Author: jbg

TRIANGLE OF SADNESS (2022)

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Written & Directed By: Ruben Ostlund
Cinematography: Fredrick Wenzel
Editor: Mikel Cee Karlsson and Ruben Ostlund 

Cast: Harris Dickinson, Charlbi Dean, Dolly De Leon, Woody Harrelson, Zlatko Buric, Iris Betban, Vicki Berlin, Henrik Dorsn 

A male model and his girlfriend are caught in an amusingly weird situation while on a cruise with an assortment of around a dozen co-passengers. Things don’t go smoothly at all with a raging storm making things difficult, they get shipwrecked and all now need to make compromises to survive.

This film is more thoroughly enjoyable compared to his previous film THE SQUARE though the filmmaker takes aim at the double bed class again with this film. Like FORCE MAJEURE it feels a bit more down to earth and definitely more entertaining than all his other movies up to this point. As again this film is more about the whole story. Rather than noteworthy scenes that more seem tied together. 

The film begins with a couple who are both models. We see the young man in the middle of a modeling casting amongst others and being followed by a host and a camera crew. As it takes a soft jab at these castings.

We watch the young couple and their domestic problems. Where the major problems seem to be about money. As she makes more than him, she also seeks a partner who can take care of her if anything happens. Which has fed into his paranoia and birthed trust issues of always worrying she is going to meet someone better fit for her. Especially as in her career, she is surrounded by them.

That is pretty much the first act, we follow the couple through all the acts and are our anchor, but in the second act as they get aboard a yacht for a cruise the film becomes more of an ensemble. Once the second act begins it becomes about class and privilege. As we see the crew having a motivation meeting to make the most money they can. 

We watch the dastardly way some of the passengers make money on shore. The ridiculous requests they make of the crew, including one woman who after telling one of the staff they are all equal. She uses micro-aggressions,  to not only make the young woman swim but then demand that all the staff members swim and enjoy themselves whether they want to or not. Leaving no one to do Their actual jobs.

The vomit scene seems there to make a point and take the rich down a peg. Making them practically bathed in their own sickness and shit. 

Right the scene also allows the audience to be introduced to the captain Played by Woody Harrelson whose character is a drunk and a Marxist. Unfortunately, he is only in the film briefly but adds some spice and is the only recognizable actor for the audience that reminds us this is not only a film more or less, but also a comedy. 

In this act, we also see the boyfriend’s jealousy. As one act dominoes into him making a complaint. Only to have the man fired while feeling guilty instead of trying to clear it up. At that moment he decides to buy a luxury item instead. As we get a feeling this is the beginning of his entry into this privileged world. Especially as he seems to network with other passengers he is at tables with and has drinks with. 

Once we get to the third act. We still have the central couple plus some characters we were introduced to in the previous act. As literal survivors of the boat sinking.

This is where the film becomes not only non- Romantic but also a harsh version of the film SWEPT AWAY with more characters. As the male of the couple finally ends up becoming more the source of saving them. As his looks end up saving the day and helping them to get charity. Once one of the older female workers from the ship gets to be in charge as she is the only one who knows how to hunt, fish, and cook. 

She is wildly attracted to him and trades intimacy for more rations. Showing that beauty is a powerful commodity and that power can corrupt and the lengths that people will go to. Or only to have power and influence but how hard they Will fight to keep it. No matter what the background and history.

This all leads to an ambiguous ending that feels a little more ironic and out of a writer/director M. Night Shamalayan film only not as thrilling. Nor such a big deal when it comes to revelations.

This is more a film to study and watch rather than just the latter. It’s an interesting class struggle. How freewheeling the rich are with their money and values, but never really consider the second half or how their actions affect them.

The film does offer a few shocks, but strangely never resorts to being in and taste and lets you come away with your own interpretations. Though while keeping it classy, it also feels like it never goes as far as it could. 

