All posts by Stephen Michael Brown

I've reviewed films for more than 35 years. Current movie reviews of new theatrical releases and streaming films are added weekly to the Silver Screen Capture movie news site. Many capsule critiques originally appeared in expanded form in my syndicated Lights Camera Reaction column.
2026, Industry News

50th Atlanta Film Festival Kicks Off Next Week Along with Starry Gala

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The 50th Atlanta Film Festival (ATLFF) unveiled its highly anticipated opening and closing Night selections, along with a slate of legacy screenings and special presentations for its landmark anniversary edition. The 2026 festival will take place in person April 23 – May 3 at the historic Plaza and Tara Theatres, followed by virtual screenings from May 4 -11.

Kicking off the festival, Opening Night will feature Idiots, directed by Macon Blair and filmed in Georgia. The high-energy narrative comedy, formally titled The Sh**heads showcases an all-star ensemble including Dave Franco, O’Shea Jackson Jr., Mason Thams, Kiernan Shipka, Nicholas Braun, Peter Dinklage and Killer Mike, bringing together major talent and local movie-making spirit. The film follows two wildly unqualified hires tasked with escorting a wealthy teen to rehab. Their simple assignment quickly spirals into chaotic and dangerous territory. Emmy-winning Producer Alex Orr and Executive Producer Joshua Harris will attend the Opening Night red carpet screening on Thursday, April 23.

Following the screening of Idiots, the premiere of limited series documentary The Birth of Trap Music makes its debut. Stars and Executive Producers T.I. and Drumma Boy, among other cast members, will walk the red carpet ahead of the Opening Night film and participate in a post screening Q&A following the documentary screening.

Closing Night on Saturday, May 2 will feature I Love Boosters, from Award winning writer/director Boots Riley and starring Keke Palmer, with Riley and Taylour Paige scheduled to appear in person. The film follows a fearless crew of young women who shoplift designer fashion across the Bay Area and resell it at steep discounts. When a powerful fashion mogul catches on, the stakes escalate, leading to an audacious plan for one final high-risk heist. A crew of professional shoplifters take aim at a cutthroat fashion maven. It’s like community service.

Among other announced programming highlights is If I Go Will They Miss Me, followed by a post screening conversation with one of the film’s stars and Executive Producers, Oscar-nominated and Grammy-winning actress and singer Danielle Brooks. The film centers on a young boy who begins seeing ghostly figures of other boys in his neighborhood while grappling with his father’s emotional distance. These visions reveal haunting connections to their shared past. The film will screen April 29 at the Tara Theatre.

This year’s special presentations also celebrate standout works connected to Atlanta’s film legacy, including  The Signal, with appearances by directors David Bruckner, Jacob Gentry and Dan Bush; That Evening Sun, with appearances by writer/director Scott Teems joined by cast members Oscar-winner Ray McKinnon and Emmy-winner Carrie Preston; and V/H/S in 35mm, with appearances by star Hannah Fearman, director David Bruckner, special guest Drew Sawyer and producer Linda Burns. McKinnon will also present The Accountant, the 2001 Oscar-winning short film starring and created by him and his co-star Walton Goggins. The festival will also present a special screening of Mark Mori’s Oscar-nominated documentary Building Bombs, a powerful look at life in Aiken, South Carolina, home to a major U.S. hydrogen bomb facility, and the human impact of living in the shadow of nuclear production.

The festival’s legacy screenings bring a special sense of occasion this year, spotlighting influential films alongside the artists who helped shape them. Audiences will have the rare opportunity to revisit The Spectacular Now with director James Ponsoldt in attendance, offering insight into the film’s enduring emotional resonance. The 2007 Atlanta Film Festival-winner, Great World of Sound will be re-presented with the film’s three-time Emmy-nominated writer/director Craig Zobel in attendance. Emmy-winner Paul Walter Hauser joins a screening of Richard Jewell, timed just under 30 years after the Atlanta Olympics. Meanwhile, Julie Dash will present Daughters of the Dust, a Sundance Film Festival winning landmark work whose poetic storytelling continues to inspire generations of filmmakers. Together, these appearances transform each screening into a living conversation between past and present, celebrating the lasting impact of these films and the voices behind them.

