The Narcissist’s Playbook

The Narcissist’s Playbook

Posted on August 29, 2026 at 9:50 pm

B +
Lowest Recommended Age: High School
MPAA Rating: Not rated
Profanity: Strong language
Alcohol/ Drugs: References to alcohol and drugs
Violence/ Scariness: Discussion of emotional, physical, and sexual abuse
Diversity Issues: None
Date Released to DVD: August 29, 2026
The Narcissist’s Playbook

One of the most unnerving twists of the year occurs about two-thirds of the way into “The Narcissist’s Playbook,” a documentary about people who are incapable of empathy and, because they do not feel love, compassion, tenderness, or joy, often inflict abuse on others to feel powerful or just to feel anything at all.

It begins with a telling perspective-shifting quote from someone we will spend a lot of time with over the course of the film, Sam Vaknin, the Israeli author of books including Malignant Self Love: Narcissism Revisited. He says that it is not the evil of the narcissist that fools us; it is our own humanity projecting onto everyone else the emotions that feel so essential to us we cannot imagine there is anyone who cannot care about other people.

It is not surprising that director Mark Vicente would be drawn to this subject. He became first an accolyte of NXIVM and its founder, Keith Raniere, and then a whistleblower who helped bring the organization and its leader down, including a criminal trial ending with a 120 year sentence.

Most people think of narcissists as egotists who are consumed with their own status and their own needs. This film uses the term to mean what in non-clinical terms we might call psychopaths or sociopaths or borderline personality disorder, people we think of as doing whatever makes them feel safe or powerful, no matter who gets hurt.

It is structured like a typical documentary, with a lot of talking heads — experts and survivors of relationships with narcissists from seven different countries. But some elements are unusual. Four of the experts are themselves, according to the film’s press materials, “self-confessed, self-aware malignant narcissists.”

Vaknin earns our sympathy and his own credibility right away, confessing that he went to prison for securities fraud, and he is now doing his best to educate others about what narcisissm is and how to protect ourselves.

We also hear from actress Evan Rachel Wood, who at 18 met punk rocker Marilyn Manson, then in his mid-30s. He quickly persuaded her to move in with him and then, she tells us, he isolated and abused her. It was only when she played a character on the HBO series “Westworld” that she located within herself the courage to leave him. (Manson denies her allegations.)

We learn from the academic experts that what Wood describes is typical of the narcissist, who begins by “love-bombing,” telling victims how special they are, how only he or she really sees and understands them, how much they need each other. It is “fast, intense, magical.” Step 2 is isolating the victim, separating them from their friends and family. Wood says, they want us to know “the only safe place is with them.” Next, they counter all of the building you up by tearing you down, first by devaluing you, destabilizing you so you try to regain that fast, intense, magical, and SAFE feeling again. And, when someone tries to leave or expose them, the accusations start. Non-narcisssist are looking for peace; narcissists live for chaos.

Step 4 will be familiar to anyone who has seen Ingrid Bergman’s Oscar-winning performance in “Gaslight.” You don’t have time to doubt the relationship because this step has you doubting yourself, even your own ability to discern reality. And then comes the discord, drama, distractions, and lies. Another victim describes his marriage, which followed exactly this pattern.

Those who have a hard time understanding people whose underestanding extends only to their own interests tend to look for causes, abusive families, past traumas. Their first impulse may be to try to be reassuring, to feel sorry for narcissists who say they do not know what it feels like to feel love or happiness and want to heal them. But, as one of the experts points out, many people experience abuse and trauma and do not become narcissists. We are told fairly early that a true crime investigative reporter is searching for a particular narcissist who has hurt many women by posing as a therapist, but we do not find out until much later who that person is and what he will do when he is exposed.

Anyone who watches this film will think of people who fit the pattern. And everyone who watches will come away prepared to recognize and block anyone who tries those tactics.

Parents should know that this film includes discussions of physical and emotional abuse and trauma with very strong language.

Family discussion: What did you learn from this film? What should people do to protect themselves from predators?

