A Double Feature Review!
I Care A Lot
I Care A Lot is an enthralling thriller that will get under your skin. Golden Globe Winner Rosamund Pike’s cold, cunning performance is gut-punching. While Peter Dinklage is sly & calculated. The film is not perfect (it has flaws), but it gives a damning indictment of corruption. Director J Blakeson's (The Disappearance of Alice Creed) slick, twisted film will make your bones cold. A scathing critique of capitalism and the world it sets on fire. Pike gives us another chilling performance, this time as Marla Grayson — she's a professional, court-appointed guardian for dozens of elderly wards whose assets she seizes and smoothly bilks through questionable but technically legal means. Grayson's means and desires are not something to root for, as her actions make you sick to your stomach. During the film, her girlfriend and partner-in-crime, Fran (Eiza González), decide to pick off their latest "cherry," Jennifer Peterson (two-time Academy Award winner Dianne Wiest). Peterson is a wealthy retiree with no living heirs or family. Or does she? This leads us to Dinklage's character, Roman Lunyov, a volatile Russian gangster. I Care A Lot is a film that knows exactly what it's doing from the first frame to the last frame. Once Grayson and Lunyov's worlds collide, the film shifts gears to a crime thriller. Flaw? Yes. Engaging? Always. I Care A Lot comes, conquers, and has the last laugh — with a final bang and all. In the end, you get what you deserve.
I Care A Lot is rated R (Restricted) Language Throughout | Some Violence.
Streaming on Netflix.
Directed by J Blakeson
Starring Rosamund Pike, Peter Dinklage, Eiza González, Dianne Wiest, Chris Messina, and Isiah Whitlock Jr.
Ammonite is a stunning story of love. Beautifully shot, exquisitely crafted by director Francis Lee (2017's God's Own Country), and wonderfully acted by our two leads — Kate Winslet and Saoirse Ronan. A slow-burning romance that will sneak up on you. Lee's passionate film brings us back to 1800s England, where we meet a washed-up fossil hunter Mary Anning (Academy Award Winner Kate Winslet), who works alone on the rugged Southern coastline. Mary's past days of famed discoveries are lost at sea. Now, she hunts for local fossils to sell to tourists, supporting herself and her ailing mother (Gemma Jones). Along comes Charlotte Murchison (Academy Award Nominee Saoirse Ronan), whose wealthy husband (James McArdle) entrusts her with Mary's care. Mary takes Charlotte in, helping provide her with healing and support during a difficult time. Charlotte is recovering from a previous miscarriage that haunts her day and night. At last, we see a burning romance build from inside them through Lee's tender direction and Winslet and Ronan's superb chemistry together. Lee also successfully avoids the 'male-gaze' throughout this film and lets the story speak for itself. He also let Winslet and Ronan choreograph their own sex scenes together, providing them with the safe space they needed. Throughout the film, both Winslet and Ronan are magnificent — giving us heartfelt performances that deserved to be recognized this awards season. It's a shame that is film somehow fizzled out during the awards. Don't let that stop you from watching this luscious period piece romance. In the end, Ammonite gifts the viewer with a beautiful mystique full of life and love. A moving period piece waiting to be uncovered.
Ammonite is rated R (Restricted) Some Graphic Nudity | Graphic Sexuality | Brief Language.
Now Streaming on Hulu.
Directed by Francis Lee
Starring Kate Winslet, Saoirse Ronan, Fiona Shaw, James McArdle, Gemma Jones, and Alec Secareanu.
Judas and the Black Messiah is electrifying, tightly acted by Golden Globe Winner Daniel Kaluuya and LaKeith Stanfield, and emotionally intimate.
Writer-Director Shaka King's (2013's Newlyweeds) biopic of Black Panther chairman Fred Hampton is a revolution. We see the events leading up to Hampton's unjust murder at the hands of the FBI. King's newest film is a radical and bold message displayed by a big-time studio (Warner Bros.) — putting its manifesto front and center of racial injustices and a society that oppresses its people. Kaluuya — now a Golden Globe Winner for Best Supporting Actor in this film — is revolutionary in the role of Hampton. Kaluuya's poise and striking acting chops are on full display here. Here's hoping that he receives an Oscar nomination come this Monday, the 15th. While Stanfield is a knockout, showing that he has a commanding presence in the leading role, as he did in Boots Riley's Sorry to Bother You (2018).
Our story follows an FBI informant William O'Neal (Stanfield), who infiltrates the Illinois Black Panther Party. It's the late '60s, and O'Neal has just been arrested on attempted car hijacking while posing as a federal officer. FBI Special Agent Roy Mitchell (a perfect Jesse Plemons) offers O'Neal's charges to be dropped if he works undercover for the bureau. O'Neal agrees (hint Judas Iscariot) and is tasked to keep tabs on the Illinois BPP's leader and Chairman Fred Hampton (Kaluuya). Throughout the film, we see O'Neal yearning for quick cash, but starts growing more paranoid and conflicted as his character gets involved deeper into the bureau's plot. Stanfield's POV provides us with a number of masks, not knowing which one he'll pull out next. A battle wages in O'Neal's soul — what side of history will he be on?
Meanwhile, as Hampton's political prowess grows for the movement, he also falls in love with fellow revolutionary Deborah Johnson (a knockout Dominique Fishback). King's crisp script of racial justice and politics is as bold as it is urgent. My one critique of the film's screenplay was its small pacing problem in the first act. That completely disappears as we transition into act two, keeping us on the edge of our seats. Through an engaging story, powerful direction, meticulous acting, and striking cinematography, Judas and the Black Messiah is one of the best films to come out in 2021. In the end, Hampton's story needs to be heard. Through tragedy, anger, and a call for justice, Judas and the Black Messiah is a powerful political statement dropped on the doorsteps of capitalistic oppressors.
It's not too late! Judas and the Black Messiah is available to Stream on HBO Max until this Sunday, March 14th.
Judas and the Black Messiah is rated R (Restricted) Violence | Pervasive Language.
Directed by Shaka King
Starring Daniel Kaluuya, LaKeith Stanfield, Jesse Plemons, Dominique Fishback, Ashton Sanders, Martin Sheen, Algee Smith, Lil Rel Howery, and Jermaine Fowler.
The Dig is a beautiful film. Perfectly acted by Carey Mulligan and Ralph Fiennes, meticulously crafted, and wonderfully shot. Through elegant cinematography, we get an engrossing story filled with wide and exterior camera shots of the English countryside. A treasure waiting to be told.
Director Simon Stone's (2015's The Daughter) little film truly is a hidden gem waiting to be dug up. Our story follows a true-life tale of an excavator, Basil Brown (a meticulous Fiennes), and his team discovering a large wooden ship from the Dark Ages while digging up a burial ground on a woman's (an elegant Mulligan) estate. Coming off a hot awards streak with Promising Young Woman, Mulligan gives another rousing performance completely different from her portrayal in director Emerald Fennell's Me Too revenge thriller. Here, Mulligan is soft-spoken, warm, and incredibly moving with her gentle portrayal as Edith Pretty. Pretty is a mother, who has been struggling with health conditions that affect her heart. Stone's movie reimagines the events of the 1939 excavation of Sutton Hoo near Woodbridge, in Suffolk, England — playing loosely to the true-life story, but also allowing the actors (Fiennes and Mulligan) to take the narrative down their own path.
These creative narratives play out well for this 1930's storyline, always pointing our audience in the right direction. During the film, Brown uncovers two early medieval cemeteries that date from the 6th to 7th centuries. One of the cemeteries had an undisturbed ship burial with a wealth of Anglo-Saxon artifacts. Now, most of these objects that Brown and his team dug up are held by the British Museum. I am not sure if this movie will get any Oscar nominations come March 15th, but if it does, I hope The Dig receives nominations for cinematography, production design, and costume design. Through Mike Eley's luscious cinematography, Stone's vivid direction, and Mulligan and Fiennes' moving performances, we get one of the first special treasures to come out in 2021.
The Dig is rated PG-13 (Parents Strongly Cautioned) Brief Sensuality | Partial Nudity.
Streaming on Netflix
Directed by Simon Stone
Starring Carey Mulligan, Ralph Fiennes, Lily James, Johnny Flynn, Ben Chaplin, Ken Stott, Monica Dolan, Arsher Ali, and Joe Hurst.
A Double Feature Review!
Beanpole (Дылда) is a haunting and bleak picture of the tragedy of war. Russian director Kantemir Balagov studies the heartbreaking realities of lives shattered by war and the toll it takes on oneself. Through daunting greens, yellows, and reds, we see broken lives trying to survive each day and slowly picking up the pieces they have left behind. One of 2020's best films. With heartache and heavy-handedness, Beanpole will strike you to your core. It's emotional ravenous cutting one from the inside out. Balagov's historical drama follows two women fighting to survive and longing for hope. The film follows the conclusion of World War II in Leningrad, however, wreckage remains in the besieged city, and lives are broken. Iya (a strong Viktoria Miroshnichenko) is a tall blonde nurse who struggles with PTSD (Post-traumatic stress disorder) after being recently discharged from the military. Her nickname throughout the film is beanpole — due to her thin frame and tall stature. During Iya's episodes of paralysis, her body stiffens and is trapped in a state of being frozen in time. Iya also takes care of her son, Pashka (Timofey Glazkov), while living in a communal apartment.
Then suddenly, tragedy strikes and turns Iya's world upside down. After Masha (a captivating Vasilisa Perelygina) returns from the front, she reveals to Iya (her close friend) that she wants to have children but cannot because she is barren. This emotional dynamic between Iya and Masha coils back-and-forth through jealously, guilt, and confusion. Shown as somewhat symbolically, we see the wallpaper in every room slowly peeling away, representing the broken fragments of life. Beanpole is a hard film to look away from — captivating through sadness and shattering realism. We watch our two main leads (Iya and Masha) push through the unbearing weight holding them down. This engrossing film will linger on your soul, eating away at your last hope for humanity. Yet, Beanpole provides us with a message of perseverance and solace at the end. As the wallpaper continues to peel, Iya and Masha manage to pick up their fragments of healing and slowly put them back together. Hope finds a way.
At 28-years-old, Balagov's film premiered in the Un Certain Regard section of the 2019 Cannes Film Festival. Balagov received the Cannes Best Director Award and FIPRESCI Prize. Beanpole was also selected as the Russian entry for the Best International Feature Film at the 92nd Academy Awards, making the 2019 December shortlist.
Beanpole is rated NR (Not Rated).
Directed by Kantemir Balagov
Starring Viktoria Miroshnichenko, Vasilisa Perelygina, Timofey Glazkov, Olga Dragunova, Andrey Bykov, Ksenia Kutepova, Igor Shirokov, and Konstantin Balakirev.
