Tag: DRAMA

SLEEP WITH ME (1994)

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Directed By: Rory Kelly 
Written By: Duane Dell’Amico, Roger Hedden, Neal Jimenez, Joe Keenan, Rory Kelly and Michael Steinberg  Cinematography: Andrzej Sekula
Editor: David Moritz 

Cast: Eric Stoltz, Meg Tilly, Craig Sheffer, Lewis Arquette, Todd Field, Parker Posey, Vanessa Angel, Susan Traylor, Dean Cameron, Thomas Gibson, Joey Lauren Adams, June Lockhart, Adrienne Shelly, Alexandra Hedison, Quentin Tarantino 

Sarah, Joseph, and Frank are BFFs. Joseph and Sarah get married but the evening before she tells Frank with a kiss that it could’ve been him. Frank continues to have a thing for Sarah.

Six different writers wrote a scene each of this romantic comedy featuring the marriage and turbulent relationship of Joseph and Sarah, with Joseph’s best friend Frank trying hard to cope with letting the love of his life marry his best friend. An interesting experiment though it might also explain why it

Seems like a bit of a mess. That seems endless and single-focused. After a while it feels like small talk, about a lot of things said but nothing of any depth that can be called interesting. It might have worked better as a play. 

A 1990’s relationship drama with some very little comedy thrown in. It seemed dated even when it came out. It feels like a dramatic episode of the television show FRIENDS.

The film involves a group of friends who are all married and/or in serious relationships and only seem to hang out with each other. They are still young and hip with no kids in sight. 

So, of course, they have only one friend who is single and this film Explores all the different couplings in relationships. The one that gets the most attention is Meg Tilly who is usually a joy to see on screen. As she is rather obscure. Whose character is engaged to Eric Stoltz’s character. Who is kind of a ladies’ man whose best friend, played by Craig Sheffer with some Ill-advised facial hair and even worse hippie wardrobe is in love with Tilly’s character and she knows it.

She comes across as cruel because she knows yet every time he brings a date to their get-together. She interrogates and then insults them. 

When she suspects her fiancé of cheating she sleeps with Sheffer’s character out of spite and when he thinks they have started a relationship she begins to feel bad and have feelings. When Eric finds out and informs her he didn’t cheat. So now the two guys are competing for her. 

Imagine the Andrew McCarthy-Ally Sheedy-Judd Nelson love triangle from ST ELMO’S FIRE. Only if Nelson didn’t cheat and it was the main part of the movie, only more dramatic and you are on the same page as this film. 

The film tries to be a broad comedy type of movie played subtly seriously. It comes across as a bunch of self-important characters. Who think they are cool but aren’t coming to grips with growing up and making it seem more dramatic and meaningful than it actually is.

It’s a shame as the film has a good cast and could have really been good under better circumstances. 

Somehow here the direction just seems to drain all the fun and interest out of not only the scenes but the characters. The script seems fine if not indulgent and self-important. 

One only wishes for a more skilled director. Who could have better handled the material and made the scenes a little more vivid and exciting. At least give it a kind of sense of humor about itself. 

Maybe also allowing the film to be more of an ensemble and not focus so much on the leads and give the side characters more nuance and more to do. So the love triangle could have been more of a side caper or we see how it affects the dynamics of everyone in the group. 

After a while though it seems Like every woman throws themselves at Stoktz’s character. This is easy to see when Sheffer’s Comes off more as creepy and he is the single available one. Who seems to mess up any chance he has with other women. While Stoltz’s Character is already married has nothing to lose. As he already has a wife. So he can talk to these women without seeming like he wants to bed them Or looking for something. Which in turn seems to make him a challenge for them 

The only true noteworthy scene is the cameo by writer-director Quentin Tarantino giving a rant or his theory on how the movie TOP GUN is really a movie about a man’s struggle with his homosexuality. (This was before the internet introduced many people’s wild outlandish film and television theories)

In fact, that is one of the only reasons I watched it. The other is Eric Stoltz and Parker Posey, actors I am a huge fan of. 

