The Forever Purge Review: The Installments Keep Going, Why Shouldn't the Purge Itself?
The Purge franchise has seemed to always tell us something in its themes. We’ve seen racial tension touched in The First Purge, family strife in The Purge, and in the latest installment we see immigration tackled. The Forever Purge takes a look at what its America may look like if citizens continued The Purge after the most recent bloody 12 hour night.
The film opens with married couple Adela (Ana De La Reguera) and Juan (Tenoch Huerta), giving coyotes money to get them across the border from Mexico into America in search for a better life. Ten months later they seem to be on that path. Adela works in a kitchen while Juan works on the wealthy Tucker family’s ranch. The Tucker patriarch, Caleb (Will Patton), is impressed by Juan but Caleb’s son, Dylan (Josh Lucas), has issues with the hired help.
As the work day ends, preparation for The Purge begins. The Tucker family locks down in their secure home while Adela and Juan take a bus full of Mexican workers to a space that provides armed protection. This Purge isn’t about the 12 hours of mayhem though, it’s about what happens after. As Adela and Juan return to work, it becomes clear that some people are extending the annual sanctioned mayhem by continuing to kill and destroy. Thus, the survive the night films that we’ve become accustomed to seeing starts.
This installment is full of sermons and lectures on America’s malicious history of disenfranchising the poor and people of color. Colonialism and The American Dream are parts of conversations. In one scene, a swastika tattooed prisoner calls out every gun that he hears firing; he talks about the specific rhythm of the guns and calls it “American music”. It’s meant to be a creepy moment, but it rings full of authentic truth. We’re known for the fight for our 2nd amendment rights, so the film continues its analysis of who we are as Americans yet also continues its awkward handling of truth. It gives us stereotypes and archetypes to make its points.
Perhaps its most ironic moment is found in Americans running for the Mexican border in order to escape the Forever Purge. The film pays specific attention to the white Americans reliance on Mexican and Indigenous help to get across the border while being chased by white Americans who believe the country should be purged of those who don’t look like them. It’s a matching bookend to its beginning as Mexican news talks about American “Dreamers”.
Director Everardo Gout handles the action and blocking of scenes well. The film is entertaining for what it is and what you’d expect. Ana De La Reguera is a refreshing addition to women who can handle themselves in the killing fields. As her character navigates the turn of events, its evident there is much more to her than meets the eye, but it’s De La Reguera’s performance that is fun to watch. While writer/creator James DeMonaco may have written something that could have been straight from the headlines a year ago when it was supposed to be initially released (it was filmed in 2019), the film feels a bit dated.
However, you wade through its social commentary, the action and kills you’ve come to expect are there. I saw this at home and that’s just the way this film should be seen in my opinion! It’s a great streaming flick but not necessary for your first time back in theaters!
Rating: C+
"F9" Review: For True Fans Only
There’s no question, F9 is for the fans! If you have a problem with submarines, shootouts where trained military miraculously miss one person running away, airstrips that last forever…you’ve probably checked out a couple installments ago anyway. This film gives you the story rooted in family that you’ve grown to love and the superhuman, physics law breakin’ action true fans have come to expect. I’ll admit, this die hard fan is a ten second car away from riding off to the sunset on this franchise as well.
The film starts in the past to give us more backstory on Dom (Vin Diesel). From there the film plays out exactly as you would expect. There’s a big action set piece to get our heroes back in the action after finding out a world destroying weapon has potentially gotten into the hands of new villain, Jakob (John Cena), who is Dom’s long lost brother. (This is all trailer info of course.) In fact, the trailer gives away most surprises. The question is, how does it all connect?
How does it all connect is a question that, like family, is a through line through the franchise. How did Han (Sung Kang) survive? How have we never heard about Dom’s brother? Are they really going to space with a car? All questions are answered in their own zany ways. In fact, the film gets meta as Roman (Tyrese Gibson) and Tej (Chris Bridges) talk about how they never get killed or seriously hurt throughout all of their adventures.
Has the Fast & Furious franchise jumped the shark? You would have thought it had when they jumped a submarine, but it persists and we love it for its insanity. However, this installment is really pushing its limits. Whether they talk about invincibility or Dom lands like Superman with an explosion behind him (close enough that you’d think he’d feel it or cover his head) we’re entering Marvel territory here. My grandfather used to tell me a story of how he fought 100 men on a bridge in the Korean War. It’s a classic in our family, but we knew it was fake. Some screenwriter must have heard grandpa’s story though and took it seriously! This can’t go on much further like this. Check the record, I’m a huge fan! So I say this with absolute love and respect. The franchise needs young blood and a change of direction, otherwise 10 should be the final bow.
Real fans will not be disappointed, but I believe your faith will be tested. The film’s pacing is a bit clunky as we deal with so many flashbacks to explain one particular aspect of the past. However, the family theme is there, nearly all major characters are here and the insane action is definitely front and center! I’d highly suggest watching 1, 4, 5, and 6 if you want to go into this with a fresh memory of who is who and what’s what. Otherwise, get ready for an entertaining time at the movies. See it in theaters for the best experience!
Rating: C+
"The Marksman" Review: A Paint By Numbers Flick
What if the man with a particular set of skills was being chased by men with a particular set of skills? I’m mixing movies, but “The Marksman” is a slow burn film more in line with a Clint Eastwood “get off my lawn” type of film. In fact, the main character says “why’d you have to cross my land?” at some point in the movie. It’s the mixture of storylines we’ve seen before with no innovation that makes this film marked for death.
Jim (Liam Neeson) is a recent widower who is trying to keep his ranch afloat. His wife’s battle with cancer has taken a toll financially and he’s behind on his mortgage. While he tries to figure out how to make ends meet, he does find comfort at the bottom of a bottle.