Song Without a Name
A beautiful and heartbreaking black-and-white Peruvian film; that depicts an Indigenous story. Song Without a Name (Canción sin nombre) is a hidden gem from writer-director Melina León; that will bury itself inside your psyche and will never let go. Song Without a Name is a haunting and tragic story of loss. It's incredibly impressive that this was León’s directorial debut, and it is also one of the best films of 2020. León's masterful film receives a five-star review from me. Song Without a Name is a desperately sad but ultimately important story. Striking a chord through dreamlike black-and-white shots, we see an emotional narrative being pulled at our heartstrings. Set in the 80s, we follow Georgina (a captivating Pamela Mendoza), an Indigenous Peruvian woman who is heavily pregnant and is expecting to go into labor any day now. Georgina has heard of a supposed "charity clinic" offering free maternity services through a radio ad. Being that Georgina and her husband Leo (Lucio Rojas) are poor, this route would be the best financially suitable for them.
Georgina is grateful to have found a place offering free maternity services, and after she has her baby there, she is told to go home. Confused, Georgina demands to see her newborn daughter. The doctors say that she has gone to the hospital for checkups, and they force Georgina out of the building, locking the door. Georgina pounds the door, kicking and screaming to see her newborn daughter. It's an agonizing scene because you know something is not right deep down, just like Georgina. She and Leo return the next day, pounding and kicking at the locked door. Yet, Georgina notices that the clinic is now an empty shell, cleaned out. Being that Georgina is of Indigenous status — unfortunately — makes her less than human in the eyes of authority figures. Once Georgina finds out that her baby has been sold for adoption to wealthy buyers from abroad through fake papers, she decides to go to the journalists for help. She contacts Pedro (a versatile Tommy Párraga), a journalist; who is put on this human interest story by his editor. Pedro is also a gay man in secret and could be killed for it if word got out. León's narrative was inspired by her father, who was a reporter and investigated a similar child trafficking case.
As Pedro digs for answers to find Georgina's baby, he discovers a devastating revelation of corruption and deception. Shot through the eyes of minority figures, we see their struggle against racism and oppression. Just like director Alfonso Cuarón showed us in his 2018 masterpiece, Roma. In Cuarón's Roma, we follow the story of Cleo (Yalitza Aparicio), an Indigenous Mexican woman, who's a domestic worker. León, like Cuarón, are telling stories of minority groups too often left in the shadows. Aparicio more recently wrote an op-ed for the New York Times, where she talked about how "a role in Alfonso Cuarón’s film showed me how art can provide a voice for the disenfranchised." I think why Song Without a Name also struck an emotional chord with me was because my wife Glynis is Peruvian, and we recently experienced two miscarriages. I am also heartbroken when León's masterful film did not make it onto the 93rd Oscars shortlist for Best International Feature Film. This black-and-white gem needs to be seen, and I'll help try to be a voice for it. Your psyche and soul will be aching for Georgina and her journey to make peace with tragedy. A waterfall of tears will succumb you by the end of this film.
Song Without a Name is rated NR (Not Rated)
Directed by Melina León
Starring Pamela Mendoza, Tommy Párraga, Lucio Rojas, Ruth Arma, and Maykol Hernández.
A Double Feature Review!
Babyteeth is a powerful little film about life and death. A messy, yet rewarding, coming-of-age film strongly acted by Eliza Scanlen and Toby Wallace. Wonderfully written and creatively directed, Babyteeth knows how to sink its teeth into the essence of humanity. Babyteeth is an Australian coming-of-age dramedy that packs in an emotional punch on the audience — examining areas of death and mortality. Director Shannon Murphy's debut feature film is an incredibly poignant picture, inviting one to enjoy the little moments while they last. Our story follows Milla (a strong Scanlen), a 16-year-old girl who falls in love with a 23-year-old drug dealer named Moses (a cunning Wallace), right before finding our her cancer has come back.
Milla comes from a wealthy family, and her parents (Essie Davis and Ben Mendelsohn) don't approve of Moses or his background. Murphy both examines Milla's relationship with her parents, Moses' relationship with his estranged mother, and how they cross over with each other. Family is messy, and Murphy excels at showing us these chaotic relationships throughout the film. Babyteeth dodges all of the clichés that weigh down coming-of-age pictures, instead focusing on our two shining leads, Scanlen and Wallace. Their chemistry blends well together as we feel the emotional weight of the ending result slowly sneak up on us. Through high energy, powerful acting, and heavy material, Babyteeth is a beautiful picture that blossoms before our very eyes.
Babyteeth was winner of 9 AACTA Awards, including Best Film, Best Direction, Best Lead Actor (Wallace), and Best Lead Actress (Scanlen).
Babyteeth is rated MA-17 | Now Streaming on Hulu
Directed by Shannon Murphy
Starring Eliza Scanlen, Toby Wallace, Essie Davis, Ben Mendelsohn, and Emily Barclay.
Promising Young Woman - My 400th Review!
Emerald Fennell's Promising Young Woman is a thrilling pitch of black humor, with a dash of revenge. Powerfully acted by Carey Mulligan, who gives a tour de force to the role of Cassie. Fennell's directorial debut will have you hooked from the first frame, shattering your psyche by the end. Through its killer soundtrack, unapologetic storytelling, and timely themes, this is a movie every man should watch. Promising Young Woman takes the term 'nice guys' and kicks it to the curb. Promising Young Woman is a film that has been on my brain ever since the final frame dropped. It's a movie that sticks with you, haunting you to your core. Fennell's debut feature film is a knockout, fueled with a strong cast, eye-candy production design, and a chilling score. From the moment your ears hear composer Anthony Willis' string quartet eerily playing the song "Toxic", you'll have chills down your spine.
Dripping with tension, Willis' score keeps our audience focused and on edge. Mulligan is a force to be reckoned with in this picture, as we follow her story all the way until the end. I really don't want to give too much away, so I'll only share this: the film follows Cassie, a young woman who was traumatized by a tragic event in her past, lives a double life where she seeks out vengeance on those who have crossed her path. Promising Young Woman is a movie that tackles rape culture during this 'Me Too' era, examined with deep perspective and thought-provoking themes. Accompanying Mulligan are actors Bo Burnham and Laverne Cox — plus we get appearances by actors Adam Brody, Sam Richardson, Alison Brie, Christopher Mintz-Plasse, Connie Britton, Max Greenfield, and Chris Lowell. A fresh and totally wild film, Fennell's thrilling picture will have you gobsmacked by the end. Plus, Mulligan and Burnham delivered one of the funniest, most cheerful scenes of all 2020 — from the inside of a pharmacy. Promising Young Woman is an undeniable thriller and a film that I hope continues to succeed during this awards season. Don't miss out on Fennell's fascinating film because, in the end, you won't know what hit you.
Promising Young Woman has 3 Film Independent Spirit Award noms, 4 Golden Globe noms, 9 Hollywood Critics Association (HCA) noms, 6 Critic Choice Award noms, and was included in the National Board of Review's (NBR) Top 10 Films of 2020, winning Best Actress (Mulligan).
Promising Young Woman is rated R (Restricted) For strong violence including sexual assault | language throughout | some sexual material and drug use.
Directed by Emerald Fennell
Starring Carey Mulligan, Bo Burnham, Laverne Cox, Adam Brody, Sam Richardson, Alison Brie, Christopher Mintz-Plasse, Connie Britton, Max Greenfield, and Chris Lowell.
Actor-director Sujata Day's Definition Please is a breath of fresh air — a warm, funny, and personal directorial debut from Sujata Day, herself.
When it comes to Hollywood, things tend to move incredibly slow. The fact is, that we have been pushing for Hollywood to make more movies with representation for years now. We need more stories with/about women and men of color and more stories around the LGBTQ community — representing what America truly is. Being in an interracial marriage myself (my wife Glynis who is Peruvian), I have become more aware of listening and learning from other people's stories. Understanding these stories is a way of moving our society closer towards equality for all. In Day's film, Definition Please, we follow the story of a South Asian-American family living in Greensburg, Pennsylvania, and their struggle to move on from their father’s death, one year later. Through this dramedy, we meet Monica Chowdry (a fantastic Day) — who is a former National Spelling Bee champion grappling to get her life together. But Monica is also tackling life blissfully, she smokes weed, has casual sex, and tutors a handful of kids throughout each day. However, Monica is also embarrassed that she is not a successful doctor or lawyer her parents had encouraged her to be.
Monica's parents immigrated from India over to the U.S. to begin a new life, and their American-born children have taken different paths for their lives. Monica also has a strained relationship with her older brother (a strong Ritesh Rajan), who has just returned home for their father's one-year memorial. Sonny (Rajan) also struggles with Bipolar disorder, and the toll it puts on his family. Rajan captures the gravity of this mental illness one scene at a time. Monica's widowed mother, Jaya (a perfect Anna Khaja) is also recovering from an illness. Or, is it an elaborate plan to force her children to bond together? Mother knows best. Day's film is a breath of fresh air as we see an Indian-American actress front and center in a leading role for a picture. We see a woman of color telling the narrative her way, free and also deeply connected with her cultural heritage. In addition, Day wrote, produced, directed, and even starred in her own film. Day has an incredible gift at hand, and she needs to be given more in the Hollywood spotlight.
While the traditional Hollywood gatekeepers tried to push Day aside, she went around them and found her path forward, telling the stories that she wants to tell. Her story of a South Asian-American family is one that many Brown people in America can reflect on — continuing to show why representation matters. Day began her career by appearing as CeeCee in Issa Rae’s breakthrough web series The Misadventures of an Awkward Black Girl. She has continued to work with Rae in HBO's Insecure, as Sarah. Through it all, Day has shown us that she has a bright future ahead of her, and I am excited to see more of her work. Through this blend of comedy, romance, and drama, we get an honest portrayal of family. We will keep speaking up until Hollywood starts making movies that fully reflects everyone. In the end, Definition Please is Day's very American movie.
Definition Please is Not Rated (NA)
Directed by Sujata Day
Starring Sujata Day, Ritesh Rajan, Anna Khaja, Jake Choi, Lalaine, Kunal Dudheker, Sunfish Bala, Esha Chundru, Meera Simhan, Sonal Shah, Tim Chiou, and Parvesh Cheena.
I’m Your Woman is a slow-burning ‘70s crime drama that will keep you on edge from the first to the final frame. Masterfully acted by Rachel Brosnahan and meticulously crafted by director Julia Hart (2018's Fast Color). It’s a film that sneaks up on you.
