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Pose highlights the gay and trans community comprising the ballroom culture in 1980s New York. < Back Pose highlights the gay and trans community comprising the ballroom culture in 1980s New York. Color Force, 2018-21 59 minutes Creator: Steven Canals, Brad Falchuk, and Ryan Murphy Reading Time: 3 minutes 📷 : Pixabay Pose Fearless (MKJOZQUC9NFWSH3I) 00:00 / 04:09 Dandelion Movies and TV shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2021-10-15 Pose , created by Ryan Murphy ( Glee , American Horror Story ), highlights the gay and trans community comprising the ballroom culture in 1980s New York. The series centers particularly around Blanca, a Trans woman who sets out to start her own house after being diagnosed with HIV. Blanca takes in several youngsters to mentor, including Damon, Lil Papi, Ricky, and Angel. Their performing arts skills are varied, but Blanca strives to instill them all with confidence, discipline and most importantly, self‑esteem. The most striking aspect of Pose is how it highlights the multitude of angles from which the Black Trans community receives vitriol. In one particular episode, Blanca tries to get served at a predominantly White gay bar. She is not only asked to leave but on one occasion is physically removed and arrested. This and other storylines expose the glaring truth that many communities are simultaneously oppressed and oppressive. In addition to shining a spotlight on institutional injustice, Pose provides a glimpse into the strife surrounding the characters’ personal relationships. Pray Tell, the regular emcee for the nightly ball competitions, struggles through hospital visits one after another in support of his boyfriend, who has contracted AIDS. Angel meets a married Wall Street exec (Evan Peters) and mulls over how she feels being his secret mistress. Candy debates getting genital reconstructive surgery and how her longtime partner will view her new anatomy. Though the particulars of their issues seem specific to the Trans community, their interpersonal relationships and the emotions involved remain universal. As one might expect, a series about ballroom culture includes plenty of ballroom scenes. Normally the more joyous scenes in the show, the members of the various houses walk the floor in their outfits as music blares over the sound system. Pray Tell comments on their getup before turning it over to the five judges, who each put up a number from one to ten. At the end of the night, grand prize and runner-up trophies are awarded. While the vibes are celebratory, the commentary between competitors can be blunt and deep-cutting, with Pray Tell roasting ensembles that are not on point. The culture amongst the ball participants is one of no-holds-barred criticism, making the dialogue harsh and the insults frequent. The subtext of these biting exchanges is that the members must have thick skin due to the flagrant disrespect and threats they face when they leave the community. While the conflict is legitimate, there is an element of tough love to how the ball members speak to one another. The lynchpin of the show is without a doubt Blanca, who exhibits leadership and strong decision-making. From the Bronx, she embodies toughness and displays the ability to be confrontational. The way she handles everything thrown her way is reminiscent of a high school principal, such as Principal Harper (Chi McBride) in Boston Public . Having been shunned by her family, who insists on calling her by her masculine birth name, Blanca strives to teach all her house members how to stand on their own two feet as she has learned to do. Her major character flaw of stubbornness drives much of the show’s conflict but makes her as relatable to the audience as her strengths. Overall, Pose grants viewers the opportunity to see Trans characters as more than victims or fleeting storylines, but rather three-dimensional characters who have goals, strengths, weaknesses and most of all, gumption. Their struggles provide insight to those not frequently exposed to members of the trans community, and the ways they handle those struggles allows the audience to feel an emotion necessary for all to possess -- empathy. 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 Sentimental Value shows the pros and cons of using art to mend relationships MK2 Productions, 2025 133 minutes Director/Writer: Joachim Trier Reading Time: 5 minutes Sentimental Value Home Inside (9IQQZPXDU2WATMZP) 00:00 / 05:26 📷 : Frenetic Films Chamomile: Family dramas Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2026-03-13 Sentimental Value stars a pair of sisters, Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), who simultaneously deal with the death of their mother and the reappearance of their estranged father, Gustav Borg (Stellan Skarsgård). Nora has remained unmarried and pursued a career in live theater while Agnes has become a wife and mother. Gustav, a renowned filmmaker, seeks to reconnect with Nora and Agnes through his latest project. Complicating the matter is the fact that he effectively abandoned them to further his career. Nora and Agnes reunite and deal with the bitterness and resentment toward Gustav that has resurfaced. When Nora rejects Gustav’s invitation to star in his newest film, he instead hires a Hollywood actress, Rachel Kemp (Elle Fanning). Despite Rachel’s initial excitement, she questions whether the project is too specific and personal as she prepares for the role and wonders if she is in over her head because of it. Her reactions to the script and rehearsals reveal that the project is an ode to Gustav’s own family. On the backs of strong acting performances, Sentimental Value shows how grief and death in the family can both heighten emotions and cause reflection. As Nora and Agnes go through their departed mother’s possessions, their emotions over their father come to the surface, along with questions around why they themselves have not stayed in touch. Also, their differing personalities become evident. Agnes having her own family allows her to process their mother’s death differently than Nora and Gustav, who both use their artistic endeavors to be avoidant. Agnes takes a more patient approach to her grieving, even using the opportunity to learn more about her mother. Nora is more defiant and confrontational with Gustav while Agnes plays moderator. Despite Gustav’s benevolent intentions for reconnecting with his daughters, his behavior has not changed, revealing part of the rift between them in the first place. He remains a high-functioning alcoholic who speaks with bravado and derisiveness. At one point during a dinner party, he muses about why he would never date an actress as he stereotypes them, even though Nora, a performer herself, is sitting right across from him. His insensitivity plagues their relationship, and the story alludes to its impacts on their relationship even at a much younger age. Rachel’s presence brings some levity to the situation, as she only knows Gustav from a distance and has the perspective of a fan and eventual colleague. She expresses admiration for his work and wishes to make films of her own that are the same caliber. Her previous attempts at filmmaking did not garner the same critical acclaim, something a reporter alludes to only to be chastised by Gustav. In the exchange, he shows the ability to be empathetic and protective, undoubtedly endearing him to a rattled Rachel. She steps into the role in his film not only to further her career but out of a personal affinity for Gustav. Though she does not have a lot of screen time, Rachel’s perspective on Gustav adds another dimension to him. Though he has failed as a father and family man, he has redeemable qualities and has clearly constructed a story out of love for his family. Joachim Trier uses technical elements to enhance the themes of the film. He inserts occasional flashbacks that are never very long or pronounced and generally do not have on-screen text to set the scene. They are often led in and out with sharp cuts to black. These abrupt transitions serve to mirror how distant memories tend to be, particularly for those with unprocessed family trauma from adolescence. Often, people subconsciously seek to block out negative moments from their upbringing, which can lead to hazy memories. While Trier’s flashbacks are significant to the story, they never come across as simply dumping exposition to avoid having characters recite it to each other. This makes it that much more effective, as it feels like they are from the point of view of the characters rather than simply being there for the audience. Conceptually, Sentimental Value feels similar to the 2023 Netflix release His Three Daughters about siblings who converge on an apartment to care for their ailing father. Though Gustav is not technically ailing, he feels conflicted internally and unable to express love or contrition for his misdeeds. Instead, he turns to art as a vehicle for mending fences, as that remains his comfort zone. It takes an outside influence like Rachel to help him, Nora and Agnes experience a breakthrough. While a heavy family drama, Sentimental Value offers hope for reconciliation to many who may have the same conflicting emotions. 