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< Back Wind River gives a glimpse of life on “the rez” Acacia Filmed Entertainment, 2017 107 minutes Director/Writer: Taylor Sheridan Reading Time: 5 minutes Wind River Things Gone Wrong (WWEH576CL64WHWCC) 00:00 / 05:52 📷 : Used with permission, Snollygoster Productions https://www.instagram.com/snollygoster.productions/ https://posterspy.com/profile/snollygoster-productions/ Ginger: Thought-provoking movies and TV shows Mint: Movies and TV shows in cold weather and blizzard conditions Reba Chaisson 2021-07-25 Few contemporary stories are set on lands of Indigenous people. This one is guided by Jeremy Renner and Elizabeth Olsen who work together to catch the rapist and killer of a young woman. The 18-year-old is found barefoot in the winter wilderness on the Wind River Indian Reservation in Wyoming. While the film is focused on investigating the crime, the cultural backdrop gives viewers a front seat to the Arapaho Nation’s challenges, cynicism, and humanity. Sadness, sameness, and a sense of lull hang over the film at the outset. Until the audience spends the next hour and 47 minutes on “the rez,” an appreciation for this can never be understood—short of the firsthand experience of living there or somehow becoming a part of the community. Renner ( The Hurt Locker , The Town ) plays Cory Lambert, a U.S. Fish and Wildlife specialist who hunts wild game that prey on the cattle and sheep raised by Wyoming ranchers on federal lands. Recently divorced, he is very close to his ex-wife, her family, and their neighbors who live on Wind River. When he is dispatched to the reservation to track down a lion that recently killed a rancher’s steer, he stumbles upon the body. The discovery deeply affects him because he knows the woman and her family quite well—she is his daughter’s best friend. Graham Green ( Goliath , Molly’s Game ) plays Ben, the sheriff of Wind River. The combination of his cynicism and seriousness strikes a perfect chord in the film, balancing the murder tragedy with the travesty that is life on the reservation. A valley of flat land for miles cradled by mountains so difficult to climb “you have to travel 50 miles to go five,” Wind River appears to be a forgotten place despite being only 140 miles from Jackson Hole, an affluent vacation and resort area. “The rez,” on the other hand, is a desolate and impoverished community with few prospects for young people. The geographic and social isolation of Wind River brings back images streamed of New Orleans in the aftermath of Hurricane Katrina. Then, people in the once-rambunctious city motioned in the warmth to hovering news helicopters for help. On Wind River, cold and silence fill the space as residents seem to have resigned themselves to the fact that help will never arrive and no one with authority cares. When a lone FBI agent is dispatched to help with the murder investigation, no one is surprised; indeed, the scene is almost laughable if the situation were not so tragic. When Agent Jane Banner is flabbergasted that the coroner will not declare the woman’s death a homicide, noting that she will get no additional federal help unless he does so, Ben quips “Don’t look at me; hey, I’m used to no help.” Played by Olsen ( Avengers: Infinity War , Sorry for Your Loss ), Jane is a breath of fresh air in the film. Her naivete about life on “the rez” brings a much-needed outsider’s perspective. Not only is she a federal officer who works collaboratively with Ben and Cory to find the killer, Jane arrives on Wind River with no apparent assumptions about the people who live there or the conditions of the community. She displays the ability to empathize more through emotions than words, which stands out amidst the apathy surrounding her. What she learns about life on “the rez” and what the young woman endured before her death are aptly revealed as overwhelming for her. This is particularly so after an intense, action‑packed climax. In some ways, Jane’s telling emotional scene is reminiscent of the 1996 film, A Time to Kill . In his summation to the jury, Matthew McConaughey’s character described in detail what happened to the little girl who was assaulted. He then asked the jurors to close their eyes, and said, “Can you see her? Now pretend she is White.” Jake Brigance, McConaughey’s character, saw this statement as his last‑ditch effort to humanize the little Black girl for the all-White Mississippi jury. Jane’s character in Wind River functioned much like Jake’s in pushing forth the film as a story about humanity, rather than just a crime saga produced solely for entertainment value. I wonder, though, about the effectiveness of this had Jane and Jake been cast with Black, Hispanic, or Indigenous actors. Unfortunately, this is still something I wonder although the two films are separated by more than 20 years. Filmed mostly during the daylight hours and almost entirely on Wind River, the movie contains some intimate family moments. During these times, we come to understand what underlies the personal and emotional pain of the characters including that of Cory, as well as the factors that contribute to the breakdown of families on “the rez”. While it is a film about a crime, Wind River is also a story about a forgotten segment of the U.S. And ironically, the audience sees this through the empathetic eyes of White lead actors, one of whom depicts a federal agent. Wind River might be for you if you like crime mysteries, suspenseful climaxes, and particularly if the sight of mountains and the use of snow gear and snowmobiles are appealing. Also, if you are a history buff, you get to view the legacy of the U.S.’ century-long movement of Indigenous people onto reservations. 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< Back Burn Burn Burn examines how familiarity can breed contempt Rather Good Films, 2015 106 minutes Director/Writer: Chanya Button / Charlie Covell Reading Time: 4 minutes Burn Burn Burn Finding My Way (T2ZTIRYFQ43TQUUV) 00:00 / 04:33 📷 : Pixabay Chamomile: Family dramas Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2021-08-30 Road trips are the truest test of friendships. Spending an hour or two with a friend who has their flaws requires much less patience than being trapped in a vehicle with them for several days. This reality may be what makes these films so interesting, as many of us are familiar with the commitment that is spending this amount of time in proximity to a non-family member. The trip starts out with fun, noise and optimism and becomes a battle of attrition. In the end, you must figure out if you love this person’s virtues more than you hate their vices. As a road trip buddy comedy, Burn Burn Burn puts this struggle between its co-leads on display. Directed by Chanya Button, Burn Burn Burn puts two best friends in a car together to travel through England, spreading their deceased friend’s ashes in various landmarks at his request. Similar to other movies of this sub-genre, the road trip itself occurs amidst a period of transition and stress for both the main characters, Alex (Chloe Pirrie, Downton Abbey ) and Seph (Laura Carmichael, The Queen’s Gambit ). Alex catches her girlfriend in a compromising position while Seph questions her feelings