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I recognize that while we have been treated to a new level of excellence in the genre over the past decade, the majority of what is released, especially by DC comics, is simply another comic book movie. While this film is largely the same story as the original theatrical release only at twice the duration make no mistake; this is not just another superhero film. The additional footage is seamlessly added to the original journey of Bruce Wayne to recruit more heroes to face an imminent threat from an ancient, interstellar threat. True humanity, global stakes and high drama contribute to the scope of what can only be described as a proper epic. Justice League was written by Chris Terrio, Will Beall, and Zack Snyder and directed by Snyder. It stars Ben Affleck, Henry Cavill, Gal Gadot, Ray Fisher, Jason Momoa, and Ezra Miller as the heroes of the Justice League. Supporting characters include Amy Adams as Lois, Jeremy Irons as Alfred, Connie Nielson as Queen Hippolyta, Joe Morton as Silas Stone, and Amber Heard as Mera. Jesse Eisenberg and Jared Leto reprise their villainous roles of Lex Luthor and the Joker in brief. Again, the story opens with a world in mourning over the death of Superman, and Bruce Wayne’s impossible quest to find more super-powered beings to protect the planet in the absence of Kal-El. Diana has also returned to her life as a simple museum researcher, only occasionally appearing as Wonder Woman to battle pockets of terror as they appear. Unknown to them both, the threat to Earth is beyond imminent, and the need to build a team of strength and number is already at hand. Steppenwolf, a warrior of immense power from outside our galaxy has come to the island of Themiscyra to pry from the Amazons a “Mother Box.” This is an ancient item of mystical strength that when paired with two other boxes in the possession of Atlantis and surface humans, will foretell the return of world-conqueror Darkseid. Steppenwolf does indeed procure the first box from the Amazons and quickly turns his attention to Atlantis, and the surface world, to obtain the final two, and bring sure destruction to the planet. The additional time is not wasted in this film. Yes, it feels like a four-hour movie, and you will sometimes wonder if the new material is what you have seen before, for the genius of editing. Great care is given to the introductions and origins of Flash, Cyborg, and Aquaman. The additional footage of these characters becomes absolutely critical to the film and one will not be able to view the origins presented in the first film without knowing so much is missing. The family and romantic ties of these three newest Justice Leaguers is often tender, and sometimes enraged. These become not only characters in a film, but flawed and frightened human beings uncertain of their roles in the larger world nevertheless a superhero team. Supporting characters such as Lois Lane, Alfred, Gordon, Martha Kent and Mera are also expanded to connect them to the larger epic. One can sympathize with Ray Fisher’s displeasure when the true level of how much his character had been abridged in the theatrical release is realized. The new movie no longer begins with the low droning “Hallelujah” of the original release, although a variation of the song appears in the end credits. Instead, the earlier scenes revealing the many characters are beautifully framed by the haunting chords of lovely folk-style music in full harmony. This is one of the most remarkable soundtracks in recent memory, both mellow and intense, and leading to a powerful score toward the later battles. We are treated to more respectful effects, from the appearance of Steppenwolf, to the vast apocalyptic landscapes created slowly, branching out to much larger visions. The extra time given to cinematography is not wasted. The saga of Superman and his rebirth is also given the time it deserves, simplified by a more thorough explanation, and given much higher drama as a result. The love of Zack Snyder for this world and these heroes, however, is the heart of the story. Zack is responsible for the cinematic entry of 300 of course, as well as many of the contemporary entries of the DC Cinematic Universe. Justice League, this cut, the Snyder Cut, is very clearly his opus. Epic in its scale, this is a superhero movie that takes itself seriously, even more so than the Infinity Saga and Endgame with all of their death and despair. Even Dark Knight wasn’t “so serious” after all. Snyder’s triumph isn’t in just making a better Justice League movie, but in making the one we deserved all along. It's not only his obvious love for the humanity of these characters he plays with that endures, but his clear love for the humanity of the audience. I think I would like to see many more superhero films taken this seriously. Hopefully Warner Brothers, and even Disney, is paying attention.