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 The Independent revs up mainstream and newsroom politics Anonymous Content, 2022 108 minutes Director/Writer: Amy Rice / Evan Parter Reading Time: 5 minutes The Independent Exploring the Unknown (1ZXT82ZUXBOWIIH0) 00:00 / 06:17 📷 : Licensed from Shutterstock Barley Movies and TV shows with a lot of dialog Matcha Mysteries or whodunnits Reba Chaisson 2023-02-15 It has been a while since I’ve seen a film about journalism and the newspaper industry. The 2017 release, The Post , is probably the most iconic, though Spotlight (2015) and Absence of Malice (1981) come to mind as well. Nothing stands out for me more than the 2009 film, State of Play , starring Russell Crowe, Ben Affleck, and Rachel McAdams. Seeing movies like these takes me back to the days when I would buy a Chicago Tribune or “Sun-Times” from the El-station vendor on my way to catch the morning train to DePaul, where I attended undergrad. The smell of the ink, the sound of a page turning, and the feel of the paper in my hands as I read the stories from the front page to the Opinion section, made me feel connected to the city and acclimated me to the day. It also helped make me oblivious to everything else about the hour-long train ride, such as vendors moving from car-to-car yelling: “Got those socks!” “Got that rolling paper!” The creak of the doors seemingly opening every minute to let passengers on and off. And the blare of boom boxes playing the disco versions of Evelyn Champagne King’s “Shame” and Barry White’s “Ecstasy” too loud, too early in the morning (smiley face). Yes, The Independent took me back as it went inside the newsroom. It’s a story about a young Black female journalist determined to pursue stories that matter, like issues around politics and schools. Instead, her direct and confrontational style, it seems, leads her boss, Gordon White, to dismiss her ideas and relegate her to menial, unimpactful stories, like what people do for Valentines Day. While informing the team that the paper, now electronically published, has been acquired and that layoffs will ensue, he cynically asks for story ideas that could enhance the value of the paper, minimize the inevitable layoffs that occur when companies are bought, and keep the bosses happy. Undeterred by the cynical if not rude dismissal of several ideas offered by some of her older and more experienced colleagues, “Eli,” played by Jodi Turner-Smith ( Without Remorse , Queen & Slim ), bravely offers up a couple of ideas. The first one Gordon, played by Stephen Lang ( Avatar: The Way of the Water , Old Man ), declares as effectively stupid, but she persists in her second idea to cover the new Independent presidential candidate, played by John Cena, who is giving the Democratic incumbent and Republican candidate a run for their money. Gordon yields but instructs her to “hand over [her] notes” to Kevin, a slightly more senior colleague played by Andrew Richardson ( Killer Among Us , A Call to Spy ). Raise your hand if you have seen or experienced this before on your job. Nonetheless, this scene sets the stage in the film for seeing the difference that can be made in one person’s life or career by the decisions senior colleagues make. After he observes Eli being teased by the beneficiary of her idea, Nicholas Booker intercedes, sending Kevin off with his tail between his legs. He subsequently turns to Eli, stating “Send me your best work.” Played by Brian Cox ( Succession , Bourne Identity ), Booker is a 50-year seasoned and accomplished newspaper veteran who is highly regarded by bosses, colleagues, politicians, and others who have been on both the right and wrong ends of his work over the years. Ultimately, he and Eli collaborate on the forbidden project and enter a quagmire over who is stealing funds from the lottery to pay for their political campaign. Interestingly, while the film focuses on the political story, politics play out in the newsroom and corporate offices visited throughout the film. At the newspaper, a colleague with a level of experience similar to Eli takes immense joy in watching her stay mired in menial, low-impact stories. Meanwhile he is placed on a path for his career to progress and put in a position to make a name for himself. There is also the jaded and cynical senior editor, Gordon, who is preoccupied with maintaining the status quo by avoiding risks. He routinely lets go of people who dare to challenge, to make noise, and to do what newspapers set out to do centuries ago. In a scene at a corporate office, the head of Human Resources for a company expresses her discomfort to a senior colleague about a memo “suggesting” they contribute to a candidate’s political campaign. He nonchalantly advises her, “Do it to keep the ‘ol man happy.” Unfortunately, so much of politics – traditional and corporate – is about keeping those who control jobs and livelihoods happy rather than about doing what’s right, ethical, and what ultimately leaves people with their self-respect intact. Exemplary of this is when Eli, while clearly displaying her journalistic chops, reveals her inexperience when she unethically, if not illegally, acquires the information she needs for the story. Nicholas admonishes her for her grave lapse in judgment, stating that he did not get to the end of his career and achieve prestigious accolades to have it all diminished on the brink of his retirement. In other words, ethics count for something. While not necessarily an action-packed, edge-of-your-seat political thriller, The Independent’s bright and clean cinematography, strong messages about principles and ethics, and diverse representations of the characters make it a solid contemporary piece. The unusual mentoring relationship between a 30-something Black woman and a boomer-age adult demonstrates the value of wisdom, experience, and institutional knowledge, especially when there is a genuine willingness to share it with those of a different background who are equally willing to learn. 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 The Banshees of Inisherin depicts a conundrum many friendships face Searchlight Pictures, 2022 114 min Director/Writer: Martin McDonagh Reading Time: 5 minutes The Banshees of Inisherin Me and My Friends (NLTYAPWAOSPTMC5Z) 00:00 / 05:19 📷 : Used with permission, Snollygoster Productions https://www.instagram.com/snollygoster.productions/ https://posterspy.com/profile/snollygoster-productions/ Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2022-12-28 Few things devastate the psyche quite like the sudden end of a friendship. As romantic relationships come and go, many people take solace in their platonic friends and the bonds they share through the other changes in their lives. If you’re like me, you’ve mostly experienced the end of friendships in a gradual manner. Less check-ins, less hang-outs, new priorities; all leading to a slightly less painful and finite parting of ways. The hurt is multiplied when one member of the friendship abruptly cuts communication off, as opposed to a mutual, tacit agreement. Human beings often need closure (and in some cases, a replacement friend). The Banshees of Inisherin being centered around the ending of a friendship sounds like a thin premise until you reflect on your own relationships and realize how deep and complex such a situation could actually be. Our friends in question are Colm (Brendan Gleeson, Calvary ) and Pádraic (Colin Ferrell, The Lobster ), two drinking buddies