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One Hit from Home

Dove review.

Life is full of hardships and struggles. This is the case for a former professional baseball player as he finds himself in trouble for acting out his aggression after he is forced to quit the game he loves. As he tries to come to grips with his own situation, he is brought face to face with a young boy suffering from some similar situations.

This film shows that the road to one’s own recovery often leads to helping others face their struggles. God is the only one who can help you deal with your past and learn how to move forward. By helping others, Jimmy learns how to help himself. This movie deals with some hard subjects in compassionate ways, topics such as reconciliation, acceptance of the past and self-sacrifice for the benefit of others are explored in moving ways. Dove is pleased to award this film our “Family-Approved” Seal for ages 12 and over.

Dove Rating Details

Man punches another and winds up in jail; a father pushes and pokes son; references to parents being killed in car accidents.

Unmarried man and woman in bed together - this action is reprimanded by a friend and man shows remorse.

All references to God, Jesus and Christ are respectful.

Several scenes containing alcohol use - these are pertinent story points and are not condoned.

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ONE HIT FROM HOME

"brace for the curveball".

What You Need To Know:

(CCC, BB, V, S, N, AA, M) Very strong Christian worldview (the movie opens with a voiceover quoting from James, a crucifix necklace serves as a key prop, Brandon and his father eventually become reconciled, a pastor prays with Jimmy and assures him that the death and resurrection of Jesus gives believers the hope necessary to overcome griefs and trials) and strong moral worldview (Jimmy’s uncle has him coach the team as a way to turn his life around and fulfill community service as a substitute for going to jail, Jimmy becomes more mature and responsible); no foul language; Jimmy beats up a stranger at a bar when provoked, his parents died in a car accident (the event isn’t portrayed); Jimmy is shown in bed with a woman (presumably they’ve slept together), Brandon’s girlfriend wears some cleavage-bearing outfits; occasional upper male nudity with Jimmy; Jimmy is an alcoholic during the movie’s first half (he’s often intoxicated or consuming a drink), Jeff also suffers from alcoholism; no smoking or drug use; and, Jimmy is very grouchy and apathetic before he starts improving, Brandon is verbally abused by his father when he or his team underperform.

More Detail:

ONE HIT FROM HOME is an inspirational sports drama. Jimmy Easton’s promising baseball career is cut short by a devastating knee injury. After returning home to Phoenix, Arizona, he beats up a stranger who provokes him at a bar. That and other offenses make prison seem imminent for Jimmy. However, Jimmy’s uncle, the sports director at a local college, affords him the chance to instead fulfill community service as the coach of a losing baseball team. The only talented player on the team is Brandon Elliot, whose father verbally abuses him when he underperforms.

ONE HIT FROM HOME is an entertaining sports movie. Its biggest setback is that it gets caught up with genre conventions. Even so, the movie benefits from solid acting and the eventual daring to not be as much about victories on the field as about coming to terms with grief and loss. ONE HIT FROM HOME has a very strong Christian worldview and other positive elements, but some objectionable content (such as alcoholism and verbal abuse) make it better suited for older children in their teens and above.

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One Hit from Home

Where to Watch

Brian Trush (Young Jimmy Easton) Caitlynn Palmer (Young Jennifer Donalds) Caroline Palmer (Young Jennifer Donalds) Katrina M. Ryan (Julie Ann Easton) John R. Trent (William Easton) Alden Witte (Dr. Reddinghouse) David Aaron Stone (Jimmy Easton) Johnny Meier (Brandon Elliott) ChrisAnn Brunsmann (Jennifer Donalds) Tacoma Zach (James Easton)

Johnny Meier, David Aaron Stone

An injured professional baseball player returns home to sulk but a nearby college baseball team with only one decent player needs a new coach badly.

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Produced by, one hit from home (2012), directed by dave stone / johnny meier.

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One Hit From Home Reviews

No All Critics reviews for One Hit From Home.

One Hit From Home

Cast & crew.

David Aaron Stone

Jimmy Easton

Johnny Meier

Brandon Elliot

ChrisAnn Brunsman

Jennifer Donalds

Rob Edwards

Jeff Elliot

Edward Bullard

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One Hit From Home

Streaming in:

We checked for updates on 246 streaming services on April 24, 2024 at 8:00:44 AM. Something wrong? Let us know!