for her long-term boyfriend. Both are on shaky ground in their professional lives as well due to their lack of focus. And most importantly, they each juggle their worrisome romantic situations with their grief for the inciting incident of the story: their young friend Dan (Jack Farthing, Poldark ) succumbing to pancreatic cancer. Unlike many road trip movies that are driven (no pun intended) by the desire of the main characters to “shake things up,” Alex and Seph’s goal is to fulfill Dan’s last wish of having his ashes spread across England. He leaves them a series of webcam videos discussing what all the locations mean to him and even addressing his complicated friendships with each of them. Burn Burn Burn pulls off very well what many films struggle to do, which is to make a deceased character feel like they are still in the story. Dan is not only responsible for all of the film’s action but much of its conflict as well. In airing out his grievances, he exposes issues that Alex and Seph have with one another. Seph considers Alex to be stiff as a board while Alex believes Seph to be selfish and flaky. Of course, their increased time around each other exposes these differences and begs the ultimate question: do these two really like each other? Or are they simply staying friends because it feels like they are supposed to? For anyone past the early stages of their adulthood, Burn Burn Burn hints at a subtle reality that can be tough to grasp: the older you get, the harder it is to make new friends. We hold on tight to the people that we have known the longest and enjoy being around the most. Alex and Seph not only lose someone who fits that description but now, in the midst of troubling times for each of them, must examine one another’s flaws more closely. It is a drawback to embarking on a road trip that is often only realized in the middle of the journey. Sometimes our closest friends are very different from us, and we may even keep them close because we take solace in observing their issues over addressing our own. In this way, Burn Burn Burn feels very much like the early 2000s buddy road-trip comedy Sideways , a film considered by many at the time as one of the best in its genre. Miles and Jack clearly enjoy each other’s company but are nothing alike, and the impact of their stark differences grows from a crevice to a gorge over the course of one week together. The viewer feels the same animosity develop between Alex and Seph, and as many of us do in real life, we must decide once the cat’s out of the bag whether we remain friends. If you enjoy films about two aging friends questioning their bond and ultimately working through their issues, Burn Burn Burn offers a few laughs, a tear or two, and some tough questions sure to infiltrate your own social circle. 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 A Fall from Grace puts the matter of trust at center stage Tyler Perry Studios, 2020 120 minutes Director/Writer: Tyler Perry Reading Time: 5 minutes A Fall from Grace Rampant (18I3YMSBSMH3VNJU) 00:00 / 05:45 📷 : Licensed from Shutterstock Dandelion: Movies and TV shows with heavy subjects Ginger: Thought-provoking movies and TV shows Reba Chaisson 2021-07-25 A Fall from Grace is a contemporary film about an independent, older single woman named Grace, played by Crystal Fox ( The Haves and the Have Nots, Big Little Lie s), who falls in love with Shannon, a young charismatic photographer played by Mehcad Brooks ( The Game , Necessary Roughness ). Predictably, the fairy-tale affair ends when all hell breaks loose after their inevitable nuptials. The heartbreaking story is reminiscent of the 1990 film, Pacific Heights , with Melanie Griffith as “Patty” and Matthew Modine as “Drake.” The newlyweds invest their savings in a beautiful San Francisco apartment building and then struggle to remove Carter, a vile tenant played by Michael Keaton, who has wormed his way into legal squatter’s rights. In A Fall from Grace , despite Grace’s efforts to get Shannon out of her house and bank account, he unabashedly exploits his new legal entitlements, remaining entrenched and entangled in both. “What’s mine is ours” is twisted by Shannon into: “What’s mine is mine and what’s yours is mine too!” As with Patty, we can feel Grace's frustration and hopelessness. But A Fall from Grace takes a huge departure from Pacific Heights as its story unfolds. At center stage of the film is the matter of trust, which no written documents, legal contracts, and mutual understandings and sentiments can tightly wrap in a bow and make ironclad. While Spiderman has his “spidey” senses and Fred Flintstone “The Great Gazoo,” we only have our instincts, feelings–our hearts–as fallbacks, and we ultimately take giant leaps of faith based on these. When we are shaken like a rag doll because we were wrong, we feel foolish. But as Grace’s young lawyer intimates, taking the risk to trust someone only means we are human. Grace’s lawyer plays a key role in the film. At age 26, Jasmine, played by Bresha Webb, seemingly accepts her lot as the public defender with a specialty in plea bargaining, until she encounters her new client. Although even then, there are some problematic moments where she pouts and appears to lack any legal training at all. Also pivotal in the film are Phylicia Rashad as Grace’s best friend, "Sarah," and Tyler Perry as Jasmine’s jaded boss who demands nothing more of Jasmine than her legal expertise. Two-hour movies are rare today and what filmmakers make of the extra 20 to 30 minutes can be intriguing. A Fall from Grace is presented out of order, layered in like a puzzle and forcing the audience to figure out how and where pieces fit to make the story a full yarn. Here, the technique has the effect of inviting viewers into the weaving of the story. Guided through Grace’s narration of past encounters with Shannon, her confidences shared with Sarah, and then combined with Jasmine’s present-day investigation, the film unfolds into something we could have never anticipated. The level of suspense raises the story from something more than a simple, predictable drama to a story that pushes viewers to the edges of their seats. The Southern urban aesthetics of the film include large, old, picturesque homes pushed back from the street as if giving the audience room to breathe. The addition of dark hues draws the audience’s focus and has the effect of inviting viewers into the story. This setting, though, was disrupted with a single, isolated scene of Grace and Shannon having dinner at a diner that looked like a Checkers - yes, the fast food restaurant. The oddity was compounded by capping off the meal with the two drinking wine from stemware. During this moment, the film lost its aesthetic magic, its feel. Minus the distraction, I felt like I was in the room during the scenes at Grace’s home and being blanketed with a healthy dose of Southern hospitality. The warmth made it starkly apparent that Shannon did not belong in this space. Calling her "a fool" – and in her own home, he remarks that “A woman your age is low hanging fruit.” Speaking of age, a treat of the film is an appearance by Cicely Tyson. This is one of her last roles before her death in early 2021, at age 96. Reviewers talk a lot about aging as the subject matter of films (i.e. Book Club and perhaps Trouble with the Curve ), but seldom is the topic of age diversity in films broached. While the cast of A Fall from Grace is predominantly Black, age representations range from the youngest Millennials through the Greatest Generation, and all in prominent roles with significant on-screen time. And as for color-struck, this film is a step toward priming audiences to get over it! Several themes run throughout A Fall from Grace , most more overt than subtle. Among them: Youth is no excuse for lack of persistence. Skepticism is healthy. And at times, you have to trust somebody or you will end up alone. If you are in the mood for a contemporary and suspenseful story with a Southern feel, you might want to give this one a try. 