Review by Camden Ferrell Ford v Ferrari is a biographical drama film that premiered at the 2019 Telluride Film Festival. This movie is directed by Academy Award nominee James Mangold (Logan). Featuring stellar performances and an intelligent script, this is a film that will please car fans as well as those looking for a thorough character drama. This movie is about legendary car designer Carroll Shelby and driver Ken Miles as they attempt to create a revolutionary Ford vehicle to beat Ferrari at the 24 Hours of Le Mans. This is a story that is rooted deep in automotive and racing history and lends itself greatly to a film adaptation. It is full of rich characters and timely themes that make this feel three dimensional. One of the more pleasant surprises of this racing film is how well written it is. The script by Jez Butterworth, John-Henry Butterworth, and Jason Keller is sharply written. It’s full of witty dialogue and exchanges, and it gives the story a beating heart that makes it so enjoyable. While there are some miniscule problems throughout with the script, it’s still a great screenplay in its own right. However, the standout of this film is its performances. Led by Matt Damon (Good Will Hunting) and Christian Bale (Vice), their performances are both stellar. Damon gives a more subtle performance as Shelby. He deals with his demons while also managing the pressure of creating a racecar, and Damon handles that balance very well. In a more outspoken and overt role, Bale plays Miles. He perfectly captures the beautifully reckless and determined spirit of Miles and delivers some heartfelt moments with the other cast members, especially his son, played by Noah Jupe (A Quiet Place). This film features some really exhilarating sequences during the races. It is well directed, and the editing is superb. Its fantastic cinematography and sound create an immersive experience that puts you into the driver’s seat. There are moments where it becomes a heart-pounding experience. It is sure to immensely satisfy any racing fanatics and car buffs in the audience.
Even for those who aren’t fervent about automobiles, this movie still offers an affecting story that will appeal to all audiences. It deals with serious themes and messages that will resonate with audiences as well as the lighthearted themes of friendship and perseverance. It’s a great story that handles a lot of different emotions on the human spectrum in a way that makes these characters seem tangible. Unfortunately, one of the film’s few flaws does come from its runtime. Clocking in at 152 minutes, it still does a mostly fantastic job of maintaining its pace. However, there are some instances where it can noticeably drag. Luckily, thanks to the dynamic chemistry of the actors on screen, this is a forgivable shortcoming of the film. Ford v Ferrari is a great film for audiences this fall. It’s written very well and features some great races and fast cars while also being emotionally relatable. It also manages to be incredibly educational about this historic duo. This is a great film that must be kept on the radar as awards season approaches. Ford v Ferrari is in theaters everywhere November 15th. Rating: 4/5
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Review by Sean Boelman Having won multiple awards upon its debut at the 2019 Tribeca Film Festival, Burning Cane, the debut of 19 year-old writer-director Phillip Youmans, is receiving a release from filmmaker Ava DuVernay’s company. Shot while Youmans was still in high school, this contemplative character drama is a surprisingly accomplished effort from the first-timer. The film explores a mother in the rural south as she faces a crisis of faith when her son begins to struggle with his alcoholism and the community’s preacher begins to voice his troubles. Although it seems like very little is happening on the surface of the movie, Youmans’s script is very dense and nuanced, allowing the human drama occurring in this relationship to have both tension and realism. That said, Youman’s script, while multi-layered, isn’t quite captivating enough to hold the attention of most viewers. Even more so than most slice-of-life films, this movie often wanders along. Granted, Youmans has enough to say that the film never feels aimless, but if one isn’t watching with a particularly analytical eye, it is unlikely that the movie ends up resonating as it should. At times, it does seem like Youmans is almost trying to say too much, but the fact that the film is so frequently overwhelming actually works in its favor, allowing it to feel all the more brutally honest. People often do have to deal with all of these issues at once, and while the movie likely could have had an even greater emotional impact had it only explored a single aspect of these characters’ lives, Youmans still expresses his message. The main area in which Youmans’s script is lacking is its character development. Although the characters do have meaningful arcs, the film doesn’t really focus on making the characters sympathetic to the audience. The movie’s message could have hit much harder had the characters felt like more than just vessels to deliver the dialogue.
