Rating: About Ratings
Opens: 03/23/2018
Running Time: 97
Rated: R
Cast: Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins and Amy Irving.
Crew: Director: Steven Soderbergh. Producers: Corey Bayes, Joseph Malloch, Robert T. Striem. Executive Producers: Dan Fellman, Ken Meyer, Arnon Milchan and Joseph P. Reidy. Screenwriters: Jonathan Bernstein and James Greer. Cinematographer: Steven Soderbergh.
REVIEW: By: Lana K. Wilson-Combs

You’d be absolutely crazy to miss director Steven Soderbergh’s new psychological thriller, “Unsane.”

Soderbergh (“Traffic” and the “Ocean’s” trilogy) shot this creepy, pulse-pounder on his iPhone which is further proof that you don’t need a super-sized budget to make a very good movie.

In “Unsane” Claire Foy from TV’s “The Crown,” stars as Sawyer Valentini. She’s recently moved from Boston to Pennsylvania looking for a fresh start and mainly to escape the weirdo guy named David (Joshua Leonard, TV’s “Scorpion”) that she met while caring for her sickly father.

This guy fell hard for Sawyer and started stalking her.
Now, Sawyer is trying as best she can to shake the haunting memories of this creep. On occasion she visits a local mental health clinic for counseling.

But one day while there, she lets her guard down, signs a consulting form without reading the fine print and winds up involuntarily confined to the facility for a week.

It turns into one hellish stay for Sawyer. Yeah, her past is still an issue, but she’s nowhere near as crazy as the people she’s being forced to room with at this place. For starters, there’s Violet (Juno Temple, “Wonder Wheel”), whose real name should be Violent since she can’t stand Sawyer and plans to stab her when she goes to sleep.

And the staff at this place seems off their meds too. Nurse Boles (Polly McKie, TV’s “Frenemies”) has little compassion for the patients and treats them terribly especially Sawyer. But Nurse Boles is the least of Sawyer’s problems. It’s the new orderly that’s in charge of dispensing medication to everyone that has her doing a double take.

That’s because he looks a lot like David, her stalker. In fact, it is David. This guy has actually followed her to the mental facility using a bogus name and has everyone fooled.

Sawyer goes ballistic when none of the authorities there—including the security cops--believe her when she tells them that David is a phony, has a criminal past and plans to probably kill her.

Fortunately, Sawyer befriends Nate, (a terrific Jay Pharoah, TV’s “SNL” and “BoJack Horseman”) who is also a patient. Still, something seems odd about Nate. It’s like he doesn’t belong there either.

Nate has somehow managed to sneak in a cell phone. Sawyer, makes him an offer in order to use it and secretly calls her mother Angela (Amy Irving, “Confetti”) and explains her nightmarish situation. She's even talked to a cop (Matt Damon, "Downsizing") who offers her sound advice.

However, when Sawyer's mom arrives, getting her daughter out of the place isn’t very easy, despite her threatening to hire an attorney. And what happens to her is chilling to say the least.

Plus, the more Sawyer gets closer to exposing the nutso David and the mental institution’s fraudulent game they’re running with patients and their insurance companies, the more insanely enjoyable “Unsane” becomes.

Editor's Note: Be sure to catch my N2Entertainment.net 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.

Take A Peek At This Trailer For "UNSANE"...

Rated: PG-13
Opens: 03/23/2018
Pacific Rim Uprising

Rated: PG-13
Opens: 03/16/2018
Love, Simon

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

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

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

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...

Downsizing <b>(March 20) </b> Title: Downsizing (March 20)
Year Released: 2017
Running Time: 135
Production Company: Paramount Pictures
Director: Alexander Payne
Review By: Lana K. Wilson-Combs


Director Alexander Payne’s satirical comedy, “Downsizing” didn’t make a big splash during its theatrical run. However, this is one of those odd, little movies that really does grow on you as it rolls along.

“Downsizing,” tackles the subject of overpopulation.

Downsizing is the wave of the future especially since scientists have discovered a means to shrink humans to five inches with no side effects.

Everything on you would function as normal. It’s a preposterous concept for sure, but one which Payne ("Sideways" and "Nebraska") and the film’s co-writer Jim Taylor (“Sideways”) sell so convincingly that you go along with it.

