Moonlight is a coming-of-age film that erases all the cliches of its initial setup, its premise paving the way for an emotionally resonant story told across three time periods. That premise also places us at arm’s length from some of the characters, but any faults in the narrative or in the supporting character development are mostly overshadowed by the intense focus on Chiron’s story. Barry Jenkins has a singular vision here that comes to fruition through Chiron, and the three actors hired to play the part–Trevante Rhodes, Ashton Sanders, and Alex Hibbert–all do an excellent job of conveying where the character is at in his life. The rest of the cast members–Naomie Harris and Andre Holland deserve shoutouts–are brilliant as well, and if nothing else, this film is at least a masterful performance piece worthy of appreciation.
The Accountant Review
10 OctThe Accountant seems like the type of movie that never got out of the script-pitching phase. There are a multitude of different threads that pop up throughout, but since none of them get enough breathing time, the end product is a jumbled mess with a severe lack of focus. Many films can certainly handle multiple narrative threads, but this is one case where you end up trying to make sense of what it is you’re supposed to care about. Is it an action film? Sort of. Is it a romance? Sort of. Is it a movie about Asperger’s? Sort of. Is it an utter waste of a talented cast? Absolutely.
American Honey Review
2 OctThe quintessential image of this film is the one splashed across the posters: Sasha Lane’s Star standing up during a drive, the wind blowing in her hair as she raises an arm and stares off at the surrounding blue sky. Shot from below, she towers above the world, momentarily escaping from a world of pain and hardship as she embraces the transient freedom she’s trying to hold onto. It’s a beautifully cathartic shot that expresses the heart and soul of the film, pulsating music accompanying it as we ride along with a woman figuring out how to navigate the trials and tribulations of life.
The Birth of a Nation Review
30 SepI have no problem believing that Nate Parker poured his heart and soul into this project. I have no problem believing that he wanted to make an important film with a visceral emotional impact. What I do have a little trouble believing, though, is that he was allowed to make such a high profile film using such amateurish filmmaking techniques. The narrative is flimsy, the editing is something out of a “How Not to Edit” handbook, and the extremely obvious symbolism is constantly screaming to get your attention. I know it’s not the reaction you want from the audience, Nate, but your film is exactly what makes eye-rolling ability useful.
Sully Review
11 SepClint Eastwood has done the impossible. The world gave him ten minutes of story, and he said “By God, I will make a whole movie with this, even if I have to show the same scene over and over again.” And that he did. Aided by the memory of 9/11 and by somehow-is-a-professional-writer Todd Komarnicki, Eastwood has crafted an ode to both American heroes and films that have no conceivable reason to exist. Thankfully devoid of unnecessary filmmaking tropes like tension, emotion, good dialogue, an interesting script, nice cinematography, competent editing, and characters we care about, Sully stays afloat through the use of its beautiful flashbacks. For instance, we find out that Sully once flew a plane as a kid, an integral piece of knowledge that makes this one of the most fulfilling movies of the year.
The Light Between Oceans Review
9 SepThe Light Between Oceans is a film that reaches for far more emotion than it’s capable of grasping. Melodrama isn’t inherently a bad thing, but too often does this story feel manufactured, especially in a second half bogged down by sweeping life changes and plot developments. As a result, Rachel Weisz’s character arc feels truncated by the shaky narrative, and the film loses quite a bit of the serene beauty that can be occasionally found in the first half (which I actually enjoy more, even though it meanders a lot). I suppose that’s the point in the second half–this wonderful life crumbles down around these two (very pretty) people–but it just doesn’t feel genuine. The masterful Blue Valentine utilized similar techniques to better results, and this has none of the rawness or character complexity of that film.










