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< Back Train Dreams delivers a present day critique from the past Black Bear, 2025 102 minutes Director/Writer: Clint Bentley / Clint Bentley, Greg Kwedar, and Denis Johnson Reading Time: 5 minutes Train Dreams Feather and Stone (WU1ZJYRIJ5KH4HPE) 00:00 / 01:04 📷 : Used with permission, Netflix Ginger: Thought-provoking movies and TV shows Sage: Movies and TV shows with low-key characters Reba Chaisson 2026-03-13 When traveling from state to state by train, you are left with a lot of time to fill. Of course, you can always use it to get some shut-eye in a sleeper car. Or you can plug in a headset to listen to the latest Cup of Tea Critiques podcast, a new novel by Margaret Atwood, or recently dropped CDs by Justin Timberlake or Rhianna. Imagine, though, that none of these is an option since it is the early twentieth century. Rooms in sleeper cars are costly, and portable listening devices have not yet been invented. For many who lacked means and whose lives predated these technologies, long train rides were spent in quiet thought about work, family, social issues, and what lies ahead for future generations, at least that is what the Oscar-nominated movie, Train Dreams , leads us to believe. Set in the early twentieth century and presented in a traditional indie vein, Train Dreams is based in the Pacific Northwest, feeling as if the story was lifted from the pages of a book and projected onscreen. That eponymous book was written by Denis Johnson and adapted to screen with additional writing by Clint Bentley and Greg Kwedar. In the film, Joel Edgerton stars as Robert Grainier, a logger who freelances his labor, sawing down trees and building railroads when work is in season, traveling by train for hours to get to the worksites. Images of two people working a lumberman’s saw and a jackhammer being swung over the shoulder and down onto a spike are surreal, given the modern-day chainsaw and slide sledge. The visuals in this film transport me back to the time when the phrase “manual labor” meant intense and physically taxing work, rather than its contemporary reference to the breadth of skilled trades that often involve the use of power tools, machinery, lifters, loaders, and the like. These visual elements in the film are reminders that today’s manual labor is not the same as yesterday’s. Add to this that the worksites of the past were in remote areas and the transportation to them was limited to trains and horse carriages. So, rather than looking forward to seeing their families each evening, the workers camped in the forests or near the train tracks where they worked for the season. Train Dreams returns us to a time when people in these occupations seemed lonely and their labor arduous. But it also presents a time that was simple, which provides a contrast for viewing the present. When Robert, a quiet man, meets Gladys (Felicity Jones), for example, the two spend time in the kitchen cooking and going on picnics together. Such private, intimate moments spark the realization of just how fast-paced our lives have become today. The repartee that ensues from Gladys and Robert’s marriage proposal pushes this theme further. While on a picnic, Gladys asks Robert what he is thinking. “Well, I was thinking we ought to get married,” he says lazily. Gladys responds that they are “already married,” and “now all [they] need is a ceremony to prove it.” Both the intimacy of the proposal and the clever exchange differ from present-day marriage proposals that are often open to the public, flashed on jumbotrons at ball parks, and live-streamed on social media. The scene in Train Dreams drives home the realization that the intimacy of the marriage proposal itself has now been rendered boring and obsolete, despite it signaling the beginning of, arguably, the most consequential event in a couple’s life. Train Dreams moves at a slow pace and delivers a storytelling style that includes some voiceover narration by Will Patton. The movie takes place largely in rural settings, which pushes the notion of Robert’s life as sad and isolated. This emanates from the amount of time he spends away from his family and alone on job sites where he limits his conversation to the few people he knows, like Arn Peeples (William H. Macy), an older logger. The sense of isolation and sameness is similar to the tone of the Native American reservation centered in the movie, Wind River . The lull that hangs over the desolate community conveys the feeling that the residents have resigned themselves to a way of life. Robert listens intently during a fireside chat with several loggers one night, in which a young logger boasts about the money the job pays and insists that trees will be around forever. Arn shares his concern about cutting down trees that have been here for over 