Tag: DRAMA

EILEEN (2023)

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Directed By: William Oldroyd

Written By: Luke Goebel and Ottessa Moshfegh

Based on the novel by: Ottessa Moshfegh

Cinematography: Ari Wegner

Editor: Nick Emerson 

Cast: Thomasin McKenzie, Anne Hathaway, Shea Whigham, Siobhan Fallon Hogan, Marin Ireland, Sam Nivola, Owen Teague, Brendan Burke 

The stagnant waters of Eileen’s dull, stifled life as a solitary worker at a juvenile detention center in 1960s Boston, are unexpectedly disrupted when the institution brings in a new psychologist, the vibrant Rebecca. The fervent enthusiasm that blossoms between the two women almost immediately gives way to a closer relationship, until their fragile connection takes a dramatic turn.

The first act of the film seems to be drenched in character as we build up, not only the title character of Eileen, but her circumstances with obvious deep trauma and depression in her life, and what she has to deal with in her day-to-day until Anne Hathaway’s character comes into her life a blonde bombshell of the upper crust, upbringing, and beauty who takes an interest in her and kind of seduces her at first it seems like a friendship or maybe a mentor relationship but it seems the valves and something more and this is where the films first half is strongest clues as to what is to come But never dis PLAY them outright

Then, when the twist does it fits into the mood of the film, but it is such a left turn that it almost seems ridiculous that you’re questioning yourself. Is this one of Eileen’s fantasies that we have seen earlier, even though those usually involve more death or suicide, in their own way, it is all real. 

In the end, the film, like a wannabe noir that ends up as a drama, with a kind of ridiculous third act the third act could’ve been believable, but but the way it comes about just feels so silly 

Especially the first half of the film, so in tune and stylish, even if at times, Anne Hathaway’s character seems more like a caricature of Femme Fatale movies. She still comes off as believable in the end, even though her actions seem rather far-fetched. 

I will admit, I never read the original book so maybe it’s better explained there, but the way it’s put on screen there always seems to be attention and intention that is going to happen but the film always seems to fall short, or never reaches the peak that it presents 

The actors are all great, and Hathaway is memorable, as is Shea Whigham, who is believable as her mentally unbalanced and constantly drunk, who is a burden but seems in his own way, trying to educate the young Eileen 

I have to say, Thomasin McKenzie totally walks away with the film as she portrays this innocence and you see her falling you see her heartbroken you see her hopeful, but then also you can kind of see her more angry and vengeful side and she plays it so well, just through her facial reactions and physicality as it seems like she is truly being awakened, and the beast is out of its cage to a certain extent either that or in desperation for survival her instincts finally come alive and it’s truly a revelatory performance, not that from what I’ve seen so far she’s ever given a bad performance, but this one truly felt like a showcase for her and her talents finally.

I wish the suicidal ideation or fantasies off a little better throughout the film as it does enhance the character and maybe gives us a peak into her mentality, but for the film, I thought it would play off the scene where we think it’s a fantasy and then realize it’s reality or maybe You know in another universe or telling of the tail the whole act is a fantasy that she uses to finally take action even though when it’s own way it does though it’s not a fantasy it seems to be the push or the thing she needed to run and live her life

Even though her way of tidying things up, will still lead to her, needing to keep being on the run so to speak and Hathaway’s character, we are at a loss as to what becomes of her. 

As Hathaway and her character come in like a guest star and leave that way. Where we are left wondering so many things. 

The film tries in its own way it it tell a story and makes itself useful to a certain degree, but it just seems to fall short as the audience is because they were expecting something better, especially with how strongly the first half was presented in the film, seems to not take advantage of its strength that could’ve made the film a lot more memorable and stronger.

The film is well directed by not as sharply directed as one would expect from director William Oldroyd, who has captured passion, deceit, double crosses, and cold hearts in his previous movie LADY MACBETH. As this seems to lack a strong payoff to what has been building throughout. 

