"Captive State" Review: An Earnest Attempt At Something New But Familiar
Science fiction films have an amazing way of drawing out the collective wonder, mystery about the universe, and our relationship to it. Good sci-fi finds a balance between questions unknown and what we do know. Captive State works because it shies away from what we expect to see in a film about an invasion of our planet. We expect to see aliens. We expect to see technology we don’t understand. Instead, co-writer/director Rupert Wyatt gives us a tense thriller dealing with what the beginnings of an uprising looks like with science fiction as the backdrop.
We’re immediately dropped into a family car tearing through the streets of Chicago just after a species has descended upon us and are making their dominant presence known. Lines are drawn, and there are certainly places that humans can’t or won’t go. The Drummond family ignores the rules, resulting in the mother and father being vaporized in front of their two sons, Gabriel (Ashton Sanders) and Rafe (Jonathan Majors). Nine years later, humanity is fully submissive to the alien race.
There is no exposition as to what the new world order and rule is. We learn through characters and their actions. John Goodman is detective William Mulligan. Crime is at an all time low because the aliens (rarely seen) apparently don’t play that. So police not only serve and protect us, but now observe and keep tabs on humans that may step out of line for the invaders. Mulligan is keeping tabs on his ex-partner’s son Gabriel, whose brother, Rafe, became a recent martyr for an underground resistance called Phoenix. With an upcoming peace rally in which the aliens will make an appearance, surveillance is at an all time high.
Captive State may be fifteen minutes too long, but there is no doubt that screenwriters Erica Beeney and Rupert Wyatt have thought this world through from A to Z. That’s what makes this particular sci-fi film fun. It may take itself too seriously, but you don’t have time to realize that because you’re too busy trying to keep up with what’s unfolding. With strong performances from Goodman, Majors, Sanders and Vera Farmiga as Jane Doe, the world of Captive State feels authentic, lived in, and realistic.
This is the type of film that may not take the box office by storm this weekend, but people will say “that was actually pretty good” as they discover it on streaming platforms in the future. I think its worthy of the big screen treatment for your plans this weekend. Its earnest attempt at giving us something refreshingly new but familiar might just captivate your mind and imagination.
Rating: B
"Moonlight" Review
The buzz about Moonlight started after its premiere at Telluride. Since then, it’s been one of the most sought out films on the festival circuit. And it should be. Moonlight is a magnificent film that doesn’t exploit itself or its message. Instead, it simply tells us a story of beauty, bittersweet irony that allows us make our own decisions and conclusions.
Told in three parts of a man’s life, the film begins with a nine year old Chiron (Alex R. Hibbert) who is called Little. Director Barry Jenkins instantly makes us relate and sympathize with the main character in a heart-wrenching scene in which Chiron is chased by the neighborhood kids into an abandoned building. As Jenkins camera hovers over Little like the bullies he runs from, Jenkins also uses sound to put us in Little’s world. A cacophony of inaudible yelling and knocking on the door torments our ears, as it does Little.
Juan (Mahershala Ali), the kingpin drug dealer of the block, looks after Little, who doesn’t speak accept for when he’s being fed. After trying to reunite Little with his mother (Naomie Harris), Juan quickly finds out that she’s one of the fiends that he serves. From then on, Juan and his girlfriend Teresa (Janelle Monae) take care of Little when his mother neglects him for whatever reason. So when Little asks Juan “What’s a faggot?” due to bullying, there is an incredible dynamic between the machismo of Juan and the innocence of Little. The beauty in watching a crack dealer provide love and support for a young child while ironically continuing to kill his mother slowly are some of the touches that the movie offers up, with no judgment.
As Little grows into Chiron (Ashton Sanders) the teenager in the second act, the bullying hasn’t stopped. In fact, it seems like a state of the way things are. Chiron’s only friend is Kevin (Jharrel Jerome), who has been his friend as a child, but is now a pretty boy and ladies man. It’s in the story of teenage Chiron that we see a point of intersection between the first time he has a sexual experience and when he’s decided he’s had enough of the bullying. This takes us into the final act of the film where we meet Black (Trevante Rhodes), the muscle bound shell of machismo that Chiron has built himself into.
The entire cast of Moonlight does an outstanding job! Mahershala Ali gives Juan the iron fist and open hand that’s needed for us to see the irony in the first act. Harris’s Paula is the only character to be in each act as a steady force in Chiron’s life whether for good or bad, and it stings. Each version of Chiron and Kevin throughout the years bring something different to the table, building off of one another and handing off the baton in a perfect relay race. In the Q&A after the screening I saw of the film, Jenkins said that he never allowed the actors to meet. Knowing that, makes the film that much more impressive.
Based off of the play by Tarell Alvin McCraney, Moonlight tells a story that’s rarely heard in regard to black male sexuality and displayed without drama. Without ever using the word gay or having a coming out moment, the film simply shows. Jenkins use of restraint and excellent craftsmanship will definitely put Moonlight in the ring during awards season!
Rating: A