One Hit From Home streaming: where to watch online?

Currently you are able to watch "One Hit From Home" streaming on Amazon Prime Video, Pure Flix, UP Faith & Family Apple TV Channel or for free with ads on Tubi TV, Freevee, Amazon Prime Video with Ads. It is also possible to rent "One Hit From Home" on Amazon Video online and to download it on Amazon Video.

Where does One Hit From Home rank today? The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

Streaming charts last updated: 9:11:40 AM, 04/24/2024

One Hit From Home is 12059 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 7995 places since yesterday. In the United States, it is currently more popular than No Way Back but less popular than Mumbai Mafia: Police vs the Underworld.

After suffering a career ending knee injury, pro-baseball superstar Jimmy Easton returns to a place he has not been in a very long time.... home. Here, Jimmy confronts dark memories from a tragic past as he tries to make peace with a life he once left behind. Things take an unexpected turn when he is forced back into the world of baseball as the coach of an underachieving college team.

Videos: Trailers, Teasers, Featurettes

Streaming Charts The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

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One Hit From Home (2012) Stream and Watch Online

Watch 'One Hit From Home' Online

Fancy watching ' One Hit From Home ' on your TV, phone, or tablet? Searching for a streaming service to buy, rent, download, or watch the Johnny Meier-directed movie via subscription can be confusing, so we here at Moviefone want to do the heavy lifting. We've listed a number of streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'One Hit From Home' on each platform when they are available. Now, before we get into the nitty-gritty of how you can watch 'One Hit From Home' right now, here are some specifics about the family flick. Released March 6th, 2012, 'One Hit From Home' stars Ronald D. Alcazar , Sarah Blackford , ChrisAnn Brunsmann , Rob Edwards The NR movie has a runtime of about 1 hr 31 min, and received a user score of 52 (out of 100) on TMDb, which compiled reviews from 3 knowledgeable users. Interested in knowing what the movie's about? Here's the plot: "After suffering a career ending knee injury probaseball superstar Jimmy Easton returns to a place he has not been in a very long time home Here Jimmy confronts dark memories from a tragic past as he tries to make peace with a life he once left behind Things take an unexpected turn when he is forced back into the world of baseball as the coach of an underachieving college team" 'One Hit From Home' is currently available to rent, purchase, or stream via subscription on Amazon Prime Video , Pure Flix, Amazon Video, and Tubi TV .

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Watch One Hit From Home

• 1 hr 38 min
• 4.7   (306)

One Hit From Home is a 2012 sports drama film directed by Johnny Meier and Alex Lugones. The movie stars Brian Trush, Caitlynn Palmer, Caroline Palmer, and a supporting cast including Robert Riechel Jr., Christopher Mychael Watson, and Ronald D. Alcazar. The film follows baseball player Jimmy Easton (played by Brian Trush), who has been living in Los Angeles for a few years after being cut from a Minor League team. When he learns that his mother has been diagnosed with cancer, he decides to move back to his hometown of Chicago to be with her. Jimmy rekindles his relationship with his high school sweetheart, Lisa (played by Caitlynn Palmer), and also reconnects with his estranged father, Tim (played by Robert Riechel Jr.).

With his mother's medical bills piling up, Jimmy attempts to get back into baseball by trying out for the Chicago Cubs, but fails to make the team. Feeling discouraged, he turns to playing softball for a local team, but finds that it can't fill the void left by being cut from the Major Leagues. Jimmy's personal and professional struggles come to a head when he meets a talented teenage baseball player named Chris (played by Christopher Mychael Watson), who is dealing with the loss of his father and is struggling to stay off the streets.

As Jimmy mentors Chris and helps him turn his life around, he is forced to confront his own feelings of inadequacy and regrets. One Hit From Home is a story about family, redemption, and the power of sports to heal and bring people together.

The film features excellent performances from its cast, especially Brian Trush, who carries the weight of the drama with ease. Caitlynn Palmer is also impressive as Jimmy's love interest, Lisa, and the chemistry between the two leads is palpable. Robert Riechel Jr. provides a grounded performance as Jimmy's father, and his character's arc is one of the film's most satisfying storylines.

