'Nöthin' but a Good Time: The Uncensored Story of '80s Hair Metal' Reviews: Series "confronts the misogyny and longtime celebration of addiction-ladled revelry associated with the era, the music, and the artists as things to now look back at in shame"

         On September 12, 2024, Paramount+ released 'Nöthin' but a Good Time: The Uncensored Story of '80s Hair Metal', which has earned a mixed reception from critics. In the documentary series, "A fresh and candid behind-the-scenes look at one of music's most iconic eras; each episode showcases the insanity and blazing ambition that has enthralled generations of music lovers and continues to influence culture to this day." But what did the critics say?

       Christopher Campbell of Nonfics says, "If Nöthin' But A Good Time is good for anything, it’s the way it confronts the misogyny and longtime celebration of addiction-ladled revelry associated with the era, the music, and the artists as things to now look back at in shame." Adding, "For the most part, Nöthin' But A Good Time: The Uncensored Story of '80s Hair Metal offers nothin’ new to the history of ‘80s hair metal. It’s a basic behind the music that you used to find on VH1 and now see on Paramount+ with little aesthetic value and a lot of anecdotes in favor of insight. Still, just when I got to thinking that I’d rather recommend The Decline of Western Civilization Part II: The Metal Years instead of this three-part docuseries from Jeff Tremaine (Jackass), it took that classic rock doc to task for its treatment of substance abuse as comedy."

        Joel Keller of Decider notes, "Putting a heavy emphasis on the backstage stories, with all of the sex, drugs, and strange behavior they entail, is what makes this docuseries so entertaining. Tremaine isn’t shy about showing bands surrounded by topless female fans, and he encourages the people he interviews to reveal some outrageous stories. Then some of those stories were animated, making them even funnier." Continuing, "Tremaine is going in a rough chronological order, but doesn’t adhere to it religiously, allowing him to follow a path that connects bands, gigs, songs and songs in a way that makes sense. There is some attention paid to the sticks-in-the-mud who thought bands like Mötley Crüe were “satanic,” but it feels that Tremaine would rather adhere to ethic of the series’ title than be a downer about the fuddy-duddies who didn’t realize one of the Crüe’s first hits was called “Shout At The Devil.”

Photo by Thomas Kelley on Unsplash

       Nick Schager of The Daily Beast writes, "The 1980s hair metal scene has already received a definitive documentary account courtesy of Penelope Spheeris’ The Decline of Western Civilization Part II: The Metal Years, and Nöthin' But a Good Time: The Uncensored Story of '80s Hair Metal doesn’t outdo it. Paramount+’s three-part docuseries, which premieres Sept. 17, is a non-fiction power ballad for the era of big hair, tight spandex, and rampant debauchery and depravity, reminiscing with an affection that isn’t, alas, matched by its incisiveness. Light on the decade’s biggest luminaries and even lighter on insight, it merely opts for sketchy nostalgia." Concluding, "Hair metal was all about excess, so Nöthin' But a Good Time (based on the book by journalists Tom Beaujour and Richard Bienstock, who appear) is invariably most entertaining when its talking heads recount anecdotes about their over-the-top heyday."

'Rescue: HI-Surf' Reviews: "Set on Oahu’s North Shore, “Rescue: HI-Surf” delivers just what its title promises. Surf. Rescues"

         On September 22, 2024, FOX premiered 'Rescue: Hi-Surf', which has received a predominantly positive reception from critics. In the series, "the personal and professional lives of the open-water lifeguards who patrol and protect the North Shore of O'ahu, the most famous and dangerous stretch of coastline in the world. Each episode features dedicated, heroic and adrenaline-seeking first-responders saving lives in the difficult and often life-threatening conditions of Hawaii's Seven Mile Miracle." The ensemble cast includes Adam Demos, Robbie Magasiva, Arielle Kebbel, Kekoa Kekumano, Alex Aiono, and Zoe Cipres. But what did the critics say?