If you like this, try: the NXIVM documentary, “The Vow”

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Man on the Run

Man on the Run

Posted on February 26, 2026 at 7:08 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated R for language
Profanity: Strong language
Alcohol/ Drugs: Social drinking
Violence/ Scariness: References to the murder of John Lennon, depression
Diversity Issues: None
Date Released to Theaters: February 27, 2026
Date Released to DVD: February 27, 2026
Man on the Run
Copyright 2026 Amazon/MGM

Imagine that the little band you put together in your teens exceeded every possible dream of success, worldwide fame, rave reviews, unprecedented adoration from fans, buckets of awards, and money money money. Then, it all ends, the band breaks up, the complications from business managers and lawyers and hard feelings create intense misery. And you’re only 27 years old.

That is what happened to Sir Paul McCartney as the 1960s were ending. This film, produced by Sir Paul, tells the story of what he did next.

The first thing he did next was a combination of unwinding and despair. Sir Paul, his wife Linda and her daughter from her first marriage moved to a remote farm that seemed like it was at the end of the world. He tells us he thought he would never write another note.

The peace of the farm is healing. He likes the sheep. He becomes a vegetarian. Linda has a baby. And then he returns to music with the McCartney album, the one with, in my opinion, one of the greatest love songs of all time, “Maybe I’m Amazed,” and then Ram with “Too Many People,” what today we’d call a diss track about John Lennon (not discussed in the film).

He wants to go. back to his roots, start a new group. Linda agrees to join. “Well, that’s two, then,” Paul says. His plan is to play at small venues and have the kind of band the Beatles was in the days of the Cavern Club and Hamburg, where, in his mind, everyone was equal. Much has been written about whether the Beatles was equal with two people writing most of the songs and making most of the decisions, but whether it was or not, four teenagers performing in their home town of Liverpool is not the same thing as an international superstar assembling (hiring) a new band.

It is a lot of fun at first, traveling around and playing for small groups who are more surprised and curious than appreciative. Like a Supreme Court justice arguing your ticket in traffic court or George Takei showing up to act in your fanfic “Star Trek” movie. This is what Sir Paul loves, playing music with his mates for an audience who isn’t drowning out the music with screams.

Documentarian Morgan Neville has assembled archival clips, including some endearing home movies, in an impressionistic, occasionally whimsical, mosaic. Sir Paul, who produced, is famously cheerful (compare his Christmas song to Lennon’s, and recall that he wrote “You have to admit it’s getting better” and Lennon added “Can’t get no worse”). His oddly cool reaction the day Lennon was murdered is included, though sympathetically portrayed as a response to an unforgivably rude question. In this film he allows himself to get more introspective than usual, talking about how he and John were estranged but never stopped loving each other and about how Linda and his children helped bring him back to music. When Wings breaks up, he knows he can start again. And if he never reaches the heights of the Beatles era, that’s fine. As a fan of Sir Paul for decades, who’s seen him in concert twice, I found this a pleasure.

Parents should know this film includes some strong language and social drinking.

Family discussion: What would you do if everything you had worked for suddenly stopped? What is your favorite Paul McCartney song?

If you like this, try: “A Hard Days Night” and “Get Back”

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KPop Demon Hunters

KPop Demon Hunters

Posted on July 3, 2025 at 10:19 am

B +
Lowest Recommended Age: 4th - 6th Grade
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Extended fantasy-style violence, sad death
Diversity Issues: None
Date Released to Theaters: July 3, 2025

Let me be the first to suggest that “Golden” be nominated for a Best Song Oscar. This animated story of a Korean pop trio who battle demons to save humanity has a bunch of bangers, but “Golden” is not only the best on the soundtrack but better than several recent Oscar winners.

“KPop Demon Hunters” is an unexpectedly entertaining mash-up of two seemingly unrelated genres. It works because it is colorful, funny, imaginative, and above all heartfelt and sincere.

Copyright 2025 Netflix

Rumi (Arden Cho), Mira (May Hong), and Zooey (Ji-young Yoo) are the pop trio Huntrix. They are not only musical superstars and demon hunters; they are the best of friends. They are the inheritors of the skills and responsibilities of demon hunters through the ages, protecting the world with mad fighting skills and the magic of music and its connection to the fans, which spreads a protective shield called the Honmoon over the earth, woven from their music. (There is a charming glimpse of their forebears, trios through the decades.) If they can eradicate the demons completely, the Honmoon will turn gold.

