Review by Camden Ferrell

How does one navigate an apocalypse and impending maternity? This is what writer/director Matson Tomlin’s newest film ponders. Mother/Android follows a couple on a harrowing journey to seek refuge to deliver their baby among a perilous android uprising. The film unfortunately falls flat due to weak writing, poor execution, and a collection of ideas that have been done countless times before.
 
From the start, the movie doesn’t do much to distinguish itself from other films in this genre. Apocalyptic stories are nothing new, and there are still fresh ways to approach the idea, but this film doesn’t appear to have an interest in doing anything particularly original. The writing is stale and features forgettable dialogue. It also feels far too safe and predictable to truly be subversive and engaging.
 
The movie also features some less than stellar performances. Chloë Grace Moretz and Algee Smith both lead this dystopian thriller. Neither of their performances stand out, and they mostly just go with the motions in this tepid film. It’s rather disappointing since both actors have proven themselves to be talented in other projects, but one would not guess this based on this performance alone.

In addition to the problems with the writing and acting, the movie also has bland execution throughout. Even though the ideas are old and derivative, it could at least be compensated by a captivating artistic vision guiding it. However, there isn’t much character or personality in its execution, and it ends up feeling like every other nondescript post-apocalyptic thriller. The movie also doesn’t do enough with its maternity aspect. It introduces it as a plot device without properly exploring the implications and nuances of the situation.
 
Despite the areas in which the film’s quality lacked, there are a couple of things that work well in its favor. While its visual aesthetic doesn’t feel unique or original, the cinematography and atmosphere both contribute to the sense of dread that the movie aims to capture. Unfortunately, it’s not enough to elevate the scenes to be entertaining.
 
Ultimately, Mother/Android is a disappointing and uninspired dystopian thriller. It doesn’t explore its themes in a fresh or captivating way, and it features subpar performances, weak writing, and lackluster execution. While it’s not aggressively bad throughout, it’s a rather forgettable endeavor that might be something that you’ll want to pass on viewing this weekend.
 
Mother/Android is streaming on Hulu December 17.
 
Rating: 2/5

Review by Sean Boelman

Often, when an actor makes the transition into directing, their debut is something showy and suffering from a feeling of overindulgence. Maggie Gyllenhaal’s The Lost Daughter is a rare exception to that trend, a layered character study that has a subtle yet lingering impact on the viewer.

The film follows a professor on vacation in a coastal town in Italy as she reflects on her own past and trauma when she helps a family track down their daughter who wanders away. It’s the type of movie where the story itself isn’t that important, but the emotion it causes is what is of greater significance.

Much of the film’s conflict is explored through flashbacks, and while this can be an overused narrative device, it works extremely well here. Cutting between the present and the past really emphasizes the feelings of regret that drive much of the movie. The result is that Gyllenhaal quite effectively makes the audience feel uncomfortable.

This is a very intimate, rich script, and that is a big part of what makes it successful. The film is obviously an exploration of motherhood, and what the movie has to say in that regard is interesting, but it is even more intriguing as an exploration of remorse. There is a lot going on in this for something that seems so simple.

The character development is very layered as well. The protagonist is initially likable before becoming someone much more complicated, but Gyllenhaal makes her compelling even if some of the decisions she makes are frustrating. The supporting characters are the opposite way, initially unlikable but later warming to the audience.

Olivia Colman is one of the greatest performers working today, and her performance here is yet another bright spot on her resume. She knocks it out of the park with a turn that is quiet, yet commanding, matching the understatedly brilliant nature of the film. Somehow Dakota Johnson also holds her own against Colman, providing a great counter to her.

The cinematography by Hélène Louvart is gorgeous, capturing the beautiful Italian vistas wonderfully. This is really the only area of the movie in which Gyllenhaal allows herself to indulge in artistry, as it’s perhaps too pretty of a film for the material, but it also lends itself to a hypnotic feel which is quite immersive.