GRADE: B-

THE LOVER (1992)

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Directed By: Jean-Jacques Annaud 

Written By: Jean-Jacques Annaud and Gerard Brach

Based on The Novel By: Marguerite Duras

Cinematography: Robert Fraisse 

Editor: Noelle Boisson 

Cast: Tony Leung, Jane March, Frédérique Meininger, Arnaud Giovaninetti, Melvil Poupaud, Lisa Faulkner, Jeanne Moreau

In 1929 French Indochina, a French teenage girl embarks on a reckless and forbidden romance with a wealthy, older Chinese man, each knowing that knowledge of their affair will bring drastic consequences to each other.

This is one of the more troublesome movies to watch now as even though it’s based on a classic novel, it still is a love story between an older Asian man and a young French girl. Watching the film we know that both actors are of age but the film is overly erotic, and both actors even being of age are extremely attractive.

So while full of sex. at heart, it tries to be a romance and shows how power, race, and class bring them together, but also pull them apart, as take advantage of the other in their own way. The film feels like a book textured with beautiful international yet a small story. That has heavy and strong ramifications.

I remember when this film came out as one of the first artistic erotic films I remember seeing. As the sex was graphic and realistic, rather than being exploited, it seems to come more from passion, romance, and love.

This would obviously be hard to make today one of the other aspects that was the appeal at the time was that there was an interracial romance on screen. Full of risky material that deals with racism as well as classism.

The rules were reversed as here was an Asian man who was more classy, and had money which he comes from, and her family is more poor, desperate, and savage, he seemed to pluck her off the streets and seduce her, and to a certain point her family despised him for being Asian do like the money that he spends.

The film has plenty of artistic touches that help the film flourish. The art direction is top-notch, and the main character is the defining, all-white suit that he wears throughout. 

The film also happened to be the jewel in the way to the brief film career of the actress, Jane March it was also her screen debut. She was unbelievably beautiful. She followed this film up with films like TARZAN AND THE LOST CITY OF GOLD and PROVOCATEUR and the infamous Hollywood bomb THE COLOR OF NIGHT. Though like her The scope of the film is beautiful to look at. She has continued to work over the years here and there, but never quite in a starring role. The biggest budgeted Hollywood film she was in recently was the remake of CLASH OF THE TITANS. 

By the end when it comes to the characters she is the one you won’t forget, and was hoping that Jane March would have a memorable acting career aside from this film, but she achieved one-and-done status (One-and-done is usually where an actor actress is so good, but they never ever act again, and are only defined by one role where they stay unforgettable maybe even that character to life so strongly that even when you look at pictures of them in real life, you still see more of the character than the actual actor Which can work for the film as in your mind it makes them more real) even as she appeared in a few other films. None were good one was more infamous and reputation so that leaves the one she truly shines in and shows so much promise.

I remember being pulled into this film and caring about the characters beyond the sex scenes I will admit that the first time one watched the cultural and political stuff went over my head. Though one can remember the lush Scenery and feeling like you are watching an escapade.

The film truly is a perverted story of a taboo romance that once was more common at the time based on a novel, luckily in the film, the girl is aged up a bit and shows her learning of the world through him, usually through the comfort that he can bring her.

Grade: B

FRESH HORSES (1988)

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Directed By: David Anspaugh 

Written By Larry Ketron 

Cinematography: Fred Murphy 

Editor: David Rosenbloom 

Cast: Andrew McCarthy, Molly Ringwald, Ben Stiller, Patti D’Arbanville, Viggo Mortensen, Molly Hagan, Doug Hutchinson, Leon Rossom, Marita Geraghty 

A college student from Cincinnati breaks off his engagement to his wealthy fiancée after falling in love with a girl from Kentucky. She claims to be 20, but he learns she is actually only 16 and already married.

The film gets to buy on its reunion of the two stars, Andrew McCarthy, and Molly Ringwald, again, a rich boy, who falls for a girl, who is considered the wrong side of the tracks only hear her character is full of misfortune and mystery, rather than upwardly, mobile and spunky as well as early appearances of Ben Stiller, Viggo Mortensen, and Doug Hutchinson 

By the end of the whole affair comes off as distracting from his ultimate fate and destiny. A doomed romance that is part of growing up for these characters. 

