An interview with Elyse Steinberg, one of the directors of Weiner by Kaely Monahan

A politician exposed: Behind the award winning Weiner.

By Kaely Monahan

Sex. Scandal. Politics. The life of Anthony Weiner is now an infamous character in American politics. His sexting scandal brought down the ax on his rising political career in Congress. Two years after the shameful incident he decided to begin again—this time throwing his hat into the ring for the mayor of New York.

Weine" won critical acclaim and Sundance’s U.S. Grand Jury Prize for the documentary genre. It's a well-deserved win. Rarely has a documentary peered into the life of a politician so seamlessly. Some praise must be given to Weiner himself. It was bold of him to allow documentarians nearly unlimited admittance to his life.

Directors Josh Kriegman and Elyse Steinberg were with Weiner for four months during his run for mayor. They captured Weiner at his most candid, illuminated his character so that we could truly see what a complex man he is. There is no judgment in the film, yet what is captured is a rare glimpse into the life of a man who seems to perpetually shoot himself in the foot.

The opportunity to film Weiner's story came about through a cordial acquaintance between Kriegman and Weiner.  Kriegman worked for him during his 2005 mayoral campaign. During that time, they got to know each other and talked about the possibility of doing a documentary one day. Things all clicked into place in 2013 when Weiner was running for mayor again.

Yet a question remains: Why did he allow the documentarians to shoot his campaign? The question grew all the more glaring as another sex scandal broke during his mayoral bid.

“It is a question we wondered about ourselves,” Steinberg said.

The film poses the question as well, but she points out that at the end Weiner confesses that he wanted the world to see him for who he is—the real Anthony Weiner. Not the figure dragged through the mud by the media.

“That was our intention as well with the film,” Steinberg said. “He had been just ridiculed and judged and become a caricature.”

She and Kriegman said they wanted to show both the private and the public life of Anthony Weiner. He is both a public figure and a family man. He has good intentions and terrible vices. In effect, he is a tragic hero. And it's impossible to not watch with some horror as he ruins himself all over again.

“Two different stories emerge and that was our hope with telling this film,” Steinberg said. “You also see a very relatable couple. They’re living in New York, raising their kid, and you get a fuller look at them then what was playing out on the cover of the New York Post.”

At the time filming began, no one knew what would happen the filmmakers said. At first, Weiner was soaring in popularity. He had the comeback story—a man redeemed and worthy of a second chance. It looked like he was going to win.

At his side the entire time was Huma.

“She is obviously more quiet than Anthony, but I do think she shares some of his desire of wanting a more fair and complete story told,” Steinberg said.

However, as the film progresses the strain of another scandal, the grinding pace of the campaign, the battles with the media and, perhaps, the presence of the filmmakers wore them both down into raw and reactive individuals. There are moments where you can clearly see Huma change from the strong supportive wife to one who is aghast and humiliated. Though not intrusive, the filmmakers captured the painfully raw moments which make you want to look away. Yet you’re unable to.

Steinberg and Kriegman manage to capture the full reality of Weiner’s demise. We see him at his best and worst. We see him performing and as a husband and father. The film also reveals a man who appears obsessed with his own story, and rightly or wrongly Weiner tries to tell it.

• Kaely Monahan is a entertainment reporter and creator of the film review podcast Popcorn Fan Film Reviews.

Weiner - Movie Review by Jeff Mitchell

‘Weiner’ unbelievably captures a disastrous political train wreck  

Directors:  Josh Kriegman and Elyse Steinberg

Starring:  Anthony Weiner, Huma Abedin

“Weiner” (2016) - “The name of a man is a numbing blow from which he never recovers.” – Marshall McLuhan

This quote from Mr. McLuhan appears on the screen during this documentary’s opening moments about a former, seven-term U.S. congressman, and - in some ways – it obviously fits, but Anthony Weiner’s actions, not his name, delivered a fatal blow to his 2013 campaign to become New York City’s mayor.

Directors Josh Kriegman and Elyse Steinberg probably believed Weiner’s shenanigans were behind him when they began filming a behind-the-scenes mayoral election run, but they stumbled into one of the most infamous train wrecks in modern political history.   In addition to providing a first-hand look at the inner workings of a large scale political campaign – complete with pushing signs, making phone calls and deliberating communication strategies -  it offers a clear and transparent view into the devastating consequences of betraying the trust of coworkers, staff members, supporters, and most of all, one’s spouse.  Make no mistake, this film – at times – is very painful to watch, but it presents a fascinating, disastrous reality show that truly is difficult to fathom.

Well, the movie documents Weiner’s experience in running for mayor, 13 weeks out until Election Day.  At first, Kriegman and Steinberg refreshingly find that voters climbed on the bandwagon, rather than anticipating a future train wreck.   Weiner conveyed honest, public contrition about sending salacious – although clothed – photos to a few women over social media back in 2011, and, after plenty of counseling, his wife, Huma Abedin, forgave him.

We see Huma stand with her husband at a fundraising luncheon, and she states, “I love my city, and I believe in my husband.”

Although the overall pleasantries look appropriate and cordial, one notes that Huma did not say that she loved her husband, and this public statement “miss” – deliberate or not – presents a bit of unfortunate foreshadowing.

New York City voters, however, seem behind him, as the camera picks up Weiner darting through city streets at midday and high-fiving hundreds of people like a pro wrestler running around a ring before his match.  Small groups and large crowds offer him smiles, acceptance and – most importantly – a second chance.    His popularity actually is a feel-good story, because a sizable portion of the public seemingly has forgiven him.  With about eight weeks until Election Day, the polls have him leading the crowded race, when without warning, disaster strikes.

New personal and more explicit photos of him appear everywhere on the news, and Anthony Weiner suddenly has to explain his behavior all over again.   The press and general public alike believed all of the vulgar pictures, texts and chat room material were previously flushed out, but new evidence of additional chicanery dramatically changes the mood of the previously-mentioned entities.

The film shows entertainment and news personalities like Bill Maher, Stephen Colbert, Lawrence O’Donnell, and the press, in general, immediately pounce, as Weiner’s 2011 fall from grace repeats itself in 2013.

Weiner takes countless questions – whether in person, over the phone or on television - such as, “Are more women going to come forward?”, “What are you hiding today?” and “What’s wrong with you?”

Not unlike the Looney Tunes’ Wile E. Coyote holding onto an ACME anvil and falling (and crashing) from a rocky ledge over and over again, he has no choice but to stand there and take his beatings.   His constituents rightfully are not in a forgiving mood either, and they throw their collective hands up in disgust.

“Fool me once, shame on you.  Fool me twice, shame on me.”

Kriegman and Steinberg’s cameras catch Weiner stoically stewing and suffering during private moments in the bare, white and impersonal campaign rooms and in various places in his apartment.  The point is that Weiner has no escape hatch, but neither do his friends, colleagues and wife, because emotional collateral damage does not discriminate.

Huma suffers the most indignation and humiliation during the entire downfall, and she communicates her pain and disgust in mostly nonverbal ways.   During the film’s last hour, the words, “that poor woman” scream in our brains, as we see her reactions to this horror show of past poor judgment play out publicly - and amazingly - in front of a pair of documentarians in her own home.

Mr. McLuhan could be right, but I do not know if Huma will ever recover.  As a viewer, it will be a while before I do. (3.5/4 stars)

Maggie's Plan - Movie Review by Jeff Mitchell

Make casual plans to check out ‘Maggie’s Plan’  

Writer/director: Rebecca Miller

Starring: Greta Gerwig, Ethan Hawke, Julianne Moore, Bill Hader, Maya Rudolph

“Maggie’s Plan” - New York City is known a “city that never sleeps.”   Since Maggie (Greta Gerwig) is a New Yorker and has 24 waking-hours per day at her disposal, she finds time for not one plan - as the film’s title suggests - but two.  Gerwig is experienced and so proficient at playing quirky, well-intentioned - but also a bit chaotic - urban dwellers, and see “Frances Ha” (2012) and “Mistress America” (2015) for a pair of prime examples.  She offers a similar performance here, except this time, her character, Maggie, is more mature and enjoys a fulfilling career.

She creates business plans for talented artists and teaches at a nearby college, and although monetary security is a non-issue, she does not believe that romantic security and children are in her future.  Maggie exclaims that men lose interest in her only after a few months, so her best chance to raise a child is not through a life partner but via artificial insemination, aka her first plan.   Now, I chose to ignore that Rebecca Miller’s film is numerically misnamed, because, namely, “Maggie’s Plan” owns eccentric charm.

The film - like a Woody Allen picture - invites the audience into the lives of some New York intellectuals whose biggest problem is their over or under analysis of their own relationships.   Miller introduces us to the aforementioned individuals, as they point out their partners’ shortcomings or grumble about living sans a spouse while also casually mentioning their background in art history or research in fictocriticism.

Maggie clearly is the most likable, as the others carry around their own personal gray clouds above their heads, but the very talented supporting players - including Ethan Hawke, Julianne Moore, Bill Hader, and Maya Rudolph - balance their characters’ semi-gloom-and-doom with amusing subtleties.   Moore steals nearly every scene as Georgette, a self-absorbed professor with a thick Danish accent.  Others - including her husband John (Hawke) - demonize Georgette as an overly-pragmatic, unfeeling opportunist.   Once we finally see her on-screen, she certainly possesses these unflattering qualities, but Moore skillfully delivers them with welcoming, comedic charm while also generating some surprising sympathy for her character.