In an instant, his life is changed when Rosa (Teresa Ruiz) and her eleven year old son, Miguel (Jacob Perez), try to cross his land on the Mexico/US border. The mother/son duo are running from Maurico (Juan Pablo Raba), an underboss in a nameless Mexican cartel. Jim has a standoff with the cartel that ends with people dead on both sides. This results in Jim reluctantly honoring Miguel’s mother’s dying wish to get him to Chicago to reunite with family.
The film becomes more of a buddy road trip picture over action film as Jim begins to bond with Miguel. Jim is from an older time. He doesn’t carry a cell phone, has to use a map to get across the country, and automatically assumes Miguel doesn’t speak English because he doesn’t speak (which gives some rather cringeworthy moments of dialogue as Jim tries to communicate). As most movies like this go, both characters eventually open up to one another and grow together as they try to evade the cartel.
Mark Patten’s cinematography is beautiful. The undeniable majesty of sunsets and country landscapes are captured exquisitely throughout the film. The extreme wides of an old western flick mixes in with the tight shots of modern action giving the film a nostalgic feel, much like its protagonist. Particular attention should be given to Juan Pablo Raba’s performance as Maurico. The villain of the film has to be believable and Maurico is scary. At any time he seems like he could go crazy, but he’s also a soldier who has a considerable amount of constraint. Rather than playing Maurico as full on bad guy, Raba gives him glimpses of humanity throughout different beats of the film that don’t make Maurico look weak but rather a human who has evolved into a monster.
There’s so much about this film that is predictable unfortunately. A trained marine who uses his credit card along the highways while being chased by the cartel doesn’t make much sense. A map is dropped with the destination point circled in bold red. It’s a very paint by numbers film with less emphasis on action than conversation. Neeson is certainly filling the shoes of the aged, stoic action hero Clint Eastwood has left behind. Unfortunately, this movie misses the mark and will get left behind in the genre as well.
Rating: C-
"One Night In Miami" Review: A Fly On The Wall Peek
If given the chance to be a fly on the wall for a historic conversation, what conversation would you choose? We’ve been invited to be a fly on the wall with four black historical figures in One Night in Miami. Director/Producer Regina King and screenwriter Kemp Powers have given us a thought-provoking glimpse into history through a fictional interpretation of true events as discussed by iconic figures. The concept is fresh, innovative, and does not disappoint. Thanks to Kemp’s screenplay and a star-studded cast, the transition from stage play to the screen is smooth.
On Feb. 25, 1964, after Cassius Clay (Eli Goree) shocked the world by defeating Sonny Liston to become the Boxing World Champion, he and a few friends (Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.), and Malcom X (Kingsley Ben-Adir)) decide to meet in a room at a hotel in Miami before going out to celebrate Clay’s victory. Once in the room, the men begin to exchange stories of their personal trials and tribulations of being a black man with power in America in 1964.
From the cinematography to the music selections, everything is intentional and well crafted. With King in the director’s chair (for the first time, mind you) and Powers’ powerful writing (Disney’s Soul), this film sets a bar for one location plays adapted to the screen. It doesn’t feel like a stage play, but more like a documentary. Powers’ writing captures and confronts topics with a perspective on political, religious and racial issues that still ring true with African Americans today.
The film exposes the difficult situation these men found themselves in as prominent figures in society. There was a particular crossroad they had to pass in terms of the fact that they could personally be successful and wealthy and not ruffle political feathers or use their status to make a difference which would come with strife. An example of a topic of discourse is between Malcom X and Sam Cooke. Malcolm feels Cooke could use his voice through music to help with the black movement in a direct way rather than indirectly helping from the sidelines. Cooke explains how he writes songs and receives royalties to be able to have financial capital to make a difference, stating “I don’t want a piece of the pie; I want the recipe.” The clash gives an interesting notion of the two wanting the same results but attaining it in different ways, which is something we saw from many leaders at the time.
You can feel the emotion that each actor delivers in their interpretation of their characters as though they channelled their real-life counterparts. Goree (Clay) and Ben-Adir (X) re-imagined the expressions of the figures previously portrayed by Will Smith and Denzel Washington (with great success) and etched and expanded their own paths forward. Goree portrays Clay as a charming charismatic version of the champ, coming to make the big decision of converting to the Nation of Islam. Ben-Adir shows multiple facets of Malcom X as a family man whose goal is to advance black people from the harsh realities of America at the time, while fighting a few personal fights within the Nation of Islam simultaneously. Hodge (Jim Brown) and Odom Jr (Sam Cooke) also set a high bar for their performances of the two characters. Hodge shows the calm and dominant demeanor that turned Brown into a household name for both football and acting. The multi-talented Odom, uses the voice we loved in Hamilton to effortlessly step into the crooner’s shoes.
Overall, this concept is a first-class piece of art. I laughed, my thoughts were provoked, and I learned something about each of these high-profile characters on a personal level, especially their stances on the advancement of black people. Most importantly, I was inspired by each character as he shared how his experiences supplied purpose to his life and how status as a celebrity was going to be used to fulfill that purpose. If you love original content that tells a good story, this is a must watch. If it was in theaters, I’d go, but the at home experience does it justice. It’s a well-constructed film that will give you an appreciation for each of these characters and will have you looking for other opportunities to be a fly on the wall. One Night in Miami is set to start streaming on Amazon Prime January 15th.
Rating: A
"Wonder Woman 1984" Review: A Made For TV Hero Film
It’s not that “Wonder Woman 1984” is not entertaining. I found myself invested in Diana Prince’s (Gal Gadot) journey by the time it was coming to a close. It’s just not as inspired and handled with the same care that director Patty Jenkins had with its predecessor, Wonder Woman. While the studio was brave in releasing the film in 2020 to HBO Max and theaters during COVID, this film is suited for small screen excitement. It’s not much of a visual spectacle and suffers from a predictable story.
