Arrival - Movie Review by Monte Yazzie

Arrival

Director: Denis Villeneuve

Starring: Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, and Mark O’Brien

“E.T.”, “Independence Day”, “The War of the Worlds”, “The Day the Earth Stood Still”, “First Encounter of the Third Kind”; these are all films that have portrayed contact with alien beings from outer space in different ways. Some of these films display a curious, confused, friendly intergalactic organism while some portray a hostile, angry, vindictive space creature. No matter how one may examine these extraterrestrials it’s undeniable that the event of such an arrival on Earth would display some interesting characteristics from our divided, emotional population.

Talented director Denis Villeneuve, who directed the impressive “Sicario” last year, returns with another remarkable film called “Arrival”. The filmmaker utilizes the premise of a science fiction film, specifically the invasion angles associated with the genre, to craft a thoughtful and tender film about communication, love, and the human condition.  It’s an incredibly well thought out film that displays the power of genre film and how, in talented hands, a story about extraterrestrials unexpectedly arriving on Earth can also be an incredibly artistic endeavor.

Dr. Louise Banks (Amy Adams), a linguistics expert, is teaching at a college when the world is disrupted by the arrival of alien spacecrafts that position themselves all across the globe. Dr. Banks is called to assist the government in establishing communication with the alien visitors; assisting her is a theoretical physicist named Ian (Jeremy Renner) and an army Colonel (Forest Whitaker). Once on board the ship the team must decipher a language in order to figure out the purpose of the extraterrestrials while the world around them grows progressively more hostile towards the unexpected visitors.

This broad synopsis is all you need to know about the story going in. It may be the best way to approach this film experience. “Arrival” does a great job of creating a detailed and complex, yet completely accessible, narrative. However, its biggest triumph is the genuine and heartfelt emotional experience that is organized along the way. Communication and language play vital roles in the composition of the film, specifically how humans communicate with each another and how they communicate the emotions that motivate their every decision. There is a strong aspect concerning language and how it is used to provide structure in the way we examine history and comprehend the future. The characters composed in the film beautifully explore these aspects, specifically the sensitive construction of Dr. Banks played by Amy Adams.

Ms. Adams conveys a character restrained by emotion yet motivated towards the process of connection. How can you have a genuine connection without emotion? It’s a compelling contrast that is expertly crafted by the actor. Jeremy Renner’s character also brings an important component to the film; the actor’s character is looking for an explanation grounded by some sense of logic, it’s a great character to utilize in the science fiction genre.

Influencing all these narrative and character aspects is the astute direction of Denis Villeneuve. The director continues to grow with every film that he orchestrates, here again displaying the themes of the film through every aspect of the filmmaking process. Mr. Villeneuve connects with director of photography Bradford Young in composing a world filled with images that build an atmosphere of disconnection that is reproduced in the characters. This is utilized in a variety of ways, either with tight close-ups that blur the world around the character or with singular shots that correlate to the loneliness experienced by the barriers imposed with humanity and with the aliens trying to communicate.

“Arrival” is an impressive experience; a film that is more about the human connection and less about the aliens and the ominous spacecrafts. It’s a film that subverts the science fiction genre in ingenious fashion, avoiding formulaic conventions while utilizing genre characteristics in intelligent ways. It’s a film that boldly goes beyond the contemporary expectations that usually defines the genre.

Monte’s Rating

4.50 out of 5.00

The Eagle Huntress - Movie Review by Jeff Mitchell

From the other side of the world, ‘The Eagle Huntress’ soars with inspiration 

Directed by:  Otto Bell

Starring:  Aisholpan Nurgaiv and Daisy Ridley

“The Eagle Huntress” – In the 2016 U.S. Presidential Election, Hillary Clinton attempted to – but could not break – this country’s ultimate glass ceiling.   On the other side of the world in Mongolia, however, a 13-year-old girl named Aisholpan attempts to shatter a sky-high – and more intimidating - glass ceiling nestled in the Altai Mountains, in trying to become a full-fledged eagle huntress.  This fascinating documentary – directed by Otto Bell – transports the audience to an unknown land, presents a little-understood culture and offers a close and personal story about this amazing teenager. 

Now, the life of a Mongolian nomad is a laborious, proud one and built on traditions.  For Aisholpan’s family, they live in a large marquee during the summer months and move to permanent housing during the winters.  Her mom raises the children and tends to the camp, and her father hunts with his eagle.  In this culture, for hundreds (or perhaps, thousands) of years, each male hunter finds an eagle, and he and his bird become partners to look for game.  Just like life in this environment, working in tandem with a winged hunting partner is not an easy proposition. 

Aisholpan, an excellent student, does not settle for easy challenges and wants to be a doctor when she grows up.  For now, she embarks on a most difficult journey: to partner with her very own eagle and emotionally grow into an eagle huntress.   

Bell’s picture does a terrific job of framing Aisholpan’s day-to-day life within the community, but he also presents breathtaking shots of the Altais with dangerously steep, rocky ledges and vast grasslands below.  This portion of Mongolia seems inviting at times, but mostly, Bell presents a harsh ecosystem in which its inhabitants need heavy coats to block dry, callous winds that could easily crackle one’s skin.  (Just picture a Mad Max movie during a frosty winter.) 

While the surroundings may be abrasive, Aisholpan’s family is certainly not.  As a tomboy apprentice, she follows her dad on his hunting trips and related duties, and her father warmly supports her interest.   This is highly unique, because the community’s elders massively frown upon women even considering hunting.  

Their beliefs are wrapped in familiar misogyny seen in countless forms across societies and locations all over the world, but here, they are completely engrained in long, long traditions.  The film displays these cultural barriers - blocking Aisholpan - when various elders deliver stern statements that explain away women’s roles in hunting.  

For Aisholpan, her focus is simply with her dad and learning her craft with a bright smile and upbeat persona.  When she does, indeed, find her own eagle, her internal light shines even brighter.  With her dad’s tutelage and her natural affinity to partner with her beautiful, soaring bird, she can climb to brand new figurative heights. 

The film climbs cinematic heights too, as it works as an informative lesson about this faraway community and its way of life.  By introducing Aisholpan, she injects a fresh approach for the audience, but also for local families.  Since eagle hunter traditions move from father to son, Aisholpan clearly breaks the mold.  With her warmth, talent and love of her winged partner, they are welcome ingredients for success and inspiration to girls and everyone else. 

Daisy Ridley - an inspiration to girls all over the world in “Star Wars: The Force Awakens” (2015) - narrates the documentary, however, her voice seems to appear for only a few minutes during the 87-minute runtime.   No, do not run to “The Eagle Huntress” to hear Ms. Ridley speak for five or so minutes.  Go to this documentary to see a most gifted teen with a big heart. 

(3/4 stars) 

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Loving - Movie Review by Jeff Mitchell

The historical drama ‘Loving’ lives up to its name

Written and directed by:  Jeff Nichols

Starring:  Joel Edgerton, Ruth Negga

"Loving” – “Your blood doesn’t know what it wants to be.”

In 1958, Sheriff Brooks (Marton Csokas) utters these words to Virginia bricklayer Richard Loving (Joel Edgerton), because he, a white man, married Mildred (Ruth Negga), a black woman.  In that place and at that time, interracial marriages were illegal.  In 2016, Virginia’s old state law does not even seem possible, but the sheriff arrested Richard and Mildred for exactly that reason. 

Jeff Nichols – known for slow burning thrillers like “Take Shelter” (2011) and “Midnight Special” (2016) – writes and directs his first movie based upon a true story.  Even though “Loving” is a historical drama, Nichols’ signature touch gives the film an edge, bathed in quiet intensity.

Now, the movie opens with a moment that is the opposite of intense and is best described by the film’s title.  Shortly after dusk, Richard and Mildred sit on a porch and exchange tender verbal and nonverbal cues, and the scene clearly conveys that they enjoy a devoted, caring relationship.  A few scenes later, he takes her to a lush field and proclaims that he will build a house for them, and the camera slowly moves towards her face that captures pure joy.   Despite knowing Virginia’s marriage laws, they decide to travel out of state and get hitched, but the harsh legal rules quickly follow them when they return. 

Although Nichols could present several angles of Richard and Mildred’s story, he smartly focuses on their innermost perseverance and the personal toll that the law took on their family for years.  In the beginning, Richard appears to have all the answers (for their relationship) until their legal troubles start.  Edgerton’s shifts Richard’s outlook from self-assurance to fear and doubt, as the consequences of their decision are too large for him to absorb.  At that point Negga’s Mildred develops a tranquil strength and looks for legal means to right the wrong-headed law.  The film absolutely depicts their desire for a happy, legal existence within their home state, but they express it very differently.   While Richard feels overwhelmed and regularly looks over his shoulder for the law’s long arm to grab him by the neck, Mildred steps out of her comfort zone to pursue outside legal help.

