Review by Sean Boelman QT8: The First Eight, directed by Tara Wood (21 Years: Richard Linklater), is a new documentary exploring the career of the fan-favorite filmmaker Quentin Tarantino. Though the film doesn’t offer much particularly new insight, Wood’s admiration of Tarantino is obvious, making this a solid movie by a fan for fans of the subject. In the film, Wood examines Tarantino’s life and career from his beginnings as a humble video store clerk to his status as one of the most iconic filmmakers working in Hollywood. As the title suggests, the film only details the first eight films in Tarantino’s filmography, with only fleeting references to this year’s Once Upon a Time… in Hollywood. Wood tells Tarantino’s story in a way that presents him as the underdog, and for the most part, this is relatively successful. Seeing Tarantino’s rags-to-riches story is ultimately very compelling, and potentially even inspiring, although Wood and many of the interviewees make clear that Tarantino is the exception and not the rule for ambitious movers and shakers within the industry. Perhaps this film’s biggest strength is that it is thoroughly entertaining. By seamlessly merging together clips from Tarantino’s films with interesting and well-conducted interviews, Wood is able to keep the audience invested in the film even though they have already seen this material before and likely will have already heard many of the stories. On a technical level, Wood’s film is very strong. In many ways, the film is aesthetically pleasing, the interviews being extremely well-framed and there being a few animated sequences that catch the eye. Also of note is the documentary’s soundtrack, which pulls from some of the iconic soundtracks of Tarantino’s films, giving it a very authentic rhythm.
Of course, with a biographical documentary like this, the point of the film is to praise the subject, and at times, the film does begin to feel like simple adulation at times. Even though Tarantino’s talent is obvious, he was involved in some very public behind-the-scenes drama, and Wood chooses not to explore that. This seems like an interesting source of untapped potential. Another shortcoming of the film is that Tarantino himself was not interviewed by Wood. This may have been a conscious decision by Wood, but the result is that the film is lacking the personal touch that could have made Tarantino’s story even more resonant. Interviews with actors and crew members who have worked with Tarantino are interesting, but they fail to offer that in-depth insight that is expected from filmmaking documentaries like this. Though it may not be a particularly deep documentary, QT8: The First Eight is well-crafted and very entertaining. It is unlikely to win any new fans for the filmmakers, but those who already admire his work are sure to love this trip down memory lane. QT8: The First Eight is now available on VOD. Rating: 4/5
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Review by Sean Boelman As a director, Clint Eastwood’s track record since the turn of the century has been wildly inconsistent. He has made both some of the finest movies of this era (Million Dollar Baby) and some literal and figurative train wrecks (The 15:17 to Paris). With his newest film, Richard Jewell, Eastwood hopes to return to form, and while it is much better than most of his recent duds, it still feels like the filmmaker is out-of-touch with the zeitgeist. The movie tells the story of the eponymous security guard, once hailed as a hero for discovering the pipe bomb in the 1996 Centennial Park only to become the lead suspect in the FBI’s investigation into the matter. This is a very interesting moment in U.S. history, and Eastwood manages to tell it in a way that is undeniably cinematic and entertaining, yet his political agenda that ties the film to modern day political issues is sometimes overwhelming. More so than even Eastwood’s most jingoistic outings, Richard Jewell is a mean-spirited and aggressive movie. However, rather than setting his sights on an external enemy in a bout of xenophobia, Eastwood targets the institutions of the government and the media in a way that plays out more like paranoia than a legitimate, substantiated claim. Yes, there is plenty of blame in this situation to be placed on these people who exploited Jewell, but Eastwood goes about portraying it in the wrong way. When the film is a character-driven drama exploring the impacts of the false accusation on Jewell and his family, it is actually quite riveting. These portions of the movie are very resonant on an emotional level, aided by a phenomenal cast bringing their all to the film. The more intense sequences in the beginning of the movie are shot in a way that will keep audiences on the edge of their seats. That said, when the film tries to be an exposé on the inadequacies of the media, the movie falls flat. The film’s portrayal of journalist Kathy Scruggs (Olivia Wilde) has come under fire as of late, but even beyond that controversy, the character is simply poorly-written. For the first half of the movie, she is cartoonishly antagonistic, and then in the second half, she is given an attempt at an arc, ruining some of the best moments in the other characters’ stories.
