Tag: DRAMA

SOUND OF METAL (2020)

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Directed by: Darius Marder
Written by: Darius Marder & Abraham Marder
Story By: Darius Marder & Derek Cianfrance
Cinematography: Daniel Bouquet 
Editor: Mikkel E.G. Nielsen 

Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Matthieu Amalric, Lauren Ridloff, Chelsea Lee

A heavy-metal drummer’s life is thrown into freefall when he begins to lose his hearing.

The audience experiences the fear of his hearing loss as well as his disorientation at learning how to communicate itself In The deaf and rehab community that he is part of 

This is felt so much by the end it barely feels like they are actors and what we are watching is mroe a documentary or real life 

While experiencing this it is a learning g experience for us both and once we seem to get into the groove of things. The film and the lead character shakes it up. Somewhat as a necessity as it seems that is how he lives his life. The film seems to move Ali g the same way but completely naturalistic. So that we are always thrown off also. Which keeps things interesting but never quite at peace. Even in the more tranquil scenes.

In the end he learns that what he had might. It has been worth it as once he has truly

Found a community that actually accepts him. He rejects them To a certain degree to get back his former life that was rebellious but was fitting into a certain kind of normal. So that even as a punk he kind of sells Out for normalcy and love and kind of shoots himself in the foot as the world he once knew moves on without him. 

That while he has changed for the better so had his girlfriend and what he desired to be with her ends up not totally being worth it. As coming. Back into her life kind of makes her go back to the times when she was unstable and causes relapses even though they saved one another.

Riz Ahmed totally owns this role and is or. If the better performances seen in 2020 he is strong as his character is forever unsettled. As even when he is at peace he never stops and slows down enough to appreciate it and look towards the future.

Olivera Cooke is almost unrecognizable in her supporting yet pivotal role. She serves as the light at the end of the tunnel. As in the beginning, she is his desperate half. Soon as his disability comes to the forefront it’s interesting how the roles kind of change and she has to be a caretaker as he slowly and angrily unravels. She is his peace.

The film is a tragedy as it leaves the ending ambiguous but all that he has done to survive to a certain degree isn’t worth it and he has burned too many bridges to go back 

How the film came to be was that director Derek cut originally had planned to make a docufiction film starring a real-life couple in a band going through the same situation and while the film was in post-production the film never quite hit completion to satisfaction.  Writer-director Darius was so moved by the story he was asked and given permission to work it in any way he wanted to after having worked with Derek as a screenwriter in the movie THE PLACE BEYOND THE PINES. It does have vibes of his style.

This film has a devastating and honest beauty to it. 

Grade: B+

THE OFFENCE (1973)

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Directed By: Sidney Lumet
Written By: John Hopkins
Based on the play “THE STORY OF YOURS” by: John Hopkins
Cinematography: Gerry Fisher
Editor: John Victor Smith

Cast: Sean Connery, Trevor Howard, Vivien Merchant, Ian Bannen, Derek Newark, Ronald Radd

A burnt-out British police detective finally snaps whilst interrogating a suspected child molester.

This is obviously based on a stage play as a good portion of Sidney Lumet films are. He finds interesting ways to open the play up for the film. Making the Non-Dialogue scenes just as enriching as the dialogue-filled ones. 

The film is a tight expenditure that lets you come up for breath at first but as it goes along it begins to pull you under 

As usual Sean Connery does best when working with director Sidney Lumet and some of the few times he ever lets himself be vulnerable on screen. Here he is just filled with raw emotions spilling out all over the place. 

This feels more natural for all involved next to the movie THE HILL. Though less tortuous.

How he goes from Being the investigator and soon the roles are reversed after an act of violence due to suppressed anger finally exploding out 

Watching basically a man have a mental breakdown throughout the film. This is the case that breaks him and learns of what the job has done to his psyche the things he has seen and witnessed. It keeps the film riveting. 

While he takes out all of his rage and anger but under a moral code. Where at his breaking point his mind might be just as warped as those who he investigates. As after all these years being witness to the aftermath of crimes and having to psychologically get into the heads of the criminals and suspects, has taken its toll. 