Nichols settles into his comfort zone as well by delivering key scenes which feature Richard’s anxiety.  For instance, while heading across the border into Virginia at night, Richard and Mildred’s drive on a winding country road spins like a spy film.  Every car with bright lights could be law enforcement ready to ship them to prison, and much of the film keeps this overall uneasiness. 

Conversely, Richard and Mildred push forward with an unbreakable bond and show their love with an ever-present and steady presence at home.  She is the family’s caretaker, and he carries his lunch pail and yardstick-long level to and from construction sites.  We see this play out repeatedly, as they are simply a family grinding through the trials of raising kids and putting food on the table.  Even though they do not display much physical affection, their relationship is never in doubt. 

Both Edgerton and Negga’s performances capture a rustic, authentic relationship under environmental duress but thankfully, none really exists between them.  Edgerton’s work as Richard is pretty transformational, and Negga carries Mildred’s tranquil strength.  Mildred certainly is the film’s soul, as she attempts to bridge her marriage with the legal means to legitimize it.  

They also fight racism, but it mostly appears in the form of an occasional look that turns into a stare or a casual choice of wording.  On the other hand, during the original arrest, Nichols introduces an overt racist moment when the sheriff and his deputies enter the Lovings’ front and bedroom doors.   

Virginia owned warped reasons for their law, and the sheriff’s comment that Richard’s “blood doesn’t know what it wants to be” will haunt you.  After the movie ended, I clearly wished that 1958 was 200 years ago.  Sadly, it is not, but “Loving” presents a recent history lesson about a devoted couple which will resonate well into the future.

(3.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

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Moonlight - Movie Review by Kaely Monahan

‘Moonlight’ poetically gives voice to gay black experience

By Kaely Monahan

“Moonlight” is a quiet film, just like its protagonist. It invites you into the most intimate of settings: the mind of a young, black gay boy. It follows his story through adulthood. Yet for all its watercolor delicacy, "Moonlight" is a movie about strength and what defines it.

In simple terms, the film is about this poor, black gay boy growing in a ghetto neighborhood in Florida. There are drugs, bullying and even glimmers of gangs, but the film is not categorized by any of those things. Rather, it is simply the stage wherein bigger life questions are asked.

“Moonlight” could have very easily gone completely wrong. It could have fallen into cliché and stereotyping on so many levels, from race to underprivileged America to the minority gay experience. But writer and director Barry Jenkins avoids all the pitfalls by choosing instead a hero whose strength lies in introspective quiet. The lead, Chiron may be a man of few words, but he is far from silent. Instead, his life is seen through the hardships around him and his reserve, at times, seems more defiant than meek.

Set up in three acts, Chiron, is played first by young Alex Hibbert. Through his eyes, we meet a young boy who doesn’t fit in and desperately wants to. Bullied by his peers, slowly disregarded by his mother, he finds solace and stability in another wealthier black family. Which, as it turns out, is affluent because the head of the house is a drug seller. Teenage Chiron is played by a gangly Ashton Sanders who beautifully embodies the awkward stage of teenagehood. From learning how to stand up for himself to discovering his sexual awakening, Sanders lends a vulnerability to Chiron that is wholly believable.

Finally, adult Chiron is played by a brooding and intensely introvert Trevante Rhodes. This Chiron is not what we would have expected from such a reserved boy. Having spent some years in prison and now a drug dealer himself, the man seems at odds with his true self--yet he challenges anyone to say he should be otherwise.  

Chiron is powerfully quiet and everything is internalized. It is not a simple part to play as the character’s thoughts are completely evoked through action and cinematography. Young Hibbert makes you want to reach out and hold him. Wide-eyed, scared but also rebellious, young Chiron is reminiscent of any young boy. And that is part of the film's success. At each stage of Chiron's life, he feels real. You forget you're watching a movie and get lost in the story.

"Moonlight" addresses the usual tenants of a growing of age film but also challenges them. What does it mean to be a black kid growing up in the ghetto? What is homophobia? What does it mean to be a strong man? What is friendship and can it survive betrayal? Director-writer Jenkins also flips around the stereotypes, playing with ideas of what the gay experience is; who drug dealers are; and how to find yourself.

Moonlight - Movie Review by Monte Yazzie

Moonlight

Director: Barry Jenkins

Starring: Alex R. Hibbert, Jaden Piner, Mahershala Ali, Naomie Harris, Janelle Monáe, Ashton Sanders, Jharrel Jerome, Trevante Rhodes, and André Holland

Films like “Boyz N The Hood”, “Menace II Society”, “Dope”, “Straight Outta Compton”, portray a world for young men that is fraught with violence, poverty, and drugs. These films depict young black men struggling to escape, working to make ends meet by any means necessary, and many times falling into the trappings of their environment. Scroll through your social media feed or turn the television to any news agency and it’s easy to see that the reality of the fictionalized world isn’t too far off from the lived in world.

This makes Barry Jenkins film “Moonlight”, an adaptation of a play entitled “In Moonlight Black Boys Look Blue” by Tarell Alvin McCraney, an exceptional achievement in filmmaking. “Moonlight” displays how violence or the threat of violence can dehumanize and destroy young people, is shows the depth of poverty for entire communities, and it also illustrates the heartbreaking affect of drug abuse. But that is a small piece of a much bigger and breathtakingly beautiful story. “Moonlight” is a film composed of moments, small pieces in the developing life of an adolescent child, who then becomes a maturing teenager, and finally grows into an adult man. Each piece portrays the same person but is played by different actors that fit the specific age.

We are introduced to a young, quiet boy named Chiron (Alex R. Hibbert) running away from some kids who are trying to beat him up. Chiron, nicknamed Little, finds safety in an abandoned apartment. Juan (Mahershala Ali) is a local drug dealer who helps Chiron and offers him dinner and a place to sleep. Chiron lives in a housing project with his mother Paula (Naomie Harris), a drug addict who ignores and takes advantage of him. The story doesn’t stay here; Chiron is also portrayed as a self-conscious and confused teenager, tormented by a bully at his high school and befriended by a friend from his childhood. Chiron is then shown as an adult, a changed man with a confidence that is ultimately a protective mask so that he doesn’t have to experience the pain that has come to define his life.

From the first frames “Moonlight” establishes a very calm, quiet quality. Even when the film becomes aggressive or ominous, a unique atmosphere is constructed that changes the way you analyze the emotions and attitudes of the characters. It almost feels like standing in the eye of the storm, watching destructive things happen all around you.  Director Barry Jenkins begins to ask very tough questions from the beginning. Chiron answers many of these questions without words but rather with his actions. You can feel the discomfort, the awkwardness, the struggle, the pain, and the vulnerability in everything that he does. Mr. Jenkins shows significant restraint, never attempting to manipulate these themes but instead introducing them and letting the characters progress authentically and specifically. It would be easy to turn this film into a blatant perspective on race or a deliberate analysis on male gender roles, however Mr. Jenkins is both purposeful and ambiguous with his character choices. The director deconstructs aspects of race and gender, at times providing enough stereotype or easy categorization to then destroy whatever you perceived or assumed about the characters.

The filmmaking technique utilized throughout compliments the narrative perfectly. The photography is exceptionally restrained and simplistic, composing that independent film look viewers are very keen to identify and manipulating it to create stunning moments of everyday life, both the delicate and painful moments. For instance the comfort of sitting at the dinner table in an early scene, the uncertainty of the beach at night in the second act, and the freedom of a road trip at the end of the film, it’s all utilized to bring more identification to Chiron’s changed character. The music also composes another powerful element as well, whether the use of Aretha Franklin’s “One Step Ahead” to bring definition in certain scenes, the classical pieces during transformative character transitions, or the use of the hip-hop song “Cell Therapy” by the group Goodie Mob in punctuate Chiron specifically within the framing of the story, it all serves a very important reason to the structure of the narrative and the development of the characters. It's some of the best use of music in film this year.

“Moonlight” is a beautiful and at times complex film with exceptional performances all around. It’s a coming-of-age film, a film about sexual identification, a film exploring masculinity, a film that doesn’t succumb to easy stereotypes or simple exploitation. What “Moonlight” does best is show the power that a film can possess, and how that power has the ability to transcend, destroy barriers of preconception.

Monte’s Rating

5.00 out of 5.00

Doctor Strange - Movie Review by Jeff Mitchell

A strong foundation supports the bizarre trip of ‘Doctor Strange’

Directed by Scott Derrickson

Starring:  Benedict Cumberbatch, Tilda Swinton, Mads Mikkelsen, Chiwetel Ejiofor, Benedict Wong, and Rachel McAdams

“Doctor Strange” – “I don’t understand what is happening.”

While on her hospital shift, Dr. Christine Palmer (Rachel McAdams) exclaims these words during an obvious point of confusion.  She cannot explain the magic that her former colleague and love interest, Dr. Stephen Strange (Benedict Cumberbatch), conjures up in front of her.  

Magic?