I'm Your Woman is one of the best movies to come out in 2020, do not miss this one. Sophisticated and smart, Hart's film takes its time building up gradual tension, precise dialogue, and never-wrecking thrills. On top of all of this, we get pitch-perfect performances by Rachel Brosnahan, Arinze Kene, and Marsha Stephanie Blake. You will be captivated by the film's 1970s vibe and esthetic — through low and warm lighting, this slow-burning film will get under your skin. During Hart's crime drama, we meet a woman (a knockout Brosnahan) named Jean, who is forced to go on the run after her husband, Eddie (Bill Heck), betrays his partners, sending Jean and her baby on a dangerous journey. I'm Your Woman is utterly enthralling to watch, as we travel with Jean every step of the way.
Jean teams up with Cal (a strong Kene) — who acts as a guide to help get her to safety and away from a dangerous crime mob. Through all of the hoops, turns, and unpredictable scenarios, I'm Your Woman throws us into the heart of violence — there's a safe-house triple murder, a nightclub massacre, and a lethal car chase that will seep into your bones. The camerawork done during the nightclub massacre will have you on the edge of your seat, anxiously holding one's breath that Jean makes it to safety. This noir thriller rebukes the male fantasy of what they think a crime film should look like. Instead, Hart's film looks at the perspective of a woman and a mother struggling to survive — leaving us with a compelling and nuanced experience.
Illuminating a sense of paranoia and suspense, I'm Your Woman sets the tone for future crime films to follow. It's simple, I'm Your Woman is one of the best films of 2020, and we need to be talking more about it. This film should not be ignored and deserves to be nominated — for Brosnahan's powerful performance, Hart's subtle craft in direction, lively costume designs, and captivating camerawork. I will end this review by saying do not sleep on this film. Watch it now. Let this slow-burning crime drama send chills down your spine as your studying Brosnahan's next move. A refreshing 70s throwback on a crime story from a human perspective — leaving one clinching the edge of their seat by the final never-wrecking scene. Patience is a virtue, allowing the suspense to over take you and spill out riveting outcomes.
I'm Your Woman is rated R (Restricted) For violence and language.
Directed by Julia Hart
Starring Rachel Brosnahan, Arinze Kene, Marsha Stephanie Blake, Frankie Faison Marceline Hugot, and Bill Heck.
Available to stream on Amazon Prime Video.
2020 has been an unprecedented year, challenging us to our core. From health and well being to politics, these are harrowing times. Film is a way to escape these realities, however, most of our theaters have been closed since last March. Yet, the movies find a way to still reach an audience — through streaming or virtual cinema, we have found a way to connect with the movies and help heal our souls. Here are my picks for the 35 Best Films of 2020. — Arnold At The Movies
Soul is a beautiful film inside and out. Disney-Pixar has made another compelling movie sprinkled with a heartfelt message and gorgeous animation for the whole family.
Pixar delivers another complex and exquisite animated film to add to their canon. With Soul, we see a stunning and thought-provoking display of the meaning of life and what truly makes us human. Meet Joe Gardner (brilliantly voiced by Jamie Foxx), a middle school music teacher who feels stuck in life and unfulfilled at his job. Joe dreams of having a career in jazz, playing seamlessly throughout the nights to a live audience in the clubs. Joe's seamstress mother, Libba (voiced by a warm Phylicia Rashad), objects to his big ambition and would rather him hold a steady job. Yet, Joe's big break is about to start as he impresses a jazz legend named Dorothea Williams (voiced by a strong Angela Bassett), who gives him a shot to play with her band. Joe is ecstatic, running through the streets of New York City like a feather in the wind.
Then suddenly, Joe falls down a manhole. Pitch black is all we see at first, then Joe (or something that resembles Joe) lands on a white moving staircase. Joe looks up and sees himself heading towards the Great Beyond, but he is not ready to die. A small, bluish-green form that resembles Joe's soul is what we see now, as he escapes the staircase falling into the Great Before, where souls start before they go into their human bodies. Here, Joe poses as an instructor for souls and is assigned with 22 (voiced by a hilarious Tina Fey). 22 is a cynical being who refuses to leave the Great Before. Throughout this film, we will see a stubborn 22 open up Joe's eyes to the importance of the little things in life that make us human, igniting a spark inside us. Through Joe's growth in selflessness and 22's growth in courage, we see two souls who begin to embrace the joys of living. Director Pete Docter (Monsters Inc., Up, and Inside Out) knows how to challenge an audience, even when it's promoted more towards children.
Through thought-provoking themes and emotional resonance, Docter's films will pull on your heartstrings. On top of this, Soul's animation is stunning and downright wondrous. The animator's attention to detail throughout the city of New York is a marvel, unveiling the richness of city life. In addition, Soul also promotes an animated story of Black lives, at a time when our country is grappling with social and racial equality. These stories need to continue to be made and heard, amplifying Black voices. This is important because it continues to share the message of why representation matters. Disney's two upcoming movies this year are about people of color. These films are Raya and the Last Dragon and Encanto. In Raya and the Last Dragon, Kelly Marie Tran will make history as the first actress of Southeast Asian descent to lead a Walt Disney Animation Studios film. While Encanto will focus it's story on a Latina girl and her family in Colombia. Soul is a perfect little film about learning to live, pondering life's gentle moments. In the end, Pixar's Soul shines brightly, letting its voice speak one beat at a time.
Soul is rated PG (Parental Guidance) Some Language | Thematic Elements.
Directed by Pete Docter
Starring Jamie Foxx, Tina Fey, Phylicia Rashad, Ahmir-Khalib Thompson, Angela Bassett, Daveed Diggs, and Graham Norton.
A Double Feature Review!
Minari is a wonder. Such a beautiful and gentle movie about family. With splendid storytelling, this is a film that will sneak up on you in the end. An honest portrait of the immigration experience, recognizing the hardships along the way. Director Lee Isaac Chung's (2007's Munyurangabo) gentle little picture roars with beauty and heart; Minari is simply one of the best films of 2020. Minari tells the story of a Korean-American family moving from California in search of a better life. The Yi family moves to a small farm in Arkansas in hopes of finding the American dream. Jacob (a brilliant Steven Yeun) and his wife Monica (a strong Yeri Han) emigrated from Korea together in the early '70s, trying to assimilate into a new country. Jacob and Monica have spent nearly a decade as chicken sexers in California, but Jacob wants more. They move to a little town in Arkansas, where Jacob has bought a trailer home for his family. Jacob and Monica have two children, Anne (a splendid Noel Cho) and David (newcomer and adorable Alan S. Kim), who enjoy exploring the farm.
David has a heart condition that keeps him from being too active, like running. Jacob hopes he can get his farm going, bringing happiness to him and his family. With Jacob working on the farm and Monica making ends meet as a chicken sexer, she suggests that her mom comes from Korea to watch the kids while they are away. Reluctant at first, Jacob finally agrees. The order of everyday life begins to turn upside down when grandma (a fierce Yuh-Jung Youn) comes to stay. Grandma is a playful and vulgar old soul who means well but has a wicked sense of humor. Youn is extraordinary in this role, while Yeun's performance as Jacob is raw and cunning. At first, David is disgusted with his grandma because she is not the Americanized version he imaged her to be. She does not bake or cook, and she "smells Korean." Yet, like a river flowing through a garden, we see a family grow and blossom before our very eyes. Minari is an intimate portrait of life, love, and family. This perfect little picture receives a 5-star review from me and deserves to be seen. Chung's film will ignite a spark inside you. In the end, Minari is the most American movie of 2020.
Minari is rated PG-13 (Parents Strongly Cautioned) Rude Gesture, Some Thematic Elements.
Directed by Lee Isaac Chung
Starring Steven Yeun, Yeri Han, Noel Cho, Alan S. Kim, and Yuh-Jung Youn.
Ma Rainey's Black Bottom
Ma Rainey’s Black Bottom is now streaming on Netflix. It will also be marked as actor Chadwick Boseman’s final film. Boseman was a powerhouse in this picture, giving us a raw and personal performance. It’s sad because it showed how much more Boseman had left to give. Actors Viola Davis and Colman Domingo also gave masterful performances as we explore the 1920s and the Blues. Ma Rainey’s Black Bottom is an ode to Black culture, and it is also one of the best films of 2020. Ma Rainey's is full of trailblazing performances as our actors talk and play fast to the beat of jazz. The film is based on the 1982 play by August Wilson and was produced by Denzel Washington. A majority of the film takes place inside a studio recording building in Chicago.
Here, we meet Levee (a masterful Boseman), Toledo (a strong Glynn Turman), Cutler (an exuberant Domingo), Slow Drag (a smooth-talking Michael Potts), and Ma Rainey (a knockout Davis). Levee plays the trumpet, Toledo plays the piano, Cutler plays the trombone, and Slow Drag plays the bass for Ma Rainey's lively band. Inside the studio’s claustrophobic rehearsal room, we see a band whose fears, ambitions, and hopes begin to spill out on the screen. An eruption of stories and truths are revealed, further developing our characters and bringing their stories full circle. As Wilson's superb dialogue crackles throughout, we see what lies beneath the surface of these characters. During filming, Boseman was receiving treatment for his battle with cancer, unbeknownst to his fellow cast members — further showcasing his impeccable acting chops. Ma Rainey's is an ode to Black culture and will be a lasting tribute to Boseman's legacy. "Dedicated To Chadwick Boseman In Celebration Of His Artistry And Heart". When the music plays, Ma Rainey's Black Bottom will sweep you off your feet.
Ma Rainey's Black Bottom is rated R (Restricted) Some Sexual Content, Language, Brief Violence.
Directed by George C. Wolfe
Starring Viola Davis, Chadwick Boseman, Glynn Turman, Colman Domingo, Michael Potts, Taylour Paige, and Dusan Brown.
Avaiable to stream on Netflix.
A Double Feature Review!
Gorgeous animation with a marvelous tale, everyone should watch Wolfwalkers as soon as possible because it's one of the best films of 2020. Now available to stream on Apple TV+. Wolfwalkers breathes life into the Irish folktales through its astonishing animation, beautiful storytelling, and full-of-life characters. Wolfwalkers tells the medieval story of a time in Ireland where people are superstitious about anything magic. We meet a young apprentice hunter named Robyn Goodfellowe (voiced by a splendid Honor Kneafsey), who journeys with her father (voiced by a grand Sean Bean) to wipe out the last wolf pack in Ireland. Outside the city walls, Robyn befriends a free-spirited girl named Mebh (voiced by a wonderful Eva Whittaker), who can transform into a wolf at night. Mebh is known as a 'wolfwalker' and roams the forbidden land with her mother (voiced by strong Maria Doyle Kennedy).