The ATLFF has also announced the honorees for its 2026 IMAGE Film Awards Gala, to be held Friday, May 1 at Assembly Atlanta, recognizing standout contributions to film, television, and Georgia’s creative community. This year’s honorees include Will Packer (Ossie Davis Award); Josh Brolin, Carrie Preston, Hilton Howell and Georgia Entertainment (IMAGE Film Awards); David Cross (Rebel Award). Alex Orr will receive the inaugural Will Packer Award. Additional festival honors will be presented to Danielle Brooks (New Maverick Award), Mckenna Grace (Phoenix Award) and RZA (Originator Award) during special screenings and events throughout the festival. Named for the organization’s original title (IMAGE: Independent Media Artists of Georgia, Etc.), the gala celebrates the legacy and continued impact of the Atlanta Film Society and serves as its primary annual fundraiser.

The full schedule of films and events is available at www.AtlantaFilmFestival.com and through the ATLFF 2026 app. Festival badges and individual tickets are now available for purchase.

The 50th Atlanta Film Festival (ATLFF) unveiled its highly anticipated opening and closing Night selections, along with a slate of legacy screenings and special presentations for its landmark anniversary edition. The 2026 festival will take place in person April 23 - May 3 at the historic Plaza and Tara Theatres, followed by virtual screenings from May 4 -11.
The 50th Atlanta Film Festival (ATLFF) unveiled its highly anticipated opening and closing Night selections, along with a slate of legacy screenings and special presentations for its landmark anniversary edition. The 2026 festival will take place in person April 23 – May 3 at the historic Plaza and Tara Theatres, followed by virtual screenings from May 4 -11.
2026, Feature Story

Feature Story: Planning a Themed Watch Party – The Masters Golf Tournament

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You’ve thrown your annual Oscars party, cheering Michael B. Jordan and Jessie Buckley in clinching gold statuettes while enjoying “KPop Demon Sliders,” predicting one ballot after another and sipping Sinners Juke Joint Juice. Such fun! So how can you gather your friends again for fun times and a next iconic viewing soiree?

We’ve talked before about the intersection of celebrity and golf. And there’s no bigger event than what’s happening in Augusta, Georgia April 9-12, 2026.

For golf fans, the Masters is a showcase of the game at its finest and a tradition like no other. If Augusta National Golf Club’s fairways and greens could talk, they’d tell stories of some of the most unforgettable stories in golf history. Those moments are inseparable from the iconic sights of the course itself. From the precision required around Amen Corner, the iconic sight of Hogan Bridge and the challenge of Rae’s Creek, Augusta National is more than a course – it’s the stage for golf at its very best. Even the Par 3 Contest, where players’ family members don caddie uniforms, are part of what makes the Masters so memorable.

With Masters tickets famously the hardest in sports to get, most fans will never experience the tournament in person. That’s why Masters viewing parties have become a popular way to bring the excitement into your own home. By embracing the tradition, atmosphere, colors and flavors of the Masters, fans can celebrate the game with friends and family, enjoying every memorable shot along the way.

PGA TOUR Superstore, purveyors of the golf experience every day of the year, have organized an array of popular products in a Here Comes the Green collection so you can gear up for what many call the “First Major” of spring.  Here’s how to set the mood, what to wear, what to eat and how to tune in for an elegant and elevated party to remember celebrating one of the world’s most cherished traditions in sports.

Course Setup:

When you turn on the TV to watch the Masters, the stunning flowering landscapes of Augusta National will always catch your eye. Each hole is named after a flower or tree, many of which bloom across the country in spring, including azaleas, magnolias, holly and yellow jasmine. Adding these blooms can help set the scene to complement your party atmosphere. The Masters signature palette of green, yellow and white can guide your décor, creating an unmistakably Masters vibe.

  • Clear vases filled with golf balls and golf tees.
  • Caddie-tip: If you have a golfer in the family, use the golf balls they like to play with, so they can be repurposed after your event.
  • Tableware in the Masters color palette – they make more than just red plastic cups these days – and golf-themes and patterns.
  • In the spirit of golf flags on the greens, use mini flags to mark your snacks and drinks.
  • Bucket-style “ball containers” for snacks

Tee Up Your Style:

Bring the spirit of the Masters to your party with attire that nods to the game while keeping things fun and festive.