Based on an off-Broadway play the film comes across more as having the substance of a 1950s melodrama which would also explain the film’s appeal to me, which is Molly Ringwald, her best and most luscious ever on screen, playing a romantic lead, becoming across more as a femme fatale, maybe it’s the color palette of her pale skin with her enhanced red hair and also Her at the time more an adult role in growing perfectly into it. Like a Greta Garbo or no not as voluptuous as Bridget Bardot.

So that her looks and appeal in this film come across as like a 1950s silver screen siren where the film is classic because of the beauty of the star in the role which truly shows that either they were becoming a movie star or a movie star but you can’t remember much story-wise or plotline about the film but you can probably remember where you were and how it felt when you first saw this image or saw this felt

After all most of the films that we consider classic because they’re so well remembered, but yet we can’t remember half of their stories unless you’re a true film aficionado, but you remember the stars because films were notoriously all around better back then, or consider to be made better, as the stars supposedly had to have all the talents of being able to sing, dance and we the stars on-screen charisma liability with their personality rather than necessarily they’re acting skills. 

However, it also feels like a film where she was trying to show a more adult and artistic side. Showing she had grown up to a degree. Something we commonly see with child stars who want to be seen in a new or different light and sometimes choose extreme roles in subpar films, for the opportunity. Though at this point she had already done THE PICK UP ARTIST and 

FOR KEEPS. This was the first of her films with a new look. A kind of rebirth though in familiar territory with an old co-Star 

This film would’ve been perfectly fine back in the day as it resides any emotions and tries to rely on acting ability, but comes across more basing itself on star quality in a romance story with a color palette that represents the season

So watching it feels like how some migrate to woodlands to see the changing of the color of the leaves. Here you’re watching the film to watch your favorite teen actors kind of grow up or play more adult roles and see if they can pass the test.

Wow, they perfectly do OK in their rules. It does feel like Molly Ringwald is a little Miss Cass. She looks the part but something is off that just doesn’t make her feel correct in the role. She does the best she can, but there seems to be a lack of an edge when it comes to her performance. Though again you will remember her looks or her look in the film. 

Then, again, maybe that’s me as it is what I remember most of why I wanted to see the film and why time the time I might come back to the film

Ultimately watch this film mainly if you’re a completist you like a good romantic tragedy, or you could think of it as a continuation of PRETTY IN PINK, but only in the aftermath.

I can admit, it’s not the greatest movie, and Andrew McCarthy was brought in late, but offered fans of PRETTY IN PINK. A kind of reunion of the two actors, obviously in a vastly different film and in a more adult playground, definitely more dramatic a little bit out of range from their usual roles. 

I will say that I saw the film based on that coupling and also based on Molly Ringwald, looking exquisite in the trailers in the posters and watching the film. I was not fully satisfied or disappointed. It’s just that the film was so cold and didn’t have the warmth nor was it that interesting. Keep in mind I saw this as a teenager so it was very boring and even watching it today. It’s very tepid It’s one of those. I don’t know exactly what the reason for all of this is but OK Storytelling.

It had higher hopes especially coming from the director David Anspaugh. Whose film before this was the hit movie HOOSIERS 

Grade: C- 

LIMBO (2020)

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Written & Directed By: Ben Sharrock

Cinematography: Nick Cooke

Editor: Karel Dolak and Lucia Zucchetti 

Cast: Amir El-Masry, Vikash Bhai, Ola Orebiyi, Kwabena Ansah, Sidse Babett Knudsen, Kenneth Collard, Sanjeev Kohli, Cameron Fulton

Omar is a promising young musician. Separated from his Syrian family, he is stuck on a remote Scottish island awaiting the fate of his asylum request.

This is not going to be a movie for everybody. As the film takes its time and makes its way. 

At first, it feels like a movie that is styled like a Wes Anderson film. Just as offbeat as even the trailers make it come off that way. It only stays within that deadpan style for the first act of the film.

