FENCES (2016)

December 23, 2016

fences Greetings again from the darkness. Just about any use of words you can think of serves some part in this screen adaptation of renowned playwright August Wilson’s Pulitzer Prize and multiple Tony award winning stage production. It first hit Broadway in 1987 with James Earl Jones and Mary Alice in the leads, and the 2010 revival starred Denzel Washington and Viola Davis – both who reprise their roles for the movie version. It’s also the third directorial feature from Mr. Washington (The Great Debaters, Antwone Fisher).

The story takes place in mid-1950’s Pittsburgh and is a family drama character study centered on patriarch Troy Maxson (Washington), a former Negro League star and ex-con, who now works days on a garbage truck before coming home to his wife Rose of 18 years (Ms. Davis) and their son Cory (Jovan Adepo, “The Leftovers”). The Friday night after work ritual finds Troy holding court in his backyard with his best friend and co-worker Bono (Stephen Henderson), as they share a bottle of gin and pontificate on the injustices that have landed them in this place and time.

Another regular Friday occurrence is the drop-in of Troy’s son by his first wife. Lyons (Russell Hornsby) is a musician who shows up on payday for a “loan” from dad. To say there is tension between the two would be an understatement, and it’s the complex relationships between Troy and everyone else that is the crux of the story. Another player here is Troy’s brother Gabriel (Mykelti Williamson), who periodically wanders by talking about battling demons and hellhounds. See, Gabriel suffered a severe head injury during WWII and now has a plate in his head but no real place in society.

Troy is a proud and bitter man, unwilling to acknowledge that the world is changing. Instead he holds firm to his belief that the white man will always hold back the man of color. It happened to him in baseball (though actually he was too old by the time Jackie Robinson joined the Dodgers) and he refuses to believe Cory can succeed in football despite his being recruited by a college. Troy jumps between charming and caustic, and his fast-talking bellowing style can be entertaining, enlightening, condescending and intimidating … sometimes all of the above within a few sentences.

There is magic in the words of Austin Wilson, and as a film, this is a true acting clinic. The performances keep us glued to the screen in each scene. Denzel is a dominating presence, and the single best moment belongs to the terrific Viola Davis. Her explosive release conveys the agony-of-the-years, the broken dreams, and the crushing blow of broken trust. As a viewer, we aren’t sure whether to stand and applaud her or comfort her with a warm hug. The only possible criticism might be that the stage roots are obvious in the film version. The theatrical feel comes courtesy of the sets which are minimal and basic with no visual wow factor. But this minor drawback only serves to emphasize the characters and their interactions.

It’s pointed out to us (and Troy) that fences can be used to keep things out or keep things in. During his pontificating, Troy uses a couple of phrases more than once: “Living with a full count”, and “Take the crooked with the straight”. He often waxes philosophical, and it’s through these words that we realize both he and Rose took their sense of duty and responsibility so seriously that they both lost their selves in the process. Making do with one’s situation should not mean the end of dreams and hopes, and it certainly gives no one the right to hold back anyone from pursuing the path they choose. While watching the actors, don’t miss the message.

watch the trailer:

 

 

1 Comment | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

HIDDEN FIGURES (2016)

December 21, 2016

hidden-figures Greetings again from the darkness. The space program has created many iconic images over the years: rhesus monkeys in space suits, the Mercury 7 Astronauts press conference, Neil Armstrong and Buzz Aldrin erecting a flag on the moon, and numerous Space Shuttle missions – some successful, others quite tragic. We’ve even been privy to cameras inside the space station and the NASA control center. Despite all of that, director Theodore Melfi’s (St Vincent, 2014) latest film uncovers a part of history of which most of us knew nothing.