Mebh's mother has gone missing, so Robyn decides to help Mebh search for her. During their search for Moll, Robyn uncovers a secret that draws her closer to the enchanted world but risks betraying her father. Wolfwalkers marks a completion for director Tomm Moore's "Irish Folklore Trilogy"; following his two previous films The Secret of Kells (2009) and Song of the Sea (2014). It's an enchanting film that will sweep you off of your feet to a magical world. Wolfwalkers' animation used a unique 2D style rotation between a woodblock aesthetic and loose expressive line work, igniting beauty before our very eyes. This marvelous tale of bravery, courage, and family is one of the very best to come out in 2020 and receives a 5-star review from me. Wolfwalkers is a gorgeous combination of magic and wonder, one frame at a time.
Wolfwalkers is rated PG (Parental Guidance) Scary Images, Peril, Brief Language, Sequences of Violence, Some Thematic Elements.
Directed by Tomm Moore and Ross Stewart
Starring Sean Bean, Honor Kneafsey, Eva Whittaker, Maria Doyle Kennedy, Simon McBurney, and Tommy Tiernan.
Available to stream on Apple TV+.
The Prom is sparkly musical bliss that may be enough to sweep audiences away. There is nothing groundbreaking about Ryan Murphy's The Prom, a deeply flawed musical extravaganza that keeps the ball rolling through star-studded showstoppers. The Prom is based on the 2018 Broadway musical, which received seven Tony nominations. The musical is loosely based on a real-life incident where celebrities rallied around a high school senior whose school banned her from attending the prom for wanting to bring her girlfriend. The film follows a similar path, as we meet two washed-up Broadway stars (James Corden and Meryl Streep) who decide to shake up a small Indiana town as they rally behind a teen named Emma (Jo Ellen Pellman). Actors Nicole Kidman and Andrew Rannells decide to tag along with Corden and Streep as well. Keegan-Michael Key plays the school principal, who supports Emma, and Kerry Washington plays Mrs. Greene, the bigoted head of Edgewater's PTA.
Mrs. Greene's daughter Alyssa (Ariana Debose), is the one who's in a relationship with Emma but has not come out to her mom or the world yet. All of these actors (Corden, Streep, Pellman, Kidman, Rannells, Key, Washington, and Debose) are wonderful and fabulous throughout. They sing their hearts out and dance the night away, keeping audiences everywhere entertained. Although there is a deep sense of irony to The Prom because the original actors from Broadway auditioned for their respected roles, however; Murphy decided to go with a star-filled cast. The stage version was designed to give leads to actors who had spent their entire career in the supporting roles, leading me to think that maybe Murphy missed a crucial point of the stage version's original message. Nevertheless, where The Prom is lacking in direction, it delivers in acting, glitter, and showstopping numbers. Through all of its flaws — The Prom's message of inclusion still resonates, and that's what is most important. Watching The Prom also made me deeply miss the theatre, it's where I go to escape.
The Prom is rated PG-13 (Parents Strongly Cautioned) Thematic Elements, Suggestive / Sexual References, Language.
Directed by Ryan Murphy
Starring James Corden, Meryl Streep, Jo Ellen Pellman, Nicole Kidman, Andrew Rannells, Keegan-Michael Key, Kerry Washington, and Ariana Debose.
Available to stream on Netflix.
A Double Feature Review!
Hypnotic entertainment, David Fincher's (The Social Network, Zodiac, and Seven) Mank is a glorious achievement for cinephiles everywhere. Mank is a bold, haunting, and well-crafted picture on the age of Old Hollywood. Fincher tells the story of an alcoholic screenwriter Herman J. Mankiewicz, who has been given complete creative freedom to write a new project by Orson Welles and RKO. In return, Mankiewicz writes Citizen Kane — the greatest movie ever made. On a technical scale, Mank is a cinematic wonder; this is a film that looks and sounds like it was made during the 1930s. This black-and-white beauty is a feast for your eyes. Actor Gary Oldman shines throughout, while Amanda Seyfried is a marvel. Mank is one of the very best to come out in 2020. Maybe I’m a sucker when it comes to Old Hollywood self-obsessing — nevertheless — Fincher’s deeply political Mank fully captivated me from the first to the final frame.
It was incredibly refreshing to see a deeply political movie about Old Hollywood that was not glanced over or mythicized. When talking about its past, Hollywood loves to always spin itself in a positive light. Fincher gave us a picture that showed the good, the bad, and the ugly front and center on the screen. We saw the effects of the Great Depression on the lower class workers, the corporate greed by heads of big studios (MGM and Paramount), and the smear campaign against Upton Sinclair. It reminded me of Charlie Chaplin's deep political messaging of worker's rights in his film Modern Times (1936). Mank is a film that should pair well with Oscar votes this April because of its gorgeous cinematography and production design. Fincher's latest feature may not be for everyone, but those who love film history will gobble this up, every last bite.
Mank is rated R (Restricted) Some Language.
Directed by David Fincher
Starring Gary Oldman, Amanda Seyfried, Lily Collins, Tom Burke, Tuppence Middleton, and Charles Dance.
Available to stream on Netflix.
Happiest Season was an utter delight to watch. Director and co-writer Clea Duvall's (actor from Veep, Argo, and Girl, Interrupted) LGBTQ romantic comedy will spread holiday cheer this winter. Happiest Season follows a longtime couple Abby (Kristen Stewart) and Harper (Mackenzie Davis), who have made plans to go home to visit Harper's family for the Christmas holidays. However, Abby finds out, on their drive down there, that Harper has not come out yet to her conservative parents (Mary Steenburgen and Victor Garber) and plans on introducing Abby only as her 'straight' friend. This puts Abby into an uncomfortable situation, as she was planning on proposing to Harper during the yuletide season. Happiest Season is featured as a pioneering holiday-themed romantic comedy centered around a same-sex couple, which also includes several LGBTQ actors like Kristen Stewart, Dan Levy, Victor Garber, and Aubrey Plaza. Actress-director DuVall pinned this movie as a semi-autobiography, so she could see her own experiences play out on the big screen. Happiest Season is a funny, warm, and good-spirited film that will slap a smile on your face. Like a cup of hot chocolate, this is a holiday film that will warm you up. Duvall's Happiest Season will go down as a new Christmas tradition, one that we will be able to re-watch every holiday season. Cheers.
Happiest Season is rated PG-13 (Parents Strongly Cautioned) Some Language.
Directed by Clea DuVall
Starring Kristen Stewart, Mackenzie Davis, Mary Steenburgen, Victor Garber, Dan Levy, Aubrey Plaza, Alison Brie, Mary Holland, Burl Moseley, and Sarayu Blue.
Available to stream on Hulu.
A Triple Feature Review!
Director Steve McQueen (Shame, 12 Years a Slave, and Widows) has been at the top of his game this year, continuing to prove that he is a first-rate filmmaker. McQueen has gifted us with Small Axe — an anthology series consisting of five films, which tell distinct stories about the lives of West Indian immigrants in London from the 1960s to the 1980s. This review contains three (Mangrove, Lovers Rock, and Red, White and Blue) of the five films from the series. They're also some of the very best films of 2020. Small Axe is now streaming on Amazon Prime Video.
Masterful and authentic, Mangrove reflects back on the breathtaking landmark 1971 trial of the Mangrove Nine (Barbara Beese, Rupert Boyce, Frank Crichlow, Rhodan Gordon, Darcus Howe, Anthony Innis, Altheia Jones-LeCointe, Rothwell Kentish, and Godfrey Millett), which exposed the anti-Black prejudice within the London Metropolitan Police department. Director Steve McQueen perfectly crafts this picture through bold storytelling and a sense of conviction. McQueen's film is deeply provoking through strong performances by an all-star cast, consisting of actors Shaun Parkes, Letitia Wright, Malachi Kirby, Rochenda Sandall, Nathaniel Martello-White, and Jack Lowden. The film's story centers around Frank Crichlow (a powerful Parkes), who's the owner of Notting Hill's Caribbean restaurant, Mangrove. It's a lively community and a safe space for locals, intellectuals, and activists all around. However, there is a reign of racist terror being provoked throughout the community by the local police department and their continued raids at the Mangrove. These unlawful raids are a sense of urgency for Frank and the local community to take to the streets in a peaceful protest. The ending results lead to a clash with the police department, who escalate the tensions and violence.
This incident leads the police department to wrongly arrest and charge nine people, including Frank, with incitement to riot. Altheia Jones-LeCointe (a compelling Letitia Wright) and Darcus Howe (a stern Malachi Kirby) were two of the people also charged with incitement to riot. McQueen vanquishes all ideas or myths that British racism is not as extreme as it is here in America through his thought-provoking storytelling and brutally honest crafting. Every single scene in this film is important throughout — displaying haunting and raw results for the viewers. Mangrove is an urgent and timely film putting racism front and center of its story. McQueen showcases the horrors that the Black community experience every single day through the view of a lens. There's a scene at the end of the film where McQueen slowly and steadily zooms the camera into Frank's face as we hear the verdicts. As we hear the words "not guilty" over-and-over again, you can see the sense of disbelief and emotional happiness expressed throughout actor Shaun Parkes' face. It's an emotional moment, one that cut me to my core. This riveting scene was well-executed by the hands of McQueen and the acting range of Parkes. Mangrove is a film that feels so life-like thanks to the visionary mind of McQueen, his gift of storytelling, and his team of exceptional actors. Through Mangrove's vibrant voice is a film that cuts deep into history, trying to move closer to a society of equality.
Mangrove is rated TV-MA (Mature).
Directed by Steve McQueen
Starring Shaun Parkes, Letitia Wright, Malachi Kirby, Rochenda Sandall, Nathaniel Martello-White, and Jack Lowden.
Lovers Rock was an intoxicating experience of freedom, moments in time, and an ode to Black pride. Lovers Rock could be classified as an experimental film — one that provides a singular viewing experience into the love and sound of an '80s London house party. McQueen's second film is a romantic reggae feature that will send your bones dancing and your mind buzzing. This fictional story follows a 1980s London house party, where Black youth found freedom on the weekends because they were unwelcomed in white nightclubs. These types of reggae house parties included tons of cooking, moving all of the furniture out, and the crisp sound of music. Lovers Rock was an immersive experience, as McQueen gently sways the camera from room to room. We are submerged with bliss as everyone in this film dances the night away, letting out all of their worries and fears. At 68 minutes, Lovers Rock pulls us into a kind of trance, watching the human connection blossom on screen. We follow the story of Martha (an excellent Amarah-Jae St. Aubyn) and Franklyn (a gifted Micheal Ward), who meet the night of the party. Martha and Franklyn's young love sparkles throughout the night and into our hearts. McQueen cuts loose with this film, giving us an exhilarating viewing experience through the eyes of young love and the joy of freedom. The cinematography is astounding, while the music is swaying, leading one to give in to the pure, unfiltered bliss. As two strangers meet in romance, Lovers Rocks excels through a vibrant spirit and a beating heart. Lovers Rocks is my favorite of the five films McQueen has provided us with this year. It will definitely be in my top ten of 2020. So lift a glass to Lovers Rock and let the music and romance take a hold of you.