After that, the film maintains an eye and framing similar to that style. It gets deeper and more dramatic. The film still tries to communicate with Less dialogue and stays deadpan 

It finds it can say much with very few words and letting the still camera make every scene look like a painting and find beauty in the landscape. It also works almost Like a comic strip.

It also shows the absurdity of immigrant life. As they are being taught the customs of their new homeland. The lessons are condescending and humorous without the instructors fully realizing almost how insulting they are.

We get to meet and learn about all the various immigrants staying at this location and how the townsfolk react and treat them, but we mainly stay with Omar, who is usually unsmiling and quite serious.

As with many films about displacement and settling. The film offers some dry light humor and droll observations about all the cultures involved 

The film is constantly surprising but does move at its own pace. Once you get on its wavelength you are appreciative of Its style and story and eventually actually manages to affect you out of nowhere but you oddly knew it was coming. Which is similar to the plight of these characters.

This is a film that seems Like it’s not doing much but is telling a strong story. That might seem individual but can be universal. It feels quirky but uses that quality to let your guard down and let it in. Then it gives you heartbreak and drama. That lies in its heart. Luckily the ending gives us hope. 

Grade: B

CAT PERSON (2023)

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Directed By: Susanna Fogel

Written By: Michelle Ashford

Based on the Short Story by: Kristen Roupenian

Cinematography: Manuel Billeter

Editor: Jacob Craycroft

Cast: Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis, Christopher Shyer, Liza Koshy, Fred Melamed, Donald Elise Watkins, Michael Gandolfini

When Margot, a college sophomore goes on a date with the older Robert, she finds that IRL Robert doesn’t live up to the Robert she has been flirting with over texts. A razor-sharp exploration of the horrors of dating.

Well, I am a big fan of the short story and the book it’s part of I was looking forward to this film, and it’s no surprise, that your pails and comparison, and is ultimately a disappointment compared to the original short story, which is more ambiguous, and might be one of the short story strength or as this film it’s hard to be ambiguous, totally and keep the audience interested and engaged not saying it’s impossibleit’s just that that quality was not expressed.

In the third act, it seems like the filmmaker and film decided to make a thriller or add thriller elements to the film kind of making all the paranoia and awkwardness she felt before come true but also since it’s based on a short story, the first half of the film is based on that actual story, and this is more where the filmmaker decided to go, maybe as a narrative choice, or to start to make the film, seem conventional, taking some sort of inspiration from the movie adaptation, wherein the third act it’s questionable but it becomes more conventional

As before this, the film seems more like an alien, awkward romance between two awkward people, one just beginning their adult and one well in the middle of it, and not seeming to have any anchors 

This film, a modern generation film, that certainly could open up many conversations, especially in a battle of the sexes and dating would’ve been a bit more interesting, and a third act tries to break up the monotony of that, but feels right and wrong at the same time 

As you can see, both sides of the story, though it doesn’t allow itself to get there. Some of the behavior is so extreme that you can’t truly forgive it or give the character credit.

There is a challenging and interesting movie very deep inside here. Fortunately, it just doesn’t seem to be well. Translated as the film is kind of a chore at times to sit through as you feel it length throughout.

Some scenes do work, but they’re also scenes that you look forward to and should be highlights that seem to fall short the intimate evening, for instance, is one of them.

While it tries to be moody. It also seems to decide to be one-sided and then in the end broaden up its view but onto with a few details and still Makes her justified in her beliefs. 

The film delves into the paranoia and boundaries of modern dating from a woman’s perspective. Especially for a young woman who is not as seasoned making her way through the world. 

Though watching it, I kept thinking how much different or even better it might have been if this was made by a director like Todd Solodnz as it has a kind of coldness to it, but then again a sense of belonging or wouldn’t have been seen differently if Geraldine Viswanathan who plays the main characters best friend, had played the main role. Would the film then explore not only different sexes but also different cultures?

Isabella Rossellini doesn’t even really need to be in this movie. As her role comes off as a cameo and maybe a star name to add to the cast for a bigger budget. 

This could have been a defining movie though unfortunately it does itself in and sells itself short. As it dulls any sharpness it might have and makes the proceedings dull all around for the most part. 