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 Mr. Church sheds a light on what it means to be ‘family’ Cinelou Films, 2016 104 minutes Director/Writer: Bruce Beresford / Susan McMartin Reading Time: 7 minutes Mr. Church Lucky Me (TMVRAXX2NLYNIIVD) 00:00 / 07:45 📷 : Licensed from Adobe Stock Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Sage: Movies and TV shows with low-key characters Reba Chaisson 2021-07-25 Sometimes Hollywood can shoot itself in the foot with genre categories. Perhaps because this film stars Eddie Murphy, Mr. Church is classified partly as a comedy despite being a purely dramatic story based on the writer’s own life, growing up in sunny Los Angeles. Set in the 1970s, the film depicts what was to be a short-lived working arrangement between a chef and McMartin’s family that blossomed into a long-term and meaningful relationship. Mr. Church is a little-known movie starring Eddie Murphy as the title character, in which he plays the reserved, personal chef of a young girl named, Charlie, played by Brit Robertson ( Under the Dome , Big Sky ) and her mother, Marie, played by Natascha McElhone ( Designated Survivor , Ronin ). Mr. Church reads literature, and he cooks with olive oil, cumin and arrowroot while enjoying the sounds of big band jazz music on the turntable. In addition to the 1970s backdrop of bus shelters, vintage public transportation, and the clothing of the day, Marie’s modest two-bedroom apartment is bathed in soft natural lighting that occasionally shines brightly through the windows, contrasting with the dark wood entryways and doors. This gives a cozy and simple family feel to the home that makes it inviting, almost as if Mr. Church was being welcomed into the space as a member of the family. Boundaries matter to Mr. Church though. While he makes subtle efforts at the outset to endear himself to the little girl who begrudgingly lets him cook for her and her mother, he makes it clear that his personal life is off-limits as her curiosity increases about who he is and where he goes when he is elsewhere. In response to her probes, he impatiently shouts, “You have me from morning to night. And what I do when I leave here is my time.” Interestingly, this adds intrigue to this aspect of the story and keeps the audience wondering as well: just who is Mr. Church? Where does he go and what does he do when he is not cooking for the family? These boundaries are typical of family boundaries. Indeed, the film’s feel and subject matter bring to mind another little-known work called, Under One Roof . Airing in 1995, the short-lived, weekly television series starred James Earl Jones, Vanessa Bell Calloway, and Joe Morton, in a story about three generations living under one roof in their two-story Seattle apartment building. The show contained tough conversations, gentle moments, and even heart-to-heart talks with a teenage foster son, Marcus, played by the late Merlin Santana, who struggled to adjust to being a part of the loving family of seven. It featured family meals together where kids wanted to sit next to their favorite people. It included a teenage daughter, coincidentally named “Charlie,” who had to be put in her place on occasion, as her mom reprimanded, “Don’t you walk away from me while I’m talking to you or you’ll be really buggin’.” And finally a husband insisting that his wife not feel guilty for going back to school and completing her degree: “Doing something for yourself doesn’t mean that you’re being selfish.” Not just limited to shared genes, a family’s binding elements include boundaries, checks, and balances. As with Mr. Church, Marcus is not related by blood in Under One Roof , but his range of interactions with family members signals yet one more connection to what becomes a long-held family bond. While unrealistic that a Black chef in a predominantly White, lower middle-class neighborhood would not have encountered some microaggressions while riding the bus or shopping for groceries, I was pleased by the absence of such scenes because of its bliss. Apparently, the filmmakers saw little need to interject language and sentiments of race into the film, likely because the exchanges would have detracted from the purity of the story itself. It begs the question, though, if a story should be presented with complete and accurate historical context, or if filmmakers have tacit permission to strip away extraneous but ugly information that can add noise to the film and disrupt its themes. The approach depends on what the filmmakers want to convey. Mr. Church is a story about family rather than history, revolution, or social transformation. Does the fact that the Black Power Movement and news around the Patty Hearst kidnapping are also occurring in California at the time mean that these events should be weaved into the film to keep the story authentic? Even though this would extinguish my bliss, I would argue that not doing so to some extent is problematic given the tumult of the period and the shared location—even if the scenes were limited to a passing television news report or the headline of a local paper lying around on a table. This would be sufficient to get a sense of the story’s context and provide some insight into Mr. Church’s thoughts and experiences. With these additional images, Mr. Church would not just be a man the audience admires because of what it sees, but he could also be a man the audience understands because of some of the experiences he lives and that continue to shape him. This is the depth missing from the depiction of Mr. Church that could have been filled not necessarily with lines, but with context. Perhaps though, containing the film’s scope to the relationship among the characters is fair. But even this falls a bit short. The story is heavily narrated by Charlie, who offers candid observations about Mr. Church: “I never once saw Mr. Church use a measuring tool, just his hand, fork and knife.” She even reveals resentments of her mother: “[Mr. Church and I] each had our duties. … My one and only job was to bathe Momma–and I hated it.” However, Charlie reveals very little about her social life. When she goes off to college and returns home for a break, the audience learns very little about her time on campus, which was the site of a great deal of social activism. What was life on campus like for her? Surely Mr. Church’s interest in jazz suggested a strong interest in Black culture. How can Charlie’s campus experiences not be shared with the person close to her, and whose life was likely affected by the social issues of the day? The absence of conversation creates a bit of a chasm in the story and disrupts much of its continuity–though, to be fair, not so much that it detracts from the story about the ties that bind. At a point in the film, Charlie says about Mr. Church, “People act strange around death. There are those who talk about everything but the person who died. There are those who only talk about the person who died. … And then there are those who say nothing at all–because they don’t have to.” Maybe this is the message the filmmakers seek to convey. While political and social climates typically serve as backdrops for film, stories such as this one about family are, or at least can be at times, insular. Respecting boundaries, saying nothing or very little at all, can convey volumes about what people mean to one another. Hmmm, sounds like family bonding. 