For instance, while Strange lies wounded on an operating table, his astro form leaves his body and floats above it.  In other scene, he opens a storage room door and shows Christine a circular portal – created by a sling ring that harnesses the energy from the multiverse.   In another moment, she blankly stares at a floating red cape – called the Cloak of Levitation – that seems to possess a mind of its own. 

An astro form, a sling ring and a Cloak of Levitation? 

For those of us not familiar with the comic book sorcerer named in this film’s title, this latest Marvel movie certainly can be confusing.  On the other hand, director Scott Derrickson thankfully spoon-feeds the head scratching cosmic map of Strange’s journey to the audience.   Derrickson keeps a general audience conversant with the basics, so we can stand on some solid ground before he takes the story into wild - and sometimes disturbing - vicinities of science fiction.  For example, he plays with similar matter-altering concepts in “Inception” (2010), stands them on their head and then folds them into paper airplanes. 

The special effects are spectacular.  In addition, “Doctor Strange” also comfortably drives within the guardrails of Marvel’s successful recipe by showcasing consummate actors playing well-written characters as a necessary cinematic foundation.  Since this particular film bathes in the supernatural, it becomes vitally important that the audience feels grounded and buys into the lead characters.

Before the movie catapults us into a series of universes (yes, universes), it introduces us to Strange and his life on this one.  Cumberbatch is perfectly cast, and he plays the off-the-charts, brilliant neurosurgeon with a James Bond-like confidence.  Although Strange’s wit is sometimes reminiscent of 007, it is more ruthless, more sarcastic and more wrapped in narcissism.  In a few choice early scenes, Derrickson effectively captures and establishes Strange’s egotism.

One day, however, Strange’s nerves of steel in the operating room become literally severed, and in a fevered race to find a cure for his traumatic ills, he figuratively pushes everyone away.  Strange’s arrogance gifts birth to a new sibling called spite, and these emotional brothers are toxic.  To become physically whole again, he finds his way to Nepal for help and steps into a locale that looks like Ra’s Al Ghul’s lair with a noticeably lighter atmosphere.  There, he meets three spiritual teachers:  The Ancient One (Tilda Swinton), Mordo (Chiwetel Ejiofor) and Wong (Benedict Wong), and they offer lessons of magic and martial arts.

Although Strange’s race to solve his terrible physical problems is a most serious one, not unlike other Marvel pictures, the film takes intentionally funny turns.  Strange pokes (and pokes fun) at the rules that The Ancient One created, and most of the boundaries are pushed at Wong’s expense to very humorous effects, including one borrowed classic moment from “Guardians of the Galaxy” (2014).  While Strange completes important assignments like creating orange, sparkly lassos of energy, opening portals with his sling ring and entering a mirror dimension, his wit moves from narcissistic to playful.  Hence, as Strange becomes more entertaining, his superhero turn is even more welcomed.   

Derrickson – previously known for horror films like “The Exorcism of Emily Rose” (2005) and “Sinister” (2012) – takes a welcome chance at this bizarre-looking superhero film.  True to horror movie form, Mads Mikkelsen (“Casino Royale” (2006)) plays a scary villain, Kaecilius, who carries blackened circles under his eyes so dark, you’d swear that he hasn’t slept a wink in the 21st century.    

Like most origin superhero films, Strange has to overcome obstacles within himself before he can duel with a skillful antagonist.  While “Doctor Strange” offers a visually dazzling and unusual voyage into flexible physics and beliefs, at the movie’s core, Cumberbatch and the cast deliver a gratifying story about a most unique doctor.   From that perspective, we do know what is happening. 

(3.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Doctor Strange - Movie Review by Monte Yazzie

Doctor Strange

Director: Scott Derrickson

Starring: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Tilda Swinton, and Mads Mikkelsen

What makes a good superhero? The kind of powers they possess? The kind of origin story they have? Perhaps how cool they look in their costume? Yes, all of these assist in making a good superhero, however a great personality can go a long way with these characters. Look no further than Tony “Iron Man” Stark, the charming genius with enough personality for ten different heroes. Adding Robert Downey Jr. as the actor tasked with bringing this personality to life could be one of the best casting choices of the decade.

The Marvel Cinematic Universe is charging along, moving into the third phase of character and story implementation. The first phase began in 2008 with the first “Iron Man” film. We’ve seen standalone films, team films, human heroes, alien and mutant superheroes, and other dimensional superheroes. Now, with “Doctor Strange”, we have a mystic magical art superhero. More importantly we have another unique personality and the great casting choice of Benedict Cumberbatch.

Dr. Stephen Strange (Benedict Cumberbatch) is a brilliant, arrogant neurosurgeon with a perfect surgical record. For Dr. Strange it's less about saving lives and more about beating the odds. Dr. Strange walks and talks like a man invincible, until a car accident almost takes his life and renders the nerves in his hands disabled. Looking for any kind of hope for recovery, Dr. Strange travels across the globe to Nepal to find a Celtic guru known as The Ancient One (Tilda Swinton) in hopes of being healed. Dr. Strange is introduced to the mystic arts and learns that logic no longer applies to the world that he knows.

The traditional journey of the hero that has categorized heroic tales in film is on full display here. The foolhardy, egotistical Dr. Strange falls and needs to build himself into something different, nothing particularly new with this story structure here. While this film brings emphasis to a different kind of Marvel universe, one with sorcerers and conjured spells, it also wisely allows enough room for the characters to develop. Obviously there are plans to keep this character around for a while. As with any origin story it's important to understand the protagonist, to have some kind of definition of the character so that as the character grows you can empathize with their journey. It's unfortunate that the same kind of time wasn't given to the overall story here. It doesn't help that "Doctor Strange" comes on the heels of some very strong Marvel properties, "Captain America: Civil War" and the Netflix series "Luke Cage". Still, even though it's been done hundreds of times in film, a good journey and character is the foundation for a quality film and franchise.

Director Scott Derrickson infuses so much visual flair into the film that you sometimes forget about the boring narrative design. This is one of the few films that I would advise watching in IMAX 3-D. The world, when the battles between good and evil start, are manipulated in extravagant ways; cities fold onto one another and roads venture in sharp angles in every direction. It’s confusing at times but the emphasis never moves from the characters in action, which adds a grounded element to everything that is going on.

It also helps that the film cast fan favorite Benedict Cumberbatch in the lead role. Mr. Cumberbatch is perfect for the role with his smug demeanor and dry sense of humor. Rachel McAdams is also good as a working associate to Dr. Strange. Add to this the committed performances from Mads Mikkelsen, somewhat underutilized villain named Kaecillius, and Tilda Swinton, a entire movie could be made of her character, and the silly aspects in the narrative are easier to accept when such accomplished actors discuss time travel and multiple dimensions with such conviction.

The build up to the final showdown will display the issues with the story, it's just not that exciting or intriguing like other comic book films. Villains are usually given the indulgences and bravado not afforded to a hero, which makes them an interesting counterpart to the hero and builds a dynamic quality that makes the final battle exciting. This is where "Doctor Strange" is different from the pack because the heroic character here is consistently interesting. Look at the first "Iron Man" film, you had the fantastic talents of Jeff Bridges playing the big bad guy but that's not what you remember about the film, it's always about Tony Stark. "Doctor Strange" operates in the same way because the hero is provided with enough complexity and charisma to fill all the scenes, Dr. Strange is his own worst enemy. It's a battle that composes every scene, it makes Mads Mikkelsen's villain unnecessary. This is the overall success of "Doctor Strange", proving that personality goes a long way.

Monte's Review

3.50 out of 5.00

Oasis Supersonic - Movie Review by Kaely Monahan

‘Oasis: Supernova’ fizzles out before its time

By Kaely Monahan

Like a story cut from the imagination of a screenwriter Oasis: Supersonic delves into the unreal back story of the biggest band of the ‘90s. Artfully directed by Mat Whitecross, the documentary dives into the whirlwind chaos that is Oasis with the same fizziness as champagne.

While visually engaging at first, Whitecross starts to overplay his hand when the film takes on the look of something like a long credits montage. Old film footage, voice recordings, and kitschy animations flesh out the documentary.

Oasis is certainly one of the most memorable bands prior to the digital age of music—and a tantalizing focal point for a documentary. Their dramatic rise to stardom is like watching a rocket launch into space then exploded. Hailed by some as the bad boy version of the Beatles, Oasis came bursting out of Manchester with a vengeance to reach for the stars and beyond.

The band members mostly voice the film with Liam and Noel Gallagher taking the lead. Paul “Bonehead” Arthurs, Tony McCarroll and Paul McGuigan also lend their perspective. The main drama swirls around the two brothers, Noel and Liam whose personalities are in some ways larger than life.

Noel describes himself as a cat while he says Liam is a dog. A lion is probably a better moniker for the narcissistic guitarist-songwriter. He was driven to lead and if anyone disagreed with him then there was trouble—and Liam knew exactly how to get under his brother’s skin.

