THE FRONT ROOM (2024)

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Written & Directed By: Max Eggers & Sam Eggers 

Based on a short story by: Susan Hill

Cinematography: Ava Berkofsky 

Editor: Eric Kissack and Benjamin Rodriguez Jr. 

Cast: Brandy Norwood, Kathryn Hunter, Neal Huff, Andrew Burnap, Mary Testa, Kerry Flanagan

It tells the story of a newly pregnant couple who are forced to take in an ailing, estranged stepmother.

I don’t know exactly the plan behind this film as the only thing it truly does successfully is make itself look like it’s going to be something more of a horror film or a supernatural film. However, it ends up becoming more psychological than expected.

The problem is that there seems to be no plan by the villain as to what this is all for or if it is even worth it. Though Kathryn Hunter playing the old woman Solange is the only truly noteworthy part of the film. Not to mention the only truly wonderful performance. One only wishes the movie matched her performance. 

For the most part, the movie is dull where the characters are stuck between a rock and a hard place and wonder why they burden themselves. Even though it’s more Brandy versus the old lady as her husband who knows how much trouble the old lady can be is at work and mainly absent.

So the move is a battle of wills between two women trying to become head of the household even though one is almost off to the pastures already. So while it may remind you of the movie HUSH with Gwyneth Paltrow and Jessica Lange or MOTHER’S BOYS with Jamie Lee Curtis only with an added hacksploitation angle.

At first thought this film would be a good guilty pleasure that you can have fun with like the movie MA with Octavia Spencer, but while there are shades at times of that type of film. This one takes itself more seriously and instead of violence. Seems to disgust the audience with feces and other body fluids. 

You also wonder don’t these people have friends or other family who could help them in any way, shape, or form? 

One understands the subversive turn in the story though it still remains with the audience asking why any of this happens. What is it all about? By the end, you might be wondering why did you just sit through all of this? Was it supposed to be a starring comeback for star Brandy even though it gives her no scenes to shine?

Grade: D+

THE ANGRY BLACK GIRL AND HER MONSTER (2023)

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Written & Directed By: Bomani J. Story 

Cinematography: Daphne Qin Wu

Editor: Annie DeBrock

Cast: Laya Deleon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday, Amani Summer, Eden Atsu-Swanzy, Ellis Hobbs IV

Vicaria’s a brilliant teenager. After the brutal murder of her brother, she embarks on a dangerous journey to resurrect him.

This is a film I have mixed feelings about. Though I always do when it comes to African Americans in horror. As I love the representation bit it also feels like reinforcing stories and stereotypes of the type of characters and media. They are always caught up in and now add supernatural elements and undead slashers  

This is a film that fights against itself in certain ways. It feels like more trauma-inducing horror for characters and a community that has seen enough horrors in life and on-screen in media. This only adds to it 

The redeeming qualities it does have a kind of happy Ending and showcasing microaggressions and intelligence as well as a bit of black history is commendable but it does run into certain stereotypes. 

By the end what should be a cautionary tale feels like a twisted one where the main character is justified in her actions. 

As we watch, we pretty much know what’s going to happen as it goes along as we’ve seen this tale before it just offers different elements and motivations throughout. 

It softens the blow, making the main character, a genius teenager, seem not to know any better. so that we can’t get totally mad at her or want her to get somewhat of a come-up as her intentions were pure and not as dastardly. Though for all of her intelligence how she didn’t see this coming, also exposes her naivety.

It offers a story that is definitely coming of age as it shows and revolves around, mostly kids to a certain degree or forced to grow up way too fast as they have to become aware of the danger that is constantly around them and how to maneuver and deal with it in their own ways. 

The film offers to have to go through such hardships and pain to finally find a certain piece or get their own happy ending. A more McCobb ambling tale that takes place in a tougher neighborhood with harder upbringings, but does offer an adventure.

Luckily, the film does not get bogged down, and being some kind of revenge thriller it offers up some ideas but still unfortunately comes across as pretty basic at times.

