Tag: DRAMA

A REAL PAIN (2024)

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Written & Directed By: Jesse Eisenberg 

Cinematography: Michal Dymek

Editor: Robert Nassau

Cast: Jesse Eisenberg, Kieran Culkin, Jennifer Grey, Will Sharpe, Daniel Oreskes, Liza Sadovy, Kurt Egyiawan, Ellora Torchia 

Mismatched cousins reunite for a tour through Poland to honor their beloved grandmother, but their old tensions resurface against the backdrop of their family history.

One wonders as he writes, directs, and stars in the film. If Jesse Eisenberg wrote this film specifically for Kieran Culkin and his talents or just a dynamic role and character that culminated easily fits. As he has played versions of this type before. Only here he has softer edges to offer the character. He still is good at playing these types of characters and roles. His performance comes off more natural not clearly scripted and more off of instinct. 

As it gives Eisenberg a perfect partner to bounce off of and play the exact opposite of. Eisenberg’s character is his usual nerdish, nebbish, and afraid of life. Overly polite and settled down with a wife and child. So he is responsible. who resents but is amazed by his cousin. Who is charming, resourceful, and troubled.

This trip is catching up for both of them. Not to mention an adventure. To honor their grandmother. 

As it goes along you wonder exactly what is going on. As the film and main character grow more Intense you wonder exactly what she is after and hoping to achieve. As it comes off more an intellectual’s adventure. Which is pleasant but always seems At odds. Even when there is no reason for there to be 

So that the film constantly ends up and feels like a mystery. That sometimes gets explained but other times, lets it flow and we hope will work itself out and find closure, but we will always wonder.

One can appreciate the end. As an ending an end to this adventure for both of these characters. Where they go from here we will have to wonder or at least wait and see. As it’s not clearly defined. 

Though have to admit for such a short film, it feels like it drags a lot of time and is a bit like the whimsical indie films of the early 2000’s. It tries to register characters in a foreign environment that is picturesque historical and oddly Poetic filled with conversations and tries to be on the wavelength of visual Poetry. 

Though from Someone who knows how to do it but feels way too Technical Than actually passionate.

Grade: B-

DIDI (2024)

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Written & Directed By: Sean Wang

Cinematography: Sam Davis 

Editor: Arielle Zakowski

Cast: Izaac Wang, Joan Chen, Shirley Chen, Zhang Li Hua, Mahaela Park, Raul Dial, Aaron Chang, Chiron Cillia Denk 

In 2008, during the last month of summer, before high school begins, an impressionable 13-year-old Taiwanese American boy learns what his family can’t teach him: how to skate, how to flirt, and how to love your mom.

As one gets older, coming-of-age films seem to have less relevance. As we get further from that age nostalgia is as strong as it could be. It could be that these films recently set more when the older audience Were adults.

So while a nice look back, it might leave them with very little connection. No, I’m sure that they connect with certain audiences though are they made more for teenagers who can identify and are around the same age as the characters or more for those who were recently around that age and would have grown somewhat now can look back and identify

this film could’ve been set during modern daytimes even as the film timestamp seems to be the early 2000s and allows a look back at the burgeoning technology of my space flip phones, home video cameras, and America Online chat rooms. This might have been done so the film could be an autobiographical look for the writer-director or trying to make it seem more simplistic than today’s complicated technology rule times either way it fires not to be or not seem like a gimmick.

What ends up making the film feel universal is the awkwardness of the main character as he isn’t too clearly defined yet to us in the audience or even himself as he tries on different interests and identities that seem to go, but so far before crashing and making himself into what he believes others expect but always making a mistake and doing the wrong thing which he punishes himself for. He can’t be himself because he hasn’t quite figured that out.

This starts After being rejected and embarrassed by his friends when he is himself he lashes out at his family, particularly his mother who is having her own domestic problems, which he chooses to either close his eyes or not to truly acknowledge but she never wavers in her love for her son or her family. No matter how mean he can be.

She seems to be the one of the few who truly loves him unconditionally. as well as his sister even though they fight there seems to be a tough love there

The film is heartwarming overall even if it has its obstacles to get there, it does feel natural and fresh because there is an innocence, but never feels sugarcoated

The film, constantly states, awkward though one of a kind showing an Asian American family in this type of genre and most of the characters being of color and commonly Asian. It’s a nice film of culture that doesn’t make the whole film about that only even if the film is at heart about identity.

Grade: B

JANET PLANET (2023)

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Written & Directed By: Annie Baker 

Cinematography: Maria Von Hauswolff

Editor: Lucian Johnston 

Cast: Julianne Nicholson, Zoe Ziegler, Will Patton, Elias Koates, Sophie Okonedo, Mary Shultz, Edie Moon Kearns 

In rural Western Massachusetts, 11-year-old Lacy spends the summer of 1991 at home, enthralled by her own imagination and the attention of her mother, Janet. As the months pass, three visitors enter their orbit, all captivated by Janet.