The last time we learned about Diana Prince’s back story it was focused during World War I. This time we’re in Washington D.C. in 1984. (As a 10 year DMV resident, D.C. is displayed well in the film.) Diana works at the Smithsonian and is burdened by her responsibilities as a protector of her city, while not having a true relationship with anyone due to her double life. After a jewelry heist she thwarted reveals precious artifacts were squirreled away in said store, the artifacts wind up coming to the Smithsonian to be analyzed by Dr. Barbara Minerva (Kristen Wiig).
Barbara is the overlooked lab geek that just wants to be noticed. She gets special attention from Maxwell Lord (Pedro Pascal), a failing serial entrepreneur, who is driven to succeed at all costs. He's after the crystal that’s recently come into her possession and seems to be the only person who knows it is a Dream Stone. Anyone who touches it and makes a wish will have it granted at a price. That’s it. That’s the bad guy, the McGuffin, and the lesson. Be careful what you wish for. Diana, Barbara, and Maxwell all get a chance to make a wish, knowingly or unknowingly.
The story is unremarkable and the characters are dull. The problem with characterization in this film is that every person that you think “something ain’t right with him/her”, you’re correct. There is no subtlety in the design and depth of these characters. Everyone as written, whether child actors, villains or heroes are stereotypes of archetypes we’ve seen before. Even the glow up of Kristen Wiig from baggy clothed nerd to beauty feels pedestrian.
Gal Gadot has a strong on screen presence throughout the two and a half hour running time. In fact, her earnest performance is what makes the film palatable. In a year in which we’ve had an unprecedented lack of super hero films, it’s nice to have a moment to escape! I highly recommend seeing it in the comfort of your home over seeing it in theaters. You won’t regret it. Oh, and stick around mid credit roll to see a nice cameo!
Rating: C
"Fatale" Review: What Happened In Vegas, Didn't Stay There!
“Fatale” is the latest in the cheating husband who messed with the wrong woman genre. “Fatal Attraction” is the gold standard for husbands stepping out on their wives and reaping what they sow. Since the 1987 film there have been plenty that have tried to emulate it or deliver something similar. In fact, screenwriter David Loughery wrote 2009’s “Obsessed”, which had a similar theme. It seems he learned a few things with his latest screenplay for “Fatale” by side-stepping predictability but a couple flaws keep it from greatness.
Derrick (Michael Ealy) is a man who has it all on paper. He’s got the job, the luxurious house, and a beautiful wife. He and his wife have hit a rough patch and they seem to be on different pages. So when Derrick attends a bachelor party in Vegas with his business partner Rafe (Mike Colter), he has a one night stand with Val (Hilary Swank). It’s a mutual fling with both stating they are from out of town trying to blow off steam.
The next morning, Derrick wakes up and is ready to bounce, having come to his senses, but Val wants more. Weeks later, Derrick has the fight of his life with a masked home invader. When the police arrive, the detective in charge of the case is Valerie Quinlan, his one night stand. From there, the game of cat and mouse begins with some surprising twists along the way.
Swank has fun trying on a non-traditional character for her. She walks the tightrope of a scorned woman and an evil genius with just the right touch of humanity to create a three dimensional fatale. Ealy brings a certain relatability to his fish out of water character and does what he can with the script. Unfortunately, his character is written to continuously make poor decisions. That doesn’t stop him and Swank from having some juicy moments on screen. The subtext in their second encounter, right after the home invasion, is fun to watch. In fact, a lot of the delivery of Swank’s lines have a consistent weight to them that makes her character scary yet thrilling to watch because she’s so smooth with her hidden rage.
A lot of credit goes to director Deon Taylor. He’s shown tremendous growth in his storytelling since he dipped his toes in the thriller genre with "Traffik". He understands how to craft suspense (as evident in his last pairing with Ealy in "The Intruder") and uses his camera to speak where the script doesn’t. In one scene, after speaking with Derrick, Val backs out of the driveway with the camera locked down and watching from the back seat. As the car goes up the natural incline of the driveway and then levels out, Derrick disappears from the background of the frame due to the front of the car lifting up. We’re left to focus solely on Val’s face in the foreground. It’s a power shift that is told in pictures, not words. Taylor is certainly one to watch.
Cinematographer Dante Spinotti shoots LA for the first time since “Heat”. It’s a gorgeous and sleek looking film that adds to the story that all that shimmers isn’t gold. This is the third collaboration of Taylor and Spinotti and each outing continues to build on their ability to tell story through film.
While the “Fatale” does a good job of subverting the stereotypical plot, it forgets to leave the dumb husband trope out of loop. By the time Derrick starts making good decisions, you’ve yelled at the screen enough to leave him to Val’s schemes. Nonetheless, it’s still an entertaining watch with some moments you won’t see coming.
Rating: B
"Promising Young Woman" Review: The Heavy Handed Gut Punch We Should
Writer/director/producer Emerald Fennell penned “Promising Young Woman” in 2017 during the height of the Me Too Movement. The film is quirky, a little rough around the edges, but focused like its heroine. Its heavy handed with lesson after lesson but it’s a gut punch that men and everyone else should take heed to.
Carey Mulligan is Cassandra Thomas, a med school dropout with a chip on her shoulder. We’re first introduced to her alone, seemingly drunk, and preyed on by a few men in a club. After being taken home by one of the men, she allows him to get far enough to see that he would take advantage of a young woman who, while drunk, clearly said no. She then makes it clear to him that she’s not drunk. We don’t really know what happens after, but that’s the set up for the film.
We’re introduced to Cassandra’s world. She lives at home with her parents, works at a coffee shop, and keeps a running tab of the men she’s taught a lesson too in a small notebook. The sexual assault of her best friend in med school has radicalized her because while everyone seemed to move on from the incident, her brain has been seared by it. Cassandra uses Roman numerals to count each man she’s educated in her notebook and the film uses the Roman numeral theme to set up the various lessons she’ll teach to those who played a particular role in her past trauma over the course of it.