Adapted from the book by Margot Lee Shetterly, the film stuns us with the story of the “Colored Computers” … the African-American female mathematicians who manually checked and cross-checked the endless calculations, formulas and theories required to launch a rocket into space and bring it (and the astronaut) back home. It’s a crowd-pleasing history lesson and an overdue tribute to, and celebration of, three intelligent women of color who played crucial roles in the success of the American space program

We first meet a young Katherine Johnson as a child math prodigy whose school can’t provide her the challenge she needs. Next we see her as a bespectacled adult (Taraji P Henson) on the side of the road beside a broken down car with her friends and co-workers Dorothy Vaughan (Octavia Spencer) and Mary Jackson (musician Janelle Monae). They are on their way to work at Langley in the computing department. Dorothy is the ad hoc supervisor of the group and is in a non-stop battle for the title and increased pay that comes with the job. Mary is the razor-tongued one who is striving to overcome all of the obstacles on her way to becoming the first female African American Engineer at NASA. These are good friends and smart women caught up in the racism and sexism of the times and of the organization for which they work.

Soon, Katherine is promoted to the Space Task Group run by Al Harrison (Kevin Costner). This is a group of true rocket scientists, and Katherine is charged with checking and confirming their work … a thankless job for anyone, but especially for a black woman in the early 1960’s. Her supervisor (Jim Parsons) refuses to give her the necessary security clearance – huge portions of the work are redacted, making it increasingly difficult for Katherine to run the numbers. This is a seemingly accurate and grounded portrayal of racism in the workplace. At the time, racism and sexism were mostly woven into the fabric of society … it’s “just the way things are”. It’s almost a passive-aggressive environment with separate coffee pots and restrooms clear across campus.

There are numerous sub-plots – probably too many. We even get an underdeveloped romance between Katherine and a soldier named Jim Johnson (Mahershala Ali, so great in this year’s Moonlight). We follow Mary as she goes to court in pursuit of the right to take the engineering courses required for her certification. We see Dorothy with her kids, as well as her ongoing head-butting with her condescending supervisor (Kristen Dunst), who claims to have nothing against ‘you people’. Dorothy’s response is clever, crowd-pleasing and a reminder that this is an air-brushed version of reality … but also a view that we rarely see. As the Mercury Project progresses, we note how Harrison (Costner) is so focused on getting the job done, that he is oblivious to the extra challenges faced by Katherine – that is until her emotions erupt in a scene that will have Henson under Oscar consideration.

The slow implementation of the first IBM mainframe is important not just to NASA, but also to Dorothy and her team. They see the future and immediately start self-training on Fortran so that they are positioned for the new world, rather than being left behind. Eye-opening sequences like this are contrasted with slick mainstream aspects like no slide-rules (not very camera friendly, I guess), stylish and expensive clothing for the underpaid women, and a steady parade of sparkling classic cars in vibrant colors – no mud or dents in sight. Sure, these are minor qualms, but it’s these types of details that distract from the important stories and messages.

The film does a nice job of capturing the national pride inspired by the Mercury project, and astronauts such as John Glenn (played here by Glen Powell, Everybody Wants Some!!). It even deploys some actual clips and captures the pressure brought on by the race to space versus the Russians. There is an interesting blend of Hans Zimmer’s score and the music of Pharrell Williams that gives the film a somewhat contemporary feel despite being firmly planted in the 60’s. This mostly unknown story of these women is clearly about heroes fighting the daily battles while maintaining exemplary self-control. It offers a positive, upbeat and inspirational message … believe in yourself, and don’t pre-judge others. Don’t miss the photos over the closing credits, and don’t hesitate to take the family to the theatre over the holidays.

watch the trailer:

 

 

 

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

LA LA LAND (2016)

December 10, 2016

la-la-land Greetings again from the darkness. Is this a nostalgic throwback to the movie musicals of Stanley Donen and Fred Astaire, or is it a contemporary film designed to revitalize the movie musical genre in an era dominated by superheroes and sci-fi? However you might choose to label writer/director Damien Chazelle’s follow-up to Whiplash (2014), it’s clearly one of the best and most entertaining movies of the year.

While the opening credits are still rolling (“Presented in CinemaScope” being the first gag), the film kicks off with its only large scale (think Busby Berkeley on a L.A. freeway rather than in a swimming pool) musical production, “Another Day of Sun”. It’s also the first of 3 less-than-warm-and-fuzzy “meetings” between the two lead characters before they finally click.