In the Clubhouse:

Think fan favorites and easy-to-enjoy dishes that keep guests grazing from the first tee shot to the final putt. For your menu, draw inspiration from Masters Champions dinner menus – each year, the previous champion selects dishes that reflect their personal taste and regional flare. From firecracker dip to meatball and ravioli bites, recipes are all easy to find online.

Pimento cheese sandwiches are a Southern classic and a Masters essential for decades. My Aunt Pat Bell’s pimento cheese is a cherished family recipe for tournament get-togethers. Her special twist on the classic Southern dish includes Spice World jarred garlic in bottles with the iconic blue lid, an ingredient which adds flavor without the pungent bite, and Lea & Perrins Worcestershire sauce, which gives it a little extra kick. Like any true Southerner, she insists Duke’s mayonnaise is the only acceptable brand to use and the cheese must be hand grated. She serves her pimento cheese on white bread with the crusts cut off or with Ritz crackers.

Ingredients to Make Aunt Pat’s pimento cheese:

Directions to Make Aunt Pat’s pimento cheese:

Combine all the ingredients in a bowl and stir gently, taking care to retain the texture of the shredded cheese. Refrigerate in an air-tight container at least two to three hours but overnight is even better! Stir before serving, add a bit more Duke’s if needed for the spreadability you desire, and adjust the garlic, salt, black pepper or cayenne pepper if needed.

Other suggested watch party favorites include Azalea cocktails or mocktails and “Arnold Palmers” and these other foods:

  • Cheeseburger sliders served Scottie-style
  • Barbecue pork sliders
  • Pigs in a blanket
  • Peach ice cream sandwiches

Golf moves at an ideal leisurely pace, leaving lots of time for snacking. Chips, roasted peanuts and cookies are always welcome and appropriate for your party.

Par for fun:

Not everyone can stay glued to the TV for every hole, so set up golf-inspired games and activities to keep guests of all ages entertained.

Sidebar programming can add other fun for attendees. Party planners can showcase popular films about the game of golf in home theatre or even golf simulator spaces. Think majestic stories like The Legend of Bagger Vance, The Greatest Game Ever Played or Bobby Jones: Stroke of Genius. Or funny ones like Tin Cup, Caddyshack and Happy Gilmore (but maybe not the sequels to the latter two).

Tune in!

The Masters is covered by ESPN (early rounds), CBS (weekend/later rounds), Paramount+, Amazon Prime Video and the official Masters website/app, with Amazon joining for 2026 to stream first/second-round coverage leading into ESPN, while ESPN, CBS, and Paramount+ handle other broadcasts and streams for the U.S. audience.  

2026

“The Super Mario Galaxy Movie” the Plumbers’ Crack of Studio Sequels

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Rarely do I see a film and state “AI could have probably written a more compelling concept,” but here’s Aaron Horvath and Michael Jelenic’s The Super Mario Galaxy Movie (D) being an aimless mess and a shameless cash grab with no consequences but critical scorn. The titular Italian brothers of the video game franchise must save yet another princess, this time intergalactically and with nary a trace of plot or character development. The real quest is actually how to get a tepid screenplay voiced, animated and over the finish line to meet its inevitable moment of box office domination. The certainty of the box office gross without attention to story quality is shameful. Colorful visuals can’t sugarcoat the film’s utter lack of inventiveness. It’s game over from frame one to finish, with only the reveals of dino pal Yoshi and cult hero Star Fox breaking up the monotony of tedious environments. The creators seem to have used up all the novel or nostalgic ideas in their first film, as this sequel is barely better than a blue screen of death.

2026

The Vow is in Free Fall as “The Drama” Unfolds

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Superstars Zendaya and Robert Pattinson play characters on the verge of getting married in Kristoffer Borgli’s The Drama (C), but prospects plummet for traditional nuptials when a last-minute revelation emerges. This psychological peek behind the veil sets off a series of unfortunate events acted with undeniable conviction while steeped in a surreal lucid dream in which characters’ coherent decision-making is not an option on the table. The film’s what-if fantasy conventions quickly become the WTF of it all in the landslide of Borgli’s Bridezillaverse. The correct genre for the film is not that of the title but rather a traumedy as the train wreck of escalating events mercilously play out. It’s neither the pitch-black tone of the film’s premise nor the awkward conversations comprising most of the screen time that derail the film’s enjoyment but rather the poorly written characters not behaving rationally under the situations. The script squanders whatever goodwill the co-leads bring to the project. Only Alana Haim is effective in her supporting role as the ceremony’s maid of honor, mostly playing a relatable character and channeling the disbelief of the audience until even her line readings can’t cloak the movie’s misguided mania. A clunky framing device, surreal flashbacks and a Sliding Doors style “or it could have happened like this…” motif further distance viewers from penetrating the ham-fisted hearts of the central couple. Like the wedding I once went to with multiple food trucks catering, I applaud the creativity even if logistics proved a bit haywire. But instead of subverting romcom expectations or giving into deliciously dark territory, The Drama disappoints across multiple genres.