        Therese Lacson of Collider notes, "There's a plethora of first-responder television shows out there. From paramedics to firefighters to cop procedurals, the land of network television is littered with these types of shows. Normally, the series follows a ragtag gang made up of a mix of veterans and rookies who tackle day-to-day emergencies and save the lives of the locals around them. In that manner, Rescue HI-Surf follows the typical procedural formula: A group of open-water lifeguards patrol the perilous waters on the North Shore of Oahu. Created by Matt Kester, who is probably best known for his work on Animal Kingdom, the freshman season of Rescue HI-Surf offers a perspective on an often forgotten group of first responders, but as far as TV shows go, Rescue HI-Surf doesn't live up to the potential of some of its contemporaries." Adding, "Despite the authenticity of the series regarding being a lifeguard, where it fumbles is where the show is meant to build the most heart: its leading characters. Rescue HI-Surf primarily centers around the team's captain, Sonny, played by Robbie Magasiva, and his fellow lifeguards. Arielle Kebbel plays Em, an experienced veteran who is a natural leader and often acts as Sonny's right hand. Adam Demos plays Will, an Australian who had a previous relationship with Em and is currently trying to leave the beach to become a firefighter. Kekoa Kekumano plays Laka, a seasoned guard who is also a carefree partier, with a wild lifestyle that may become a problem. Joining the lifeguards are two rookies, Alex Aiono as Kainalu, the son of an influential politician on the island who has to prove he's far from just a nepo baby to his fellow co-workers, and Zoe Cipres as Hina, one of the few female guards coming in who has shown a lot of promise and graduated at the top of her class."

Photo by Johnny Such on Unsplash

       Robert Lloyd of Los Angeles Times says, "Set on Oahu’s North Shore, “Rescue: HI-Surf” delivers just what its title promises. Surf. Rescues. (Fox is currently running two other rescue shows, “9-1-1” and “9 1-1: Lone Star,” whose final season begins this week.) Here again is that combination of lightly developed workplace issues, romantic complications and wisecracking banter one finds in most every broadcast procedural, a formula that can keep viewers watching for years. All conflicts are put aside, naturally, when lives are at stake, which here requires regular plunges into the Pacific in aid of tourists too dim to read the posted warnings or follow a lifeguard’s good advice, as well as the merely unlucky. Robbie Magasiva plays the captain of the ocean safety team, who has bad dreams and oversees a crew leaning appropriately, if slightly, to Hawaiian and Asian actors; Arielle Kebbel is his lieutenant, who wants to be a captain herself. Adam Demos is her engaged ex, a laid-back Australian studying to be a firefighter, Kekoa Kekumano the hard-partying wolf, Alex Aiono the rich kid whose politician father weasels him a place on the team and Zoe Cipres the more talented poor girl whose place he takes (though she’ll get her own by the end of the pilot)." Adding, "John Wells, of “The West Wing” fame (and “ER” and “Third Watch” and so on), who worked with creator Matt Kester on “Animal Kingdom,” directs the first two episodes and shoots the action in a dizzying array of camera angles and lenses, careening movements, drone shots, underwater shots and on-the-water shots, rapidly piled one upon another higgledy-piggledy; the effect is akin to being slammed by big waves, which might be the intended effect but makes the crises and the rescues seem more staged than not. I would have liked a little boring local culture instead of the B-roll clips that speed by between scenes — lots of chickens — but that’s just me. Everybody’s pretty, the scenery’s nice, there’s some surfing. I can see people tuning in. “Baywatch” ran for 11 years."

       Rob Owen of Pittsburgh Tribune-Review was less impressed, stating, "Rescue Hi-Surf” (9 p.m., Fox): Lifeguard drama set and filmed in Hawaii. Some character arcs, but largely it’s all about the rescues. Much less wild (and less entertaining) than “9-1-1.”

Movies that Deserved Better: 'Bad Match' (2017)

         On November 3, 2017, Gravitas Pictures released 'Bad Match', which received rave reviews from critics, currently holding at 100% on Rotten Tomatoes and little reaction from the viewing audience...that were missing out. In the film, "Harris seems to have it all -- a great job, plenty of friends, and an active sex life thanks to a range of dating apps. That all changes when he matches with Riley, a clingy girl who's hiding something sinister." The ensemble cast includes Lili Simmons, Jack Cutmore-Scott, and Brandon Scott. But what did the critics say?