Emma Stone and Ryan Gosling light up the screen with the same incredible chemistry they displayed in Crazy, Stupid, Love (2011). Mia (Ms. Stone) is a struggling actress-wannabe working behind the counter at the Warner Brothers studio coffee shop. Sebastian (Mr. Gosling) is a pianist committed to the traditions of jazz music … even as he toils in a club playing mainstream tunes for folks who aren’t even listening.

As their relationship develops, we are treated to a tap dance number in the Mulholland Drive moonlight. Soon, Sebastian (either a brooding Gene Kelly or a dancing James Dean) is forced to make a choice between finding a way to open his own jazz club or compromising his integrity by making lots of money joining a “hot” band (led by John Legend), while Mia is focusing on auditions and her writing (which leads to a disastrous one-woman show).

Director Chazelle and cinematographer Linus Sandgren create a look in line with Singin’ in the Rain, but a tone more suited to A Star is Born. There is no shortage of romance and music, but it’s equally balanced with melancholy, foolish dreams, and shattered hopes. While it’s an homage to old Hollywood, Los Angeles and movie musicals, it seems to gracefully swing between past and present – and reality and fantasy.

Mia has a bedroom wall mural of Ingrid Bergman, while Sebastian treasures his piano stool that once belonged to Hoagy Carmichael … two more examples of past and present intertwined. Ms. Stone and Mr. Gosling possess solid (not exceptional) singing voices, which aids in having the songs tell their story. Ms. Stone is quite a talent, and especially stands out in her audition scenes … we feel her pouring her heart out to casting agents who may or may not even be paying attention. It’s remarkable work from her.

Supporting work is provided by Rosemarie DeWitt (as Sebastian’s sister), JK Simmons (as a club owner and Sebastian’s boss), Finn Wittrock (as Mia’s boyfriend) and Damon Gupton. Also in supporting roles would be the Griffith Observatory (after a Rebel Without a Cause viewing), the Los Angeles scene, and the Warner Brothers lot.

The “What Could Have Been” ending sequence is top notch filmmaking in all aspects, and perfectly caps a movie that drips with nostalgia … while also being touching, funny, and downright fun. Watching this film is much like going through the ups and downs of a relationship, and rather than a fairy tale, it’s a painful jab at “the one who got away”. It deserves to be seen on the big screen – enjoy the full palette of colors and the full spectrum of emotions (love and heartbreak, frustration, anger, and utter joy). This is one to tell your friends about … don’t wait for them to tell you.

watch the trailer:

 

 

1 Comment | Comedy, Drama, Musical | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

JACKIE (2016)

December 10, 2016

jackie Greetings again from the darkness. There will be two distinct groups that erroneously presume this is a traditional biopic of the glamorous former first lady: those who wave it off as Lifetime Channel fare, and those who excitedly walk in thinking they are going to be swept away in the pink Chanel suit from that fateful day in November 1963. Instead, the first English language feature from director Pablo Larrain (No, 2012) offers up a what-might-have-been look behind the scenes and takes a stab at the psychological make-up of the often underestimated and complex woman known even today as simply Jackie.

The opening scene provides the first of countless close-ups of Natalie Portman as Jackie. Different than the usual movie close-ups, these are somehow closer – more intimate and more intrusive. The shots make us uncomfortable, as if we are intruding on her personal space. This is by design, as the film takes us to a surreal place where we see Jackie the person, rather than Jackie the icon. The framing device used is an interview she granted to Life Magazine reporter Thomas H White (Billy Crudup billed only as “the journalist”) at the Kennedy compound in Hyannis Port, merely a week after the assassination.

To grasp the concept here from director Larrain and writer Noah Oppenheim (in a big stretch from The Maze Runner), it’s imperative to understand that, at the time, Jackie was the personification of a nation’s grief and the ultimate example of dignity and grace (yes, Seinfeld fans, she had grace). We quickly witness the power and control she wielded. “Don’t think for a second I’m going to allow you to publish that” … she states after exposing her most vulnerable and personal thoughts. Later, she puffs on a cigarette and tells the reporter, “I don’t smoke”. It’s in these moments that we begin to realize the point – Jackie was a master at generating the “proper” public perception from even the harshest personal realities (many of which the film politely ignores).

