a bit of a follow up to that question. The tone of the evening, obviously it's about awards, but there was certainly throughout the evening the idea that this was a different Oscars than in the past because of what has happened since October.

A. No. It actually was it happened way before that. I think that what happened last year, you know, with “Moonlight” winning the best picture, that's when it changed. And it had to be acknowledged. That had to be acknowledged, and it was acknowledged in the best possible way. Not just by, you know, fixing the mistake, but actually recognizing that that won “Best Picture.” “Moonlight” won “Best Picture” of 2017.

Q. It was about the idea that this evening was sending a message because of the activities that have happened and the revelations and women being brave enough to speak out since October. Did you feel that was handled properly and enough this evening?

A. Well, yeah. You know, it was really interesting because like I said, feeling like I was Chloe Kim doing back to back 1080s in the halfpipe, I was I don't do everything. As you know, I don't show up all the time. I only show up when I can and when I want to, but I was there at the Golden Globes and it's almost like there was an arc that started there. It doesn't end here. But I think publicly as a commercial, because that's what we are, this is not a this is not this is not a novel. This is a TV show after all, but I think that the message that we're getting to send to the public is that we're going to be one of the small industries that try to make a difference. And I think $21 million in the legal defense fund is a great way to start. And the commission that's being headed by Anita Hill, that's really smart. See, we didn't just we didn't just put out commercials about it. We actually started a conversation that will change something.

Q. OK. “Three Billboards” has started a movement. Have you seen the billboards all over the world?

A. Oh, are you kidding? Off the screen and on to the street. Really exciting.

Q. Talk about that. I want to hear what your comment is about that.

A. Well, you know, recently my husband and I were in London at the BAFTAs, and we went to the Tate Modern and we saw an exhibition about the Russian Revolution and the propaganda that was used. Now, that revolution did not go so well, so we don't want to think too much about that. But the red and black is a really, really good choice. And Martin McDonagh knew that. He was involved in the choice with the with the set design of the film to use that kind of iconography, and I think that idea that activists are taking that kind of statement and putting it out there billboards still work. They still work. So I think that it's really exciting. It started actually with the Grenfell Tower fires investigation. Then it leapfrogged to the Miami gun control situation. It was outside the UN about the Syrian situation. You know, it's a kind of that's the kind of power that an image can have. And that's what we're making. We're making powerful images.

Editor's Note: Information used in this report obtained The Academy Awards Publicity.