        Anton Bitel of SciFiNow says, "David Chirchirillo is perhaps best known for co-writing E.L. Katz’s Cheap Thrills (2013) with Trent Haaga (who has a cameo here as a police detective), but Bad Match is Chirchirillo’s feature debut as both writer and director (if we discount 2013’s Paranormal Incident 2, which he directed under a pseudonym). Like Cheap Thrills, it locates its genre scenario within a recognisable social reality, and shows an ordinary if not particularly likeable individual spiralling ever downward into monstrous moral decline as he makes one binary choice after another (like the casual swiping on a Tinder account) that constantly leads to worse trouble for himself.  Best, or worst, of all, the film’s plotting carefully manoeuvres Harris into carrying out the most repellent of masculine behaviours – cyberstalking and real-world stalking, imposture, roofying a woman’s drink, violent abduction, false imprisonment, coercion and worse – all in the service of protecting himself from someone who has beaten him at his own game. It is a twisty battle of the sexes where the Internet’s simple, reductive surfaces, all avatars and flattering selfies, also prove highly effective masks."

       Jennie Kermode of Eye for Film notes, "As Harris, Cutmore-Scott is very effective at coming across as an everyman whilst maintaining an edge of darkness that's vital to the film keeping its balance. Simmons gives us a character who is more visibly damaged but still seems, at heart, very ordinary. Crucially, she's ready to acknowledge the sometimes unreasonableness of her actions, whereas it doesn't occur to Harris, comfortably positioned at the centre of his own narrative, that any behaviour of his could overstep the mark. As the tension between them escalates, it becomes apparent that somebody has seriously overstepped the mark, and that an initially awkward situation is headed for tragedy, but Chirchirillo plays on our uncertainties (and cultural prejudices) to keep us guessing."

Photo by Adrian Swancar on Unsplash

       John DeFore of Hollywood Reporter praises the film, stating, "The action of the next few days escalates effectively, provided that one buys the shallow psychological profiles we’re being offered. (The actors certainly seem to.) But any moviegoer really interested in the effect an infinite buffet of swipeable sex has on human interactions should look elsewhere. Zachary Wigon’s The Heart Machine, released the same year as Cheap Thrills, did just that, dramatizing the new kinds of distance techno-intimacy makes possible. But here, the only critique of the Tinder mindset comes from a woman the film is busy characterizing as off her rocker. That may be beside the point, as Bad Match clearly only aspires to be a thriller with a surprise or two up its sleeve. On that front, it’s adequate (despite offering none of the sex appeal its grindhouse-y premise suggests). As Harris’ life is increasingly wrecked by the exposure of both things he has and hasn’t done, some twists aren’t that hard to guess. But one pleasant one is that Riley isn’t entirely the needy lightweight she initially seems."

'Matlock' Reviews: "show’s breezy tone should win over CBS viewers with ease"

         On September 22, 2024, CBS premieres 'Matlock', which has earned rave reviews from critics, currently holding at 100% on Rotten Tomatoes. In the series, "Brilliant septuagenarian Madeline "Matty" Matlock, who, after achieving success in her younger years, decides to rejoin the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases and expose corruption from within. Matty is assigned to Olympia, a senior attorney and key rainmaker with a thirst for justice, while Olympia's ex-husband, Julian, the son of the head of the firm, is intrigued by Matty and her clever skills. Matty works alongside the firm's younger associates -- the charismatic Billy and the uber ambitious Sarah -- as she endeavors to establish herself in her new high-stakes world." The ensemble cast include Kathy Bates, Jason Ritter, David Del Rio, and Leah Lewis. But what did the critics say?

       Rob Owen of Pittsburgh Tribune-Review says, "This “Matlock” isn’t really the reboot it appears to be. Unlike many CBS procedurals, this one’s lighter and while the lawyering isn’t always in the realm of reality, the show’s breezy tone should win over CBS viewers with ease."

       Cristina Escobar of RogerEbert.com notes, "This earnestness, combined with Bates’ performance and the show’s strong and consistent use of humor, makes for a good watch. “Matlock” isn’t exactly throwback TV, but it delivers on the comfort food of solving at least one complex problem in forty-two minutes. That it’s funny and heartfelt along the way just adds to the charm, particularly as the suspense mounts. Toying with our expectations of a recognizable persona like Matlock, CBS’s newest legal drama honors the original while creating something new entirely."