500 years. “Every thread we pull,” he notes, “we know not how it affects the design of things.” Arn’s comment hints at some anxiety about the environmental effects of razing forests about a half century before climate change arose as a social and political issue. Coincidentally, Robert’s life changes when he returns home after a season away and finds fire spreading throughout his rural community. The moment leaves us dismayed about the many decades that passed since then, before climate change became a priority issue. It is interesting what we think about when we have downtime, when the noise around us cancels out and our bodies and minds are at peace. Given the social and political themes in this film that speak strongly to modern-day life, Train Dreams can be seen as more than a story about a quiet logger who thought deeply about the world around him. It is also a story that pushes the art forward by contributing to culture in a way that prompts us to critique ourselves. Spending some time in the past as this film allows us to do subtly encourages us to realize the present. Congratulations to Clint Bentley and his team on their Oscar nomination. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Movies 📷 : Used with permission, Netflix Train Dreams Train Dreams delivers a present day critique from the past Tea Brew: Ginger, Sage Director/Writer: Clint Bentley / Clint Bentley, Greg Kwedar, and Denis Johnson Reading Time: 5 minutes Read More 📷 : Used with permission, Alessandro Montalto One Battle After Another One Battle After Another shows what commitment looks like Tea Brew: Honeybush, Rosemary https://x.com/noctrnlayouts https://www.instagram.com/noctrnl.layouts/ Director/Writer: Paul Thomas Anderson / Paul Thomas Anderson and Thomas Pynchon https://www.behance.net/nocturnalayouts Reading Time: 7 minutes Read More Twinless Twinless poses questions about the durability of friendships Tea Brew: Sage, Ginger Director/Writer: James Sweeney Reading Time: 6 minutes Read More 📷 : IFC Films and Sapan Studio The Baltimorons The Baltimorons shows characters breaking out of their perceived limitations Tea Brew: Jasmine, Mint Director/Writer: Jay Duplass / Jay Duplass and Michael Strassner Reading Time: 6 minutes Read More 📷 : Relativity Media The Knife The Knife immerses viewers in a story about clear-eyed choices Tea Brew: Ginseng, Ginger Director/Writer: Nnamdi Asomugha / Mark Duplass and Nnamdi Asomugha Reading Time: 5 minutes Read More 📷 : Nadhir Nawshad F1: The Movie F1: The Movie delivers confusing characters but thrilling action Tea Brew: Masala Chai, White https://www.instagram.com/nadnaws/ https://x.com/_nadnaws Director/Writer: Joseph Kosinski Reading Time: 6 minutes Read More Load more

Cup of Tea Critiques delivers Cinema & Film Reviews online, helping film lovers find hidden gems and explore movies worth watching. Click here to see what we offer! Cup of Tea Critiques Movie and Television Reviews At Cup of Tea Critiques, we believe film should spark conversation, reveal truth, and yes, even challenge your comfort zone. Whether you're a casual moviegoer or a film buff, our reviews are brewed just for you. We do more than rate; we dig into what makes a movie work (or not) from story and direction to character, tone, visual style, and emotional impact. What to Expect Fresh Takes on new releases, indie gems, and festival favorites Deep Analysis of themes, pacing, cinematography, and sound design Spoiler-Free Summaries so you can decide if something’s your cup of tea—no surprises unless you want them Context & Comparisons, because knowing what a film is aiming for often makes all the difference Why Read Our Reviews? Every review is crafted to help you think critically—not just about whether a movie is “good” or “bad,” but why. You'll get insights that go beyond trailers and publicity: what works, where things falter, and how it all comes together (or doesn’t). ® Subscribe for updates! Email us at hello@cupofteacritiques.com Oscar Nominee: Sinners takes vampirism to the Deep South Image used with permission, Nuno Sarnadas Oscar Nominee: Train Dreams delivers a present day critique from the past Image used with permission, Netflix Interview: River of Grass Writer/Director Derek Magyar sits down with Cup of Tea Critiques Image used with permission, Derek Magyar Oscar Nominee: Sinners takes vampirism to the Deep South Image used with permission, Nuno Sarnadas 1/10