At the end of the day, we are all a product of our family. Hillbilly Elegy explores the impact of a family on the past, present and future of a young man with potential. J.D. is called back to his humble hometown in Ohio when his mother, Bev, suffers a setback in her life. Throughout the film we see how Bev’s influence on her family has stunted her own life, put her children frequently at risk, and extended her own mother’s matriarchal duties. Faced with the unlikelihood that his mother will ever change, J.D. must decide how much he must sacrifice in his own life in order to perpetuate hers. Hillbilly Elegy is written by Vanessa Taylor (The Shape of Water) based on the book by J.D. Vance. It is directed by Ron Howard (Apollo 13, A Beautiful Mind, and, of course, Opie). It stars Amy Adams (Arrival, American Hustle) as Bev, and Glenn Close (Fatal Attraction, 101 Dalmatians) as Mamaw in an Oscar-worthy supporting role. The role of J.D. is played as an adult by Gabriel Basso (Super 8) and an emotionally thoughtful performance as young J.D. by Owen Asztalos (Jessica Jones, Diary of a Wimpy Kid: The Long Haul). J. D. is called home by his sister as his mother relapses into drug use, after many years of sobriety. The timing is unfortunate, as J. D., escaping the stereotype of his upbringing, is on the verge of accepting an Ivy League paid internship, which he needs to continue to pay for his remaining education. All he has to do is ace one of a number of interviews that are occurring just as his mother is falling back into addiction. And while J. D. acknowledges that his early years in Kentucky, then Ohio, were some of the happiest of his life, it is these moments that he has had to rise above all throughout. And we are shown that at many points throughout the movie, different people have had to take up slack where others were falling. But that’s exactly what family is, as this film defines. Hillbilly Elegy asks and answers the question: How much do we owe our mothers, and how deep does the debt lead. The answer is not simple, but winds around to what is best for everyone, as is often true with most families. Ron Howard will be cheated of an Oscar nomination within a crowded field, for a beautiful work well executed. Amy Adams will be on a lot of short lists for the honest portrayal of a lost lonely mom standing in her own way. Both Basso and Asztalos are remarkably sharp in playing a subtly angry and torn J. D. Vance, on whose life this film is based. But Glenn Close is a miracle playing Mamaw in an authentic turn of a present-day hillbilly, neither contrived nor satirical. Her message is the most important of the hillbilly: Family comes first, a creed she follows at all stages of life. When it comes to Academy voting, Close should come first in the Best Supporting Actress category and finally come home with an Oscar. Hillbilly Elegy has a lot of layers, but I recommend to anyone that will enjoy a sweet story about how families fail, yet affect us all in ways that allow us to succeed beyond the scars. I give Hillbilly Elegy 4.5/5 Stars for the story, the message, and one of the strongest acting ensembles in the category this year.

If Flash Gordon and the citizens of Mongo travelled the Factory of Willy Wonka, with a grown-up Boo as a hero and the most heart-wrenching opening since UP, you’d have the bones for the visual lullaby that is Over the Moon. Over the Moon packs a dozen characters fueled by energy drinks with surreal, madcap action at times, and a surprisingly upbeat soundtrack, flowing within a gentle story, quiet as the heartbeat of a sleeping child. Over the Moon is written by Audrey Wells (George of the Jungle), Jennifer Yee McDevitt, and Alice Wu, and directed by Glen Keane (writer, Tarzan, Pocahontas) and John Kahrs (Joe’s Apartment). It stars the voice talents of Cathy Ang (Age of Sail) as Fei Fei, Robert G. Chiu (Albert) as Chin, and a wonderfully zany performance by Ken Jeong (The Hangover, Crazy Rich Asians) as Gobi. Phillipa Soo (Hamilton) plays Chang’e, with John Cho (Star Trek) as Father, and Margaret Cho and Sandra Oh playing members of Fei Fei’s family. Fei Fei is a young girl, part of a quirky, loving Asian family, suddenly faced with a loss insurmountable, and unexplainable for a child. As the world around her moves from grief to momentum, Fei Fei leans upon an old tale told to her by her mother, about a moon goddess waiting forever for her true love, their reunion the only hope for happiness. As only a child can logic, Fei Fei knows only by traveling to the moon and delivering proof of the moon goddess to her family can she hope to keep them stuck in their loss, as she is, where they belong. While there are an impressive amount of visually beautiful and even rapid sequences in this movie, it rarely feels chaotic, and flows like a fairy tale of old, with a simple message of love at its core. While the idea of a child building and flying a rocket to the moon is absurd, the writers give Fei Fei a scientific mind that uses sound engineering, yet explained in the words of children, in the creation of her space craft. The hero of this movie is actually a rocket scientist; and it’s a girl! The music, bookending a booty-shaker by the moon goddess, is beautifully and thoughtfully written, including a silly yet measured performance by the delirious Ken Jeong. The cast is well thought through, with beautiful vocals by Cathy Ang who also manages to deliver wonder, angst, and determination as the young Fei Fei. Her family is wonderfully realized by a number of well recognized actors including John Cho, Margaret Cho, and Sandra Oh. Ken Jeong reels in his ridiculously zany persona to deliver a bizarre yet profound performance as Gobi, a lost space alien, who is often the soul of the film. In addition, Robert Chiu as the young Chin reminds us that the idea of new family, new happiness, and new love, is something to celebrate and cherish. I give Over the Moon 4/5 Stars and recommend it to literally everyone.