The film opens with the 1996 concert at Knebworth before jumping back into time to the band’s origins. The story then skims over childhood, alluding to an upbringing by a single mother who does get a few opportunities to share her thoughts. The Gallagher’s father is absent both in voice and in the story. He’s hardly mentioned until the end of the documentary.

We see meteoric rise of the band and get a glimpse of some of the genius behind the songwriting. But everything remains surface level and it stays that way throughout the entire film. Whitecross seems unwilling to dive into the drama that is clearly there. Instead, he rolls around the rim of the Gallagher brother’s lives, relying instead on glitzy images, snide laughter and shrugs. The film is like sipping cheap champagne when it should be Dom Pérignon.

The film does bear a resemblance to Amy, which makes sense as the producers of that documentary produced this one. However, unlike Amy, Oasis: Supersonic feels a bit more out of control and less revealing. This could be deliberate as the band itself seemed to be roiling lake of lava prone to explosions. Perhaps working with the band members today is still a rollercoaster experience.

Oddly the film never touches on what exactly happened to the band after that 1996 concert. We’re left empty handed though the film is just over two hours long. Like some drug-art experiment Oasis: Supernova tries to reach for a deeper meaning behind one of the top bands of the last millennia. But it fails to truly dredge up the drama of this rocket-bottle band.   

   • Kaely Monahan is a journalist, graduate of City University London and the creator of Popcorn Fan Film Reviews. Follow her @PopcornFans and @KaelyMonahan.

Inferno - Movie Review by Jeff Mitchell

‘Inferno’ burns up our patience

Directed by:  Ron Howard

Written by:  David Koepp, based upon the novel by Dan Brown

Starring:  Tom Hanks, Felicity Jones, Omar Sy, Irrfan Khan, Ben Foster, and Sidse Babett Knudsen

“Inferno” – Around 2005, many of my close friends and casual acquaintances read Dan Brown’s fascinating novel “The Da Vinci Code”, a fictionalized, modern-day thriller which examines clues within famous artworks.  These specific clues lead professor Robert Langdon on a chase to uncover the greatest kept secret of the last two thousand years.   I personally loved the book and remember quickly turning its pages well past midnight for several weekdays and paying a price during the subsequent mornings, when my alarm regularly struck at 6:00 a.m. 

It was worth it. 

In the following year, it was worth experiencing director Ron Howard’s film adaptation of Brown’s famous story – with Tom Hanks playing Langdon - but admittedly, the movie did not capture the magic of the book.  Howard and screenwriter Akiva Goldsman did a Herculean job of including all (or nearly all) of the important steps and details of Langdon’s journey, but these efforts came at a price.  In order to include the novel’s key plot points, the film crowbars several massive concepts and heaps of intricate clues within a two-hour 29-minute runtime.  The constant, “big idea” reveals move at such a hectic pace, a moviegoer truly does not get a chance to stop, breathe and reflect upon the stated ideas and ingenious links to the art world. 

Conversely, a reader can put down the book, take a moment and say, “Wow!”  

The film does not allow for those pauses. In the end, it was pleasing to see Brown’s vision play on the big screen, even though it felt inferior to the reading experience.  

Quite frankly, I do not remember much from the second film adaption of Brown’s work, 2009’s “Angels & Demons”, but I do know that Hanks was back, and I vaguely recall that Ewan McGregor made an appearance too.  Now, in 2016, Langdon is onscreen for a new adventure in “Inferno”.

Hanks reprises his role as Langdon and wakes up in a Florence, Italy hospital with terrible bouts of amnesia and blurry vision, but thankfully, a young doctor named Sienna (Felicity Jones) tends to his injuries, and also his escape.  This is because an assassin runs into the hospital and attempts to kill Langdon. 

Not only is an assassin – who works for some nefarious organization – looking for Langdon, but the World Health Organization is holding a huge interest in him too.   You see, he is carrying an image of Sandro Botticelli’s Map of Hell, and it could be the key to stopping a mass murder of epic proportions. 

In other words, finding Langdon is a big deal.

Similarly to “The Da Vinci Code”, “Inferno” takes Langdon on a wild race across Europe (and in this case, a small portion of Asia), in which he and Sienna solve various clues in an elaborate puzzle intertwined with religion, art and present day chemistry.  The problem with “The Da Vinci Code” exists here as well.  Cinematically, the extensive brainteasers whip up various facts about the identified artworks, and at every step, Langdon and Sienna solve the impossible riddles so quickly, that the filmmakers only give the audience a minute or two (or sometimes a few seconds) to absorb the movie’s messages.  

I constantly felt that I was 10 minutes behind the narrative and urgently needed to play catch-up.  Additionally, the script introduces several, unexpected – and unneeded - twists.  With a steady stream of swerves and hypotheses flying around the screen like possessed winged creatures diving upon confused residents in Alfred Hitchcock’s “The Birds” (1963), I sometimes gave up trying to follow the story.

At one point, Langdon says, “This is the first McDonald’s restaurant that opened in Italy, and on its men’s room wall, Ernest Hemingway predicted that Marlon Brando would refuse to attend the 1973 Academy Awards.”

Alright, that might not be correct.  Langdon may have said that a guy named Donald believes that humming birds would deliver a human-killing virus across the globe.  Well, I am not sure about that either, so please do not quote me.

You can quote me, however, that the movie is a confusing mess with more moving parts than Santa’s toy factory a week before Christmas.   Some villains might not be villains, and some protagonists may not be protagonists.   Even Langdon is regarded as a villain for a short while, but – due to his head injury – he, instead, becomes entangled in unhealthy amounts of screen time attempting to remember the past few days.  For “good” measure, Howard provides a steady stream of incoherent flashbacks from Langdon’s immediate past.

At least the script gives Langdon a love interest with the World Health Organization’s Elizabeth Sinskey (Sidse Babett Knudsen) entering the picture, but a random Saturday trip to the nearby hardware store offers more excitement than their onscreen chemistry.  

I have not read Brown’s “Inferno”, so I do not know the chemistry of moving from novel to film, but one might be better served by stopping in a bookstore and picking up the book instead of watching the movie.

Hey, at least one could put down the book, digest the contents of Chapter X, and say, “Wow.  Now, let me take a minute and examine Sandro Botticelli’s Map of Hell.”  

Well, that map somewhat resembles my “Inferno” movie experience.   

(1.5/4 stars)

The Pickle Recipe - Movie Review by Jeff Mitchell

‘The Pickle Recipe’ just feels plain

Directed by:  Michael Manasseri

Written by:  Sheldon Cohn and Gary Wolfson

Starring:  Jon Dore, Lynn Cohen and David Paymer

“The Pickle Recipe” – Do you have a legendary family recipe?  Perhaps, it is your grandma’s secret spaghetti sauce or your uncle’s deadly spicy hamburger relish.  It seems like everyone has one such creation sitting on an extended branch of their family tree. 

In the new movie “The Pickle Recipe”, Grandma Rose (Lynn Cohen) has coveted her secret recipe for a very long time, over 60 years, and it is for…well, you guessed it.   Since 1955, loyal customers have flocked to her restaurant, Irv’s Deli in Detroit, for breakfast, lunch and a taste of her amazing pickles.  Even though Rose’s late husband, Irv, passed away, life for the famous 80-something pickle maker is going swell.   For Joey (Jon Dore), her 30-something grandson, life has tossed a roadblock in front of him and slashed his tires for good measure. 

With his DJ business literally going up in flames, he is financially desperate to play at his daughter’s bat mitzvah.   In his childlike mind, the only solution to his financial pickle is to steal Rose’s recipe and sell it to his Uncle Morty (David Paymer) to commit the highest form of family blasphemy for a quick buck.

This is the half-cooked premise of “The Pickle Recipe”, and this indie comedy unfortunately feels like a Disney Channel movie rather than a theatrical release. 

As Joey places his worst foot forward to perpetrate this family thievery, the film does admittedly provide some amusing moments, but they mainly circle around Joey’s slacker friend named Ted (Eric Edelstein) and Rose.  Rose orders Joey to slow down from 32 mph to the 30 mph speed limit, constantly complains about her estranged son, Morty, demands that the deli workers clock in at 5 a.m. sharp, and will raise an unholy fuss if anyone steps into her kitchen while she makes pickles.  Rose definitely channels a bit of Anne Ramsey’s intentionally incorrigible role as Mamma from 1987’s “Throw Mamma from the Train”, but she is also a competent businesswoman, reasonable when reminiscing about her beloved Irv and carries a soft streak too.  

The film smartly presents Rose’s soft side in a brief – but key - hospital scene, to sympathize with her, but one also realizes that her patience is thinner than Taylor Swift on a hunger strike.  Outside of Rose’s amusing antics and Ted’s clumsy attempt at playing a rabbi, almost everyone else strikes out or just feels passable.  Joey’s ex-wife (Ashley Noel), her new husband (Brandon Matthew Layne) and Uncle Morty are not very believable characters, and the crew at Irv’s sit like garnish on a deli plate with not much to do.