Maggie elicits sympathy too.  As she makes headway with her first plan, she unexpectedly falls in love as well, and as the collective-they say, “the best-laid plans of mice and men often go awry.”   Hence, Maggie dreams up a second plan to untangle her way out of her first.   Gerwig owns the cinematic chops to carry the film’s narrative to a logical conclusion, but while watching “Maggie’s Plan”, it is nearly impossible to not compare her character to her work in the previously-mentioned New York City comedies.

In “Frances Ha” and “Mistress America”, her characters make clumsy mistakes, but they bounce back with youthful exuberance while simultaneously processing their miscalculations.  Here, Maggie is also aware of her missteps but is more victimized, in an emotional and neglectful way.  Gerwig makes it a breeze to root for Maggie, but we, the audience, comply under a more concerning eye, and these emotions bruise the comedic tone into something more subjugated.

Luckily, the second half of picture takes a major turn towards John and Georgette, which smartly diverts from Maggie’s romantic difficulties and the somewhat heavier spirit.  On the other hand, this change also meanders, and the movie ends up feeling like two hours when its actual runtime is just 98 minutes.

Although the excitement admittedly wanes at times, Moore, Gerwig and the rest of the cast hold our attention towards this small group of New Yorkers and their relationship problems.  Maybe their lives would be better served if the city garnered a least a couple hours of “figurative sleep” each night.  Well, sleep or no sleep, as we all know, issues of the heart are universal.   (2.5/4 stars) 

X-Men: Apocalypse - Movie Review by Monte Yazzie

X-Men: Apocalypse  

Dir: Bryan Singer

Starring: James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Oscar Isaac, Rose Byrne, Evan Peters, Josh Helman, Sophie Turner, Tye Sheridan, Lucas Till, Kodi Smit-McPhee, and Olivia Munn

Director Bryan Singer is one of the early creators responsible for the superhero movement in filmmaking, an explosion that currently floods the market. Way back in 2000 Mr. Singer directed "X-Men" with exceptional success, bringing together a team of mutant heroes with extraordinary powers that includes the adamantium clawed fan favorite Wolverine, still played by Hugh Jackman today. The franchise has had its share of ups and downs. Still, even at the low points fans were still lining up for the next installment in the series. Just when it seemed like everything was heading towards a dead-end, "X-Men: First Class" retooled the story and recast the film bringing a new aspect to the franchise with fresh faces mixing in with franchise familiar ones. Building upon this success "X-Men: Days of Future Past" was released and crafted one of the best films in the history of the franchise.

The X-Men have a villain to fight against, the ancient mutant named En Sabah Nur, otherwise known as Apocalypse, played in heavy make-up by Oscar Isaac. Apocalypse has been trapped underneath a pyramid but has been released; his mission is to annihilate the world with an army of powerful mutants, one of which is Magneto played again by Michael Fassbender. Magneto tried to live a peaceful life in Poland, with a wife and child, but a heartbreaking tragedy turns Magneto hate-filled once again. Charles Xavier (James McAvoy) is running a school for gifted students, taking in a young Jean Grey (Sophie Turner) and Scott “Cyclops” Summers (Tye Sheridan), both characters you will remember from the first movies. Apocalypse recruits his team of extraordinary individuals to destroy the world and it’s up to the X-Men to stop them.

There is a whole lot of movie going on here but with a running time of 144 minutes there is ample time to tell this extensive tale. Unfortunately filling the time with a good story and engaging characters doesn’t seem to have been high on the list for the creative team here. “X-Men: Apocalypse” isn’t terrible, in fact there are quite a few moments that are actually very good. There is another entertaining slow-motion scene with Quicksilver (Evan Peters), the connections to the original material and the groundwork established through the entire franchise make for some interesting moments, and there is even a small cameo from a franchise favorite that sets into motion a really exciting story arc. So what’s the problem? Aside from the final minutes of the film and an occasional moment from Apocalypse, we’ve seen this all before. As mentioned before Quicksilver steals the show with another slow motion scene, Magneto returns to Auschwitz in an almost pointless scene, and a majority of the dramatic action moments move and operate in the same way that it always has. It’s old material just repackaged in a new movie. It may be stated by some keen film fans out there that this method is what most films do anyway, remake, reimagine, and repackage properties. However there are moments in this film where the only new aspect is a new character.

Still, there are moments when the film simply functions as a vehicle of pure entertainment. Most of this sentiment is due to the efforts of the talented cast; even the small characters seem to fit their role especially well. James McAvoy and Michael Fassbender are again good; they have built chemistry over these films that displays their character’s admiration and disdain for one another, similarly to the former two actors playing these roles Patrick Stewart and Ian McKellan. Newcomers to the franchise Sophie Turner and Tye Sheridan are good also, even when they get lost in the mix of characters on display here. Unfortunately Olivia Munn, playing Psylocke, is reduced to standing around and making her best superhero pose behind Apocalypse.

“X-Men: Apocalypse” has a few high points that are sure to entertain and excite fans of the franchise, however it also has quite a few low points. At times it feels like a really long and cluttered setup to another story coming in the future, hopefully the next outing will spend more time creating a narrative that makes the viewer care about these characters again.

Monte’s Rating

2.75 out of 5.00

The Nice Guys - Movie Review by Kaely Monahan

‘The Nice Guys’ takes the buddy-cop genre to another level By Kaely Monahan

It’s becoming exceedingly rare to find films that aren’t franchised yet are still good. In an age of superheroes, space adventures and reboots, it’s refreshing to come across a film that is doing something different, yet familiar. “The Nice Guys” proves that there is still room—and a need for—other types of films beyond spandexed heroes and over CGI’d effects.

Billed as a hilarious buddy-cop film, “The Nice Guys” stars Ryan Gosling and Russell Crowe as a pair of mismatched private eyes who have to solve a disappearance of a young woman. As rote as the premise is, Shane Black's script and direction take the story down strange, funny and at times, very dark roads.

Gosling’s Holland March is a drunk, single father with no sense of smell. (A strange yet revealing character flaw.) He is more than ready to give up his clients if it means avoiding confrontation. His daughter, Holly (Angourie Rice) is a with-it pre-teen who is a better sleuth than her father. Their bond is bitter-sweet and a surprising addition. Black gives just the right amount of attention to the relationship so it makes sense for it to be there.

It's a strained relationship. March's drinking does play a significant role but the reason for his alcoholism is actually addressed and handled with real sensitivity. But it doesn't bog down the story or drag March's or Holly's characters. They are cute and sweet as much as heart-wrenching.

Jackson Healy (played by an overweight Crowe), is an amateur hitman with a surprisingly strong moral center. Not that he adheres to it consistently. He’s more than happy to beat the crap out of someone if he’s paid to do it. He takes his jobs seriously, whereas March is dismissive and calculating, despite the alcohol fog he inhabits. Healy is a perfect role for Crowe, who would probably have a hard time playing an outright comedic role. Healy is instead a straight man—and the perfect opposite to Gosling's March.

The detectives start off on the opposite sides of the missing girl case—Healy is out to protect her from “stalkers” while March is trying to track her down on the behalf of a distraught aunt. The case grows more intricate and complicated forcing the two team up, however reluctantly. March’s daughter finds a way to get involved as well, and it’s really her who finds the missing girl.

For every moment that feels predictable, director Shane Black turns the situation on its head. The dialogue is smart, fluid but grounded. Gosling and Crowe make a fantastic comedic duo. From the first meeting where Healy breaks March’s arm to the final scene in a backwater L.A. cantina, they make you laugh and grimace.

Black hits all the right beats with “The Nice Guys.” However, what makes this film stand out from the norm is the amount of violence. People die in this film. Parts get really dark and emotional. It’s a rousing twist on the buddy-cop genre.

This shouldn’t be surprising from a director like Black. He is, after all, considered one of the “pioneer” action film screenwriters—at least according to his IMDB page. Although anyone who wants to disagree should look at his long list of hits including “Lethal Weapon” and “Iron Man 3.” This latest film fits nicely into his oeuvre.

If anything is lacking, it’s that this film wasn’t as funny as the trailers make it out to be. Don’t go in with high expectations of continuous belly laughs. There’s a few really good ones but there are just as many cringe-worthy scenes as well. This is a comedy with real substance and grit.

• Kaely Monahan is a entertainment reporter and creator of the film review podcast Popcorn Fan Film Reviews.

The Nice Guys - Movie Review by Monte Yazzie

The Nice Guys  

Director: Shane Black

Starring: Ryan Gosling, Russell Crowe, Angourie Rice, Matt Bomer, Margaret Qualley, Keith David, Beau Knapp, and Kim Basinger

116 Minutes

Warner Bros.

The beginning musical notes and title font of director Shane Black’s crime-noir-comedy “The Nice Guys” lets the viewer know we are taking a trip back to the 1970’s. The nostalgia of the era, the film takes place specifically in 1977, flows through every frame as Mr. Black fully presents his love for noir detective procedurals and buddy cop films. “The Nice Guys” is a rather funny comedy with crime-noir elements strung throughout. It’s a none-to-serious film, slapstick and silliness with high amounts of violence, which works remarkably well because of the commitment of the fabulous cast, Ryan Gosling, Russell Crowe, and Angourie Rice. Director Shane Black has crafted an entertaining comedy that plays the 1970’s era in all its nostalgic glory for a good-natured, adult laugh.

Private investigator Holland March (Ryan Gosling) is examining the case of the apparent suicide of a famous porn star. March is a single father to a young girl named Holly (Angourie Rice); the two have a strained yet loving relationship with one another. Jackson Healy (Russell Crowe) is a punch first, ask questions later private eye who crosses paths, brass knuckles on hand, with March; the two agree to work together to find a girl named Amelia who recently went missing. The case leads the two men into a dangerous situation with political powers, mobsters, and a hitman.