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< Back Saint Omer weaves a deep story that draws in the audience and shifts perspective Srab Films, 2022 122 minutes Director/Writer: Alice Diop / Amrita David, Alice Diop, and Zoé Galeron Reading Time: 5 minutes Saint Omer Redemption (A7X9UHXWTZE3THEC) 00:00 / 06:31 📷 : Licensed from Shutterstock Barley Movies and TV shows with a lot of dialog Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2023-03-28 In 2000, Nicolas Cage played Memphis Raines, a master car thief in the film Gone in 60 Seconds . Incentivized by a big payday, he came out of retirement to steal 50 luxury cars in one night. I recall cheering for his success as he came close to hitting his number, and pondering how the filmmakers were able to manipulate my emotions in this way. How do writers and filmmakers convert the audience from sympathizing with protagonists to cheering for antagonists? There seems to be multiple ways, one of which is through flash for sure, but others are certainly breadth of story and depth of character. Saint Omer certainly fits the latter two. Saint Omer is about a writer and literature professor who covers the courtroom drama of a woman who has pleaded guilty to leaving her 15-month old daughter to drown in the sea. Set in France with nearly the entire film situated in a courtroom, Rama, played by Kayije Kagame ( H24, 24 h de la vie d'une femme , L'invité ), is drawn to the case’s similarity to the Greek mythological story about Medea. Referred to in the film as “The Saint,” the story is about a woman who murders her children as revenge against her husband. Lacking an emotional connection with her mother, Rama carries a deep-seated fear that she too is capable of such an act. I would not think that a film set largely in a formal space and dictated by rule and order could hold my attention for two hours. But the extensive soliloquies and in-depth interviews that make up the overarching foci of the film continually pull me in, arm over arm like tug of war. Unlike the game, I offer no resistance. Laurence Coly’s telling of her story, not through flashbacks but her own words, are compelling enough to make me empathize, even sympathize with her plight. Like everyone in the courtroom gallery, I become deeply immersed in her story to learn why – how she could have done something so unthinkable. In France, even a guilty plea allows for getting answers to these questions, which is in stark contrast to the judicial process in the U.S. When a person pleads guilty in the U.S. court system, it is to avoid an inquiry into the crime and minimize the risk of extensive punishment – in theory anyway. Indeed, the guilty plea is entered and the person who is accused is summarily sentenced by the judge to some pre-negotiated terms. In France, a plea of guilty does not circumvent an extensive court inquiry into the commission of the crime. On the contrary, a detailed examination is performed of the person’s life from birth to present, including family background, schooling, relationships, social life, psychological state, and even current experiences with incarceration. The process is akin to an oral defense of a thesis or dissertation. Instead of professors lobbing questions at the graduate candidate, the judge asks the defendant numerous and detailed questions informed by police reports, psychiatric examinations, and other investigations. In Saint Omer , Laurence, played by Guslagie Malanda ( My Friend Victoria , The Beast ), stands in a designated box throughout the entirety of the proceedings. She responds to each question, even sometimes with a hesitating but eloquent “I don’t know,” essentially putting on her best defense with hopes of mitigating her punishment for the crime. To sum, the French courts aim to gain an appreciation not only for the context of the crime but also the context of Laurence’s life before sentencing her. This is very different from the U.S. system that operates in a way that suggests it cares very little about the circumstances of a crime, let alone the person who committed it – in some cases even if the person committed it. It takes a brilliant piece of writing to convert an observer who initially dismisses a person because of their heinous deeds to one who sympathizes with said antagonist. But something happens when we get to know people — when we get inside the lives of people. Something changes. We come to appreciate that things are much more complex than they seem. We realize that context matters. One of the enjoyable aspects of international films is the view it provides of cultural practices in other countries. France considers context in its efforts to understand criminal cases. It makes me ponder the difference it would make in the complexion of the criminal justice system in the U.S. and the prisons in which they house the people that are convicted. Saint Omer also helps to answer more personal questions concerning Rama’s worries about the kind of mother she can be. And that is: Does coming face to face with those things we fear most help us move forward? Winning the grand jury prize and best debut feature in the Venice Film festival, Saint Omer was the only French film submitted for an Oscars nomination in the international films category. The strength of the feature is not surprising given writer/director Alice Diop’s 15 years as a documentarian presenting stories about the lives of people living on the periphery of French society. As she told The Guardian , “For 15 years, I’ve been making films from the margins, with a political intention of filming those margins – the banlieue, people who have been silenced, because those are the people I come from. That’s my territory, my history.” Saint Omer, which is based on a true story, resonated with Diop’s aesthetic priorities and filmmaking style due to its compelling, eloquent, and deeply personal story. We look forward to seeing more of her work. 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 An intense story of betrayal covering a turbulent time period in the U.S. in the late 1960s. BRON Studios, 2021 125 minutes Director/Writer: Shaka King / Will Berson, Shaka King, and Kenneth Lucas Reading Time: 3 minutes Judas and the Black Messiah Enough Said (8COAKXLXPP0JCOC9) 00:00 / 03:50 📷 : Used with permission, Snollygoster Productions https://www.instagram.com/snollygoster.productions/ https://posterspy.com/profile/snollygoster-productions/ Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2021-07-25 Julius Caesar . 