Grade: C

HIS HOUSE (2020)

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Written & Directed By: Remi Weekes 

Story By: Felicity Evans and Tony Venables

Cinematography: Jo Willems

Editor: Julia Bloch 

Cast: Sope Dirisu, Wummi Mosaku, Matt Smith, Javier Botet, Maraika Wakoli-Abigaba, Yvonne Campbell, Vivienne Soan, Lola May 

A refugee couple makes a harrowing escape from war-torn South Sudan, but then they struggle to adjust to their new life in an English town that has an evil lurking beneath the surface.

This film is a revelation. It manages to mix culture, history, scares, mood, and atmosphere all into the mix and comes across as a haunting drama and horror film. 

it doesn’t have a typical horror take of a slasher but feels a bit more full in a story in characters and offers us a ghost story though more of a haunting. Where guilt is what has the strength to make matters worse. That doesn’t offer a simple answer though, and gives a way too easy way of an ending. 

It goes into the immigrant experience as well as the guilt of leaving a homeland for another and never quite getting away from or forgetting the ghosts of your pasts.

The characters are haunted by their decisions and how far they are willing to go to get rid of them. Before they let them literally kill them. 

This is the beginning of the renaissance of actor Sope Dirisu after this he continues to be on a roll in the roles he plays always powerful, emotional, and believable with a certain sense of style.

However, that is not to discount Wummi Mosaku performance here as she matches him especially emotionally. They are perfect duet partners throughout as a married couple. Where no matter what each is going through you believe them together and the love and care they have for one another. 

This is writer/director Reemi Weekes debut film and already shows a wealth of talent and skill. This film shows that he knows what he is doing and is in full control of his powers when presenting the story he wants to tell. 

The film is filled with unforgettable images and scary scenes and stays quite inventive, especially with its Locations. It digs into being strangers in a strange land and that alienation. Even though what should bind you to others seems to repel. 

People of color in particular African Americans go through so much in life. Not a fan of seeing them suffering. As it feels like another hardship left to endure onscreen. Here the film manages to tie in that experience. Heightening it makes it more understandable for the audience and others who have never had to go through it. 

Grade: B+

LA RONDE (1950)

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Directed By: Max Ophuls

Written By: Max Ophuls and Jacques Natenson

Based on the play “Reigen” By: Arthur Schnitzler

Cinematography: Christian Matras

Editor: Azar

Cast: Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernard Gravey, Odette Joyeux

Soldiers, chambermaids, poets, prostitutes, aristocrats are on equal footing in this multi-character merry-go-round of love and infidelity.

This is an excellent experimental film. When film was still finding itself and what it could be with such a wide net of imagination 

This film Feels like one of those Gary Marshall films Mother’s Day, Valentine’s Day anthology where the characters are linked together with a similar theme. LOVE ACTUALLY or the movies of Robert Altman. This is essentially a film about love, and in an ensemble where each character leads to the Max one and there’s a narrator. I guess you could believe it as a sort of Cupid.

The difference between this and the films is of course time and that this is actually artistic, and as I don’t know any of the stars of this film, you knew what to expect with the Gary Marshall cast

this is the film that you should only watch if you want to see something romantic and a love story and the many different ways, and which characters connect and find one another and almost feels like a book of short stories or at least short scenes as they all lead to another not that they make the best couples work and each one someone who might have been more of the victim and one story is the one in control in the next and vice versa

Like the merry-go-round that constantly comes up. The world spins and the characters move in and out of each other’s lives not the same story but the same subject involving love of some kind. 

As the film offers up the ups and downs of relationships and love different meanings of it, different motivations of it, and the different roles some of us play we can all identify with the character in each vignette  

At least the film gives its ensemble chances to shine in one way or another. 

The film feels experimental, yet magical, especially for its time when it seemed like the rules were still being written when it came to this new invention of film and cinema.

Which is why it kind of feels like a circus as it constantly feels like a show, which might be because this started out as a play or theatrical piece before being made into a film 

It’s also an identifiable fairytale that isn’t afraid to go into subject matter that those types of stories usually avoid but still manages to feel like a fantasy of sorts. Where is magic in the storytelling in visuals as well as the presentation?