Judas and the Black Messiah is a look into the lives of Fred Hampton, Chairman of the Illinois Chapter of the Black Panthers, and Bill O’Neal, the man who betrays him to the FBI. Judas shows us the charisma of Hampton, leading both through inspiration and politics, to become the symbol of power and strength suddenly feared by white government. As his star rises, the fortunes of Bill O’Neal fall, and he becomes entrenched in the schemes against the Black Panther movement and a plot to silence the growing influence of Hampton. Judas illustrates the rise and fall of Gods and Monsters, in an era where normal men were both, largely by circumstance. Judas and the Black Messiah is written by Kenny and Keith Lucas (21 Jump Street), written and also directed by Shaka King (Newlyweeds, Mulignans). It Stars Daniel Kaluuya (Get Out, Black Panther) as Chairman Fred Hampton of the Illinois Black Panthers, and LaKeith Stanfield (Knives Out, Selma) as his duplicitous Chief of Security Bill O’Neal. Other notables include Jesse Plemons (The Irishman, Game Night) as FBI Agent Roy Mitchell, Dominique Fishback (Project Power) as Deborah, Algee Smith (Detroit) as Jake, Darrell Britt-Gibson (Three Billboards) as Bobby Rush, and a disturbingly supremist J. Edgar Hoover portrayed by Martin Sheen. The Trial of the Chicago 7 identifies Hampton as Bobby Seale’s choice of attorney, largely unavailable for being in prison. The early part of Judas gives us some insight into what was happening with Fred at that time, closing important loops in both stories. Bill’s story starts out in a seemingly simple manner that becomes more complicated. An innocuous barroom car theft scheme soon gets spun into federal charges, putting Bill unexpectedly into the control of Agent Roy Mitchell. With each ask of the FBI, Bill positions himself deeper into the Panthers, escalating his stature to Security Chief, gaining their trust. Ultimately, that trust demands the highest price. This film is about normal human beings leading remarkable lives in complicated circumstances. Each character is delicately painted within the frame of the confusion and uncertainty of 1960s civil rights. Deborah sees the light and leadership of Hampton’s imposing Chairman, but questions the violent nature of his message as parenthood looms. Agent Mitchell devolves from appreciation for O’Neal’s service, and even his friendship, to a cold focus on objectives, largely defined by the supremacist figure of J. Edgar Hoover. O’Neal himself struggles with his ever-growing role in the demise of Hampton and the Panthers, to the point of assassination. But he takes the money, and the guilt that goes along with it. He is an expert in both his roles. The star here is Daniel Kaluuya though, as the larger-than-life Fred Hampton. This is an Oscar worthy performance by Kaluuya, gracefully walking the tightrope between the energy of an inspirational leader, the anger of a man that exists in a reality of loss, and the conscience and gentility of a community servant. He encourages power and action, but not at all costs, and the actor allows us to admire the personality and leadership of a merely 21-year-old Hampton. As a historical drama, and a character study, Judas and the Black Messiah is both socially relevant, and highly entertaining, and I give it 4 out of 5 Stars.