living on a sparsely populated island off the coast of Ireland. A talented musician, Colm asks Pádraic on a whim to leave him be so that he can indulge in his composing and fiddle practice. He gets increasingly blunt as Pádraic presses, admitting that he finds him a dull waste of time. As Colm stares his own mortality in the face, he wishes to accomplish something in his music endeavors that will make him remembered beyond his passing. Pádraic, light on hobbies other than drinking, feels the sting of rejection even harder since he feels he has no one else to turn to. His strongest relationships other than with Colm are with his sister, the more practical Siobhán (Kerry Condon, Three Billboards Outside Ebbing, Missouri ), and his pet donkey. His small circle leaves him little recourse for his damaged pride. The Banshees of Inisherin serves as a perfect example of a film where the setting takes on a character role (i.e. Sex and the City ). The fact that Pádraic and Colm live on a small island heightens the importance of their friendship. Rather than a metropolitan setting where one can meet and connect with strangers anywhere they go, Inisherin forces our two lead characters to interact. There are not many new places to go or people to meet, so their relationships with and opinions of the other island dwellers are largely set in stone. Moreover, the island setting gives them an audience for their issues. Most of their arguments play out at the local pub, where everyone already knows them, and typical island gossip lets everyone else in on their discord. The presence of the other islanders intensifies the rejection that Pádraic feels from Colm, and his bruised ego (along with a little liquid courage) leads him to act out even more. Siobhán, Padraic’s sister, serves as the innocent bystander-turned-voice of reason in their sophomoric feud. As Pádraic is forced to evaluate his behavior and personality, Siobhán becomes a reluctant soundboard, doing her best to reassure him that he is a decent man. Similarly, she assures Colm that while he finds Pádraic dull, this is no reason to end their friendship, since frankly, all men are dull. She frequently voices the audience’s thoughts, along with Padraic’s drunken acquaintance, Dominic (Barry Keoghan, The Killing of a Sacred Deer ). At the crux of Colm and Padraic’s issues is their shared insecurity. Colm wants to achieve greatness with his creative endeavors, stemming from age-related anxiety. Pádraic, having been plucked from his daily routine and forced to re-examine his own character, wonders whether he is a good person and friend. While it may seem petty, this insecurity is the film’s biggest draw, as it is rather relatable. Some people want to be remembered beyond their time and receive effusive posthumous praise. Others simply want to exist and foster their relationships while they’re here. It can be strongly argued that neither one is better than the other, nor can one exist without the other. Nonetheless, when the two mindsets clash, feelings can easily be hurt. The Banshees of Inisherin brings to mind the early 2000s drama Finding Forrester . While the settings and characters are different, the bond between the two and the differing aspirations that threaten it mirror each other. Jamal and Forrester have a shared love of writing, but Forrester is a recluse while Jamal is a star basketball player accused of plagiarism. Though their friendship persists throughout the film, Forrester simply wants to stay out of the spotlight while Jamal deals with both wanted and unwanted attention for his talents. Despite their shared love of drinking and small talk, Colm and Pádraic have two different life goals. As Colm acknowledges his own, he views Pádraic as an impediment rather than a confidant. The Banshees of Inisherin could make you reflect on your own friendships and which side of the ledge you land on. 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 Tár frames a pressing topic of conversation around an unorthodox character Focus Features, 2022 158 minutes Director/Writer: Todd Field Reading Time: 5 minutes Tar Path of Purpose (VYUSTXBC8OSI6KES) 00:00 / 05:54 📷 : Used with permission, Edgar Ascensão https://edgarascensao.bigcartel.com Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2023-01-09 Tár takes us on a two-and-a-half-hour trek through the life and routines of Lydia Tár (Cate Blanchett, Blue Jasmine ), an uber-accomplished classical music conductor leading the Berlin Orchestra. Ahead of her crown jewel, a live recording of Mahler V , her transgressions regarding inappropriate relationships come under a microscope. Once feeling invincible, Lydia now feels the walls closing in on her, leading her to engage in desperate and unhinged behavior. The subjects Tár broaches constitute the most pervasive questions surrounding pop culture figures today. A common debate on social media and amongst news outlets is whether or not fans can separate art from the artist in light of misbehavior. Furthermore, should any support for said artist be erased? Tár breaks the mold by choosing a female conductor in the male-dominated industry of classical music as its figurehead. This representation differs from the pop artists, A-list actors and politicians that we are used to seeing at the forefront of this discourse. Lydia has defied the odds in reaching the heights she has reached, which, in theory, makes her easy to root for. In reality, she abuses her power and harms others in the process. Indeed, the film puts the audience in conflict early by showcasing her character flaw in the first act. A noteworthy scene occurs when Lydia teaches a conducting class at Julliard, a performing arts conservatory in New York City. A student identifying as BIPOC pangender (Black, Indigenous, and Person of Color) voices his disapproval of J.S. Bach’s work on the basis of his sordid personal life. Lydia rolls her eyes at the notion, then entertains the student’s moral code and teases it out over a series of monologues. She brings up examples of Bach’s contemporaries having equal or even more egregious misdeeds. While many college professors employ this tactic to facilitate healthy debate, Lydia’s aim is to delegitimize the student’s stance and bully him. He feels humiliated to such a degree that he gathers his things and storms out, which Lydia finds amusing rather than disappointing. The scene reveals her cruelty, as well as her point of view that accomplished artists should not be subject to moral scrutiny. Ultimately, in addition to presenting a hot-button issue, the debate occurring so early in the film serves as foreshadowing for the rest of the movie. The opinions Lydia expresses in the scene go hand-in-hand with the behavior she exhibits moving forward. She feels above reproach, and when her livelihood begins to slip away from her, she refuses to accept accountability. Rather, she lashes out and abuses her power in other ways. In the end, her attitude leaves her with no support system and no one coming to her defense. Lydia does not reserve her dismissive attitude for strangers or students. Francesca (Noémie Merlant, Portrait of a Lady on Fire ), Lydia’s assistant, feels the sting of being overlooked as well. Despite being in an apprenticeship role, Lydia passes her over for someone else when the opportunity for a new role presents itself. Rather than nurture her relationships with Francesca and her girlfriend Sharon (Nina Hoss, Phoenix ), she views every encounter as transactional or a favor on her behalf to others. Critics and podcasters refer to Tár as a character study. I would propose that it is just as much an audience study. While some of Lydia’s behavior is unconscionable, the background characters in the film participate in the same invasion of privacy and misrepresentation that we witness in our everyday lives. The film opens with a phone aimed at a sleeping Lydia while the holder, out of frame, texts someone to poke fun at her. Though the owner of the phone clearly knows Lydia, she is nonetheless broadcasting her in her sleep. This violation of someone’s privacy has become so normalized that most viewers probably will not think twice about it. Later in the film, her confrontation with the Julliard student is edited out of context and published online to make her look as bad as possible. It serves as another moment of her existence being filmed without her knowledge, leading you to wonder how regularly this is happening not only to her, but real-life celebrities, and maybe even ourselves. As we see with modern celebrities, the video serves as a piling-on moment during which no one questions the morality of obtaining such footage. Instead people partake in the criticism. Despite the film’s fixation on Lydia, putting her in every scene, Tár provides the audience with plenty of perspectives from which to view the story. Between the background characters, the significant others in her social circle, and the governing bodies that seek to hold her to account, anyone watching the film can pay attention to and empathize with different viewpoints. Tár is similar to TheWolf of Wall Street , even though the two movies have entirely different styles of storytelling. Like Lydia, Jordan Belfort (the lead character played by Leonardo DiCaprio) is highly skilled, ambitious and successful. Nonetheless, he feels insulated from consequences and emotionally distant, until the people he has mistreated partake in his downfall. While one is far more vulgar and bombastic than the other, The Wolf of Wall Street and Tár tackle the same questions about mythologizing public figures. 