This is a movie where you’re better suited going in with a blank slate. So that’s all I’ll state about its plot. However, this is a film that addresses the issues of the culture behind sexual assault allegations, the victims, the accused, and the community of people that cover it up. As Cassandra implements her plan we’re forced to think about her message as well.
Mulligan really carries the film with her performance. There is a layering of her character that is noteworthy. You can see Cassandra’s brilliance, hard exterior, and wounded soul simultaneously in moments during the film. Alison Brie and Connie Britton also provide brief, but grounded performances as well. Unfortunately, the male actors in this film are mostly hollow, perhaps by design, serving as pieces that move the story forward. Many are portrayed as fragile when confronted by Cassandra, breaking down into scared little boys. Perhaps that’s Fennell’s intent? Yet it feels more like a subjective judgement of men, rather than allowing them to be three-dimensional. If it had been, the film as a whole would be elevated, rather than Mulligan elevating the film herself.
Regardless, Fennell’s points are direct and on target. The hypocrisy, double standards, and depravity of harassment and assault are on full display. Flaws aside, “Promising Young Woman” speaks for those who have and haven’t spoken their truth on the subject. While it is entertaining to watch, we should all listen to its message!
Rating: B
"On The Rocks" Review: Sofia Coppola's Small But Profound Tale!
If you don’t consistently and intentionally work on your marriage, it can fall apart. Insecurities that come out in marriage after a couple of kids, body changes, and growing careers or lack thereof is what Sofia Coppola explores in her latest “On The Rocks”. This is an intimate film with big stars but grounded performances that result in a simple yet profound statement on aspects of our adult lives.
Laura (Rashida Jones) and Dean (Marlon Wayans) start their marriage like any couple in love. They ditch their wedding reception to skinny dip in the hotel pool. Fast forward a few years and a couple kids later and Laura is a struggling in her work while Dean is successfully traveling the world building his business. After feeling like Dean may be cheating, Laura confides in her devil-may-care father, Felix (Bill Murray). Due to his playboy lifestyle, he automatically assumes Dean is doing the worst and stokes the flames of Laura’s suspicion. The result is a father/daughter adventure through New York to find the truth.
The main characters in this film are Laura and Felix. Coppola purposefully brings you into the world of the father/daughter team by making the exterior world a form of set design in their stage play of life. Getting to know Laura’s daughters outside of the fact that they are kids is unnecessary. Getting to know Dean outside of the fact that he seems like a good guy but could be cheating helps us stay suspicious. Not getting to know the people that Laura interacts with in her daily life, outside of Vanessa (a funny for her bit role Jenny Slate), helps keep us focused on Laura’s thoughts about the situation.
This singular focus on Laura and Felix’s opinions and conversations about what’s happening with Dean is what helps make the film grounded in a familiar reality. What’s perhaps more profound is how Coppola’s screenwriting addresses the emotional impact of Felix’s infidelity and philandering on Laura’s life. She’s accepted him for who he is but as the story moves forward, they address those issues as well.
The film is reminiscent of a French New Wave buddy film. Coppola jump cuts through slices of everyday mundane moments that remind you of what you did this week. She gives Murray his time to shine in finely aged Murray monologues that are a joy to behold. Jones’s performance is stripped down and bare in a way that gives room for Murray to shine but not overpower her. Their relationship feels very authentic to the characters and that chemistry shines.
“On The Rocks” is a film that might go under the radar this year, but it shouldn’t be off yours! It’s entertaining, funny and poignant. Whether it hits a nerve in your current stage of life or not, it’s certainly an hour and a half well spent!
Rating: A-
"Safety" Review: A Safe Telling of A True Story Worth Celebrating
“Safety” is the true story of Ray “Ray Ray” McElrathbey (Jay Reeves), who played safety for the Clemson Tigers from 2005 to 2007. During that time, his mother (Amanda Warren) went into a rehabilitation program to deal with her addiction, forcing Ray to take care of his younger brother, Fahmarr (Thaddeus J. Mixson) by housing him on campus. The film could trim about thirty minutes of fat and fumbles in the screenwriting with some Disney emotional cues, but when it focuses on the heart of the issue it’s in the zone.
The film introduces us to Ray just as he’s starting to play, on scholarship, for Tommy Bowden at Clemson. Almost as quickly as he adjusts to the rigorous schedule of college football, he has to adjust to the fact that his brother is at home without positive supervision with his mother in rehab. (In the film, there is an adult in the apartment with Fahmarr, but he seems to be into street life.) Ray quickly takes Fahmarr back to his dorm and pulls his roommate, Daniel (Hunter Sansone), into the scheme.
The first hour is set up for comical buddy/caper comedy moments with Ray trying to hide his brother under laundry and getting him to and from school without his friendly resident advisor catching them. He also meets Kaycee (Corinne Foxx) and spends time trying to court her while balancing his new responsibilities. The film doesn’t really find its groove until an hour into its run time.
At times, “Safety” feels like one of the best student films you’ll see about football this year! The acting, camera work, and silly jingles playing underneath certain scenes feel forced and uninspired. It does have a measure of weight and depth when the story digs into the true life conflict of Ray trying to balance school, his brother and mother’s welfare. It’s a difficult situation to be in. The crux of the story is about a mother who chooses herself in getting clean and the weight that puts on Ray, a brother turned father, who has a scholarship and his own future on the line. The conflict of Ray being torn between his own dreams and desires for himself but being willing to sacrifice everything to make sure his younger brother is taken care of is the reason that the story was known in every household around America at the time.
I’ll be the first to admit I have a few biases. First, I went to the University of South Carolina, so it’s kind of in my blood to hate Clemson. Second, I graduated in 2005, so it’s really hard for me to believe that a line like “Whatchu know about Lauryn Hill?” would come out of Kaycee’s mouth. Lauryn Hill was still the GOAT at that time. The soundtrack is extremely accurate though- like if buying soundtracks was still a thing and you were in college during that time, it would take you back! Biases aside, there is a constant fight between stale performances (Foxx) and authentic performances (Reeves) and rehashed storylines and a heartwarming story.