Much of the film deals with her dogged pursuit of creating a lasting legacy for her husband. The idea of Camelot was meant to provide hope and idealism to the public who so wanted to idolize and romanticize the first couple. The symmetry with Lincoln – the portrait, the bedroom and the meticulously planned elaborate funeral procession – were meant to establish heft and substance for an all-too-brief administration that even had brother Robert (Peter Sarsgaard) lamenting how little was accomplished. These were the calculated strategies of a woman who was much more than the charming and slightly nervous host who took America on a televised tour of The White House on CBS in 1962.

The film utilizes flashbacks to the Lincoln Continental with the Texas Schoolbook Depository in the background, as well as detailed recreations of The White House, Parkland Hospital, Air Force One, St. Matthew’s Cathedral, and of course, the pink Chanel dress. That said, this is certainly not a movie designed to solve the case or disprove one of the conspiracy theories … it remains steadfast as a close-up of Jackie.

Others in supporting roles include a nearly unrecognizable (and minus her usual ticks) Greta Gerwig as Nancy Tuckerman (Jackie’s social secretary and friend), John Carroll Lynch and Beth Grant as LBJ and Lady Bird, Max Casella as Jack Valenti, stunning lookalike Caspar Phillipson as JFK, and a remarkable John Hurt as the Priest helping Jackie through her spiritual crisis. But of course this is Natalie Portman’s movie. She captures the breathy vocals and the contrasting strong directness when dealing with Bobby and Lyndon. Her movements mirror those from the actual footage of the White House tour … it’s really a performance to behold.

Many original images, videos, and clips are blended/spliced into the re-enactments to add a touch of sentimentality and prove how close to reality the film holds. One thing to brace for is the most unique score you’ll likely hear in a film this year. Mica Levi’s unusual sound brilliantly complements the many moods of Jackie, and even manages to remain strong around Richard Burton’s rousing rendition of “Camelot”. Ms. Portman’s performance and the behind-the-curtain approach work well in reminding us that these were real people … not just Kennedys.

watch the trailer:

 

 

Leave a Comment » | Drama | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

MISS SLOANE (2016)

December 8, 2016

miss-sloane Greetings again from the darkness. Timing can be crucial for a film attempting to capitalize on a hot social or political topic or event. One gets the feeling that the filmmakers were excited to open this film on the heels of a Hillary Clinton victory … a story about a powerful woman, laser-focused on her mission to push through gun-control legislation. With an unexpected election outcome, director John Madden (Shakespeare in Love, The Best Exotic Marigold Hotel) and first time screenwriter Jonathan Perera may just luck out since their film can alternatively be interpreted as a scathing commentary on a corrupt existing system … the single biggest reason for that surprise election result.

By now we have become accustomed to stellar performances from two-time Oscar nominee Jessica Chastain (Zero Dark Thirty). Here she plays super-lobbyist Elizabeth Sloane – always impeccably dressed while spouting the voluminous dialogue and quick quips that make up this workaholic, dedicated-only-to-winning viper who rules the snake pit known as politics. When her big firm boss (Sam Waterston) tries to strong arm her into working with the NRA to quash the proposed gun-control legislation … encouraging her to ‘get women excited about guns’ … she quickly takes her competitive nature (and most of her staff) to the opposition, resulting in escalated political warfare.

Much of this plays like an Aaron Sorkin spin-off, but it’s surprising how few movies have focused on the fascinating world of lobbyists. Thank You for Smoking (2005) and Casino Jack (2010) are probably the most widely seen, but it’s Michael Clayton (2007) that seems to have the most in common tonally with this look at ethics (or lack thereof), conniving strategy, and backroom maneuverings.

Ms. Chastain owns the film and the role, and there is strong supporting work from Mark Strong (as her new boss), Gugu Mbatha-Raw (making the most of a few scenes), John Lithgow (as the Senator running the Congressional hearing), Michael Stuhlbarg (as a worthy adversary), Jake Lacy (as Sloane’s only diversion), Alison Pill (her assistant), Dylan Baker (a talk show host), and David Wilson Barnes (her attorney). It’s an impressive group that adds substance to the project.