1984 . Antony and Cleopatra . Stories of betrayal can be heavily appealing to many of us. Though the aforementioned examples straddle reality and fiction, you can find plenty of real-world instances of a character using someone’s trust to double cross them. Take for instance mob movies like Donnie Brasco , based on one of many real-life cases of undercover law enforcement entering a mob family. Such characters often prove to be anticipatory and quick on their feet, causing the audience to root for them to escape with their concealed identity intact. The story trope of a mole infiltrating an organized group, be it criminals, activists or law enforcement, conjures up angst and anticipation in viewers who are game. The popular TV series 24 managed to recycle this trope for the better part of eight seasons, earning high ratings the entire way. As fans watch these stories play out, they tend to be drawn in by the dramatic irony. Will the imposter be caught and what will be the consequences? If you’ve indulged in this storytelling enough, you know the stakes are often life and death; and not a peaceful death at that. Judas and the Black Messiah deals with one such story surrounding a revolutionary figure in Black history along with Black Panther Party leader, Fred Hampton. Rather than take the conventional angle of centering the story around Hampton, Judas instead chooses the perspective of William O’Neal (LaKeith Stanfield, Get Out ). A street hustler turned FBI informant, O’Neal strikes a deal with FBI Agent Mitchell (Jesse Plemons, The Irishman ) to infiltrate the Black Panther Party in exchange for a reduced sentence. In doing so, he finds himself in perilous situations with his cover nearly blown while also questioning where his allegiances ultimately lie. Judas and the Black Messiah maintains a level of intensity throughout with strong performances from its leads in Plemons, Stanfield and Daniel Kaluuya as Fred Hampton. Despite its formidable cast, the film occasionally misses opportunities to submerge its audience in the time period, as 1968 was a turbulent year filled with assassinations, hate crimes, and news of the ongoing Vietnam War. Sometimes, rather than portraying real-world events or even story events on-screen, the script opts to simply tell the audience through dialogue. Additionally, while Kaluuya gives a riveting performance, Fred Hampton remains the “1b” character to O’Neal, which may frustrate viewers who are drawn to the lore of this larger-than-life figure. Nonetheless, the film will certainly entice those that enjoy stories of betrayal. Watching Judas and the Black Messiah may take you back to sitting in the movie theater (remember those?) and taking in American Gangster or White Boy Rick , to mention just two such films of the same sub-genre. Though none of these movies is perfect, moviegoers could enjoy all three for their elements of dramatic irony and suspense. Your familiarity with the story of Fred Hampton may tip off the ending to you, but the journey to this finale would make it worth the ride. That is, if you’re into that sort of thing. 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 Opus poses questions about tribalism and the allure of fame A24, 2025 103 minutes Director/Writer: Mark Anthony Green Reading Time: 6 minutes Opus Feast (9L5SNPNTMM9NAGCF) 00:00 / 06:08 📷 : Pixabay Ginseng: Suspenseful and intense thrillers Oolong: Movies and TV shows that make you laugh or involve physical activities like dance and exercise Chris Chaisson 2025-03-14 Fandom creates communities. Whether it’s for a sports team, a movie franchise, or a pop star, people form lifetime bonds over their shared love for a source of entertainment. It can rear its ugly head just as quickly when fans assume the role of protector. We’ve seen online bullying and doxing when writers criticize Taylor Swift, or fights and verbal abuse break out at Raiders games. Tribalism has a strong hold on anyone who feels the need to belong and can evoke criminal behavior from otherwise mellow, well-intentioned beings. What makes it worse? When the worshipped entity contributes to and encourages the behavior; maybe even demands it. First-time writer/director Mark Anthony Green tackles this phenomenon in the new A24 movie Opus . Ariel (Ayo Edebiri, The Bear ) is a magazine writer in her late 20’s who wants to have her breakthrough story. When her friend points out that she is lacking the life experience necessary for a gripping perspective, Ariel feels compelled to join her boss Stan (Murray Bartlett, The White Lotus ) on a retreat to the compound of a former pop star, Alfred Moretti (John Malkovich, Burn After Reading ), who is releasing new music. His expansive resort exists in an isolated location, over 50 miles away from civilization. Upon arriving there, Ariel notices strange behavior from the fan community that has assimilated. Combined with the removal of their communication devices, she realizes that she, Stan, and a few other professionals from the outside world may be in grave danger. Can she figure out a way to escape? While Opus evolves into a suspenseful thriller, Mark Anthony Green takes full advantage of the comedic talents his cast possesses. For the first hour, Ayo Edebiri effectively plays the straight man in a comedy skit. Her compadres, including Stan, an entertainer named Clara Armstrong (Juliette Lewis, Yellowjackets ) and social media influencer Emily (Stephanie Suganami, Something from Tiffany's ) find themselves seduced by Alfred’s charisma and entertainment skills, while Ariel has her guard up from the very beginning. Several humorous moments ensue, like when a concierge tails her for a morning jog, mirroring her strides only a few steps behind. Similarly, another of Alfred’s cohorts wants to give Ariel a makeover and asks her an invasive question about her shaving habits. The humor escalates when Alfred later performs his single on stage with all the newcomers and unveils several suggestive dance moves while wearing an unorthodox costume. The camera flashes to close-ups on the surrounding fans entranced by the beat and repetitive lyrics. Even when it is evident the vibes will eventually take a sharp turn, the behavior of Alfred and his fans, met with Ariel’s skepticism, provides several big laughs. Opus quickly approaches the point of no return, where the comedy falls away and Alfred’s fans prove themselves capable of violence. Knowing that she and the others are being surveyed full time, she sneaks away through a window to recover her phone and computer. The somewhat friendly but overbearing concierge kicks her bedroom door in to look for her and finds her missing. The aggressive act and thud of her kick marks the end of the comedic part of the film and beginning of the horror and suspense. When Ariel realizes that she will not be escorted out but will instead have to run, hide and fight, the movie shifts to a darker mood and the action ensues. This part of the film still provides a couple of laughs but also more gore and suspense. Ultimately, it feels rushed and