With director Michael Manasseri and screenwriters Sheldon Cohn and Gary Wolfson serving a predictable story arc - of a desperate guy making careless, impulsive decisions with a distant, but probable, possibility of redemption – the film needs to rely on funny, memorable moments to keep moviegoers engaged.  Joey and Morty’s scheme and its related twists, however, are not particularly noteworthy.   Instead, the movie feels reminiscent of old sitcoms, like an uninspired blend of an average “Alice” (1976 – 1985) episode and the least funny bits of “Three’s Company” (1976 – 1984) during the Priscilla Barnes years.   

I will say that “The Pickle Recipe” will certainly make you hungry for pickles. Walking out of the theatre, I absolutely was.  Also, unlike movies like “Gran Torino” (2008), “Searching for Sugar Man” (2012) and “Robocop” (1987), Manasseri showcases Detroit in the nicest possible light.  The film could make a summer trip to The Motor City seem like an appealing possibility, but the overall movie experience – unlike Rose’s recipe - just feels plain. 

(1.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Certain Women - Movie Review by Kaely Monahan

“Certain Women” is a soft portrait of the female experience

By Kaely Monahan

Crafted like a delicate watercolor, Kelly Reichardt’s “Certain Women” is a subtle and beautiful tableau of the lives of three women. The three narratively are thinly interconnected with a gossamer touch that resembles something closer to poetry than strict storytelling.

The three women all live in or near Livingston, Montana. Each is independent, quietly powerful, and introspective. Laura Dern plays a middle-aged lawyer who confronts sexism and a client who becomes unhinged. Michelle Williams plays Gina Lewis, a wife, and mother with ambitions of building a house with natural materials. She too is confronted by sexism in the form of an elderly man who seems incapable of speaking to her—whether he is afraid of her or, more likely, doesn’t know what to do in the face of her alpha role in her marriage. She also faces a teenage daughter who despises her and a husband who is disloyal. (In fact, he is sleeping with Laura Dern’s character.)

Finally there is Lily Gladstone. A solitary woman who works on a horse ranch and apparently drives to the local high school and wanders into night classes. One such night she stumbles into Kristen Stewart’s history of education law. The pupils are all teachers who want only to know how to get lobby for higher pay or what recourse they have against students they don’t like. Gladstone’s character is actually curious about the subject and even more intrigued by Stewart’s character.

The true brilliance of this film is the groundedness of each of the characters. For most women, they will recognize the subtle sexist moments as true to life. None of the men or other women are trying to be misogynistic. Rather it’s moments like when Dern’s client refuses to accept the truth of his lawsuit until he’s heard it from a male lawyer. Dern’s character had told him the same thing for months. Or there’s the comment by the elderly man to Williams’ character’s husband – “Your wife works for you?” To which he replies, no he works for her.

At first glance “Certain Women” may seem dull and ultimately uneventful, but director Reichardt masterfully blends story drama and realism with the skill of an impressionist painter. “Certain Women” is soft, delicate, and engaging, like a Monet painting, and a must see for fall.

·         Kaely Monahan is a journalist, graduate of City University London and the creator of Popcorn Fan Film Reviews.

American Pastoral - Movie Review by Jeff Mitchell

‘American Pastoral’ breaks from all-American movie traditions

Director:  Ewan McGregor

Written by:  John Romano, based upon the novel by Philip Roth

Starring:  Ewan McGregor, Jennifer Connelly, Dakota Fanning, Peter Riegert, David Strathairn, and Rupert Evans

“American Pastoral” – Newark Maid Gloves, a thriving manufacturer owned by the Levov family, is located in an industrial neighborhood of the New Jersey city with the same name.   Life and business have operated swimmingly for decades, but riots during the late 1960s created a confrontational atmosphere for the factory.  Generally speaking, protestors concentrated their efforts in large U.S. cities, but one incident - far from the factory - in the small town of Old Rimrock, NJ rocked the unsuspecting farming community in Ewan McGregor’s feature film directorial debut, “American Pastoral”. 

McGregor plays Seymour ‘Swede’ Levov, and his character – for years - enjoyed a wonderful existence with his beautiful wife, Dawn (Jennifer Connelly), and their daughter, Merry (Dakota Fanning).  They created an appealing, Rockwellesque life in Old Rimrock for themselves to raise Merry, while Swede commuted to Newark to run the family business with his dad (Peter Riegert), until the aforementioned incident changed their lives.

Although this particular event is the story’s fulcrum, McGregor and screenwriter John Romano broadly explore the fragile nature of family through an intimate study of the Levovs.  First, the picture offers several carefully crafted scenes to establish Swede and Dawn’s virtue.  The couple may carry surficial, all-American good looks, but their internal intentions are just as honest and true.   For example, while Merry (at an elementary school age) struggles with a stutter and has problems making friends, Swede and Dawn show her much love and support and wish the very best for her. 

They frequently discuss and act upon various ways to lift their daughter up at their homestead, complete with docile cows, large swathes of lush green grass and outdoor barbeques.   Many of these scenes - with Ocean James playing an eight-year-old Merry - tug on our heartstrings, as we want to step into the screen and provide an encouraging word as well.  Despite Swede and Dawn’s efforts to raise a warm human being, their seemingly never-ending attempts may or may not reach this separate soul.

When the soul in question allegedly brings a crisis to their family, their solid foundation begins to crack rather than hold.

In one key way, “American Pastoral” differs from other family dramas.  When internal family dynamics explode in films, children usually take the protagonist roles, and out of touch parents play the hurdles and roadblocks to the kids’ salvation.  Here, McGregor’s movie presents Swede and Dawn in a sympathetic light.  They are the ones who are wronged.   They are the victims.  They are the ones who try to pick up the pieces and assemble a jumbled puzzle that carries no easy paths to solve.  The role reversal does not celebrate youthful exuberance and idealism.  Instead, it values stability and responsibility, and it offers the viewer a different perspective not too often seen in cinema.    

McGregor and Connelly are utterly believable as a wounded couple searching for answers, and Connelly is especially effective and perfectly cast.   As an aging beauty queen staring into a limited tomorrow, she gives one of the strongest supporting performances of the year and turns frighteningly icy during one brutally frank exchange.  Not to be forgotten, McGregor competently carries the dual mantles of a concerned dad and director alike.  

Keenly aware of his first effort from behind the camera, I noticed beautifully-filmed touchesthroughout the movie, and interestingly, many occurred during important walks by leads.  Some notable examples are:  Swede and Dawn’s determined stroll to the Newark Maid Gloves factory on a bright sunny day, a dark and cautious approach in one of the most deplorable sections in Newark and an affecting march during the film’s third act. 

“American Pastoral” is not a feel-good film.  The picture takes a loving family and applies damage to it.  At times, the theatrical experience felt like I placed the underside of my forearm - facing upward - on my armrest, as the film burned it with an open cigarette.  Emotions do run high, and "American Pastoral" demonstrates the unrequited parental love for a child more than any other of film -  that I have seen - in years. 

That specific love brightly burns, even when it hurts.

(3.5/4 stars)  

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Ouija: Origin of Evil - Movie Review by Jeff Mitchell

‘Ouija: Origin of Evil’ conjures up some scares

Directed by:  Mike Flanagan

Written by: Mike Flanagan and Jeff Howard

Starring:  Elizabeth Reaser, Lulu Wilson, Annalise Basso, and Henry Thomas

“Ouija: Origin of Evil” –  One might find and purchase an ordinary-looking Ouija board at a toy store, but this particular item has the strangest rules:

1.      Never play alone

2.      Never play in a graveyard

3.      Always say, “Goodbye”

I am probably not breaking the “rules”, when I divulge that at least one person in “Ouija: Origin of Evil” fails to follow one or more of the aforementioned rules.  It is a horror movie, right?  That is to be expected.  Well, after watching this film – written and directed by Mike Flanagan - I absolutely expect that I will never purchase a Ouija board, let alone break any of its rules.  

Flanagan sets this disturbing story almost 50 years into the past - 1967 Los Angeles - and introduces us to the small business of Madame Zander - Fortune Teller, housed in a two-story Victorian home which reminded me of the locale from the 2016 horror film, “Lights Out”.  Although the home has ample square footage that would cause an eager real estate agent to salivate, the creepiness factor can make a semi-fragile moviegoer sweat. 

Alice Zander (Elizabeth Reaser) is sweating these days as well.   This likeable, 40-something widow is raising her two girls, Lina (Annalise Basso) and Doris (Lulu Wilson), and having serious trouble making financial ends meet.  Quite frankly, she is not a very good fortune teller.  One day, however, she discovers a Ouija board and adds it to her repertoire.  Her youngest daughter, Doris, takes to the new prop like a fish to water.  Doris seems to be communicating with the dead, and we all know that peace in this house will go south in a hurry.

