Month: May 2019

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Film/TV Film/TV/Etc. Blog

Booksmart

Beanie Felstien as Molly and Kaitlyn Dever as Amy in Booksmart

Every now and then, a movie comes along that is so of its time that it comes to define its time. Rebel Without A Cause caught the energy of the early rock and roll era. In the 80s, John Hughes films both reflected high school reality and helped shape it. As I came out of Booksmart, I felt like I had just seen Ferris Bueller’s Day Off for the first time. Olivia Wilde’s directing debut has the potential to be one of those generation-defining high school films.

Part of that is by design. Booksmart is very specifically about the class of 2019, and BFFs Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are about to graduate at the top of it. Amy is a do-gooder lesbian who drives a vintage Volvo with a Warren 2020 sticker on the bumper. Molly is the anti-Bart Simpson: the product of a distinctly working class home who is an overachiever at everything. On the last day of school, as class president, she’s more interested in going over year-end budget numbers with her jock VP Nick (Jason Gooding) than finding ways to celebrate.

When the FOMO hits.

But right before cap and gown time, they are suddenly struck by an acute case of late blooming FOMO. They set out on their penultimate high school night to find the ultimate high school party, and maybe finally put the moves on their respective crushes while they’re at it. The two have a Ferris/Cameron dynamic. Molly, utterly convinced of her own smarts, is constantly talking the reluctant Amy into escalating the hi-jinx, while Amy immediately lives to regret it. Feldstein, who shone as Saoirse Ronan’s best friend in Lady Bird, fully emerges as a major comedic talent. Dever plays it tighter to the vest, but the two characters are such fully intertwined teenage best friends you can’t really call her the straight woman.

We follow Amy and Molly, and root for them to have fun, and for their friendship to endure. But Booksmart rises above the usual teen movie cliches by fully humanizing all of its supporting characters. First and foremost is Hollywood royalty Billie Lourd giving off strong Jeff Spicoli vibes as Gigi, the drug addled rich girl who serves as Amy and Molly’s spirit guide for their procession through progressively less lame parties. Jared (Sklyer Gisondo) drives an 80s Firebird with a FUK BOI license plate. His taste in hats echoes Pretty In Pink’s Ducky. Booksmart kicks into high gear at the epically unsuccessful party he throws on a docked yacht, and keeps that momentum going all the way to the end, wrenching unexpected twists from the Superbad-like premise.

Billie Lourde as Gigi (left) taking Amy for a ride.

Working from a whip smart screenplay by four women writers, Wilde lovingly shepherds Amy and Molly through the best/worst night of their lives. The way she precisely balances out Fieldstein’s manic energy and Devers thin veneer of calm is reminiscent of how John Landis handled Belushi and Aykroyd in The Blues Brothers. Most crucially, editor Jamie Gross, who worked on MacGruber and Popstar: Never Stop Stopping, two of the decade’s best comedies, delivers a cut so tight you could bounce a quarter off it.

So much contemporary comedy feels clutching and desperate for a laugh. They’ll just throw in five vaguely amusing gags and hope you fall for one of them. Booksmart feels loose and spontaneous, and it looks like everyone’s having a good time on the set, but the laughs flow naturally from the characters and situations. Even when something truly, Porky’s-level outlandish happens, it feels earned, and not mean spirited. It’s hard to do comedy well in these politically fraught times, but Wilde gets the tone just right, so it feels like an authentic voice of Generation Z, or whatever the hell we’re calling the kids these days.

And what kind of portrait of the “kids theses days” emerges from Booksmart? Pretty darn good, all things considered. The politics of the moment are integral to everything. Molly is focused on changing things from within the system, and planning to move to Washington to get into politics after she graduates from Yale, which conveniently fits her personal ambition in with the greater good. Amy, who sports a denim jacket with patches that say “SISTERS”, is going to go to Africa to help women there directly. You know that their idealism will get roughed up when they run up against the real world, but the kids’ determination to shape it in a new and better image is the spark that gives them life. And consider this: Even at the end of John Hughes most optimistic film, The Breakfast Club, the social barriers remain in place, even if the characters themselves got to see around them for a time. In Booksmart, once social barriers are confronted, they’re revealed to have been mirages all along. If that’s how the class of 2019 sees the world, we’re all going to be better off.

