MAKE PEOPLE BETTER
A Film by Cody Sheehy
Scientists, tech journalists, ethicists, and filmmaker Cody Sheehy navigate the genome technology space of genetic tailoring. In 2018, world-renowned Chinese geneticist He “JK” Jiankui ignited a controversial firestorm when his edited embryos produced twin girls without the public support of the scientific community. MAKE PEOPLE BETTER is the story of the martyr for the scientists who thought this was a great idea until the negative PR did not serve them.
Understanding the global uproar the Covid 19 vaccine caused, the idea of an “embryonic vaccine” might cause mass hysteria. But what if we would prevent the existence of disease before birth? With scientific timelines displaying those who laid the framework of genetic modification, playing God is slowly becoming a reality.
“Ryan” takes an emotionally invested approach as JK’s publicist. He speaks in disguise, understanding the sensitive nature of everything he is about to reveal. Since Ryan has a sister with a painful genetic disease, his interest lies in protecting the children and JK’s bold innovation. Politics, science, government regulations, and public opinion clash as JK’s work is exposed before publication. The Chinese government rescinds its promise of protection.
The title of the film speaks volumes. “Make People Better” has innumerable interpretations. If we can stop disease, isn’t that what we want? On the other hand, choosing the attributes of a child, blue eyes and blonde hair, feels like a slippery slope on numerous levels. But, MAKE PEOPLE BETTER does an excellent job of putting scientific advances into perspective. Though instantly, the notion of socioeconomic comes to mind. What makes any of this technology available to those whose communities already struggle to receive rudimentary medical care? Weighing the positives and negatives will be an ever-evolving discussion. MAKE PEOPLE BETTER is a stunning continuation of a complex conversation. Ethical or not, it will not stop.
MAKE PEOPLE BETTER is available on TVOD Now!
In 2018, the Chinese scientist Dr. He Jiankui crossed a Rubicon in human evolution by altering the genetic structure of embryos to produce the world’s first genome-edited babies. This controversial experiment, supported by China’s government and top U.S. scientists, led to an
international uproar and swift moves by Chinese authorities to disappear not just Dr. He, but the twin girls whose genes he had edited. The documentary thriller MAKE PEOPLE BETTER reveals the unknown story behind this historic scientific event from the perspectives of those who were there including a whistleblower’s testimony, never-before-seen interviews with He Jiankui, and the depiction of a world being awakened to a future where rival governments and corporations compete to make designer babies the new normal.
Directed By: Cody Sheehy
Produced By: Cody Sheehy, Samira Kiani, Mark Monroe
https://makepeoplebetterfilm.com/
present
Locke’s script sets a solid pace, with details of her daughter’s disappearance slowly revealing themselves, unrequited love, past regressions, and secrets boiling over. Darlene’s ex-brother-in-law lands on her doorstep under the guise of a surprise family reunion, but his ulterior motive involves a revelation in Sally’s case. The information he’s been sitting on as Darlene relentlessly searched for Sally, became an advocate for other families, and got her alcoholism under control. The rage and fear evolve into a knockdown, drag-out fight between redemption and revenge. 
Compounded by the raging snow outside, any turmoil coming from the house is more than muffled. This simple device proves to be a wonderful segway for Gretchen to reenter the story. 
Here is where I felt like
THE APOLOGY
Find Out Why All Eyes Are On Independents
Top L–R: Bravo, Burkina!, Girl, Polite Society, Mami Wata.
The noteworthy turn comes from Cindy’s neighbor Doc Zuess. John Bingham, whose character is reminiscent of Roberts Blossom from Home Alone, is brilliant. His performance legitimizes The Mean One, bringing it out of its Hallmark moments.
The gruesome kills are juxtaposed with a sick soundtrack (and one brilliant oral sex scene), top that off with a particularly shocking choice of violence. When Tori witnesses the act, our killer Santa goes ham on the house. The words, “Oh! That’s fucking nuts,” poured out of my mouth as he breached the threshold. I would be surprised if you didn’t end up saying the same.
Riley Dandy and Sam Delich give spectacular performances. Given writer-director Joe Begos‘ meaty fandom-laced dialogue, they look like they loved every minute. The discussion about horror sequel superiority had me cheering out loud. 
Steve Moore‘s original music is bitchin’. The practical fx are a gift. The pyrotechnic work keeps things merry and bright. The special makeup and Animatronic robot effects from Josh and Sienna Russell are a Christmas miracle. Will everyone compare it to Silent Night Deadly Night meets Terminator? Probably but who cares. CHRISTMAS BLOODY CHRISTMAS is a holiday horror treat. So, spike your eggnog, get as lit as your tree, and rock the hell out of this film.