There is a crime afoot in “The Nice Guys”, one that leads the team of March and Healy on a wild goose chase of sorts throughout Los Angeles. The era specific details of the costumes and locations provides for some entertaining moments, like a party with a digital “Earth, Wind, and Fire” providing on-stage entertainment.  The blending of these historical pieces into the structure of the film is achieved quite nicely. While the film details the crime of a murdered porn star, a political conspiracy, and a case of mistaken identity, these themes never move into any significant dramatic territory because the film rarely ventures far from the comedic tone it establishes. While it may not feel like other retro-noir films like the serious and dramatic “L.A. Confidential” or the clever and bizarre “Inherent Vice”, “The Nice Guys” delivers a polished comedy that pulls distinguishable elements from crime and noir films. There are a few times when the story doesn’t live up to the execution that composes it, for all the era rendering and attention to detail the narrative never comes around to being all that engrossing but instead exists as a vehicle to watch great actors compose great characters.

Mr. Black establishes great chemistry within his characters in this film; Ryan Gosling and Russell Crowe play off each other quite well. They are the quintessential embodiment of the phrase “we can do this the easy way or the hard way”. Mr. Crowe and his grouchy, grumpy Jackson Healy prefers the hard way, usually a fist to the face of degenerates he has been hired to hurt or, in the case of his would-be partner, a broken arm and bloody nose. Ryan Gosling and his laid-back, sometimes sleazy, mostly bumbling Holland March prefers the easy way, usually a half-hearted investigation to gather just enough information to swindle old women out of more cash to find their loved ones. However opposite once these two characters get together they accommodate one another, Mr. Crowe and Mr. Gosling are easily one of the most entertaining duos on-screen in some time. However, while these two actors are great it’s the relationship of Holland March and his daughter Holly that offers the most balanced heart and humor. Angourie Rice plays Holly naïve and inquisitive, a young woman who is more similar to her father than she’d like to let on. Whether her sneaking along on an investigation to an adult entertainment party or applying her father’s blundering investigation strategies into her own skillset, young Ms. Rice holds her own very well.

Director Shane Black understands this genre; one should watch his exceptional neo-noir film from 2005 “Kiss Kiss Bang Bang” for proof. “The Nice Guys” utilizes the 1970’s era to build an interesting atmosphere to accommodate the comedic structure, while the narrative is somewhat underwhelming Ryan Gosling and Russell Crowe are worth the price of admission. “The Nice Guys” is an enjoyable film, definitely one of the funniest of the year so far.

Monte’s Rating

4.00 out of 5.00

The Lobster - Movie Review by Jeff Mitchell

Reach out and grab ‘The Lobster’, the best film of 2016 (so far)  

Directed by: Yorgos Lanthimos

Starring:  Colin Farrell, Rachel Weisz, John C. Reilly, Lea Seydoux, Ben Whishaw, Ashley Jensen, and Jessica Barden

“The Lobster” - On an ordinary, overcast day in the British Isles, David (Colin Farrell) checks into a 5-star, countryside hotel.  His stay will be far from predictable, and in fact, under a most bizarre scenario, David has 45 days to find love.  If he succeeds, he will discover happiness forever, but if he fails, the people running the hotel will turn him into an animal, literally an animal.  Luckily, David gets to decide which animal he could become (how novel, right?), and out of all the animals in the universe, he chooses to (potentially) be a lobster.  It seems like a strange choice, but he explains that they live for a hundred years, remain fertile for their entire lives, and plus, he loves the sea.

Quite frankly, all 1 hour 58 minutes of director Yorgos Lanthimos’ picture seems like a strange choice.  Yes, “The Lobster” is a wonderful, inspiring, hilarious, and frightening choice, and - led by a highly inventive screenplay and a purposely subdued performance by Farrell - it is, without question, the best movie that I have seen (so far) in 2016.   Set in a present day, parallel universe or next decade’s dystopia, Lanthimos chooses muted colors and gray palettes to paint this world and successfully sets an uncomfortable and uncertain mood.

The setting looks like a typical 2016 day on Planet Earth, but everyone’s behavior and internal logic is off-kilter.  Part of the film’s magic is the big (and small) discoveries of this world’s misaligned ideals and mores.  By revealing them in this review, I would be performing a massive disservice to you, the viewer, so I won’t.  Just know that the picture divulges them in uproarious, shocking and sometimes perverse ways and, in the process, raises excellent questions about romantic relationships.

Why do we choose a specific mate?  What do we sacrifice when we form a partnership?  Are we honest with - and do we remain true to - ourselves?  Is a chosen partner a true soul mate or someone who simply fits a need?

Through David’s (and other characters’) experiences in the hotel, it attempts to answer these questions, while it entertains in an oddball manner.  I would compare this film’s experience to a Wes Anderson picture with oodles of visual eccentricities and quirky individuals but with a more forlorn feel.  It is difficult to find a happy character on the screen, but these desperate singles certainly look for comfort and joy.  A terrific array of actors like Ashley Jensen, Jessica Barden, John C. Reilly, and Ben Whishaw play these unattached, “despairing” beings, and the screenplay does not provide them names, and instead, we know them as Biscuit Woman, Nosebleed Woman, Lisping Man, and Limping Man.

Meanwhile Farrell – who is somewhat unrecognizable with a 70s haircut, rimless glasses and a Tom Selleck-like mustache - is completely fascinating as a restrained, introverted architect who seems to have let life dictate his path for him.  Farrell’s David meanders through this “new path” and attempts to find the right key to someone’s heart before his six-week and three-day journey reaches its curfew.  With the clock ticking, he needs to take a stand and fight for his destiny, and it might arrive in the form of a pretty, short sighted woman (Rachel Weisz).

Then again, perhaps searching for a lifelong love under duress or societal ideals might be a short sighted endeavor.

Well, just be aware of those literal and figurative lobster nets in the sea and onshore, respectively.  (4/4 stars)

Neighbors 2: Sorority Rising - Movie Review by Jeff Mitchell

‘Neighbors 2: Sorority Rising’ hosts a less funny, more vulgar block party  

Director: Nicholas Stoller

Starring: Seth Rogen, Rose Byrne, Zac Efron, and Chloe Grace Moretz

“Neighbors 2: Sorority Rising” – In today’s housing market, home prices have steadily risen, and thankfully, millions of previously underwater homeowners are now treading water or happily swimming in the financial black.  Even more thankfully, for those looking to buy a home or refinance their current one, interest rates sit at near record lows and are basically dirt cheap.   Although “Neighbors 2: Sorority Rising” - the sequel to the very funny 2014 Seth Rogen/Zac Efron comedy - does not hit record lows, it feels cheap.

In “Neighbors” (2014), Mac and Kelly Radner (Seth Rogen and Rose Byrne) and their baby fought with wild fraternity members who lived next door.

The Radners won!

The sequel picks up a few years later, and Mac and Kelly live next to a vacant and quiet fraternity house.  With another baby on the way, they decide to buy a bigger house in the suburbs and accepted an offer on their current home.  As long as their place passes inspection and the new owners are satisfied by the end of the 30-day escrow period, Mac and Kelly are “home free”.  Very soon after – in the most unfortunate timing that can only exist in the movies – three girls rent the former fraternity house to start their new sorority, Kappa Nu.  Now, the previously happy couple must begin a new struggle (although just a 30-day one) against loud college kids, and the “twist” is that they declare war on coeds.

After sitting through this 1 hour 32 minute picture, the movie’s nuance seems infinitesimal, and “Neighbors 2: Sorority Rising” feels like a lazy, less funny and more vulgar repeat of its predecessor.    First of all, the sequel recycles the overall narrative and individual plot points, as the Radners and kids predictably volley between point and counterpoint, and once Mac and Kelly cause financial hardships for the sorority, tensions escalate into some ugliness

Obviously, Mac and Kelly feel weary about figuratively duking it out with another set of college-aged neighbors.  Despite some admittedly entertaining moments involving a plan to steal a giant stash of pot, Efron’s amusing return as Teddy and a few likeable girl-power sequences with Shelby (Chloe Grace Moretz), Beth (Kiersey Clemons) and Nora (Beanie Feldstein), I was tired of (and bored with) the same exact story as well, and – although I did not count the jokes - the movie simply felt less funny.   Now, “The Hangover Part II” (2011) is probably the worst offender – in recent memory - of repeating its original film’s story arc, but this movie is a close second.

Hence, the script turns unnecessarily distasteful at random times that beg for – the aforementioned – cheap laughs.  For instance, in the opening scene, Mac and Kelly are having sex, and she feels a bit nauseous.  Their moment is ruined when she throws up all over his face.  The five writers – including Rogen and Evan Goldberg – could have concocted a dozen ways to stifle the intimacy, but they chose vomit, because vomit is funny.  (Well, not at that moment, actually.)  The script also calls for two wholly unflattering shots of male nudity and the partial birth of a newborn that probably meant to elicit laughter but instead, generated plenty of groans from the audience.

I am perfectly fine with vulgarity and far from a rated-R killjoy, but the movie delivered these scenes like a real estate agent pushing a house with an outdated kitchen, faulty foundation and old roof.  I should not discount the entire film, because if you have not seen “Neighbors” (2014), this movie might certainly feel fresh and original, and it is good to see cinematic, female leads stand up for themselves.