That said, the actors do a great job in their roles. Wendell Pierce, who plays the troubled preacher that drives the religious aspect of the film, is particularly impressive, giving what is perhaps the best performance of his career. Known primarily for his character work, Pierce instead gets the opportunity to command the screen in this movie with his enthralling sermons. On a technical level, Youmans definitely has a very strong eye and plenty of talent. The film, taking place in rural Louisiana, takes full advantage of the setting of the cane fields. The cinematography is able to immerse the viewer in this world, making the struggle that the movie is depicting feel all the more present and relevant. Though Burning Cane may not have the momentum it needs to break out beyond its core art house audience, it is a promising directorial debut from young filmmaker Phillip Youmans. Filled with passion and meaning, this film isn’t quite like any other to come out this year. Burning Cane is now playing in theaters and on Netflix. Rating: 3.5/5 Review by Sean Boelman A long-brewing passion project from writer-director-star Edward Norton (Fight Club), Motherless Brooklyn is a new crime drama paying homage to detective noir films. Yet despite the obvious passion from all involved, this ends up being an ill-informed and overly flashy exercise in self-indulgence. The movie tells the story of a private investigator suffering from Tourette’s syndrome in 1950’s New York as he investigates a scheme that involves municipal corruption and the murder of his mentor. With a set-up so similar to the genre to which it clearly owes so much, the film is disappointingly inept at providing any real surprises, much less thrills. One of the most easily identifiable symptoms of the movie’s excess is the bloated runtime, which clocks in at nearly two and a half hours for no good reason. After presenting the audience with a hook that is admittedly pretty compelling, the narrative grinds to a screeching halt thanks to a generic and predictable mystery and subplots that frequently go nowhere, or worse yet, are dead on arrival. Additionally, Norton can’t seem to decide what he wants the tone of the film to be. Though it seems like the movie would have been best fit as a moody thriller akin to the greats of the genre that Norton so obviously loves, the momentum of the film is constantly being ruined by jokes, often made at the expense of the protagonist and his condition, that dispel any emotional connection that the audience may feel with the characters and their situation. The script’s character development is also extremely disappointing. The protagonist is the only character with a legitimate arc, leaving all of the supporting characters as shallow archetypes with very few things to make them remotely interesting. However, Norton’s script attempts to do explore too many aspects of the protagonist, preventing the movie from being truly effective at any one of them.
Norton’s lead performance, while not always in the best taste, is infused with such an evident and infectious love for the source material that he manages to make the film watchable. Norton has also assembled an impressive supporting cast, including Gugu Mbatha-Raw, Bruce Willis, Alec Baldwin, and Willem Dafoe, all of whom dive into their roles. Willis, in particular, gives one of his best performances in years despite the lack of depth in the material he was given. On a technical level, the movie is also lackluster. The production design does do a good job of recreating the feel of a 1950's New York, but the rest of the aesthetic ruins the work done by the costuming and sets. The film’s aggressively digital look counters the old-school vibe for which Norton was aiming, and the soundtrack also regularly feels anachronistic without purpose. Even though it is saddening to say this about a movie made with so much passion, Motherless Brooklyn is a near total misfire. If not for a superb cast delivering very good to great performances across the board, this film would have been downright embarrassing. Motherless Brooklyn is now playing in theaters. Rating: 2.5/5 Review by Camden Ferrell From Netflix, The King is the newest movie from director David Michôd (War Machine) that premiered at the 2019 Venice Film Festival. Written by Michôd and Joel Edgerton (Boy Erased), this is a period piece that favors style over substance that ultimately feels bland and tired. Based on a number of Shakespearian works, this movie follows Hal, a young man who becomes King Henry V of England. With his new title, he must lead the country through war and other political troubles. It has such rich source material, but it never has the same heart or tenacity as Shakespeare’s works. While few things can have such prowess, Edgerton’s and Michôd’s script doesn’t feel as thorough and engaging as it could have been. It also doesn’t do much to create a unique and immersive world that represents 15th century England. The production design is adequate in most parts of this movie, but it doesn’t feel like there was much focus on the recreation of this world, and that’s why the setting feels very lackluster and uninspired. Luckily, this movie does feature some pretty decent performances. Timothée Chalamet (Call Me by Your Name) leads this film as the titular king. He gives an admirable job as the young leader. He plays it with a stern confidence that fits the role and embodies the character. It’s evident that he gives the performance everything that he has, but it doesn’t always make up for the unengaging scenes throughout the film. The movie also features a fairly decent supporting cast. Consisting of Robert Pattinson, Edgerton, Ben Mendelsohn, and others, this is a cast that is forgettable but perfectly adequate. Even though some of their accents can be quite distracting, they are able to properly support Chalamet in his scenes. However, like Chalamet, their performances aren’t enough to combat many of the slower moments of this film.