John Travolta plays island crime boss Buckley. His eccentricity is evident through costume choices and dialogue. Thank goodness he is who he is because the character leans heavily into caricature territory. He is at his best in high-stakes action sequences. 
Bruce Willis plays Ian Swan with that legendary, effortless swagger we love. He is funny, charismatic, and a total badass. He is everything you want him to be. 
Somehow, PARADISE CITY makes Jenner’s character impervious to automatic rifle bullets and, somehow, possesses the ability to survive a 10th-floor header into a shallow koi pond. It is unbelievable. No, literally, even for an action film, it is far-fetched. And this pains me to say that every female performance is downright atrocious, except for Mary Ann Perreira as Auntie Kona. She is a treasure. The dialogue from director Chuck Russell and co-writers Corey Large, and Edward John Drake, is mostly eye-roll-inducing. The already sped-through, convoluted plot also jumps in time, but not enough. It is messy. 
Here is what works. The fight choreography is undeniably entertaining. (Extra points for having Savannah kick off her heels for brawling.) Overall, the tightest scenes occur when Savannah and Ryan arrive in Paradise City proper. There is genuine yet surprising humor and a grounded backstory. That’s all I’ll say to avoid spoilers. I could see this story maybe working better in serial form. But that’s a big maybe. Jenner is the only one that sustains authenticity. He deserves better, and so does Bruce Willis’s legacy. 
Director Jordyn Romero bonded with Sanu over their love of surfing, a predominantly male-dominated sport. Sanu’s fearless pursuit of wanting to become the first female surf instructor from Sri Lanka lies beyond the horizon. In Sanu’s words, “We Are Like Waves. You cannot stop us.” This simple act of rebellion is certain to have a ripple effect. Romero brings audiences a relatable story told with grace. Boasting a beautifully encompassing score, WE ARE LIKE WAVES sees Romero and Sanu carve a path for the next generation.
The script slickly combines historic iconography from the plague to mirror current events and builds upon the concept of mass hysteria and mental health. Mitton introduces demonology and then mixes in the idea of viral internet posts, an issue directly addressed in 
Gabby Beans
Daniel Craig returns as Benoit Blanc, the debonair southern detective. This time around, Blanc is invited to an isolated Greek island by billionaire Miles Bron (Edward Norton, giving Elon Musk post-burning man vibes.) Bron has invited several of his closest friends for a weekend getaway that just happens so happens to include a murder-mystery game. Things go wrong faster than you can say “bad idea.”
I was worried that Glass Onion would suffer from an overreliance on Craig’s detective. Knives Out benefited immensely from a core focus on Ana de Armas’ fish-out-of-water character. The film smartly employs him as a foil for its many new cast members. The new faces are stellar across the board. Janelle Monae shows incredible versatility. Leslie Odom Jr. and Kathryn Hahn have the tough job of playing the respective sticks in the mud while the rest of the cast gets to have fun. Kate Hudson and Dave Bautista really let it rip. We’re used to this from Bautista, but it is a particularly welcome departure for Hudson. As I reflect back on the past years of the pandemic, her character provides particular hilarious relief. There are also several delightful cameos. I won’t spoil them for you, but suffice it to say it seems like nearly everybody wanted in on this thing.
Whodunit films seem to be light work for Rian Johnson. His 2005 debut, Brick, was an exceptionally hard-boiled film noir that just happened to be set in a high school. Despite their common director, Brick and Glass Onion could not be more different. Where Brick was pitch black noir down to its very bones (even down to the dialogue), Glass Onion is a sun-drenched delight inspired by holiday mysteries such as Evil Under the Sun and The Last of Sheila. It provides necessary effervescent support as we head into the cold winter months. I can’t wait for the next chapter!
Yale University’s meticulous record-keeping in the Sterling library proves invaluable. After scanning 60, 000 pages in the microform media room, the aha moment appears; a 1959 letter between 
The systemic failure at Fort Hood will leave you seething. After two months of desperate outcry, the Army finally makes a statement and begins to search, but it is too little too late. With the pro bono help of maverick lawyer Natalie Khawam, The Guillen family takes their fight to Capital Hill. 
I remember this story. I remember feeling so angry when I heard how long Vanessa had been missing before I heard about it on the news. Then, when the details emerged of her murder and subsequent failure at Fort Hood, I was disgusted. Those feelings returned and multiplied as I watched this film. Understanding the extent of their coverup will blow your mind. The military justice system allows for secrecy and discretion to sweep everything under the rug. It is beyond broken.