Lovers Rock is rated TV-MA (Mature)
Directed by Steve McQueen
Starring Amarah-Jae St. Aubyn and Micheal Ward.
Red, White and Blue
Red, White and Blue is another urgent and timely film, upheld by an excellent John Boyega — continuing to prove he needs more lead roles. Director Steve McQueen's third film follows the real-life story of Leroy Logan (a superb Boyega), an officer in the London Metropolitan Police department, who founded the Black Police Association and attempted to reform the institution from the inside. Red, White and Blue is an excellent piece of filmmaking, as we witness a father-son relationship going through turmoil and the stubborn idea that institutions, fueled by systemic racism, can be quickly turned inside out by the hands of one individual. We see a character guided by a moral compass, whose ability to seek change takes a toll on one's mental and physical health. Red, White and Blue is an engrossing character study, as we follow Logan every step of the way. McQueen tells the true story of a young forensic scientist (Logan), who is yearning to do more than his solitary laboratory work. After Logan sees his father (a strong Steve Toussaint) assaulted by two policemen, he finds himself driven to revisiting a childhood ambition to become a police officer, wanting to bring change to the system.
Ambition and the naïve hope of bringing change to racist attitudes from within — McQueen shows us the hardships and failures that come with trying to achieve this goal. Of course, Logan's father disapproves of him wanting to become a police officer, driving a wedge between Logan and his father's relationship. Boyega is exceptional here — proving that he has the ability, and acting chops to take on more lead roles. Boyega is known for his role as Finn in the Star Wars sequel trilogy — a trilogy that could have done more with Boyega's masterful acting, instead of waste his talents. Unfortunately, Disney pushed him aside towards the end of the trilogy, not to mention the racist trolls who attacked him online. Boyega is exceptional here, as we see a man whose purpose is to root out systemic racism and bring change to an institution he deeply loves. Logan wants to help out his community and give everyone equal opportunity, yet we see him struggle with the harassment and racial slurs he encounters from his fellow officers. Red, White and Blue paints a brutally honest portrait of the toll it puts on someone striving for change. Through McQueen's keen sense of the craft and Boyega's gripping performance, we are left with a heartbreaking and a potent viewing experience. Red, White and Blue will cut you to your core.
Red, White and Blue is rated TV-MA (Mature)
Directed by Steve McQueen
Starring John Boyega, Steve Toussaint, Joy Richardson, Antonia Thomas, Seroca Davis, and Assad Zaman.
Jingle Jangle: A Christmas Journey is holiday cheer for the whole family.
Netflix's Jingle Jangle captures the essence of the Christmas spirit, along with an uplifting message the whole family will enjoy. It's a glorious ball of Christmas cheer and music extravaganza. This is a musical blast that packs so much into one movie, through show-stomping numbers and spectacular performances (Forest Whitaker, Keegan-Michael Key, Anika Noni Rose, Madalen Mills, Phylicia Rashad, Ricky Martin, Lisa Davina Phillip, and Hugh Bonneville). A mostly Black cast that brings representation to the screen during a time of holiday festivities and gift-giving. Jingle Jangle follows a holiday tale of an eccentric toymaker Jeronicus (Whitaker), his adventurous granddaughter Journey (Mills), and a magical invention that has the power to bring change to their lives. Jeronicus has become a broken-down toymaker and has lost all hope in the world. The reason Jeronicus has become this way is because years prior his assistant Gustofson (Key) stole his invention and magical book. This stolen treasure allowed Gustofson to become the richest and most successful toymaker in all of the land. Yet, Jeronicus' granddaughter Journey comes to stay with him, and in the end, helps him return to a place of magic and wonder. This candy-colored musical spills out happiness everywhere it goes. Jingle Jangle is nothing groundbreaking, but it was a delight to watch, boosting our holiday spirits this winter season. Fueled by tap-dancing songs like This Day, Magic Man G, and Square Root of Possible — Jingle Jangle has a positive message of inclusion and spreading kindness to everyone you meet. If you are looking for a joyful and colorful movie to watch with the family this holiday season, then turn your eyes to Jingle Jangle. Cheers.
Jingle Jangle: A Christmas Journey is rated PG (Parental Guidance) Peril | Some Thematic Elements.
Directed by David E. Talbert
Starring Forest Whitaker, Keegan-Michael Key, Anika Noni Rose, Madalen Mills, Phylicia Rashad, Ricky Martin, Lisa Davina Phillip, Hugh Bonneville, Justin Cornwell, Sharon Rose, Kieron L. Dyer, and Miles Barrow.
Available to stream on Netflix.
Sound of Metal is a powerful piece of filmmaking, thriving on actor Riz Ahmed's eyes and body language. Raw and passionate; director Darius Marder's picture is an emotional experience around the loss of sound.
Featuring one of the best and most innovative sound designs in recent memory, Sound of Metal stands tall as one of the very best films to come out in 2020. Actor Riz Ahmed (Nightcrawler and The Night Of) gives an Oscar-worthy performance as we see someone struggling with a life-changing event. Ahmed captures the emotional depth of someone grappling with the loss of sound. Darius Marder (screenwriter for The Place Beyond the Pines) does not pull on any heartstrings or make the film feel melodramatic — instead — he focuses on the nature of loss and the road to rediscovering oneself. Sound of Metal is a movie that flourishes through silence. We, as the audience, are tossed into Ahmed's new world, often given long takes of silence with Ahmed's body language unraveling fear and rage right on the screen. The film follows a heavy metal drummer named Ruben (Ahmed) and his singer-girlfriend Lou (a strong Olivia Cooke). The two are currently on tour around the country, traveling in their makeshift RV — where they eat, sleep, and store all of their band equipment. One morning, Ruben awakes and goes through his normal morning routine, yet he is struggling to hear anything.
Marder tries to put us into Ruben's head as we experience this new fear of silence and loss. Ruben goes to see a doctor and is told that he has already lost 80-90% of his hearing. The doctor also instructs him that the rest of his hearing will likely follow. Ruben tries to conflate these realities by telling himself that he can play through it, he can get surgery, and that everything will be okay in the end. Lou knows that this is not the case because Ruben is also a recovering addict and has been sober for 4-years. She knows that trauma can send someone, who is recovering, back into relapse. Lou calls his narcotics anonymous sponsor, Hector, who finds a place for deaf recovering addicts for Ruben to go. Sound of Metal puts us into Ruben's shoes; we see an experienced drummer who's ability to hear is being ripped away from him. All of these fears and anxieties begin to weigh on Ruben and a path towards darkness opens up. However, Lou steps in to help Ruben move away from that darkness, towards a better path of healing and recovery. They go to a rural deaf community run by a man named Joe (an excellent Paul Raci), a recovering alcoholic who lost his hearing in the Vietnam War.
Here is where the majority of our film takes place. Joe tells Ruben that this is not a place to fix him; it is a place where one learns to live with their deafness. There is no correction because Joe advises Ruben that he is not broken. Raci's quiet and tender performance should not go without notice. Ruben needs to learn how to accept this new part of himself and how to move forward with his deafness. Here, we see Ruben interacting with the community — he observes and watches deaf children learning in a classroom. As he becomes more comfortable with himself, he begins to interact more with the children. Joe gives Ruben a task to distract himself from his fears of the world. Ruben is instructed to sit in an empty room, only to write down his thoughts and feelings. Ahmed's extraordinary performance is raw and cunning, as we see him slowly overcome his demons, letting calmness take place. Much of the film revolves around calm and how we find peace with it.
The final breakthrough for this film is the exceptional sound design. I recommend watching this movie with headphones (like I did) if you can. Marder puts us right into Ruben's point-of-view, as we hear what he's hearing — muffled sounds, indecipherable conversations, and then silence. Marder does not layer any music or score during these moments of silence. Instead, Marder engulfs the viewer with silence, letting them reevaluate their own struggles or anxieties in the world. On top of all of this, Ahmed spent six-months before film production to learn how to play the drums. He also studied deafness and learned ASL (American Sign Language) for the film, striking the emotional core of his performance. Sound of Metal is one of the very best films of 2020 and earns a five-star review from me. A beautiful tale of healing and moving forward, Sound of Metal's poignant beat will strike you to your core.
Sound of Metal is rated R (Restricted) Language Throughout | Brief Nude Images.
Directed by Darius Marder
Starring Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, and Mathieu Amalric.
Available to stream on Amazon Prime Video.
RUN delivers a tightly packaged thriller led by two outstanding leads, Sarah Paulson and Kiera Allen. Though RUN has familiar themes, this is a well-paced, edge-of-your-seat thrill fest.
Director Aneesh Chaganty's (2018's Searching) chilling new movie will get underneath your skin and numb your bones. Run is well-paced, tightly edited, and skillfully acted — it's an impressive picture that checks all of the boxes on suspense and psychological horror. As always, actor Sarah Paulson delivers another remarkable performance, full of cunning dialogue and wicked tension. Newcomer Kiera Allen is a triumph as Chole, Diane's (Paulson) daughter. Allen's focused and steadfast performance is one of the best, or at least most noble mentions, of 2020. In the beginning scene, we see Diane, an expecting mother, who's daughter is born prematurely. She is taken from Diane and hooked up to machines for survival. Jump forward to the present Chole is someone who is chronically ill with arrhythmia, hemochromatosis, diabetes, and paralysis. Bound to her wheelchair, Chole strives to be as independent as she possibly can.
She's eager to receive her College letters, to see if she has been accepted. Yet, Chole's attitude begins to change when she discovers unfamiliar green pills, apparently prescribed to her mother. Diane insists this new pill has been prescribed to Chloe, under her name. This encounter leads Chole to question her mother's intentions and if she is really as sick as her mother says she is. The film runs with similar parallels to the real-life story of Gypsy Rose Blanchard and her mother's (Dee Dee Blanchard) murder. Chole's new discovery leads her on a mission to find out the truth with devastating results. Run is a controlled chaos film, where Chaganty feeds the audience small bursts of adrenaline throughout the picture. This tightly constructed high wire act is precisely edited and meticulously acted — giving us grandeur horror and suspense. Run is a fun and exciting thrill game, that keeps all of its cards in play, never showing its hand. In the end, Run is a psychological thriller that will get your blood rushing one frame at a time.
Run is rated PG-13 (Parents Strongly Cautioned) Disturbing Thematic Content | Some Violence/Terror | Language.