somewhat clunky. Like a gymnastics routine, films are ultimately judged by their dismount. Many moviegoers will question Opus ’s ending, which ironically enough seems to question us. Even if we can be observers of toxic fandom and ruminate over its effects, can we just as easily partake in it and even wish to be the object of it? Most of us want to be considered remarkable whether we are or not, meaning we can both be seduced by the fame of others and want it for ourselves. While we are all familiar with the idea of a cult in its most literal form, we readily join more subtle and assimilated versions of cults surrounding our favorite entertainers. Do we draw a line in how committed we are to them? It remains an individual choice; some of us choose different places to draw the line and others don’t draw it at all. Even when we think we have, we may jump at the chance to elevate our own status and influence others to be fanatics just the same. Opus incorporates intentional humor into its premise better than many other like-minded films. Movies that it may bring to mind include A24 predecessor Midsommar , as well as the 1970s film The Wicker Man and its more farcical 2006 remake featuring Nicolas Cage. A more recent work tackling the same subject was the Amazon Prime Original Swarm about a fan obsessed with a modern-day pop star. Opus chooses the more literal portrayal of a cult and features a dated pop star, which highlights just how much of a grip fame can have on fans, even long after a celebrity’s heyday. It holds a mirror up to us in the same way as Swarm while placing us in an environment like Midsommar and The Wicker Man . Though it provides a few more laughs thanks to well-timed gags and a very capable cast, Opus leaves us with some food for thought as well. 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< Back Fatale can leave viewers with conflicted loyalties Hidden Empire Film Group, 2020 102 minutes Director/Writer: Deon Taylor / David Loughery Reading Time: 4 minutes Fatale Timeless 00:00 / 04:37 📷 : Licensed from Shutterstock Dandelion: Movies and TV shows with heavy subjects Ginseng: Suspenseful and intense thrillers Reba Chaisson 2021-07-25 Fatale is a story set in the southern California mountains about a wealthy, married man who struggles to extricate himself from the grip of a psychopathic woman, after sleeping with her in Vegas. Trying to do this without his wife learning about the one-night stand proves to be complicated to say the least. While the film’s plot is cliché and contains a few holes, it delivers as a suspense-thriller. Much of what is predictable about movies like this does not occur in Fatale . Part of it can be explained by the strong performances of Hillary Swank ( Million Dollar Baby , Boys Don’t Cry ) and Michael Ealy ( Takers , Barbershop ), who play Val Quinlan and Derrick Tyler in the lead roles. Another has to do with the viewers being left wondering which one was the ‘bad guy’ creating the conflict in the story. Movies about obsession tend to get lumped into the same category despite at least one strong distinction among them. The most fundamental is whether a real (versus imagined) intimate, consensual, physical relationship occurred between the obsessed person and the target of his or her obsession. In the 2009 release, Obsessed , starring Beyoncé and Idris Elba, with Ali Larter playing Lisa as the stalker, no actual physical relationship occurs between her and Derek (Idris Elba’s character). At the end, the audience is left with the dampened, simplistic view of Lisa as just another psychopath. A film that does involve a physical relationship is the classic 1987 release, Fatal Attraction . In it, Michael Douglas portrays a married man who has an affair with Alex, played by Glenn Close, who later obsesses over him. She inserts herself so deeply into his life that she endangers his family and even kills his little girl’s pet rabbit, leaving it in a pot of boiling hot water. The film, however, lets the audience get to know Alex as a competent career woman with a social life. This deepens Alex’s humanity and makes her character complex. As a result, viewers end up sympathizing with her rather than simply dismissing and hating her. Because of this depiction, she is viewed as a tragic character rather than a psychopath like Lisa. Fatale is much like Fatal Attraction in this respect. The film lets the audience get to know Val as capable and competent. So, she is deeper and more complex than a caricature who can be dismissed as psychotic. In some ways, she is an empathetic character because her experiences–the drivers of her mania–likely resonate with those of some audience members. In some regards, Val is also a sympathetic character who is even rooted for at times. But because the things she does are so over the top, this sympathy and empathy get stretched and shifted to Derek as the story evolves. How does this happen? How does it happen that our loyalties conflict at times? That our emotions are manipulated like this as a story unfolds? The questions themselves explain why Fatale passes as a thriller. As viewers, we are immersed in this story, given the protagonist, and then emotionally whiplashed. Afterwards though, we have to sit back and reflect. We have to ask ourselves, who is the protagonist in this drama? Who are we supposed to sympathize with when both are presented with complications? Perhaps an unintended consequence of Fatale is its fodder for discussion about the cost of stress on mental health. This includes noting the pressures to keep it all together with few options for help and no reward to look forward to in the end. The suspense part of suspense-thriller is clear–what will the climax reveal? But it’s the thriller part that’s the real kicker of Fatale . If you like edge-of-your seat thrillers with themes that cannot be easily dismissed, you might want to consider this one. Oh, and Michael Ealy’s in it too!!! 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 Society of the Snow encourages us to be grateful by keeping it real El Arriero Films, 2024 164 minutes Director/Writer: J. A. Bayona / J. A. Bayona, Bernat Vilaplana, and Jaime Marques Reading Time: 6 minutes Society of the Snow La Guitarra Triste (TVJ38JUQQ7JHHYAA) 00:00 / 07:42 📷 : Used with permission, Netflix Mint: Movies and TV shows in cold weather and blizzard conditions Ginseng Suspenseful and intense thrillers Reba Chaisson 2024-01-24 We are good at saying what we would or would never do. After all, we’ve been doing it since we were six years old. But I’m not sure we have a clue what we would do if we found ourselves in the most desperate and unimaginable circumstances. This is the situation a group of early 20-somethings set to attend law school, medical school, and with aspirations for other careers, find themselves in when their plane crashes into South America’s Andes Mountains, the highest mountain range outside of Asia. Society of the Snow is a true story based on the October 1972 plane crash, which stranded 29 members of the Uruguayan amateur rugby team and their family members in the snowy Andes Mountains. With excruciating detail, director J. A. Bayona depicts what happens to airline passengers when control of a plane is lost, and it