Every couple argues, but not like Malcolm and Marie. In truth, all couples fight exactly as they do, with most of the brutality, but little of the honesty. Malcolm and Marie explores how many layers of pain and anger must be peeled away in order for two human beings to achieve empathy and understanding. A small careless act ignites a nightlong battle between two lovers, the battlefield being each other’s ego, self-worth, and shame. In short, Malcolm and Marie is 106 straight minutes of verbal revenge sex. Malcolm and Marie is written and directed by Sam Levinson (Euphoria, son of Oscar Winner Barry Levinson). It stars John David Washington (Tenet, BlacKkKlansman) as Malcolm, a hollywood director, and Zendaya (Spider-Man, Greatest Showman) as Marie, the muse for his most recent movie. The couple returns home from the premiere of Malcolm’s movie, where he has received acclaim from his peers, to await the returns from the critics. While receiving his accolades earlier that evening, Malcolm neglects to acknowledge Marie in his appreciation speech. The fight begins as a question, a simple one, from Marie to Malcolm, about the lapse in judgement. The question is in fact a wound, coming from a place so deep it requires an evening of angry introspection on both parts in order to arrive. The map to Marie’s wound winds through miles of self-doubt and disappointment, with numerous detours through Malcolm’s sanctimonious musings and emotional ignorance. This film is a vignette of a relationship’s path to understanding, but with violent words and harsh truths many of us keep inside. After each round either Malcolm or Marie wins the smaller battle, only for the other to retreat into a corner, in order to regroup for the next volley. The deeper each goes into harming the other, more intentionally with each pass, the more difficult it is for the viewer to hear their venom, as we recognize our most carnal feelings of derision toward partners past and present. But the road is treacherous and long, and Malcolm and Marie ultimately requires the audience to decide whether the brutal honesty of battle, rather than contrived kindness, is the more effective route. I give Malcolm and Marie 4.5 out of 5 stars, and recommend it for anyone that has ever been in a difficult relationship. This is a difficult love story to watch, but an authentic one, and the passion of their disappointment and anger translates to passionate emotional and physical love. You will want this relationship to both fail, and last forever, at many points. While the film itself may not stand up to all of the heavy hitters in the Best Picture category, the performances of both John David Washington and Zendaya are good enough not only to be nominated but to win Oscars. They deftly bring the watcher through the battle that may not end the way you want, but does end the way it should: with another day.

Pieces of a Woman is a too-close journey of a woman reclaiming her soul after the greatest loss any parent can experience. In what appears to be a relatively normal home birth, Martha delivers what appears to be a healthy baby girl. But minor heart murmurs identified by the midwife are shrouding a deeper problem that quickly robs Martha and Sean of their first child. What follows are glimpses over the next few months of Martha’s life, and the confusion of the many emotions, grief, pain, anger, guilt, and navigating these emotions to bring herself back to life despite the conflicting needs of her family and partner. Pieces of a Woman was written by Kata Weber (Jupiter’s Moon), and directed by Kornel Mundruczo (Jupiter’s Moon). It stars Vanessa Kirby (The Crown) as Martha, the young mother faced with an insurmountable loss. Shia LaBeouf (Transformers) turns in what would have been an award-winning performance as Sean if not for his off-screen problems with alcohol and domestic violence. We are treated to a rare non-comedic performance by Iliza Shlesinger as Martha’s sister, Anita, and the inimitable Ellen Burstyn (The Exorcist, Alice Doesn’t Live Here Anymore) as their overbearing rich matriarch, Elizabeth. Molly Parker also delivers a quietly deep performance as the midwife, witness of both the beauty of birth, and unexpected death. The birth scene is not shortened for comfort. The filmmakers are very smart to precede the loss of Martha and Sean’s baby with an extended view of the pain and discomfort experienced by a woman to just bring a life into the world. The care in developing the love between Martha and Sean, and their love for the baby, followed by a long difficult labor and seemingly successful birth, punctuates the vastness of the loss once it occurs. What follows is a profoundly authentic stream of life for all characters at odds with each other, that feels very familiar within all families and relationships following a crisis. But, it is Martha’s emotional survival at the center of this tale, and slowly she makes the personal decisions necessary to begin her return to humanity. This is a difficult journey for anyone that is or has been a parent, and anyone who has loved anyone struck by deep personal loss. All of the characters are sympathetic, if viewed in a bubble. But as players in Martha’s Journey, their own pain does nothing more than to complicate her healing. They deal with life as they always have, but it’s not good enough to help Martha, and while the slow destruction of a once enviable relationship between Martha and Sean is heartbreaking, and their behavior toward each other hard to see, it doesn’t matter. This movie is about Martha’s resurrection, and neither of them are able to provide each other the support they need under so much duress. But as is often true, growth occurs as a result of careful choice of behaviors, and people, to either jettison or bring closer. I give Pieces of a Woman a solid 4/5 Stars, and recommend it very highly with the admonishment that couples in a new relationship may struggle with many of the themes. This film has received some recognition from the Golden Globes, and should predictably receive the same from the Academy. The movie is a longshot, but a solid choice as a Best Picture nominee, along with its writer and director. LaBeouf’s performance is Oscar-worthy, but he has been dropped from awards consideration. A potential dark horse would be a Best Supporting Actress nomination for Ellen Burstyn, for a recognizable performance as an older mother with too many opinions that will stir emotions you forgot you had. Plus, there is never a bad reason to give Ellen Burstyn an Oscar nomination. Vanessa Kirby’s Martha is the most obvious for a Best Actress nod. Her emotionally measured and believable performance of a woman’s path to healing is the most authentic performance I’ve seen by an actress this year.