Regardless, the excellent performances of some of the cast members are able to help the film overcome some of the script’s deficiencies. Paul Walter Hauser, who plays Jewell, is wonderful. Known to this point mostly for his character work, Hauser proves that he has the chops and the charisma to be a strong leading man. His chemistry with Sam Rockwell and Kathy Bates, who give great turns as Jewell’s lawyer and mother, respectively, is a significant part of what makes the movie so effective. On a technical level, this is perhaps Eastwood’s most ambitious film in a while, but that doesn’t always pay off. Some sequences, such as one that cross-cuts between the characters investigating the bombing and a race at the Olympics, are some of the most dynamic of the year. Others, like a Kenny Rogers concert (that plays a surprising role in the story) and a Macarena dance number (which doesn’t) will leave one baffled as to why Eastwood included them in the first place. Richard Jewell is a mostly effective movie thanks to its talented cast and the emotional pull of the story. Eastwood’s direction is all over the place and there is an entire storyline that should have been cut out, but somehow, the film still manages to work. Richard Jewell opens in theaters on December 13. Rating: 3/5 Review by Sean Boelman Jumanji: The Next Level, the aptly-named sequel to 2017’s nostalgia-driven surprise hit, promises to up the game by giving audiences an even more action-packed adventure. Other than a few welcome additions to the cast, this mostly feels like a repeat of the last entry, but it is still relatively enjoyable and mindless fun regardless. Picking up a couple years after the last film, this sequel follows the gang as they return into the game to rescue one of their own, only to find out that the game has changed. Perhaps the biggest issue with this movie is that it follows the formula of the previous entry to the beat. Whereas Welcome to the Jungle played out as a tongue-in-cheek parody of the tropes of video games and adventure films, The Next Level too often falls victim to the formula. As expected, much of the movie’s humor revolves around slapstick. While there are still some laughs to be had in the premise of these zany video game characters being completely inept at what they are programmed to do, too many of the jokes are recycled from the film’s predecessor, such as Johnson’s character being inhumanly strong. Other visual gags that would be more successful are disappointingly spoiled in the trailers. The real draw of this movie is getting to see some of the most successful comedians and action stars working today do some wild caricatures, and this film takes it even further by allowing some of the actors to do impressions of their co-stars. It is undeniably a funny prospect to watch Dwayne Johnson do a Danny DeVito impersonation, and while it is very entertaining at first, it eventually wears old. Other actors, such as Awkwafina, are completely underused. The main area in which this movie falls short is its character development. Part of what made Welcome to the Jungle work so well was that the characters were legitimately likable and viewers got invested in their arcs. In this film, the arcs of those characters is mostly complete, and as such, new (and more generic) conflict must be introduced, and it is nowhere near as effective at creating an emotional connection to the movie.
Since the real-world characters in the film aren’t particularly interesting this go around, the first twenty minutes or so drag significantly. It takes way too long to deliver the exposition to get these characters back into the world of the game, because that is where a majority of the entertaining moments occur. On a visual level, the movie does a pretty solid job of immersing the audience within the world of the game, but it does become obvious at times that production was rushed. With a turnaround time of less than two years between the release of Welcome to the Jungle and this film, extra time could have been taken to allow the visual effects team to add some more polish to the CGI-intensive scenes. For the most part, Jumanji: The Next Level is just more of the same, and the law of diminishing returns definitely comes into play. That said, this movie seems like a bridge to another sequel that is going to be a ton of nostalgic fun. Jumanji: The Next Level opens in theaters on December 13. Rating: 3/5 Review by Sean Boelman Most notable for their rom-coms targeting the Latino moviegoing audience, Spanish-language distributor Pantelion’s latest release, En Brazos de un Asesino, is an attempt to get into the modest-budget erotic thriller market. Based on J. A. Redmerski’s In the Company of Killers series, this film’s lazy action and bland attempts at steaminess ultimately go nowhere. The movie follows a smooth-talking assassin when he finds his values and livelihood challenged after a seductive woman who had been abducted by one of his bosses, a powerful drug lord, stows away in his vehicle in the hopes of an escape. Although some leniency can be granted due to the film’s nature as an adaptation, the story is frustratingly generic, every single beat being so telegraphed that the movie almost becomes laughable. The sheer amount of tropes that are included in this script is baffling, to the point that, with a less straight-faced tone, this could have passed as a deconstruction of the genre. Instead, what audiences get is an hour and forty-five minutes of campy and over-the-top melodrama with some low-quality action thrown in every once in a while. Admittedly, it can be pretty entertaining at times, but not on purpose. Perhaps the single biggest issue with this film is that viewers will not care about any of the characters because they are so underdeveloped. Even the conventional “mysteriously sexy” antihero who lends himself to the title is unable to get much of an emotional impact out of the audience. Where this becomes a significant problem is the romantic storyline that forms between the killer and his captive. In this portion of the story, it is obvious that the filmmakers were hoping to be able to adapt more of the stories from the book series, as the relationship feels obligatory and underexplored. Unfortunately, as is the case with so many would-be franchise-starters, this movie simply isn’t good enough to make a viewer care enough to revisit this world.