If you have seen “Neighbors” - and you must see this film - maybe wait until “Neighbors 2: Sorority Rising” hits the rental market or finds itself on the movie channels.  Hey, it takes one to know one, and you’ll be getting off cheap.  (1.5/4 stars)

A Bigger Splash - Movie Review by Jeff Mitchell

‘A Bigger Splash’ does not reach its thirsty audience  

Director:  Luca Guadagnino

Starring:  Tilda Swinton, Matthias Schoenaerts, Ralph Fiennes, and Dakota Johnson

“A Bigger Splash” – Marianne Lane (Tilda Swinton), one of the most popular singers on the planet, regularly performs in packed football stadiums, and fans recognize her wherever she travels.   Thus, getting away to a remote coastal town in Italy for vacation seems like an appropriate retreat to recharge her batteries.  Actually, she needs to recharge her vocal chords, and her doctor gave her strict orders to refrain from speaking, let alone singing, for a while.   Well, Marianne is with her boyfriend, Paul (Matthias Schoenaerts), and they enjoy swimming, relaxing and lounging around naked under the warm Mediterranean sun.

Without much warning, however, Harry (Ralph Fiennes) and his 22 year-old daughter, Penelope (Dakota Johnson), decide to drop in on the happy couple and interrupt their stay of solitude.  Since he is Marianne’s ex-music producer/boyfriend, Paul and she entertain the idea, but with appropriate reservations.

Director Luca Guadagnino guides this reserved picture with the potential for explosive results.  Unfortunately, its potential is not quite realized.   Guadagnino paints four interesting characters on a canvas of close quarters and attempts to charge up the sexual tension with taboo possibilities of mixing partners.   Marianne leads an iconic music career, but Paul carries a subdued persona, and the two have recently flown through a trying period.  Meanwhile, Harry, a free spirit, beams flamboyance and excitement and still carries a torch for his ex.   He is the 50 year-old party boy that we all unfortunately know, who is afflicted with a sizable case arrested development and is always ready for a trip to Vegas.   Whether spinning a random Rolling Stones’ record, ordering a round of drinks or dancing and jumping into the swimming pool in his birthday suit, Harry is constantly searching for a good time.

Penelope is the last ingredient in this toxic brew - complete with an aloof guise (and a probable trust fund) - and casually mentions, “I fall in love with every pretty thing.”

This combustible blend of personalities promises fireworks, but instead the narrative – through most of the 2 hour 4 minute runtime - simply trudges along like a slow walk on the beach.   Now, slow walks on beach can be pleasant enough, but with Harry predictably and painfully courting Marianne and Penelope offering forbidden fruit at a long-drawn-out pace, I felt very little anxiety.   Hence, the picture inadvertently lulls us into ambivalence about any probable repercussions.

Guadagnino does offer many effective flashbacks into Marianne, Harry and Paul’s history, but the three leads seem much more captivating many years ago.  These peeks into the past gives us opportunities to see and hear Marianne hold conversations, sing in the studio and stand in an obscenely large rock venue, but in the present day, she can barely whisper.   Quite frankly, that’s how I felt about the story:  it mostly whispered.   Certainly, Guadagnino is a talented filmmaker, and he does provide some compelling visuals of the beautiful Italian countryside and offers some nifty work on a winding roadway and also on an off-camera drone during an actual big splash in a swimming pool.   Some impressive shots and a talented acting ensemble keep us somewhat curious, but ultimately, the uninspiring adult frolic does not hold enough intrigue for the film’s ultimate payoff.

It makes me wonder if the gorgeous locale distracted the filmmakers into taking a vacation during their working shoot, like that random guy who preoccupies himself with social media on his phone during a live rock concert.   Hey, Marianne Lane supposedly delivers a killer show, but “that random guy” missed it.

Yea…so did the rest of us.  (2/4 stars)

The Man Who Knew Infinity - Movie Review by Jeff Mitchell

“Patel plus Irons equals a gem in ‘The Man Who Knew Infinity’”  

Written/directed by:  Matt Brown

Starring:  Dev Patel, Jeremy Irons, Toby Jones, Devika Bhise

“The Man Who Knew Infinity” (2016) – Look into any high school science curriculum, and most assuredly, Sir Isaac Newton and his Law of Universal Gravitation are mentioned.   Newton – born in 1642 and a Trinity College alumnus – “discovered” gravity when an apple allegedly fell from a tree and hit him on the head.   “Schoolhouse Rock!”, the beloved animated series, even remarks on Newton and his famous red fruit, but another off-the-charts brilliant mathematician - who you probably have never heard of – also attended Trinity College, and his story is infinitely intriguing as well.

Srinivasa Ramanujan (Dev Patel) worked as a modest clerk in Madras, India, but through a well-placed letter to Trinity’s G.H. Hardy (Jeremy Irons), Ramanujan found a place to potentially publish his work and study with his new English mentor.   In 1914, his journey to one of England’s most prominent universities was literally and figuratively arduous, and writer/director Matt Brown’s biopic effectively and painfully captures Ramanujan’s challenges in his new British surroundings.

After traveling 6,000 miles and leaving his new wife, Janaki (Devika Bhise), behind, Ramanujan was also fiercely challenged by institutional racism in many corners of Cambridge.  Whether an instructor declaring that Ramanujan does not belong at Trinity or a group of WWI veterans beating him and calling him names, India’s warm weather and Janaki’s even brighter smile might as well be 6 million miles away.  In addition, Brown smartly captures one of the most affecting sequences in the picture when Ramanujan stumbles into a room with life-sized statues and stained glass windows, and all of the faces in the artwork are a colorless white.

Fortunately, Hardy, professor Littlewood (Toby Jones) and a few faculty members provide some sanctuary for him and do not hold bigoted feelings, as they embrace his genius and accept him like any other student.   On the other hand, the relationship between Hardy and Ramanujan is contentious in a different way.   While this prodigy can scribe absurdly implausible calculations and theories which could unlock answers to the impossible, Hardy repeatedly demands proof of the formulas because “intuition has to be held accountable” in order for Ramanujan’s work to be widely accepted.

This sometimes volatile teacher/student dynamic combusts at times and slow burns in others, and Irons pulls his highly-trained thespian levers to capture Hardy’s marvel and admiration for Ramanujan while also conveying his character’s inherent limitations of compassion and open communication.   Hardy deeply cares about Ramanujan but does not know how to express it.  Although Irons makes it awfully difficult to find fault with Hardy, because at the turn of the 20^th Century, how many middle-aged men knew how to express warmth or feelings?   At the same time, Patel emotionally projects Ramanujan’s mental and physical churn, but, like Hardy, his character does not always communicate the way he should.

Now, no matter how an audience member feels about math, Brown presents the material in a curious way for even the most arithmetic-challenged layman.  We do not visually see Ramanujan’s calculations dance on the screen, while he processes his thoughts, like John Nash (Russell Crowe) in “A Beautiful Mind” (2001).   Rather he passionately states his ideas or presents pages of handwritten equations, and the screenplay allows Hardy to judge their validity for us.  Since the frequent exchanges of (and how to package) these ideas reside with the two leads, the audience does not need to struggle with comprehending the meaning or interpreting the exceptional concepts.  Rather, the picture thankfully allows us to simply and easily absorb the dynamics between two fascinating characters and their relationship, and Patel and Irons rise to the task in grand fashion.

Trinity College is certainly fashionable and elegant, and Brown cinematically captures a worldly environment where cultured men proudly walk in green courtyards and sit on rich mahogany, but cigar-smoking elders broker backroom deals too.  It is far away from Ramanujan’s humble beginnings and his caring wife, but Trinity College is a place where he makes history.  The kind of history that you discover in textbooks.  (3.5/4 stars) 

Captain America: Civil War - Movie Review by Monte Yazzie

Captain America: Civil War  

Directed by: Anthony Russo and Joe Russo

Starring: Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Don Cheadle, Anthony Mackie, Elizabeth Olsen, Paul Bettany, Jeremy Renner, Chadwick Boseman, Paul Rudd, Tom Holland, William Hurt, Emily VanCamp, and Daniel Brühl

A splash page in comic book terms is a full page, sometimes two page, illustration that is meant to set the mood and grab the reader's attention. These iconic images would often show the hero meeting the villain for the first time or introduce the reader to a new world in a far off planet or alternate dimension. However, none grabbed my attention more than the images of hero verse hero altercations and few were as effectively captivating as Marvel Comics "Civil War" saga that set an entire team of heroes against one another.

The Marvel cinematic universe has crafted an exceptional world were all their superhero characters can coexist with one another if the setting calls for it. While inviting more people to the party has potential to confuse elements, Marvel's world has taken meticulous steps to establish all the characters and their motivations, we know who and what Captain America stands for, we know how Iron Man will respond to conflict; this is one of the primary reasons a film as jam packed with characters and storylines like "Captain America: Civil War" is works so well.

The Avengers have battled hordes of flying aliens and a powerful living automaton. They have prevented the world from coming to an abrupt end numerous times; though in the process have left a trail of damage, destruction, and devastation. After a recent battle to prevent another weapon of mass destruction from getting into the wrong hands, significant collateral damage in Lagos, Nigeria provokes the action of world leaders to put limitations and stipulations on the activities of The Avengers. Steve “Captain America” Rogers (Chris Evans) is conflicted with the decision to comply with these measures while Tony “Ironman” Stark (Robert Downey Jr.) is assured that the actions of The Avengers have consequences and they need to held accountable and regulated. This becomes a significant rift within the team, placing allegiances on the side of Captain America and Ironman. Further complicating the situation is Captain America’s old friend Bucky “The Winter Soldier” Barnes (Sebastian Stan), who reappears as the primary target in a deadly explosion.

The superhero film continues to get bigger and bigger, packing more action and more characters into their films in a consistent game of movie one-upmanship. However, Marvel has taken their time, over many years now, establishing these characters. Ironman has three standalone films and Captain America has two, the viewer has an in-depth understanding of the history shared individually and between each of these characters, which is why the subsequent battle brings about as much emotion as it does. It should be stated that for those coming into this film without any prior Marvel character film knowledge may have a difficult time keeping up, however the film does its best to try and explain the events that have led up to this point.