nosedives into the earth. Fair warning that these scenes are intense. Numa Turcatti, a popular player on the team played by Enzo Vogrincic ( Christian , A Twelve-Year Night ), uses occasional narration to tell the story from his perspective. Numa explains how the survivors organized themselves as a community. But the film’s sounds and visuals pull no punches in depicting the group as being exposed to nothing short of brutal cold and harsh weather over the 72 days that they are stranded. Uruguay carries fall temperatures in the 55 to 70-degree range. However, nighttime on the mountain is especially difficult, as the temperatures drop below 25 degrees Fahrenheit. So, what the survivors feel is a bone-chilling, excruciating cold, as evidenced by people screaming throughout the night due to the weather’s impact on their bodies. Taking shelter in what remains of the plane’s fuselage, survivors pull out the seats and carefully remove the bodies of their family members and friends to make a temporary home that doubles as a hospital for those who are injured. Without gloves or shovels to help shift the snow to cover their loved ones’ bodies, the young men use their bare hands, pieces of broken metal from the plane, and whatever else they can find. They adapt suitcases and blankets as weather stripping to seal breaches in the fuselage to block the wind and blowing snow. This is something we think very little about when at home, since sealing windows and doors entail a simple walk or short drive to the local hardware store for supplies. The survivors’ efforts to create a semblance of secure shelter for themselves make us consider what life was like before modern shovels and ditch digging machines. Layers are important when it’s cold, so they put on whatever additional clothing they can find, and they get frustrated when viable shoes and boots don’t fit their feet. Each savors his lone cracker per day as if eating the perfect cut of filet mignon, escaping for just that sliver of a moment the thought that they must stretch the food supply until they are rescued. Many families in Western societies stretch food, but rarely if ever to this extreme, nor because of a real fear of starvation. The survivors’ self-rationing is not motivated by a need to save money. Rather, it is a conscious focus on literally surviving. Still, their numbers continue to dwindle from injuries and exposure. When they run out of food, their urine turns black, and reality sets in that their rescue is not imminent, the young men are faced with a decision that tests their lifelong commitment to their Christian faith. Should they eat the bodies of the dead for nourishment in order to survive? Society of the Snow reminds me of other films about people stranded on mountains after plane crashes. I think of Hany Abu-Assad’s 2017 movie, The Mountain Between Us , where a small plane crash-lands in Utah’s snowy Uinta Mountains. Starring Kate Winslet as Alex Martin and Idris Elba as Ben Bass, the story feels like one about the need for immediate survival, with several intense scenes of the pair fending off a mountain lion and desperately searching for a way out of the wilderness with one of them severely injured. Although the two travelers do not know one another, they come together to support and protect each other, bonding as they go along. Researchers who study disaster write extensively about this phenomenon of closeness and community that naturally develops out of disaster. Scientists, who have not made each other’s acquaintance, for instance, collaborated across oceans to develop a cure for COVID-19. Time and time again, everyday folks help pull people they don’t know from rubble left by hurricanes, earthquakes, and tsunamis. Researchers explain that this is due to the need for social connection in times of disaster. It is true that the passengers on Uruguay flight 571 on October 13, 1972 already knew one another and enjoyed a sense of community, but their experiences together on the mountain became their shared connective tissue. Alex and Ben in The Mountain Between Us were strangers until that fateful day, and yet, from their disaster, a bond between them was forever forged. Unlike Society of the Snow , The Mountain Between Us is a fictional story, so other than the cold and the mountains, we wouldn’t think the films share anything significant, but they do. News media simply informs us that a plane has crashed and occasionally the reports are accompanied with distant images of the aftermath – the fuselage here, the tail there, a wheel found in a family’s backyard or a farmer’s cornfield. When possible, reporters interview survivors days, weeks, or months after the crash when they look no worse for wear. These limited (and dare I say selective) pieces convey the sense that while some lives were lost and some people suffered catastrophic injuries, everything turned out alright, as can be seen from the survivors they present to us. But after watching Society of the Snow , we realize that these news reports and images wash over what are actually horrific crashes and unfathomable experiences for the passengers – those who perished as well as those who survived. There are still some who say “yuk,” “blasphemy,” and “heathen” when they consider what some of these young men did to extend their lives for 72 days. Little is said, though, about the ingenuity of the men in sewing together pieces of insulation to create a sleeping bag. Or in their cooperation with one another in rationing their food supply so everyone had a chance. Or in Nando and Roberto (Agustín Pardella and Matías Recalt, respectively) enduring a days-long walk in the cold and snow with busted shoes on a quest to save themselves and their now extended family. None of us can fathom enduring the kinds of conditions that would lead us to the level of desperation that prompted these young men to do the things that they did. Let’s pray, hope, and pray again that we and our loved ones never have to find out what we'd do, firsthand. 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 Monkey Man puts a new face on martial arts thrillers Universal Pictures, 2024 121 minutes Director/Writer: Dev Patel Reading Time: 5 minutes Monkey Man Wicked Cinema (QWRUZNJLFRWMLNIO) 00:00 / 05:07 📷 : Used with permission, Ryan Keeble https://www.instagram.com/keebleryan_/ https://posterspy.com/profile/ryankeeble/ Rosemary: Movies and TV shows with intense action Dandelion: Movies and TV shows with heavy subjects Chris Chaisson 2024-04-05 “It’s time to remember who you are.” At one point in time in the late ‘80s, Arnold Schwarzenegger got tired of being a successful bodybuilder and successful action star (tough life). He wanted to prove that he could be funny as well, a sentiment he voiced to the director of Twins , Ivan Reitman. Arnold was so confident in his yuck-yuck ability that he declined to be paid for his role in the 1987 hit, instead taking ownership of the movie. If it flopped, he would go home penniless. If it succeeded, he’d get a cut. This anecdote illustrates not only the importance of believing in yourself, but to show your versatility, you may have to take a DIY approach. In order to star in his first true martial arts action role, Dev Patel took a page out of Schwarzenegger’s