The prom is the story of a theater troupe on the heels of yet another critical failure. As the opening night reviews come pouring in, it becomes clear to each of the cast members that their rapidly descending fame is circling the drain. It is suggested that they perform a good will gesture somewhere in the world in order to improve their PR, and hopefully resurrect the show and their careers. They choose the story of a young girl in Indiana being denied the opportunity to attend her prom with her lesbian lover, and set off immediately to make things right, as only actors can. It is, in fact a full musical on the scale of Mamma Mia, absent the beautiful scenery. And the humor. And memorable music. The movie takes place largely in a school gymnasium, with some external home and mall settings that aren’t terribly inspired in their design. The story shows an intense amount of promise, in terms of cultural relevance, and sadly the script is somewhat insulting in its simplicity. The most disappointing aspect of the movie is that although it is a musical, and very much so with easily more than 80% of it consisting of song and dance numbers, the music itself, and to a lesser degree the choreography, is nothing special. That such a lofty endeavor falls so flat with so much potential is an uncomfortable disappointment all through the movie. However, as a full artistic piece, it still holds much value, and the detriments listed above while disappointing, do not damage a beautifully messaged love letter to conservative America one bit. The script is at times boring. There was not one original piece of humor written in the entire show. But while I never laughed, at many points I found myself smiling at the warmth of the story, a very worthy story indeed. There is humanity behind the cardboard masks, delivering truths from the mouths of entertainers we trust. It is a story of multi-sided acceptance and generosity. Ultimately, the play that masquerades as a movie brings us into the hearts of many characters at different ages, experiencing the tragedies of intolerance, in ways that are meant to help the next youngest broken heart. The song “Love Thy Neighbor” very clearly presents the message missed by many hyper-conservatives that we don’t just get to pick our sins. The tragedy of this song is that it is comprised of some of the most inspired lyrics trapped within some of the most pedestrian music with bland choreography in a mall setting that rarely exists any more. Most of the music is precisely that, tragic misses diminishing good messages. Still there are a few other standout pieces including a much-needed early number “Just Breathe,” by Emma, and the ending number “Just Dance” which is actually quite good, but with an energy better suited to an opening number. There is so SO much singing in this movie, more care should have been taken to ensure that more of the music was significantly more special than “better than average,” which is the best that can be said for the score as a whole. But finally, in a turning point in the movie, Emma goes online and streams herself singing “Unruly Heart,” eventually joined in by the numerous marginalized children of the world that fall outside of the conventional molds. This is by far the most beautiful of all the music, especially given its place in the movie, and could even be good enough for a Best Song nomination. And it is Jo Ellen Pellman who gives the most believable performance as a teen suffering inexplicable social banishment, as well as romantic disappointments and crises of courage. The grace and patience directed toward her oppressors are an inspiration for how heroes overcome unreasonable odds. It may not be enough for an Oscar nod, but this is a star in the making. While Meryl, James, and Kerry do their best to serve the message, it is pretty clear that they are being themselves in roles simply designed to move conversations forward, and that’s okay. Nicole Kidman comes closest to giving a performance out of the zone, but even then the script limited her. Still, the message they share is beautiful, with a lot of understanding towards those that fear or do not understand gay love, and that is the true strength of this movie. It has the theatrical chops of an old 80’s Afterschool Special, but the warmth and understanding of one as well. It is a love letter to LGTBQ children in the midst of doubt, confusion, shame or fear, that they are truly loved, and are worthy of that love. I give The Prom 3.5/5 stars and recommend it for anyone with an open mind needing reminders of how we are meant to judge others different than we are, and even more for anyone discovering emotions that fall outside their family norms, experiencing that judgement. This ridiculous bag of musical hope is probably just what the world needs.