He complains About footing the bill as he seems more to worry if this relationship is worth what he is spending his money and emotions on, seeming less romantic and more like a business deal 

Act 3 should be a kind of karma made justice but as with all power structures it becomes corrupted to a degree

Most of a farce at times than anything. Especially when you have the Captain and a Russian billionaire trading Ronald Reagan and Marxist quotes while drinking shots and going through bad weather. Though there always seems to be calm no matter what. So that when Pirates enter the picture it doesn’t seem too far off.

Grade: B

AFTERSUN (2022)

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Written & Directed By: Charlotte Wells
Cinematography: Gregory Oke
Editor: Blair McClendon

Cast: Paul Mescal, Frankie Corio, Celia Rowlson-Hall, Sally Messham

Sophie reflects on the shared joy and private melancholy of a holiday she took with her father twenty years earlier. Memories real and imagined fill the gaps between them as she tries to reconcile the father she knew with the man she didn’t…

This is a movie that presents a happy picture but hints at dismay and other things going on, on the sideline but they are never explained.

So throughout we get hints of something dismaying, but also it’s never quite explained to us. Which allows the audience to feed into or put whatever they feel into the story and make it more personal.

As the film stays what it presents itself as. A look at a father and daughter spending a holiday together at a resort. They bond and have a loving relationship. Except towards the end, they get into a bit of an argument and separate.

Where this will lead we aren’t quite sure but in the end seeing them together again we know they are alright.

In the film, we are never quite sure what happened after the horrific kiss. as we see the future somewhat and it appears we are looking back at memories and videos. We never quite are sure why she is watching these videos or what she is looking for or exactly what happened.

So Essentially it feels like we are watching moments and how they affect us though we have no idea where they are going so it is a bit abstract for us to make up the past and the future. As we watch all we know is that present.

Almost a snapshot, but it is a beautiful film with inventive shots at times. Such as instead of focusing on the actors focusing on their reflections on various objects. Ultimately the film is heartbreaking. It also fills you with a kind of joy.

Remembering when you loved it you loved your kids and everything was innocent and kind of perfect while the outside world looms. It’s one problem that you will have to deal with and encounter. For the time being you are in your own little world with your family and loved ones and that is all that matters 

They are mistaken for being siblings rather than father and child. Though that does show how young he is to be a father and the pressures that might present with little disappointments lien the resort not being as grand as advertised 

The film revels in these ambiguities and it’s another film that benefits from it is mostly taken from a child’s Point of view not fully but in pieces. This helps to explain that some of the camera work and angles are a bit obscured. 

This also allows us later on or after for us to realize that it’s impossible to totally reconstruct a memory perfectly. And that the daughter here can’t ever fully come into focus 

And it offers the universal wonder of looking back at certain moments in our lives and re-evaluating them. We’re what we remembered, better or worse we’re their clues other things were going on. 

The film offers a happy ending but no closure

Grade: B

AMSTERDAM (2022)

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Written & Directed By: David O. Russell 
Cinematography: Emmanuel Lubezki
Editor: Jay Cassidy 

Cast: Christian Bale, Margot Robbie, John David Washington, Chris Rock, Zoe Saldana, Robert DeNiro, Rami Malek, Michael Shannon, Mike Myers, Timothy Olyphant, Anya Taylor Joy, Alessandro Nivola, Andrea Riseborough, Matthias Schoenaerts, Taylor Swift, Max Perlich, Ed Begley Jr, Colleen Camp 

In the 1930s, three friends witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.

This film had so much promise, an all-star cast, and a period-piece comedy. Somehow it all went so wrong. 

As it is big everything about it is big, but limits the places it can go and at least acknowledges that people have other elements to their lives other than the main plot as a focus. 

Director David O. Russell always likes to keep his films somewhat unpredictable and lovely as the camerawork is usually styled yet fluid and there are so many characters floating around who play important roles. That you never quite know who is going to drop in and out. He seems to like organized chaos so that by the end that is when you really notice the style or the plan. As it comes to light.