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 Rebel Ridge highlights a little-known legal snag Bonneville Pictures, 2024 131 minutes Director/Writer: Jeremy Saulnier Reading Time: 5 minutes Rebel Ridge With You Always (AKYRKGOZU0MVD3VI) 00:00 / 06:21 📷 : Used with permission, Netflix Rosemary: Movies and TV shows with intense action Ginseng: Suspenseful and intense thrillers Chris Chaisson 2024-09-17 We see the reliable story trope time and again: the fish out of water. A tourist or someone “just passing through” who ends up on the radar of the local powers that be, and chaos ensues. It frequently becomes the “one-man army” story, such as Sylvester Stallone’s character in the Rambo trilogy, where the authority figures pick the wrong person to mess with. Sometimes, the fish out of water finds help from unexpected sources, like Axel Foley in Beverly Hills Cop . Regardless, we typically see our aforementioned trope framed and detained for familiar, even if completely bogus, charges (“Disturbing the peace? I got thrown out of a window!” ). Occasionally we get a story that enlightens us to all of the trappings that lie within the justice system. Enter Jeremy Saulnier’s Netflix hit, Rebel Ridge , about just such a legal loophole. Ex-Marine Terry Richmond (Aaron Pierre, Old ) bikes his way through a small southern town en route to bail his cousin out of jail with a large sum of cash. When a patrol car coasts up behind him and causes an accident, the officers cuff Terry and search his belongings. Despite Terry showing deference, the officers suspect the money as being ill-gotten and seize the cash, forcing Terry to jump through several time-consuming hoops to get it back. This troublesome wormhole coincides with Terry’s cousin being shipped to a penitentiary elsewhere, as the town can no longer hold its inmates. As Terry heads to the police station to repossess his money, he clashes with the local police chief (Don Johnson) who refuses to cooperate. Terry finds himself in the crosshairs of the police when he pushes back on their corrupt ways, only getting counsel from a paralegal who knows of the local law enforcement’s malfeasance and how to fight it. Rebel Ridge highlights a little-known but common practice in law enforcement called civil asset forfeiture . When police detain a citizen, they can claim suspicion as cause to seize their belongings, such as money, and use them to fund the department. Retrieving the money can take months, if not years, and may result in spending more than what was originally taken. While government officials call it a way to cut off criminals’ resources, specifically in the drug trade, critics have deemed it legalized theft. In the midst of getting tangled up in the department’s scheme, Terry finds that this practice is a go-to strategy for the local police. Once they go the route of physical intimidation, Terry’s military training kicks in, and the conflict between himself and the corrupt officers escalates. Rebel Ridge does a good job of raising the stakes for its main characters. While Terry appears to be a loner and nomad who can survive off of very little, he has little to no time to hash out his conflict given his cousin’s incarceration. Just the same, his legal counsel, Summer (AnnaSophia Robb, Bridge to Terabithia ), is trying to regain custody of her daughter, forcing her to help Terry from the shadows lest her own family’s safety be threatened. Once Terry winds up in a violent showdown with the police, the stakes reach full-blown life and death status. The Netflix original consists of several strong performances, particularly from Aaron Pierre and Don Johnson. Though Johnson has played many villains in his acting career, his role in Rebel Ridge may remind you of his long-running TV character Nash Bridges, a San Francisco cop who didn’t always go by the book. Pierre’s brooding, stoic nature highlights how the department is singling him out. He is simply passing through the town with the goal of helping out a family member, and he is willing to comply until he is stiff-armed at every turn. We see his veneer slowly shift from patient and calculated to angry and defiant. Such can be any person or an entire community’s experience with authority figures who go out of their way to make trouble for those trying to cooperate or come up with ideas to make things work for everyone. As with many fish-out-of-water characters, Terry has elite combat skills that he is resisting the urge to deploy. Often, characters who have seen and maybe even committed the most extreme acts of violence vow to never return to that lifestyle. Think of Viggo Mortensen’s character in A History of Violence or the aforementioned John Rambo from First Blood , characters who desperately wanted to maintain an anonymous, peaceful existence until it was no longer an option. These types of characters are often physically imposing in a way that tips the audience off to their capabilities, and we anticipate the inevitable breaking of the dam because their antagonists seem determined to push them too far. Due to its small-town setting and the protagonist’s Incredible Hulk-like appearance, the best comp for Rebel Ridge is the recent television series Reacher , starring Alan Ritchson. Both consist of fish-out-of-water tropes where the nomadic main character gets pushed to the edge by local authorities and forced to engage in the combat that they thought they had left behind. They each show how crooked politicians or law enforcement can bend rules and use either relationships or blackmail to get what they want. While the protagonists’ fighting expertise don’t exactly make them the biggest underdogs, the sense that they are fighting against a system that is unjust means they will forever be in an uphill battle to achieve that justice. 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 Lonesome Soldier redefines heroism as what we do for ourselves Military Movies, 2023 109 minutes Director/Writer: Nino Aldi / Alexander Randazzo, Lionel Chetwynd, and Linda Lee Reading Time: 7 minutes Lonesome Soldier Revolve (BBKXZ5A8I1B3NWE3) 00:00 / 09:53 📷 : Used with permission, Malachi Pictures Coca: Movies and TV shows about drugs or with disorienting presentations Dandelion: Movies and TV shows with heavy subjects Reba Chaisson 2024-06-14 I think we can all agree that patriotism is important and honorable. I’m not talking about material symbols of patriotism, like some phony ball cap with words suggesting that wearing it is patriotic. I am talking about deeds, commitment, and sacrifice of self, much like that inherent in military service. Enlisting in the military requires complete surrender of yourself and relinquishing of your own ideas about who you are. Those who join the service place themselves under the control of an institution that strips them of their identities, molds their minds into a different way of thinking, and shapes their bodies into something they won’t recognize by the time their service is over. Knowing this, some of us submit to it anyway. All of us know someone who did. Few of us, however, witness the struggles of someone who came back broken by what they saw, what they did, and who