Grace:  C-

BAD GUY (2001)

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Written & Directed By: Kim Ki-Duk

Cinematography: Chel-Hyeon Huang

Editor: Seong-Won Hang 

Cast: Cho Jae-Hyun, Won Seo, Yun-Tae Kim, Choi Deok-Moon, Yoon-Young Choi, Yoo-Jin Shin, Kim Jeong-Yeong, Min Nam-Keong 

An unfeeling gangster seeks to ruin the life of a young girl who rejected him. He forces her into prostitution and spies on her regularly, then he soon begins to fall for her.

Filmmaker, Kim Ki-Duk tends to make spiritual films that are love stories at heart. That sometimes can be character studies. 

Here with this early effort, he has made a disturbing romance of revenge that seems to test not only the character’s boundaries, but the audience as at first this film feels like it is born of shock, but reveals its softer edges amongst the chaos 

Where it feels like a dramatization of the psychology of someone caught in  Stockholm syndrome, or how a pimp unconventionally raptures a victim, to become a prostitute only here more against her will, and likes to watch her, but never dares to get intimate with her himself, nor really even touch or punisher, except for an initial case before this all started

His victimization of her at first feels like him trying to get back at her. The strange thing is that he dooms her to this lifestyle, though he doesn’t like to see her take any pleasure or pleasure. As she truly starts to succumb to her environment the lifestyle becomes second nature tour. Still, they build a bond through all the heartbreaks and interactions. 

There is plenty to go through, including her other suitors, including her managers, who begin to fall for her and try to help her escape. When she wants to though she realizes she has no one and nowhere to go back to, even if she did what would her future be 

This is where some questions when it comes to this film because she’s not long lost. She’s not that far from home it’s more the condition. She’s practically enslaved to pay off debt, and she ends up, making the best out of a messed up situation where the bond is seen more that she needs him more or less not necessarily to survive, but to make sense and have someone still feel something for her, other than lust.

At this point, she seems to forget all that she really knows and only knows this lifestyle but no one from her old life wanders and wonders where she is, and even when she does try to escape, she can’t think of where she’s going to go or what she’s going to do as her reputation is more in the dirt, because of debt, and stealing rather than prostitution.

The film also focuses on what seems to be his bad influence on others, that he seems to survive, but others seem like they tend to pay even though it is their own actions the only truly bad she has done is enslaving her, and all he shows kind of indifference Even when dealing with other gangsters who react violently toward him. It sets up many places to investigate side characters but stays only focused on the two leaves..

So while the film wants you to care about these characters, it’s very hard when the film seems to be brutal and very misogynistic for little to no reason. Now Wallet allows him to experiment into the very nature and different sides of love, even the unfair ones. It still comes across as disappointing in the end. luckily the filmmaker’s films became universally appealing.

Though maybe the movie is truly about these functional relationships we can criticize all we want, but we will never truly understand them. What makes them work what makes the people in them desire to stay together and be dependent on one another they have their reasons that only they understand, and in the end only make sense to themselves, maybe that’s the whole point of this film that no matter how angry disappointed we get it’s not meant for us to understand it just happens and this is a presentation of it.

Grade: C+

SINGAPORE SLING (1990)

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Written & Directed By: Nikos Nikoladis

Cinematography: Aris Stavrou 

Editor: Andres Andreadakis

Cast: Meredyth Herod, Panos Thanassoulis, Michelle Valley

A man searching for his long-lost lover is kidnapped by her killers, an insane, mother-daughter duo, and they force him to commit various sexual atrocities with them.

This film is absolutely extreme, and bonkers and leaves one with mixed feelings. As the one thing I can say about this film is that it is original. It definitely has a one-of-a-kind vision. Is that enough as we as an audience witness but don’t necessarily feel. maybe will be able to identify with the film and its own way though it feels pretty specific.

I can admit that one has never seen a film quite this horny from a female point of view, but more through a male gaze of females. 

It all adds up to Definitely an original vision that seemed prepared to be a cult film, which usually doesn’t work but here it does. Though it does come across as sleazy and slimy. That could easily have been an artistic porno film if only it had hard-core scenes.