GRADE: D+

WEEKEND (1967)

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Written & Directed by: Jean-Luc Godard Based on the short story “LA  AUTOPISTA DEL SUR” By: Julio Cortazar  Cinematography: Raoul Coutard  Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people. 

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema. 

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many. 

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it. 

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire. 

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly. 

Grade: B

LOVE AND OTHER CULTS (2017)

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Written & Directed By: Eiji Uchida

Cinematography: Maki Ito

Cast: Sairi Ito, Kenta Suga, Kaito Yoshimura, Antony, Matthew Chozick, Denden, Leora Hirota, Tomoko Hayakowa, Hidenbu Abera

Born in a regional city, a young girl named Ai is sent to a cult commune by her religious maniac mother and lives there for seven long years. After the cult is exposed by the police, Ai starts a new, normal life going to a regular middle school, but can’t find a place to fit in normal society. Ai drops out to continue finding her path in life, first living with a rock-bottom delinquent family, then moving on to be part of a middle-class family, all along trying to find her place in this world. The only person who understands Ai is Ryota, another drop-out and cast-off from society. Ryota finds his path in a shady world of delinquents while Ai ends up working in the sex industry. Two teens’ purity gets swallowed up by the urban jungle of a big regional city. A black comedy depicting the lives of modern youth and their struggles in a place where there is no way out.

This is a film best to go into blind though even if you know the plot it still isn’t the easiest to explain. 

The cast is mostly newcomers to the screen who come off expertly, but also excel in raw talent on screen and seem untrained. Even though Lead Actress Sairi Ito goes through it all on screen and deserves special Acclaim. 

This is the third film by the writer/ director Eiji Uchida and I can definitely say that his films are original and you never know quite what to expect and that mystery makes the films exciting. Not to mention showing a bravery that has been missing from cinema In a while definitely not the most mainstream but so Indie and aiming more for a cult audience that it makes his films admirable no matter how controversial for some they might be.

As they focus on Characters more  on the fringe of society and so far In Their own way has been films they are coming of age stories no matter what the ages of the characters 

A film Mainly about the loneliness of youth so that they find camaraderie and family wherever they Can.Though as they try to support one another the film shows that the only way for them to grow and find their own paths is truly as individuals. They might meet someone who helps them align and who ultimately they end up with but first must go through many things alone 

Throughout though many adults seem to mean well. As major influences they either screw up the kids more through actions, abandonment, or both. As we see even their peers sabotage them through jealousy 

Some have compared this film to the epic film LOVE EXPOSURE by Director Sion Sono and it has that same kind of off-kilter feel that feels a bit fetishistic at times. That film had more than enough time to fulfill its story being 5 hours long (but truly never felt that long) not to mention that film was fully devoted to exploring fetishes and the characters who live that lifestyle. Here we get snippets of it. 

Here though the stories stop for certain characters at times that feel like fragments you get the general idea,  Throughout. In that other film, there is an innocence there the entire film tries to be a romance. Ultimately  this one feels a bit more tawdry though with a love story 

They are both coming-of-age stories though this one has its own rhythm that if you can get along with the best this film will be  worthwhile if not it will just stay strange to you 

The film is very composed, especially in its shots and bright colors. That almost makes the film feel illustrated at times.

It has a slightly diverse cast and nothing is ever said of their origins, though is clearly noticeable and a bit mysterious.  

The film shows that Love can be like a cult as it is mainly two of you at the center but you must get to know and hang around each other’s friends and families even if you have nothing in common with them and become sort of the crew, a kind of second or third family. You take on Each other’s characteristics slowly and interests. How they Make sacrifices and little donations of time and money.