“Safety” feels like a three hour movie because it spends the first hour meandering and crawling to its fifty yard line. The second hour is where the film gets into the end zone. What Ray McElrathbey did is noteworthy, but this film is just a passable representation of it.
Rating: C-
"Soul" Review: The Reflection We Need In 2020
Pixar has a way with giving us films that speak to children, the inner child in adults, and adults. Their latest film, “Soul”, hits all three. While it has its moments of bloat and overly-complex narrative, there’s no doubt that it will leave you thinking about your life and the journey we all walk in finding our purpose.
Jamie Foxx voices Joe Gardner, a band teacher who has been waiting for his big break as a musician. He spends his time like most people do who aren’t working their dream job. He works at school, tutors after school to make ends meet, and plays gigs in his off time. So when he finally gets the opportunity to play piano for Dorothea Williams (Angela Bassett) he’s beyond ecstatic! Blinded by enthusiasm he misses the open man hole he walks into while talking on the phone.
Fresh out of his body, Joe is in a long line full of people going to The Great Beyond, but feeling that he was just about to finally make it, he fights to get out of impending doom. His actions land him in The Great Before, a place where souls are trained before diving to Earth to get a body and pursue their purpose in life. As Joe tries to find a loophole to get back to Earth himself, he’s paired up as a mentor for 22 (Tina Fey), a soul who does everything she can to not go to Earth. Amazingly, everything mentioned above is in the trailer.
If you can get past what feels like a seriously hard attempt to create a beautiful, bright new world that still addresses large issues like Pixar did previously with “Inside Out”, the bones of finding out our purpose in life are solid. Foxx’s Joe Gardner is a kind man with enough of a chip on his shoulder to make him oblivious to the truth that he matters to his community and has a good life. The film analyzes what makes a life “good” and worth living through the eyes of 22. Simultaneously, we see a refresher for Joe as he is able to see the world as 22 sees it.
“Soul” gives us Pixar’s first movie centered around a black character. Like “The Princess Frog”, Joe spends a considerable amount of time outside of his body, but fortunately at least half of the time we see an animated black lead. In fact, Pixar nails a lot of black culture in this film. From the jazz players (notably Angela Bassett as Dorothea) to Joe’s mother’s (Phylicia Rashad) seamstress shop, screenwriters Pete Docter, Mike Jones, and Kemp Jones hit the nuances that are uniquely black vernacular while still universal themes of connection and love. A beautifully captured scene where Joe gets his haircut in the barbershop is equal parts funny and true to life. The barbershop represents a space of education, humor, and camaraderie for black boys and men where conversations can go from the basketball game to how to be a better father in an instant. It’s so fluid with the rest of the film you could miss it, but I appreciated being able to ask my son if it looked familiar and he give a resounding “Yes!”.
We’ve come to have high expectations of Pixar Animation Studios and “Soul” won’t let you down. While it may not be as moving and profound as “Inside Out”, the film still poses big questions in an animated movie. While it doesn’t answer where we come from or where we go after life in our body ends, it does make you think about what you do while you’re living. In a tumultuous year like 2020, “Soul” is right on time to help us focus on what’s most important!
Rating: B+
Middleburg Film Festival 2020: "Concrete Cowboy" Review
Concrete Cowboy is not an original story. Estranged son and father come together to try and correct the son’s behavior has been done before. While much of its premise is familiar territory, this film takes a look at traditions of old and what reconnecting or staying in touch with them can do for a person, a family, and a community.
After Cole (Caleb McLaughlin) gets into trouble at school, his mother (Liz Priestley) has had enough. She decides to drop him off with his father, Harp (Idris Elba), to try and have some discipline instilled in him. It’s evident that the neighborhood recognizes Cole, but it’s been long enough for him to be groggy on most of the who’s who. He does know his cousin Smush, (Moonlight’s Jharrel Jerome) who pulls up in a nice ride with some dope kicks. Smush wants Caleb to ditch the stables and hit the streets to make real money.
As most films like this go, after some time of friction, Cole begins to understand his father’s urban cowboy way of life. He appreciates the hard work, respect of tradition, and taking care of horses. Smush’s way of life doesn’t fly in Harp’s home, so Cole is forced to make a tough decision on the way he wants to go.
The film boasts of an all star line up. Caleb McLaughlin sheds his Stranger Things persona for a coming of age turn as “Cole from Detroit”. Method Man reminds us that he has some acting chops as Leroy, the former urban cowboy turned lawman. Perhaps the surprise casting comes from the real riders of Fletcher Street in Philadelphia. Sprinkled throughout the group of urban cowboys, these real life cowboys give the film its culture and authenticity.
Cinematographer, Minka Farthing Kohl uses natural lighting to draw the viewer in. Small moments like the flickering of firelight used to light subjects, brings a certain amount of intimacy to this story. Director, Ricky Staub, has a way of using the camera and editing to capture moments and lock them in time. Using more mids and close-ups than wide establishing shots, Staub is able to keep the focus on the characters and bring us into their world.
The story of Concrete Cowboy is one of a return to an old fashioned way of life and connection. It lassos the connection of man amongst one another and with horses. It highlights the importance of storytelling amongst generations, with one character even emphasizing the significance of cadence in oral storytelling. This story is a bumpy ride at times in getting to its destination, but there are beautiful visuals and heartfelt moments along the way.
Rating: C+
Antebellum Review: A Missed Opportunity
It’s not that Antebellum isn’t entertaining. There is a good deal of mental gymnastics you do as you try to find out what’s going on in the film. The problem with Antebellum is that for all the physical violence, rape and historically black trauma you have to endure to get to its end, there is absolutely no pay off! This is a prime example of a film that’s core concept was great in pitch meetings, but never got fleshed out properly by writer/director team Gerard Bush and Christopher Renz.