He also usually gets actors to play parts in his films as the roles are usually off the wall or quirky enough. That it allows the actors more to play than to necessarily act.

When it comes to this film though everything seems off. Not in his usual way though. As the film wants to say something about modern society and politics. As well as race and class relations to a degree, but also wants to mix in comedic elements that feel slapstick yet the laughs never come and nor the comedy exactly.

Here half the minor roles are played by recognizable actors who you wonder why they are even in the film. Though one of those big names Taylor Swift provides the only noteworthy and truly funny jaw-dropping scene. That someone who is not a fan of hers might enjoy it a little too much. 

It doesn’t help that you have a love story among friends and colleagues. Yet no one has any chemistry and they say the lines so blankly that there is no emotion at all and no real reason to truly care about the characters. Even as the situations get zanier and a conspiracy forms. The film stays steady and slow. Where the only actor who seems like they could be interesting is Christian Bale who seems stranded in this movie. His romance with Zoe Saldana is cute and her character is short-changed. As this is the most appealing she has been on screen in quite some time. As the film seems desperate for his character to have a love story as it keeps shining a light on Washinton.s and Robie.s  

As even the film tries to paint a love triangle but it is more of a love story between the two and he is just close to them. If the film had incorporated more of the triangle of the two characters both in love with the woman or them all in love with one another. That would have kept the dynamic more interesting. 

The characters all seem like they deserve their own film. Even though they aren’t playing passionately. They have backstories that would certainly fit a better film or be better used in one.

By the end, this film is about a conspiracy and is played by a caper. Feels like it was much ado about nothing. By the end, only two characters falling in love is the only true change throughout. So that by the end you feel like you went through an endurance test. A well-meaning one but still a chore 

It’s focused as it wants to be a lot of things all at once. It wants to be angry but also soft. As it is paced at times like a screwball comedy but intended to stick and not just go by. It just feels very unfocused. Yet wants to include a lot of details

Grade: C-

MONEYBALL (2011)

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Directed By: Bennett Miller
Written By: Aaron Sorkin And Steve Zaillian 
Story By: Stan Chervin
Based on the book “MONEYBALL: The Art Of Winning An Unfair Game” by: Michael Lewis 
Cinematography: Wally Pfister
Editor: Christopher Tellefsen 

Cast: Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright, Chris Pratt, Stephen Bishop, Reed Diamond, Brent Jennings, Tammy Blanchard, Nick Searcy, Arliss Howard

Oakland A’s GM Billy Beane is handicapped with the lowest salary constraint in baseball. If he ever wants to win the World Series, Billy must find a competitive advantage. Billy is about to turn baseball on its ear when he uses statistical data to analyze and place value on the players he picks for the team.

This film feels like a classic story. It is told simply not in a flashy way with plenty of dramatic scenes and even leaves room for light humor. Though it is intricate in the details and methods it is told. 

It feels like a film that has confidence in itself and how important it is. Whereas for the audience your enjoyment of the film matters in your interest in the subject and even the sport of baseball. As the film feels strong and partially nostalgic about the feeling of baseball and what it represents for some but also represents the players who seemingly

Give their all even when they might have run out of what makes them special, but also by making it more about numbers and probability. While trying to humanize these players it also undercuts them as at times liabilities more than anything. 

Why is it that baseball is the most respected sport when it comes to movies? Even though it is the sort that had a public cheating scandal in its heyday? As it strangely seems to represent Americana. As it has always seemed to be around and played?

Jonah Hill underplays In his role showing he can be quite effective without really doing much and more letting the character stand out for his skills rather than his behavior or words.

Bennet Miller behind the camera directing is always a joy. As he always seems to disappear and once he comes back around to making another film it stands out in many good ways. As they always seem more prestige than anything else. Good but they seem to lack passion or too much emotion. Here he has another home run. 

As a director, he tends to be very atmospheric. Especially when it comes to a consistent tone. As he seems to seek to say so much. While seemingly doing very little but it feels bigger. It’s hard to believe he only came onto this project after Director Steven Soderbergh left the project. 

