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    The Donn of Tiki

    Texas-born tiki legend shines in new documentary with Houston screening

    Brianna Caleri
    Oct 13, 2025 | 3:00 pm
    The Donn of Tiki film still

    The Donn of Tiki uncovers tiki culture's origins through one influential bar owner.

    Still from The Donn of Tiki

    It seems like the 20th century phenomenon of tiki bars would have emerged organically, with no sole progenitor, but a quick online search always turns up the late, supposedly Texas-born bar owner Donn Beach. A new documentary called The Donn of Tiki follows the history of "tiki culture" from this influential origin, aiming to "separate fact from fiction," according to a press release.

    The James Beard Media Award-nominated film will screen in Houston at the River Oaks Theatre on Tuesday, October 14. Austin can catch it at the Regal Westgate Stadium 11 on October 15.

    In the film's first moments, it defines tiki as "Cantonese food, Caribbean mixology, and South Pacific decor combined to create an aesthetic that was exotic, yet undeniably American." It also wastes no time in characterizing Beach, portrayed in this film as a whimsical claymation figure, as an unreliable narrator.

    Although Ernest Raymond Gantt, a.k.a. Donn Beach, was based in Hollywood when he opened his bar Don the Beachcomber in 1934, he was born in Mexia, Texas — or at least that's what the film settles on, using census records. The current website for the Don the Beachcomber brand, which was purchased by 23 Restaurant Services in 2022, repeats Beach's claim that his birthplace was New Orleans, Louisiana.

    The film goes on to detail the escapism of tiki culture, the surprising subtly of the mixology despite the aesthetic overkill, and the business intricacies of bootlegging and commercializing indigenous practices in Hawai'i. As it'd be a crime to film a bland documentary about tiki culture, all the interviewees pull these historical threads while wearing vivid Pacific island prints.

    Even taking into account Beach's penchant for yarn-spinning and legendary contribution to cultural appropriation, the film's official description calls him "a champion for authenticity, both in his work, and within himself."

    Audience members at the Houston screening will be able to learn more from co-director Max Well during a post-screening Q&A. For now, local screenings offer the only opportunities the general public will have to see the film. However, an FAQ page on the documentary's website says the team is working on a Blu-Ray release with more content, including recipes, and they expect the film to eventually be available on demand on platforms such as Amazon Video and Apple TV.

    The River Oaks Theater will host two screenings at 7:15 pm and 8:45 pm. Tickets ($21) are available here.

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    Movie Review

    Reminders of Him taps into grief, grace, and the power of moving on

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Maika Monroe and Tyriq Withers in Reminders of HIm
    Photo by Michelle Faye / Universal Pictures
    Maika Monroe and Tyriq Withers in Reminders of HIm.

    Texas author Colleen Hoover has gone from being a popular writer to a full-on celebrity in the 2020s. The new film Reminders of Him marks the third adaptation of her books in just 19 months (a fourth, Verity, is scheduled for release in October 2026). All of her books that have been adapted so far — most notably It Ends With Us — are female-led stories that feature elements of romance and trauma, catnip for studios looking to appeal to the underserved demographic of women.

    Leading the way in this film is Kenna Rowan (Maika Monroe), who returns to her hometown of Laramie, Wyoming after spending years in prison for killing her boyfriend, Scotty (Rudy Pankow), in a car accident. That relationship resulted in a daughter, Diem (Zoe Kosovic), whom Kenna gave birth to while imprisoned and is now being raised by her grandparents, Patrick (Bradley Whitford) and Grace (Lauren Graham).

    Yearning to be a part of Diem’s life, Kenna tries to reconnect with Patrick and Grace, only to be rebuffed by Scotty’s best friend, Ledger (Tyriq Withers), a former NFL player who now owns a local bar. In running interference, Ledger starts to become closer to Kenna, discovering that her tragic mistake shouldn’t be the only thing that defines her.

    Directed by Vanessa Caswill and written by Lauren Levine, the film features mostly surface level examinations of its themes and average performances, yet it winds up being effective thanks to a willingness not to rush through its storytelling beats. The filmmakers take the slow and steady approach toward the coupling of Kenna and Ledger, setting up their bond through a series of heart-to-heart conversations that makes any romance feel earned.

    The majority of the focus is on Kenna reclaiming her place in the world, and on Ledger coming to terms with the fact that the person who killed his best friend is not inherently a bad person. The film definitely could have gone deeper in its explorations of grief and anger, but the sheer amount of time it takes in addressing the characters’ doubts and fears turns out to be sufficient for a film that’s not aiming to be considered a dramatic masterpiece.

    It also helps that Caswill and Levine do a solid job of establishing the variety of characters that inhabit the film. Kenna and Ledger don’t always feel like fully-formed people, but they become so through their interactions with each other and the other townspeople. Lady Diana (Monika Myers), a girl with Down syndrome who lives in Kenna’s apartment complex, and Roman (Nicholas Duvernay), Ledger’s co-worker at his bar, help to broaden the appeal of the two leads.

    Monroe has, to this point, been best known for starring roles in horror films like It Follows and Longlegs. While she does somewhat well in this role, her delivery is often more flat than you’d expect for a character going through what she does. Withers thankfully doesn’t remind viewers of his recent bomb Him, demonstrating a crossover appeal that should serve him well in the future. Whitford and Graham don’t get to do much, but their combined experience gives their roles exactly what is needed.

    It may sound like damning with faint praise, but Reminders of Him is a competently made film that knows how to serve its core audience without insulting anyone who may not automatically be all-in for such a story. The filmmakers don’t try to force any of the key moments down the audience’s throat, and that stands out in a genre that’s not always known for its subtlety.

    ---

    Reminders of Him opens in theaters on March 13.

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