Grace: B 

HAPPINESS FOR BEGINNERS (2023)

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Written & Directed By: Vicky Wright 

Based on the novel by: Katherine Center

Cinematography: Daniel Vecchione 

Editor: Suzanne Spangler 

Cast: Ellie Kemper, Luke Grimes, Nico Santos, Blythe Danner, Julia Shiplett, Ben Cook, Shayvawn Webster, Gus Birney 

A year after getting divorced, Helen Carpenter, thirty-two, lets her annoying, ten years younger brother talk her into signing up for a wilderness survival course. It’s supposed to be a chance for her to pull herself together again, but when she discovers that her brother’s even more annoying best friend is also coming on the trip, she can’t imagine how it will be anything other than a disaster.

This has been a trend for Netflix recently releasing romantic movies that seem like they more belong on the hallmark network. That would seem like in the old days the type of TV- movie a network would put all of its show stars into one to win ratings for the night. Not to mention keep their salaries down by making them do the television movie rather than a big screen role that might be a hit and increase their asking price 

This film is simple enough and it’s romantic and heartwarming. So that it has its charms and laughs even though you never are in doubt as to where it is going. 

Happy to see Ellie Kemper in something. Though there are many things here that just nag you in the audience. The characters other than the roads seem to be one-dimensional they get mroe dimensions by the amount of screen time they have.

Most of the cast are good looking at least the ones who are either the romantic leads or might be distractions for them. 

Never quite understand why Kemper’s character would marry a guy who is such an idiot and has no chemistry with him. To set her characters ark and then when it’s obvious who she is supposed to be with they have moderate chemistry but still seem a bit put off. 

Despite the film’s many problems and situational humor. It still has a charm. It’s not impressive but it’s a nice enough viewing.

Grade: C

#STUCK (AKA THE MORNING AFTER) (2014)

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Written, Directed & Edited By: Stuart Acher

Story By: Dana Waxman and Neil Pollner 

Cinematography: John Matysiak 

Cast: Joel David Moore, Madeline Zima, Abraham Benrubi, Jayson Blair, Joanna Canton, Joel Michaely 

A hot one-night stand turns into an awkward morning after when GUY and HOLLY get STUCK in a dead-stopped traffic jam. As they begrudgingly get to know each other, we learn of their sexually raucous evening and then they’re led to their surprising destiny.

One might label this an MTV version of the BEFORE SUNRISE films as we watch characters learn about each other only after they have had a one-night stand and are stuck in Never-ending traffic.

While there are plenty of conversations throughout the film. There are also plenty of cutaways of other passengers and flashbacks of the precious night. Where we get to see how they got together in the first place.

So that we learn about each of the characters. As they do, which helps us in the audience to become more invested in the characters and their fates. 

The film does tend to people in other cars stuck in the traffic jam as well. Though only for minutes that feel more like filler and some distractions to keep the film from being a two-hander. Even though in the flashbacks we do see plenty of others. However, it also makes the independent production feel bigger in scope to a degree. 

It’s a cute romantic indie film with plenty of humor and the leads will charm the audience. I enjoy both lead actors but really watched the film for Madeline Zima and wasn’t disappointed.

At times the film is a bit mroe risqué than expected year manages to stay sweet throughout. Even when it tries to be cynical. It still manages to leave you with a smile on your face.

Grade: C+

WE GROWN NOW (2023)

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Written & Directed By: Minhal Baig 

Cinematography: Patrick Scola

Editor: Stephanie Filo

Cast: Blake Cameron Jones, Gian Knight Ramirez, Jurnee Smollett S. Epatha Merkerson, Lil Rel Howery, Avery Holliday, Ora Jones 

Two young boys, best friends Malik and Eric, discover the joys and hardships of growing up in the sprawling Cabrini-Green public housing complex in 1992 Chicago.

This is an empowering movie about the positivity of black youth and black families growing up in the so-called hood of poverty. 