The third act fills in the puzzle where the confrontation actually happened and we only saw the aftermath, after a while, it keeps us on our toes as to whether it is justice or if it is going. Where we suspect especially due to the outrage and constant flashback of thoughts.

The film becomes claustrophobic as it goes along and the noose seems to tighten around the main characters.

Grade: B

SIDE EFFECTS (2013)

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Directed By: Steven Soderbergh 
Written By: Scott Z. Burns
Cinematography: Steven Soderbergh (As Peter Andrews) 
Editor: Steven Soderbergh (As Mary Ann Bernard)

Cast: Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum, Vinessa Shaw, Polly Draper, Ann Dowd, Laila Robins, Mamie Gummer, Elizabeth Rodriguez, Marin Ireland 

A young woman’s world unravels when a drug prescribed by her psychiatrist has unexpected side effects.

Following up his pandemic movie CONTAGION that was a bigger offering with a smaller tale might seem like a step-down but it’s a movie that packs a wallop even though you don’t expect it. Unfortunately by the end, you don’t feel anything. It’s certainly entertaining but it comes off more as a smart artistic popcorn movie. It does its job but at this point movie, fans might be expecting more or stronger From director Soderbergh from his journeyman auteur reputation. This might be what the film suffers from the most

It’s a movie where things happen but you never quite feel anything it is quite clinical to watch and experience. Even as the twists happen you should care somewhat 

It’s a claustrophobic tale of what happens in all Those high-rise apartments of the haves. As most of the characters come from money and are privileged. Though Channing Tatum heavily billed again he is in the movie very little. 

It feels like it should be bigger even though it focuses more on a singular story 

Each character is smart except for the early victim. So that is refreshing as the film comes more alive when Jude law’s character is more or less fighting for professional and personal survival and all the twists are coming to light, Just as the third act is his plan taking place 

It’s a tale you would expect to be told bigger and more extravagant but with Soderbergh’s style, it focuses more singularly on the plot dynamics allowing room for the character but more or less being to the point and less indulgent. While the film. Still has style and is more technical 

It’s a bigger film from him but still a smaller story though this film feels less experimental than some of his others. This one doesn’t call attention to itself as much and has a stronger script and story than usual.

It allows the mystery of Rooney Mara’s character vacant looks and silence to shape her character and situations. As again when a character uses it to her advantage what people believe about her by her silence and looks. What identity and beliefs they put onto her that might be totally opposite from who she is. They put a character onto her when she is an actual person. She ends up Being the ultimate muse in an unartistic story. One that is mroe made up of successful characters in the medical profession. An unexpected feels Fatale if sorts 

Showing how easy it is for even the most rational of us to fall into a belief of certain fantasies that take the form of supposed responsible thought. Though managed to do it without making it a tale of the weakness of falling into temptation and paying the price for it.

The film seems more like it will be a psychological drama. When actually it will be more of a character-based thriller. This works for this film as it is unexpected and you don’t see it coming. Just as the film involves sex it isn’t very erotic or sexy. 

This is one of the more commercial and straightforward films of Steven Soderbergh. As this one whole cerebral and technical doesn’t feel like an experiment it seems like a smaller project for him that is almost like a short story for him instead of a novel. Which is how full his films can sometimes be. Either with a story or the number of stars usually, cast. 

This is the most likable performance I have found so far of Jude Law’s career. Where he gets to be innocent yet shrewd and the only way out for him is through his Intelligence. Not his looks, wit, or tortured soul. What also helps is that here the performance is mroe natural and effortless. No baggage. As here he plays more of a person, not a character or type. No different look or wardrobe to hide behind. Here he and his performance are stripped down. 

You go into this movie looking for a twist or expecting a thriller and that is what you get but the film plays the more technical side than the emotional. Though it is shockingly mean-spirited and more psychologically ruthless than expected. 