With a runtime of one hour and 39 minutes, the story does not waste too much time, as mayhem ensues after some established pleasantries with Alice’s family.  This is a nice family, but they are under duress.  Lina, a high school sophomore, pushes her mom’s boundaries and Doris, about eight years old, struggles to make friends, and the girls’ issues place additional pressure on Alice.  In turn, their collective stressors help attract negative energy from beyond.  These undercurrents effectively garner additional sympathy for the family, as malevolent forces begin to invade their home.    

These forces make all three Zanders suffer, but Doris, a sweet, blue-eyed, blonde-haired kid, takes the massive brunt of it, not unlike Carol Anne from “Poltergeist” (1982).  In this case, Doris is not trapped inside of a television set, but Flanagan must have noted the parallels between the two films.  As a type of homage, Doris watches plenty of TV, while she is clearly not herself, after days of working the Ouija board.  

The overall story arc follows a predictable pattern:  the discovery of the board, the supernatural problems that it causes and the hopeful shutdown of its black magic.   Along the way, we see familiar supernatural snares from other recent horror films, like “Insidious” (2010) and “The Conjuring” (2013), but this movie successfully conjures up tension too.   A sense of claustrophobia forms as most of the scares occur within the house, and Flanagan adds a grandfather clock in the living room that constantly ticks and tocks in the background.

The picture is visually troubling as well, including the revealing findings that Doris sees by gazing through the planchette’s window and slowly panning across the parlor and living rooms. 

The movie does take a sudden and ambitious left turn in its third act which greatly expands the story but does so with mixed results.  Shutting down the board’s black magic becomes much more challenging for Alice and the girls, and the additional difficulty feels like they face unnecessary and impossible odds.   Conversely, the increased scope does not seem terribly inconsistent with the basic narrative and gives the film an added dimension.  

Speaking of dimensions, Flanagan’s movie asks us to take a couple leaps of faith, such as Lina’s ability to recognize the Polish language.  I know that French, Spanish and German were offered at my high school, but I do not believe Polish is a common fourth option with many typical curriculums.  Also, Father Tom (Henry Thomas) – the head of Doris and Lina’s catholic school – apparently has no other responsibilities other than to address their issues and make house calls for Alice, and his constant presence becomes eye rolling after a while.

“Ouija: Origin of Evil” is an effective, but not necessarily terrific, horror film.  With its familiar style, it feels like it blends together with several recent movies rather than particularly standing out.  On the other hand, its B-movie 1960s vibe, creepy visuals and effective uses of sound help answer the call for the average horror movie fan. 

If someone calls me to play Ouija, I’ll counter with a less stressful activity, like skydiving.    

(2.5/4 stars)      

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

The Accountant - Movie Review by Monte Yazzie

The Accountant

Director: Gavin O’Conner

Starring: Ben Affleck, Anna Kendrick, J.K. Simmons, Cynthia Addai-Robinson, Jon Bernthal, Jeffrey Tambor, and John Lithgow

The action film lately has seen its fair share of tough guys. A transporter who can throw fists and kicks with the best of them, another named Wick who thought he hid a deadly past under a slab of concrete, and a tough guy who has “a particular set of skills” that are useful when he needs them. Who would have thought that an accountant would share the same qualities with every character mentioned above. 

It makes sense that an accountant would be a good action hero. Aside from the pocket protector and wingtips, an accountant has to be meticulously organized, prepared for unexpected variables, and capable of assessing large quantities of information at rapid speeds. Add some hand-to-hand combat skills and weapons training and you’d have a fairly deadly weapon ready for action.

The premise isn’t quite so simple in director Gavin O’Conner’s film “The Accountant”. Ben Affleck plays a man named Christian Wolff who has an impressive aptitude with numbers but not so much with human connections. Christian is autistic; his military father took a non-professional approach of treatment, exposing Christian to loud noises, flashing lights, but also military combat training. Aside from being a brilliant everyday accountant, Christian also organizes the books for some of the most dangerous men, terrorists, and mobsters in the world. How does Christian stay safe? His unique brain and training from his father has turned him into a seemingly unstoppable assassin. 

First, Ben Affleck is really good here. The character of Christian is a man who struggles with people, understanding different emotions and subtle personality traits is more difficult for him than going through years of extensive, complicated accounts with millions of numbers. Mr. Affleck holds together the loose ends that unfortunately compose the narrative. Anna Kendrick offers some good chemistry with Mr. Affleck but also some humor that the two utilize often. J.K. Simmons plays a retiring treasury agent with nothing but charm, a man with secrets and conflicts of his own but also an understanding of the world he operates in. Mr. Simmons always brings an interesting quality, even to the most unoriginal characters like this one.

Aside from Mr. Affleck’s detailed, deft performance that provides the messy narrative with some interesting moments, there are unfortunately movements in the script that make zero sense. Most of the turns and reveals in this thriller are fairly easily discerned. Still, there are some good scenes found throughout the clutter. Specifically the relationships established by Christian, one with an analyst (Anna Kendrick) of a company investigating the loss of millions that puts Christian in a difficult position and another with a family member seen mostly in flashbacks. It's these interesting character dynamics that keep the film engaging.

“The Accountant” is a no-nonsense, sometimes dull, action thriller with a great performance from Ben Affleck. Surprisingly it still has a very watchable and pleasant quality, in the same way that mindless action films can occupy space without any other requirement than executing a by-the-numbers script with a good character. The cast delivers and that may be enough for some to overlook the missteps within the story. 

Monte’s Rating

3.50 out of 5.00

American Honey - Movie Review by Monte Yazzie

American Honey

Director: Andrea Arnold

Starring: Sasha Lane, Shia LeBeouf, Riley Keough, and Will Patton

There is a moment in director Andrea Arnold’s film “American Honey” where a group of young people party around a bonfire behind a hotel, you can feel the tension, the frustration, the anger, and the confusion of youth in this instant, it’s one of the most genuine and authentic moments of any film this year. The achievement of “American Honey”, amidst a slew of imperfections, is that it operates to create these kinds of raw and honest moments that you can’t help but be drawn into the world of the characters.

Ms. Arnold composes this film in a very authentic way, cameras on shoulders walking with characters, cameras sitting next to characters as if you are part of the conversation, like a silent character interwoven into the narrative. This is the method that defines every step of “American Honey”, a rather long and many times drawn out experiment developed through a group of young people making their way, somewhat aimlessly, through the world.

Star (Sasha Lane) is a young woman watching over her siblings, dumpster diving and hitchhiking in a small town. Star is anxious and worn-out, she is looking for a way out of a life that doesn’t display any sort of direction. Escape comes in the form of an enigmatic traveller named Jake (Shia LeBeouf) who travels from state-to-state selling magazine subscriptions. Star runs away and into the midst of this group of travellers, who are all working for a woman named Krystal (Riley Keough) who is queen to this group of wanderers.

“American Honey” can be a difficult film at times. It’s a meticulous process, one that takes its time building an experience. The fact that Ms. Arnold is patient enough as a filmmaker to let things happen and unravel organically is impressive. She many times finds the beauty in the most mundane of situations and places. With that said, it also doesn’t work like it should many times throughout. The film meanders from scene to scene, with images of Middle America as a backdrop and the constant reminder of the socioeconomic divide throughout America in the form of environment and with the characters composing a road traveling family from different walks of life. When the film succeeds, these aspects all shine in the very effective ways. 

It's easy to see that these young people are desperate for change, but they are also complaisant when they find something comfortable. You can feel the yearning for bigger opportunities from them; their entire job as door-to-door sales people is based around being the biggest "earner" for the company, an achievement that comes with perks like riding around in a Mustang convertible and playing the role of leader to the group. Shia LeBeouf's character Jake is this company superstar, yet even in this sought after position Jake is still unsatisfied. This remains a theme throughout for these young people. Will they every find something that they are truly content with, something that makes them happy?   

Ms. Arnold does an exceptional job with these young characters, many of them first time actors. In the lead is Sasha Lane, an actress picked off the beach in Florida by the director, who brings a fiery ambition and a lively energy to the role of Star. Shia LeBeouf is the most recognizable name in the film, he is given plenty of room to compose the dangerous character and the result is a mixed bag of emotions which is exactly what the character is. One moment ready to risk everything and the next firmly planted in a place of indecision. One of the best performances comes from Riley Keough playing the opportunistic boss of the group. She is menacing and compassionate, sometimes at the same time; a character that feels pulled from another film, "Spring Breakers", that deals with these same coming-of-age themes.

"American Honey", a title taken from a Lady Antebellum song, is going to connect differently with each individual person. Everyone has a different perspective of the world because of experiences taken from the journey through it. That's what this film ultimately is, a journey through environments with no clear ending or easily explained theme. It's not so much about the destination but rather the journey. Some trips are long and arduous, something you'd never want to do again. Some are life affirming and rewarding, something you'll want to cherish and recreate. The journey through "American Honey" will be a similar path.