The film's pacing is deliberate but never drags, allowing for the characters and their relationships to develop naturally. The baseball scenes are well-shot and edited, and the film's themes of second chances and perseverance are woven seamlessly throughout the story.

One Hit From Home is a heartwarming sports drama that will appeal to fans of the genre and anyone who has ever struggled with disappointment and loss. With its relatable characters, touching storyline, and inspiring message, the film is a solid addition to the genre and a must-watch for anyone who loves movies about the healing power of sports.

One Hit From Home is a 2012 drama with a runtime of 1 hour and 38 minutes. It has received mostly poor reviews from critics and viewers, who have given it an IMDb score of 4.7.

• Genres Drama Kids & Family
• Cast Brian Trush Caitlynn Palmer Caroline Palmer
• Director Johnny Meier David Aaron Stone
• Release Date 2012
• Runtime 1 hr 38 min
• Language English
• IMDB Rating 4.7   (306)

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• The True Story Behind the Surprise Netflix Hit <em>Baby Reindeer</em>

The True Story Behind the Surprise Netflix Hit Baby Reindeer

Warning: This post contains spoilers for the Netflix series Baby Reindeer .

In his one-man play-turned-hit Netflix series Baby Reindeer , Scottish comedian Richard Gadd recounts the harrowing true story of how his experience with being stalked forced him to confront a buried trauma.

Playing a fictionalized version of himself named Donny Dunn, Gadd unpacks the years-long stalking and harassment campaign he endured at the hands of a middle-aged woman he refers to by the pseudonym Martha (played with a chilling intensity by Jessica Gunning) while struggling to make it as a stand-up and writer in London. As is depicted in the show, the stalking began in the wake of Gadd being groomed, repeatedly sexually assaulted, and raped by an older male TV industry mentor (named Darrien in the show and played by Tom Goodman-Hill)—an ordeal that left him reeling emotionally, questioning his sexuality, and wrestling with extreme self-loathing. Still, Gadd doesn't shy away from his own complicity in what transpired with Martha, frequently painting himself in a negative light as the story unfolds over the course of seven episodes.

“It would be unfair to say she was an awful person and I was a victim. That didn’t feel true,” he told The Guardian in 2019 following the sold-out inaugural run of the Baby Reindeer play. "I did loads of things wrong and made the situation worse. I wasn’t a perfect person [back then], so there’s no point saying I was."

When Gadd debuted his one-man show at the 2019 Edinburgh Festival Fringe, it had been two years since he had seen or heard from Martha. Three years earlier, while the stalking was still in full swing, he had won the festival's top prize for his comedy show Monkey See, Monkey Do , which explored his experience as a survivor of sexual violence. The Baby Reindeer Netflix series, which is currently at number two on the streamer's most-watched charts following its release last week, is an amalgam of the two stage shows.

"It felt like a risky thing—to do a 'warts and all' version of the story where I held my hands up to the mistakes I had made with Martha," Gadd wrote in a piece that accompanied the show's debut . "The foolish flirting. The cowardly excuses as to why we could not be together. Not to mention the themes of internalized prejudice and sexual shame that underpinned it all. The graphic details of the drugging and grooming and sexual violence I had experienced only a few years before...But equally I could not shy away from the truth of what had happened to me. This was a messy, complicated situation. But one that needed to be told, regardless."

Here's what to know about the true story behind Baby Reindeer .

What happened with Martha?

Similar to how the show begins, Gadd has said that the stalking started after he gave Martha a free cup of tea when she came into the London pub where he was working in 2015. “At first everyone at the pub thought it was funny that I had an admirer,” he told The Times . "Then she started to invade my life, following me, turning up at my gigs, waiting outside my house, sending thousands of voicemails and emails."

Over the next four and a half years, Gadd recounts that Martha sent him 41,071 emails, 350 hours' worth of voicemails, 744 tweets, 46 Facebook messages, 106 pages of letters, and a variety of strange gifts. Every email that appears in the Netflix series is a message that Gaad received in real life. She also harassed a number of people who were close to Gaad, including his parents and a trans woman (named Teri in the show and played by Nava Mau) whom he had begun dating shortly before the stalking began.

When Gadd tried to go to the police, he discovered that the laws surrounding harassment and abuse are, in his own words, "so stupid." Despite the fact that the show presents Martha as having been previously convicted on similar charges, Gadd was told he needed concrete evidence of direct threats for authorities to take any action.