Grade: B

BLACKBERRY (2023)

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Directed By: Matt Johnson 

Written By: Matt Johnson And Matthew Miller 

Based on the Book: LOSING THE SIGNAL By: Jacquie McNish & Sean Silcoff

Cinematography: Jared Raab

Editor: Curt Lobb

Cast: Jay Baruchel, Glenn Hoverton, Matt Johnson, Martin Donovan, Saul Rubenik, Cary Elwes, Rich Sommer, Michael Ironside, SungWon Cho 

A company that toppled global giants before succumbing to the ruthlessly competitive forces of Silicon Valley. This is not a conventional tale of modern business failure by fraud and greed. The rise and fall of BlackBerry reveal the dangerous speed at which innovators race along the information superhighway.

This film isn’t as experimental as writer, Director costar Matt Johnson’s previous films. Though this one is more established it is still brimming with creative energy. 

Maybe, as this is based more on a true story rather than him making it up, so this demands to have a stronger narrative. Though he still finds a way to make it a little unconventional, more personal, and smaller scale taking place mostly in Canada.

No, he does get to keep a certain experimental style and more handheld camera work that gives Scenes More Intimacy and feels like a fly on the wall. It is an amazing true story. That goes into the whole corruption of the souls and values. To make the best product around. 

Though what most will be talking about when it comes to this film is actor Glenn Howerton’s performance mainly known for his performance in the Shell. It’s always Sunny in Philadelphia. Where he plays more of a narcissistic buffoon. Here he is a cold-blooded executive, who eventually becomes co-CEO of Blackberry and constantly seems angry and ruthless.

No, it is understandable, as he seems to be building this company as revenge for his recent termination, and believes in it so much that he is willing to risk his own future his mortgage to keep building this company so that even as Co-CEO he feels he is old, which is why he’s willing to even have to go through a legal means to keep this company growing.

What works is that he and Jay Baruchel’s characters are the Yin and Yang of each other who work side-by-side and off of each other, which helps the company work, but he has more influence over Baruchel character. 

As Baruchel’s character seems to slowly lose his morals and sense of character. Luckily, Baruchel holds his own in a more quiet, subdued way.

Matt Johnson plays more of a supporting character in the background that represents his past and moral center, which is why, when his character kind of accents the film, everything takes it down.

Grade: B+ 

REALITY (2023)

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Directed & Based On The Play By: Tina Satter
Written By: Tina Satter & James Paul Dallas 
Cinematography: Paul Yee 
Editor: Ron Dulin And Jennifer Vecchiarello 

Cast: Sydney Sweeney, Josh Hamilton, Merchant Davis, Benny Elledge

Profiles the arrest of 25-year-old Air Force linguist and NSA contractor Reality Winner for leaking classified information pertaining to Russian interference in the 2016 US Presidential election to the press. Adapted from the 2019 stage play, with dialogue pulled directly from Reality Winner’s FBI interview.

This film is expertly executed, but that is the strength of the film. End of itself is the execution of replaying and sticking to the transcripts of what actually happened, and then in their own way, the performers breathe life into the characters in the situation. 

Which from a technical standpoint is amazing but from the audience’s point of view is intriguing, but not necessarily entertaining. Your interest in the film will be in either. How much you already know about the story or how little you know about the story.

As if you don’t know, it does build a cell that you keep wondering where this is leading to and why the FBI agent’s attitude and demeanor are play for one second and then Serious in the next, and every time she tries to make light of the situation or joke around they become severe, but every time she becomes timid then all of a sudden they’re so conversational and willing to joke around.

This started as more of a theatrical piece before being adapted into a feature-length film. It seems that it might be more interesting as a theatrical piece as in the film it cuts in and out of the actual transcript of the movie to pictures of the real-life reality winner in the character. That will take place in essentially one location found and does excel at opening it up so that it doesn’t feel claustrophobic even as they close in on her and see the trap of her and More and More Corners.

It’s more intimate than a documentary could be as it presents the facts and leaves you to come up with your own conclusions. The actors are all excellent and the performances are strong. 

It comes across as simple and quick. Those serious in fact base it feels light. 