That isn’t to say that there is no chemistry to be found on screen, the filmmakers just don’t use it. William Levy and Alicia Sanz, the two leads of the movie, both have a solid on-screen presence, but the interactions that their characters have together don’t give them enough room to shine. Levy, who co-wrote the film, is particularly charming, but even he can’t infuse life into the script. On a technical level, the movie is pretty cheesy. A majority of the film is shot in darkness and shadow, seemingly an attempt to give the story a dark and brooding feel. However, when everything that is happening on screen is so over-the-top and ridiculous, it becomes hard to buy into the darkness of the movie. Despite the efforts of all involved, En Brazos de un Asesino is a massive disappointment. Only the most easily satisfied viewers who have no familiarity with the genre or its tropes will enjoy this straightforward and bland erotic thriller. En Brazos de un Asesino is now playing in theaters. Rating: 2/5 Review by Sean Boelman Frankie, the newest film from acclaimed filmmaker Ira Sachs (Love is Strange), is a sprawling character drama exploring the complexities of human connection. Yet despite the extremely talented ensemble that brings the characters to life, the script is surprisingly stagnant and emotionless, leaving the movie feeling disappointingly empty. The film follows three generations of a family as they gather for a vacation, at which point drama unfolds driven by their romantic feelings. While it isn’t inherently bad for a movie to be meandering and contemplative like this, Sachs and co-writer Mauricio Zacharias aren’t able to make the drama compelling enough to drive the whole film. One of the main reasons why the movie falls flat is that the character development is lackluster, especially for a film that is so rooted in its characters. Since there are so many moving pieces in the movie, it becomes difficult to keep track of these constantly intertwining relationships, and at some point, audiences will simply stop caring. That isn’t to say that characters will not feel an emotional connection to the characters at all — there are a few arcs that are legitimately sympathetic, such as Frankie’s struggle with her own mortality — but some of the other subplots feel whiny and annoying. Sachs obviously has a lot that he wants to peruse in these relationships, but there just isn’t enough time to address all of the different themes he introduces with sufficient depth. With an ensemble piece like this, it is an unfortunate consequence that the stories end up getting sewn together in an unsatisfying way. Although the connections between the characters are evident, Sachs is unable to effectively tie the segments together on a thematic level, and as a result, the film often feels like it is going nowhere. As soon as the narrative begins to pick up some momentum, Sachs cuts away to another, less interesting subplot.