It also shows the passing of time as in the past Catherine Zeta-Jones would be the seducer and audiences would have loved to see her in a same-sex relationship and love scenes. Here as she plays just another victim. It might remind some audience members of the passage of time. Times have certainly changed.

In the end, this is a film that seems simple but then grabs you and takes you through a maze. That is stronger than it appears to be. A throwback to films aimed at adults that wants you to think and figure them out. 

Grade: B- 

KISS OF DEATH (1995)

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Directed By: Barbet Schroeder
Written By: Richard Price
Based on the Original Screenplay “KISS OF DEATH” By: Ben Hecht & Charles Lederer
Based on a story By Eleazar Lipsky
Cinematography: Luciano Tovolli
Editor: Lee Percy

Cast: David Caruso, Nicolas Cage, Samuel L. Jackson, Ving Rhames, Stanley Tucci, Helen Hunt, Michael Rapaport, Kathryn Erbe, Jay O. Sanders, Hope Davis, Anthony Heald, Philip Baker Hall, Paul Calderon, Anne Meara, John Costelloe 

A reformed convict goes undercover with the help of an angry detective to ensnare a psychotic mobster.

When I saw the trailer I knew I had to see this film as soon as possible. I had seen it on the show COMING ATTRACTIONS on the E! Channel when it used to be more devoted to film and film lovers. Not so much gossip. This trailer had me hypnotized so much I taped it and would watch it over and over again. Keep in mind this was before the internet. 

One of my favorite trailers at the time. The cast was seductive so I ended up watching it on opening weekend. 

I know this is a remake but i haven’t seen the original. Which unknown was noteworthy for Richard Widmark’s giggling hitman. There are no signs of that here. Even though Nicolas Cage steals the show as the villain here. Though that might be due to the script trying to make him come off as memorable as Richard Widmark.

This film is supposed to be a thriller though most of the time plays like a dark comedy. One that is central To New York’s character types. Even as it has More thriller elements and framework. 

Everybody seems to speak way too loudly throughout and every sentence or word seems to end and be with an exclamation point. 

This is a modern remake for the 1990’s with what would end up being an all-star cast in the middle of their careers and some just been naming their hot streaks. 

The film seems to borrow part of the cast of PULP FICTION. As the dialogue also tries to be loose and have criminals have odd yet funny conversations emblematic of that  film. It even has a few actors from that movie in it’s cast but it has an overall style of cool. A violent cool with bits of dark comedy thrown in. Where it again always feels like the characters are playing types more than real human beings for the most part.

This movie was supposed to help make a movie star out of David Caruso after being a lifelong character actor and being on a hit Television show. Which pulled him to fame and leaving that show after two seasons to be a movie star. Here is a role he was used to just not being at the center of attention.

Nicolas Cage here is off-kilter as always. Muscle bound and hilarious. As he plays an over the top mobster’s son who Caruso is trying to take down or more like the cops are forcing him to. He is murderous yet childlike at instances 

In the end the most despicable character and true villain of the film is Michael Rappaport who causes all this trouble and is taken down early and quickly.

While the film tries to feel realistic. You are always aware that it is a production. As it even feels thoroughly always like cinema. Never like any kind of reality or relatable. 

For all the violence and tough talk by the end it seems a little too cut and dry. Where it ends up feeling lightweight by the end. No matter how far it has taken us. 

GRADE: B- 

INLAND EMPIRE (2006)

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Edited, Cinematography, Written & Directed By: David Lynch

Cast: Laura Dern, Justin Theroux, Grace Zabriskie, Jeremy Irons, Harry Dean Stanton, Diane Ladd, Julia Ormand, Mary Steenburgen, Masiumi Max, Amanda Foreman, Terry Crews, Jordan Ladd, Ian Abercrombie, Cameron Daddo, Jerry Stahl, Nastassja Kinski

A blonde actress is preparing for her biggest role yet, but when she finds herself falling for her co-star, she realizes that her life is beginning to mimic the fictional film that they’re shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy.