The film starts out on a plantation with the gruesome killing of a slave who is given the chance to run, only to be shot and dragged back to the center of the plantation by her neck while her loved one watches the scene unfold. We’re introduced to Eden (Janelle Monae) as she’s dumped off a horse and remarks are made to a failed attempt to flee. This particular place seems to be harder than any other plantation. No slave can speak to one another. Break the rules and it will cost you your life.
As the film moves forward, we quickly see more slaves come on to the plantation. It's apparent that they have a certain self-awareness and empowerment that’s not indicative of the typical slave films we’ve seen in the past. In fact, in present day we see Veronica (Janelle Monae), as an adored wife, mother and successful speaker and scholar on race. With continual verbal nods to the past, present, and how they continually collide, the viewer starts to wonder how this all fits together.
Gerard Bush and Christopher Renz try to push a black lives matter emphasis within the film. Their cake is half baked though with a heavy reiteration on the darkness of America’s history of slavery, while missing the nuance of the systemic oppression and racism post-slavery that has us in our current state. So it’s a lost opportunity to make an important social statement in how the past effects us presently.
Janelle Monae has the talent to be a memorable actress in our time, but this isn't her best performance. She does the best with the script handed to her but her delivery of lines are so stiff at times. The southern accents and dialogue of the antagonists of the film are atrocious. Not just that, the motivations of the “villains” is not clear. They're mean just to be mean. The lack of depth in going past a great concept is what sinks this film.
I’ll be honest, the concept of this film is something that black folks may give thought to. I could totally sign up for the elevator pitch of this film, but this script desperately needed to address the motivations of its characters, the trauma of being black in America, and have a conclusion that would tie everything together and maybe leave us deep in thought after the credits roll. It didn’t. So while “from the producer of Get Out” is a great marketing tool. You may not want to compare this to a masterpiece. It's just not a good or honest comparison!
Rating: D+
"TENET" Review: The Rubik's Cube Of Movies
Have you ever wondered if a Rubik’s cube could be described as a movie? If you said yes, then I give you the equally perplexing and entertaining movie, TENET! Directed by Christopher Nolan, in his one of a kind, high quality, action-packed and gritty style! If you’ve experienced one of his prior films, (Dunkirk, Inception, The Dark Knight Trilogy, any one from his catalogue really) you can understand how watching a Nolan movie pulls you in immediately and keeps you feeling an ebb and flow of emotions. Honestly, the previews do this movie no justice.
The film starts with The Protagonist (John D. Washington) being selected for a mission that’s described as a job to prevent a Third World War. During this assignment he learns about inversion (a temporal anomaly which an event happens in reverse). For example, when he drops his gun in an inverse its actually him catching the gun. If that example left you perplexed, don’t worry, you’re in the right place. Throughout this assignment he meets Kat (Elizabeth Debicki), the wife of Andrei Sator (Kenneth Branagh) whom he must protect as she’s a key for saving the past from the future.
John D. Washington and Robert Pattinson’s characters have great chemistry, and their performances are ideal. Washington is a natural lead with Washington performing all his stunts. One of the flaws of the movie is that it was hard to hear some of the dialogue because of the fast-paced scenes and the music being overbearing at times.
This movie continuously keeps you on a rollercoaster ride to figure out what’s going on. As soon as you think you know where the film is headed, it dips in another direction. The cinematography of Nolan’s constant collaborator, Hoyte Van Hoytema, and production in this movie were top tier as expected. I predict a few Oscar nods. This is a well-crafted story that may take a couple of views to fully understand what you’ve seen. The IMAX experience is necessary for this film so I’d recommend seeing in theaters if you can or are willing to go in person (practice social distancing). When you walk out of the theater, you’ll feel as accomplished as if you finished a Rubik’s cube…or at least one side.
Rating: B+
Sonic The Hedgehog: Didn't Disappoint!
One of the most influential childhood characters makes his long awaited spin jump from our gaming consoles onto the big screen. I think it's safe to say that when we saw the first draft of the hero’s look last year, it made us feel like it’d be okay to skip this one; but the famous blue hedgehog sped through those concerns and didn't disappoint.
The movie is the origin story of Sonic (Ben Schwartz) living on earth. The lonely hedgehog accidentally creates a power outage that ultimately brings unwanted attention. The government hires Dr. Robotnic (Jim Carrey) to investigate the cause of the catastrophe. Once he realizes that Sonic is the culprit, Robotnic plans to capture Sonic and use him as research for personal gains and world domination. As Sonic plans to get out of dodge, he finds himself in a dilemma which forces him to stay on earth to find his famed rings. While being chased by Dr. Robotnic, Sonic finds a friend in Tom Wachowski (James Marsden) and they go on a quest to find his rings with multiple mishaps along the way.
This movie brought me back to sitting in front of my Sega Genesis for hours and tuning into the cartoon as a kid. If you’re a fan of Sonic, you will feel engaged and nostalgic. There are numerous easter eggs in this film, so keep your eyes peeled to find them.
There are some instances in the movie that feel off in the edit and acting, but they find their way back to these scenes making sense. Director Jeff Fowler did a good job of bringing this film to fruition (especially with the Sonic updates) with his vision. The movie had some positive messages for the kid in all of us involving believing in yourself and the importance of friends. Jim Carrey is stand out as Dr. Robotnic. His character development gave us a flashback to the animated and over the top Carrey we grew to love in Ace Ventura and The Mask. The movie’s soundtrack is another nuance that tied the movie together well. Honestly, I thought the film could have done well as a PG13 and had more action but as a PG rating, it's up to par and has something for everyone to enjoy. It'll be money well spent if you take the kids and I think Sonic will be around for years to come.
P.S. Stick around through the credits.
Rating: B
"Dolittle" Review: Do Little To See This One!
Dolittle is an example of a film that tries to save itself in post-production when it should have done it at the script level. Sometimes a known franchise name isn’t worthy of the dust being blown off of it. Well, a $175,000,000 budget with a dismal return on investment just may teach Universal Pictures the lesson!