Photo by Tingey Injury Law Firm on Unsplash

        Carly Lane of Collider praises the series, stating, "Although Madeline Matlock initially presents herself as a modest, well-meaning grandmotherly figure with an abundance of Southern charm, Bates never feels confined in the role. In fact, the CBS legal drama gives her even more opportunities to showcase the true extent of her range on-screen as the episodes (six of which were provided for review) progress. In one moment, Matty's endearingly fumbling her way through figuring out how to text a photo to her grandson; in the next, she's becoming an unexpected source of comfort for a client the firm is defending. Bates' character might give off a very specific energy at first, but she's also an observer, and, when paired with her utterly disarming personality, this allows her to notice things about people and figure out how to speak to them in a way others might overlook. But Matty's not always sage words of wisdom and pocketfuls of hard candies, either; she gets to express sadness, frustration, grief, anger, and everything in between."

        Terry Terrones of Paste Magazine writes, "Modern audiences may have a place in their heart for classic TV shows, but they still want something novel. This is an incredibly difficult maneuver to pull off, which is what makes CBS’ excellent reboot of Matlock so impressive." 

'Agatha All Along' Reviews: "Kathryn Hahn is magic"

         On September 18, 2024, Disney+ premiered 'Agatha All Along', which has earned predominantly positive reviews from critics, currently holding at 79% on Rotten Tomatoes. In the limited series, "Set after the events of "WandaVision," Agatha Harkness recruits some unlikely allies on her quest to regain her former powers." The ensemble cast includes Aubrey Plaza, Kathryn Hahn, Joe Locke, Sasheer Zamata, Ali Ahn, and the legendary Patti LuPone. But what did the critics say?

        Liz Shannon Miller of Consequence says, "Say whatever you want about the Marvel Cinematic Universe shows that have been produced for Disney+ since 2021: The flagship series, WandaVision, proved conclusively that Kathryn Hahn is magic. Sneakily introduced over the course of the season as dastardly witch Agatha Harkness, the beloved character actress got an incredible showcase for her talents — thus making the arrival of spinoff series Agatha All Along most welcome, even during what might charitably be called the MCU’s “rebuilding season.” For those feeling exhausted by keeping up with all the different Marvel plot threads out there, Agatha All Along, based on the first four episodes provided for review, exists very much as a stand-alone adventure. (That is, provided your memory of WandaVision isn’t too fuzzy.) Things begin with Agatha still trapped in the Scarlet Witch’s spell — once she escapes, though, she’s still wildly underpowered, and the only way she knows to reclaim her former abilities is to walk the treacherous Witches’ Road." Adding, "Taking on the Witches’ Road — a treacherous series of magical tests, the completion of which will grant the survivors what they most desire — isn’t the sort of thing you do on your own. So, to help her ease on down the road, Agatha accumulates a new coven of acquaintances with witchy gifts: Patti LuPone plays a fortune teller, Sasheer Zamata is “the potions guy,” Ali Ahn does blood magic, and Debra Jo Rupp reprises her role from WandaVision as a nice neighbor with a bit of a green thumb."

       Tania Lamb of Lola Lambchops was less impressed, stating, "Agatha All Along is a slow burn, much like WandaVision was. However, without Wanda or the stakes that she offers, the show is dull. Agnes was a hoot and a fan favorite in WandaVision. Kathryn Hahn is still fantastic, and can change voices, movements, facial expressions seamlessly, but her character is underwhelming in this series."

       Nick Schager of The Daily Beast notes, Marvel’s CGI-ified gloom remains one of the studio’s least attractive hallmarks, so it’s a relief to find Agatha All Along intermittently entering lighter lit spaces during various stops along the witches’ expedition. The first of those is a luxurious home where they face a trial that involves deciphering a riddle and concocting a potion from random household ingredients. Their subsequent destination is a ’70s-style recording studio where they must sing a Fleetwood Mac-ish version of the aforementioned ballad in order to destroy a curse. In both cases, as soon as the witches pass through the front door, they’re bestowed with location- and era-specific outfits, allowing them to cosplay as, respectively, the 1 percent and as rock stars. Such gimmickry is cute, but it’s barely enough to make up for the general thinness of the show’s characters, most of whom are defined by a single hang-up and a shared distrust of Agatha, who cares more about herself than her cohorts."