I’m sorry I didn’t know what was going on half the time watching this film. It seems a film that is made more to test your interpretation or at least seems more like an art installation as film. Though truthfully might be the pinnacle and thesis of David Lynch’s filmography. Throwing any linear content out the window practically.

This seems more a film born out of his imagination and a kind of statement for him. As after all Supposedly This movie started with a phone call Laura Dern received from David Lynch asking if she wanted to come and experiment with him. That started the journey as the movie was filmed over several years and both of this films stars admit they don’t understand or what is going on in the film.

This movie makes every David Lynch movie from BLUE VELVET to MULLHOLLAND DRIVE look mainstream. This film is dark at times yet continuously feels unfocused for the audience while David Lynch directs with a sure hand. he does all the work here on his own for the most part it seems behind the scenes. So this is more his total creation. This is like an abstract painting brought to life on film. I think even if you are a David Lynch an this will test your boundaries of love for him.

In this movie there are scenes and shots of such beauty that only last a limited amount of time soon the film becomes tedious because it’s over two hours long. Now yes Andy Warhol would have loved it and called it a masterpiece and so will a lot of pretentious art film fans. Maybe it is. Maybe It’s just an abstract artist wavelength.

Now Mr. Lynch is a talented filmmaker, even in it’s moody overtones. Each scene breathes with life and opportunities that could take to scene and movie into parallel choices but it seems to just soldier on. Just like there are scenes where the film gets very interesting and seems to move only to be cut short abruptly and disappear.

I did really admire  the camerawork and the end credits sequence as well as some scenes and Laura Dern’s performance as she is in the whole film and has to somewhat figure out what is going on as well as be surprised as she goes along throughout. Her performance I can understand. Because she gives it her all and she is challenged at each turn and gives all she can at each turn. Bringing some kind of understanding and emotion into all of this darkness.

The reasons you think but for the fluid camera movement and music selection. This is a should have been movie especially with the ending. I believe we look for meaning or at least a linear story in David Lynch films and when he doesn’t give it to us. We try to read too much into it and maybe give little things that are non sensical more meaning that it has. It could be just a glitch but these directors who don’t speak on their films really are hiding the secret because audiences praise them as geniuses and all it is is a mistake plain and simple or something that was forgotten looked on or couldn’t afford to fix. But the audience feels the director is being subtle or that audiences just don’t get it. Maybe we do more than you but you believing yourself to be superior and needing to have something to believe in or influenced by your artistic friends taste or maybe I’m an idiot who knows this isn’t a philosophy class. I just wanted to state my beliefs.

This is one of those films I believe film lovers and fans of lynch need to see. Though I can say definitely watch it after you have seen all of his other films and can’t say you will enjoy it. Though there is nothing like it and it’s a movie I will say I will most likely only watch once. From what I can understand is that Laura Dern is playing in a movie that is a remake of cursed early black and white film. From the line between reality and film and film within a film are blurred. Sorry I didn’t like it but I do like other Lynch movies just not this one.

GRADE: C-

GOING TO BRAZIL (2016)

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Directed By: Patrick Mille
Written By: Patrick Mille, Julien Lambroschini & Sabrina Amara
Cinematography: Andre Szenkowski
Editor: Samuel Dansei

Cast: Vanessa Guide, Alison Wheeler, Margot Bancilhon, Philippine Stindel, Patrick Mille, Christine Citti, Susana Pires, Chico Diaz, Joseph Makebra 

Four childhood friends reunite for a wedding in Rio, only to find themselves on the run through the Brazilian countryside after accidentally killing someone at a drug-fueled party.

The film feels very 1980s inspired. As the plot feels high concept and simple. As it takes a GIRL’S NIGHT type story and takes it further and more action-oriented.

It even feels directed like an interaction action film from the 1980s. So that you always feel a bit of nostalgia. If you are a fan of films from the decade. 

The film offers a kind of girl’s gone wild scenario. As the characters deal with being on vacation in Brazil for a friend’s wedding and their lives not going too well. So they decide to show e fun no wild out. Which eventually leads to trouble. The film presents deals with them trying to stay out of trouble as more complications are presented.