Victoria Moroles is Jane. Her precociousness is spot a delight. Segan gives her dialogue deliciously reminiscent of Dawson’s Creek, i.e., she is far too eloquent for fifteen. Her chemistry with Segan is comfortable and endlessly amusing. Her takedown of the film’s misogynist energy is chef’s kiss.
Writer-director-star Noah Segan plays Francis as a Yiddish-spewing loaner. His penchant for a happy-go-lucky attitude is more function over form. We learn about his deep-seated loneliness and unresolved trauma, which creates an equally funny and tragic persona. Segan gives a star-making performance.
BLOOD RELATIVES is an undeniably fun vampire coming-of-age family film. Heartwarming, silly, and intimate, it is easy to see why it garnered so much attention in the festival circuit. Shudder is the perfect platform for Segan’s madcap creation. I formally request a sequel when Jane gets to college. I have to know where this family unit ends up. Don’t forget to bring Fieldner along.
Annet Mahendru gives Alice palpable manic desperation. Her ability to jump from one emotion to another in the same breath is impressive. It is one hell of a turn. Milo Gibson is Dave Hayes. His character arc almost feels like the audience is witnessing a slow-motion car crash. Gibson brings not-so-subtle anger and protective alpha energy. 
MANIFEST WEST addresses a myriad of current and alarming themes in America. The score is melancholy and ominous. Writer-directors Joe Dietsch and Louie Gibson use the girls’ history text as a smart foreshadowing device. Antigovernment sentiment compounds the simmering chaos. Add Alice’s deteriorating bipolar disorder, and you have a powder keg. Children learn from their parents, for better or for worse. MANIFEST WEST runs head-on with its relevance to a shocking conclusion.
The doc also discusses Mainstream Mickey and counterculture Mickey and how his image became synonymous with cultural change through the years. They touch upon copyright infringement and the complexities that grew out of Walt’s loss of Oswald the Rabbit. Filmmakers and interviewees do not shy away from the negative stereotypes appearing in certain cartoons and how Mickey became a corporate symbol. It’s an honest take. 
I was lucky enough to have been a performer at Disneyland in 2000. For the insiders, I’ll say I had the magical title of “pageant helper,” which carries more weight than it suggests. I thought perhaps working at the parks would kill a little bit of the joy, as technically, I had peeked behind the curtain, quite literally. Nothing could be further from the truth. Anytime I stepped onto the grounds out from backstage (the areas no guest ever sees), I would be a giant kid all over again. On one unforgettable day, I had the unprecedented honor of meeting the actor Walt hired to wear the first Mickey costume on Disneyland’s opening day. There I am, a sweaty mess, in half a costume smiling like a fangirl. It was a part of history most people would never get to touch. 
Visually, Mickey: The Story of a Mouse is a cinematic dream. From hand-drawn frame-by-frame cell animation to chemist-mixed paint to the collaborations we see today as animation and technology shift by the day. We experience the sheer artistry involved in Mickey as animators recreate some of his most iconic roles throughout history. In a sort of meta moment, these creators work on the newest Mickey short, “Mickey In A Minute,” during the doc, one hand-drawn scene at a time. The final product is Disney perfection. 
The intimate nature of Bad Axe is visceral. The Siev family could be anyone’s neighbors. They are friendly, hardworking, and respectful members of their community. They bug each other as much as they love each other. They remind me of my holidays when all four siblings invade our childhood home with inside jokes, arguments, and an unconditional adoration for one another. 
I’ve been sitting on my thoughts about this film for two days now. If I’m being completely honest, I think PRESENCE plays like a rushed prequel to a horror franchise. All the elements are in place for some seriously scary storytelling. Yet somehow, I was left with more questions than answers.
I must say that the performance of Dave Davis is my favorite part of the film. Davis gives depth to the building mystery, in some moments with nothing but a panicked stare. His intensity immediately reeled me in, calming me during my desperation to make sense of the plot. I would watch an entire film about his journey with the Presence. That’s the story that hooked me instantly.
Home videos, Tess’ narration, and Liv’s diary entries comprise a narrative that looks and sounds like so many young people. The doc plays out in two distinct halves; before and after. My Sister Liv begins with Tess telling the audience Liv’s story. The second is Tess and their mother’s emotional devastation and how the pandemic rolled into their already heavy grief, with videos of Liv replaced by videos of Tess. Then zoom discussions of Tess speaking with young people Liv’s age and mental health professionals, expressing similar feelings, coping mechanisms, causes, and statistics. 
You must be logged in to post a comment.