Do the ends justify the means? Is anyone as ambitious and adept at political games as Elizabeth Sloane? Are ethics really this compromised in the world that creates our laws and policies? However you choose to answer those questions, a look at the misplaced priorities of our elected officials … and the influence of powerful lobbyists … are absolutely worthy of our attention, and undoubtedly contributed to the biggest election surprise in recent memory.

watch the trailer:

 

2 Comments | Drama, Thriller | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

FRANK & LOLA (2016)

December 8, 2016

frank-lola Greetings again from the darkness. Michael Shannon continues to be one of the most interesting actors working today. In this first feature from writer/director Matthew Ross, Mr. Shannon is the titular Frank, and his pained facial expressions elevate this neo-noir into a dark and intriguing exposition on male obsession and sexual jealousy.

The abrupt opening scene finds Frank and Lola (Imogen Poots) frolicking in bed after obviously just meeting for the first time that evening. We (and Lola) know we are in for something a bit different when Frank slams on the breaks and states, “Maybe we should wait until next time.” Lola is taken aback, and we are soon watching this relationship develop … while simultaneously noting the subtle signs of troubled pasts for each of them.

Frank is a talented French chef and Lola is just starting her career as a fashion designer. His dark side flashes a bit more often, but before Lola ever comes clean, we realize there is unhappiness in her past. They seem to be two tortured souls in a jinxed relationship.

Filmmaker Ross keeps us (and Frank) on our toes as the script seems to continually offer yet another deeply held secret or mysterious character. Justin Long plays Lola’s new employer, while the rarely-seen-these-days Rosanna Arquette plays Lola’s name-dropping mother. However, it’s Michael Nyqvist (so great in The Girl with the Dragon Tattoo) as the suave Frenchman with ties to Lola’s past and present that really makes things interesting … and somehow even darker. His wife is played by the terrific French actress Emmanuelle Devos. Her screen time is limited, yet crucial.

The film was well received at Sundance, and it shares the creepiness of such films as Basic Instinct, Body Heat and Night Moves. Rarely do contemporary movies go as deep into the male psyche of obsession as this one, and the throw-back atmosphere is a perfect fit for the tone. Not many actors simmer like Michael Shannon, and the story offers him the perfect vehicle to remind us that everyone longs to be loved – even when we aren’t sure we deserve it.

watch the trailer:

 

 

7 Comments | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

THINGS TO COME (2016, France)

December 3, 2016

things-to-come Greetings again from the darkness. What was once a rarity is now becoming more commonplace … movies made by women about women. This latest from writer/director Mia Hansen-Love (Eden, 2014) features one of the most interesting lead characters from any film this year.

Nathalie (Isabelle Huppert) is a philosophy professor, writer, longtime wife to Heinz (Andre Marcon), mother of two grown children, and care-taker to a depressed, slightly-dementia-stricken mother (Edith Scob) who is prone to calling for emergency workers when Nathalie doesn’t answer her phone calls. The film offers no murder mystery, alien invasion or other earth-rattling event. Instead it guides us through Nathalie’s process in dealing with life things that occur on a daily basis.

The genius of the film, script and character stems from the fact that Nathalie never creates drama where none exists … a rare personality trait these days. Rather than plead for mercy from the universe, she simply plows forward during what would be three personal-world-crumbling events in a lesser movie: her husband cheats and leaves her, her mother dies, and she is fired (or at least forced to move off her method) from the job she loves.

Ms. Huppert delivers yet another stellar performance (see her in this year’s Elle) as Nathalie. She is an intellectual and thoughtful woman, but not necessarily the warm and cuddly type. Sure she cares for her family and inspires her students, and rather than lash out at her confessing husband, she only shows frustration when he takes a couple of her beloved books in his move out (or stuffing his flowers in the trash can). Disappointment is more obvious when her prized former-pupil Fabien (Roman Kolinka) is unable to competently debate his radical views with her … choosing instead a condescending, brusque approach designed to shut her down.