While this film may have a primary emphasis on Captain America this is very much an Avengers film. Most of the team is here, with the exception of Thor and Bruce “The Hulk” Banner, but there are also some new recruits. The Black Panther (Chadwick Boseman), the prince and protector of the fictional African nation of Wakanda, joins the team to capture the wanted Bucky Barnes. In a clever addition directors Anthony and Joe Russo give a refreshing spin to the familiar Spiderman (Tom Holland) story. In every scene the teenage Peter Parker, with a finally recognizable New York accent, adds a youthful comedic charm to cut into the serious tone just when it seems to be taking over. Even the recurring characters have their place in the film; Natasha “Black Widow” Romanoff continues to play a critical role within the team structure of The Avengers, Wanda “Scarlett Witch” Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) have an interesting chemistry, Sam “Falcon” Wilson (Anthony Mackie) and Clint “Hawkeye” Barton (Jeremy Renner) have some good moments with Captain America, and Scott “Ant-Man” Lang (Paul Rudd) steals every moment in his small cameo in the film. Again, just reading these last few lines may call out warning signs to some viewers thinking that this many characters all in one film would be a mess, they are all utilized effectively and play their role, big or small, within the film excellently.

We’ve talked about a wealth of heroes, but what about the villain? Here lies the small issue with “Captain America: Civil War”. Talented actor Daniel Brühl plays Zemo, a mysterious terrorist with an equally mysterious motivation. Mr. Brühl is hardly utilized and the villainous plot that he puts into action doesn’t make a whole lot of sense. It’s not hard to question the lack of attention paid to this aspect when the whole reason for this film is to see Team Ironman faceoff against Team Captain America. And once the amazing, jaw-dropping action scene everyone is waiting for happens at an airport, it becomes much harder to pick out the flaws when you just watched a comic book splash page come to life, however once the dust of settles questions arise.

“Captain America: Civil War” is an enjoyable and fun experience even though the film tackles more serious subject mater this time around, you can sense darker days on the rise for the characters in the future. While some narrative points, specifically those concerning the villains, don’t completely connect one action to another in the long run, the superhero franchise at work here has established enough confidence throughout their film journey that they can pull off a showcase this complicated with ease. While “Captain America: Civil War” may not be the best film in the Marvel cinematic universe, it is definitely one of the best ensemble superhero films the studio has put together so far.

Monte’s Rating

4.00 out of 5.00

Sing Street - Movie Review by Jeff Mitchell

“’Sing Street’ is a wonderful ‘80s music, coming-of-age road trip”  

Writer/Director:  John Carney

Starring:  Ferdia Walsh-Peelo, Jack Reynor, Lucy Boynton, Mark McKenna, Ben Carolan, and Kelly Thornton

“Sing Street” (2016) - “The girl.  It’s all about the girl, isn’t it?”

Ask most 15 year-old boys that question, and they will probably answer, “Yes!”

In “Sing Street”, for Conor (Ferdia Walsh-Peelo) – a 15 year-old Dubliner - the answer to his older brother’s (Jack Reynor) inquiry is also a strong affirmative.   You see, Conor falls hard for a pretty, but aloof, brunette named Raphina (Lucy Boynton), and he figures the way to her heart is to form a band and feature her in their music videos.

An average high school boy chasing a beautiful girl is a classic story, and writer/director John Carney’s (“Once” (2007), “Begin Again” (2013)) wonderfully entertaining, music-filled, coming-of-age picture looks back at an inspirational time for modern rock, the 1980s, to tell it.  Now, inspiration in 1985 Dublin might seem hard to come by, on the surface.  During very trying economic times, the movie mentions that many Irish people were searching for jobs – and better lives - by hopping on ferries and moving to England.  For Conor’s parents, Robert (Aiden Gillen) and Penny (Maria Doyle Kennedy), they are not leaving Ireland anytime soon, but they face the strong prospect of leaving one another, and their current financial dilemma is not helping their domestic issues.

Unfortunately, Robert and Penny’s constant fighting affects Conor - and his siblings, Brendan (Reynor) and Ann (Kelly Thornton) -  and to make matters doubly-worse, he’s bullied at his new school by a mean-spirited student and the headmaster, Brother Baxter (Don Wycherley).

In a recent interview, Carney mentioned that music became a place of solace when he ran into difficult periods in his life, and Conor looks for the same medium for comfort and, of course, to get The Girl.

The film does a colorful job of painting Conor’s school, Synge Street, as a ragtag, juvenile – and sometimes comedic - asylum of sorts, where adolescent boys attempt to reach for clarity, but their judgment becomes stymied and clouded by mad rushes of testosterone in the crowded and chaotic hallways and courtyards.

Fortunately, Conor finds an ally in Darren (Ben Carolan), a short red-headed kid with braces who carries handmade business cards on small rectangular cardboard pieces.  Darren agrees to manage Conor’s new band, even though neither one knows the first thing about playing an instrument or writing songs.  With terrific instincts, Carney pulls a hilarious ode to the Irish musical “The Commitments” (1991), as the boys go door-to-door to recruit their brothers-in-music for a hopeful trip to superstardom.   Along their journey, the conversations between the kids have a “Sandlot” or “Goonies”-feel, except they enjoy a tighter camaraderie, as they nearly always work together towards a common goal: creating their own music.

Conor’s closest friend is the musically-gifted Eamon (Mark McKenna), and Carney hits the right notes during several scenes when the two teens write songs.  The audience does see and hear the fruits of their labor, as Sing Street (their band) ambitiously records their own music videos.   Their songs are very catchy and rightfully capture an ‘80s feel, and some classic tunes from the decade – from The Cure, The Clash, Duran Duran, and more - are peppered into the film as well.   Magically and organically, Carney piles us into his time machine and sends us on a nostalgic and passionate trip to the sights, sounds and styles of the early music video era.

Sure, 1985 was a unique time, but Carney explores other themes that are timeless, namely the previously mentioned coming-of-age narrative.   Brendan plays an important part in Conor’s life, and he could figuratively and literally put his arm around his little brother or emotionally and physically shove him (as brothers sometimes do).   You have to see the movie to discover which method of brotherly bonding that Brendan chooses, but let’s just say that certain moments of their together-screen time are key to the movie.

Just like stacks of amplifiers and speakers, “Sing Street” carries lots of weight, and its mix of fun pop music with an exploration into the unfair stage of life called the teen years completely satisfies.  I can - just about - guarantee that this movie will bring a warm smile to anyone’s face, because “Sing Street” is about The Girl…and so much more. (3.5/4 stars)

Sing Street - Movie Review by Kaely Monahan

Charming, delightful and genuine, Sing Street is a must-see   By Kaely Monahan

Music is, once more, the centerpiece of John Carney’s newest feature Sing Street. The Irish filmmaker, known for the heart warming Once, proves yet again his best work shines when the core of the story is music.

Set in the mid-1980s in Dublin, Sing Street introduces Ferida Walsh-Peelo as Conor. A 15-year-old who's life is flipped completely sideways. His parents, played by Adrian Gillen and Maria Doyle Kennedy, are separating. His music obsessed, pot-smoking older brother, Brendan (Jack Reynor) is defiantly resigned and unplugged for all intents and purpose. The underutilized Kelly Thornton plays the sister Ann.

In the midst of the family upheaval, Conor is forced to leave his school to attend the less than distinguished Catholic school that's both rougher and cheaper than his former institution. Bullied by both teachers and students, Conor has to navigate a tumultuous home life as well as school. (The headmaster forces him to go about in his socks when he fails to show up wearing the requisite black shoes.)

But Carney doesn’t allow the film to bog down in melodramatics. There’s enough situational humor and clever scripting to lift the heavy themes up. Each character is lively and well fleshed out (except poor Ann).

Enter in the bodacious 16-year-old Raphina (Lucy Boyton). Conor sees her across the street from his school and is instantly star struck. She's unlike any girl he’s ever seen. His one friend at school reveals that she doesn't talk to anybody and there's no use in him trying to chat her up. But Conor is undeterred. Not to mention he's a clever lad. He comes up with a scheme to entice the elusive self-described model into meeting up with him. He tells her he has a band and they’re looking for a model to be in their music video.

The only problem is he doesn’t have a band. But that doesn’t stop him. He gets one together which includes the nerdy, rabbit loving, but music savvy Eamon (Mark McKenna) and the entrepreneurial Darren (Ben Carolan)—plus the only black kid in school (or all of Dublin)—Percy Chamburuka as Ngig. A few more boys round out the band, which has yet to figure out what kind of band they want to be.

They explore sounds, try their hand at covers and try to come up with a name. Their sound is truly awful at first, but utterly hilarious despite that. It’s eventually decided that they are “futurists.” It’s vague enough to be impressive without having to be specific. They call themselves Sing Street.

What starts off as a ploy to win the girl begins to evolve into something more for Conor. Guided by Brendan, Conor begins to truly craft himself into first a believable and then authentic artist. The band develops its unique style and improves. Raphina becomes the star and muse of the band, at least in Conor's mind.

As he dives further into his music, Conor begins to broadened his understanding of the world. He starts to notice all the little tragedies of other people, not just his own: Raphina as the orphaned, abused and misguided girl; Brendan as the musician who gave up on his dreams; his parents who married for convenience and are now breaking each other; the bully at school and his troubled home life—Conor begins to see that life is what you make of it and if you have a dream you have to chase it—whether it's getting the girl or running away to London.