2026

“Project Hail Mary” is Peak Space Craft, Popcorn Flick Comfort Food for the Soul

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Two Hollywood talents helm a mystery, a sci-fi adventure and a moving human drama packaged in one extraordinarily ambitious and entertaining opus. Co-directors Phil Lord and Christopher Miller’s Project Hail Mary (A+) stars Ryan Gosling as a man who finds himself alone on a spacecraft light years from earth and must summon the bravery and resourcefulness to help avert a disaster with intergalactic stakes. With a superb shape-shifting and time-bending adapted screenplay by Drew Goddard, Lord and Miller commandeer a whimsical journey scored to Daniel Pemberton’s majestic music along with some nifty needle drops. The film is a visual feast thanks to Greig Fraser’s cinematography and Paul Lambert and Mags Sarnowska’s stunning blend of visual effects with practical photography. Gosling brings charisma and humor to a lead role summoning all his mad skills. Sandra Huller is a delight and a solid foil, and audiences will get great joy from the puppeteering and voice talents of James Ortiz. The film’s first hour is leisurely paced and sets the scope and scene; then the plot picks up rather rapidly soonafter. The movie proves again and again an impressive feat of larger-than-life showmanship and the intimacy of well-honed characterization. This is an absolute excuse for those who haven’t been to a movie theatre in a while to witness something revelatory and crowd-pleasing on the big screen.

2026

ENZO Rolling Out Red Carpet Glamour at GTC Trilith Cinemas for Third Annual Viewing Party

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The magic of Hollywood comes alive at ENZO’s third-annual Oscars Viewing Party on Sunday, March 15, 2026 at GTC Trilith Cinemas for the first time. Benefiting  Two Sparrows Village and Variety – the Children’s Charity of Georgia, this highly anticipated event will transform the Town at Trilith’s new multiplex into a scene straight out of silver screen legend. Guests will arrive in style, walking a red carpet lined with professional photographers capturing every glamorous entrance.

The festivities begin at 6:00 p.m. with the chance to grab to drink and mingle with fellow cinema and fashion aficionados and cast prediction ballots. As the clock strikes 7:00 p.m., all eyes turn to the screen for the 98th Academy Awards, hosted for the second year by late-night comedy icon Conan O’Brien.

Throughout the evening, attendees will savor a curated menu of Chef Andrea Montobbio’s signature dishes, alongside expertly crafted cocktails inspired by iconic films. Adding to the excitement, emcee and Silver Screen Capture Chief Film Critic Stephen Michael Brown will host engaging giveaways, with prizes ranging from ENZO gift cards to movie memorabilia.

Tickets are $125 per person and include two drink tickets and a selection of bites from ENZO’s award-winning kitchen. For additional details or to reserve a spot, visit enzo-itl.com or call (770) 756-9188. GTC Trilith Cinemas is located at 165 Trilith Parkway Fayetteville, GA 30214. Stay connected for updates and more on Facebook and Instagram at @enzoitl.   

Tickets available: https://enzo-itl.com/experience/enzos-oscars-viewing-party-3/

Enzo’s Oscars Viewing Party

2026

Hot Dam! “Hoppers” Places Nature’s Engineers at Center of Habitat Showdown

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The Avatar movies aren’t the only cautionary tales to swoop into “save the whales” territory, with a new full-length animated feature film showcasing eco-warriors eager to pounce on a beaver protection bandwagon. It’s not as full-on funny or immediately memorable as some of the top-shelf Disney-Pixar films, but Daniel Chong’s Hoppers (B) centers a creative story on a young female activist infiltrating an animal habitat to save it from developers, resulting in quite an animal kingdom rally. Suffice it to say our protagonist inhabits the body of a semiaquatic rodent and learns a good bit about the sound and, well, furry of living with the land, the pecking order keeping creatures in harmony and the bipartisanship required with humans and animal counterparts to increase the peace. Chong tells a solid story with winning animation and most of all an agenda of urgency and education eclipsing some of the sly delights, even though there are many in the midst. Voice actors Meryl Streep and Dave Franco are a hoot as mercurial monarchs of the insect world, while Piper Kurda and Bobby Moynihan keep things fetching in the freshwater. Make sure the young scientists in your family check this film out, as its insights are far deeper in the pond than the kiddie fare previews may promise.