Imagine too, just how little you would need to exist if you were five inches tall.

Paul Safranak (Matt Damon, “Suburbicon”) works as an occupational therapist in Omaha, Nebraska and is married to Audrey (Kristen Wiig, TV’s “The Last Man on Earth” and “Nobodies”). They both make decent money, but are in debt and stuck in dead in jobs.

When they hear the pitch about the benefits of downsizing and entire communities—Leisureland—that are centered around downsized people, they’re intrigued. Paul is more intrigued than Audrey.

Paul sees the change as a comeuppance to their lifestyle. They can live large for so much less. Their $152,000 combined salary is equal to $12.5 million in their small world.

They’re fully convinced after listening to Leisureland infomercials from the husband and wife team of Jeff and Laura Lonowski (Neil Patrick Harris, TV’s “A Series of Unfortunate Events”) and Laura Dern (TV’s “Twin Peaks” and “F is for Family”).

Plus, they like the idea that airlines are “getting more and more small friendly.”

After talking with an old high school friend (Jason Sudekis, TV’s “The Last Man on Earth”) and making a personal visit to Leisureland to meet with an administrator (Donna Lynne Champlin, “Crazy Ex-Girlfriend”) and sales rep (Niecy Nash, TV’s “Claws”), Paul and Audrey decide to take the plunge. At least Paul does. Audrey chickens out the last minute and leaves Paul hanging. When he’s scooped up with a spatula and sent to the recovering room, Audrey is nowhere to be found, but calls him and tries to explain why she bailed.

There are definitely benefits to being small, but Paul soon finds out in his new community that his decision—which by the way can’t be reversed—may not have been his best.

The second half of “Downsizing” takes an odd turn, but not to the point that you tune it out. In his new surroundings, Paul meets the eccentric Dusan Mirkovic (a funny Christoph Waltz, “The Legend of Tarzan”) and befriends a Vietnamese cleaning woman Ngoc Lan Tran (a splendid Hong Chau, “Inherent Vice” and TV’s “American Dad” and “Big Little Lies”).

Just when it seems you have “Downsizing” figured out, the film takes a more socially conscious turn. Still, it’s a unique and funny concept that’s also rather compelling.
(Highly Recommended).

Editor’s Note: The “Downsizing” 4K Ultra HD and Blu-ray Combo Packs feature an hour of bonus content including six behind-the-scenes featurettes.
Matt Damon, Kristen Wiig and Award-winning director Alexander Payne discuss how this vision for the movie was brought to life.

The Blu-ray Features include the following:

Feature film in high definition--Bonus Content: Working with Alexander. The Cast And A Visual Journey.

Jumanji: Welcome To The Jungle <b>( March 20)</b> Title: Jumanji: Welcome To The Jungle ( March 20)
Year Released: 2017
Running Time: 119
Production Company: Sony Pictures
Director: Jake Kastan
Review By: Lana K. Wilson-Combs


Dwayne “The Rock” Johnson and Kevin Hart were so funny in the 2016 movie, “Central Intelligence,” it’s fitting they’d team up again and this time in “Jumanji: Welcome to the Jungle.”

Directed by Jake Kasdan (“Bad Teacher” and TV’s “Fresh off the Boat”), “Jumanji: Welcome to the Jungle” is the overdue, action/adventure sequel to the 1995 “Jumanji” movie which starred Kirsten Dunst, David Alan Grier and the late, Robin Williams.

This “Jumanji” is bigger and filled with some flashy special effects and ample doses of humor from Jack Black (TV’s “The Last Man on Earth”), Karen Gillan (“Guardians of the Galaxy Vol. 2”) Alex Wolff (“Patriots Day”) and boy Nick Jonas). It’s no surprise it was such a box office smash.

This time around, the familiar board game has been revamped into a video game. It still has a powerful hold on those who play around with it like gamer Alex Vreeke (Mason Guccione, TV’s “Preacher”) who gets it as a gift and is soon trapped inside.

Nearly 20 years go by and a group of high schoolers; geeky Spencer (Wolff), football star Fridge (Ser'Darius Blain, “Bolden”), the outgoing, yet mean girl Bethany (Madison Iseman, TV’s “The Text Committee”) and loner Martha (Morgan Turner, “Wonderstruck”) have been sentenced to detention.