This film is a character study between a mother and her 12-year-old daughter. A coming of age story for both of them. 

One truly wants to enjoy the film as it takes objectivity to a certain level. Where we watch and wait. Yet little actually happens. 

The film seems to take place with the status and longevity of the mother’s relationships with different partners. These are usually romantic, though, never quite shown to be that way, nor do we see the more physical sides of these relationships, though they seem not to take their toll, but have some kind of meaning. 

Her mother comes across as not needing anyone but desperate for any outside relationship due to them, living in a more rural community and also seeking to have the company of another adult rather than just her young daughter. She seems to have an attachment to her mother and doesn’t truly desire too many relationships, friendships, or connections with too many others, which is already rare for her.

This film won’t be for everyone as it takes its time and is very detail-oriented. As bass and day-to-day life. Not necessarily its trivialities, but its blandness. As it also seems to find beauty in every day.

This seems to be the writer and director, Annie Baker’s interest and expertise as her plays are constructed in the same way. So that some will get into and admire it while finding meaning and others might find it a bit, dull and drowsy

However, in the end, it shows more of a daughter’s love for her mother than the other way around what we usually see in films like these.

It feels like a down-home, laid-back movie, that more exists on vibes and as a character study rather than plot. In the ’90s and 2000s would probably have won the Sundance Film Festival. 

It never feels like it quite gets started and by the end though you have traveled with these characters. You might still be wondering what happened exactly.

Grade: B- 

EMILIA PEREZ (2024)

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Directed By: Jacques Audiard

Written By: Jacques Audiard, Thomas Bidegain, Lea Mysius and Nicole Livecchi 

Based on the novel “ECOUTE” By: Boris Razon

Cinematography: Paul Guilhaume

Editor: Juliette Welfing 

Cast: Zoe Saldana, Karla Sofia Gascon, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir, Eduardo Aladro, Emilio Edmundo Hasan Jalil

follows four remarkable women in Mexico, each pursuing their own happiness. Cartel leader Emilia enlists Rita, an unappreciated lawyer, to help fake her death so that she can finally live authentically as her true self.

One of the joys of listening to the soundtrack of a musical early (even before you see the production)  Is seeing where the song will be used in the film And presented. Brought to life, visualized, and performed. See where they place It. 

Not necessarily advisable, as you might want to experience a first as you watch the film. Which can be a more magical experience. 

There is a lot to admire here visually. Jaques Jacques Audiard is a world-class director and makes everything dazzle here. Though it feels a bit empty, as for all the arresting nature of the film’s production. In the end, it feels like it lacks heart. Making it ultimately feel like a shallow exercise.

As the spectacle and mood take over. Even though most musicals seem to be about the numbers the story is there to link them all together and usually suffers in believability. Here is the story which could be interesting. It doesn’t naturally mix with the musical numbers and as this film tries to be so many things at once. It comes across as quite confusing. As it is roasted in stages or at least that is the best way to consume it.

This feels like another director trying to invade or emulate another director’s style. This film feels more like a Pedro Almodovar film. Who would know how to connect and meld everything together better as it would be more his style and territory in theory? 

It’s a spectacle That is at times political then goes back to age-old melodrama at its heart. Yes, An artistic achievement. Through It seems to be more about style. Yet, it is a crime story that the director is known for 

Selena Gomez is one of the biggest names appearing in the film. Giving the film some star power next to Zoe Saldana and she is given the least to do. She does have at least two songs of her own to sing and perform. Most of her scenes involve her either crying or screaming. It seems she is here for some artistic cred for herself and to help the box office for the filmmakers. 

It’s like going full special needs. It’s devotion to calling attention to itself with genres that Don’t naturally blend. Not to mention it gives us a Trans Character but gives her little depth, nor explores her experiences or being in this new world in a different body. It gets about as deep with her as Caitlin Jenner does with other trans people in life. There is something to say about identity, but the film barely explores it. 

Zoe Saldana is the only one who manages to make it through the film unscathed. She gives a strong performance does everything the film and filmmakers ask of her And maintains a glow throughout.

Maybe the fact that it has four screenwriters is the problem. Each one brings their talents, and ideas that seem to work with one another but become quite different as the film goes along. 

Grade: B- 

ONE SINGS, THE OTHER DOESN’T (1977)

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Written & Directed By: Agnes Varda 

Cinematography: Charlie Van Damme 

Editor: Joele Van Effenterre

Cast: Therese Liotard, Valerie Mairesse, Robert Dadies, Ali Rafie, Gisele Halimi, Nicole Clement

The intertwined lives of two women in 1970s France, set against the progress of the women’s movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker – despite the contrast they remain friends and share in the various dramas of each others’ lives, in the process affirming their different female identities.