2026, Rent It Tonight

”Nirvanna The Band The Show The Movie” is The Best

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Canadian comedy scales new heights of creativity in Matt Johnson’s rollicking and raucous Nirvanna The Band The Show The Movie (A-), chronicling a pair of fictionalized musicians (the manic Johnson plus straight man Jay McCarrol) endeavoring to land a gig at a nightclub in their beloved Toronto hometown, and no highjinks, homages or holler-backs are off-limits along their daft-punking journey. Neither the band’s curiously familiar name nor the Quixotic  plight to promote themselves nor the blurry backstory nor the dubious prospects for future success make much sense at all for those diagramming a conventional plot, but the “let’s just go for it” mentality is the stuff of an improv fever dream and the reason a dreamy time-traveling quest format works so well. The filmmakers constantly top themselves and set crafty traps for droll detours, with funny flashbacks making their deviled Easter eggs abundantly clear. This mighty mockumentary blends scripted and candid camera footage into a “yes, and…” whirling dervish of a caper, bringing viewers along for a sweet ride of laughter and recognition. Fans of the viral online series and cult TV show will most certainly appreciate the franchise’s giddy glow-up into full buddy film comedy, as if the pratfalls of a Jackass or Borat were given the canvas of Chaplin’s Modern Times or an extended afterlife exploration into John Belushi or Andy Kaufman’s noggins. There are a variety of set pieces and stunts that prompt a “how’d they get away with that?” feeling as the comic duo enlists the CN Tower and a Back to the Future style time machine aboard a tour bus, powered with the fizz of a bygone beverage, into their lofty, overcomplicated and unquestionably maximalist plans. There’s a thematic undercurrent that a best friend who’s full of both insane and inspired ideas evokes a simultaneous desire for constant together time as well as the longing to eject from the relationship completely. This flight of fancy or “flee and don’t look back” duality is fully explored with masterful comic effect. Johnson and McCarrol make for a superb comic pair, subversive and fiercely acerbic like few funnymen since Monty Python. You don’t have to know this duo or their eclectic characters before experiencing this movie to fully relate to their daffy plight and relish it completely. 

2026

“Scream 7” Sees Original Screenwriter Take Stab at Directing

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Original franchise scribe Kevin Williamson steps up to a writer/director role in the saga’s first wholly mundane entry, Scream 7 (C). For both the filmmaker and his returning leading lady Neve Campbell, the exercise is oddly one of restraint, as if it’s more important to show they can right the ship of a successful formula than actually display joy in doing it. The main story focuses on Campbell’s character as she both protects and prepares her high school daughter (Isabel May) when a killer re-emerges as a new neighborhood nuisance. As final girl in training, May doesn’t make much of a splash, nor do the latest batch of fresh-faced teens, despite the director’s history cheerleading for this demo. Joel McHale is a new character with little to do, and Courtney Cox, the sole actor in all seven films, at least gets a few of her longtime wishes. There are a few creative kills and some fun cameos from Ghostfaces of series’ past, but the film is largely scare-free and dramatically inert. As the resident Rosencrantz and Guildenstern of the proceedings, dispensing glib commentary about the film’s meta rules, Mason Gooding and Jasmin Savoy Brown are a vibe and seem to be the only characters having a good time. For a horror series so steeped in always being one crafty step ahead of its characters, this tepid entry keeps everyone at about the same basic level. And as likely the biggest theatrical debut for the series in a while, it’s too bad the metaphorical knife here doesn’t slice with much panache.