If there is something that this film does well, it is its cinematography. It’s not groundbreaking by any means, but it is visually appealing throughout. It beautifully captures the bleak landscape and settings of the film, and it fits perfectly with the tone of the film. There are some really great shots and framing choices that can at least make this film solid on a superficial level. However, this is ultimately an overlong and bloated film. Its themes are obvious, but they are not told or conveyed in a particularly original or meaningful way. It tackles the themes of power, war, and pride, but in the end, it doesn’t have too much to say. It’s a hollow attempt at recreating stories and messages that Shakespeare did much better. The King may be suitable for period piece fanatics and fans of Chalamet, but it doesn’t have much else to offer. Its runtime is never justified, and many sections of this film can drag on far too long. It’s an attempt at telling the story about one young man’s rise to power, but it doesn’t succeed like it should have. The King is currently streaming on Netflix. Rating: 2.5/5 Review by Camden Ferrell Dolemite Is My Name is a new comedy-drama from Netflix. Directed by Craig Brewer (Black Snake Moan), this film premiered at the 2019 Toronto International Film Festival. The film mostly succeeds thanks to a stellar cast, sharp timing, and a respect for its subject. This film follows the real-life story of comedic legend Rudy Ray Moore. Despite all of the odds against him, Moore becomes a comedic pioneer and creates his very own blaxploitation film in the 1970’s. This is a very unique and original story that has lots of charisma and flair. Moore isn’t big amongst certain demographics, but this movie is the perfect way to educate more people about his career. The writing of this film is fairly strong throughout. It has a great subject that is naturally funny and charming, and this is where a lot of the life in the script comes from. It develops its characters in their actions and interactions, and it has a deep understanding of Moore and his cultural influence at the time. The highlight of this movie is Eddie Murphy’s (Coming to America) glorious performance as Moore. He perfectly captures the essence of Moore with an uncanny touch. He has so much energy in every scene, and he is a powerhouse that propels this movie throughout. It’s a welcome return to the big screen for Murphy since he hasn’t been acting as frequently as he used to. He is an actor worthy of the spectacle and grandeur that is Moore, and he plays it perfectly. The supporting cast is also fairly strong. Keegan-Michael Key, Tituss Burgess, Craig Robinson, and more star alongside Murphy. They each have their own individual personalities that are evident in the way they carry themselves throughout the movie. They are funny, witty, and are a perfect supporting cast for Murphy.
I really enjoyed how it gave a behind the scenes look into Moore’s work, especially his film. We get to see the creation of the Dolemite film and all of the shenanigans that took place. It is the film’s most energetic and colorful section, and it really is great to see all the actors take such joy in the process. The movie properly shows us the crude and obscene Dolemite persona in all of its glory, and its energy is highly contagious. However, there are many moments throughout the movie that feel like it’s on autopilot, merely coasting on the talent of the actors. It can drag the movie significantly and feel a little lethargic. Regardless, this is overcome thanks to the abundant chemistry of the actors and the endearing story at its center. This is a culturally significant film that is indicative of an era in filmmaking that is underrepresented. It redefines what it means to be successful and shows the virtue in perseverance and confidence. It is a strong and funny biopic thanks to the rich story and phenomenal lead performance. Dolemite Is My Name is currently streaming on Netflix. Rating: 3.5/5 Review by Camden Ferrell 28 years after Terminator 2: Judgment Day, James Cameron has returned to produce the newest film in the franchise, Terminator: Dark Fate. This sequel gives the franchise a fresh start with exciting action and new characters even if it can seem all too familiar. This newest movie retcons all of the movies after T2 and effectively makes them null and void. Since they were not received very well, and somewhat tarnished the first two films, this is a choice that works in the movie’s favor. It wastes no time in reemerging the audience into this Terminator timeline that hasn’t been seen since the early 90’s, and it’s a much welcome surprise. It very successfully captures the spirit of the first films in a way that feels nostalgic but refreshing at the same time. This movie follows a young woman who must be protected from a fearful new Terminator by Sarah Connor and an enhanced human soldier. Even if it lacks the heart of its predecessor, it still is a simplistically fun story featuring lots of familiar faces. This film is led by a solid cast, featuring Natalia Reyes (Birds of Passage), Mackenzie Davis (The Martian), and a triumphant return for Linda Hamilton. These actresses add more diversity to the franchise and prove themselves to be highly skilled and empowering women that know how to kick butt. They aren’t given highly original material, but they all take on their roles with enthusiasm, and it’s what gives this film its voice. This sequel also gives us a formidable opponent in the form of the shapeshifting Rev-9 Terminator. It is more daunting than anything their series has created so far, and it gives our protagonists truly ambitious goals and real stakes. While he is understandably bland and underdeveloped as a character, the peril he provides takes the franchise to new levels.