That said, this movie does serve as an excellent showcase for its cast. As the title would suggest, this is very much a starring vehicle for its lead actress who happens to be the phenomenally gifted Isabelle Huppert. She is surrounded by some great supporting actors including Marisa Tomei, Brendan Gleeson, Greg Kinnear, and Pascal Greggory, but it is Huppert’s subtlety that gives the film most of its success. Additionally, the movie is quite beautiful on a visual level. Thanks to the pristine backdrop of Portugal’s coast, the compositions are undeniably striking to the eye, almost to a distracting extent. One would almost wonder whether this film was little more than an excuse for the cast and crew to visit this European destination. A talented cast does help Frankie become more watchable, but the script is missing the soul to make this into the riveting drama it should have been. Viewers will likely feel extremely underwhelmed by the lack of substance in such a star-studded movie. Frankie is now playing in theaters. Rating: 2.5/5 Review by Camden Ferrell Noah Baumbach has become a staple of independent cinema with films like The Squid and the Whale, Frances Ha, and Margot at the Wedding. Time and time again, he has proven himself to be a master at crafting realistic characters and relationships. He achieves this using his poignant writing and confident direction. His films are all very personal and thus they bear an uncanny resemblance to our own lives. My first Baumbach film was 2005’s The Squid and the Whale. I saw this film about the effects of divorce on a family unit at the same time my parents were going through their own divorce. It was a time in my life that brought a lot of change, but it was a change that was put into perspective after viewing the film. I saw so much of myself and my brothers in the kids, and I saw so much of my mother and father in their parents. This is where Baumbach excels the most. He has an extraordinary ability to write characters that are so realistically fleshed out that we are moved by how much we can relate to them. The dysfunctional family dynamic of 2017’s The Meyerowitz Stories is one that reminds us all of our own wacky family relationships. Even the optimism and camaraderie in 2012’s Frances Ha reminds us of some small part of ourselves that longs to achieve our dreams and live life to its fullest. His newest film is no exception. Yet another Baumbach film about divorce, Marriage Story feels completely original as it details the agonizing end of a marriage. This film revels in its ability to create an affecting and powerful portrait of divorce. It achieves this through its nuanced performances and stellar writing. This film follows Charlie and Nicole Barber as they navigate through divorce proceedings all while trying to care for their 8-year-old son. It’s a unique blend of Kramer vs. Kramer and Ordinary People, and it really sets a new standard for films about divorce. Baumbach has a beautiful way of capturing humanity at its best and at its worst. This film is a testament to that ability. He never aims for melodrama, but rather focuses on the realistic and still powerful emotions in a story. There is a subtle and looming agony throughout the entire film that makes it feel incredibly real. The movie is an emotional rollercoaster that transcends the screen and holds a mirror up to us. It is packed with heart-wrenching blows and a tense atmosphere that hits too close to home. We feel the frustration as our characters encounter legal roadblocks, financial obstacles, and their own personal turmoil. It is a film that shows us how far parents are willing to go to fight for their kids.
This film is led by Adam Driver (Patterson) and Scarlett Johansson (Lost in Translation) in career-best performances. They perfectly embody these characters and absolutely nail the dynamic of divorce in such a visceral and raw manner. There is no doubt in my mind that these are two of the most impressive performances in recent memory. The film also has a great supporting cast consisting of Laura Dern, Ray Liotta, and Alan Alda. The actors take their already impressive material and elevate it with each of their own unique and beautifully realistic performances. This film boasts some fantastic cinematography. It’s impressive how the film captured this story in a way that felt candid yet poetic at the same time. It’s beautifully shot, and it heightens the film’s realism in an impressive way. Randy Newman also delivers an absolutely gorgeous score that serves as a backdrop to this heartbreaking story. It’s almost reminiscent of the work he has done on Pixar films in the past, and it fits perfectly in context of the film. All of these elements create a highly powerful body of work rivaled by few. It is one of the most emotional films I have ever seen. It captures the impulsiveness of a family in crisis, something that many viewers can relate to. There are cathartic bursts of emotions throughout that are jaw-droppingly painful. During one pivotal moment, I found myself breaking down in tears in a way that no movie has ever done before. Marriage Story is an unbelievably resonant and beautiful film that is one of the best this year. It’s a relatable story that packs an emotional punch. With his masterpiece, Baumbach has proven himself to be a modern auteur who will undoubtedly have an enduring legacy on American cinema. Marriage Story is now streaming on Netflix. Rating: 5/5 Review by Sean Boelman Ximei, directed by Andy Cohen and Gaylen Ross, is a new documentary dealing with a social issue of which a majority of audiences are likely unaware. Often shocking and consistently compelling, this film manages to be both heartbreaking and inspiring at the same time thanks to the subject’s resilience. The movie follows the eponymous subject, a Chinese peasant who contracted AIDS after receiving a contaminated blood transfusion. Perhaps what makes this film so effective and emotional is the subject’s particular situation. Although any AIDS patient is immediately sympathetic because of their condition, the fact that Ximei was so victimized by the system in this case makes it all the more emotionally impactful. Over the course of the movie, Cohen and Ross tell the story of various people with whom Ximei has interacted, some of whom are ashamed of showing their face or revealing their identity for fear of being ostracized for their condition. Although there is no cure for the disease, it is immensely saddening to see the lack of accessibility to effective treatment of the symptoms, hereby resulting in this upsetting discrimination. The film is at its best when it is telling the stories of these individual people. Although some context is necessary to understand why the story is so timely and relevant, the segments of the movie that try to criticize the system that resulted in Ximei getting infected aren’t as effective. There is definitely an issue with the way that situation was handled by the Chinese government, but the film doesn’t explore it with sufficient depth. At some point, one would expect that the movie would become emotionally draining, hearing all of these tragic stories of people who were infected with an incurable disease due to medical negligence, but ultimately, this story is one of hope. A significant focus is placed on Ximei’s activism and how she is trying to help her fellow patients to live a better life.