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Short Films Liquor Bank Liquor Bank displays the complexities of an intervention Tea Brew: Dandelion, Honeybush Director/Writer: Marcellus Cox Reading Time: 4 minutes 📷 : Used with permission, Marcellus Cox Read More Almost Certainly False Almost Certainly False drives home the risk of reductionist language Tea Brew: Honeybush, Ginger Director/Writer: Cansu Baydar Reading Time: 5 minutes 📷 : Used with permission, Cansu Baydar Read More The First Time I Never Met You The First Time I Never Met You adds a wrinkle to the time-traveling genre Tea Brew: Coca, Saffron Director/Writer: Eric Kole Reading Time: 3 minutes 📷 : Used with permission, Eric Kole Read More A Good Day Will Come A Good Day Will Come sheds light on a real-life tragedy Tea Brew: Dandelion, Honeybush Director/Writer: Amir Zargara Reading Time: 4 minutes 📷 : Used with permission, Amir Zargara Read More Life After Life After presents a short story with a big screen feel Tea Brew: Ginseng, Ginger Director/Writer: Jesse Edwards Reading Time: 4 minutes 📷 : Used with permission, Evolve Studios Read More River of Grass River of Grass makes us consider the predicaments of young veterans Tea Brew: Dandelion, Honeybush Director/Writer: Derek Magyar / Jon Bloch, Chad Christopher, and Derek Magyar Reading Time: 3 minutes 📷 : Used with permission, Skinny Lee Productions Read More Load more

TV Shows Dope Thief Dope Thief shares important lessons about family Tea Brew: Coca, Rosemary 📷 : Apple Studios Creator: Peter Craig Reading Time: 6 minutes Read More The Studio The Studio provides laughs with its bungling protagonist Tea Brew: Ginkgo Biloba, White 📷 : Used with permission, Christian Niemann Creator: https://www.instagram.com/justbychris/ https://x.com/justbychris Evan Goldberg Reading Time: 5 minutes Read More Your Friends & Neighbors Your Friends & Neighbors gives a birds-eye view into a type of social mobility Tea Brew: Ginger, Honeybush 📷 : Apple Studios Creator: Jonathan Trooper Reading Time: 6 minutes Read More Black Doves Black Doves, a quirky spy thriller that avoids tokenism Tea Brew: Matcha, Ginseng 📷 : Used with permission, Netflix Creator: Joe Barton Reading Time: 7 minutes Read More Echo Echo shines a light on the gifts of generations past Tea Brew: Coca, Masala Chai 📷 : Used with permission, Rye Coleman Creator: https://www.instagram.com/coleman811/ Marion Dayre Reading Time: 9 minutes Read More Fight Night: The Million Dollar Heist Fight Night: The Million Dollar Heist makes us reprioritize the gift of respect Tea Brew: Barley, Matcha 📷 : Used with permission, Geoffrey Riccio Creator: http://www.riccioproductions.com/ Shaye Ogbonna Reading Time: 9 minutes Read More Load more

Crumpets Food for Thought! Imagine taking an afternoon break on a calm sunny day in the low 70s. You sit in a nearby park filled with maples and oaks, birds chirping, and a pond with families of ducks floating about. In your 15 to 20 minutes of bliss, you sip your Sage tea while engrossed in an article about the changing cultural landscape of movie‑going, why short films are made , or perhaps just curious about the trends in the horror genre. Crumpets articles are food for thought that are also perfectly suited for a cup of Jasmine, Matcha, Peach—and sometimes even Dandelion! Enjoy! Why do we like crooked cop movies? A Deep Dive into the Appeal of the Cop Subgenre Reba Chaisson Reading Time: 6 minutes Read More Image: 📸: Used with Permission, Netflix What's that Sound? The Profound Seamlessness of Film Scores Reba Chaisson Reading Time: 16 minutes Read More Image: 📸: Cup of Tea Critiques A Clash of Knuckles: Movies and the System of Rating Them Highlighting the Tension Between Filmmakers and the MPA Reba Chaisson Reading Time: 19 minutes Read More Image: 📸: Cup of Tea Critiques Are horror movies and thrillers one and the same or completely different? Distinguishing Two of Cinema's Most Popular Genres Chris Chaisson Reading Time: 10 minutes Read More Image: 📸: Used with Permission, Sarah Sumeray https://www.sarahsumerayonline.com/art How Do You Like Your Cinema? What You Said about What You Watch Reba Chaisson Reading Time: 15 minutes Read More Image: 📸: Licensed from Shutterstock Are Mumblecore Movies Relatable or Just Boring? Examining a Subgenre of Indie Filmmaking Chris Chaisson Reading Time: 9 minutes Read More Image: 📸: Used with Permission, Scott Saslow (scottsaslow.com Instagram: @scottsaslow Twitter: @saslow_scott) How to Increase Latin-American Representation in Film What a Recent Horror Blockbuster Can Tell Us About the Importance of Representation Chris Chaisson Reading Time: 7 minutes Read More Image: 📸: Used with permission, Vini Kick Winnie the Pooh and the Public Domain How a New Horror Movie is Shedding Light on an Old Concept Chris Chaisson Reading Time: 7 minutes Read More Image: 📸: Photo from Pixabay Do Slasher Movies Still Cut It? (No Pun Intended) Examining the Shift in the Thematic Trends of the Horror Genre Chris Chaisson Reading Time: 8 minutes Read More Image: 📸: Used with Permission, Snollygoster Productions (hello@snollygoster.productions ) Soft and Quiet, Along With 6 Other Movies Shot in One Take A Brief List of Movies Shot in One Continuous Take -- er, Supposedly Chris