they had become. That is until Nino Aldi’s film, Lonesome Soldier , introduced us to Jackson Harlow. Lonesome Soldier centers Jackson, a twenty-something musician played by Alexander Randazzo ( The Lost Bus , Bad Impulse ). Jackson lives in a close-knit rural Tennessee town, where he grew up showered with the love of his overprotective mother and nourished with the wisdom of his supportive but curmudgeonly grandfather, Mack, played by John Ashton ( Gone Baby Gone , Beverly Hills Cop ). The mild-mannered Jackson has incorrigible friends with whom he hangs out at the local bar, where his band regularly performs in front of hometown patrons. Not making enough money as a musician nor mechanic, Jackson enlists in the National Guard Reserve soon after marrying his long-time sweetheart Christy, played by Leah Grosjean ( Bird of Paradise , The Recipe ). He expects to be away from her one weekend per month, until he is called to serve in Iraq where his orders for three months turn into an additional six, and then more. Based on a true story, Lonesome Soldier feels authentic on several dimensions. The age–, gender–, and racially–diverse cast helps us see ourselves as part of a larger, broader family. Although the film’s setting is a small rural community, the relationships between the characters feel like those many of us had while growing up even in corners of large urban areas. At twenty-something, many of us are still connected with our closest childhood friends and enjoy getting together at a local spot. Also as young adults, we quite frequently gather with family for dinner at “Mom’s house,” sometimes bickering with folks at the table. And occasionally, we find ourselves in spontaneous but poignant talks with older adults, who impart bits of wisdom that stick. I like this film in part because it feels like the lives many of us lived when we were young. These elements make Lonesome Soldier feel like a story about us, even though its focus is on the one of us who makes a consequential choice to enlist. The one of us who leaves as an unassuming and kind young man who loves his wife and treasures his baby girl. And the one of us who returns home as something quite different. Early in his Basic Military Training, Jackson meets Ritchie (Dion Earl, Don’t Worry, He Won’t Get Far on Foot , Popstar: Never Stop Never Stopping ), a fellow enlistee from a nearby town with whom he becomes close friends. When Ritchie’s sergeant catches him smoking, he orders him to dig a hole to bury the cigarette. “DIG DEEP!” yells his sergeant. He then demands that Ritchie offer a eulogy for the buried cigarette. This moment certainly conveys the ingenuity of those who train others. It reminds me of the 1984 movie, Karate Kid , where Mr. Miyagi requires his teenage student, Daniel, to paint fences, wash cars, and sweep floors. Later, to Daniel’s surprise, he learns there was a purpose to these seemingly pointless household chores. Similarly, Ritchie’s sergeant takes a seemingly small infraction of the rules and makes it into an exercise to toughen him. Digging the hole and eulogizing the cigarette butt are not only meant to dissuade Ritchie from smoking again. They are meant to force him to bury any “soft” feelings he might have for anything in his life. They are meant to transform him, prepare him to do what is unimaginable, and feel in a way very different than he felt before. We are all changed in some way by our experiences. But change is not strong enough of a term to convey the transformation that occurs as a result of experiencing war, where non-combatants such as babies and children are slain, and soldiers are left with the imagery of their mangled bodies and are often covered in their blood. Just as horrendous is soldiers seeing their brothers– and sisters-in-arms shot right in front of them, and they are helpless to do anything substantial to save their lives. According to the Department of Veterans Affairs’s National Center for PTSD , these experiences along with being shot at and ambushed “increase [soldiers’] chances of having PTSD or other mental health problems.” Compounding this, it says, are the long absences from home. To mollify these effects, some veterans self-medicate to suppress the nightmares, hallucinations, anxiety, and depression; others tragically commit acts much more damaging. Upon returning home, Jackson is often thanked by friends and family for his service and referred to as a hero, sincerely and teasingly. Reconciling such references though with his experiences and how he now feels about himself proves difficult and leads him to display the prototypical symptoms of PTSD. Thus, his family and friends’ comments seemingly exacerbate the frustration, confusion, and helplessness he already feels. Indeed, Jackson expresses, “I don’t really give a f*** about myself.” Jackson’s grandfather, Mack, a veteran himself, advises him to “just suppress the guilt.” Such advice hints at the belief that these feelings can be stopped like brakes function on a bike. But just as stopping a bike in heavy rain can result in serious injuries from the skid, suppressing guilt as Jackson does risks throwing his life even further out of balance. Something different is needed. At his lowest point, Jackson is reminded that his “Fight’s not over; it’s just different,” which suggests that Jackson has to be re-transformed. He has to “dig deep” to fight his way back to himself. Unlike most movies I have seen about war and soldiers returning home, Lonesome Soldier exposes the impact on families when soldiers are absent from home for extended periods of time. Partners can become overwhelmed with stress, which is exacerbated when caring for children or sick family members. Children’s health and safety can be put at risk due to the constant worry and simply missing their enlisted parents. We enjoy seeing news clips of children jumping into the arms of a parent returning home after a long deployment. But what we don’t see is what happens to families between the soldier’s departure and return. This film elucidates an aspect of military deployment that is rarely addressed in the media, particularly as it regards the partners of soldiers and the types of support they want or need. I remember watching the 2014 biopic, American Sniper , about Navy Seal Chris Snyder. Upon returning home from the Middle East, Chris, played by Bradley Cooper, was repeatedly thanked for his service. It was awkward for him, off-putting even. The film depicted him as angry about it because it seemed disingenuous. After all, what does that mean “Thank you for your service” or “You’re an American hero?” These sentiments flew in the face of what he felt about himself given his experiences in the service. While the expressions are meant to acknowledge those who performed extraordinary acts, “hero,” “heroism” and comments relating to them are so overused that their power has flattened into platitudes and led to cynicism. Perhaps we should now consider something both timeless and meaningful. The next time we see a veteran or a soldier in uniform, maybe we can consider adding something to make our acknowledgments impactful. Ask “What can I do for you?” “What do you need?” or “How can I help you?” But let’s do this only if the intent is truly to be of service to them. This way we are digging deep to uncover the hero within ourselves. 