The film shows the strength of family imagination and wonder by focusing on the innocence of the young children involved. How can we grow in places that we’ve been told are the most dangerous. How communities formed in these places in the past for a community and culture of solidarity.

Over the years, the resources have been taken and swindled away. Also how it seems that every time that African-Americans or the so-called poor people try to do right and lift themselves up

The upper class or those in power seemed to punish them or make things harder so that they could never truly lift themselves up the way that many say they should.

While it deals with that and generations and legacies of families, its wide scope is Mohr seeing this world through the children’s eyes especially the two leads who are best friends from different families but are like a tag team and help each other through when their family is it necessarily there or can’t they’re an inspiration to one another.

It’s an uplifting adventure of life seen through the eyes of children for the most part. 

Grade: B+

THE PIANO LESSON (2024)

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Directed By: Malcolm Washington 

Written By: Virgil Williams and Malcolm Washington 

Based on the play by: August Wilson 

Cinematography: Michael Gioulakis 

Editor: Leslie Jones 

Cast: Danielle Deadwyler, Samuel L. Jackson, John David Washington, Ray Fisher, Corey Hawkins, Stephen James, Erykah Badu, Michael Potts, Pauletta Washington, Skylar Aleece Smith 

Follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano.

Based off of August Wilson’s play this film obviously is more theatrical, though it does find ways to have more outdoor scenes and leave the central location of a family’s house.

The cast is all excellent especially Danielle Deadwyler even though the film is more of an ensemble. This is also one of the best performances I have seen John David Washington give in his career so far it might not be as memorable, but he seems a little more open and loose than he usually appears to be in most of his roles, it might be that his brother.  Malcolm Washington is directing him so he has more trust in him as a Director he can be more vulnerable here.

The film has many memorable scenes, especially an impromptu sing-along by the male members of the cast that is infectious and feels like it goes by way too quickly.

The film is filled with sharp visuals, memorable characters, and dialogue. It even manages to get a little supernatural throughout as it focuses on black history and family history, but also black folklore a bit.

The material is informative and a bit more melodramatic, though it’s also historical, which is a rarity to be seen when it comes to African-Americans and family, especially generational dram of legacy inheritance motives, and love.

While one has a limited knowledge of the works of August Wilson, so far out of his place that have been brought to the big screen like fences black bottom this one has the happiest ending and while it involves family drama, there is no doubt that there is love and support of one another so this ends up being one of the happier plays which unfortunately it’s also comes across as maybe not as strong as the other two though at least this one is uplifting.

Just like the object in the center of the piano, it is also well crafted and carries a history all its own, which is why it’s a slow burn but effective

This feels like a prestige production and one of the more obvious Oscar-bait films so it’s still a story worth telling  and watching 

Grade: B

THE BIKERIDERS (2024)

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Written & Directed By: Jeff Nichols

Based on the book by: Danny Lyon

Cinematography: Adam Stone

Editor: Julie Monroe

Cast: Tom Hardy, Austin Butler, Jodie Comer, Michael Shannon, Norman Reedus, Emory Cohen, Mike Faist, Boyd Holbrook, Beau Knapp, Karl Glusman, Damon Herriman, Toby Wallace, Will Oldham 

After a chance encounter, headstrong Kathy is drawn to Benny, a member of the Midwestern motorcycle club the Vandals. As the club transforms into a dangerous underworld of violence, Benny must choose between Kathy and his loyalty to the club.

There seems to be so much to say as this film could’ve been epic, but I don’t know if it was budgetary reasons or wanting to stay more abstract that it doesn’t fulfill its own strength and greatness. 

It’s not a bad film but there are still some great flourishes and ideas throughout. it kind of feels a little bit like GOODFELLAS and portrays an era of certain motorcycle gangs not the exact beginning but the beginning in hell over the years it changes. a kind of anthropology lesson. 

How’s the next generation evolved, but also brought down and moratorium from its less than innocent beginnings, there seems to be a purity at the beginning of the gang until it truly became more about being criminals.