However, since there is so much going on in the film, Cohen and Ross don’t quite nail the balance between the light and dark elements of the story. There are some absolutely wonderful moments in the movie, but as a whole, the film feels somewhat uneven. Thankfully, the message is powerful enough to come across regardless, but this almost feels like it was too big of a story to tell in a single movie. On a technical level, the film is a bit rough around the edges, but that can be expected given the environments in which the movie was shot. Towards the end of the film, there is even a portion explaining some of the challenges that the filmmakers faced in trying to tell this story while respecting the needs and wishes of the people appearing in front of the camera and complying with the restrictions placed upon them by outside forces. Ximei isn’t a perfect documentary, nor is it the most effective documentary to be released about AIDS in recent memory. That said, Andy Cohen and Gaylen Ross have crafted a compelling character study with a strong message about empathy and hope. Ximei is now playing in theaters. Rating: 3.5/5 Review by Camden Ferrell From writer and director Peter Strickland, In Fabric is an eccentric horror film about a cursed dress. The movie can often find itself operating in between frequent lulls, but it’s mostly overcome by its unique premise and style. This movie follows a cursed dress that finds itself being passed from victim to victim. We get to see the machinations of the characters’ lives and witness how this one dress wreaks havoc on their existence. This is an absurd premise, but it is highly original. The film’s unique story helps distinguish it from other films in the genre. Overall, the film feels rather lukewarm. The script isn’t weak at all, but there isn’t anything particularly astounding about it. It does a great job of developing its characters in subversive ways and giving the film an emotional center, but it often feels indulgent or muddled. Luckily, it has enough narrative tricks up its sleeve to make up for some of its shortcomings. This film features many actors, but Oscar-nominee Marianne Jean-Baptiste (Secrets & Lies) stands out the most. Jean-Baptiste leads the first half of the film, which is also the film’s strongest half thanks to her. We get to see her look for love and deal with her son at home. This gives the film a more human backdrop for the calamity that follows, and it really allows the viewer to connect with her character. Unfortunately, the rest of the cast is mostly forgettable. Leo Bill and Hayley Squires lead the slightly less affecting second half of the film. Their characters aren’t given especially great material, and they’re not developed as much as they could have been. It was a bit more difficult to connect to become invested in their characters and give the film stakes.
Despite dragging a little too often, this movie is full of twists and dark turns. This slow-burning film can often surprise you in its explosive moments. They generate tension and it’s executed in a manner that makes the dress genuinely unsettling. This is probably the film’s greatest virtue, but it didn’t always use this to its advantage throughout. The film was also visually pleasing. The production design was great, and it had an eerie yet alluring aesthetic that made the film feel visually distinct. It has some really cool shots and other creepy visuals that work in the film’s favor. All of these components work together to create a memorable and chilling final sequence. In Fabric is not for everyone, but it may be worth the watch for horror fans. It’s a creative and abnormal story about an evil dress that has enough thrills to make up for its somewhat weak pacing. In Fabric is in select theaters December 6th and VOD December 10th. Rating: 3/5 Review by Dan Skip Allen The Report is the latest film dealing with the fallout of 9/11 and how the government used a lot of tactics to get what they wanted after the tragedy. They used the CIA and our military to achieve their goals of finding out about those who were involved with 9/11 by any means necessary, including waterboarding of prisoners captured by the CIA. The CIA detained these prisoners and interrogated them for weeks and months on end. When they were called out they tried to hide or cover up what they were doing. Committees were formed to try to expose these men for what they did. The question is, was this unpatriotic or illegal? Daniel Jones (Adam Driver) is a young idyllic Senate staffer who is tasked with investigating the CIA by his boss Diane Feinstein (Annette Bening). Once he discovers the shocking secrets of what the CIA is doing, he toils away at writing a 500 page report, only to be met by a backlash from the government. Jones is under extreme pressure to prove that his report is valid and important. He has been under fire for what he has found, but the government will stop at nothing to stop the report from being released. The Report is one of the best films in a while that deals with the government and its secrets and political intrigue. There are so many performances from actors that should have bigger roles in other movies, but they take smaller roles in this film because this film is so important. Cyrus Clifford (Corey Stoll) reluctantly agrees to defend Jones. The New York Times Reporter (Matthew Rhys) gets wind of the cover up and starts sniffing around. Dennis McDonough (Jon Hamm) and John Brennan) Ted Levine try to defend their actions but are met with a wall by Feinstein.