Booksmart

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Film/TV Film/TV/Etc. Blog

Music Video Tuesday After Memorial Day: Kafé Kirk

Kirk, Kortland, and Kameron Whalum

Yesterday was Memorial Day, but music videos never sleep, so we’re kicking off your 20-percent shorter work week with Music Video Tuesday After Memorial Day!

On Sunday, June 2nd, Memphis musical legend Kirk Whalum is staring a new series called Kafé Kirk at the Crosstown Theater. Here’s what he says about it:

“The language of music speaks more powerfully, clearly, and profoundly to more people, across more boundaries and in more diversely creative ways than any other language. There’s no fear in the music! The wider the gulf between cultures, faith traditions, preferences…the better. And this is the spirit of Kafé Kirk! A groovy musical hang where it’s O.K. to be other, and super-O.K. to be unabashedly spiritual. Do. Not. Miss. This. Kafé Kirk is a musical, spiritual hang with special guests from all over the world, at the brand-new, state-of-the-art Crosstown Theater here in Memphis. Between sets I sit down with my special guest to chat about their spiritual and life journey. Then, we make more music!”

Whalum’s first guests for Kafé Kirk will be his nephews, Kortland Whalum, a vocalist who teaches at the Stax Music Academy, and Kameron Whalum, trombonist for Bruno Mars. Here’s the Whalum clan wailing on a spiritual on the stage of Crosstown Theater.

Kafé Kirk with Kirk Whalum, Kortland Whalum & Kameron Whalum from Crosstown Arts on Vimeo.

Music Video Tuesday After Memorial Day: Kafé Kirk

If you’d like to see your music video on Music Video Monday, email cmccoy@memphisflyer.com

Categories
Food & Drink Hungry Memphis

Why Not Rye for Memorial Day cocktails? Riverset Rye. Made in Memphis.

CREDIT: Michael Donahue

Michael Donahue

Nick Lumpkin, bartender at 117 Prime, and a Memphis Mule made with Memphis’s-own Riverset Rye.

Move over, gin. Memphis’s-own Riverset Rye is here for summer cocktails.

The Memphis Mule (rye, ginger beer, and lime) and Whiskey Sour (rye, sour mix, and a splash of club soda, with a lemon or lime garnish) are two refreshing spring/summer drinks you can make with the whiskey, says McCauley Williams, president/CEO of Big River Distilling Co. The Memphis company, which began in 2013 with its Blue Note Bourbon, introduced Riverset Rye last October.

“It’s that cinnamon-allspice note,” Williams says. “It also has a minty taste, so in that Mule or in the Whiskey Sour, you get a cinnamon-y minty note that comes through. It’s great with citrus. Riverset Rye and lemonade makes a great summer drink, too.”

Rye whiskey means “it has to be at least 51 percent rye content and grain content. This rye is pretty cool. It’s a blend of two different strains of rye. We blend a 95 percent rye with a 51 percent rye to create our Riverset Rye. That 95 percent is much spicier than the 51 percent. It creates that sweet-and-spicy taste that is typical in allspice or cinnamon, which is what people typically associate with rye whiskey.”

Riverset Rye is “bottled at 93 proof, so it is full bodied and strong.”

But, Williams, says, it’s “inherently smooth on the finish, which is in large part due to how great our Memphis aquifer water is. It opens up the whiskey and smooths it out.”


Many people associate rye whiskey with the 1920s and ‘30s. It’s what Nora Charles drank in the 1934 movie, The Thin Man.

Rye is not as popular as bourbon, but rye is “having a renaissance,” Williams says. “A comeback. It’s the fastest-growing category of whiskey in the United States by percentage. Because it’s got that bold flavor, it holds up well in the cocktail.”

In addition to the Memphis Mule and the Whiskey Sour, Riverset Rye also makes for a great Old Fashioned, Williams says. “A great Old Fashioned is a classic cocktail year round. Riverset Rye, simple syrup, bitters, and you can garnish with a cherry and an orange peel.”

Williams prefers Bittermilk for the bitters. “It’s a brand they sell at Fresh Market and a lot of liquor stores. They make a barrel-aged old fashioned bitters mix. All you do is take that, add a little water, the whiskey, and garnish with a cherry and orange peel and you’ve got a world-class Old Fashioned.”