Monte's Rating

3.50 out of 5.0

The Accountant - Movie Review by Jeff Mitchell

‘The Accountant’ mostly adds up

Directed by:  Gavin O’Connor

Written by: Bill Dubuque

Starring:  Ben Affleck, Anna Kendrick, J.K. Simmons, Jon Bernthal, Jeffrey Tambor, Cynthia Addai-Robinson, and John Lithgow

“The Accountant” – Assets equal liabilities plus stockholders’ equity.  Debits equal credits.  Revenues minus expenses equal profit or loss. 

An Accounting 101 instructor teaches these basic rules during the first week of class, but in “The Accountant”, no simple equation can easily explain Chris Wolff (Ben Affleck).  Chris owns a small accounting practice, ZZZ Accounting, in a random strip mall, but large corporations also hire him to find answers to seemingly impossible financial questions.  Living Robotics brings him in to locate $61 million dollars, and he scans through piles of books and performs countless complex calculations in just one day that would probably take scores of staff accountants a month. 

You see, Chris has a high functioning form of autism, and his mathematical gifts seem like a cinematic combination of Raymond Babbitt (Dustin Hoffman) of “Rain Man” (1988) and John Nash (Russell Crowe) of “A Beautiful Mind” (2001).  Unlike Raymond and John, Chris also fires rifles like a black ops sniper and possesses the fighting prowess of a Navy SEAL with a black belt.   

As you may surmise, Chris Wolff is not a typical C.P.A. 

His wildly diverse set of skills seem utterly preposterous, but the movie plays it straight.  Director Gavin O’Connor dives all-in to explain our hero’s tricky backstory via a series of flashbacks peppered throughout the film.  The story – written by Bill Dubuque – tries really hard to develop Chris and convey what makes him tick.   We see how his autism – as a kid - impacted his family dynamics and sparked his father’s methods to “toughen him up” through a series of brutal martial arts classes.  

Although these scenes are important in explaining this modern-day secret weapon with a penchant for forensic accounting, less time spent in the past would have still been effective in illuminating the present.  From an action film perspective, more screen time with Affleck’s entertaining performance as a number cruncher/killing machine trumps his character’s countless struggles as kid. 

One place that the film certainly does not struggle with is the relationship between Chris and Dana (Anna Kendrick), a staff accountant at Living Robotics, and Kendrick channels her terrific performance as a professional newbie in 2009’s “Up in the Air” into this film.  Dana brings sincere pleasantries and a curious naivety, and these vibes strike the right chords with Chris and his buried emotions. 

The result is Kendrick and Affleck’s onscreen stretches offer warmth and humor.  In one example, Dana attempts to share her time with Chris during their lunch break on the outdoor steps of Living Robotics.  While Chris tries to bury himself in his routines in solitude, Dana asks him innocent, probing questions and briefly mentions her slightly embarrassing trip to Cancun.  Several moments like this allow Chris to connect with someone, and likewise, allow the audience to connect with him.   

The humor works in other unexpected places as well, and it usually appears when Chris demonstrates his talents not normally seen in an accountant with a handy pocket protector.   

A very good supporting cast surrounds Affleck and Kendrick, including J.K. Simmons, Cynthia Addai-Robinson and Jon Bernthal, and the movie spends meaningful portions of screen time to develop the emotional natures of their supporting characters as well.  Normally, I would applaud such efforts, but in this case, the additional gravitas do not match the more shallow and silly action film tones.  In other words, with a noticeably long runtime of 2 hours and 8 minutes, the script unnecessarily delves too deep. 

Still, the movie – like a good accountant – ties up all its loose ends in (mostly) clever ways and potentially positions itself for “The Accountant 2 – A New Audit”.  I will probably see a sequel, because Affleck’s character introduces a new equation to the cinematic world:  the pen is equally as mighty as the sword.  (2.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

The Birth of a Nation - Movie Review by Kaely Monahan

“Birth of a Nation” confronts America’s ugly past

By Kaely Monahan

"Birth of a Nation" fits into the category of must-see at least once. The harrowing tale of slavery in the Deep South. The horror of the film is balanced against beautiful shots and powerful acting.

The film recounts the events leading up to and including the 1831 Virginia slave rebellion. Led by slave Nat Turner, played by the director, Nate Parker, the film doesn’t hold back on the brutality of slave ownership and what life was like for blacks in pre-emancipation times. And it is stomach turning.

Parker does not hold back from the horrific conditions many black endured. There is one particularly tooth-pulling scene that will make you want to turn away. The core of this film will make you feeling sick at the atrocities committed against humanity.

The film opens with a young Nat Turner being singled out for the education—namely being taught to read. However, the only book his truly allowed to read is the Bible. From there young Nat grows into a man of unshakable faith.

Despite his lot in life, Nat is treated with more dignity than most slaves by his owners—the Turner family. He even develops a strong bond with his owner, Samuel Turner (Armie Hammer), which started during their youth.

When the Turner estate falls on hard times, Samuel decides to “rent out” Nat as a preacher to other slaveholders

. It then that Nat sees the true horrors of slavery. Most slave owners are not kind like Samuel.

Meanwhile, Nat falls in love with Cherry (played beautifully by Aja Naomi King). He eventually marries her. But when she is jumped by a group of slave catchers, the last straw breaks, and Nat begins to turn his mind to justice and liberation.

What happens next is just as gory as the torturing of slaves. Nat and his followers began killing their owners and in some respects, terrorize the countryside. However, as an audience member, you cannot help but sympathize and cheer for Nat.

But no matter how heroic he is, the question must be asked: is killing, or in truth, murdering, justice? As a country, we are still coming to terms with our past and where slavery fits into it.

“Birth of a Nation” demands your attention and demands you to see the horrific era of slavery for what it is: an ugly truth that America is still reeling from to this day. 

Kaely Monahan is a journalist, graduate of City University London and the creator of Popcorn Fan Film Reviews. 

The Girl on the Train - Movie Review by Jeff Mitchell

‘The Girl on the Train’ takes too many nonsensical turns

Directed by:  Tate Taylor

Written by:  Erin Cressida Wilson

Starring: Emily Blunt, Haley Bennett, Rebecca Ferguson, Justin Theroux, Luke Evans, and Edgar Ramirez

“The Girl on the Train” – “Mental wounds not healing.  Life’s a bitter shame.  I’m going off the rails on a crazy train.”  - Ozzy Osbourne, “Crazy Train”

This film – based upon a bestselling novel by Paula Hawkins – takes some crazy and illogical turns.  Rachel (Emily Blunt), the lead protagonist in the picture, is not necessarily crazy, but sad life events shattered her spirit, and she is in dire need of help.      

From the first moment that the camera focuses on Rachel, it is clear that she is not well.  With blotchy cheeks and chapped lips, she sometimes passively and sometimes very actively looks out the window of a train, which she takes to and from Manhattan on her Monday through Friday commute.   Her active gazes usually come into focus when the train passes two particular houses. 

One is the domicile of an unknown couple, who we later discover are Scott (Luke Evans) and Megan (Haley Bennett).  The other home is occupied by Rachel’s ex-husband, Tom (Justin Theroux), and his new wife, Anna (Rebecca Ferguson), so pining over these people who live in these large, expensive houses certainly is not the healthiest of activities.  It also is not healthy that Rachel usually sips from her water bottle filled with vodka or gin, while she confesses to the movie audience about her broken marriage and the subsequent emotional pain that she has endured for two years.

Two years ago, “Gone Girl” arrived in theatres, and this excellent adaptation of Gillian Flynn’s bestselling novel thrilled movie audiences and critics alike.  Now, it is Hawkins’ turn to have her highly successful book transformed into a major motion picture.  I only bring up “Gone Girl”, because the mere mention of “The Girl on the Train” to a knowledgeable movie aficionado will probably trigger a comment about the Ben Affleck, Rosamund Pike white knuckler from 2014.  Sure, the name “Girl” may be in both titles, but from a movie perspective, these two films carry very different results. 

Director Tate Taylor has delivered very successful results from a pair of recent films - “Get on Up” (2014) and “The Help” (2011) - but in this case, he and screenwriter Erin Cressida Wilson constructed a nonsensical mystery which also doubles as the most pedestrian thriller that I’ve seen in years. 

Well, admittedly, the mystery itself is not terribly nonsensical, but the path to solving it absolutely is.  Rachel – in an inebriated state - sees “something very wrong” at one of the aforementioned homes.  Since her life is in shambles and void of much meaning, a few days later she – while intoxicated - exits the train near the two couples’ houses to utterly break the rule of minding her own business.  From Rachel’s partially blacked out perspective, the audience witnesses a semi-coherent confrontation, and soon after, the local police department reports that Megan is missing. 

The movie, however, falls apart when Rachel decides to solve the whodunit by inserting herself into the lives of Scott, Tom, Anna, and another key character (who I will refrain from naming). 