"They look for black and white, good and evil, and that’s not how it works," he told The Independent . "You can really affect someone’s life within the parameters of legality, and that is sort of mad."

How do things stand today?

In the show, Martha ultimately receives a nine-month prison sentence and five-year restraining order for stalking Donny. In real life, Gaad has never disclosed the details of how the situation was resolved beyond the fact that he had "mixed feelings" about it.

"I can’t emphasize enough how much of a victim she is in all this," he told The Independent . "Stalking and harassment is a form of mental illness. It would have been wrong to paint her as a monster, because she’s unwell, and the system’s failed her."

As for how Gaad's sexual assault has continued to impact his life, the finale culminates in a closing sequence in which Donny shows up at Darrien's home to confront him only to accept an offer to work on his new show instead. A distressed Donny then finds himself at a bar where he is offered a drink on the house in a moment that flips his first interaction with Martha on its head.

"I think that was almost the most truthful scene of the entire show. What abuse does is it creates psychological damage as well as physical damage," Gadd told GQ . "There’s a pattern where a lot of people who have been abused feel like they need their abusers. I don’t think it was a cynical ending, it was showing an element of abuse that hadn’t been seen on television before, which is, unfortunately, the deeply entrenched, negative, psychological effects of attachment you can sometimes have with your abuser."

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Is 'Godzilla Minus One' streaming soon?

The Oscar-winning monster film is coming to Prime Video—but with a twist

Updated April 17, 2024

Recommendations are independently chosen by Reviewed's editors. Purchases made through the links below may earn us and our publishing partners a commission.

One of the most acclaimed movies of 2023 featured one of the biggest stars in the history of show business: Godzilla.

Fans have been salivating for the chance to watch it again at home, and we have the good news and bad news about "Godzilla Minus One" coming to streaming.

Watch hit movies and acclaimed shows on Prime Video.

What is 'Godzilla Minus One' about?

It's 1945 in the final days of World War II and Kamikaze pilot Koichi Shikishima (Ryunosuke Kamiki) lands his plane on a Japanese air base for some repairs. Suddenly the base is ravaged by a towering, horrifying creature and Koichi is the only survivor. He makes it home alive to find his family gone and his city destroyed during the U.S. bombing runs of Tokyo.

Racked with guilt and grief, he takes in a young woman (Minami Hamabe) and an orphaned baby while getting a new gig minesweeping out on the sea. It's there where he and others find other ships destroyed by that same terrifying beast: Godzilla. With the big brute threatening to destroy what remains of Japan, Koichi and other citizens band together to figure out how to stop the monster.

"Godzilla Minus One" is the 33rd Godzilla movie produced by Toho Co., Ltd., the Japanese entertainment outlet behind the original "Godzilla" released in 1954. The last Toho-produced live-action Godzilla movie was "Shin Godzilla" in 2016, which itself was the first Toho-produced live-action feature since "Godzilla Final Wars" in 2004.

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• Cast & crew
• User reviews

During a weekend backpacking trip in the Catskills, 17-year-old Sam navigates the clash of egos between her father and his oldest friend. During a weekend backpacking trip in the Catskills, 17-year-old Sam navigates the clash of egos between her father and his oldest friend. During a weekend backpacking trip in the Catskills, 17-year-old Sam navigates the clash of egos between her father and his oldest friend.

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• 2 User reviews
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Taylor Swift Renews Her Vows With Heartbreak in Audacious, Transfixing ‘Tortured Poets Department’: Album Review

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For where it sits in her catalog musically, it feels like the synth-pop of “Midnights,” with most of the feel-good buzz stripped out; or like the less acoustic based moments of “Folklore” and “Evermore,” with her penchant for pure autobiography stripped back in. It feels bracing, and wounded, and cocky, and — not to be undervalued in this age — handmade, however many times she stacks her own vocals for an ironic or real choral effect. Occasionally the music gets stripped down all the way to a piano, but it has the effect of feeling naked even when she goes for a bop that feels big enough to join the setlist in her stadium tour resumption, like “I Can Do It With a Broken Heart.”