The Lost Daughter isn’t the type of movie that leaves you blown away, but rather, one that is restrained in its brilliance. It’s a fabulous directorial debut for Maggie Gyllenhaal, and it will be exciting to see where she goes from here.

The Lost Daughter hits theaters on December 17 and Netflix on December 31.

​Rating: 5/5

Review by Dan Skip Allen

Denzel Washington is one of the most prolific actors of his generation, having won two Academy Awards in his career for Glory and Training Day. He isn't is as prolific as a director. He has directed three previous films before A Journal For Jordan: Antwone Fisher, The Great Debaters, and Fences. His latest film is a bit more of an undertaking, though. It's not set in one or two locations like his previous films are. 

His latest film is based on a true story. It depicts the events involving a relationship between Dana Canedy (Chanté Adams, The Photograph) and Charles Monroe King (Micheal B Jordan, Creed) who meet at a family barbecue at Dana's parents' house. Having a long-distance relationship worked out at first, but they eventually get serious and move in together. They are madly in love with one another, eventually having a son, the namesake of the film.

This film is one of the best films I've ever seen about relationships and love. Dana Canedy wrote the book the film is based on. There is a lot of romance and courting going on in the story. It's the small touches that Washington adds that are most effective, like the shoes King wears, or the leg shaving scenes before sex that make this film intimate and touching. Washington handles all the little details like a seasoned pro in the director's chair. He might make the transition from acting to a full-time director if he keeps making films this good.

Monroe is a soldier in the United States Army when he and Canedy meet. This adds a different dynamic to the story because he is constantly coming and going from Canedy's life. It is a little tricky for such a couple to work, but it does in spades... until 9/11 happens. That changes everything for the burgeoning couple. King's duty to his soldiers gets in the way of his love life. But he doesn't want to choose — he wants both in his life.

Washington's experience with Courage Under Fire prepared him to do the military scenes. He was spot on with all the marching the cadence of the songs sung during the marching. The verbiage of the military scenes was very good. The prop master supplied the film with humvees and costumes to match this time during American history. The Iraq war followed 9/11. The mixture of civilian scenes and military scenes was a nice dichotomy to one another. It broke up what was a beautiful heartwarming romance.

The script by Virgil Williams and John Burnham Swartz did a very admirable job adapting the book the film is based on. The performances by Adams and Jordan are first-rate. They show what a real loving relationship can be on the big screen. Other romantic films can take note from this one. The film flows from military scenes and civilian scenes seamlessly. Washington has shown he has gotten better with each directing turn he has made. This film is a reward for all those who seek it out and invest their time in watching it. They won't regret it. 

A Journal for Jordan hits theaters on December 25.

Rating: 4.5/5

Review by Dan Skip Allen

The Tender Bar is based on the 2005 memoir of JR Moehringer adapted by William Monahan and directed by George Clooney. The film depicts the events of Moehringer's life growing up in Long Island, New York, and while he's hanging out at his uncle's bar.

Moehringer is portrayed by two actors in the film. The younger actor is Daniel Renieri, in his first film, and the older actor is Tye Sheridan (Mud, Ready Player One, The Card Counter). The younger Moehringer's story is the best as far as I'm concerned — he had the better arc in the film. The older Moehringer just basically goes to college and courts the girl he likes Sydney (Briana Middleton).

The film picks up with Moehringer's mom leaving where they live because she hasn't paid the rent in over five months. So they go back to live with her father (Christopher Loyd) and brother (Ben Affleck). The kid's father, a DJ on the radio, isn't in the picture. Without a father figure in his life, he gravitates towards his Uncle Charlie. Charlie teaches him about the ways of life, the ladies, and the ins and outs of a bar. Along the way, he meets a myriad of the bar's regular customers.