Even though the film sounds like it would more be  T & A fest. It is more for female viewers. As most of the male characters are stupid, evil and manipulative.

The film sets up an older male villain. Whose motives are understandable partially. As he is only reacting to the death of a loved one. One who ended up being reprehensible. Showing that the Apple doesn’t fall far from The tree.

The film plays so broad but then reins in some scenes that want to be more dramatic or character building. 

The film certainly switches tones as it begins like a screwball comedy and then becomes more hardcore at first serious then action but tries to keep a sense of humor through it all. Leaving the film to be inventive and thankfully fast-paced.

In trying to stay out of trouble they are lead into all sorts of criminal activity and hijinks that eventually allows them to have a full-fledged adventure. That stays on the move and exposes a silly and unexpected side. 

Even if the last-minute hardcore action seems a bit much. 

The four leads all play types more than characters but all are needed for their particular skills that help along the way and they all have their own appeal. 

The more darker-skinned characters are shown more as villains, tough and dangerous. It doesn’t seem intended that way but still comes off that way and noticeable. 

The film offers an interesting tale of a girl’s vacation in its own way.

The film unfortunately might be entertaining as you watch it but by the end feels forgettable. 

GRADE: C-

NEVER, RARELY, SOMETIMES, ALWAYS (2020)

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Written & Directed by: Eliza Hittman
Cinematography: Helene Louvart
Editor: Scott Cummings

Cast: Sidney Flanigan, Talia Ryder, Sharon Van Etten, Ryan Eggold, Theodore Pellerin 

A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy.

Not only a good movie, purely New York movie, a movie that reminds me of the many adventures New York offered pre-Covid for youth but an emotional tour de force that takes you through it. 

It’s a delicate film that is all about the details. Including a lead performance by Sidney Flanigan that is strong. It necessarily in what she says but what she says in her silence and body language.

This is  a movie that is raw & natural and totally believable in The films docudrama filmmaking but also outstanding acting in more a physical way where the silences enhance the mood but also say everything that is not being said 

Especially in the scene where she must answer questions at the clinic and the answers out of the multiple choices are the title of the movie and the camera never leaves her face as she answers and gives us some background on her character and situation.

Though it does showcase a strong form of family and relationship between her and her cousin including the lengths her cousin is willing to go through for not only her but also from them to survive the streets of New York.

We see her home life and see why she is making the decisions she must. As she has a lazy stepfather who doesn’t even try to hide his contempt or his careless nature for his girlfriends kids and especially her.

This is a slight disappointment not in the film but myself. As I didn’t feel the film as much as many others obviously did. It didn’t necessarily speak strongly enough, but I can recognize Its beauty, power, and strength 

Though also while never a crowd follower the film never reaches the expectations that were built up by others who praised the film. That never quite came ahold. 

It’s not a bad film very far from it. For me the film just never felt like it strongly connected with me. Even though I can see its quality. 

Definitely would recommend for others. As it is a smaller film that should be seen. As it is a small

The Film that packs a wallop especially when not looking. Though don’t come looking for a shocking ending out of nowhere or a sad element that seems to take over all that has come before. 

Though I know it shouldn’t count. Seeing it on a smaller screen doesn’t help. As if seen in a theater the film seems like it is meant to be mroe of an experience where the audience is meant to follow and practically be by the main characters side constantly. So that we are practically experiencing it with her. 

On a smaller screen it’s easier to get distracted. And for us not to necessarily be as strongly immersed in the proceedings. It’s a humanistic look at a problem that persists in society that tries to put more and more regulation on it.

Grade: B+

UNPREGNANT (2020)

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Directed by: Rachel Lee Goldenberg 
Written by: Rachel Lee Goldenberg, Jenni Hendricks, Ted Caplan, Jennifer Kaytin Robinson & Bill Parker
Based On The Book By: Jenni Hendricks & Ted Caplan 
Cinematography: Doug Emmett
Editor: Julia Wong

Cast: Haley Lu Richardson, Barbie Ferreira, Giancarlo Esposito, Breckin Meyer, Alex Macnicoll, Sugar Lyn Beard, Denny Love, Betty Who, Mary McCormack, Jeryl Prescott 

A 17-year old Missouri teen named Veronica discovers she has gotten pregnant, a development that threatens to end her dreams of matriculating at an Ivy League college, and the career that will follow.