Photo by Adrian Swancar on Unsplash

        Jen Lennon of AV Club praises the series, stating, "It’s got the vibe of the early seasons of Netflix’s Daredevil and Jessica Jones, telling a story that recognizably takes place within the MCU but isn’t worried about proving it with constant references and a plot that exists only to be shoved into a larger narrative. Agatha All Along seems content to tell a smaller story, off to the side of the MCU’s usual big super-heroics and overarching narrative, about a woman reclaiming the power that’s been stolen from her. When Marvel first announced the Agatha spinoff three years ago, it felt like a bad idea, reactionary in a way that Marvel had never been before. Sure, Agatha was fun in WandaVision, and she quickly became a fan favorite, but that’s not enough to support an entire show. Did Marvel even have an idea for what the show would be about, or did they just green light “a show about Agatha Harkness” and hope to find a halfway decent story somewhere along the way? It felt like the second one, and the three years between WandaVision’s end and Agatha All Along’s premiere only added to that feeling. Maybe that’s why I didn’t give it much grace at the beginning. But I’m happy to admit that I was wrong and even happier that the message was delivered with all the bluntness of a naked Kathryn Hahn yelling at her very polite neighbor for the unspeakable crime of trying to be nice to her."

Second Season of 'Frasier' Reboot Divides the Critics

         On September 19, 2024, Paramount+ premiered the second season of the second iteration of the classic sitcom 'Frasier', which has earned a mixed reception from critics, currently holding at 56% on Rotten Tomatoes. In the series, "Frasier is off to a different city with new challenges to face, new relationships to forge, and an old dream or two to finally fulfill; Frasier has re-entered the building." The ensemble cast includes Jack Cutmore-Scott, Kelsey Grammer, Nicholas Lyndhurst, Anders Keith, Jess Salgueiro, and Toks Olagundoye. Read the full review round-up below.

        Joel Keller of Decider says, "The new Frasier isn’t as awful at the beginning of its second season as it was at the beginning of its first. But it’s not great, either." Adding, "The recommendation is because of all the guest stars that we’re going to see this season and a hope that the first episode of the season won’t be an indicator of what the rest of the season is like."

       Josh Bell of Tom's Guide notes, "While the first season of the new “Frasier” worked hard to establish its ensemble players on their own terms, the second season is more willing to indulge in nostalgia for beloved characters. In the five episodes available for review, Peri Gilpin returns as Frasier’s former radio producer Roz Doyle, in a more substantial role than her brief appearance in the first season, and Harriet Sansom Harris shows up as Frasier’s devious agent Bebe Glazer. Gilpin is set to recur as Roz this season, but her first outing in the season’s third episode is a little underwhelming, as she’s awkwardly shoehorned into the ongoing group dynamic. Harris fares better, delivering a powerhouse performance in what’s easily the best of the second season’s episodes thus far, fully embodying Bebe’s ruthless ferocity.  Even better, guest star Rachel Bloom matches Harris’ energy as Bebe’s daughter and protégé Phoebe, and she’d be a perfect fit as a recurring character, providing a similar type of foil for Frasier that Bebe did in her earlier appearances." Continuing, "Later episodes this season are set to feature even more returning “Frasier” characters, and that sense of familiarity is key to the show’s success. Whether it’s previous characters popping up again or new characters echoing the traits of old favorites, creators Chris Harris and Joe Cristalli know how to play to the strengths of the material. Watching “Frasier” is like slipping into a cozy pair of slippers and flipping through a well-worn photo album."

Photo by Adrian Swancar on Unplash

       LaToya Ferguson of AV Club was less impressed, stating, "Developed by Chris Harris and Joe Cristalli (Acapulco), this return to the world of psychiatrist Frasier Crane is a far broader one. While the farce element of the series still exists, it’s far from expertly-executed in its current iteration—to the point where it seems the only thing keeping the show from moving away from farce altogether is that it wouldn’t technically be Frasier then. The original Frasier was not only like a comedic play in television form. It was a sitcom that also visually looked sophisticated, often in a way that Frasier and Niles Crane (David Hyde Pierce) only believed themselves to be. Paramount+’s Frasier looks and feels like a multi-camera sitcom and not in a way that evokes nostalgia. Even with TV directing legend James Burrows’ guidance behind the camera, there’s nothing exceptional about how this looks. Instead, Frasier wouldn’t feel out of a place on any contemporary CBS—or, to be uncharitable, Nickelodeon—sitcom." Concluding, "It’s always fascinating to watch a series’ second season and see what the writers decided needed tweaking. But here, it’s actually fascinating just how little was tweaked. There are a couple of things this season pulls back on. But if you were into the revival last season, expect to still be into it. If you wanted more or something else, that’s not going to come from this. With the exception of those moments where Grammer’s allowed to go off and remind everyone why he’s been able to make this character work for so long, the series’ pacing remains slow, falling more into broad sitcom territory instead of an escalating rhythm—a rhythm Grammer excels at while the rest of the cast, barring Nicholas Lyndhurst, has yet to prove they can keep up with."