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 The Book of Clarence blends coming-of-age comedy with biblical epic Legendary Entertainment, 2024 129 minutes Director/Writer: Jeymes Samuel Reading Time: 5 minutes The Book of Clarence Enough Said (TFKO7JBQDRJDMZJO) 00:00 / 05:31 📷 : Pixabay White: Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2024-01-29 Full confession: I have a Catholic education up to and through high school. As theology was always a priority, I have seen my fair share of “Bible story” movies, in the days of grainy VCR playback with tracking lines going across the TV. Some were compelling and some were very tedious, but the message was consistently sent to take the depictions very seriously. If you told me then I would be watching Jeymes Samuel’s parody of such epics, I probably…well, I would’ve said that far in the future, I could be doing anything. Nonetheless, The Book of Clarence may ruffle some feathers, but it does provide a little bit of a trip down memory lane and a fair share of chuckles along the way. Clarence, played by the mercurial LaKeith Stanfield ( Sorry to Bother You ), finds himself in a hole after losing a chariot race and totaling the vehicle…that is, someone else’s vehicle. After facing the threat of death if he does not repay Jedidiah (Eric Kofi Abrefa, Fury ), Clarence, along with his best friend Elijah (RJ Cyler, White Boy Rick ) must brainstorm a plan to raise the money. After being laughed out of the room for trying to become the 13 th apostle, Clarence decides to play himself up as a second Messiah, performing “miracles” with the help of his close friends who fake being blind, deaf and paralyzed for several audiences. However, if you’re familiar with the Bible, you know that the “powers that were” did not take kindly to anyone calling themselves the Messiah. Even as he continues to raise money, Clarence must face the scorn and potentially fatal punishment of the authorities. Biblical epics are known to be very serious works, with much of the dialogue pulled verbatim from scriptures. The reasoning for this is fairly simple and obvious: devout members of the Christian faith do not usually take kindly to anything other than the most literal interpretations of the stories in the Bible. Given this context, a film that appears to be poking fun at much of the New Testament is likely to produce a few scowls and some contempt. Clarence himself, at the beginning of the film, does not buy much of what is now scripture, even questioning the Virgin Mary’s (played by Alfre Woodard) story in person. Multiple times, he says, “Oh, okay, so you really believe this.” The notion of a biblical epic starring an atheist is rather humorous on its face, and hijinks ensue due to Clarence’s contempt for the beliefs of others, including his twin brother Thomas, one of the 12 apostles. The Book of Clarence achieves much of its humor from infusing current lingo and behavior into an ancient time period. In one scene, Clarence sucker punches a man getting ready to fight him. When the man says, “You hit me unprovoked,” Clarence shrugs and says, “Hey, look alive.” The film borrows several modern-day phrases, contrasting heavily with the Old English typically uttered in Bible stories. Additionally, the music blends the sounds of traditional hymns with a more modern R&B/Soul taste, using artists such as Kid Cudi, Jorja Smith and D’Angelo. Visually, the costuming and scenery is very much on point for a biblical epic. The one glaring difference is the actors: they’re predominantly black, pretty much unheard of in this genre of movie despite its historical accuracy. The key to all of the movie’s experimentation is the splendid cast, which consists of supporting roles filled by Teyana Taylor, David Oyelowo, Marianne Jean-Baptiste, Benedict Cumberbatch and James McAvoy. Despite the movie’s humorous and at times mocking tone, The Book of Clarence takes a rather drastic turn for the serious in its last 20 minutes. It may be a head-scratcher and even a letdown to viewers who enjoyed the comedic stylings, as it strays so far from the vibe that it spent more than 90 minutes creating. One theory could be that this shift is meant to appease more devoutly religious attendees, who do not get much satisfaction out of seeing their faith be a punchline. If true, a fair counterpoint is that they are surely already pissed off if they attended at all, and there is no point in compromising your ending to appease them. Nonetheless, you may fall anywhere on the spectrum of enjoying the majority of the film, nodding in approval at its resolution, or appreciating it as a whole (or just hating it I guess). The most obvious comparison for Jeymes Samuel’s second feature (his first was The Harder They Fall , also starring Stanfield) is Monty Python’s Life of Brian , the acclaimed 1979 British satire. I will throw in two slightly more recent films of the 1990s, Friday and Baby Boy . Both films had protagonists who, while charismatic, were hard-headed and could not get out of their own way at times. Like Craig (Ice Cube) and Jody (Tyrese Gibson), Clarence finds himself in a world of trouble simply because he refuses to shed his adolescent ways, even at the behest of his love interest. All three protagonists had fiercely loyal best friends and parents who simply wanted them to mature. The Book of Clarence may seem unfocused at times, but it certainly provides a familiar backdrop with a creative twist. 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 Marcel the Shell with Shoes On paints a portrait of resiliency A24, 2021 90 min Director/Writer: Dean Fleischer-Camp / Dean Fleischer-Camp, Jenny Slate, and Nick Paley Reading Time: 5 minutes Marcel the Shell with Shoes On Hope Springs Internal (IUOYFM5ZEJE970SL) 00:00 / 04:54 📷 : Used with permission, Showtime Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-03-22 Admittedly, as I have gotten older and cynical, I have written off nearly every movie with talking animals or inanimate objects as “for kids.” I may watch them with my niece and chuckle but never fully believe there are any life lessons to be learned. What could a kid’s movie tell me about life (never mind that all of these movies are made by adults)? Every now and then, though, I sit down with an open mind and get a reminder that family movies can deliver a message that resonates with viewers of all ages. Dean Fleischer-Camp’s touching mockumentary about a resilient mollusk gave me just that reminder. Marcel the Shell with Shoes On presents a protagonist who is both literally and figuratively down-to-earth. Marcel (Jenny Slate, Obvious Child ) stands just an inch tall with one eye, but he sees the bigger picture far better than most. Separated from much of his family when the humans who owned his house moved away, Marcel looks after his grandmother, Connie (Isabella Rossellini, Enemy ), and carries out his daily routine while being the subject of a documentary shoot. Despite his clear-cut regimen and affection for his grandmother, he has not given up on his search for the rest of his family. The odds are very much against him, as the couple that moved away has broken up and cannot stand one another. Furthermore, his family has no idea that he is even alive or looking for them. His efforts are initially fruitless, as the public is more allured by the celebrity of Marcel than the opportunity to help him. Even though he gains notoriety from being on YouTube, his presence simply spawns fan videos and skits rather than any altruistic attempt to assist him in his search. He and Dean set out on a tour of the city, and when Dean’s car reaches an area with a panoramic view, Marcel is struck by its beauty. Sadly, he is also discouraged by how hard it will be to find his family given the endless possibilities of their whereabouts. A potentially fortune-changing moment occurs when a producer from 60 Minutes reaches out with an inquiry about doing a segment on Marcel. While the opportunity seems like a no-brainer, Marcel worries about the impact of all the hustle and bustle on his ailing grandmother’s health. He declines the interview initially before Connie convinces him that he cannot let the fear of change keep him from growing. Much of the film, which is a continuation of the viral short film series from 2010, consists of banter between Marcel, Dean and Connie. While Dean wishes to remain off camera and unheard, Marcel asks questions as much as he provides information. His inquisitive nature would have you believe that he is naïve or lacking in wisdom. Quite the contrary, Marcel’s questions reveal a different and perhaps deeper understanding of the world than many humans. In one particular instance, Marcel notices the reactions in the comment sections of his YouTube videos and says, “It’s more of an audience than a community.” He realizes that while people are engaging or seeking attention for themselves, they are not actually bonding with one another in any significant way. The most noteworthy aspect of Marcel’s character is that despite his diminutive stature, nothing seems insurmountable for him. He has figured out ways to accomplish any daily task that he needs to, from scaling the wall to shaking fruit out of the tree to typing up email responses. His performance of such tasks is generally overshadowed by his exchanges with Dean or Connie, but his adaptability stands out as an inspirational takeaway for the audience. For Marcel, none of these tasks are cumbersome or discouraging in the slightest. As the house seems vast to him, the world can seem vast to any one of us. Despite how overwhelming it can be, we all have the ability to acclimate ourselves to a routine and find it manageable if not enjoyable. Marcel the Shell with Shoes On feels like a delightful cross between Toy Story and Finding Nemo . Marcel’s mannerisms resemble that of the toys from the 1995 Pixar hit, all having to figure out how to maneuver around the vast houses they reside in. However, Marcel’s mission certainly resembles that of Nemo’s family, separated and trying to re-unite against all odds. The film provides many laughs and a few tears, but also serves as a reminder to any human being of what enduring spirits can accomplish. 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!