Grade: C+

SICK OF MYSELF (2023)

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Written, Directed & Edited By Kristoffer Borgli
Cinematography: Benjamin Loeb 

Cast: Kristine Kujath Thorp, Elrik Sabther, Fanny Vaager, Sarah Francesca Braenne, Fredrik Sternberg Ditlev-Simonsen, Andrea Braein Hovig, Steinar Klouman Hallert, Ingrid Vollan 

Increasingly overshadowed by her boyfriend’s recent rise to fame as a contemporary artist creating sculptures from stolen furniture, Signe hatches a vicious plan to reclaim her rightfully deserved attention within the milieu of Oslo’s cultural elite.

This seems to be a film that was built more to disrupt shock and be a bit bad taste. And achieve its goal somewhat, but not as strongly, as it seems to aim. As it feels like at the last minute, he decided to smooth some of those sharp edges.

I’ll be honest, I expected more from this film. More of a satire, or just in general more of having something to say.

Now it works and shocks the audience and stays in a black comedy. By presenting us with characters who are thoroughly unlikable. Exposing their constant need for attention, where it almost becomes an addiction, even if it’s just sympathetic. 

Some of the story elements still feel just a bit hard to believe, especially the fact that her boyfriend, who rarely seems to care, would have stuck with her throughout her supposed ordeal. As even if he was just staying with her to see her face, the filmmakers should have illustrated that a little more strongly.

The film doesn’t feel so far-fetched, especially in today’s social media-obsessed climate. Even surprisingly, the main character seems to keep their celebrity or popularity, more local and amongst physical friends no dreams of bigger prospects in aspects, even though there is no clear plan, necessarily as to where this is going to go, or when it will end.

This film had a chance to either be a character study while exploring a kind of sickness that is happening in some people currently or it could have just done the latter, and this is just one case of that addiction. 

Instead, it spreads itself thin and tries to do both, but it’s on the way failing both ends of the story or only skimming the surface. As it ends up, not being as deep or probing, has one might help.

It’s not even bother some that the lead characters are unlikable, but throughout most of the characters in the film are unlikable, even the ones who are supposedly of a good character or a moral center. Most others just appear throughout. 

The film tries to build scenes into either shock or like it’s building to this great punchline that never quite happens. 

The best moments actually are the fantasy scenes that she has where she more or less reveals herself and her thoughts than anything we have seen or even heard about her. One also wishes there were more body horror scenes as the film can be gross, but not as much as some might think.

It’s definitely a found film checkout as there can be some discussions afterward, but it’s not as strong as you believe it will be.

Grade: C+

THE YEAR BETWEEN (2023)

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Written & Directed: Alex Heller 
Cinematography: Jason Chiu
Editor: Harrison Atkins

Cast: Alex Heller, J. Smith-Cameron, Steve Buscemi, Emily Robinson, Wyatt Oleff, Kyanna Simone, Rajeey Jacob, Anne Hollister 

Clemence Miller is coming home to live in her family’s basement after dropping out of college with a newly diagnosed mental illness. Having to face her battered relationships and responsibilities of adulthood, she is driving everyone around her… crazy.

The one thing about this film is its Cookie cutter surroundings and times that it plays like a racy sitcom. It always feels devastatingly honest. 

The film is like a suburban heartfelt confession. That offers no real answers. As it doesn’t have any to give. It is just what works for the main character, as this film is autobiographical. This might be what works. 

The film shows that no matter what. No one is perfect and they are trying to do the best that they can. That most are opportunistic and there is always a chance for opportunity open.

You know how it most likely will turn out from the title alone. Which doesn’t offer up a finality but seems more like a midpoint. Which could be the ingredient or the meat of a Sandwich. The most flavorful and tasty. 

It also offers a look at what isn’t necessarily Tackled in films about main characters with illnesses mental and physical. Which is the toll it takes on those around you. As the world still goes around. Even when you are dealing with things that are holding you back. 

The film points out that not everyone has the same Opportunities or chances and choices, but the film still doesn’t explore their options or chances. Then again the film Isn’t their story. Which makes the character identifiable a bit maybe not the situations. 