This is one of Brad Pitt’s better performances where he seems to be in a role later in his career. As in the role, he plays it as more neutral, cocky, and as much of a show-off as he has done in the past. Here he doesn’t have to rely on looks, personality, or charm. 

The cast is full of heavy hitters who never let the film or the material down.

As this film is a true story it doesn’t have a storybook ending. But even as it is downbeat it is a quietly satisfying one. 

It not only takes you behind the scenes of the organization but also a great story with real characters going through inner turmoil. Though they stay in check of their emotions, you can read the drama clearly on their faces and in their eyes. 

The story is all about the details that shape and define it. 

GRADE: A

MRS. HARRIS GOES TO PARIS (2022)

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Directed by: Anthony Fabian 
Written By: Anthony Fabian, Carroll Cartwright, Keith Thompson and Olivia Hetreed 
Based On The Novel Written By: Paul Gallico 
Cinematography: Felix Wiedemann
Editor: Barney Pilling

Cast: Lesley Manville, Isabelle Huppert, Lambert Wilson, Alba Baptista, Jason Issacs, Lucas Bravo, Ellen Thomas, Rose Williams, Anna Chancellor, Christian McKay 

A widowed cleaning lady in 1950s London falls madly in love with a couture Dior dress and decides that she must have one of her own.

I can’t say what made me want to see this film. As I will admit I was smitten as soon as I saw the poster and the trailer. I am glad that neither lets you down. As they pretty much preview the spirit of the film.

This is a good comfort movie. What I would call a perfect Sunday film. It’s entirely predictable and charming. Leaving the audience with a smile and managing to stay inoffensive throughout. 

This is the type of movie you go to in theaters to come out smiling or the ones you would wait to see at the discount theaters at least. 

This film even starts or predicts attitudes changing in the past that only started to happen recently.

It manages to set up what looks to be a whirlwind romance for a character that eventually fails, yet brings the character and movie down to earth. So that it isn’t a complete fantasy. Though later rewards the characters with something much more stable, sweet, and stronger. Luckily It’s not the main focus of the film.

Amazed by the character actress Lesley Manville who usually plays villains, especially you love to hate. Here she is so sweet and winning. 

It’s a film full of lessons that eventually are taught, shown, or learned. Where food usually prevails. Mean characters are shown to have other sides. 

The film never quite feels like something special. Though constantly puts you in a good mood. Good movie to watch with family.

Almost like a children’s Fantasy film made for adults only without the fantasy, but keeps the mood. 

It’s one of those films where a sensible nice person upsets the jet set but then makes them realize the errors of their ways and reminds them that there are regular and pure people in the world.

As usual, the film seems Like everything is going to go along dreamily for the lead character except for some challenges laid her way. Though the film does at turns keep you second guessing and makes the lead truly have to either work to get to her happy ending or has it taken away and the hanks to her strength of character get it rectified or helped along the way by others. 

This comes from her learning lessons about her nice nature at times and that those who you try to care for and protect Don’t always feel the same way it have the same intent in their hearts.

Grade: B

RETURN TO ME (2000)

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Directed By: Bonnie Hunt
Written By: Bonnie Hunt & Don Lake 
Story By: Bonnie Hunt, Don Lake, Andrew Stern and Samantha Goodman
Cinematography: Laszlo Kovacs 
Editor: Garth Craven

Cast: David Duchovny, Minnie Driver, David Alan Grier, Carroll O’Connor, Robert Loggia, Bonnie Hunt, James Belushi, Eddie Jones, Brian Howe, Marianne Muellerleile, Joely Richardson 

A man who falls in love with the woman who received his wife’s heart must decide which woman it is who holds his heart.

This film is a total surprise. As one wouldn’t think too much of it at first,  it comes across as an all-time classic 

This film is charming. Above all else. Like its co-writer and director Bonnie Hunt’s stand-up comedy it’s inoffensive, chuckle-worthy, classic, and full of character. As well as full of characters. 