Directed by Aneesh Chaganty
Starring Sarah Paulson and Kiera Allen.
Streaming on Hulu
A Double Feature Review!
The Personal History of David Copperfield
The Personal History of David Copperfield is a colorful and wildly ambitious adaptation of a Charles Dickens classic. Dev Patel stars as David Copperfield in this stylized and eccentric version by director Armando Iannucci (creator of Veep and 2017's The Death of Stalin). Iannucci's maddening ideas of imagination blend well with a contemporary view of Dickens' beloved work. To the purist, this bold step forward may seem a bit radical, but for Iannucci and his stellar cast, it plays right into their hands. Patel is a marvel as Mr. David Copperfield — charismatic and funny, Patel shines brightly in the role. Iannucci's camera work moves fast — likewise — so does his dialogue throughout the film. To some, this type of style may be a little off-putting, but for others, it will be totally engrossing. Alongside Patel are actors Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw, Rosalind Eleazar, Aneurin Barnard, and Benedict Wong; each one gives their own entity on their respected character. Iannucci's keen style allows each actor to grow and develop into their roles throughout the film. Enriched with beautiful cinematography and gorgeous costumes, The Personal History of David Copperfield is a funny and bold revision to the beloved tale.
The Personal History of David Copperfield is rated PG (Parental Guidance) Thematic Material | Brief Violence.
Directed by Armando Iannucci
Starring Dev Patel, Tilda Swinton, Hugh Laurie, Peter Capaldi, Ben Whishaw, Rosalind Eleazar, Aneurin Barnard, and Benedict Wong.
The King of Staten Island
The King of Staten Island is another funny Judd Apatow (Knocked Up and Trainwreck) picture; it's also his most heartfelt film to-date. Led by a strong Pete Davidson, The King of Staten Island loosely plays as a semi-biography of Davidson's life. In Apatow's film, Davidson is a slacker who dreams of becoming a tattoo artist while living with his mother and hanging out with his friends in Staten Island, N.Y. In the film, Davidson's dad was a firefighter and has passed away when he was young. In real-life, Davidson's dad was also a real firefighter; who passed away during the September 11 attacks. Like a slice of life, Davidson plays Scott, a 24-year-old high school dropout who loves to smoke pot, cannot keep a steady job, and won't fully commit to his girlfriend Kelsey (Bel Powley). Scott seems pretty content with the way he's living his life, but one can tell that loneliness and other anxieties are eating him up inside. Scott's world blows up when his mother (Marisa Tomei) begins dating Ray (Bill Burr), who's also a firefighter. Scott's mom insists that he spend time with Ray and his two young children. The dynamics between Scott and Ray are hilarious and, at times, cringe-worthy. The King of Staten Island blends dark comedy and emotional conflict well together, giving us a deeply moving dramedy. Together, Davidson and Apatow tackle mental health and personal acceptance — gifting us, the audience, with a richly rewarding picture. In the age of anxiety, The King of Staten Island is an honest film that will help one tackle those personal struggles, one laugh at a time.
The King of Staten Island is rated R (Restricted) Language | Drug Use Throughout | Sexual Content | Some Violence/Bloody Images.
Directed by Judd Apatow
Starring Pete Davidson, Marisa Tomei, Bill Burr, Bel Powley, Maude Apatow, and Steve Buscemi.
Never Be Done: The Richard Glen Lett Story follows the real-life tale of Canadian comedian Richard Lett and his struggle with drug and alcohol abuse. During Lett's darkest period in his life, we see him decide to turn the corner towards the road of recovery, redemption, and self-reflection.
Never Be Done is a powerful documentary about addiction, vulnerabilities, and understanding one's place in the world. Lett began his stand-up career in the 1980s, touring nationally for Yuk Yuk's Comedy Club. Lett is known for his abrasive and unapologetic sense of humor — running past the politically incorrect; Lett embraces the urge to provoke his audience. At times, his jokes cut sharp like daggers throughout the crowd. His provocation begins to spin more rapidly out of control the more he is consumed by his addictions. Comedy and tragedy begin to intertwine Lett's professional and personal life. Director Roy Tighe personally documents Lett's life from 2009 up until the present. Tighe and his crew simply stand behind the cameras, asking questions, and let Lett, himself, steer the show. Never Be Done pulls no punches; this is a raw documentary of one man's failure and a second chance awaiting. The documentary opens with Lett and Tighe both being ejected from a Vancouver nightclub due to Lett's overreaching brashness.
Lett has built his career on this type of stand-up comedy, yet the more reckless he gets, the more we see him getting barred from every nightclub in town. Tighe does not sugarcoat Lett's low period; we are here for the long hall. As Tighe and his crew observe Lett's fall to the bottom of the barrel — we, the audience, get an immersive experience of his dark struggle with addiction. Throughout most of this documentary, Lett is a hard person to root for — many of his jokes and approaches are openly racist, homophobic, and just plain mean. Yet, this type of raw, unfiltered lens is exactly what shows Lett's full recovery on not only cleansing himself but also trying to be a better person. One of these people who acts as an emotional crutch for Lett is his daughter, Breanna. In addition to his daughter is his good friend, Kathleen, who also helps him along the way. Kathleen works tremendously hard to help Lett out. Her tolerance and calmness are glimmers of hope throughout this doc. Through Lett's downfall, he becomes evicted from his apartment and is homeless at the end of 2009, beginning of 2010.
On top of being homeless and an alcoholic, Lett is also a cancer survivor. Climbing up from the rabbit hole, Lett pushes back at everything trying to swallow him down. He finally checks himself into a rehab center. We are with Lett during the lowest point of his career, but we also see him turn the corner and begin his healing process. Never Be Done was a raw portrait of one man's self-destructiveness collapsing before our very eyes. Tighe and his crew do a fascinating job and weave together this nuanced real-life story. At times, Never Be Done can be grueling to watch, yet the ending results are incredibly rewarding. Tighe and his crew tightly construct this documentary without overstepping their boundaries. We see a controversial comedian go from the highest to the lowest point in his career and life. Lett found his second chance at redemption and took it. At the end of this month, Lett will be 11-years sober. Never Be Done is a raw and moving experience of one's mental health and self-reflection. In the end, this tale of comedy, tragedy, and healing comes full circle.
Never Be Done is available to watch on Amazon Prime Video, YouTube Movies, AppleTV, Google Play, Vimeo, Microsoft XBOX, Direct TV, Breaker, Comcast, Cox Communications, Dish and Xfinity.
Directed by Roy Tighe
Starring Richard Glen Lett
Rebecca is one of the most disappointing movies of the year. Vivid cinematography that is muddled by a weak storyline — actors Lily James and Armie Hammer's shiny performances are, in the end, hollowed out by chaotic pacing and a lack of direction.
Director Ben Wheatley (Free Fire and High-Rise) never gives us a good enough reason to enjoy the existence of this movie. Rebecca is like a shiny new toy, only to fall apart in a matter of minutes. Based on the 1938 novel by Daphne du Maurier, this Gothic tale follows a man who's haunted by the memory of his late wife, Rebecca. Director Alfred Hitchcock turned the novel into a 1940s feature film, and it was a huge hit. Hitchcock soaked his movie with tension, bravura performances, and lively cinematography. As any normal Hitchcock feature goes, Rebecca was able to seep into your bones, sending chills down your spine. His film went on to receive 11 Oscar noms that year, winning two awards; Best Picture and Best Cinematography. Remaking a classic Hitchcock film is no small task, yet Wheatley failed to provide us a sense of gratitude. His story structure was all over the place, making the film's pacing agonizing to watch. Yet, Lily James and Armie Hammer do their best to win the audience over with their fairly persuasive performances — James is good, and Hammer is even better. Unfortunately, their performance's become suffocated by the lack of direction towards the end of the film.
One thing this Rebecca remake did have going for it was the stunning cinematography, along with gorgeous set designs and costumes. The film follows a young newlywed (James) who arrives at her husband's (Hammer) family estate on a windswept English coast. Mrs de Winter (James) finds herself embattled in the shadows of her husband's first wife, Rebecca, whose legacy haunts the house long after her death. Wheatley has no business making a Gothic romantic horror film if he does not take the time and effort to do so — Rebecca proved this was the case. Underneath the surface of Rebecca is a story ready to explode with fascinating Gothic horror and pressing tension between two people. This highly polished (on the outside) remake takes too many wrong turns, in the end, leaving our viewers in the cold. If you are interested in watching Rebecca, I recommend watching Hitchcock's version instead. Hitchcock's Rebecca (1940) is more satisfying on every level, especially on the construction of a coherent story. Wheatley's Rebecca remake might achieve a visual pizzazz, but it squanders everything else along the way. Shame.
Rebecca PG-13 (Parents Strongly Cautioned). Some Sexual Content, Smoking, Partial Nudity, Thematic Elements.
This sad remake is directed by Ben Wheatley
Starring Lily James, Armie Hammer, Kristin Scott Thomas, Keeley Hawes, Sam Riley, and Ann Dowd.
Available to Stream on Netflix.
Sofia Coppola's (The Virgin Suicides and Lost in Translation) latest feature may be her lightest film yet — One the Rocks still offers plenty of charm, emotional jabs, and a personal journey led by our two lead actors Bill Murray and Rashida Jones.
Since the birth of The Virgin Suicides (1999), director Sofia Coppola has been one of the leading directors in Hollywood every step of the way. For the last 20 years, Coppola has given us some of Hollywood's greatest treasures, like The Virgin Suicides and Lost in Translation (2003). Coppola has also gone on to make other aesthetic features like Marie Antoinette (2006), The Bling Ring (2013), and The Beguiled (2017). Coppola's style and craft have continued to mature over time — gifting her films with beautiful set designs, lavish cinematography, and potent storylines. Coppola has always been in control of her work, continuing to elevate her art. She continues to prove the importance of having a female perspective behind the lens of a camera. On the Rocks showcases some of Coppola's greatest talents as a director; while also elevating Murray and Jones' charming chemistry. Given its contemporary setting and adventurous vibe, On the Rocks' underlining theme will sneak up on you.
The film follows Laura (a compelling Jones), a New York City mom who's married, has two young daughters, and is a writer. Dean (Marlon Wayans) is Laura's husband, who spends most of his nights traveling as a successful entrepreneur. Through Dean's demeanor, Laura becomes suspicious that Dean is having an affair with a co-worker of his. Laura's larger-than-life father, Felix (a never better Murray), decides to form a stakeout and see if the affair is true. This impulse, brought on by Felix, is questioned by Laura at first — what if everything is alright and Dean's affair is not true? On the Rocks is a conventional dramedy with a few surprises tucked away inside. As Felix zips his shiny red car around the city, Laura wonders if she is doing the right thing. It's the perfect blend of a father-daughter relationship fueled by tension, affection, and past misgivings.