I can really relate to this film because of the bar aspects and not having a father figure to look up to. My father was an alcoholic and went out and spent his paychecks drinking all the time. When he had a regular job, that is. He didn't have much left for his family after that. On top of that, the abuse towards our mother was very similar to the way the father in this film treats women as well. As a young adult, I started hanging out at bars taking after my father. Bar life can be fun until you start going out every night drinking yourself into a stupor. 

As far as the father figure angle, I had a few of those in my life as well, trying to replace my father who wasn't there for me or my brothers and sister. As a huge sports fan, I gravitated to the basketball coach and football coach I had at the high school I went to and worked for after high school. They were just there for me as a young man when I had nobody else to look up to. My first boss and yes my first bartender became father figures as well. They just seemed to care about me when nobody else did. I am forever grateful to these four men. I wouldn't be who I am today without them.

​Affleck's Uncle Charlie is everything I would want in a father figure. He shows passion while also showing a little tough love toward young JR. He teaches him a lot while bartending at the local bar. The kid picks up quite a bit from all the characters. It's nice to see him become a sports fan as well, even though he's a Mets fan. A bar is like a melting pot of people. There are so many different types and people from all walks of life and religions. I learned a lot about life hanging out at bars and so did this kid. His uncle was a big part of that.

The Tender Bar isn't going to break any box office records or blow anybody away, but it has a story I could relate to about subjects that matter to me. Affleck was perfectly cast as the uncle with a heart of gold. He showed this kid the ropes of the bar and life, where he could take what he learned and put it to good use in the outside world. This may not be other people's glass of beer, but it was most definitely mine.

The Tender Bar hits theaters on December 17 and Amazon Prime on January 7.

Rating: 4/5

Review by Sean Boelman

One of the most heavily hyped films of 2021, Spider-Man: No Way Home promised to be an epic conclusion to this MCU-connected web slinger trilogy, and it delivers on that promise and more. Unexpectedly intelligent and often more thoughtful than some movies that actually bill themselves as satires, this film swings big and manages to pull it off.

The movie follows Spider-Man after his identity is revealed as he asks for help from Doctor Strange in fixing the collateral damage, accidentally unleashing dangerous, otherworldly foes. In terms of story, it is arguably the most consequential film of the MCU since Infinity War, perhaps even the first Avengers movie, which is surprising given that the last two Spidey outings were both mostly lighthearted fare.

Something else that is interesting about this film is the way in which it manages to balance its tones. It’s hilarious, action-packed, and emotionally affecting without ever feeling overstuffed. The first third is a media satire, with some genuinely insightful commentary, before becoming closer to what viewers had expected for the remaining two-thirds.

MCU movies have also been getting longer and longer, this one clocking in right under two-and-a-half hours after credits and post-credits content. It’s a full fifteen minutes longer than Homecoming, and yet it moves even better because it has plenty of great action and an abundance of witty quips.

Peter’s development in the movie admittedly isn’t as strong here as it was in the previous two films, as this hits a lot of familiar beats within the character’s comic book arc, but these moments still have quite a bit of emotional resonance. Additionally, the supporting characters more than make up for Peter’s lack of depth, as many of them are more complex than we have ever seen them before.

Tom Holland here proves that he has fully embraced the Spider-Man role, giving a performance that is lovably goofy. It is nice to see Benedict Cumberbatch taking a more laid back approach to his character here than he has in previous movies. And Zendaya gives a performance that is more nuanced than any love interest of Parker has given in the past.

The film has an absolute behemoth of a crafts team behind it, with an Academy Award-winning cinematographer and composer, among other talented people. Mauro Fiore’s camerawork is astounding, and while mediocre CGI threatens to undermine it, it mostly works very well. Michael Giacchino’s score is as exceptional as one would expect.

Spider-Man: No Way Home is one of the biggest steps that the Marvel Cinematic Universe has taken yet, and while it had the potential to backfire, it works extremely well. There is a lot of fanservice, but also far more substance than one would expect.

Spider-Man: No Way Home hits theaters on December 17.

Rating: 4.5/5