Sing Street feels like Carney is revisiting the past through his characters. He invites the audience to do much the same, reliving all the hit music, MTV, the social and cultural upheavals (this is a time when divorce was not allowed in Ireland), and fashions trends. Even for those who didn’t grow up in the ’80s there is a strong sense of nostalgia running through this film.

At its core, Sing Street is a love story. It touches the heart so deeply and yet gently. Despite the heavy themes, the film is light and delightfully funny and—personally speaking—this is my new favorite John Carney film.

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

The Meddler - Movie Review by Jeff Mitchell

“Sarandon extends a warm invitation to ‘The Meddler’”  

Written and directed by:  Lorene Scafaria

Starring:  Susan Sarandon, Rose Byrne, J.K. Simmons, and Jerrod Carmichael

“The Meddler” (2016) - According to the dictionary, a meddler involves oneself in a matter without right or invitation.  Many times, parents appropriately intervene in their children’s lives when their offspring mess up or about to make a life mistake.   What about when children are grown?   Once a parent, always a parent, right?  Granted, I’m not a parent, but I have earned plenty of experience in shunning my mother’s “advice” after my 18^th birthday.  Sorry, Mom.

Marnie (Susan Sarandon) is a mother to Lori (Rose Byrne), a beautiful, 30-something TV show writer residing in Los Angeles, and mom decided to move from New York City to the City of Angels after her husband passed away.   Marnie loves living in Southern California and enjoys the gorgeous, year-round weather, shopping at an outdoor mall called The Grove and spending time with Lori.  Actually, spending time is an understatement and obsessing over her daughter seems more accurate.  Marnie repeatedly calls Lori, routinely stops over at her house unannounced, warns her about the latest serial killers on the news, and badgers her about getting back with her ex-boyfriend.   Lori loves her mom, but with the constant smothering, she needs a break.

Marnie somewhat gets the message and begins a journey of self-discovery in writer/director Lorene Scafaria’s (“Seeking a Friend for the End of the World” (2012)) film.  With Marnie’s husband passing away almost two years ago, Sarandon’s character feels highly relatable for millions and millions of widows and widowers who try to find their place in the world minus their lifetime partner.   With her wide-open, New York persona, Marnie tries to make new friends and does so rather easily, as she befriends a Genius Bar worker from a nearby Apple store (Jerrod Carmichael), Lori’s close pal (Cecily Strong) and an elderly woman at the hospital (Jo Jordan).  They do not seem to mind Marnie’s enabling behavior and unfiltered advice (and probably because they are not related to her).  You see, Marnie’s heart is always in the right place, and admittedly, her recommendations usually prove right, even if her methods are over-the-top.

Scafaria plays out the scenarios in cartoonish - but in believable and comedic - ways, as we cringe when Marnie suggests to throw a wedding for her daughter’s aforementioned friend, Jillian (Strong), without even running it by Lori first.  I remember mumbling “Oh no” a number of times throughout the 1 hour 40 minute runtime as Marnie steps where she does not belong, but she is attempting to fill a void and find value in herself, and there is a certain beauty in that.

Speaking of beauty, “The Meddler” is a terrific vehicle for Sarandon, and the camera captures Marnie’s gentle spirit for long stretches.  For instance, she breaks out of her comfort zone and dates a retired cop nicknamed Zipper (J.K. Simmons) and the next morning, turns to the kitchen and prepares an egg and a slice of toast.  We see the crack of the egg and the popping of toast, and then Marnie just spends a quiet minute eating her morning creation while smiling and soaking up the moment.   This is just one of many instances when Scafaria gives Sarandon the time and space to simply act without saying a word.

From strictly a narrative perspective, the movie is not particularly remarkable or ground-breaking, and a similar tale from 2015 starring Blythe Danner called “I’ll See You in My Dreams” worked a bit better.  At times, “The Meddler” meanders through plot points like a Saturday afternoon, Lifetime movie, but its strength is with the characters, both main and supporting.   Sarandon shines in the lead, and Byrne, Simmons and Carmichael deliver rich, genuine performances, as their characters maintain or build relationships with Marnie.  Whether or not Marnie learns from the past, she is a person worth knowing, and as an audience member, I was grateful for the invitation.  (3/4 stars)    

Papa: Hemingway in Cuba - Movie Review by Jeff Mitchell

“’Papa: Hemingway in Cuba’ is important but not quite a cinematic page-turner”  

Director:  Bob Yari

Starring:  Adrian Sparks, Giovanni Ribisi and Joely Richardson

“Papa: Hemingway in Cuba” (2016) – In two ways, “Papa: Hemingway in Cuba” feels like an important event.  First of all, director Bob Yari’s film is allegedly the first American movie shot in Cuba since 1959, and he captures several memorable and gorgeous shots of the Havana skyline and various neighborhoods for the audience.  As the movie played, I felt fortunate to witness it.  The Cuban backdrop becomes a brand new, wondrous discovery for the audience, and I imagine that it is not unlike one peeking into East Berlin (in person) just after the wall came down in 1989.

Secondly, the movie chronicles the experiences of a journalist named Denne Bart Petitclerc’s who befriended Ernest Hemingway, beginning in 1957.  Petitclerc’s extraordinary opportunity to meet this literally legend provides the audience the same chance through this movie.  Petitclerc is actually named Ed Myers in the film and is nicely played by Giovanni Ribisi.  Hemingway (Adrian Sparks) and his wife Mary (Joely Richardson) take to Myers right away, and the movie volleys between Miami and Cuba as Ed travels back and forth to the Hemingway “compound” for multiple visits.

Ed gravitates to Hemingway like the father he never had, because his dad orphaned him when he was only four.  Ironically, Hemingway’s friends nicknamed him “Papa”, which seems utterly appropriate on a personal level for Ed.  During the first few scenes between Ed and Ernest, Sparks’ on-screen portrayal of the man appears spot-on.  He is wise and thought-provoking, and Ed listens to every one of Ernest’s casual words, because the chance of something completely profound might be spoken while conversing about fishing, women or travels.  These are some of the best exchanges in the movie.  In fact, at one moment, Ernest pulls a miraculous trick for Ed by writing down an entire story with just six words on a cocktail napkin.

Speaking of cocktails, Hemingway also presents his less than glamorous-side, as he displays his appetite for drinking too much, arguing with Mary and delving into paranoia.  Many of these sequences get nasty and unpleasant, but the collective they usually say: don’t get too close to your heroes, because you may not like what you see.  At the house, poet Evan Shipman (Shaun Toub) mentions to Ed that Hemingway can be – at times – “the meanest son of a b*tch you’ve ever seen” but also is a loyal and gentle friend.  Shipman adds that Hemingway is a genius, so one cannot expect that he should act like an ordinary man.

Unfortunately, as the narrative plays on, the movie feels rather ordinary and a bit of a soap opera.   Hemingway’s behavior becomes increasingly erratic, and although the movie does reveal some insight into the darkness of his personality, less and less of his reflective philosophy appears on the screen.  These might be shades of the man, but frequent and ugly verbal quarrels with Mary do not translate into an overall satisfying experience.   Still, “Papa: Hemingway in Cuba” has a lot to offer, especially for anyone curious about Cuba or Petitclerc’s experiences, but the film is not quite a cinematic page-turner. (2.5/4 stars)

Keanu - Movie Review by Kaely Monahan

You don’t have to be a crazy cat lady to enjoy Keanu By Kaely Monahan

Action-comedy films have been missing one crucial ingredient for years: kittens. Clearly comedians Keegan-Michael Key and Jordan Peele knew this off the bat when they embarked on the absurd yet utterly delightful Keanu.

Key and Peele are well known for playing with stereotypes and stretching comedy in bold and unexpected ways. This, their first, feature film together shows them in their top form as comedians, but they are, surprisingly, good storytellers and the film actually holds up.

Let’s make one thing clear: the true star of the film is the little kitten, affectionately named Keanu. Without him the entire film would fall apart. The little tabby is first introduced as the gang pet of an L.A. drug dealer. The film opens with a bloody action sequence that delights in dramatic music and slow-motion sequences. Bullets fly, blood sprays, and the little kitten epically dodges the many panicked feet. He escapes the bloodbath only to be confronted with the big bad world of Los Angeles. (Do you feel your heart strings pulled yet?)

Meanwhile, Rell (Jordan Peele) is reeling from a bad breakup with his girlfriend. He sees no purpose to life and he weeps while he smokes his bong and generally laments life. His cousin Clarence (Keegan-Michael Key), is a happily married, type-A motivational speaker whose goal in life is to make others happy.  He’s also the whitest black man you’ll ever see. His wife (Nia Long) encourages him to do something that makes him happy for once while she and their daughter take a weekend out of town. Clarence assures her he'll do just that if it will make her happy. (Old habits die hard.)

Ever the cheerleader, Clarence starts his weekend of “me time” with the intention of consoling Rell. Unbeknownst to them both, fate or rather a “purr-pose” comes scratching at Clarence’s door. The lost little tabby is instantly adopted by Clarence who names the stray Keanu. With hours he turns into the black man version of a crazy cat lady. (But who can blame him? Keanu truly is adorable.)

After a night out at the movies, the boys return to find Rell’s house broken into and Keanu missing. Distraught beyond reason, Clarence attempts to life Rell’s spirits by searching for the lost cat. They discover from Rell’s neighbor and pot dealer, a cornrowed Will Forte, that the 17th Street Blips are the cat-burglars.