The special effects of this film are generally well-done. They mostly blend seamlessly with the movie’s fast-paced action sequences and fights, but there are a handful of moments where the special effects look inexplicably abnormal. Regardless, this movie does a great job with creating exciting moments of action and thrilling scenes that will definitely please fans of the franchise. Unfortunately, no matter how visually riveting the film can be, it doesn’t hide the fact that the film feels very derivative. It’s a rehashing of the same story that the franchise has told numerous times. Even if the new characters can make the film feel somewhat fresh, it still lacks the heart and charm of the original film. This, along with some odd pacing throughout and an average script, bog down this sequel. Terminator: Dark Fate is a return to basics for the franchise that passes the torch to a new generation. It has great action and plenty of callbacks and references for fans. However, it fails to live up to the glory of its predecessors and may leave the audience feeling underwhelmed. Terminator: Dark Fate is in theaters now. Rating: 3/5 Review by Sean Boelman Pain and Glory, the newest film from Spanish auteur Pedro Almodóvar, is a contemplative and extremely personal semi-autobiographical drama. Although the movie does lose some of its steam in the second half, this is one of Almodóvar’s most fascinating and accomplished works in years. The film tells the story of a director as he begins to question and reflect on decisions he made in the past. Although the narrative is loose and flowing, the unflinchingly real and honest perspective which Almodóvar brings to the story is absolutely captivating, allowing the movie to be more accessible to mainstream audiences than most of the director’s other work. The first half of the film, in which the protagonist is coming to recognize and accept his decisions that he made in the past, is absolutely phenomenal and breezes by. The second half, in which he must cope with these issues, isn’t quite as effective, but it does serve as a mostly satisfying and necessary complement to the first half of the movie. Much like most other semi-autobiographical films, such as All That Jazz, this movie deals with the toll that an artist’s life can take on an artist. As an audience member, it is definitely interesting to see the perspective by which Almodóvar looks back at his own life and decisions. Some of the most interesting portions of the film deal with the idea of detachment and how the protagonist feels the need to detach himself from his work because it feels too personal. As always, Almodóvar’s characterization is absolutely wonderful. All of the characters in the movie are morally and ethically complex, committing some actions that aren’t traditionally sympathetic, but coming off as entirely human. Even though the things the protagonist does aren’t the most likable, the audience will almost pity the character nonetheless.
Antonio Banderas gives what is perhaps a career-best performance in the lead role. He brings so much humanity and vulnerability to the character that Almodóvar’s poeticism is able to come to life in ways unlike ever before. He is surrounded by an excellent supporting cast including Penélope Cruz and Asier Etxeandia, the latter of whom is not receiving nearly enough attention for his phenomenal turn. Visually, the film has all the unique stylistic decisions typical of Almodóvar’s movies. The use of color is vibrant and the cinematography is gorgeously composed to the extent that any frame from the film could be seen as a work of art on its own. From the script to the visuals, this movie is undeniably and unmistakably Almodóvar’s, and it is all the better for it. Decidedly personal, Pain and Glory is an excellent exploration of art and the creative process. Thanks to a poetic script, excellent performances, and brilliant direction from auteur Pedro Almodóvar, this is a truly unforgettable film. Pain and Glory is now in theaters. Rating: 4.5/5 Review by Sean Boelman Black and Blue, directed by Deon Taylor (Traffik), is the latest thriller attempting to tackle the big issue of systemic racism within the justice system. Although the film often feels like it bit off a bit more than it can chew thematically, it nonetheless manages to be a mostly enjoyable and suspenseful, if relatively generic thriller. The movie tells the story of a rookie police officer who, after witnessing some corrupt cops committing murder, must go on the run in a community she left behind to protect the body cam footage that will prove what she saw. This, a common set-up for a thriller brought into the modern age through the involvement of new technology, is a predictable and straightforward story. However, thanks to Taylor’s command of pacing, the film is a crowd-pleaser that will surely entertain audiences. The only real issue with this movie’s pacing is that the first act, in which the characters are being introduced, drags on for a bit too long. The direction in which the story is heading is obvious, so the film would have been better off getting the audience into the action more quickly. When the main storyline kicks in, the movie will keep viewers on the edge of their seats even though the twists are all telegraphed. Writer Peter A. Dowling doesn’t have anything particularly new to say about the issues that the film is discussing, but the angle from which the story is approached does offer an interesting perspective. As a former participant in the world that is skeptical of the police, the protagonist is perfectly built to exhibit internal conflicts that come to drive the movie. The most interesting sequences feature the protagonist as she deals with this identity crisis between allegiance to her community and allegiance to her brothers in blue. Dowling writes the protagonist in a way that is extremely compelling and sympathetic, but all of the rest of the film’s characters — particularly the antagonists — are very archetypal. The dialogue is written in a very plain way, making the alignments of the characters clear from the time they are introduced. As such, attempts at surprising the audience frequently fall flat, especially for those who have a firm understanding of the genre’s conventions.