book by writing and directing the new revenge flick, Monkey Man . Monkey Man revolves around its anonymous title character (Patel), a young man who participates in an underground fight club while donning a monkey mask. He loses intentionally and violently in order to get his cut from the promoter while seeking income elsewhere during the day. After catching on at a high-end restaurant, he comes face-to-face with a man from his past: the ruthless tyrant who murdered his family and tore apart his village. Once his first attempt on the man’s life fails, the protagonist recovers and trains in order to enact vengeance on all of the political leaders involved in his childhood trauma. On the surface, Patel’s directorial debut does not create any never-before-seen angle on the action genre or revenge tales specifically. In fact, it wears its influences on its sleeve, from the color schemes to the costumes to the point-of-view style action scenes. You do not have to be the biggest fan of martial arts films to recognize where the mix of styles comes from, including the John Wick and Bourne franchises with a little Tarantino sprinkled in. In the week leading up to Monkey Man ’s release, Patel stated on The Tonight Show with Jimmy Fallon that Bruce Lee films introduced him to the world of cinema, and Patel’s mannerisms in the final showdown are a subtle yet clear nod to the martial arts legend. Despite all of its influences, the most important addition Patel provides is casting himself as the leading man. While we’ve seen our fair share of action stars from east Asia, martial arts protagonists of Indian descent have been rare or non-existent outside of Bollywood. To see Patel going toe-to-toe with menacing bad guys was a refreshing twist, especially after a filmography consisting of more cerebral characters ( The Newsroom ) or being occasionally shrouded in chain mail . Patel not only shows personal range here but expands the scope of who can be an action star. His mere presence in the lead role highlights that “action hero” is not limited to any gender, ethnicity, or group of ethnicities. Furthermore, Monkey Man is set in a fictional city in India and includes a predominantly Indian cast. Though very little Hindi is spoken, the film does include other cultural elements, such as currency, attire and class differences, without making a spectacle out of them. Hollywood action films set outside the U.S. can often take place in a vacuum of sorts, where everything unique about the location is pushed far into the background or depicted in mocking fashion. With Patel directing and starring, along with Jordan Peele producing, Monkey Man maintains a certain authenticity that many other films do not prioritize. To be clear, Patel’s debut goes about as dark as it can. It is not nearly as light-hearted or quirky as Kill Bill or other more humorous revenge tales. Nonetheless, he gives a little wink to the audience with the occasional misstep of his character, feeling for just a moment like past characters that he has taken on. In one scene, he tries to escape by jumping through a window and fails rather decisively. While there are at best a handful of moments like this, they, along with a carefully placed Rick Ross jingle, offer the audience just enough chuckles to make the overall darkness work. As said before, Monkey Man does not go to great lengths to hide its influences. The most direct comparison, however, would seem to be the 2003 Park Chan-wook masterpiece Oldboy . The lead in Oldboy is held captive in a cell for 15 years without knowing his kidnapper and seeks vengeance upon escaping. While Patel’s character is physically free, he remains imprisoned mentally by the events of his past and the violent losses of his loved ones. Neither film is for the squeamish, but if you are a fan of great fight choreography, it is tough to pass on either one of these revenge thrillers. 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 Denzel Washington plays an old-school homicide detective who shows a young investigator, played by Rami Malek, the need to pay attention to the smallest details. Gran Via Productions, 2021 127 minutes Director/Writer: John Lee Hancock Reading Time: 3 minutes The Little Things Life's Mystery 00:00 / 03:37 📷 : Licensed from Shutterstock Matcha: Mysteries or whodunnits Sage: Movies and TV shows with low-key characters Reba Chaisson 2021-07-25 We could say that The Little Things is a waste of time. That it contains a star‑studded cast with a weak storyline that left us disappointed. Or we could say that the film does an excellent job of conveying the loudness of subtlety. That the absence of things is just as important as the tangible evidence to getting at truth, or in this case, solving a crime. The Little Things is a film about just that – what it is that we are not seeing. Denzel Washington plays Joe “Deke” Deacon, a California deputy–formerly a homicide detective in the Los Angeles Police Department–who encounters young, hotshot but reserved detective, Jim Baxter. The viewer is quickly drawn in by Deke’s obvious demotion from big city to small town, wondering about the story behind his fall from grace. Played by Rami Malek ( Mr. Robot , Bohemian Rhapsody ), Baxter struggles to solve a string of murders when he meets Deke, who is running an errand to LA to pick up evidence for an unrelated case. Fittingly, the film is dark and shrouded in the aesthetics of the 1970s to mesh with Deke’s old‑school approach to solving crime. Indeed, the dark, dense forests and empty highways give it the southern feel of Mississippi Burning , rather than the palm trees, warmth, sun, and blue skies that typically signal Southern California. Clearly respected by his former colleagues, Deke draws the curiosity of Baxter, who begrudgingly but desperately finagles a way to get the "old man’s" help on the case to catch a serial killer. A predictably bumpy relationship at the start, the two grow to trust and rely on one another, as Baxter resigns himself to the need to look at his case a different way. What he learns is that he relies more on what he sees than what is not so obvious. The suspect adds enough mystery to make him a conundrum. His walk, appearance, and lack of predictable behavior make him a puzzle piece that belongs but fits the completed work too loosely. He challenges, perplexes, and even frustrates Baxter, while Deke’s response is one of deep thought, patience, and process. It is difficult to say if you will enjoy this film, despite its intrigue and the familiarity of its cast. We think, though, if you are willing to go deep to appreciate the lessons of the story, you might find it worth the sitting. Some of the themes are quite relevant to our common lived experiences, while others reiterate well‑known adages: that young people learn from older ones; the myth that older people have outlived their usefulness; the belief that outdated tactics are too old and slow to be of any value; and the piéce de résistance—that things don’t always appear as they seem. A barn burner? No. Emotionally impactful? We didn’t think so. But if you like good acting and a story with themes that spur discussions with family and friends, go for it! 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!