This has a personal importance for Rumi. She has not told Mira and Zooey that she is half demon, as revealed by the “patterns,” markings on her arms and neck. Turning the Honmoon golden will make her fully human.

The demons are ruled by Gwi-Ma (Lee Byung-hun). When he becomes angry at the failures of his demons to defeat Huntrix, a centuries-old demon named Jinu (Ahn Hyo-seop) makes a proposal. If Gwi-Ma will erase the memories that haunt him, he will fight Huntrix on their own turf: he will form a boy band, the Saja Boys. Their first song, “Soda Pop,” is an instant hit. The battle is on — musically and with weapons. A devastating diss track is as important as the swords. But so is the the power of telling hidden truths.

The voice talent includes Ken Jeong as Huntrix’s manager Bobby, and Joel Kim Booster and Daniel Dae Kim as multiple characters. There is some silly humor but there are also are intense fight scenes and a sad death as a character who sacrifices himself to save others. There’s also a six-eyed bird wearing a hat and pajama pants with teddy bears and “choo-choo trains.” And, as noted, some excellent songs.

Parents should know that this film includes a lot of fantasy-style violence and a sad death. There are references to despotism and evil.

Family discussion: Why did Rumi think she could not tell Zoey and Mira the truth? Why did she trust Juni? Why did he trust her?

If you like this, try: the music and videos of BTS

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Heads of State

Heads of State

Posted on July 1, 2025 at 6:16 pm

B-
Lowest Recommended Age: Middle School
MPAA Rating: PG-13 for sequences of strong violence/action, language and some smoking
Profanity: Strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended peril, violence, and mayhem, with disturbing images. Characters use guns, knives, martial arts, and bombs. There is a plane crash. Characters sacrifice themselves. A lot of people killed for a PG-13.
Diversity Issues: Diverse characters
Date Released to Theaters: July 2, 2025
Date Released to DVD: July 2, 2025
Heads of State
Copyright 2025 Amazon MGM Studios

“Heads of State” is an action comedy starring John Cena as Hollywood action star turned US President Will Derringer, Idris Elba as military turned British Prime Minister Sam Clarke, and Prianka Chopra-Jonas as British super-spy and lover of silly puns, Noel. Will is a friendly, optimistic guy who may not know much about politics or policy but brings his skills as a communicator to the White House. He has high approval ratings from American voters. And some of the movie’s best jokes are the titles and descriptions of his blockbuster movie franchise, where he is referred to as “the venom in denim.”

This does not impress Sam, whose approval ratings are sinking, and who believes, understandably, that the job requires seriousness, thorough study, and substance rather than popularity. Sam says that Will still hasn’t figured out the difference between a press conference and a junket to promote a film. “You know your lines but you’re not believable in the part,” Sam says.

This is, of course, just the right set-up for antagonists-to-BFFS on a journey, a relationship forged by common enemies. With three powerhouse performers so well cast for comedy and action, the movie is guaranteed to be entertaining, despite predictable twists. For me, the balance tipped too far into the carnage for an action comedy, with dozens and dozens of anonymous bad guys mowed down, and the comedy not as sharp as it should be. On the other hand, there are a lot of cool locations, the action scenes are exciting, Jack Quaid shows up midway though (and in a mid-credits scene) to liven things up, so all in all a pleasant streaming time-waster.

It begins with the real-life annual food fight, La Tomatina in Buñol, Spain,  with participants hurling tomatoes at each other. Noel is under cover as a television journalist covering the event, but she is really there to track down an international arms dealer named Victor Gradov (Paddy Considine). But Gradov is clever and has decoys to distract them. Things go badly. Sam’s intelligence briefing reports that they have all been killed.

Will is arriving to meet with Sam before they go to a NATO meeting with other world leaders. The aides to both men urge them to try to be cordial, but the always cheery Will bears a grudge over Sam’s support for his opponent and Sam has no respect for Will’s superficial grasp of the issues. The aides decide that Will’s giving Sam a ride to the meeting on Air Force One will be a way to show good will and solidarity.

But Gradov’s thugs have taken over the plane. It crashes and explodes and the two heads of state are assumed to be dead. They survived, thanks to the sacrifices of the Secret Service. In order to make sure they are not attacked again they have to stay off the grid and walk through Belarus.