This film doesn’t really offer anything new. Except for teens who are savvier. even when it comes to birth control and sex but still find themselves making the same mistakes.

While I can give the film some points for being witty. It is mroe episodic and comedic in nature than the situation would have you believe. Like the similar film from. The same year NEVER,  SOMETIMES, RARELY, ALWAYS 

It deals with teen pregnancy and abortion but here. While it has its dramatic moments. The film ends up being a kiddy comedy and road trip movie a live all Else.

A coming of age tale about two best friends reuniting and eventually finally communicating and learning g about themselves and each other finally being truthful in the minefield of teenage life and high school.

One of the most appealing aspects of the movie is that while it is made for all audience members and some adults might actually enjoy the film. The film is obviously made for teenagers. Characters they can identify with and the filmmakers are smart enough to make it a film not full of preaching nor talking down-to the audience but offering characters who aren’t perfect and make mistakes but also are likable and loyal.

Of course most of the characters they meet along the way move the story forward but feel more like stick characters or comedic relief. Who only help to confuse the situations and characters.

The boyfriend character I am happy the film dismantles and exposes. Where he still has toxic masculinity even though he believes himself to be right because he is nice and sensitive. Yet still seeks to control his girlfriend and kind. Even though when the condom broke but neglected to tell her. Even tho consensual could easily also be seen as sexual assault. The film doesn’t go there but seems a little implied 

Also though the movie is entertaining again Haley Lu Richardson walks away with the movie and it shows that she has graduated from this type of material. She has been in So many of these films at this point. That while she is good. She deserves better.

Barbie Ferrera is the only other movie I have seen her in other than EUPHORIA the television series and while this character is less sexual. She is still kind of the outsider and she excels at the character. 

Grade: C+

NOMADLAND (2021)

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Edited, Directed & Written by: Chloe Zhao
Based on the book by: Jessica Bruder
Cinematography: Joshua James Richards

Cast: Frances McDormand, David Strathairn, Linda May

After losing everything in the Great Recession, a woman embarks on a journey through the American West, living as a van-dwelling modern-day nomad.

This film shows a subculture of people that is growing. Due to these hard economic times. 

The film uses few professional actors Star Frances McDormand to command the screen and give us a protagonist to sympathize with and relate to. As well as hold certain narrative storylines make it more a docudrama than it being a plain old documentary

Most of the cast are non-professionals seemingly playing themselves. We get interludes woven into the story where they talk about what they went through and how they came to be in this way of life. 

We get to know McDormand’s character so that the film ends up being a character study of sorts. As we get to know more and more about her slowly. 

The Power of Frances McDormand’s performance is that she fits right in seamlessly and feels like a natural ember of the non professional cast. As she is our guide throughout.  She seems to be the conduit for others to tell their tales. 

The character is Less stabilized and more like the title nomadic. As the characters have limited opportunities but always find work or ways to barter. They have room to control their own destinies. 

The film sets up her and David Strathairn’s story mroe as a side story to the narrative that introduces drama and relationships. 

The film reminds one that David Strathairn has always been underrated. As he always plays the character memorably and to the extent with nothing extra or Unnecessary. Never calling attention to himself or his performance. Just as with McDormand this plays perfectly into his talents.

As much as it is mentioned and shown. Surprised this movie wasn’t put out by Amazon Studios. 

She can’t settle even when she knows it’s better. Not to mention it seems that she has always been I plus I’ve thought maybe as she had a life that was stable until it all came crashing down. She is afraid that if she ever puts her trust instability it would all come crashing down again. Showcasing a lifestyle that is full of freedom and no dependent on anyone or anything. 