Jones' committed performance helps anchor this film, while Murray provides a zany blend of bad decision making. Visually satisfying, On the Rocks is a wonderful Coppola feature about the anxiety of adulthood and the blues of relationships. We see the day-to-day activities of being a parent, that is beautifully illustrated like a painting on a wall. On the Rocks may never go as deep as past gems, like The Virgin Suicides or Lost in Translation — nevertheless — Coppola's newest feature stands on its own. On the Rocks is a delight to watch, emotionally engaging, and gorgeously acted. Just like real relationships, Jones and Murray provide us with rough patches, never smooth. By doing so, we see their relationship come full circle, allowing us to reevaluate our own. Through its humanistic caper lens, in the end, this is a lighthearted dramedy that awaits to be watched.
On the Rocks is rated R (Restricted) Some Language | Sexual References.
One the Rocks is available to stream on Apple TV+
Directed by Sofia Coppola
Starring Bill Murray, Rashida Jones, Marlon Wayans, Jessica Henwick, Jenny Slate, and Barbara Bain.
Borat: Subsequent Moviefilm proves that Sacha Baron Cohen has not lost his comedic power — this sequel is full of laugh-out-loud moments along with nerve-racking gags crashing through the Trump era. It's a comedy that's full of heart; as we navigate our way through this scary new age of misinformation and alternative facts. Borat 2 is a movie 2020 desperately needs. Very Nice!
2006's Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan hit the U.S. like a firestorm. This mockumentary comedy featured real-life interactions with Americans, poking fun at our prejudices involving each other and real-world events. Sacha Baron Cohen's character (Borat Sagdiyev) is a fictional journalist from the country of Kazakhstan who travels through the United States. Borat is known for his racist views towards the Jewish community and also his misogyny. These types of prejudices and antisemitism built into Borat's character allowed Cohen to get people to let their guard down, unveiling their own forms of bigotry. Cohen, himself is Jewish, which adds to the layer of satire he is trying to convey on screen. Now, 14-years later, Borat returns to a country that has rapidly changed in the era of Trump. In Borat: Subsequent Moviefilm, Cohen's character is reflecting on what it means to be his authentic self in this scary new world of ours. Borat has become an outcast in his home of Kazakhstan because his 2006 documentary made the country a laughing stock.
Borat gets a second chance to redeem himself by traveling back to the U.S. and giving his daughter Tutar (played by a hilarious Maria Bakalova) as a prize to Vice President Mike Pence. Well, originally, it was a special monkey, but I won't spoil that gag. So that Borat is not executed; he decides to give away his daughter Tutar as the next best option. Bakalova is the breakout star in this movie — she steals every scene that she is in. Bakalova is hilarious, while she is also cunning. Line after line, Bakalova's performance soars to new heights. Bakalova deserves a Golden Globe nomination for her outstanding comedic performance. Also, her scenes with Jeanise Jones are sweet and caring. Ms. Jones is probably one of the nicest people you will ever meet. Borat and Tutar travel all around the U.S. in this sequel — crashing the CPAC, dancing at a debutante ball, tackling the Pandemic (COVID), and even mocking a March for Our Rights rally in Olympia, Washington. During the far-right rally scene, Cohen literally put his life at risk and was wearing a bulletproof vest.
Cohen even got the crowd to join into singing a xenophobic song. This scene will have your anxiety through the roof — it made me feel like I was watching Uncut Gems again. Behind the scenes, Cohen had to run for his life and almost got pulled out of a moving trailer. Borat: Subsequent Moviefilm goes deeper than it's predecessor by blending activism and comedy throughout. Since the start of social media, disinformation has been continuing to run rampant, growing from outside fringe groups and into the mainstream. QAnon is a great example of that. For a long time, Cohen has been an outspoken critic of big tech companies and their complacency towards fact-checking misinformation. A prime example has been the scary trend towards Holocaust deniers growing on sites like Facebook and YouTube. Cohen decided to tackle this issue in his newest film. There's a scene where Borat has given up on hope because he finds out that the Holocaust is a "myth" by a Holocaust deniers group on Facebook. Borat decides to commit suicide by going to a synagogue and dressing up as a stereotypical Jew. This scene starts off highly offensive and is uncomfortable to watch.
However, Borat meets two real-life Holocaust survivors (the late Judith Dim Evans being one of them) during his time at the synagogue. It's an important scene because these two elderly ladies treat him with kindness, looking past his bigotry. Cohen put this scene in to demonstrate the importance of history, activism, and making sure future generations do not forget about the past, like the Holocaust. Sources have said that Cohen ended up breaking character behind the scenes to reveal to the two ladies what he was trying to capture. Borat: Subsequent Moviefilm's shock value is still there, and the cringe-worthiness is stronger than ever. Cohen has outdone himself, proving his point at how deeply divided our country is and how conspiracy groups are growing at an alarming rate. The film ends with an outrageous gag on Rudy Giuliani, which I will not spoil for you. Borat: Subsequent Moviefilm is the same satire and mockumentary as the first film, but this time around, it's made with a higher blend of awareness and activism. As our country goes deeper down a rabbit hole of conspiracies and violence, Borat and Tutar are peddling their way out screaming at us to wake up. So, wake up America, the time is now. And please, wear a mask.
Borat: Subsequent Moviefilm is rated R (Restricted). Graphic Nudity, Strong Crude & Sexual Content, Language.
Directed by Jason Woliner
Starring Sacha Baron Cohen and Maria Bakalova.
Stream now only on Amazon Prime Video.
The Witches (2020) is a terrible movie; there is no sugar-coating this one. Director Robert Zemeckis' (Forest Gump, Cast Away, and The Polar Express) hamfisted remake is one of the worst films of 2020. It's an adaption without a clear direction or purpose, bloated with annoying special effects and a lack of magic.
The Witches is a 1983 dark fantasy children's book written by the beloved author, Roald Dahl (James and the Giant Peach, Charlie and the Chocolate Factory, Matilda, and Fantastic Mr. Fox). Dahl's book was later turned into a 1990 feature film starring Anjelica Huston. The 1990 film gained a cult following — receiving praise for Huston's wicked performance, Jim Henson's masterful puppetry, and capturing the spirit of Dahl's literary style. However, the same cannot be said, about Robert Zemeckis' stab at this witchy tale. Zemeckis has made some undesirable pictures in the last 20 years, but this film with a bald Anne Hathaway takes the cake. I would not say that The Witches (2020) is a "so bad it's good" film, but it was pretty amusing to watch at how bad it turned out to be. Our films starts in 1968, when a young boy (Jahzir Kadeem Bruno) goes to live with his loving grandma (Octavia Spencer) in the rural Alabama town of Demopolis, following the death of his parents. Since his arrival, the boy begins to encounter diabolical witches. So, his grandma decides to take him away to a seaside resort, out of the witch's path. However, this same resort becomes the destination for the world's Grand High Witch gathering. Anne Hathaway plays the Grand High Witch, the leader of all of the witches in the world. She is also the most evil and the most powerful witch of them all.
The grandmother reveals to the boy that witches never leave once they find a child. We also learn that real witches have claws instead of fingernails (they hide by wearing gloves), are bald (they hide by wearing wigs), have square feet with no toes (they hide by wearing sensible shoes), and have a powerful sense of smell which they use to sniff out children. Unfortunately, Hathaway's cronies and their powerful sense find the boy along with his friends — turning them into mice. What does not work with this version of Dahl's memorable novel is the overabundance of special effects, not to mention Zemeckis' poorly constructed screenplay throughout. The frustrating CGI engulfs Hathaway's performance from being anything more than a laughing stock. Hathaway gives it her all, but the film cannot make up its mind on if it's trying to be scary or a comedy — leading the film to be unapologetically foolish. Yes, The Witches (2020) aims to be a children's movie, yet, I cannot imagine seeing any children enjoying this catastrophe. Zemeckis' grotesque VFX is a nightmare for families everywhere, while it also lacks the author's original pitch. The second half of the movie turns into a Ratatouille adventure with some major eye-rolling shenanigans. The Witches (2020) lacks the magic and soul of the original novel; while also lacking the whimsy and imagination of the 1990's feature. Zemeckis' craft comes up short in this remake and forgets to make a plea for its own existence. In the end, Zemeckis brews up a bad batch of hoopla and leaves out Dahl's greatest attribute, eccentricity.
The Witches (2020) is rated PG (Parental Guidance). Thematic Elements, Scary Images/Moments, and Language.
This disaster is directed by Robert Zemeckis
Starring Anne Hathaway, Octavia Spencer, Stanley Tucci, Kristin Chenoweth, Chris Rock, and Jahzir Kadeem Bruno.
Available to watch on HBO Max, if you dare.
Heartbreaking and enraging; 2020 has been a nightmarish year not only for America's politics but also for America's health and well-being. Director Alex Gibney (Citizen K and Zero Days) refocuses our attention to effectively detail how our country got to this destructive point, with 230,000 (and counting) American lives lost.
In Totally Under Control, Filmmaker Alex Gibney scrutinizes the U.S. response to the pandemic compared with South Korea. Both countries discovered their first case of Covid-19 on January 20th, 2020. Since then, the novel coronavirus has claimed over 200,000 Americans lives, while only claiming a little over 400 lives in South Korea. South Korea has a population of 51 million people. So, why did the US do such a terrible job on their handling of COVID? Gibney talks with numerous doctors, health experts, and scientists throughout the documentary explaining why we failed, starting at the top and with our leader of the free world. One of those doctors we talk with is Dr. Rick Bright — an American immunologist, vaccine researcher, and former director of the Biomedical Advanced Research and Development Authority (BARDA) from 2016 to 2020. In May 2020, Dr. Bright filed a whistleblower complaint, alleging that the Trump administration ignored his early warnings about the COVID-19 pandemic. After doing so, he was ousted from his position in retaliation from the Trump administration.
As President Truman once said, "The buck stops here." Yet, that line does not apply to the Trump administration. We all know that COVID was not Trump's fault, but it's his lack of leadership that has failed this country and left the American people in the dark — scared for their well-being and livelihood. While other countries (South Korea and New Zealand) have strategically and effectively led their people through this pandemic transparently, the U.S. has squandered at every turn. Even countries like Canada and Germany have done a pretty good job overall. Still, they are starting to see more recent COVID spikes, but Prime Minister Justin Trudeau and Chancellor Angela Merkel both have been open with their people, letting the doctors and scientists lead. Gibney along, with co-directors Ophelia Harutyunyan and Suzanne Hillinger, avoid taking cheap shots or personal ambushes throughout the documentary. Instead, they let the timeline speak for itself, with the doctors and the scientists guiding us through it.