Chaisson Reading Time: 9 minutes Read More Image: 📸: Used with Permission, Snollygoster Productions (hello@snollygoster.productions ) Why and How Short Films are Made An Examination of Short Films and How They Serve Aspiring Filmmakers Chris Chaisson Reading Time: 9 minutes Read More Image: 📸: Photo from Pixabay Getting Up Close and Personal with Crawdads and Vengeance A look at how film informs our perspective Reba Chaisson Reading Time: 11 minutes Read More Image: 📸: Licensed from Shutterstock Game of Thrones Audience Appeal The Enduringness of Story Reba Chaisson Reading Time: 18 minutes Read More Image: 📸: Licensed from Shutterstock The Source and Impact of Smith's Actions Two Perspectives on "The Slap" Chris and Reba Chaisson Reading Time: 10 minutes Read More Image: 📸: Licensed from Shutterstock How Do We Measure Box Office Success Considering the Value of a Movie Chris Chaisson Reading Time: 5 minutes Read More Image: 📸: Photo from Pixabay

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The After highlights children’s intuition < Back The After highlights children’s intuition Neon Films, 2023 18 minutes Director/Writer: Misan Harriman / John Julius Schwabach and Misan Harriman Reading Time: 4 minutes 📷 : Used with permission, Netflix The After A Dark Past (WYJRMRUKNMDQSZB1) 00:00 / 04:01 Dandelion Movies/shows with heavy subjects Chris Chaisson 2024-02-06 Many of us believe that when we lose one of our senses, the others grow stronger. In the same way, younger children, due to their underdeveloped verbal communication skills, possess stronger nonverbal abilities and even an intuition of how others feel. As adults, we are frequently too distracted with our own problems and responsibilities to recognize a grieving person in front of us. Just the same, we can often be too desensitized or callous to care even when we do. In this sense, adolescents have an advantage over us, still having empathy and observational skills that have not dulled or hardened from life experience. Misan Harriman’s Oscar-nominated short film, The After , hints at this reality over the course of its 18 minutes. David Oyelowo ( Selma ) plays Dayo, a loving husband and father whose world is turned upside down after a stabbing attack that cost him his family. A year later, his career as a businessman is a distant memory, and he works as a rideshare driver while still grieving the sudden, tragic loss he’s endured. Dayo is not without a support system, as many friends call to check up on him, but he has trouble responding and keeping up with his grief counseling appointments. Over the course of a typical day, he provides rides to numerous strangers in London and becomes numb to the conversations occurring in his backseat. Most of his customers are adults who are either conversing with each other, arguing, or on their phones. Though unspoken, it is clear from Dayo’s demeanor that he is repressing a lot of his still unprocessed emotions in order to put on a face for his job. One day, a bickering couple and their silent child pile into his backseat for a ride home. The child sits in the middle, clearly affected by her parents arguing. However, she observes Dayo’s body language and facial expressions as he drives. When they arrive, the parents exit the car and head up their front steps, but the child remains in the car. Dayo asks her if she’d like to get out and go inside, to which she reluctantly obliges. However, before heading up the steps, she turns around and hugs him from behind. The parents, still wrapped up in their own argument, suddenly turn and run down to pry their child off Dayo as he falls to the ground sobbing. They leave him on the sidewalk, where he continues crying before pulling himself together and driving off. The After ’s opening sequence is jarring and tragic enough to make Dayo a sympathetic character for the rest of its duration. However, the interesting aspect of the short film is its display of children’s intuition. Despite all of the adult passengers Dayo has in his car, none seem to acknowledge or read him at all; to them, he is somewhat invisible. The first pair of passengers make this reality evident, as the father brags about his son’s soccer accomplishments while the son tells his dad that Dayo probably does not want to hear it. Being polite, Dayo denies any disinterest, even though deep down the conversation is white noise to him. What eventually cracks him open is the child of the bickering parents, who very clearly resembles his own deceased daughter. Often, films depicting a grieving parent begin after the death has already occurred. Witnessing the sudden and violent nature of his family’s death puts the rest of The After into perspective. In particular, it is easy to become detached from the grieving of other adults, as we not only hear about so much bad in the world