The first time you listen to the album, you may be stricken by the “Wait, did she really just say that?” moments. (And no, we’re not referring to the already famous Charlie Puth shout-out, though that probably counts, too.) Whatever feeling you might have had hearing “Dear John” for the first time, if you’re old enough to go back that far with her, that may be the feeling you have here listening to the eviscerating “The Smallest Man Who Ever Lived,” or a few other tracks that don’t take much in the way of prisoners. Going back to it, on second, fifth and tenth listens, it’s easier to keep track of the fact that the entire album is not that emotionally intense, and that there are romantic, fun and even silly numbers strewn throughout it, if those aren’t necessarily the most striking ones on first blush. Yes, it’s a pop album as much as a vein-opening album, although it may not produce the biggest number of Top 10 hits of anything in her catalog. It doesn’t seem designed not to produce those, either; returning co-producers Jack Antonoff and Aaron Dessner aren’t exactly looking to keep her off the radio. But it’s easily among her most lyrics-forward efforts, rife with a language lover’s wordplay, tumults of sequential similes and — her best weapon — moments of sheer bluntness.

Who is the worst man that she delights in writing about through the majority of the album? Perhaps not the one you were guessing, weeks ago. There are archetypal good guy and bad boy figures who have been part of her life, whom everyone will transpose onto this material. Coming into “Tortured Poets,” the joke was that someone should keep Joe Alwyn, publicly identified as her steady for six-plus years, under mental health watch when the album comes out. As it turns out, he will probably be able to sleep just fine. The other bloke, the one everyone assumed might be too inconsequential to trouble her or write about — let’s put another name to that archetype: Matty Healy of the 1975 — might lose a little sleep instead, if the fans decide that the cutting “The Smallest Man Who Ever Lived” and other lacerating songs are about him, instead. He might also have cause to feel flattered, because there are plenty of songs extolling him as an object of abject passion and the love of her life — in, literally, the song title “LOML” — before the figure who animated all this gets sliced down to size.

The older love, he gets all of one song, as far as can be ascertained: the not so subtly titled “So Long, London,” a dour sequel to 2019’s effusive “London Boy.” Well, he gets a bit more than that: The amusingly titled “Fresh Out the Slammer” devotes some verses to a man she paints as her longtime jailer (“Handcuffed to the spell I was under / For just one hour of sunshine / Years of labor, locks and ceilings / In the shade of how he was feeling.” But ultimately it’s really devoted to the “pretty baby” who’s her first phone call once she’s been sprung from the relationship she considered her prison.

It’s complicated, as they say. For most of the album, Swift seesaws between songs about being in thrall to never-before-experienced passion and personal compatibility with a guy from the wrong side of the tracks. She feels “Guilty as Sin?” for imagining a consummation that at first seems un-actionable, if far from unthinkable; she swears “But Daddy I Love Him” in the face of family disapproval; she thinks “I Can Fix Him (No Really I Can),” before an epiphany slips out in the song’s hilariously anticlimactic final line: “Woah, maybe I can’t.” Then the most devastating songs about being ghosted pop up in the album’s later going.

Now, that, friends, is a righteous tirade. And it’s one of the most thrilling single moments in Swift’s recorded career. “But Daddy I Love Him” has a joke for a title (it’s a line borrowed from “The Little Mermaid”), but the song is an ecstatic companion piece to “That’s the Way I Loved You,” from her second album, now with Swift running off with the bad choice instead of just mourning him. It’s the rare song from her Antonoff/Dessner period that sounds like it could be out of the more “organic”-sounding, band-focused Nathan Chapman era, but with a much more matured writing now than then… even if the song is about embracing the immature.

The album gets off to a deceptively benign start with “Fortnight,” the collaboration with Post Malone that is its first single. Both he and the record’s other featured artist, Florence of Florence + the Machine , wrote the lyrics for their own sections, but Posty hangs back more, as opposed to the true duet with Florence; he echoes Swift’s leads before finally settling in with his own lines right at the end. Seemingly unconnected to the subject matter of the rest of the record, “Fortnight” seems a little like “Midnights” Lite. It rues a past quickie romance that the singer can’t quite move on from, even as she and her ex spend time with each other’s families. It’s breezy, and a good choice for pop radio, but not much of an indication of the more visceral, obsessive stuff to come.