Determined to rescue Keanu, Rell along with a reluctant Clarence mascarade as the deadliest killers in the L.A. underground—the Allentown brothers. Together they infiltrate the Blips’ HQ, the hilariously named HPV strip club (that’s the Hot Party Vixens). It’s a rocky start as they are the anything but "hardcore gangstas," but somehow they manage to convince the Blips that they are the real deal. However, in order to get Keanu back they have to prove themselves to the Blips’ leader, Cheddar (Method Man). He has them take his crew out on a drug drop, which inevitably turns into a side-splitting disaster.

The plot is ridiculous. In fact, the entire premise is weak, but the laughs keep coming as Key and Peele successfully transform their sketch comedy skills into a feature length film with enough plot and heart to keep it going.

One of the highlights of the entire film is Key’s Clarence educating the hardened gang members on the brilliance that is George Michael. You’ll be hard pressed to not sing along. Peele’s character gets a chance to rebound with the tough and very impressive Hi-C, performed by a delightfully thuggish Tiffany Haddish.

Toss in a good amount of guns, blood, money and car chases and this film turns into a regular action-adventure that should make you purr with delight.

At the film's heart, however, is the love a man for his cat. It must be said the chemistry between Peele and Keanu is utterly convincing. When they share the screen, you actually believe they have a thing for each other. Will we be seeing them in the tabloids? It’s too soon to tell, but one thing is for sure. They make an adorable couple.

On the surface, Keanu is just silly, but it holds up and is actually better than expected. It will keep humor-hounds, Key and Peele fans, and crazy cat ladies thoroughly amused. This film could be the next sleeper hit. At any rate, it’s a hit in my book.

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

Green Room - Movie Review by Monte Yazzie

Green Room  

Dir: Jeremy Saulnier

Starring: Anton Yelchin, Imogen Potts, Alia Shawkat, Joe Cole, Callum Turner, Macon Blair, and Patrick Stewart

We’ve all heard the saying “I was in the wrong place at the wrong time”.  Many have probably fallen into this situation at least once in their life. I once walked into a surprise birthday party mere seconds before the birthday person walked in, completely ruining the surprise. These encounters are most often innocent enough and are probably shared as bits of small talk or chitchat to engage a conversation. In Jeremy Saulnier’s film “Green Room” this sentiment takes a cruel turn into nightmarish territory when a punk rock music group called the Ain’t Rights encounter a community of White supremacists. Mr. Saulnier exceptionally turns a simple story into an unflinching and tension-filled demonstration of survival horror.

A struggling punk rock band touring on the road is down to their last few stops, scrounging for shows and siphoning gas to make it from town to town. Not ones to turn down a paying gig the Ain’t Rights jump at the opportunity to perform. However, the concert is on the outskirts of town, in a community controlled by White supremacists. The group performs to a hostile crowd that spits and throws beer cans in their direction. Eager to leave the Ain’t Rights quickly gather their gear and are nearly out the back door. A final return to the green room for a forgotten phone interrupts a murder, as witnesses the band is taken captive by the owner (Patrick Stewart) of the club and into a fight for survival.

Jeremy Saulnier is good at taking characters and placing them in the middle of terrible situations that they have no control over. The process for the characters becomes forced action, most often action that requires the character to commit horrifying acts in order to survive. But what makes this simple narrative approach so effective is the skill of Mr. Saulnier, who understands how to manipulate the viewer in inventive ways and make the viewer feel every emotional moment of the situation the characters are in. In “Green Room” Mr. Saulnier combines all the successful elements from his previous films and builds a film that breathes tension and anxiety. Whether the calm manipulation of a club owner coxing a group of young people into submission through a locked door or the frantic, pulse-pounding cat and mouse chase, there are moments that will make you squirm and moments that will push you to the edge of your seat.

The film works best when gleefully indulging in these moments, however where Mr. Saulnier stumbled in the past with aspects of character composition or narrative cohesiveness here the director successfully compliments these features nicely. There are even small moments of comedic levity as the band discuss their “stranded-on-a-desert-island” band, a moment that had a big applause at the screening that I attended after the choice was made from one of the characters. Things lead to a finale that is less exciting and somewhat predictable yet still satisfying because of the characters finally surrender to the situation and embrace their punk rock attitudes.

The film has the help from the very dependable talents of Anton Yelchin and Alia Shawkat but also some fine moments from Joe Cole and Callum Turner, these four actors comprise the Ain’t Rights. In a wonderful casting choice Patrick Stewart plays the villain as club owner Darcy, Mr. Stewart is calmly menacing and effectively evil throughout the entire film.

“Green Room” is very much the definition of punk. A film that understands the rules but decides to play by its own tune, a fast, aggressive, and stripped down tune. While the story concerns a group of young people who are in the wrong place at the wrong time, the film may be an opposing version of this. It is essentially the right film at the right time amidst the stale and overused versions of this sort of film; “Green Room” is a brutally refreshing interpretation.

Monte’s Rating

4.25 out of 5.00

Elvis & Nixon - Movie Review by Jeff Mitchell

“Shannon and Spacey deliver a fun history lesson in ‘Elvis & Nixon’”  

Directed by: Liza Johnson

Starring: Michael Shannon, Kevin Spacey, Alex Pettyfer, Johnny Knoxville, Colin Hanks, and Evan Peters

“Elvis & Nixon” - “Do something worth remembering.” - Elvis Presley

“My concern today is not with the length of a person’s hair but with his conduct.” - Richard M. Nixon

With the unofficial title of “Leader of the Free World”, the President of the United States regularly accepts visits from various heads of states.   On December 21, 1970, President Richard M. Nixon received an impromptu visit from royalty, musical royalty, that is.  In fact, this person was (and still is) considered “The King”, and his name was Elvis Presley.  Based upon an actual event from almost 46 years ago, director Liza Johnson guides two heavyweight actors - Michael Shannon and Kevin Spacey - on this odd, but highly notable meeting between two of the most famous men of the 20th Century.

Admittedly, this two-person, Oval Office assembly certainly does not rise to the importance of the Treaty of Versailles or anything, and Johnson’s nifty comedy astutely recognizes this fact by offering a cinematic runtime of just 85 minutes.  On the other hand, she simultaneously treats the material with great care and allows Shannon and Spacey plenty of room for two rich, highly amusing and - at times - hypnotic performances.

When we first see Elvis (Shannon), he feels anything but hypnotized by the four television sets in his Graceland living room and instead, feels disgust.   Although he makes his living on rock ‘n roll, Elvis holds conservative values and is none too pleased with the drug culture and its byproducts, namely youthful rebellion and protests blaring on the TV news.  Elvis wants to help his country in some way.  His proposal (which I will leave out of this review) sounds fairly preposterous to his friend Jerry Schilling (Alex Pettyfer), but The King wrote a letter to President Nixon (Spacey) and wants to hand it to him at The White House, and well, The King usually gets his way.  Through a series of smartly-placed sequences - like airport security allowing Elvis to carry handguns on a commercial aircraft - the audience quickly learns that yes, Mr. Presley usually gets his way, so why not meet the president on a random Monday?

Johnson throws some real obstacles in Elvis’ path, and mostly in the form of Nixon’s reluctance, but yes, the meeting does eventually occur, otherwise we would not have a movie.  The real suspense and anxiety of the film revolves around how this personal summit will go, because everything about Shannon and Spacey’s performances - leading up to their initial face-to-face talk - foreshadows a brutal car crash.

Now, Shannon’s angular facial features do not resemble Elvis at all, but he sports a black wig, a black suit with wide lapels, two fistfuls of dollar-sized rings, and a cool-cat speaking delivery and accompanying manner which completely convinced this critic that Elvis Presley is actually walking and talking on the big screen.   Shannon’s pulse never seems to rise above 35, as Elvis navigates through various hurdles with an “oh shucks” persona and southern charm, while White House security, airline ticket agents and secretaries respond with amazement and swoon.  He is hilarious and mesmerizing, and Spacey matches Shannon - scene for scene - with his portrayal of Nixon.

Spacey’s hairline resembles the former president, but he also captures his mannerisms, all-business attitude and cynicism.  Of course, this titanic meeting between the two offers the very best moments of the film, but Spacey is also very funny when handling his presidential handlers, Egil Krogh (Colin Hanks) and Dwight Chapin (Evan Peters).   Krogh and Chapin desperately want the president to visit with Elvis, but he cleverly shoots down their early attempts as only Nixon could, with casual dismissiveness and sarcasm.

Like Krogh and Chapin, Schilling and his pal Sonny (Johnny Knoxville) try to manage their boss Elvis as well but with little success.  Elvis simply does what Elvis wants to do, and Schilling cannot really reason with him, but he owns a special knack for opening the right figurative doors for The King.   The movie does spend some unneeded time on Schilling’s domestic challenges, as he attempts to be a dutiful boyfriend to his Los Angeles girlfriend and also a confident for his world-famous friend.

Elvis and Nixon obviously are the stars of “Elvis & Nixon”, and through this stylish time warp - which truly looks and feels like 1970 - the audience receives a quirky history lesson wrapped in acting brilliance.   Just before the closing credits, the film also brilliantly commemorates the actual occasion in a surprising way, and we learn that Elvis did yet another something worth remembering and discover whether or not Nixon appreciates a person’s conduct, regardless of the length of one’s hair.  If only all history lessons were this fun!  (3/4 stars) 

Behind the Scenes with Everybody Wants Some!! - By Kaely Monahan

Richard Linklater’s newest film Everybody Wants Some!! has been advertised as a “spiritual sequel” to his 1993 film Dazed and Confused. However, it was clear that revisiting the 1970s high school and graduation is not what this film is about.  

“We’re making our own movie. It’s just tonally very similar,” said Glen Powell, who plays the smooth-talking Finnegan. “If you liked Dazed and Confused you’re going to like this movie.”