Even when the change comes, you know by the name of the gang, the renegades and pretty much losing it when things change more through cheating than anything or one-upmanship

It works as Austin Butler’s performance is more mysterious and cool kind of a ghost, but also a heartthrob and a cipher that everyone wants a piece of and is mystified by.

He’s the cool beautiful loner the mystique most all strive for and what attracts most to the allure 

For some, the audience might be tested between the accent of Tom Hardy, who once again doesn’t really talk much, and Jodie Comer, who creates a believable character as long as you can get past her voice and accent. She is really our entrance to the gang as she gets more and more involved in the gang. She wanders we learn more about them.

It shows the different generations of the club it would help us get more of an update and maybe a little more in-depth into more of their personal lives when not riding and modes of income.  The evolution of the club and how it got more ruthless and less about companionship and about crime and not caring about the camaraderie and  brotherhood 

The film tries to paint a portrait of its own Americana only it needs a stronger and tighter screenplay and. Or seem so random and taking more of a sideline view and watching the character back with no certain direction. Though the film doesn’t have its moments and can pack a punch once in a while 

The film goes for a nostalgic feeling for a lost time while trying to illustrate not only what was lost as the years went by but not only a loss of innocence but of certain morals and decency. Even though it tries to show the good old days had its own set of problems and wasn’t all saccharine. 

It’s own updated western with similar themes of a disappearing horizon, way of life, and type of characters. 

Grade: B

OUR DAY WILL COME (2010)

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Directed by: Romain Gavras

Written By: Romain Gavras and Karim Boukercha

Cinematography: Andre Chemetoff 

Editor: Benjamin Weill 

Cast: Vincent Cassel, Olivier Barthelemy, Justine Lerooy, Vanessa Decat, Boris Gamthety, Randolphe Blanchet, Camille Rowe, Josephine De La Baume, Jacques Herlin, Pierre Boulanger 

The outcast red-haired teenager Rémy is bullied at school and lives with his estranged mother and sister in France. The also red-haired psychiatrist Patrick befriends Rémy and helps him to release his repressed hatred and sexuality. When Rémy sees a picture of red-haired people in Ireland, he forces Patrick to travel with him to his dreamland.

I am a fan of Director Romain Gavras. His music video work has always been wonderful and arresting and always seems to have deeper meanings than what was natural to make movies and he has made quite a few. Some have been better than others, but none seem to have the strength of his music video worked, even though visually they are all strong. Unfortunately, this film is part of that trend.

This film Is an extension of the music video free for the artist, MIA the Director Romain Garvas directed. 

Where redheads are treated as second-class citizens the video was meant to be a commentary on illegal immigration and was much more violent with you and putting them in internment camps.

The film is a bit more dramatic and is a tale of a disaffected boy who is bullied and finds a companion in a social worker who is also tired of being treated as lower class in his days he sees others who are considered better or above him who act worse, so the two of them team up on a kind of crime spree him as the mentor Trying to make the young man violent and actually live and stick up for himself.

The film seems to say something about national pride and natural-born citizens because of their heritage being treated like they don’t belong and in effect, immigrants in their own country, only raised to a little more ridiculous level and still having a tinge of white rage and supremacist feelings.

These escapades include trying to make the boy realize which sexuality he identifies with getting into numerous physical fights, and not being afraid of violence, seems to get depressed at a certain point just as the boy hits his stride and vice versa at times.

Wow, this is certainly a visible film there are many times during the film that one wishes that it was a bit more like the music video a bit more exciting, and maybe something has a bit more of something to say rather than just feeling like an excuse for these scenes and certain characters Just to behave reprehensibly but have meaning behind them. 

It’s a film I wish brought the audience in more but seems to go off on its own path and on whims that I’m not sure it’s quite what the audience is looking for. It never offers easy answers and a few that it does offer seem a bit confusing or questionable.

Though maybe in the end, that is what the film always wanted for an audience that was looking for rage to be expressed through violence or some kind of shooting spree or thinking this film was just gonna be 90 minutes of pure anger and finding that the characters for all their anger for the most part while brave are mostly cowards And still have some of their humanity, no matter the indignities put upon them.

GRADE: C

Grade: C