Nathalie is more shocked by her publisher’s intention to “modernize” her book than by finding “The Unabomber Manifesto” on the shelf at Fabien’s commune for intelligent anarchists. The politics of a particular situation has influence on nearly every scene, and Ms. Hansen-Love’s script emphasizes the importance of seasoning/experience in handling life … and does a remarkable job contrasting those who have it from those who don’t. Few movie soundtracks include both Woody Guthrie and Schubert, but then both fit well when the story avoids a mid-life self-discovery, and instead focuses on the realization of freedom. These are two very different things, and you’d have a difficult time finding a better look than this film offers.

watch the trailer:

 

3 Comments | Drama, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

MAN DOWN (2016)

December 3, 2016

man-down Greetings again from the darkness. Perhaps this movie and story would have hit me harder had I not recently watched Michael King’s documentary When War Comes Home. Post Traumatic Stress Disorder (PTSD) is the focus of both films, but the reality of the three soldiers in King’s film simply packs a bigger emotional punch than the fictionalized version of one soldier in this latest from director Dito Montiel. That said, the dramatization offers a few worthy moments.

The story/stories revolve around a new Marine named Gabriel Drummer (played by Shia LaBeouf). We are bounced between three timeframes: a futuristic, post-apocalyptic world; the time Gabriel is serving on the frontlines of Afghanistan; the pre-Marines time when we see Gabriel as a loving father, husband and friend … he’s the kind of dad who surprises his son with a birthday puppy, and creates a secret phrase so he can tell his son he loves him without embarrassing him at school.

An interrogation sequence between Gabriel and the military counselor (played by the great Gary Oldman) provides the film’s best scenes … the two actors go head to head in what is really psychological warfare in a trailer office. There is an “incident” that occurred, and the counselor is attempting to figure out Gabriel’s mental state. Once we are provided the details of the incident, we fully understand why Gabriel is an emotional mess, and basically shut-down from conversation and life.

Kate Mara appears as Gabriel’s wife and Charlie Shotwell (Captain Fantastic) as his son. The film probably would have benefitted from more attention on the family foundation prior to Gabriel being shipped out. Jai Courtney stars as Gabriel’s close and lifelong friend, though when Gabriel asks his friend to “watch out for my family”, we know where things are headed. It’s here where the film just stretches too far. The effects of war provided plenty to make the point director Montiel is going for, and the cheap/clumsy gimmick only distracts.

LaBeouf is in fine form and in quite a different role than his quick-with-a-quip charmer in this year’s American Honey. This latest film probably has more in common with A Beautiful Mind than with Born on the Fourth of July, or any other film dealing with post-war challenges. The statistics posted prior to the closing credits make it obvious that Montiel meant this as a message movie – making the melodrama and extreme visuals all the more misplaced. Montiel made some festival noise with his 2006 debut A Guide to Recognizing Your Saints, and it seems he is destined to make a really good movie at some point.

watch the trailer:

 

 

 

Leave a Comment » | Drama, Thriller, War | Tagged: , , , , , | Permalink
Posted by David Ferguson

EVOLUTION (2016)

December 3, 2016

evolution Greetings again from the darkness. If your preference in movies leans towards atmospheric and creepy, rather than on intricate story lines and sub-plots, this latest from writer/director Lucile Hadzihalilovic is likely to scratch your cinematic itch. We never really know what’s going on or where the story is headed, or even if there is a story … but we are entranced nonetheless.

Nicolas (Max Brebant) is an observant and curious 10 year old who lives in an isolated Oceanside community (probably an island) populated only by women and young boys. While most of the boys spend their days doing typical boy things, Nicolas whiles away the hours drawing in his sketch book. His most recent sketch is of the horrific sight he witnessed during a leisurely swim … a dead body with a red starfish nibbling away. The use of the color red plays a recurring role throughout, but as to its meaning, I haven’t a clue.