One could stand that this film is an artistic expression of imagination, but as soon as the character starts to puke on the man she is having sex with all bets are off. 

This strangely feels I could be a fetish movie on the grand gugonol style and expresses it at times. As  There are scenes that are disgusting in certain small ways more In the details of it’s own kind of gore or feeling of it.

The Film makes sense only to itself, though it does offer exquisite nudity. Not to mention many close-ups of RAW meat And loads of female masturbation. 

This film is meant to be erotic, but it feels more devoted to fetish. One can give everyone involved credit as it takes a certain lunacy and bravery, to present themselves and this film, as what can be seen as embarrassing, but art is supposed to be provocative, and this film certainly is in its own way. Yes, even if I don’t entirely understand it, there feels like a certain bravery, throughout, or some fantasy of someone specifically a dirty dream of sorts only subtle in its mentality.

That could also be a nightmare despite its erotic, adult, kind of narrative turned on its head 

Like some kind of reverse GREY GARDENS homage, only erotic but just as fascinating with some external shocks.

The dinner scene brings new meaning to eating disorder or might end up, causing one for audience members. One could do without it, but in this sound construction, it feels like it’s needed truly a stand out amongst the other craziness that this film offers.

Many of the scenes are also comedic with cannibalism thrown in 

Breaking the fourth wall and any kind of barriers and talking to us in the audience, seems to try to help us understand the characters and what exactly might be going on or at least privy to their inner monologues.

It ends up surreal and bizarre. Midnight movie that is funny intentionally and unintentionally at times. The film is extreme, sick, and disgusting at times. difficult to characterize.

By the end, you are left with So many mixed feelings about this film, though it definitely feels deliberate and its intent. It can be quite nasty & disgusting. Though keeps your interest to see where it is going

SINGAPORE SLING. Plays out like a David lynch inspired student film. I have never seen a film quite this horny from a female point of view, but more through a male gaze of females. That’s supposed to be erotic yet feels like a fetish film. Inspired by the Otto Preminger classic film LAURA

It can be quite nasty & disgusting. Though keeps your interest to see where it is going. It could have easily been an adult film only without hardcore sex scenes.

The film seems more like a stylistic exercise, whereby the end one can admire it, but yet I’m half disgusted by it and it’s an easy film to pass on dispatch  dissuade

Grade: B- 

DOWN WITH THE KING (2020)

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Directed By: Diego Ongaro 

Written By: Diego Ongaro and Xavi Molia

Story By: Freddie Gibbs, Diego Ongaro and Xavi Molia

Cinematography: Daniel Vecchione

Editor: Benoit Sauvage 

Cast: Freddie Gibbs, David Krumholtz, Bob Tarasuk, Jamie Neumann, Sharon Washington

A famous rapper, disillusioned with the music industry and the pressures of being a celebrity, leaves the city and his career behind to find himself in a small-town farming community.

The film is more of a slice of life. It’s an unhurried character study of its main character. Where are you wondering was the casting of Rapper Freddie Gibbs in this film random or if was it written around him more or less. The film feels kind of like a Bob Raefelson film of the 1970s that he would’ve made with Jack Nicholson. Natural and an experiment. where here you put an entertainer or rapper in another element with a story and see what happens and create a portrait while not being a documentary, but its own drama, or at least a study.

This film has one of the most truest lines in the movie. When the main character says “I got into the rap game to get away from the streets but it seems like the more popular I get the closer, it gets me back 10 times closer to the streets.”

This leads us to wonder why you get so caught up in music and rapper persona, and that’s where your fans are from, so that you wanna be cheered by them and represented even while your life might be getting better, but again being separate from the streets. you might want to stay kind of proving yourself to be still the same person. 