Totally Under Control takes an in-depth look at how the United States government handled the response to the COVID-19 outbreak during the early months of the pandemic — we have 4% of the world's population and 20% of the worldwide COVID deaths. It did not have to be this way. The Trump Administration's disastrous response to the coronavirus pandemic has led from anywhere between 130,000 to 210,000 deaths that could have been prevented, according to a report released on October 21st by a team of disaster preparedness experts. It's a sad and infuriating report, demonstrating the cost of having a narcissistic former reality TV star in charge, who has been ignoring basic science and health advice for a slight uptick in the stock market. Right now, universal mask-wearing in public could significantly reduce the number of Americans who die from COVID by February 2021; a study published in the journal Nature Medicine projects — suggesting we could save 130,000 American lives. During the documentary, we see South Korea's response on controlling the virus was rapid and efficient. Their government mandated universal mask-wearing, nationwide testing, contact-tracing, and mitigation all throughout February. While the US was slow to respond, letting the virus spread rapidly throughout our country without a strategic nationwide testing policy in place.
Trump downplayed the seriousness of this virus and continues to do so to this day. Making statements like, "It's one person coming in from China, and we have it under control" (01/22), "A lot of people think that [the coronavirus] goes away in April with the heat ... Typically, that will go away in April" (02/10), "It's going to disappear. One day — it's like a miracle — it will disappear" (02/27), "the vast majority of Americans, the risk is very, very low" (03/11), "You can do it. You don't have to do it. I'm choosing not to do it, but some people may want to do it, and that's OK. It may be good. Probably will. They're making a recommendation. It's only a recommendation" (on mask-wearing, 04/03), "When we have a lot of cases, I don't look at that as a bad thing" ... "So, I view it as a badge of honor. Really, it's a badge of honor" (05/19, days later, the U.S. recorded 100,000 known deaths from COVID), "Many of those cases are young people that would heal in a day" (07/19), and "Take your hat off to the young because they have a hell of an immune system. It affects virtually nobody" (09/21, twelve days later Trump would test positive for COVID). Along with Trump's falsehoods, Gibney studies, and analyses the CDC's initial botch to implementing testing in February, the administration's slowness in declaring the Defense Production Act (to direct industries to produce medical equipment) not until mid-March, United States Secretary of Health and Human Services Alex Azar's complacency, and Senior Advisor Jared Kushner's botched attempt at setting up a "shadow task force" with dozens of young volunteers from the private sector; searching for medical supplies and protective equipment.
On top of that, you see the falsehoods pushed towards Hydroxychloroquine and chloroquine, a 2018 budget cut eliminating the pandemic task force, the U.S.'s stockpile in Medical supply depleted, and our governor's left to fend for themselves in an all-out bidding war for Medical supplies — FEMA was even in on the bids. When Trump faced criticism for not doing enough to help out the states as the Federal government should, he quickly turned the tables back on them. By doing so, he made this a red state, blue state scenario — leaving our governors hung out to dry, and the more they criticized the less they would receive in help. This was a smart way for Trump to point the finger in the other direction without having to take responsibility. The tragedy of COVID in the U.S. is not only the countless American lives lost but also the retaliation from the Trump administration towards our health and scientific communities. This discourse and disinformation towards them are completely uncalled for. We need to trust our doctors and scientists, listen to the facts, and follow the science. Please continue to listen to people like Dr. Bright and Dr. Anthony Fauci — Director of the National Institute of Allergy and Infectious Diseases, since 1984. Dr. Fauci has worked 5 decades for Presidents of both parties (Republican and Democrat). Now, Trump has even decided to attack our nation's Top Infectious Diseases expert (Dr. Fauci). This Tuesday cannot come soon enough. Hopefully, our nation will rally together and vote this former reality TV star out.
Totally Under Control is Not Rated (NR).
Watch this documentary only on Hulu
Directed by Alex Gibney, Ophelia Harutyunyan, and Suzanne Hillinger
Well-acted and thoroughly poignant — The Boys in the Band revives the classic stage play back onto the small screen, showcasing modern relevance on the LGBTQ community.
The Boys in the Band is based on the 1968 off-Broadway play by playwright Mart Crowley. The play then ended up being turned into a 1970 movie with the same cast as the original production. What was so groundbreaking with Crowley's play, was his ability to evoke a deeply personal journey in the lives of gay men. In 2018, director Joe Mantello revived the play on Broadway, comprising a versatile cast of exclusively openly-gay actors. This cast included Jim Parsons, Zachary Quinto, Matt Bomer, Andrew Rannells, Charlie Carver, Robin de Jesús, Brian Hutchison, Michael Benjamin Washington, and Tuc Watkins. All of the actors decided to reprise their roles, giving us a feast to behold of grade 'A' acting. Just like the 1968 original, Mantello constructed his crew from stage to film, giving us a deeply moving picture of what it means to be gay in America during the '60s. Mantello smoothly constructs his craft as we watch this spectacular cast of men bursting at the seams with anxiety, self-loathing, melancholy, and pride. Each character is deeply layered, guarding themselves against pitfalls of vulnerabilities that could lead to pain.
The plot follows a group of friends reuniting on the Upper East Side of Manhattan, who are throwing one of the members of their group, Harold (a condescending Zachary Quinto), a birthday party. Harold loathes each day as he grows farther away from his youth. In his character's own words, Harold is an "ugly, pock-marked Jew fairy." Michael (a cunning Jim Parsons), a recovering alcoholic and Roman Catholic, is the member of 'the band' who has opened up his apartment for the birthday. Michael is well-groomed, polite when he needs to be, and then will attack you like a snake if he disagrees with you. As the host and the frenemy, Michael will always have the last word, no matter the stakes. Michael and Harold often lash at each other, with cutting dialogue and patronizing remarks. The more Michael drinks, the more the night intensifies. Matt Bomer plays Donald, Michael's conflicted boyfriend who is gliding along with his own baggage.
Actors Andrew Rannells and Tuc Watkins portray Larry and Hank — a couple who have been fighting about what it means to be in a monogamous relationship. Larry is the free-spirited thinker of the relationship, often having multiple sex partners at a time. Larry's lack of commitment to the relationship; is why Hank is upset with him. Hank is a recently outed gay, who's in the middle of getting a divorce from his wife and is currently living with Larry. Robin de Jesús plays Emory, the most flamboyant and most prideful of the group. Emory is there to have a good time and to party with his fellow Queens on the rooftop of a hot summer night. No matter the pain, Emory can keep a smile from eye-to-eye, along with his good friend, Bernard (Michael Benjamin Washington). Not only is Bernard gay, but he's also Black — dealing with both racism and homophobia in the '60s. Bernard is also grappling with the regret of a lost love that comes up during a shift in tone during the night when Michael introduces "the game." A series of calls made by each character to call up their long-lost love by telephone.
Charlie Carver plays the Cowboy, Harold's birthday hustler for the evening. Carver's character is often described as "too pretty" and "not too bright." Lastly, we are left with Alan (Brian Hutchison), Michael's friend from college, who makes an uninvited appearance at the party, stirring up conflict. Alan does not know that Michael is gay, but there's suspicion that Alan (who is married) has a dark secret of his past relationships. Alan's sexual orientation is never fully disclosed, leaving the audience to interpret the events of the night and to decide on their own. The Boys in the Band is one of the most bruising movies of the year, leaving our viewers to feel like they have been dragged through the mud. There's plenty of heavy material unveiled throughout the film's runtime — opening wounds and soothing tears. This perfect ensemble reaches for the stars as we grapple with heartache and the affliction of love waiting to come. We've come along way in America for inclusion to the LGBTQ community, yet we have a long way to go — making progress one step at a time. The Boys in the Band is an emotional whirlwind and literary dance waiting to be heard.
The Boys in the Band is rated R (Restricted). Sexual Content, Drug Use, Language, and Graphic Nudity.
Directed by Joe Mantello
Starring Jim Parsons, Zachary Quinto, Matt Bomer, Andrew Rannells, Charlie Carver, Robin de Jesús, Brian Hutchison, Michael Benjamin Washington, and Tuc Watkins.
Enola Holmes is a charming little movie that brings a refreshing perspective to Baker Street. Actor Millie Bobby Brown also helps elevate the film with a more progressive message and image.
Enola Holmes is a breath of fresh air one can enjoy from the comfort of their home on a Saturday afternoon. This new film narrows down its focus from the expanding Holmes family and universe — giving us the point-of-view from the youngest sibling in the Holmes family, Enola (a wonderful Millie Bobby Brown). 'Alone' — spell this word backwards, and you get Enola. Yet, her mother (Helena Bonham Carter) has taught her not to be defined by that meaning, teaching her everything from chess to jujitsu. Brown gives us a lively, spirited, and intelligent performance as the youngest of the Holmes. While she constantly breaks the fourth wall throughout the picture, we see a coming-of-age story of a young woman searching to find her place in the world. Brown's committed performance continues to prove that she has a bright future ahead of her. Enola Holmes is based on a series of Young Adult novels by Nancy Springer and was originally set to make a theatrical release by Warner Bros. Pictures but was, instead, sold to Netflix due to the COVID-19 pandemic. Our story follows Enola as she awakens on her 16th birthday to discover that her mother is missing.
Eudoria Holmes (Carter) is an eccentric but brilliant intellect and suffragist; who has left a series of clues for Enola to follow. Enola follows this sequence of clues involving anagrams and ciphers as she sets off to London to find her. During this journey, Enola is also attempting to escape her older brothers Mycroft (a stern Sam Claflin) and Sherlock (a brawn Henry Cavill) from carting her off to a finishing school. A finishing school is "a school for young women that focuses on teaching social graces and upper-class cultural rites as a preparation for entry into society" — hindering her independence, Enola wants nothing to do with that life style and I don't blame her. Along the way, Enola runs into a boy named Tewkesbury (Louis Partridge), who engulfs his own family badge onto her. Enola Holmes was a pleasure to watch and an easy film to pass the time on — there were some luscious shots, extravagant costumes, and a lighthearted story at the center of this film. Enola Holmes is an enjoyable feature digging deep into familial bonds and shows us the opportunities waiting a changing world that's determined to stay the same. It's a fun and warm movie anyone could cozy up to, bubbling over for a franchise eager to be told.
Enola Holmes is rated PG-13 (Parents Strongly Cautioned). Some Violence.
Directed by Harry Bradbeer
Starring Millie Bobby Brown, Sam Claflin, Helena Bonham Carter, Fiona Shaw, Adeel Akhtar, and Frances de la Tour.
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Mike, Mike, and Oscar
Next Best Picture
The Movie Oracle
Untitled Cinema Gals Project