but witness it for ourselves. Sometimes, it takes the innocence of a young, attentive soul to recognize another person’s hurt and reach out. The After reminds its audience that although we do not typically think of children as the teachers, sometimes it is good to follow their example. Available on Netflix Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Righteous Thieves is an entertaining vehicle for showing others care about the travesties of the Holocaust Broken English Productions, 2023 91 minutes Director/Writer: Anthony Nardolillo / Michael Corcoran Reading Time: 4 minutes Righteous Thieves Turning the Tide (CCXHKP61WIO812WI) 00:00 / 05:12 📷 : Licensed from Shutterstock Masala Chai Movies and TV shows about toughness and athletic competition White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2023-03-28 Quite often, we feel our stories are isolated, that no one cares about them but us. While it can sometimes seem difficult to find a sympathetic audience, there is indeed such an audience. Occasionally, we must figure out how to navigate to them and present our stories in ways that elicit empathy. This is apparently what happened with 20-something year-old Annabel in 1985, when 60-something year-old Josef catches her breaking into his Los Angeles home and rather than shooting her, makes a deal with her. I say apparently because the film then cuts to present-day, where Annabel is the head of an all-male Jewish syndicate focused on recovering art, jewelry, and other property stolen by Nazis during the Holocaust in Anthony Nardolillo’s Righteous Thieves . This cut in the movie remains problematic for me because it robs the film of a much-needed emotional element. Clearly, Annabel, played by Lisa Vidal ( Being Mary Jane , The Event ), has dedicated her life to Josef’s cause, which suggests he had quite the effect on her. But what was that like? What conversations did they have? How did their bond develop over the subsequent years – and for how many years? Ultimately, I need to see this relationship unfold – not be told about it through a line from Annabel here and there throughout the film. The absence of this essential element made the film feel inauthentic. Despite the absence of this emotional element, Righteous Thieves is nonetheless an entertaining story about a team of mostly longtime friends coming together to recover valuable paintings stolen from the Jewish community by Nazis during the Holocaust. Led by Annabel, the friends consist of one White and four Hispanic persons combining their safe-cracking, high-tech, and fighting talents to infiltrate the highly secure facility where the items are stored. While 60 Minutes , CBS News , and PBS segments typically focus on institutions and private collectors (Nazis and their heirs) in Europe, Righteous Thieves targets a German holder in upscale Los Angeles who brags to even casual acquaintances about his expensive collection of paintings. As I wrote in my review of Your Honor , good dramatic villains do not call attention to themselves. Denzel Washington’s character in American Gangster was livid that his girlfriend’s gift to him in the form of a white fur coat brought him the unwanted attention of authorities, who until then had no clue about him. The villain in Righteous Thieves , Otto, played by Brian Cousins ( Greenlight , Southland ), brings to mind his counterpart in Bad Boys II, who was neither menacing nor scary; just a bully bolstered by the millions from his ill-gotten gains. In one scene in a nightclub, a drink is spilled on Otto’s phone and out of frustration, he throws it at his bodyguard and yells “Clean it up, clean it up!” This lack of composure is uncharacteristic of an ominous villain. A villain that engages in silly, random, and over-the-top things disrespects audience members, making it difficult for them to buy into the movie. Believable antagonists such as the ones in American Gangster , the original Beverly Hills Cop and even the original Bad Boys are cool, menacing, and thus, scary. They show the audience what they are capable of doing and how far they will go to get what they want. Otto fell far, far short of this bar. While lacking the authenticity of emotion and a menacing antagonist, Righteous Thieves is entertaining and brings up a major theme that rings quite true. It demonstrates that people other than those of Jewish background care deeply about the travesties of the Holocaust and feel strongly that stolen assets should be returned to their rightful owners forthwith. The film reminds me of the television series, Leverage , that ran from 2008-2012, where the team of two women and three men frequently used advanced technology, costumes, and slick fighting to infiltrate high society in order to recover items or expose truths. Played by Timothy Hutton, Nathan Ford led the team with the impetus of gaining leverage for their clients who rarely had any due to their lack of money or class status. Righteous Thieves is quite similar in substance and entertainment value. The teams of five differed only in ethnic and gender composition and team leader. It would not be surprising if Righteous Thieves morphed into a sequel or two, or perhaps even migrated to television as a series. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Blue Bayou brings well-rounded characters and a humanizing touch to a complex issue Focus Features, 2021 119 minutes Director/Writer: Justin Chon Reading Time: 3 minutes Blue Bayou Dialogues (OYGI4OTBHPZB4HUA) 00:00 / 04:23 📷 : Pixabay Chamomile: Family dramas Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2021-11-13 Rarely does a movie succeed in highlighting an ongoing political issue that affects millions of people through the lens of a personal story. Many films opt for the multi-protagonist approach, such as Crash , Traffic , or Requiem for a Dream . Having several characters as the main focus rather than one makes it easier to represent as many facets of the issue as possible. Written, directed and produced by lead actor Justin Chon ( Twilight trilogy), Blue Bayou manages to capture the turbulence and obstacles that befall many U.S. immigrants through the eyes of just one character. Through Chon’s brilliant performance, we see him navigate circumstances both in and out of his control. Blue Bayou centers around Antonio (Chon), a Korean immigrant with a daughter, Jessie (Sydney Kowalske), and pregnant wife Kathy (Alicia Vikander, Lara Croft: Tomb Raider ). Antonio is a devoted father attempting to improve his family’s circumstances and overcome his past mistakes. Along the way, he strikes up a friendship with Parker (Linh Dan Pham, Mr. Nobody ), a terminally ill woman from Vietnam who bonds with him over their shared journey to the U.S. However, friction between himself and Jessie’s biological father, a police officer named Ace (Mark O'Brien, Ready or Not ), leads to Antonio being on the verge of deportation. Blue Bayou skillfully displays the complexity of its characters. Rather than present them as purely good or evil, the film allows the audience to see them as three-dimensional. For instance, one of Antonio’s good friends is an ICE agent (Toby Vitrano) who frequents his tattoo parlor. Despite his job, the officer hangs out with and looks after several of his immigrant friends, subverting the expectation that he would harbor any hostility towards them. While Antonio is a family man that viewers are inclined to root for, he has a criminal record that he must reconcile. Despite appearing to be a villainous character, Ace simply wants to see his daughter Jessie and has no desire to negatively impact Antonio’s life. Though Kathy is a strong mother who loves Antonio fiercely, she struggles to get out from under her mother’s influence. Even Denny (Emory Cohen, T he OA ), Ace’s bigoted and morally bankrupt partner, views his actions through the lens of being a loyal friend. All of the major characters have well-established wants and tragic flaws that impact the chain of events in the story. The complexity of the characters is mirrored by the convoluted rules around gaining U.S. citizenship, as displayed in several scenes between Antonio and his attorney, Barry Boucher (Vondie Curtis-Hall, Chicago Hope ). Though being born in the U.S. grants you citizenship, arriving in the U.S. as a toddler does not. Despite being a child of adoption, Antonio is handcuffed by his specific circumstances. Antonio’s back story reveals a dizzying upbringing in which he did not feel safe or supported. As the movie delves into his childhood, we further understand the strong bond he has with Jessie and Kathy, raising the stakes for what is about to unfold. As many natives’ exposure to the issue of immigration is merely through dehumanizing commentary, a story like Blue Bayou decreases the emotional distance many people have. While not seeking to impose a viewpoint, the film puts into perspective that immigrants are human beings with hopes, dreams, and loved ones to look after. Tonally, Blue Bayou resembles a family drama of a similar name, Blue Valentine . The 2010 drama provides more of a non-linear storyline without a political backdrop, but it consists of similar family strife. Both films include a strong father-daughter relationship, a resentful and interfering ex-boyfriend, and a mother trying to escape the influence of her family to make her own decisions. Despite strong bonds, the desires of the families in both movies to stay together become threatened by outside forces and stressful circumstances. Though it tugs at the heart strings, Blue Bayou may be the family melodrama you’re in the mood for. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!