Riverset Rye can be found “at any liquor store, and most bars and restaurants,” Williams says. “It’s in 65 local liquor stores and 100 bars and restaurants.”

Categories
Blurb Books

Tom Graves’ White Boy

Memphis-based writer and publisher Tom Graves is set to publish his sixth book on Saturday, June 1st, with a booksigning to follow at Novel bookstore on Tuesday, June 4th.

The author of Crossroads: The Life and Afterlife of Blues Legend Robert Johnson and of Pullers, a novel about the weird world of competitive arm wrestling, has now set his sights on the art of memoir. The book will be released under the imprint of the Devault-Graves Agency (Graves’ Memphis-based publishing house, co-founded by Darrin Devault).

“Like every book I’ve ever done, this one came at me sideways,” Graves says of his new book, White Boy: A Memoir. The author had been working on a different book, when an autobiographical section expanded, seemingly of its own volition, blossoming far beyond the confines of its chapter.

“I’d been working on a cookbook,” Graves says. He is interested in soul food, specifically in learning to cook it. The only problem: “I wasn’t very good at it.”

So Graves set about trying to find a teacher willing to give him some one-on-one lessons in the great Southern art of soul food.

“I wanted somebody who was a good kitchen cook,” Graves explains. “I put this question to a reverend I know, Reverend Roger Brown, and he put me in touch with an 80-year-old lady, [Larthy Washington], who has been the church cook for him for 40-plus years. Every two weeks, we would meet at the church, and she would give me lessons.”

Graves still plans on finishing and releasing the cookbook he’s co-writing with Larthy Washington, but he decided he would first have to explore the autobiographical idea.

“Because I was working with an African-American lady and working on soul food, it had me thinking about all the different changes in my life regarding race in Memphis,” Graves explains. “I’m a lifelong Memphian; I’ve never lived anywhere else.”

As a witness to landmark events from his elementary school’s initial integration in the ’60s to the removal of the Confederate statues from city parks in 2017, Graves feels his perspective offers something valuable and relatable. So he set about expanding and editing that autobiographical chapter into a full-fledged memoir focusing on race in Memphis.

Graves lists banner moments in his memoir, times when he was forced to confront the injustices of society, and then, afterward, view the world in a different light. One such moment was a time he and his family were entertaining old family friends visiting from out of town.

“We were all picnicking at Overton Park,” Graves explains. They wanted to make a trip to the Memphis Zoo on a later day — a Thursday, which was, at the time, one of the only days that African Americans were allowed to visit the zoo. A young Graves pointed that detail out to his father, who explained that though their black neighbors were prohibited from visiting the zoo on “whites only” days, Tom and his family were not required to abide by the same rules. They could go to the zoo any day they wished. Graves was stunned: “I remember thinking, ‘Wait a minute. Something’s wrong here. That’s not fair.’”

In the memoir, Graves focuses on the multiple moments in his life when he was forced to acknowledge the injustices of racism. “[In White Boy], I talk about the day that my school was integrated,” Graves explains. “It would have been the ’64/’65 school year, and Bethel Grove integrated one black student. And what pressure must have been on that little girl … ” The author trails off for a moment before imagining the unfairness of shouldering so much pressure as a child.

Still, not all of White Boy is devoted to Graves’ childhood, and as the author ages and becomes more aware, he’s forced to confront still grimmer tableaus. And in his memoir, Graves hews close to the bone, not letting himself or his city off, nor shying away from acknowledging the gritty details when necessary. When asked how Memphis has changed, Graves is quick to answer. “It’s changed enormously,” he says of his hometown. “If you saw a fish fry or a barbecue, it was either all-black or all-white.” But, the author admits, “I think we have work to do.”

The author doesn’t intend the book to be a scholarly examination of racism in the South. White Boy is a memoir, and is intended to be read as such, which is why it ends on a personal note. “I ended [the book] with my tragic love story,” Graves says. He met his first wife in Senegal, but the marriage didn’t last long. Of course, like the rest of White Boy, that’s Graves’ story, and it’s best to let the author tell it himself.

Tom Graves will discuss and sign his new book, White Boy: A Memoir, at Novel bookstore, Tuesday, June 4th, at 6 p.m.

Categories
Music Music Blog

Misti Rae Holton Sings In Her Garden

It’s summer, so that means flowers. Misti Rae Holton is passionate about her garden, and she likes to share it. Since May 15th, her photographs and painting of her gardening obsession have hung at Midtown Crossing Grill. “In my garden, I am both queen and servant,” she says.