Alex Heller writes, directs, and stars. At times her mental illness comes across more as a Comic persona but seems to be her truth. As she doesn’t come across as likable but she is understandable. As she shows warts and all her downfall and many rock Bottoms, not also Her trying to get better and the ups and downs of that.

Grade: B 

SPOILER ALERT (2022)

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Directed By: Michael Showalter 
Written By: Dan Savage and David Marshall Grant
Based On The Book: SPOILER ALERT: THE HERO DIES. By Michael Ausiello 
Cinematography: Brian Burgoyne
Editor: Peter Teschner 

Cast: Jim Parsons, Ben Aldridge, Sally Field, Bill Irwin, Nikki M. James, Jeffrey Self, Sadie Scott, Josh Pais, David Marshall Grant, Jason Gotay, Antoni Porowski 

The story of Michael Ausiello and Kit Cowan’s relationship takes a tragic turn when Cowan is diagnosed with terminal cancer.

Based on a true story, Though it’s still has a kind of tragedy that the title alerts you to, and even the title of the memoir it’s based upon. Which usually is a cliché in LGBTQ stories. Here it is used as an emotional resonance as for the film, it provides an ending, but also a catharsis as this is truly a love story with a beginning, a middle, and an end so that each stage is clearly representing an emotional and it’s on Waze

As it is a love story, it shows the beautiful beginnings. Where are you think it’s going to be the happily ever after, it also does present and show the problems. The small details are usually a part of a real-life love story, but in the movie usually cruise over or never show. 

The happily ever after is only at the end of act one there’s so much more road to travel, and at times it feels unflinching. Nothing is completely solved, but we see how to deal.

It also presents the love story as something universal that everyone can understand and gives humanity to the main characters who are gay and is more of a mainstream love story 

I will admit what attracted me to the story and personalize it is that it’s about an entertainment journalist who I have read over the years and can easily identify with his passion for pop culture, which I think will strike many in the audience

It’s just a beautiful love story after all, and the fact that it’s based on a true story, only helps it as many times it will leave the audience emotional with happiness, joy, and sadness like

No, it does have its points that are more inventive and imaginative. It always stays reliably true even when it reaches its quirky moments. 

The film it’s a lot deeper than expected and you can appreciate its nuances. Though the title says it alone, it still offers. Plenty of warm, surprises and emotions. Where are you? Truly fall in love with the characters as they fall in. Love with each other.

In the end, it’s just been an affecting beautiful story slice of life, if anything love story that most of us dream ever hope for. It’s so heartwarming it feels like a Christmas movie which is what one of the characters is obsessed with.

Director Michael Showalter makes another heartfelt emotional character, driven comedy, wherein its heart is a nerd in love.

Grade: B 

MONA LISA AND THE BLOOD MOON (2021)

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Written & Directed By: Ana Lily Amirpour 
Cinematography: Pawel Pogorzelski
Editor: Taylor Levy 

Cast: Kate Hudson, Jun Jong Seo, Craig Robinson, Ed Skrein, Jennifer Vo, Charlie Talbert 

A girl with unusual powers escapes from a mental asylum and tries to make it on her own in New Orleans.

It feels like you are watching an MTV series in film form or at least an MTV production film that managed to make it to theaters. Trying to be a hodgepodge of culture and trends from the 1990s 

Especially as the story seems more told in visuals and its soundtrack which is more of a club mix. That comes across like a video game soundtrack. Then the story or written dialogue.

As you watch the film it feels like we are traveling through a wonderland with the main character. Where we never know what is going to happen next. Now if only the story matched the vividness and richness of the visuals. 

Kate Hudson is the true star here. As she is one of the people who take in the main character, eventually more to exploit her powers. The hustler that Hudson decides to play with a kind of street east coast accent. She is playing more of the gritty side of the film. 