As part of their punishment they're tasked with cleaning and sorting through some old books in the school basement. That's when they stumble upon the video game Jumanji.

It doesn’t take long before they start playing and are swept away into its fantasy land. But here’s the kicker. They aren’t themselves, but rather the adult avatars they chose as part of the game.

Now, Spencer has transformed into Smolder Bravestone, the muscled archeologist and leader (Johnson).
Football hero Fridge has been cut down a size or two and is now a diminutive zoologist and weapons specialist named Moose Finbar (Hart). Martha has come out of her shell and most all of her clothes as Ruby Roundhouse ( Karen Gillan,“Guardians of the Galaxy Vol. 2”).

Bethany has morphed into a chubby professor named Shelly Oberon (Black).
Seaplane McDonough, the avatar of Alex Vreeke (Nick Jonas is a mysterious guide and adventurer and part of the mix too. He attempts to help the gang escape from Jumanji.

They need all the help they can get because they’re way in over their heads. Although they have special skills and weaknesses, they must put aside their differences in order to survive all the pitfalls of the jungle.
There are many too, like wild albino rhinos, hippos, snakes and a bad guy/explorer named Russel Van Pelt, who is out to control the powers of the "Jaguar's Eye.”

Pitch Perfect 3 <b>(March 20)</b> Title: Pitch Perfect 3 (March 20)
Year Released: 2017
Running Time: 93
Production Company: Universal Pictures
Director: Trish Sie
Review By: Lana K. Wilson-Combs


“Pitch Perfect 3” is a bit off key. It’s unfortunate too, because this is supposed to be the final movie in the series.

Surely, the Bellas don’t want to go out on this sour note.
It’s not that “Pitch Perfect 3” is horrible, but it does feel rushed, convoluted and more than a few of the jokes and gags fall flat.

Granted, these movies have always been about the music and thankfully “Pitch Perfect 3” at times delivers on that front.

But it’s as if screenwriter Kay Cannon, who has been on board with these “Pitches” from day one throws everything imaginable into the storyline here hoping it all will gel.

It’s a mixed bag for sure as the Bellas wind up not only singing, but on a globe-trotting tour that has a few of them turning into full blown action heroes. The way Fat Amy (Rebel Wilson) handles some sausages during a fight scene with a baddie would even make Gal Gadot/Wonder Woman and the late Bruce Lee proud.

Actually, reality has set in on the Bellas. With the exception of Emily (Haillee Steinfeld, “The Edge of Seventeen”) all of the Bellas are out of college now.

Beca (Kendrick, “Trolls”) is a music producer, but hates making tracks for a lame white rapper named Pimp-Lo (Moises Aries, “Ben-Hur”).

Chloe (Brittany Snow, TV’s “Temporary”) is a veterinarian who treats farm animals. Cynthia (Ester Dean, “Pitch Perfect 2”) knows she’s not ready for flight school and Fat Amy (Wilson) is still open to any and everything.

Fat Amy is the first to jump at the offer by Aubrey (Anna Camp, TV’s “Sophia the First”), the former leader of the Bellas to reunite and perform in concert for the military troops overseas.

Since everyone is frustrated with their jobs, it’s an easy decision and they all pack up and head to Spain for their first show.

Nothing has every come easy for these young women. They discover that there are other musicians out there doing some pretty amazing things musically like the fierce all-girl rock band Extra Moist that’s fronted by the singer Calamity (Ruby Rose, “John Wick: Chapter 2” and TV’s “Orange Is the New Black”). But they’re performing with instruments. What?

The Bellas have their hands full and are slowly realizing that maybe a cappella music has run its course.
There’s also a plot twist involving the tour’s A-list headliner DJ Khaled and Beca along with a surprise visitor (John Lithgow, “TV’s “The Crown”) who somehow manages to into everywhere the Bellas are.

“Pitch Perfect 3” hits its stride when it focuses more on the music than the silly hijinks. Maybe the fourth time will be the charm. Maybe.

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).
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 www.imax.com/sacramento.

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 www.imax.com/sacramento.


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.