This Sunday at 4 p.m., she will play her music in the space where her show Queen and Servant hangs at Midtown Crossing. If you’re looking for some Memorial Day Sunday chill out opportunity, she’s got you covered. Here’s a video of Misti Rae at Otherlands a few years back, to give you a taste.

Misti Rae Holton Sings In Her Garden

Categories
Film Features Film/TV

The Hustle

I love a good con artist film. It’s a different animal from a heist film, where the thrill is in the elaborate planning and then the reveal of how the plan worked out, or more often, didn’t work out. In a con film, the fun comes from the fact that the con artists and the audience are in on the secret, and everybody else is in the dark. In The Sting, we become invested in Paul Newman and Robert Redford’s massive parimutuel betting con. That’s when it’s played for fun. In The Grifters, Stephen Frears explored the dark side of the con. Anjelica Huston, John Cusack, and Annette Bening take turns trying to rip off the world and each other, but they’re revealed to be not charming knaves, but the kind of abusive, amoral sociopaths who would actually con a person out of their last dollar.

Somewhere in between those two extremes is Dirty Rotten Scoundrels. Directed by Frank Oz, the 1988 film starred comedic superman Steve Martin and prestige actor with underutilized comic chops Michael Caine. Both are con men, but with dramatically different styles. Caine is a European sophisticate who knows where the rich, gullible widows are because he’s from the milieu. Martin is something of a confidence idiot savant, disorienting his targets with a barrage of bullshit. The younger grifter wants to learn from the older grifter, but they end up at odds — neither one of them is exactly trustworthy, you see. There ain’t room enough in the French Riviera for the two of them, so they make a bet: The first one to con a rich heiress out of $50,000 wins, and the loser must leave town.

Dirty Rotten Scoundrels isn’t the greatest comedy of the ’80s, but it definitely has its moments, and a couple of decades as basic cable fare has earned it an audience. It’s ripe for a remake, and as you know, 21st-century Hollywood abhors a remake vacuum. Or something.

Anne Hathaway and Rebel WIlson

The driving force of The Hustle is Rebel Wilson, Australian comedian who produced the film and stars in the Steve Martin role. Wilson’s Penny Rust is a professional catfisher who reels in her rich, conceited, yet dopy marks on Tinder. She falls victim to the con artist’s biggest occupational hazard: when you’ve been too successful and you’ve got to leave town ahead of your vengeful victims.

Inspired by a travel magazine, she sets off to France, where, by chance, she meets Josephine Chesterfield, played by Anne Hathaway. Josephine has refined conning old men out of their excess capital into a science. She does her research, surveils her targets, and then hits them in their most psychologically vulnerable spots. From the moment she sees Penny on a train talking a guy out of a free dinner, she recognizes the game. Fearing an oversaturated con market in the hoity toity French Riviera town she prowls, Josephine tries to misdirect Penny. But the ugly American keeps coming back, and the two prideful con artists are off, trying to one-up each other for money, jewels, and bragging rights.

Like Martin and Caine, Hathaway and Wilson have the chemistry to pull this off. Josephine, who at one point gives a speech about how the best way for a woman to con a man is to let him underestimate her, repeatedly underestimates Penny’s cunning. The mark the two artists compete to fleece out of an inflation-adjusted $500,000 is Thomas Westerburg (Alex Sharp), a newly minted tech billionaire who needs to be relieved of the burden of so much IPO cash. In true con movie fashion, he turns out to be more than meets the eye.

British comedy actor Chris Addison makes his directorial debut with The Hustle, and he may be the problem with the film. Hathaway has too much fun flipping through her portfolio of accents and wardrobe of slinky dresses, while Wilson is having a blast doing physical comedy. Like in its inspiration, there are a high points where it all works, such as when Hathaway takes the personae of a severe German psychologist to cure Wilson’s faked hysterical blindness. It’s well edited, and there are no obvious, throw it against the wall improv passages, which have marred recent comedies like the Ghostbusters remake.