Powell, along with Wyatt Russell, Quinton Johnson and Forrest Vickery sat down for a panel interview and shared what it was like working with Linklater and bringing 1980 to life.

The film follows the antics of Southeast Texas State college baseball players in the days leading up to the first day of class. Experienced mainly through the eyes of Jake (Blake Jenner), the frat-mosphere of the team house is filled jock characters that fit the stereotype of dumb-college boys obsessed with drinking, sex and having fun. The ground beneath their feet is almost sacred as sports players rule the schoolyard.

On the surface, the film comes across as another “dumb bro flick.” But in true Linklater fashion the story shows more depth than meets the eye. Everybody Wants Some!! is story about entering into full manhood during a time of political, economical and social change. Set precisely in September of 1980, three days before classes begin, the film straddles the end of the disco-era with one foot firmly in “the future.” Tastes in fashion and music was changing. But the genius behind setting is Linklater’s precision. He was careful to make sure nothing from the later years showed up. That precision, coupled with a sense of fun and an appreciation for the human side of storytelling, was what the cast admired.

“Rick is like a time machine. He took us back there,” Johnson said. “He was like, ‘Oh this song is coming out around this time in April; it was playing on the radio three times a week. We wore only these materials. Those materials didn’t come in until ’81.’ He was just so smart about everything that was the time period.”

Powell added that the cast affectionately named Linklater “Rick-i-pedia.” His knowledge about the era, and 1980 specifically was mind-blowing.

One of the most entertaining moments of the entire film was when the boys were driving to campus with the windows rolled down singing Rapper’s Delight.

“Rick talked about that song has now become a joke. He’s like, ‘That’s an awesome song…That was the coolest song of the time.’” Powell said.

Moments like that shake off the campiness that the 1980s have garnered and give it some dignity, all while still being a hoot to watch. For those who were college aged during that time, the film is certain to resurrect some nostalgic feeling; and for those who were still drooling in their diapers at the time, the film offers a glimpse behind the curtain.

“It was a really, really fun, exciting period. I think that’s why Rick wants to revisit it. I think that’s why there’s so much nostalgia for the era. It was truly great” Powell said.

The film is hits very close to home for Linklater. Not only did he attend college during the ’80s, he played baseball as well. Jake is arguably a foil for Linklater himself.

“It’s pretty autobiographical,” he said in the film’s press release. “Looking back, I realize it was a fun time to be in college, not only personally, but it was an interesting cultural moment.”

Everybody Wants Some!! marries together Linklater’s nostalgia of his youth and love of sports with his artistic sensibilities, into a film that will strike a cord in many moviegoers.

“Rick truly is an intellectual but he’s jock, and you forget about that because he’s made so many of these thinky movies over time. And then you talk to him about sports and you’re like, ‘Oh shoot! He’s Rick-i-pedia with sports as well!’ He truly understands the game and he understands competition and the idea of at a certain point in sports you’re going to have to leave that dream behind,” Powell said.

Although focused on college baseball, a good portion of the film is out on the dance floor rather than the diamond. There’s are various scenes that show how the music scene was changing—and along with that, dancing styles. In the ’70s and ’80s dancing was as much a part of the college sports scene as playing. Back then everybody danced. Powell said that nowadays, there’s a feeling that people are “too cool to dance,” but in 1980 it was just a fun time.

Everyone got into the scene.

“We would go in every morning and we’d do two hours of baseball and two hours of dance rehearsals,” said Vickery, who was also making his film debut. “We’d have to do the Cotton-Eyed Joe—which I never picked up; two-stepping, which I say I was ok at; and then the Saturday Night Fever dance is something we had to learn.”

The boys show off their moves starting at a disco club and ending up at an underground punk-rock concert.

“[Linklater] said athletes when you went out you took over, you danced, and you ran the dance floor,” Powell said.

You don’t see that much today and, according to Russell, here’s a feeling that sports players have a brand to protect; athletes can’t be too outspoken or too political now. Turn on any game or ESPEN and you’ll see carefully phrased answers to questions and most athletes and coaches dodging heady questions that stray outside of their sport. But back in the ’80s there was almost a license to be candid.

The heart of the film was the relationships between the young men. The older classmen take the younger under their wing and impart their “wisdom.” Whether it be on how to pick up chicks, managed classes or realizing that they’re on a whole new playing field, the interactions are authentic, heartwarming, and humorous.

Perhaps none are as enlightened, or perhaps high, as Willoughby. Played by Russell, the cannabis-mellowed Californian injected some perspective into the young teammates. He said the odds of them actually making it to the majors are slim and that there is more to life beyond baseball.

Russell felt a true kinship with his character as he had similar aspirations of becoming a professional hockey player that were later dashed. His personal experience lent itself to the character of Willoughby.

“If you’re any good and you got a shot at becoming something—you have to put these horse blinders on at like 15, 16, 17, because that’s when things get real. If you aren’t able to at some point get those horse blinders off then you’re missing the point, in my opinion,” he said.

“So, when we were talking about that scene, that came up for me. I thought it would be fun thing to impart some of the stuff I learned in hockey and my life in sports on Jake… he [Willoughby] looks back on it and goes, ‘Let me just let you in on something, because this is what life’s about because you’re probably not going to go play.’”

That realness is a trademark Linklater style. In his films, there’s a sensation of “I know some one just like that,” and in Everybody Wants Some!! it’s no different. To foster the genuine companionship and frat-like comradery, Linklater brought the cast to his ranch out in Texas prior to shooting.

“He was like a camp counselor in a way,” Russell said. “He’d be like, ‘Alright, now you gotta go swimming. You gotta go play ping-pong, you gotta go do this.’”

By giving the cast room to be creative and have fun allowed them to build true relationships with each other, which translated really well on screen. As Russell put it, Linklater is interested in casting people, not actors.

“It was the best master class I could have taken,” said Johnson, who was still a student at University of Texas when he auditioned for the role of Dale. “I was getting ready to take a film course that fall semester and I’m glad I did this film instead of taking that film course.”

Everybody Wants Some!! is a charming, at times ridiculous, foray into the recent past. Linklater reveals a truth about that time—like taking a polaroid he captured the zeitgeist of the moment that’s been lost in the barrage of big hair, shoulder pads, and spandex. As Powell said, Linklater “sees the truth in life.” And that’s what we go to his films to see—to experience a moment in time.

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

Midnight Special - Movie Review by Monte Yazzie

Midnight Special  

Director: Jeff Nichols

Starring: Michael Shannon, Joel Edgerton, Kristen Dunst, Adam Driver, and Jaeden Lieberher

111 Minutes

Warner Bros.

I assure you this is not the new “Credence Clearwater Revival” biopic. Nope, this is a story about a kid who has extraordinary powers. “Midnight Special” is an unusual film by director Jeff Nichols, however along with the strange aspects it also comes with a significant amount of heart and sincerity that makes it completely affective. Mr. Nichols has done this before, he is the director of “Mud” and the exceptional “Take Shelter”, so it’s no surprise that the material here is elevated because of the director’s unique skill and touch with storytelling.

The film begins with two men, Roy (Michael Shannon) and Lucus (Joel Edgerton), watching a report on the news about a kidnapping, a crime that has Roy’s face plastered on the screen as the dangerous suspect. Also with the two men is Alton (Jaeden Lieberher), a young boy who loves reading comic books using a flashlight and is most always wearing swimming goggles. On the run through Texas, the two men and Alton are trying to reach a special location, a journey that is impeded at every opportunity. Alton has a special gift, an ability that people want to either exploit, research, or, in the case of Roy and Lucas, protect.

The story here will be nothing new to film fans, the basic structure of the story and style of the film is one that has been reflected in science fiction films of 80’s. Think “Firestarter” or “Starman” without all the extravagance. Instead, “Midnight Special” meticulous and patiently develops the story, building the relationships between the characters and letting young Alton slowly become cognizant of his gifts and why it is guiding him. The mood is also an important quality here; it is artfully accomplished in a way that keeps the viewer consistently guessing about their presumptions. Mr. Nichols is subtle about the implications of Alton’s gift, purposefully leaving explanations vague up to a specific point in the film. Unfortunately it’s at this moment that the film feels a little too big for the concept it has quietly and delicately hinted at. The change doesn’t hurt the film but instead makes the decision feel too deliberate, so much that it feels somewhat forced. Still this is small criticism, it would not surprise me if some viewers welcomed the change because of the film's measured pacing. Some may describe “Midnight Special” as a “slow burn” kind of film; rest assured this is a sentiment meant in the best possible way.

Part of the attraction here comes because of the exceptional performances. I have said it before, Michael Shannon is the best thing in about every thing that he does. Mr. Shannon has been in every film that Mr. Nichols has made and the results of this consistency can be seen in the performance. Mr. Shannon has an intensity throughout the film that is kept restrained, a mixture of confusion, frustration, disappointment, and love that is never completely unleashed but is still seen on the actor’s face. Joel Edgerton plays a state trooper helping his best friend; regardless of whether or not he understands what is going on he still believes. Mr. Edgerton is good throughout offering a different kind of emotional connection with Alton. Adam Driver, interesting to watch here, also makes an appearance as an NSA advisor; he develops a unique relationship with Alton that provides the most information about the gifts possessed by the young boy.

Everything and everyone revolves around Alton, Mr. Nichols understands this and consistently utilizes Alton to craft surprising narrative moments especially when it comes to the characters that interact with him. Everyone has a different motivation that is reflected when they interact with the young boy. It’s an exceptional quality that helps “Midnight Special” tell an intriguing and calculated science fiction character drama.

Monte’s Rating

4.00 out of 5.00