Scott Z. Burns has written and directed some other movies but one would be remiss if they didn't say that The Report might be the most important film he has been involved with to date. It is a hard hitting story about corruption and betrayal by the government. The Report is a damning document that shows what happened when the government isn't policed. Adam Driver gives the performance of his career as this man fighting for everything he believes is right. When you come after the CIA and the government, they fight back hard. The Report captures every little detail perfectly, all thanks to the great work by Burns and his cast. They take every line of dialogue to its utmost importance and it shows in this great film. The Report is now streaming on Amazon Prime. Rating: 4.5/5 Review by Camden Ferrell Movies like Honey Boy don’t come around very often. They are films told with such candor and ambition that you can’t help but be swept off of your feet. Directed by Alma Har’el, this film premiered at the 2019 Sundance Film Festival. This film is a perfect portrayal of childhood trauma that is as painful as it is utterly beautiful. Written by Shia LaBeouf (The Peanut Butter Falcon) as a part of his therapy while he was in rehab, this story is brutal and full of candor. The film is based on LaBeouf’s childhood and follows Otis Lort as he deals with his childhood and his relationship with his abusive father. It’s a very personal premise that gives this film an emotional core unlike any other film this year. It’s written in a way that makes it feel realistic, not cinematic. It’s not full of cleverly structured dialogue and verbal payoffs. It revels in its ability to recreate life as it is, not what it wants to be. The dialogue is sharp, realistic, and very wise. The script is written with an emotional maturity and clarity that could have only been achieved by someone like LaBeouf. It’s a testament to his skills as a writer and as an effective storyteller. The acting in this film is superb. Noah Jupe (A Quiet Place) plays Otis as a child actor. Jupe gives an unbelievably powerful performance. He handles the intense and mature subject matter masterfully. It is a deeply resonant and affecting performance that is rivaled by few this year. It may very well be one of the best child performances ever seen on film. Lucas Hedges (Boy Erased) plays Otis as a troubled adult. We see him deal with the fallout of his childhood and how it has shaped him into the problematic and damaged person he is. Hedges gracefully shows us the frustration and struggle that comes with healing and acceptance. It’s hard to watch because of how real it feels to everyone watching. However, the standout performance is from LaBeouf himself. He plays Otis’s father in the film. LaBeouf gives the year’s best performance as an abusive and troubled father. He doesn’t play the character negatively. He shows the father for who he is, a flawed individual who unhealthily deals with his feelings of frustration, regret, and anger. We never hate his character at any point, but we are shocked and hurt by his actions just like Otis is. LaBeouf’s portrayal of his own father is unlike anything you’ve ever seen. It’s raw, furious, and emotionally draining.
This is one of those movies that tears you apart on the inside only to build you up again slowly. The problem is, like the film’s characters, you don’t truly feel whole again. It’s a painful and powerful journey that Har’el takes you on throughout the movie’s brief runtime. The film doesn’t waste a single second in telling this remarkable story of trauma, acceptance, and forgiveness. Har’el’s direction, LaBeouf’s script, stellar cinematography, and a great soundtrack make this film a well-rounded and essential piece of modern cinema. As it cuts back between its two time periods, we are reminded not of the characters’ ability to hate, but of their ability to love and be loved. It’s an emotionally complex concept that the movie conveys very well. There is so much resonance and power in the way the film is told that it will bring you to tears if you let it. Honey Boy is one of the best films this year. It is unlike anything you have ever seen. It’s a highly personal and emotional experience that is cathartic and awe-inspiring. It’s a triumph in writing, directing, and especially acting. It’s emotionally draining, but it needs to be seen. Honey Boy is playing in theaters now. Rating: 5/5 |
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