After losing his wife, Dr. John Dolittle (Robert Downey Jr.) has become a recluse. Far from the famed doctor who could speak to animals and help the world, he lives alone (no humans) with some of his four legged friends in a sanctuary given to him by Queen Victoria. When the queen turns ill, a royal emissary named Rose (Carmel Laniado), calls on the doctor to save the queen. In the midst of the visit from Rose, Tommy Stubbins (Harry Collett), a “force sensitive animal whisperer”, brings Dr. Dolittle a squirrel he accidentally shot. Enamored by Dolittle’s ability to speak with the animals around him, Tommy wants to be Dolittle’s apprentice.
The threat of losing his home due to a clause in a contract forces Dolittle out of his self-imposed retirement. The adventure takes him, his new apprentice and his animal friends across seas to dangerous islands full of bandits and a dragon. Wait, a dragon!? You thought this was a Victorian era period piece? Of course it’s a fantasy, comedy, adventure…honestly, I don’t know what it wants to be.
The storyline and script is muddled enough, but it’s not the only thing that’s muddled. Downey Jr.’s whispery accent is one for the record books! It’s hard to understand what he’s saying as he does his best-worst Jack Sparrow impression. The accent doesn’t accentuate the character and makes for an already difficult view with the amount of ADR (Automated Dialog Replacement) that seemed to have gone on in this film. There are so many moments when characters are speaking with their backs to the camera or the editing quickly cuts around what they’re saying to mask their faces.
It’s movies like Dolittle that give January releases its storied rep. It never fails that plenty of duds get dropped in the beginning of the year as we anxiously await to hear what the best films coming out of Sundance are, who will win an Oscar and move into Spring. I hope everyone in the cast and crew got paid upfront, because this movie won’t make a return on the back end! Since the writers and producers did little to make this film charming and proper, I suggest you do little to see it as well!
Rating: F
"Spies In Disguise" Review: Great Message In A Fun Ride
There’s only one spy that we really focus on in Spies In Disguise. While the name may be misleading, you don’t really need more people in a film when you have the charismatic charm of Will Smith. It’s a fun, comedic, espionage animation that manages to pack a great message without hammering it home.
Lance Sterling (Will Smith) is the world’s number one spy. He’s so good, bad guys know him by name and shutter when he’s in their presence. His fellow secret agents and colleagues at work do as well in that rockstar kind of way. This includes a nerdy tech officer named Walter (Tom Holland). Walter’s latest gadget, kitty glitter, gets Lance out of a sticky situation in the field, but not in the particular loud style that Lance is accustomed to and demands. So the two meet under circumstances in which Lance attempts to give Walter a stern talking to with walking papers. Simultaneously, Lance is moved on the agency’s wanted list after a doppelgänger steals a top secret killer drone.
Forced on the run to clear his name, Lance enlists the help of Walter, who just happens to have made an elixir that can change a person into a pigeon for spy purposes. With a new identity, Lance goes after the villain who stole his identity. Along the way, he learns the value of teamwork while Walter learns to believe in himself.
There’s a message at the heart of Spies In Disguise that needs to be heard by everyone. You have to look past Will Smith’s animated charm, DJ Khaled’s interesting voice acting debut, and the humor. Be yourself and it’s ok to be weird are a couple of the messages, but the deeper message we can gain from the movie is that we should try our best to solve conflict without destroying the person or entity we’re in conflict with. All of Walter’s gadgets are non-lethal but are still effective. After Joyless (Reba McEntire) tells Walter that he’s the future of the organization, I couldn’t help but think she was talking to the young kids in the audience. They have the ability to change the world, but it may be too late for the generations currently in power.
Spies In Disguise is an enjoyable time at the movies for families. You’ve definitely seen the character archetypes before, but its messages are worth hearing. If there is a better way to resolve conflict, choose it! At the very least you’ll learn that pigeons fly as fast as ninety miles an hour!
Rating: B
"Star Wars: The Rise Of Skywalker" Review: A Celebration of the Power of Cinema
I never have to park a quarter mile from the entrance of my local AMC, but this time was different. As I arrived at 7:03pm for my 7:00pm showing of Star Wars: The Rise of Skywalker I was not alone in my tardiness. As others ran through the lot to get to the screening, I took my time. The concession stand had double the normal number of regular staff. They worked quickly to fulfill orders, dancing around one another with an understanding of what time it was. After 42 years, the Skywalker saga has come to a close, and that’s a magical thing. The electricity in the air, the feeling of wanting to see how it all ends, the collective vibe that these movies mean something to all of these strangers in a dark theater is the essence of why cinema is so powerful. So while this latest installation may not be the greatest (it’s certainly not the worst), it’s a fitting ending to a franchise we all love.
The film opens with Rey (Daisy Ridley) training with General Organa (Carrie Fisher), Kylo Ren (Adam Driver) on a rampage to secure his spot of power in the galaxy, and The Resistance trying to take down the First Order for good. As not to give any more spoilers than trailers have already given, an old enemy has resurfaced, which gives both Rey and Kylo Ren a new challenge, missions are handed out, all hope seems lost- you know, the usual Hero’s Journey stuff. All that to say, questions are answered and old and new friends get a proper goodbye.
The first act of the film is a bit muddled in its direction. The real life death of Carrie Fisher can be felt in the film in the palpable way that writers Chris Terrio and J.J. Abrams tried to work around it without being too overt. It’s a difficult job, but they were able to give her character respect. Feeling more like a sequel to Abrams’ The Force Awakens, the movie really takes off in the second act and beyond as Rey’s past becomes less of a mystery and her future is in question.
This outing is infused with the original wonder of Star Wars in giving us vast landscapes, creatures we’ve never seen, worlds that are beautiful and threatening at the same time, and bonds amongst friends that we all hope to have in this life. With a nod to its beginning, the end leaves you with a sense of hope and wonder as to where the character may go. Ultimately, The Rise of Skywalker is not a pulse-pounding, deeply moving film with emotional resonance that you’ll remember where you were when you saw it for years to come. It’s a difficult job to bring something that means so much to so many people to a close. For that, the film has my respect.