   

'Falling Together' Reviews "If, like me, you rarely watch Hallmark movies outside of Christmas, let this one be an exception. It’s worth it"

         On September 21, 2024, Hallmark Channel premiered 'Falling Together', which has received a positive reception from critics. In the film, "Natalie tries to bring feuding neighbors together in her new condo building. Her unexpected ally is the building's super who prefers to avoid getting involved." The ensemble cast includes Paul Campbell, Linda Kash, Ashley Williams, Rryla McIntoxh, and Paul McGillion. Read the full review round-up below.

       Rebekah's Readings and Watchings says, "No one does cheerful and energetic like Ashley Williams and boy oh boy they picked the right girl for this role.  She plays Natalie who is moving from Miami to Pittsburgh to manage admissions at Carnegie Mellon University. Natalie loves to “get involved”  and fix things. In other people’s lives. She finds fertile ground in her new digs, a condominium of 25 units in the heart of the city. It seems that half of the residents are either at each other’s throats and the other half don’t give a rat’s derriere about what’s going on around them unless it affects their lives. Natalie isn’t having any of that. She is all about community, making friends with the neighbors, and helping. She lives for it." Adding, "It is a good message and kudos to Hallmark for basing their movie around such a worthy cause. Unfortunately, they tried to pack in too much to do it with any depth or complexity. More time was needed to develop Natalie and Mark’s relationship and their individual arcs, the neighbors’ subplots and their characters’ journeys and arcs, and of course Linda’s. The romance was blah. Ashley Williams has managed to rein in her smiley ebullience in the last few movies she has starred in and I have really liked her. It all burst forth in this one and it was way too much. Hopefully, she’s gotten it all out of her system for a while."

        Marvelous Geeks Media notes, "I’m a simple girl. Give me a movie that takes place during autumn with leads who have chemistry, and I’ll be a happy camper. Hallmark’s Falling Together is, thankfully, one of those movies. Starring Ashley Williams and Paul Campbell, while elements of the film are a bit much at times, the relationship between Natalie and Mark progresses in a way that’s easy to appreciate." Continuing, "Centering the story around Alzheimer’s awareness, however, is a lovely and hopeful approach. It’s often in tragedies where people come together and show their support, so the walk and Natalie’s team coming out to support the cause makes the story more wholesome and sweet. Linda Payne’s (Linda Kash) arc devasted me, but how she and Natalie grew close during the film was a bonus. There’s also the detail of how the film is personal to Williams, who’s opened up about her own mother’s battle with Alzheimer’s. Even without this knowledge, it’s effortless to tell that Williams’ approach to this film is authentic and vulnerable, so much so that when you learn this, it becomes evident why you were crying alongside her character. Falling Together takes every glorious little thing about autumn and includes it in the film, which is something I’ll personally never complain about. Pumpkin spice lattes and pies? Let’s go. The words “crisp autumn air” coming out of a character’s mouth? Yes. Leave peeping? Please and thank you. It’s a delightful little joy ride with a gorgeous romance at the center and a significant film to release on World Alzheimer’s Day. If, like me, you rarely watch Hallmark movies outside of Christmas, let this one be an exception. It’s worth it."

Photo Courtesy of Hallmark Media via Bettina Strauss

        Erin E. Gross of Fangirlish praises the film, stating, "Nothing with Hallmark is ever simple – even though it’s a simple escape. Falling Together was a reminder of giving to others and also taking time for yourself. It was a reminder to pay attention to the world around you, but also to pay attention to yourself. And it was a reminder that life is too short to do anything but live." Concluding, "On a personal level, Williams is heavily involved with the Alzheimer’s Foundation. It’s a cause close to her heart. She’s written essays that I have read about her personal connection to the disease – her Mom’s battle with the disease. I knew that if there was anyone who would do justice to a story and shine a light onto the disease – it would be Williams. She knows the importance of finding a cure and that is part of the reason that I knew that watching this movie would be okay. If you’re worried that you will see the affects of Alzheimers – you will see some. But mostly what you are going to see is the importance of volunteering and helping to find a cure. You’re going to learn a bit about the walk and what it does. You’ll see the importance of making a difference."