Consistently expressing themselves that one could easily identify. As it feels so relatable. As we are immersed in this lifestyle it comes off as if we are having an experience. Not knowing where fact and fiction exactly differentiate. 

The film ends up being life-affirming with beautiful tracking shots of the Midwest Americana landscapes 

Even though with the third act the film explores more of a domestic city temptation 

Grade: A-

PAPER TOWNS (2015)

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Directed By: Jake Schreier
Written By: Scott Neustadter & Michael H. Weber
Based on the Book by: John Green
Cinematography By: David Lanzenberg
Editor: Jacob Craycroft & Jennifer Lame

Cast: Nat Wolff, Cara Delevingne, Austin Abrams, Justice Smith, Halston Sage, Jaz Sinclair, Cara Buono 

*Please note that some trivia and facts have been republished from imdb among other sources In this review

Adapted from the bestselling novel by author John Green, PAPER TOWNS is a coming-of-age story centering on Quentin and his enigmatic neighbor Margo, who loved mysteries so much she became one. After taking him on an all-night adventure through their hometown, Margo suddenly disappears – leaving behind cryptic clues for Quentin to decipher. The search leads Quentin and his quick-witted friends on an exhilarating adventure that is equal parts hilarious and moving. Ultimately, to track down Margo, Quentin must find a deeper understanding of true friendship – and true love.

This reminds me of a John Hughes movie at least the closest modern equivalent. The next generations model. That doesn’t speak in stereotypes and generalities. It also doesn’t feel disposable and plastic. Made purely for entertainment value. Rather than a film that will stick with you.

This film feels like the kind more can identify with for the good and the bad things that the characters do.

How there is a natural mystery to life and in life, but also how we look for things or put various things together that might not even go together or are just various mistakes that happen to fit together and can create their own narrative.

A movie of the generation after mine that feels familiar while having it’s own quirks and points of view. While also playing by it’s own rules.

It stays inventive and charming yet cute. 

What I lie a it the film is that I like about John Hughes films that they are smart, reserved and fun. They educate while telling a entertaining story. It tackles serious subjects lite but responsibly.

Luckily it never passes itself off as deeper than it can handle as it isn’t.

Cara Delevingne’s character is largely absent as she is at the center of the mystery and while her character is mystical there is also a sense of irresponsibility and pretentiousness about her that makes her come off as more manic pixie dream girl. As she has little qualities a young man might wish for in a girl who acts too cool for school. Yet also always seems to try things out to discover. As she has yet to define herself it wants to. Which you can see coming. So when that comes into play you are not that surprised and understand why it must be done. Though seems rather dramatic.

Cara Delevingne wasn’t the only person considered for the role of Margo. Shailene Woodley was originally cast, but had to drop out due to clash of filming schedules with Insurgent. John Green said he would have chosen Emma Blackery, a fellow YouTuber, for the role, but he admitted the casting wasn’t up to him.

I like that the ending shows that it necessarily isn’t meant to be more about learning and bonding with those who care and truly love you.

So that the journey was more important than the goal and have a true adventure. For those who can’t see the obvious. As it is the same lesson told to a new generation in their own language.

Though the film doesn’t hold into account her characters selfishness. Though it does shed light on something women have to go through. Instead of being looked at for themselves, personality and talents. Instead they represent what others choose to put on their shoulders jewel, fantasy, sex object, miracle, and that hey are nothing more the. A guns being a person who has flaws and doesn’t have everything figured out. Falling in love with their without really knowing them.

A teen, free spirit who while admitting guilt at least apologizes and proved to be a convenient to freedom at least from a mind state or sense of being. Also away from your parents.

While I am not necessarily a big fan of John Green’s books. Of which I have only read one and really enjoyed it. As i find his writing somewhat truthful, well researched, quirky and touching as he doesn’t paint his characters as saints and actually has sexuality and language. That most books of that type seem to avoid to be more universal and safe.

In the book, Angela does not (and is never asked to) go on the road trip. Does not have the same ending as book

If you like coming if she movies or teen films. This will be a nice film to check out. Time nothing special but it is a good time.

Grade: C+