As the film almost feels a bit more built around her. As she is truly the anchor and the only character who has stakes in the whole film. Which itself feels like it has very few. Hudson has the showier tile and she puts in the work to be convincing. It seems like she belongs in a much harsher film or like she is visiting from one. Think LAST EXIT TO BROOKLYN.

Ed Skrien ends up playing the opposite. A character you expect to be trouble and gritty, but ends up being the most chill and helpful street guy. Who happens to deal drugs on occasion. 

The film is not a thriller or even science fiction fantasy action film that you might expect with the premise. It’s, it’s own creature, an oddly original fairy tale for grown up’s. A mature storybook adventure through somewhat innocent eyes 

The film is directed well, one just wishes the script was stronger. As the film seems to wander.

What is refreshing is that the film doesn’t go anywhere you expect it to considering how dark and exploitive the atmosphere it revels In. Which might be why it feels more like a fantasy. 

The filmmaker feels like she tries too hard to make this film into an instant cult film instead of letting them be original and then age In 

It all comes down to the end not judging a book by its Cover. As most of the characters appear to be what you think they will be they also offer another side that is I related to the look or fashions they cover themselves with 

Grade: C

ARMAGEDDON TIME (2022)

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Written & Directed By: James Gray
Cinematography: Darius Khondji 
Editor: Scott Morris 

Cast: Banks Repeta, Jaylin Webb, Jeremy Strong,  Anthony Hopkins, Anne Hathaway, Andrew Polk, Tovah Feldshuh, John Diehl, Jessica Chastain, Domenick Lombardozzi 

A deeply personal coming-of-age story about the strength of family and the generational pursuit of the American Dream.

While this coming-of-age story is enriched with culture and the time period, as well as plenty of emotion. It is devastating in its own way. As there rarely seems to be any joy and mainly downtrodden. So that it works as an unflinching portrait.

Unfortunately, it comes off a little dull, just as muted as its Colors. The film doesn’t have to be sentimental, as it never is and never floats in any kind of nostalgia either. So that after a while you wonder what is the point.

It is based on the director’s childhood and experiences. So it is deeply meaningful to him and a way for him to open up. 

Other than some cultural landmarks and a song or two, there aren’t too many attempts to let us be saturated in the times. As the film tries to make its Points. Though you are also left with the feeling unfortunately this story could still play out the same way at any time. Especially today only with more cellphones and different slang 

It plays out more like a tragedy to show on a personal level the rampant racism that was around and how the system was always set up in its own way for him to make it, but his black best friend was doomed from the start and never had any opportunities to turn it around. No matter what his parents believed or the constant barrage of adults telling him to make it all you have to do is pull yourself by the bootstraps. As his friend does do that but gets slapped down each time.

As a coming-of-age story, the adults are around but come in and out, and while more than just caricatures they often come off more as portraits than anything. You can feel the burdens and hardships of their lives and their feelings for one another, but there seems little for them to do than be there and react. We never learn too much about them. 

We might hear about it but rarely see it. Though he has recognizable actors in the roles. So that you have familiarity and hopefully warmth for them automatically. 

It fits in with writer/Director James Gray’s other films. There is a coldness and stillness to his films. Here this is more of a film that tries to have some happiness and hope but it is still under a cloud of despair. Then it just ends.

Having Darius Khondji as the cinematographer. Might seem like a waste for a story that isn’t small in scope. Him being a grandmaster of the art. Maybe as this is small scale it is meant to be more of a snapshot, not necessarily a portrait. As to why it feels so tiny. Yet it sets particular roots for the future that will be world-changing. He uses the camera and coloring to make it more intimate and not call attention to itself. As it moves along 

If this is only part one of future autobiographical films that ending makes sense. As he tackles more of his life story. Which hopefully gets more upbeat, but even if not. You can applaud that he made an unsympathetic coming-of-age tale. This is rare and throws the audience off a bit, but certainly stands out. 

Having so many recognizable actors does garner interest, but their roles are small, yet so important to the story. You can see why the actors signed up. 

In the end, I have to say the film leaves you slightly disappointed 

Grade: B-