Rating: C+
"Cats" Review
Cats has finally made its way to the big screen. Lloyd Webber's live action play based on the 1939 poetry collection, Old Possum's Book of Practical Cats by T. S. Eliot, has been adapted by Tom Hooper (Les Miserables) for the big screen in a valiant attempt to be a blockbuster smash through a star-studded cast using CGI to bring the rhythmic felines to life.
Cats tells the story of the Jellicles, a tribe of cats, who take you on a musical journey through the night where they are preparing to compete and perform to be selected and sent to the Heaviside Layer (a heaven-like rebirth for cats) to come back as a new and improved Jellicle. While the Cats are preparing and showing their talents, the antagonist, Macavity (Idris Alba), is trying to sabotage the other cats' chances at winning in order to ensure he is the selected feline.
If you haven't seen the play, you'll still be able to follow the movie. The movie does feel as if you're watching the Broadway musical, so there's minimal dialogue and a lot that can be left to interpretation. Some of the takeaways of the movie include embracing individuality and staying true to yourself. The CGI development had some unbelievable and cringe-worthy moments. There were some instances where it [CGI] was hard to follow, but the progression of the characters actually made me believe in some of the ensemble as cats after a certain point.
There are plethora of Cats in this movie which makes it hard to keep up with at times, but the acclaimed cast helped to quickly identify some of the felines. Francesca Hayward's debut as Victoria is noteworthy. Her ballet background helps her stand out in this role which allows this adaptation to still have a Broadway aura. Jennifer Hudson and Jason Derulo's performances were some of the better musical selections while Taylor Swift's performance was swift, but decent. I also noticed a cameo of the Bourgeois twins (Beyonce's dancers) in the film.
It's a family friendly movie for people that enjoy musicals - or if you're a Cats fan, Cats Stan, or you just love cats all together. If you're looking for a movie that has a Disney like substance in the theatrics and musical selection that you can enjoy with your family and/or take your kids to see, then this movie is a good choice. Other than that you'll probably want to skip this one, but if you’re going to see it, the experience will be better on the big screen than at home because it needs your undivided attention to get through it.
Grade C
"The Aeronauts" Review: This High Flying Balloon Falls Flat
Amazon’s The Aeronauts is based on the true story of early meteorology and flight. The film re-teams The Theory of Everything co-stars Eddie Redmayne and Felicity Jones. It’s a harrowing adventure high above the clouds that manages to be equally lifeless at any point the film tells the story of life on the ground.
Amelia Wren (Jones) is a balloon pilot who is no stranger to the skies. She flew with her late husband on plenty of flights. So the opportunity to fly on a scientific expedition with James Glaisher (Redmayne) is welcomed. For Glaisher, he hopes to push past the heights previously set by other pilots to document the unknown of what is above us.
Within the balloon, the duo takes on challenges that come from humans facing atmospheric conditions they’ve never seen before. George Steel’s cinematography and sound designer Andy Kennedy’s attention to detail make the experience of watching Wren and Glaisher feel tangible as an audience member. As the balloon starts to ice over, the basket that separates them from a 20,000+ foot fall to their death does as well. The creaks and pops of the equipment draw you in, as does the cool blues and somewhat desaturated hues of the cinematography.
Weaved in between the experience in the sky is the backstory of Wren and Glaisher. These scenes give us context to who they are, how they met, and how the expedition came together but are not interesting enough to keep the viewer engaged. You’re left with a burning desire to get back into the balloon with their present peril instead of on land with their past.
There’s a scene in The Aeronauts in which Glaisher is trying to convince a body of scientists and explorers to allow him to have his own balloon. They laugh in his face and walk out as he pleads for them to hear him out. “Please, please” he clamors. This scene feels fitting for the entire movie. It begs you to hear it out! This is a film about early exploration of the sky above us for goodness sake! Unfortunately, outside of its outstanding visuals, it doesn’t have much to say.
Rating: D+
"Queen & Slim" Review: A Must See
Looking for a thought provoking, unapologetic and unorthodox heroism movie? Then let me introduce you to Queen & Slim. Melina Matsoukas hits the ground running with her directorial debut, taking you on an emotional roller coaster of highs and lows equipped with twist and turns. Some may look at this film as a modern day Bonnie and Clyde but don’t let the sound bite from the trailer lead you astray, it stands in its own lane.
Imagine being on a Tinder date that’s not the one you run and tell your friends about. It's going down the “no serious connection and not really down for a second date” path before an aggressive cop pulls you for what should be a routine traffic stop. In the midst of the interaction, your date gets shot by the cop and you accidentally shoot and kill the cop in self defense. That’s the story of Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya), taking off with them becoming two of America's Most Wanted. Once they decide to flee the scene and go on the run they become instant icons to some and hated by others. As the duo tries to find freedom, they find they have more in common than they thought.
Matsoukas sets a pace that gives perspective for black people of all ages in a crisis situation like this. We've seen the aftermath of Trayvon Martin and Michael Brown, for example, but not played out from beginning to end in cinema. This film gives detail, perspective and voice to these situations and the effects it has on the those involved and watching. At one point I felt like the third passenger in the car giving directions to Kaluuya and Turner-Smith. Their character performances are executed effortlessly. They both exude the emotional make up of two people not looking for trouble, who grow to become rebels fighting for their lives.
Overall, you'll learn something about being black in America from this film. The movie is a relevant timepiece that captures the current state of certain situations of black culture. Laced with an incredible soundtrack, this film is noteworthy and a must see. The last fifteen minutes alone make a heart wrenching argument for racial equality without preaching, but instead showing us the bleak reality of society today.
Rating: B+
*Edited by Kevin Sampson