Marvel has needed to smash a reset button with a big, proper film to get the machine churning and building again, something with flagship characters that demands appointment viewing. Well, new headliner Anthony Mackie called his shot. True to the old adage of “absence away makes the heart grow fonder,” they have their new jumpstart in Captain America: Brave New World.
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Moral challenges and splits involving personal truths increase as the days and hours dwindle to do something about them. Depending on the viewer’s acceptance and temperament, When I’m Ready is a complicated blend of the morbid and the soulful. Cynics will call it soft and over-convenient. They’ll be missing the attempted love letter-level poetry championing companionship. Instead, those who lean to and shine with the positive latter will be rewarded with a lovely odyssey of warmth fighting back bleakness.
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Witnessing this journey is an absolute pleasure to behold in Suze, a little gem that can unite wayward young audiences with the jaded adult parents out there both trying to make sense of shifting crossroad moments of their lives. When Suze and Gage come to say “I’m really glad you’re here,” you will find yourself nodding in agreement about the sweet movie itself, and it all started with a convincing himbo.
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With its idyllic morals and rural accoutrements, Green and Gold champions hopeful and wholesome vibes. Green and Gold embraces that soft touch without thumping Bibles to support and celebrate the challenges and resilience found in the endangered American farmer. There’s an under-filled soft spot place for quaint family fare tipping a hat like this.
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No worries are necessary. Dog Man will not turn impressionable children into future Clown Princes of Crime while they root for the do-gooding flatfoot. It’s simply the nature of irreverent humor made to match its chosen crowd and knowing fans. In Dog Man’s case, they are the beloved readers of Dav Pilkey’s graphic novel spinoffs from his Captain Underpants series that, for many youths, were a gateway to full-fledged novels when they were emerging readers.
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The grand searches for meaning and the combination of their little ventures are not quite expressive or poignant enough to sear hearts and call upon the need to tug on the tissues, despite a promising effort from Julia Stiles taking on a new role in her lifelong medium. While Wish You Were Here may not fully succeed for many, she deserves more chances in the big chair.
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As the flashbacks thicken the ugly and sordid details, every call for caution is correct, and every sincere attempt at concern is warranted. But, with every chewed fingernail of unchecked nerves, Jane refuses to talk or share any shred of explanation. Through its sobering effort to present an always-successful-until-now young woman carrying unhealed pain, Disfluency sheds light on an ominous emotional burden far too many people have experienced and far too many people have sought to carry silently.
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What could possibly hurt the good intentions and try-hard effort of Autumn and the Black Jaguar? The answer, unfortunately, manifests in one abundantly blunt place. It’s the insertion of a distracting supporting character that steals the oxygen and becomes the movie’s regrettably more dominant mouthpiece.
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Count Somewhere in Montana writer-director Brandon Smith as a wiser gentleman who avoided, for the most part, reaching for those types of low-hanging fruit. These featured men are surprisingly deeper than their outward tropes, and their qualities thicken, ever so slightly, what could have been a narrow movie.
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By Ross’s own words, the camera intensifies objectivity and that speaks volumes for Nickel Boys. Its well-executed impact begs audiences to become further informed on the tragedy after finishing the film. In the end, we cannot let go of what the eyes and arms want, especially if those needs cannot be attained due to the grim circumstances of the story. Better than many works by peers and contemporaries, Nickel Boys longs for us to hold dear the bonds of protective brotherhood with a fascinating filmic experience.
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This past fall, the eclectic western Chicago suburb of Oak Park, Illinois put on their inaugural film festival. The Oak Park, Illinois Film Festival. Divided into five thematic programming blocks, the festival organizers and leading board members curated a total of 17 films. Three of them were feature-length, and two of those were documentaries. Holding firm to local roots, each film entry had to have an Oak Park connect in front of or behind the camera to be eligible.
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The narratives are constructed to build these tipping points of success with suspense. If the journey has been framed right, the characters have earned their chance at rewards from their exhaustive hard work and preparation. Likewise, viewers come to sports films for those cathartic moments of satisfaction and savor their inspiration power long after. Rachel Morrison’s The Fire Inside follows that very finely-tuned trajectory but does something different with its cinematic stamina and steadfast platform.
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