And yet, The Hustle never really gels to become more than a sum of its parts. Martin and Caine seemed to genuinely dislike each other, which gave Dirty Rotten Scoundrels an air of transgressive danger. Wilson and Hathaway seem like friends playing out a silly bet. They’re too comfortable, and too safe. I didn’t hate this movie, but the laughs never reached critical mass for me, either. Like What Men Want, it’s a gender flipped comedy remake that ultimately fails to rise to the quality of the onscreen talent.

Categories
Food & Drink Hungry Memphis

Tokyo Grill to Open in Midtown

Tokyo Grill will open its seventh location in Memphis in the old Shang Hai space at 1400 Poplar near Cleveland.

The first Tokyo Grill opened on Park in 2011.

Expect the same menu, says owner Aaron Liu. “It’s the same style, same concept,” he says. The large menu offers Japanese fare such as bento boxes, sushi, hot pots, noodle dishes, tempura, and more.

Liu says he had been wanting to expand into Midtown for a while now. He looked on Madison but said parking is pretty sparse for businesses on that street.

The 1400 Poplar space has lots of parking and is in a highly visible spot. But Liu says he’s had to do a lot of work on the building — new appliances in the kitchen, a new roof, new paint on the exterior and interior.

One thing he’s keeping are the red tiles on the ceiling. “They’re antique, unique. You can’t buy them anymore,” he says. “They are artwork.”

The plan right now is to open in the next couple weeks. Liu says that they’ve already passed all inspections but he needs time to rest and get ready for the new restaurant.

“You have to love your customers,” Liu says. “My customers gave me the chance to grow my restaurant.”

Categories
Food & Drink Hungry Memphis

Sushi Jimmi to Close

CREDIT: MIchael Donahue

MIchael Donahue

Sushi Jimmi is closing.

For good. Right after dinner on May 23rd. Chef/owner Jimmy Sinh’s red Sushi Jimmi food truck will be in operation May 24th, but that will be the last time. The Asian fusion restaurant at 2895 Poplar — and the food truck — will be history.

Sinh, 30, says he is getting out of the restaurant business because he wants to spend more time with his wife, May, and their five sons: Dylan, Logan, Alex, Jimmy, and their almost two-month old, Kit.

“My happiness is number one,” Sinh says. “I’m just quitting for the time being. Taking a little break.” Sinh was wearing a black T-shirt bearing the words “Sushi Jimmi” in red. “I just ordered 100 T-shirts. I’m going to sell them,” he said.

Sinh said deciding to close the restaurant was sad, but the decision also “took a big weight off [his] shoulders.”

The restaurant, which opened three years ago, was a “huge success,” he says, but other things led to his decision to close it. For one thing, Sinh says, “I was putting too much of my own money into the business.” He says he recently had to repair — for the second time — his walk-in cooler, which needed a new motor and fans. “I threw away $13,000 worth of food.”

Sinh also says he put $200,000 into the restaurant’s building, which used to be a Wendy’s. He put in a new floor, took out the front of the building and built a new one.

Sinh, who grew up in Binghampton, has worked since he was 16. He began his food truck five years ago and the restaurant two years later. Now, he says, “I’m burned out.”

Sinh says he’ll be available if someone needs “a good chef,” and says he’s gotten offers. Sinh also plans to start a YouTube cooking show, “Chef Jimmi.”

His advice to someone who wants to start a food truck business?

“Don’t depend on anyone. Don’t do everything at once. Do it step-by-step. Make sure you have the right crew. Never use your own money. You’ll end up hurting your family and yourself. Help yourself before you help others.

And, finally, he adds: “If you don’t feel happy, stop. I stopped before I hated it. You don’t want to lose what you fell in love with.”

Michael Donahue

Jimmy Sinh

Michael Donahue

Categories
News The Fly-By

Period Poverty

CREDIT: Sister Supply

One Memphis grassroots organization wants to help eliminate period poverty here by improving women’s access to sanitary products for menstruation.

Sister Supply, formed in 2015, provides pads, tampons, and underwear to women and girls who are homeless or living in poverty. It also works to de-stigmatize the discussion of periods and provide education about and access to sustainable menstrual products, such as washable pads.

Eli Cloud, co-founder of Sister Supply, said that period poverty isn’t a new concept here, but it’s only recently began to be addressed. Cloud said many women and girls go without the proper menstrual supplies because they can’t afford them.

Sister Supply

Sister Supply founders Eli Cloud and Nikii Richey.