There are various encounters along the way, with fight scenes to determine who is “gym strong” vs. “strong strong.” The highlight, as noted above, is Jack Quaid as a US operative in a safe house, whose character deserves a movie of his own.

Parents should know that this film has a lot of mayhem for a PG-13, with many characters killed, mostly but not all anonymous bad guys. There are guns, knives, martial arts, explosions, plane crashes, and chases. Characters use some strong language.

Family discussion: What were Sam’s and Will’s most valuable qualities as world leaders? How could they improve to be better?

If you like this, try: “My Fellow Americans,” with Jack Lemmon and James Garner, and this year’s “G20” with Viola Davis and the wildly deranged “Rumours” from director Guy Madden

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The Piano Lesson

The Piano Lesson

Posted on November 19, 2024 at 1:47 pm

B +
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for strong language, violent content, some suggestive references and smoking
Profanity: Strong language including many uses of the n-word
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Tense emotional confrontations, recollections of enslavement and abuse, supernatural horror
Diversity Issues: A theme of the movie, disabled character
Date Released to Theaters: November 22, 2024
Copyright 2024 Netflix The Piano Lesson

August Wilson wrote a play for each of the decades of the 20th century, all set in Pittsburgh and all exploring themes of race, family, and generational trauma. Denzel Washington, who starred in “Fences” on Broadway and directed and starred in the 2106 film that featured Viola Davis in her Oscar-winning role and produced “Ma Rainey’s Black Bottom,” also starring Davis, who nominated for an Oscar, along with her co-star, Chadwick Boseman. This third in the series is a family story on screen and behind the camera, produced by Washington, directed by his son Malcolm Washington (who adapted the screenplay with Virgil Williams), starring his other son, John David Washington (“BlackkKlansman”), and his wife Pauletta and daughter Olivia in small roles.

The lesson here is not about someone learning how to play the piano. It is the struggle between Charles family siblings who represent two polar opposite views on history, heritage, and obligation. John David Washington and Danielle Deadwyler give sizzling performances as Boy Willie and Berniece (her name possibly a reference to a character in The Member of the Wedding).

Boy Willie, described by Wilson as “brash and impulsive, talkative and somewhat crude in speech and manner,” arrives at the Pittsburgh home shared by Berniece, her young daughter, and their Uncle Doaker (Samuel L. Jackson). He is uninvited, unannounced, unexpected, and unwanted. He and his friend Lymon (Ray Fisher) have driven a truck filled with watermelons from their rural community in Mississippi. Boy Willie’s plan is to sell the watermelons to get the money to buy property. It is more than a chance to be his own boss. The property was once owned by the Sutter family that enslaved his ancestors. The Sutter patriarch has just died by falling into his well.

The Sutter family also once owned a piano they got in exchange for slaves, separating a mother and child of the Charles family from the husband and father, a gifted carpenter, who was considered too valuable to sell. He carved his family’s history into the piano, and a later generation stole it from the Sutters. Now it is in the living room of Berniece’s home. The conflict in the play is between Berniece, who does not play the piano but refuses to sell it because of what it represents about the pain, skill, courage of her family. Boy Willie is determined to sell it so he can build a future which in his mind also honors the family history. If stealing the piano was a triumph over enslavement and abuse, owning the Sutter property is even more so.

Washington is a mesmerizing performer and his Boy Willie is electric, charismatic, and dangerous. Deadwyler has a quieter role, especially in the first half of the film, but gets a chance to show Berniece’s fiery determination. Wilson, always a master of creating arresting, complex characters, has two of his best in the two siblings. A conventional story would have the widowed Berniece find a happy ending with the preacher who loves her (Cory Hawkins, excellent as always). But Wilson’s plays grab onto big, existential issues and he did not hesitate to go to extremes to demonstrate the intensity of his characters’ struggles. When does your family history support you? When does it weigh you down? What do you do when the answer is both?

Parents should know that this film has strong language, including many uses of the n-word. Characters drink and smoke. There are references to the sad death of a husband and father and to the abuses and deprivations of enslavement and bigotry. The story also includes some supernatural/horror events with disturbing images.

Family discussion: Who is right, Berniece or Boy Willie? What could they have said to better explain why they felt so strongly? Does your family have a cherished heirloom and who cares the most about it?

If you like this, try: “Fences” and “Ma Rainey’s Black Bottom”

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