Clarice shrouded in mystery and intrigue with diverse cultural representations < Back Clarice shrouded in mystery and intrigue with diverse cultural representations Secret Hideout, 2021- 60 minutes Creator: Alex Kurtzman and Jenny Lumet Reading Time: 4 minutes 📷 : Licensed from Shutterstock Clarice Miles Away (CFUTYOYA5NRV01VN) 00:00 / 04:40 Ginseng Suspenseful and intense thrillers Matcha Mysteries or whodunnits Reba Chaisson 2021-07-25 A television series spinoff of the 1991 film, Silence of the Lambs , Clarice features very smart but green FBI agent, Clarice Starling. While the crimes are gruesome, the series does not present a likeness of Dr. Hannibal Lecter (at least not yet), so no need to prepare for the show with a glass of Chianti. In each week of season 1, the series unveils a piece of the evolving story, which contains multiple creepy antagonists steeped in a diabolical murder conspiracy. Despite the challenges of the case, Clarice continues to be haunted by her confrontation with Buffalo Bill, the pathological villain from the movie. Like her namesake in the film, played by Jodie Foster, Clarice has a naïve fearlessness about her that makes her very good at her job. Supporting her naivete is the character’s roots in Appalachia, which her mild southern drawl triggers with each line of her dialog. As the show reveals, this makes Clarice uniquely qualified for cases in rural geographies. And her naiveté helps her sustain a level of humility that keeps her engaged in investigations with a child-like curiosity. Played by Rebecca Breeds ( The Originals , Pretty Little Liars ), Agent Starling has a special ability in profiling offenders of gruesome crimes, and once they are pinpointed, tapping into her own instincts to solve them. Consistent with the types of crimes her team investigates, the aesthetics of the show are dark. In fact, the scenes often occur in the dimly lit halls of its east coast FBI headquarters, or at night in wet and sometimes muddy conditions. The homes and buildings they visit are designed of old architecture with dark-brown, spacious interiors and a bottom-up vantage point of long, straight staircases—all adding to the frightening nature of the show’s subject matter. Clarice’s roommate and best friend is Ardelia Mapp, a Black woman and FBI agent, played by Devyn A. Tyler ( The Underground Railroad , Antebellum ). Despite graduating from Quantico with top marks, she researches cold cases in isolation rather than investigating active cases with fieldwork, a prized part of the job. Mapp’s frustration with her job assignment is revealed during a conversation with Starling in which she excoriates the FBI for denying her opportunity while Starling’s gets dropped into her lap. Starling empathizes, even sympathizes with her friend but is at a loss for what to say or do. “The work,” Mapp responds in exasperation. The poignant exchange drives home statements about systemic racism and the complexity of friendship across race and region. The show continually revisits the salience of race in the FBI, which, in real-life, has been long‑rumored to be laden with discrimination. In Episode 4, for example, a Black male security guard, also an FBI agent, invites Mapp to a meeting of The Black Coalition, a support group for Black agents in the FBI that assists in obtaining opportunities in the Bureau. While she respectfully declines, asserting, “it’s not for me,” the frank exchange makes it clear that the show is not shying away from the hard realities of being Black in the Bureau. Lucca De Oliveira ( Seal Team , The Punisher ) plays Tomas, a young, military-trained sniper and Hispanic member of Clarice’s team. Showing strength in courage, he befriends and partners with Clarice when she is dismissed and admonished by her boss and deals with pranks by other FBI agents. Her no‑nonsense and reserved boss, played by Michael Cudlitz ( Southland , The Walking Dead ), surprises Clarice and the audience, though, at every turn. Initially resistant to her joining his team, his trust of her instincts, and her hope of his fair treatment, grows as the series moves on. For viewers who love crime mysteries shrouded in dark aesthetics, with smart, racially, ethnically, and regionally diverse characters and relationships, this is a series you might enjoy. Just don’t expect Hannibal Lecter to be lurking around. 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 The Substance throws subtlety out the window Working Title Films, 2024 140 minutes Director/Writer: Coralie Fargeat Reading Time: 6 minutes The Substance The Great Beyond (TRJQZFP7BOZXMZSS) 00:00 / 06:17 📷 : Siddharth Vinod https://www.instagram.com/21ddharth/ https://x.com/21ddharth Saffron Movies and TV shows with great visual effects Coca Movies and TV shows about drugs or with disorienting presentations Chris Chaisson 2024-10-14 Artists and critics alike make a habit of applauding subtlety, maybe even overvaluing it. Often, viewers scoff at anything that is not filled with symbolism and subliminal messaging, categorizing it as low-brow or simple. But who made this rule? Why does every project have to take a “medicine in the candy” approach to be valued? The Substance bucks this trend as the newest critically acclaimed body horror that goes for broke at every turn. Demi Moore plays Elisabeth Sparkle, an aerobics instructor/actress with her own Walk of Fame star, who experiences a mid-life crisis after overhearing a crass executive (Dennis Quaid) named Harvey (hint hint) expressing his wishes to push her out the door. He insults her age and appearance, going beyond the insinuation that she is replaceable, to later just flat out saying it and firing her. Disheartened, she ruminates on Harvey’s hurtful language, and while heading home, sees a picture of herself being removed from a large billboard. The distraction causes her to get in a violent car accident and a visit to the emergency room, where the younger of her two doctors slips her a card with a phone number and quietly comments that [“she’s] perfect.”. When she calls the number, she learns about a cell-replicating chemical solution that, when injected, will “unlock her DNA” and allow her to become a younger version of herself, whom she must switch off and on with every seven days. When Sue (Margaret Qually, Sanctuary ), the younger version, starts stealing both time and anatomy from Elisabeth, the consequences for Elisabeth are irreversible and grotesque. You may have heard of the sub-genre “body horror.” The Substance is the body-horrorest of body horror films you will ever see. While the film has a clear, strong and possibly repetitive message, it is not for the faint of heart (or other body parts for that matter). During its nearly two and a half hour run time, there are numerous scenes of blood, gore, and body metamorphoses; these despite the film not having much actual violence at all. Director Coralie Fargeat ( Revenge ) goes heavy on the stylized elements of the film, using amplified sounds, extreme close-ups and the occasional fish-eye lens effect to create a sensory overload for the audience. The goal of all these disconcerting technical elements is to hold a mirror up to viewers, highlighting how ageism and misogyny operate in tandem within the entertainment industry. Rather than display the mental and physical effects of these social ills subtly and sporadically throughout the story, Fargeat amplifies them at every turn. The Substance does bear resemblance to many films in the “robot takeover” sub-genre in that, though not an actual