This is the third film by Agnes Varda that I have seen and wasn’t a plan. Though thankful that I have seen her work. as none of her films were ever at the top of my list to watch, but I am glad to have seen each of them by the end. I am impressed by how they make the audience feel.

This one is pretty epic as it feels like a film on which the Bette Midler-Barbara Hershey movie Beaches might’ve been based as this film observes the friendship between two women over 10 years. From their introduction to one another in their 20s, they reach a certain point of maturity.

The difference is that this film is not only about femininity but also and large part about women’s rights, especially when it comes to their bodies and abortion as that act which was illegal Only a few years before this film was made in Paris, which is the way the friendship starts.

We see both characters through their, many romances and trials and tribulations. as well as they’re changing attitudes and interests. 

While they have mini adventures, the film does feel epic, even if it seems to stray only in a few places. 

Watching the film, it has come along at the right time as its issues are now coming under threat here in the United States, which makes it feel more relevant than ever. Especially Agnes Varda had to admit that she had one as a sign of protest and rebellion was very brave of her. Showing support and solidarity.

This film shows the future that existed because of this act, not because it was an inconvenience. There’s a film that shows the many hardships that the friends go through, but also their endurance, their happiness, and a kind of joy that is rare, and threw it all their friendship, survives and strives, even though they’re not together all the time they encourage each other and inform one another.

Though more common at the time it just reminds the viewer of how few modern films, explore the depth, nature, and strength of friendships.

Not to mention as the title goes, it does have quite a few music sequences, not musical sequences as some are show sing, intentional stage productions, and other scenes just involve the character singing at a protest or showing off the writing of a new song.

It’s a bit long, but after a while, you barely notice as it goes by so fast that it feels more like a book as it hasn’t enriched quality,  time, life, and hope.

The film manages to be political and heavy-handed on one end, but an effective character piece. Where you are enchanted by the characters and their actions as well as their fates

Grade: B+

UNSTOPPABLE (2025)

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Directed By: William Golddenberg 

Written By: Eric Champnella, Alex Harris And John Hindman 

Based On The Book: Anthony Robles and Austin Murphy 

Cinematography: Salvatore Tontino 

Editor: Brett M. Reed 

Cast: Jharrel Jerome, Jennifer Lopez, Don Cheadle, Michael Pena, Bobby Cannavale, Mykelti Williamson, Neon Perez, Johnni Di Julius, Peter Sack 

This film seems to be mostly painted by numbers of a biofilm of a disabled athlete who overcame his affliction or didn’t let it define him to go after what he really wanted, which was to be a wrestler, not only achieve it but excel at it as it helps to give him discipline and definition not only physically and spiritually but emotionally

Jharrel Jerome is excellent as lead, proving himself not only a great actor but deserving a better though he can play what is required in most leading man roles he’s got the luxe. He’s got the charisma. He’s got the talent. He just needs more chances. 

what might draw more attention to this film is that Jennifer Lopez plays a major role in the film as his mother always believes in him and supports him as much as he supports her. This is her more taking a supporting role and she’s good in her role as a woman who is in an abusive relationship with most of her kid’s fathers who have a checkered past, but also undoubtedly loves her kids

Don’t know if Jennifer Lopez chose this role to be seen as a serious actress or is or these are the roles that she is being offered more as she gets older and her brand isn’t as strong as it was this is one of her better roles since being in HUSTLERS. Though anytime she is not glammed up it seems to be she is in serious actress mode and made more noteworthy.

Also, Bobby Cannavale is among the recognizable cast in this film, portraying his usual whole type character or villain, really a bully really the only one that the main character truly faces other than the third opponent, who is more arrival than an actual bully

Don Cheadle has a supporting role as the boy’s college coach and while a thankless role he makes the best of it

If you are into sports dramas or bio-films or just goodhearted movies, I think you will enjoy this film for me, is formulaic, but keeps the attention

Grade: C+ 

WE GROWN NOW (2023)

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Written & Directed By: Minhal Baig 

Cinematography: Patrick Scola

Editor: Stephanie Filo

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

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

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

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

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

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

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

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

Grade: B+

THE PIANO LESSON (2024)

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Directed By: Malcolm Washington 

Written By: Virgil Williams and Malcolm Washington 

Based on the play by: August Wilson 

Cinematography: Michael Gioulakis 

Editor: Leslie Jones 

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

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

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

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

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

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

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

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

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

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

Grade: B

THE BIKERIDERS (2024)

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Written & Directed By: Jeff Nichols

Based on the book by: Danny Lyon

Cinematography: Adam Stone

Editor: Julie Monroe

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

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

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

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

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

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

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

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

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

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

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

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

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

Grade: B

OUR DAY WILL COME (2010)

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Directed by: Romain Gavras

Written By: Romain Gavras and Karim Boukercha

Cinematography: Andre Chemetoff 

Editor: Benjamin Weill 

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

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

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

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

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

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

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

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

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

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

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

GRADE: C

Grade: C