As it plays like a romantic comedy from the 1950s and stays wholesome. As even though it is modern it feels like it comes from a bygone era or the type of film They don’t make anymore. As the leads come across as real characters and never stars.

Though the film deals with a dark subject. The film stays lighthearted, cheerful, and energetic.

This for me is the first time that David Duchovny comes across as a full-fledged leading man in a movie. He is quite good and soulful. He even manages to put out a few laughs.

Minnie Driver is wonderful, beautiful, and down to earth in the film. She is practically the girl next door in this film. As well as hilarious. 

The sounding board of her family and the regulars at the restaurant are hilarious and give the film a special touch. Especially seeing the old-school stars given something to do. 

That is the strength of the film. You are so interested in all of the characters. Even the minor ones that no matter what happens you will still be entertained. That is how nourishing this film is as it shows everything and every one was handled with care.

The film could have easily based itself on the story and plot but while it is around it quickly takes a backseat to the characters and situations.

This is a film that is rewatchable each time I watch it. Not only do I fall in love with it all over again. As I suspect most who watch it will, but it holds up and impresses. As it feels like an old-school classic. Which is rare as they don’t make films like this anymore. Yes, it’s more in the movie logic cute romance side. 

The plot gets you in the door, but the characters keep you interested. No matter how formulaic it gets. It introduces something a bit unexpected. The film has a personality bit an extreme one but one more subtle.

GRADE: A

COCAINE BEAR (2023()

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Directed by: Elizabeth Banks
Written By: Jimmy Warden
Cinematography: John Guleserian
Editor: Joel Negron 

Cast: Keri Russell, Margo Martindale, Ray Liotta, Alden Ehrenreich, O’Shea Jackson Jr., Isiah Whitlock Jr., Jesse Tyler Ferguson, Ayoola Smart, Brooklynn Prince, Matthew Rhys 

An oddball group of cops, criminals, tourists, and teens converge on a Georgia forest where a huge black bear goes on a murderous rampage after unintentionally ingesting cocaine.

This isn’t Another SNAKES ON A PLANE.  where the title not only says it all but is more built on hype than story. As this is partially based on a true story. What It revels in are shocks and more shocking humor.

A dark comedy that some might consider a bit macabre. 

As going along with the title the film seeks to have a need to push things as far as they can with characters who represent a different part of the audience. Though In the end a lot of them come across more as caricatures set up for impending doom.

The film is more built on sensationalism. As that is what you feel as you watch it as it is more, check your brain at the door. 

The bear is a beast that seems to be like jaws as it shows up from time to time with no rhyme or reason except the script needs it to on its hint for more drugs that seem to drive it to be more aggressive than in the final act throws a curveball as to why it should be spared 

More of an ensemble than expected. As we see the reasons why some of them are there to either survive. We root for or see their demise in inventive ways. Either way, before long l we get to know them To some capacity excellent and bad 

The film Calls itself a horror comedy and while it has violent gore and jump scares it comes across as a  Violent comedy with surprises and thrills. That is meant to be fun more than anything. 

It thoroughly Exploits its Set time period of the 1980s overly but overtly 

For what it does offer there always seems to be the feeling that something is missing. It should be a bigger film or story. Though that might be personal for this reviewer. As it certainly provides enough for a cinematic experience and audience expectations.

As it goes the places you expect, there seems to be so much more that could have been done but too grandiose as this works better as more of a contained story. 

While you are still on the edge of your seat you never truly consider most of this believable. Like Jurassic park, it’s an animal world of nature. They know it as they live it. The characters just inhabit it and struggle to survive. As they were the ones to disturb it and throw it off-center.

Its strength stays in the attack sequences that are more like set pieces. The ranger’s cabin, The Ambulance sequence, and The Tree Climb, they are both massacres but also memorable comedic sequences that go over the top.