Naomie Harris gives a solid performance in her leading role, elevating the movie from a bland thriller to a somewhat interesting character study with heavy thriller elements. Harris really sells the conflicted feelings that the character is facing in an entirely believable way. Frank Grillo, who plays the primary antagonist, gives an over-the-top but enjoyable menacing turn as the corrupt cop. Mike Colter also gives a decent supporting turn, though he is sadly underused. On a technical level, the film is disappointingly simple. For a movie so heavily rooted in new technology, one would think that the filmmakers would have been more inventive with their storytelling. For example, many of the characters are wearing body cams. Taylor should have used more shots from this perspective. Well-intentioned but too plain to be of much impact, Black and Blue serves as decent popcorn entertainment elevated by Naomie Harris’s performance. This is a crowd-pleasing thriller, solid counter-programming for all of the franchise fare occupying multiplexes right now. Black and Blue is now in theaters. Rating: 3/5 Review by Dan Skip Allen Historical biopics can be hit and miss. Free State of Jones and Birth of a Nation are both lackluster and 12 Years a Slave is great. Harriet, on the other hand, is right smack in the middle. It’s not bad, but it isn’t great either. Harriet Tubman is portrayed by Cynthia Erivo who broke out last year with turns in two critically acclaimed films, Widows and Bad Times at the El Royale. Tubman is a slave for the Brodess family in Maryland in the year 1850. She seeks to leave and raise a family with her husband John (Zachary Mamoh). When she is denied her leave, she asks God to strike down her master. Her wish is granted, but this leads to Gideon Brodess (Joe Alwyn) — the son of the master — to sell her to the highest bidder, allowing her to break her away from her family. When news gets around that she's for sale, she decides she would rather "live free or die,” so she makes a run for it and heads for free Pennsylvania. Director Kasi Lemmons has rounded up a great cast for Harriet. Along with Cynthia Erivo as Tubman, she cast fellow Tony Award winner Laslie Odom Jr. as William Sill, a great friend to Tubman. Odom Jr. had a realness about him. He had to look the part of successful businessman so he could hide his real intentions from his clients. Janelle Monae portrays Marie Buchanan, another friend and confidant to Tubman. Erivo is a seasoned pro on the stage, but Harriet shows that she is just as comfortable behind the camera. She owns this role as Tubman. The emotion exudes out of her. She was the right choice to lead this film by all means. Lemmons is prominently known as an actress, her most popular roles being in 1991's Silence of the Lambs and 1992's Candyman. In 1997, she got the directing bug and subsequently directed Eve's Bayou starring Samuel L. Jackson. This is the first movie that she has directed since 2013's Black Nativity. Her films bring light to African-American actors and stories to which they can relate, Harriet included. This story also has a great message she needed to get out — a message of perseverance and courage.
As far as biopics go, Harriet is a good one, just not a great one. With serviceable performances from Cynthia Erivo and others, this story mostly known from history books doesn't have a lot of twists and turns, though it does have a lot of heart. If people are looking for something different in theaters, look no further than Harriet. This is a change of pace from the sequels, reboots, and re-imaginings out in theaters now. However, with all of the good choices out in theaters right now, the fickle moviegoing audience may cause this to get buried in the shuffle. Harriet is now playing in theaters. Rating: 3.5/5 |
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