2025

“A Mess of Memories” a Joyous and Cathartic Feature Debut

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Screenshot

It’s always delightful to witness a new take on a classic trope, in this case the ensemble dramedy, told with a sharp and distinctive new voice on the filmmaking scene. When three sisters reunite in their childhood home to confront a hoarding mother in writer/director Ebony Blanding’s A Mess of Memories (B+), there’s an ample mix of hilarity and healing. The central trio of actresses are remarkable in their roles: Brittany Inge as the grounded and funny sibling, Cynthia D. Baker as the bitter and more than mildly germ-phobic sister and GeffriMaya as the new age social media influencer of the bunch, most intent on getting to the bottom of their collective familial issues. The chemistry between these idiosyncratic Black women on screen is solid, as estrangement transitions to new energies. Jason Louder is superb as their brotherly counterbalance, especially tender in a moment when he reveals concerns about history repeating. And in a small but potent role, Sherry Richards is magnetic as their maddening maternal grand dame of contradictions. There are a few flourishes of refreshing narrative creativity which frankly could have extended and another sequence or two mildly overstaying their welcome; but all in all, it’s absorbing material. Blanding has sensational control over the storytelling beats and plumbs natural emotion rather than melodrama from a collection of character archetypes rarely seen on screen. The family residence is nearly a character itself with relics sure to evoke knowing reflections from viewers; kudos on the very authentic art direction. This auspicious debut would make a great double bill with either Waiting to Exhale or Sentimental Value. 

2026

Sashay, Brontë! In Praise of Fennell’s Fashionable, Foreboding “Wuthering Heights”

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Emerald Fennell’s stylized retelling of Wuthering Heights (A-) paints with all the colors of her whim: statuesque leads involved in constant craving, outrageous bodice ripping romance, can’t-look-away couture costumes, an ultra-glam soundscape, twisted minor characters, luminous colors melting off the edges of the screen, a bodily fluid or two too many and very little fidelity to convention. The sum of the iconoclastic director’s fever dream of parts is often a hypnotic hoot and even more so a tantalizing tone poem on the nature of longing. Margot Robbie and Jacob Elordi are absolute delights as childhood companions whose off-kilter dynamics have evolved into a tainted lovelorn mess. Their chemistry is a palpable cavalcade of mood and madness, played out with a paper doll palette of blissed-out bravura. The duo’s adventures from the peaks of fog-coated mountainside trysts to the valleys of vigorous palace intrigue make for a full-fledged extravaganza of love and vengeance; and while the film is overlong at times and likely a bit appalling to Brontë scholars, it is nonetheless sexy and funny as hell. The maximalist magic shell covering the bones of this literary classic (or rather about half of it), doesn’t sugarcoat or cloak the subtleties or satire of class structure themes. It tells its own tale and blazes its own trail, keeping the story timeless and contemporary. Linus Sandgren’s evocative cinematography lends the story surprises around each bend, and the music by Anthony Willis punctuated by Charli XCX bops underscores the film’s pop sensibilities with reckless rhythm. Jacqueline Durran’s costumes are shimmering and sublime, casting stunning silhouettes across Caroline Barclay’s creative off-kilter production design captured on 35mm VistaVision film. Among the pulpy players are Hong Chau as a cunning killjoy and Alison Oliver as a daffy comic foil. I’m not sure what Shazad Latif was going for exactly in a thankless role. Fennell’s film is magic and tragic, giddy and gothic, electric and eclectic and should fit the bill for those seeking a sumptuous cinematic bonbon with an independent sensibility in time for Valentine’s Day weekend.

2026

Sundance Film “The Musical” Thinks It’s More Subversive Than It Is

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Viewed as part of Virtual Sundance Film Festival 2026

In Giselle Bonilla’s The Musical (C-), Will Brill plays a frustrated playwright and middle school teacher who hatches the perfect plan to exact revenge on Rob Lowe’s character, the principal who has wronged him. The game plan seems foolproof: ruin the school’s chances of winning the prestigious Blue Ribbon of Academic Excellence by staging an inappropriate and chaotic school play. At the film’s center, Brill doesn’t register with the comic timing nor the screenplay words to properly propel the dark comedy. There’s some fun with occasional outrageous jokes at the expense of woke culture, and the kid ensemble is roundly enjoyable. Bonilla maintains consistent gallows humor, but the enterprise just doesn’t get much lift. Anyone who has viewed the 2016 TV series Vice Principals or the 1999 movie Election has already seen a much better interpretation on similar themes. By the time the showdown goes on in the final act, there’s not much more to say or sing.