Like most of us, we need a vacation from time to time. we need to get away, clear our heads, rest, and relax and I admire that the film shows him trying to create his next album but showing growth. In that maybe he doesn’t wanna do the same thing even though he still has it. but also how artistic pursuits can tamper with the proven formula and, when you have a deadline how easily it is to get distracted, and not feel necessarily inspired 

How one might be so successful, but you also kind of long just for the normal things in life that others live and have to work for. While you have worked for it, is paying off, but you never really get it seem to enjoy necessarily the simple things. As the highlife at a certain point is seemingly more normal 

I think Freddie Gibbs is cast perfectly. He definitely has the rapping skills and is an underrated rapper. Who I am a fan of even before this film. He’s the main reason I decided to watch the film and here he gives a great performance playing a character maybe not unlike himself. He shows a lot of emotional turmoil throughout not necessarily through dialogue, but body language, and emotionally. He rises to the challenge 

This could’ve easily been a comedy with the premise of a rapper getting used to being in the wilderness to make their next album. Luckily it ends up becoming more of a character study. We learn things little by little about them, filling in the blanks as he goes about his days trying to Make out his various interactions with those around him in the woods. 

Luckily, the film doesn’t bring up race though in one scene. It does kind of show maybe one character’s racism in a minor way though that doesn’t affect the rest of the film but is acknowledged that the film nor the characters are blind to that. 

I guess it depends on, even though there’s a certain type of sound, song, and artistry that made you famous. also having no friends primarily only your fans. if you want to stay true to them only or if you wanna please the people almost like marriage, but also even as you grow as a person. You have to wonder, do you want to keep your music that represents yourself to a certain extent. So do you want to be that same person or over the years do you want to grow and show an evolution? you’re always gonna be true to yourself but you know you can’t stay the same forever and you change with the times. so to speak. I know everybody’s like “Oh I’m the same person. I’ve always been” though certain things in life happen and responsibilities take over.

The film also shows the business side of how sometimes you might get fed up and wanna leave it all behind, but you have way too many people depending on you, that you’re kind of forced back in. Even when maybe you wanna try something new.

It’s also interesting that as a rapper he’s the most financially successful character in the movie surrounded by these working-class Caucasians. Who love what they do up to now and he is the one of privilege. Even if he did work his way to where he is. he’s the one who seems to have all the benefits. yet he is the most tortured character emotionally throughout

The film also shows him not totally removing his toe from his surroundings and he still has a connection back to the country and his old life. Reminders of his old Life like a continuing beef, though he’s enjoying his life remoteness. In other words, fighting and coming back to a certain reality that is a fantasy to others. Kind of like a fantasy. He is living full of discovery, and a slower pace is a reality that is a fantasy to him. He feels maybe he has moved on or reached a different part of his life, or he’s making money off of his old life that he’s not necessarily in tune with anymore 

Not to mention, he finds the people he’s around in his seclusion more real than the people in his more superstar life as they’re not making any money off of him when he’s in his seclusion, and he’s more in control of his life, whereas in his professional life he has certain obligations, and people making decisions for him, even though this is what he strives for 

In the end, having an epiphany or realizing kind of house, shallow, his show business life is, More is

The ending pretty much spells it all out. Where he finally catches the skunk that has seemingly been hiding underneath his house. He traps it, and he tries to dispose of it in the woods by himself even though his friend Bob, the farmer tells him to call him immediately. Once he gets it he decides to dispatch the skunk Still in the cage and then when he turns around, he sees that the skunk has escaped which could have meaning for him as is seemingly the skunk chose to be trapped and acted that way, but in the end could’ve escaped whenever he wanted to and chose to leave when he was back Where he wanted to be

Grade: B- 

AMERICAN FICTION (2023)

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Written & Directed By: Cord Jefferson 

Based on The Novel “ERASURE” By: Percival Everett

Cinematography: Cristina Dunlap

Editor: Hilda Rasula

Cast: Jeffrey Wright, Sterling K. Brown, Tracee Ellis-Ross, Issa Rae, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Miriam Shor, Myra Lucretia Taylor, Michael Cyril Creighton, Patrick Fischler

A novelist who’s fed up with the establishment profiting from “Black” entertainment uses a pen name to write a book that propels him to the heart of hypocrisy and the madness he claims to disdain.