What follows are some bizarre medical procedures and beachside rituals that leave us grimacing and confused. The purpose of these actions is related to reproduction, and the medical experiments on the boys will certainly cause some uneasiness in the audience. Julie-Marie Permentier plays Nicolas’ “mother” – in quotes due to the uncertainty around the conception process, and Roxane Duran plays Stella, the nurse who takes a liking to Nicolas and his drawings.

Billed as a horror film and thriller, my best description is some type of blending of The Island of Dr Moreau, The Stepford Wives and Upstream Color. Ms. Hadzihalilovic is the partner and frequent collaborator of offbeat indie director Gaspar Noe, and the influence is clear. This is a strange and enigmatic film that is exquisitely filmed (cinematographer: Manu Dacosse) and offers very little dialogue to accompany its quiet creepiness. The key seems to be not spending any time trying to figure out what it’s all about. Whether you find it hypnotic or senseless is a personal decision.

 

Leave a Comment » | Drama, Fantasy, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

MOONLIGHT (2016)

November 27, 2016

moonlight Greetings again from the darkness. It’s uncertain whether writer/director Barry Jenkins has developed the story from Tarell McCraney in order to highlight stereotypes, explain stereotypes, or both. The interpretation is up to the viewer, but what’s clear is that the film is one of the most sensitive portraits we’ve seen of growing up young, black, and sexually confused, while being mostly neglected by a drug-addicted mother.

Told in standard triptych structure, the film chronicles 3 stages in the life of a young male, with the chapters titled Little – Chiron – Black, for the names he is known by at each stage. As a 9 year old boy, “Little” (a nickname due to his small stature) is a wide-eyed near-mute who gets bullied and called names by the bigger boys. It’s at this stage where he is taken under the wing of local drug dealer Juan (Mahershala Ali), who offers a “safe place” to sleep and eat, with the bonus of swimming lessons accentuated by life lessons from Juan and his understanding girlfriend Teresa (Janelle Monae). It’s a poignant and painful moment when Little connects the dots between his mother (Naomie Harris) and Juan.

As a high school adolescent, Chiron is now a nervous, totally-withdrawn kid who simply doesn’t fit in – and doesn’t understand why. His high-crime Miami neighborhood is even more dangerous for him now as the schoolyard bullying is often accompanied by violent behavior. His surrogate father figure Juan is no longer in the picture, but Teresa is still there for him – always at the ready with a meal, clean sheets, and a spoonful of wisdom.

In the final chapter, we catch up with a hardened “Black” (another nickname) 10 years after high school followed by a stint in prison. He has moved from his Miami roots, and it’s at this stage where we fully understand the influence of a role model on a boy who has few. When he reconnects with childhood buddy Kevin, we see the shredded remnants of young “Little” still present in the older, experienced “Black”. This circle of life is understandable, while at the same time being nearly unbearable.

In addition to Mr. Ali and Ms. Monea (both who are excellent in the upcoming Hidden Figures), and the standout work of Ms. Harris, the six actors who play Chiron and Kevin through the years are fascinating to watch. Alex Hibbert perfectly captures the confused “Little”. Ashton Sanders plays the awkward, dreading-each-day Chiron; and Trevante Rhodes (former University of Texas athlete) plays the adult “Black” with a quiet uneasiness that resonates on screen. The 3 Kevin actors are Jaden Piner, Jharell Jerome, and Andre Holland (a standout as the adult Kevin).

Beautifully filmed in all three segments by cinematographer James Laxton, the film reiterates the importance of role models, especially in the life of those whose path seems pre-ordained by circumstance. The harsh realities of drug addiction, absentee parents, schoolyard bullying, and the almost inevitable stint behind bars are contrasted with a plate of fries, the chef’s special from an old friend, and the soothing effects of sand and sea. Encouraging our kids to be true to themselves is a lesson that can fall on deaf ears when surviving the moment is first and foremost. This incredibly sensitive film is likely either a necessary reminder or an eye-opening education … depending on your own situation.

watch the trailer:

 

 

2 Comments | Drama | Tagged: , , , , , , , , , , , | Permalink
Posted by David Ferguson

« Previous Entries
Next Entries »