Cocaine bear is an example of a movie that promises to go balls to the wall but only

Goes so far. It’s when a film tries too hard to be campy and misses what makes most films campy in the first place. Just believing it knows. It’s more mainstream reaching to be more out there but not knowing exactly how

Grade: C+

ME TIME (2022)

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Written & Directed by: John Hamburg 
Cinematography: Kris Kachikis 
Editor: Melissa Bretherton 

Cast: Kevin Hart, Mark Wahlberg, Regina Hall, Tahj Mowry, Diane Delano, Andrew Santino, John Amos, Anna Maria Horsford, Jimmy O. Yang, Shira Gross, Ilia Isorelys Paulino, Seal, Luis Gerardo Mendez 

Follows a dad who finds time for himself for the first time in years while his wife and kids are away. He reconnects with a friend for a wild weekend.

This is another buddy comedy or big star team-up for Netflix 

A meeting of the minds of two superstars. Mark Wahlberg and Kevin hart. Who seems to have lately made a career in these types of movies. 

Unfortunately, he is Usually in subpar comedies that barely Pass being believable and this film is no exception. In fact, it plays like a lighter and safer version of  VACATION FRIENDS with Lil rel Howery and John Cena. Though this film is racy itself.

The film’s Humor is more on the shocking side, but only because you have not seen the performers be so open to this type of humor before. 

While I would never say this film is a game Changer or offers something the audience hasn’t seen before. I have to admit I liked it purely as a guilty Pleasure. 

The film Made me laugh plenty of times. Yeah, the jokes were stupid but the film Feels fun and it is one of the few times recently where it actually feels like Kevin Hart is putting in an effort and trying. 

The film tries to humanize the characters more by presenting a married man in a rut. Flirting with having a more carefree lifestyle like his friend and his friend having to learn to take responsibility. While as life king friends allowing them to bond and get into misadventures. 

Maybe it’s the bigger name cast or the feeling that they are having as much fun making the film. As one might have watched the film. 

Even though Mark Wahlberg Seems A Little lost when it comes to his character. He shows that he is fake for whatever the film or the scenes throw at him And gets in with full gusto. Even though most of the situations make no sense. They at least seem to be somewhat inspired. 

Ilia Isorelys Paulino steals all Of her scenes and helps enliven the movie whenever she is on screens 

This is a nice time waster as long as you don’t think Too hard. As it might be that I have gotten used to Hart’s films like this. Don’t know if it is any better or worse than his usual. It could be that we are so used to the quality now that we accept it and just go with it or maybe this one does try a little more. As at least this film’s cast is more recognizable.

Written & Directed by veteran screenwriter John Hamburg, who in the past has written and co-written scripts for Ben Stiller in particular. Maybe he helped up the standards of the material. 

Grade: C

JEFF OF THE CINEFILES & UNFINISHED BUSINESS: HALL OF FAME – FILE #0071: SIDEWALK STORIES (1989)

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Written & Directed By: Charles Lane 
Cinematography: Bill Dill 
Editor: Charles Lane and Ann Stein 

Cast: Charles Lane, Nicole Alysia, Ellia English, Edie Falco, Toni Ann Johnson, Bill Sage, Ed Kershen, Luis Ramos, Tanya Cunningham, Attila Hoosier, Michael Baskin, Robert Clohessy, 

Nearly silent comedy filmed in black and white follows a street artist, who rescues a baby after her father was murdered. The artist then sets off to find the mother, but has to first learn how to care for the child. Ultimately he ends up in a horse drawn chase of the murderers.

This film is memorable for what it sets out to achieve and what it doesn’t

Although meant to be a silent picture and a homage to the films of Charlie Chaplin it switches the script by not only being feature-length with side stories or scenes that all serve the intimate narrative. 

The only time there is dialogue is at the end seemingly giving a voice to the voiceless homeless characters he has found himself arm around as a street artist taking care of a random child who has found him evicted and amongst the city’s homeless

The film is a family affair as the little girl he takes care of is his real-life daughter and the film is truly about their relationship and bond, a kind of parental love story of sorts. Which makes it all the more personal.