The title track follows next and stays in the summer-breeze mode. It’s jangly-guitar-pop in the mode of “Mirrorball,” from “Folklore”… and it actually feels completely un-tortured, despite the ironic title. After the lovers bond over Charlie Puth being underrated (let’s watch those “One Call Away” streams soar), and over how “you’re not Dylan Thomas, I’m not Patti Smith,” an inter-artist romance seems firmly in place. “Who’s gonna hold you like me?” she asks aloud. (She later changes it to “troll you.”) She answers herself: “Nofuckinbody.” Sweet, and If you came to this album for any kind of idyll, enjoy this one while it lasts, which isn’t for long.

From here, the album is kind of all over the map, when it comes to whether she’s in the throes of passion or the throes of despair… with that epic poem in the album booklet to let you know how the pieces all fit together. (The album also includes a separate poem from Stevie Nicks, addressing the same love affair that is the main subject of the album, in a protective way.)

There are detours that don’t have to do with the romantic narrative, but not many. The collaboration with Florence + the Machine, “Florida!!!,” is the album’s funniest track, if maybe its least emotionally inconsequential. It’s literally about escape, and it provides some escapism right in the middle of the record, along with some BAM-BAM-BAM power-chord dynamics in an album that often otherwise trends soft. If you don’t laugh out loud the first time that Taylor’s and Florence’s voices come together in harmony to sing the line “Fuck me up, Florida,” this may not be the album for you.

When the album’s track list was first revealed, it almost seemed like one of those clever fakes that people delight in trolling the web with. Except, who would really believe that, instead of song titles like “Maroon,” Swift would suddenly be coming up with “My Boy Only Breaks His Favorite Toys,” “Fresh Out the Slammer,” “Who’s Afraid of Little Old Me?” and “The Smallest Man Who Ever Lived”? This sounded like a Morrissey track list, not one of Swift’s. But she’s loosened up, in some tonal sense, even as she’s as serious as a heart attack on a lot of these songs. There is blood on the tracks, but also a wit in the way she’s employing language and being willing to make declarations that sound a little outlandish before they make you laugh.

Toward the end of the album, she presents three songs that aren’t “about” anybody else… just about, plainly, Taylor Swift. That’s true of “Who’s Afraid of Little Old Me?,” a song that almost sounds like an outtake from the “Reputation” album, or else a close cousin to “Folklore’s” “Mad Woman,” with Swift embracing the role of vengeful witch, in response to being treated as a circus freak — exact contemporary impetus unknown.

Whatever criticisms anyone will make of “The Tortured Poets Department,” though — not enough bangers? too personal? — “edge”-lessness shouldn’t be one of them. In this album’s most bracing songs, it’s like she brought a knife to a fistfight. There’s blood on the tracks, good blood.

Sure to be one of the most talked-about and replayed tracks, “I Can Do It With a Broken Heart” has a touch of a Robyn-style dancing-through-tears ethos to it. But it’s clearly about the parts of the Eras Tour when she was at her lowest, and faking her way through it. “I’m so depressed I act like it’s my birthday — every day,” she sings, in the album’s peppiest number — one that recalls a more dance-oriented version of the previous album’s “Mastermind.” It’s not hard to imagine that when she resumes the tour in Paris next month, and has a new era to tag onto the end of the show, “I Can Do It With a Broken Heart” might be the new climax, in place of “Karma.” “You know you’re good when you can do it with a broken heart,” she humble-brags, “and I’m good, ‘cause I’m miserable / And nobody even knows! / Try and come for my job.”

Not many superstars would devote an entire song to confessing that they’ve only pretended to be the super-happy figure fans thought they were seeing pass through their towns, and that they were seeing a illusion. (Presumably she doesn’t have to fake it in the present day, but that’s the story of the next album, maybe.) But that speaks to the dichotomy that has always been Taylor Swift: on record, as good and honest a confessional a singer-songwriter as any who ever passed through the ports of rock credibility; in concert, a great, fulsome entertainer like Cher squared. Fortunately, in Swift, we’ve never had to settle for just one or the other. No one else is coming for either job — our best heartbreak chronicler or our most uplifting popular entertainer. It’s like that woman in the movie theater says: Heartache feels good in a place like that. And it sure feels grand presented in its most distilled, least razzly-dazzly essence in “The Tortured Poets Department.”

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