robot, Sue begins as a seemingly empty vessel. In a heartfelt, dramatic version of this movie, she and Elisabeth would develop a mentor/student relationship that enriches both of their lives. But in the sci-fi universe, they are not allowed to co-exist and instead end up pitted against each other. Sue learns how to navigate the world through social interactions and the attention and opportunities that she is awarded; thus, she quickly views Elisabeth as disposable, nothing more than a barrier to her own continued success. In this way, the drug has the opposite effect from what Elisabeth intended. The film will definitely turn a few stomachs, and as with the release of other gruesome films, such as the new Terrifier sequel, a common criticism will be that the volume of gore is unnecessary. Certainly, everything isn’t for everyone, and regardless of message, The Substance may not be everyone’s cup of tea (hmm). However, if you gravitate toward films of the Coca and Saffron variety, maybe you have already decided that you’re game. One could also criticize the film for being repetitive in its messaging, but then again, discrimination to oppressed parties feels very repetitive. An unfortunate reality is these social ills have spanned many generations. In this respect, such a story probably holds true and resonates with those who can relate. The abundance of visual effects should not overshadow how strong the performances are. Quaid effectively plays Harvey, who is not just a smarmy chauvinist but a fairly disgusting human being. Early on in the film, he goes to the bathroom while on the phone, does not wash his hands and leaves to eat. His table manners in the next scene leave a lot to be desired. Harvey’s interactions with both Elisabeth and Sue lack any level of professionalism, empathy or genuineness, and he consistently speaks about Sue to others as though she is his “creation.” Just the same, Moore commendably plays a forlorn former star who cannot peacefully appreciate the success she has achieved. While her decision to inject the substance in the first place suggests she is desperate to revisit her youth, her actions later in the film indicate that deep down, she would have relished simply having an authentic relationship with a protégé. Lastly, Qualley strikes a perfect balance in her role as an adaptive humanoid. Early in the film, she gives off blank expressions, empty stares and minimal speech. As she has more exposure to others and more time in the spotlight, her non-verbal communication becomes much more nuanced with eye rolls, head turns and shrugs. For sci-fi and horror fans, The Substance may bring to mind Darren Aronofsky’s Requiem for a Dream , a film about the crippling effects of drug use on four people with intersecting stories. Both films come across as quite downtrodden, with Requiem being the classic “It was good, but I’ll never watch it again” movie. The Substance dabbles in satire and offers a few more chuckles with its absurdity. One way or another, this film exists as the perfect example of how important it is to find your cup of tea. Although after watching some of the visual effects, you may trade the tea out for a large bottle of mouthwash. 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 Beau is Afraid stays surreal from beginning to end A24, 2023 179 minutes Director/Writer: Ari Aster Reading Time: 5 minutes Beau is Afraid Feast (JUPMOPH6SNVDEVIS) 00:00 / 04:51 📷 : Used with Permission, Agustin R. Michel https://www.instagram.com/agustinrmichel https://twitter.com/AgustinrMichel https://www.behance.net/agustin_rmichel Yarrow: Movies and TV shows about illness or set in hospitals or similar medical institutions Chamomile: Family dramas Chris Chaisson 2023-05-17 Creating a fantasy-based universe in a script can give writer/directors a lot of leeway. Often, they spend the first 15 or 20 minutes providing a boring, grounded reality familiar to the audience as a basis for comparison. Think of Jumanji , which both begins and ends with our basic modern-day existence. In the middle portion of the movie, we see lions, stampedes, and David Alan Grier in a cop uniform. However, some filmmakers go wire to wire with the fantasy, never letting the audience catch their breath. Ari Aster chooses this path in his newest psychological horror-drama Beau is Afraid . Joaquin Phoenix ( Joker ) plays the title character, a middle-aged therapy patient suffering from anxiety who tries to make it home to visit his mother, Mona (Patti LuPone, Summer of Sam ). In a true case of Murphy’s Law, several unforeseen circumstances prevent Beau from catching his flight home, some of which are quite surreal. For instance, as Beau tries to drift off to sleep the night before, a neighbor slides notes under his door asking him to stop playing his music so loud. This confuses Beau, as he is not playing any music at all. After a few notes and some banging on the door, the neighbor proceeds to blast his own stereo as payback, taking Beau off of his sleep schedule. Upon the realization that he will miss his flight, he calls to inform his disappointed mother of the situation. He later calls her back and a delivery man picks up, telling Beau that he has discovered Mona’s lifeless, mutilated body while making his delivery. Beau determines that he must find a way home immediately to either find his mother or mourn her passing, leading him through several perilous situations. Ari Aster’s three-hour odyssey feels like an extended fever dream at times, as it occurs from the hallucinatory perspective of Beau. As with other psychological horror films (for instance, Aster’s very own Midsommar ), the audience does not know what is happening in the “real world” and what is in Beau’s head. Aster plants several seeds from scene to scene that create a sense of dread in the audience. For instance, Beau’s crime-ridden neighborhood consists of violent vagrants that he could run into at any point in time. His own apartment has a large spider loose somewhere, shown to the audience when Beau first arrives at his unit. Ultimately, what’s real to him is real to us, and the ominous surroundings and situations make the audience relate to Beau’s unease. Loneliness heavily contributes to Beau’s anxiety, as he has no trusted friends to guide him back home. In many odysseys, the central character has a confidant or protector, such as Samwise Gamgee in the Lord of the Rings trilogy. Beau has no such support system. Everyone he comes into contact with is either hostile towards him or just untrustworthy. This even includes Roger (Nathan Lane, The Birdcage ) and Grace (Amy Ryan, Birdman or (The Unexpected Virtue of Ignorance) ), the couple that nurses him back to health after he gets stabbed and hit by a car. Beau not only lacks a friend but also a romantic partner, as he still yearns for his first love from childhood Elaine (Parker Posey, Dazed and Confused ). The befuddling surroundings he finds himself in (the forest, a stranger’s home, an unsafe neighborhood) could only be made more comforting with a friendly, trustworthy face, which he does not come across until the final act of the movie. As several perverted, scary and violent moments occur throughout Beau is Afraid ’s 179-minute runtime, the audience is not grounded in any type of reality. Thus, Aster’s fantasy-riddled style emulates that of contemporaries like Darren Aronofsky ( Black Swan ) and Charlie Kaufman ( Eternal Sunshine of the Spotless Mind ), who often hold the audience’s head under water from beginning to end and never let them up for air. For some, this style creates a much more enthralling film with no limitations on what the audience will see. Others may view it as a cop-out, allowing the director to depict the most absurd and vulgar goings-on with no consequences, defying any sort of cause-and-effect chain. The side of the fence you fall on will determine how you feel when the end credits roll. In spite of the aforementioned Aronofsky and Kaufman comparisons, the film Beau is Afraid reminded me of the most was an early 2000s film directed by Stephen Spielberg: A.I. Artificial Intelligence . Though the main character was a robot as opposed to an anxiety-ridden 40-something, both characters embark on dangerous quests to gain the adulation of their mothers, with menacing antagonists standing in their way. 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!