Even though the film has the elements of romance a love story and even sex and nudity briefly and in the end more in the form of a fantasy 

It also ends up being a time capsule of sorts of new york and particularly manhattan around 1989 the streets and sights are familiar and magical like seeing someone you are familiar with at a certain age and getting to see their high school yearbook photos 

It overstretches It’s initial bounds as it is an artistic experiment and homage but is also made personal and not from the type of person we are used to even if it is a role that fits and a film that could have easily been a sensation for a bit and disappeared this film always seems to pop up and be discovered and restored to make sure it lasts over the years 

While not as funny or physically dexterous as Buster Keaton or Charlie Chaplin. Writer/director Charles Lane makes an impression as the film isn’t Made entirely for laughs or drama but to tell a story of characters and entertain. Not just provide sight gags. So while not for everybody expecting the most out of every sight gag or comedic setup. If given a chance it is rewarding and can be effective for 

It also hits home more as we have never seen this done from a person of color’s point of view. So it’s not only centered around a class distinction and prejudice but also a racial one. Allowing the story to be presented around not only an urban landscape but characters who reveal themselves to be identifiable and want the same things we all do.

Ahead of the curve as he is a struggling  Street artist whose sales pick up once he has the child in his possession as her scribbles far outsell any of his original and better artwork. As sometimes it is all about the presentation of art over skill that sometimes helps make the sale. 

A time when films could be risky and experimental and allowed to find an audience. Where it felt more like an artist at work 

With modern sensibilities, it took a little while to get into and onto the film’s wavelength but once you are it offers nothing but gems along the way. As it is an expose of how to pay homage it uses an ancient language or style of sorts and still Makes something personal, especially art out of it 

Supposedly Disney almost remade the film in color and with sound starring Tom Hanks. They offered Writer-director Charles Lane the chance to remake it. He had no interest in remaking the film and Tom Hanks eventually turned down the studio’s offer to star in the film. Even though he did enjoy the original. 

Grade: B

CRITICAL THINKING (2020)

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Directed By: John Leguizamo 
Written By: Dito Montiel 
Cinematography: Zach Zamboni 
Editor: Jamie Kirkpatrick

Cast: John Leguizamo, Michael Kenneth Williams, Rachel Bay Jones, Jorge Landeborg Jr., Corwin C. Tuggles, Angel Bismark Curiel, Jeffry Batista, Will Hochman, Zora Casebere, Ramses Jimenez 

Miami – 1998. Poverty, broken families, and a prejudiced system push underprivileged youth to the fringes of society. But for a magnetic group of teens, there’s a reprieve. A game where it’s not about where you come from, but how you play. That equalizer is chess. Mr. “T” Martinez, a chess militant and passionate coach, leads them to a completely foreign battlefield.

Wish one could say this film Is different than the many a teacher makes a difference but unfortunately though similarly based on a true story. It hits many familiar beats of the genre.

Though I will say this one is a little rougher around the edges than most and a lot of the drama and plot points are left hanging to a certain degree. Letting us see some change or some who were at each other’s throats at peace with one another.

Which might be frustrating for a viewer but leaves the story and film with some realism. As it doesn’t exactly tell us what happened to some stories or characters but it does offer an endpoint. Even while some scenes and conversations feel missing. 

The film isn’t cookie-cutter, but the audience knows what will happen for the most part as we just watch how the film Will get us there.

The film isn’t exploitative. This isn’t urban porn where there seems to be no hope and it is nice to see a movie and know a story where a person of color helps the diverse students towards a goal. Someone who knows what It’s Like in the neighborhoods and what it’s like to be discriminated against and undervalued.

The teacher helps them to learn lessons not exclusively teach it to them and gives them hope. He doesn’t necessarily save them, just guides them to their own salvation.

The cast keeps the film moving and sparkles. John Leguizamo in his directing debut. Co-stars as the teacher and shows a talent behind the camera. 

Grade: C+