The cast is excellent and the screenplay is excellent Unfortunately the film has what feels like flat direction that sinks the material a bit. as it feels like the film is constantly searching for the right way to present itself, and how to live in the material 

As the writer of the film or Screenwriter of the film is also the Director, though, based on a novel by Everett McGill, entitled Erasure

The film is a satirical comedy as is the book which has some comedic elements and tone, but is definitely much darker than what we see on the screen. The film improves on certain aspects or gives the historian characters more hope, but could have had some of the stronger ones. The changes might be minor, but they are meaningful such as the way his sister passes away and the role of the maid of his mother. That would allow the film to be more acceptable than the book, taking away some of the sharper edges, but replacing those edges with some stronger commentary and dramatic issues

This is what makes the film so strong in dealing with prevalent social issues, especially for African-American artists, art, and a sense of self

Film keeps its world smaller, but makes it more personal, and still stays in vent allowing for the supporting characters to have stronger roles and much more range

The film also offers a bred, Jeffrey Wright, and a rare leading role. With Sterling K Brown as his coming-out-of-the-closet brother, Sterling Brown can never do wrong, even bad films. He is still sometimes one of the more interesting performances so he makes his screen time lively, and memorable. Never feeling out of place

Also, it’s nice to see Erika Alexander on the big screen again in an important role.

Something can be said when movies like this come out in theaters they mostly have a crossover audience as the intended audience rarely seems to go see it, and more discover it at home on streaming or from word of mouth. Which eventually helps its legacy, but does not help its box office at the time when it is needed.

It’s also nice to see the character have an inner life and family problems. This is what sets the plot forward and one of the reasons for the continuance of his situation that only grows the longer the facade goes on. 

The irony here is that what is playing on screen might be satirizing it but it feels like it’s the same situation that is happening when it comes to this film in the marketplace. 

It seems at times we will support others yet, not our own community. Even when it is telling stories meant for us, we will accept others telling us about ourselves rather than someone from our own culture at times. Which is disheartening, but still thankful that these movies, subjects, and material are out there for those who identify with it

GRADE: B

NANNY (2022)

~ jbg ~ Leave a comment

Written & Directed By: Nikyatu Jusu 

Cinematography: Rina Yang 

Editor: Robert Mead 

Cast: Anna Diop, Michelle Monaghan, Sinqua Walls, Morgan Spector, Leslie Uggams, Olamide Candice-Johnson, Princess Adenike 

Piecing together a new life in New York City while caring for the child of an Upper East Side family, immigrant nanny Aisha is forced to confront a concealed truth that threatens to shatter her precarious American Dream.

The film is scary but more human and emotional. It is not exactly a horror movie but more magical realism. Yet still manages to stay haunting.

The film deals with the degradation of what she suffers. The microaggressions are harassed sexually by an oversexed person who believes her to be naturally sexually available. She is treated almost like slave labor by doing unscheduled overwork and not being paid on time or enough.

Then getting mad when she deviates a bit from their rules and instructions. yet are never there to deal with the problems of the child. The reason she went against them was to improvise with the situation 

Where the people she works for make money off of the culture and pain of others and yet feel sorry for her, At least one of them. Yet never try to get to know her and expect her to have sympathy for their own problems and dysfunctions. Like she owes it to them.

At least they are not Painted as total villains, just characters who have their own personal problems and take them out on others and expect them to be their caretakers. When they have never shown them any true sympathy. They at least are not just one thing or shown to be one-sided.

The main character has a romance that is explored but doesn’t become the main narrative. 

She is haunted by vivid dreams of water and insects that are nightmares or premonitions of what is to come or a kind of connection to the world and those close to her.

The film stays beautifully stylishly directed and well-acted with worn-in believable performances. That feels like not only a character study but a sharp slice of life.

Where the strength lies in the storytelling is that on the one hand, we have this supernatural tail that we believe we’re watching more of a horror film, but while we watch, we notice all these other issues being brought forth that are much scarier, because they happen more often every day. Yet for some, the supernatural terrors are more believable, or at least the ones they choose to believe in more.

Grade: B