“Menstruators have been going without and improvising because they lack financial access to pads and tampons — essential items that are taxed as luxury items,” Cloud said. “Period poverty remained hidden until recently because of the stigmatization of discussion of menstruation. This lack of access to menstrual products required to meet a basic need of all females creates a ripple effect that has a negative impact on achievement.”

Cloud said the organization initially focused on providing menstrual supplies to homeless women here, but learned that the “problem extends well beyond the homeless population.”

Cloud said most of the donations go toward middle and high schools.

“In school, going back and forth to the school office to get a pad during your period means that you miss out on valuable instruction time — time that male students do not miss,” Cloud said. “This creates unequal access to education.”

The cost of providing supplies for one student from the time she begins menstruating through high school graduation is about $100, Cloud said.

“It’s a small front-end investment compared to the cost associated with high-school dropouts, education, and workforce development problems.”

Cloud said the ultimate goal is to push for policy changes that would eliminate period poverty completely.

Between May 28th and June 2nd the group will be collecting menstrual products and money for women in need at various locations around the city, including Crosstown Concourse, the Mid-South Food Bank, and the Memphis Child Advocacy Center.

On Saturday June 1st, Sister Supply will hold a volunteer event at Shady Grove Presbyterian Church where participants will prepare one- and three-month menstrual supply kits.

The Urban Child Institute of the Mid-South, which focuses on improving the health and well-being of young children in Shelby County, is partnering with Sister Supply on next week’s fund raiser.

Dominique DeFreece, special projects coordinator for the Institute, said though the organization’s main focus is children under eight years old, the institute saw a need for providing menstrual supplies to older girls and women as well.

“We see that children aren’t individuals,” DeFreece. “They’re part of families. To really be able to care for a child, we need to look at family and who’s caring for them. If these people aren’t being provided for, then the child’s needs aren’t being met either.”

Now, the institute, is working to create a large-scale product bank that provides mentsrual supplies, diapers, and adult incontinence products.

DeFreece said the plan is to begin distributing the products in mass from the Mid-South Food Bank beginning in mid-June.

Categories
Film/TV Film/TV/Etc. Blog

The Real Stuff: William Eggleston’s Stranded In Canton Screens at Crosstown Arts

Furry Lewis in Stranded In Canton

Telling folks about their past, their cultural heritage, the artists who shaped how we think today, is usually the job of people like me. But writers and documentarians, no matter how hard we try to tell the whole story, are always doomed to tell only part of the tale. We decide what’s most important (which describes what our job entails in a nutshell) and edit out the rest. Rarely do general audiences get to see the unfiltered stuff, the raw material out of which cultural history is made.

In 1976, Memphian William Eggleston was the subject of a blockbuster exhibition at the Museum of Modern Art. Until that time, color photography was not held in high esteem in academic and “serious” art circles. Eggleston’s haunting, egalitarian photos of the Mid South changed that forever.

At the time, Eggleston had been seriously pursuing photography since the mid-1960s. While he was being feted in the highest circles for his ravishing prints, his interest had turned to video. Sony had just released a brand new video camera that taped to an open-reel deck. It was portable, but just barely. Eggleston got his hands on one and started obsessively shooting anything that was in front of him.

For years, the tapes lay dormant until they were assembled into a film called Stranded in Canton by director Robert Gordon. Today, even the press releases supporting the film refer to it as “infamous”. This is not a work with a narrative arc. It is more like being a fly on the wall at a particularly strange time and place. Memphis attracts eccentrics, and Eggleston hung out with the best of them. And by “best” I mean “weirdest”. Eggleston’s friends included Furry Lewis, Alex Chilton, Tav Falco, and a host of other hard partying artists. The photographer catches them with their guard down—if, indeed they had guards to drop in the first place. Much has been written about that time in Memphis cultural history, but this film puts you in the room with the people who were making that history, warts and all. Imagine Salvador Dali’s home movies, and you have the beginning of a sense of what Stranded in Canton is like

The film will screen tonight (Thursday, May 23rd) as part of the Crosstown Arts weekly film series. After the film, The Alex Chilton Revue Band featuring Ross Johnson and The Klitz will perform period-appropriate music at The Green Room. You can get tickets here at the Crosstown Arts website. 

The Real Stuff: William Eggleston’s Stranded In Canton Screens at Crosstown Arts