In this twisted, melodramatic universe, Rachel is the most qualified person to act as a detective, because she was present, or at least nearby, when Megan disappeared.  On the other hand, she is the least qualified individual because of her fragile, alcoholic state, and yes, she is also a suspect. 

The movie’s pacing and construction are suspect too.   Through a series of plodding one-on-one exchanges, Rachel confronts the various characters and attempts to piece together the events on that fateful day, like an unqualified Sherlock Holmes with a terrible hangover. 

Although the screenplay methodically reveals the truth through important cinematic breadcrumbs, the film treats Rachel like a bumbling idiot, and we are subjected to her cloudy, erratic and poorly executed journey.  Blunt skillfully allows us to feel sympathy for Rachel, but the character’s repeated lapses in judgement – even when sober - wear on our patience. 

The screenplay plays out in a nonlinear timeline, as several flashbacks from two years, six months, four months, and two months ago appear on the screen, but sometimes the important glimpses into the past inconsistently exist for just a few moments or several minutes.    After a while, the numerous returns to prior times become tiresome, as they continually break the already jagged rhythm of Rachel’s story.    Rather than watch Rachel’s, Megan’s and Anna’s narratives unfold with intensity, they oddly just become curiosities.   Unfortunately, I found myself sitting in my theatre seat with my arms folded, while the picture leisurely chronicles the dysfunctional histories of three women which connect to their damaged present days.  

“The Girl on the Train” produces a couple surprises, but they seem better suited for a recycled Lifetime Network movie offered on a lazy Sunday afternoon.  Even worse, to make the story fit, four key characters concoct decisions that no actual human beings would ever ponder.  While watching their foolish behaviors – such as Rachel repeatedly trespassing on Tom and Anna’s property without the owning party even considering a restraining order -  my suspension of disbelief was completely flattened.  How much so?  Just imagine a speedy passenger train obliterating one small piece of fruit (a grape, perhaps) sitting on a railroad track.  

I will say that Blunt churns out a very good performance, and her portrayal of an emotionally damaged alcoholic feels authentic and sobering (pardon the pun).  Save wanting to experience one worthwhile performance or compare storylines between the book and the movie, “The Girl on the Train” might be a ride that you should miss.  Sadly, I know that my mental wounds caused by this movie are not healing yet. 

(1.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Queen of Katwe - Movie Review by Monte Yazzie

Queen of Katwe

Director: Mira Nair

Starring: Madina Nalwanga, David Oyelowo, Lupita Nyong’o, Martin Kabanza, and Taryn Kyaze

For a few years as a teenager I played chess almost every day. I read books, studied strategy, and tried to play different people as often as I could. Chess was an fun game but also a way to help me focus on being patient and also brought an understanding of what motivated people.

I remember being challenged by a coworker to a match. By this time I had played long enough to call myself “pretty good”. As we sat down I could tell that he was a serious player, his entire demeanor changed. I wasn’t worried until he played a brilliant opening. Within no time he had me on my heels and I loss. He would only play me two more times, completely dominating both matches.

In the Disney film “The Queen of Katwe” a young Ugandan girl’s life is changed after learning how to play chess. At one point in the film another chess student tells her “the small one can become the big one”.  It’s a simple but powerful statement about what a board game can do for a person’s self esteem, and more poignantly what it did for a young woman living in poverty with a stigma of gender biases and societal influences shaping her life.

Disney has a talent for making this kind of film and ESPN, who is the producing partner, understands how the essence of sports can be both dramatic and portray the struggles and achievements of humanity in captivating ways.

Phiona Mutesi (Madina Nalwanga) does not go to school; she sells corn in the busy streets of rural Uganda. Phiona is introduced to the game of chess from a youth ministry instructor named Robert Katende (David Oyelowo) and she quickly advances in skill. Seeing potential, Robert wants to take Phiona to competitions outside of Katwe, however Phiona’s mother Nakku (Lupita Nyong’o) is cautious and resists her daughter’s involvement. Robert shows Nakku that this board game has potential to change Phiona’s life for the better, reluctantly Nakku allows Phiona to compete.

These kinds of films have an inherent quality of being overly cliché and heavy handed on emotional cues that tug unabashedly on the heartstrings. The viewer knows where a film like this is going; it’s like a rollercoaster, a mix of narrative highs and lows that take a likable character through an extraordinary journey. All of these sentiments are on very clear display in “The Queen of Katwe”, but it surprisingly rarely hurts the film. In the same way that a good joke or a good scare can be effective when done correctly, this film displays what great characters portrayed by exceptional actors and guided by a creative director can do for a film. Especially one that audiences have seen many times over.

David Oyelowo is great as the coach to a group of scrappy young people. Mr. Oyelowo is inspired and provides touching motivation in many different forms. His effectiveness as a coach doesn’t come from a place of pity or with unnecessary guidance with hope; it comes from a determination to have control over choices and confidence in your abilities. Lupita Nyong’o is fantastic, playing a mother who understands the struggles that life brings but is determined to work hard and instill the same toughness in her children. Ms. Nyong’o provides a heartbreaking and inspired performance. These seasoned actor accolades are very close to being outshined by the young Madina Nalwanga who plays Phiona with a perfect blend of shyness and self-confidence. Ms. Nalwanga becomes more poised with every chess match, maturing from scene to scene.

Director Mira Nair brings a genuine and authentic feeling to the entire film. Showcasing the struggles of the poor township but also displaying the beauty found in the community and the culture. Mrs. Nair has displayed this talent already; look no further than the “Monsoon Wedding” and “Mississippi Masala” for examples. While the film runs a bit long, which weakens some of the stronger sentiments found in the late narrative, the character of Phiona is compelling and her journey has that underdog quality that keeps a film like this intriguing. While the game of chess brings positive changes to Phiona’s life, the film never displays this aspect as the only factor for success. It instead offers a portrait of a young woman who understands the value of hard work and that her place in this world is not predetermined.

Monte’s Rating

4.00 out of 5.0

Demon - Movie Review by Monte Yazzie

Demon

Director: Marcin Wrona

Starring: Itay Tiran, Agnieszka Zulewska, Andrzej Grabowski, Tomasz Schuchardt, Adam Woronowicz, and Cezary Kosinski

Everything that happened after the vows on my wedding day is a bit of blur. The whirlwind reception that consisted of meet-and-greets with family and friends went by in a flash. So whenever a newly engaged couple asks me for advice about their wedding day, I tell them to remember to eat their dinner.

A wedding is the setting for director Marcin Wrona’s film “Demon”, a satire and also a horror film that evokes Polish history and culture to compose a remarkable genre-bending feature.

Piotr (Itay Tiran) is traveling from London to a small Polish town; he is coming to meet his bride Zaneta (Agnieszka Zulewska). Piotr and Zaneta are in a relatively new relationship, moving quickly towards marriage has placed Zaneta’s father Zygmunt (Andrzej Grabowski) is a position of caution. The young couple plans on living in the dilapidated house of Zaneta’s grandfather, where they are also holding the wedding in a nearby barn. Piotr discoveries human remains buried on the property and at the wedding reception he begins to act strangely and then falls ill with violent convulsions. Very quickly the family, in the middle of drunken debacle, assume the worse and come to the conclusion that Piotr is possessed by an evil entity known as a Dybbuk.

While the premise may seem very reminiscent of a horror film, exorcism and ghost story films especially, this genre plays merely a supporting character in a film that is more interested in utilizing compositions of culture and tradition and mixing it with history. When one of the few scary moments happens, it’s utilized more as a setup for something comedic or for nothing more than a distraction for the audience. Surprisingly, there are moments that are genuinely creepy all in the quietest way.

The photography is beautifully bleak; the Polish countryside is ominous with a sense of darkness clouded by fog in the distance. This aspect is completely purposeful; “Demon” utilizes both dark humor and not-so-subtle metaphors to evoke a narrative that displays a portrait of Polish history and a correlation to the Holocaust. It’s not hard to see the point the film is trying to make when you have a nonchalant comment about German’s destroying a bridge that hasn’t been rebuilt and the comments from the patriarch to a group of deliriously drunk guests that “we must forget what we didn’t see here”. It’s about the still looming shadow of World War II and the effect that it holds over Europe.

Itay Tiran gives a great performance as Piotr; the slow transformation from wedding groom into a possessed person is layered with exceptional touches. Also good, and very funny, is Andrzej Grabowski who plays the father of the bride. The performance is both manic and restrained, a character that goes to great effort to keep control of the uninhibited party while also keeping his reputation intact.

“Demon” is a different although refreshing genre film. While is doesn’t indulge in its horror conventions like most films would, the film instead deals with the effects of horrific events on people and how it changes and influences culture over time. Marcin Wrona’s talent as a director is undeniable; unfortunately Mr. Wrona’s life was cut short, his death was ultimately ruled a suicide, just as this film was about to premiere. “Demon” is the kind of film that displays how a creative artist can transform genre into something that evokes different emotions while also having something powerful to proclaim.

Monte’s Rating

4.25 out of 5.00