The White Tiger opens with a letter being written by Balram to Chinese leadership, detailing his rise to wealth. It is a rise, he warns, that is fraught with evil deeds, but defines him as a true entrepreneur, unlike many of his statesmen among the poor. Balram, in order to escape a life of hopelessness, arranged marriages, and poverty, has decided to become a driver for one of the wealthy and influential families in India. He enjoys driving the young couple, and even befriends them, but soon learns that having a servant’s heart will not lead him out of poverty. In fact, despite occasional graciousness by those he serves, he is ultimately hated by those too far above his status to consider him human. A misstep by his masters sours him to his plight, and Balram discovers that it is time for the White Tiger to follow his nature. The White Tiger was written and directed by Ramin Bahrani (Fahrenheit 451) based on the book of the same name written by Aravind Adiga. Adarsh Gourav plays Balram, the poor entrepreneurial Indian driver looking to escape the bleak future his station promises. The wealthy couple he serves is played by Rajkummar Rao as Ashok, and his wife Pinky, played by Priyanka Chopra (Baywatch, Marvel Avengers Academy as Kamala Khan). Balram’s overbearing grandmother is played by Kamlesh Gill, and the wealthy patriarchs by Mahesh Manjrekar (Slumdog Millionaire) as the Stork, and believably gangster performance by Vijay Maurya as the family enforcer, the Mongoose. The White Tiger follows Balram's life as yet another of the poor in India. But he knows he is different, destined for greater if only he can take advantage of the right opportunity. He manages to become discovered by a wealthy, but also politically involved and dangerous, family as the driver for the newly married son and his wife. They enjoy Balram, befriending him, and giving him opportunities he never had, causing him to believe he discovered the life he dreamed of. But, being of a lower caste also makes you expendable, as Balram discovers when he is asked to take the blame for an accident caused by Pinky. As Balram considers his rapidly deteriorating relevance to his current position, he views a White Tiger, rare, one to a generation, dangerous, as he could be. I recommend this movie as a stunningly filmed documentary of the many facets of India, and on the strength of Balram. While the movie has many strong performances, it is the fluidity of Adarsh Gourav’s Balram, meek and strong, servant and villain, that White Tiger relies on to strengthen its grander ethical themes. The movie and writer may find some love from the Academy this year, but it is Gourav that deserves the most acclaim, and possibly an Oscar nod. On the strength of the story and his performance I give the White Tiger 3.5/5 Stars.

The Little Things is a classic Noir Murder Mystery set in 1990 Los Angeles. Deke, a small-town deputy previously banished from LA returns to his old beat to retrieve evidence needed for a small case in his new life. While waiting for evidence to clear, he becomes marginally involved in a case being handled by Jim Baxter, a series of killings eerily similar to the case that sent him packing years before. The unlikely pair manage to pool their talents to move the investigation forward and identify a suspect. As in all good mysteries, nothing, including the strongest suspect, is what it appears, and Little Things becomes a redemption story in a tale where none of the heroes are innocent.

Soul is Pixar’s attempt to add humor to death under ironic circumstance. While playing fast and loose with the concept of birth, death and the afterlife, it often succeeds, but misses its opportunity to give life to itself with a truly worthy theme. Instead, Soul suggests that humans with a true purpose in life abandon their excellence in favor of acceptance and the world’s view of carpe diem. In short, it’s an attack on introverts and artists. While a somewhat entertaining film there are a dozen messages that are not especially positive for young viewers. As a piece of pure fiction, however, it delivers the typical feast of Pixar humor and humanity.

Set in Chicago in the 1920s, Ma Rainey’s Black Bottom covers a recording session of the hits of the “Mother of the Blues” and the interpersonal conflicts between the band and its horn player, Levee, between Levee and Ma, and between Ma and the white producers wringing her out for every last bit of profit while she’s hot. The language is brilliantly written by Wilson and Santiago-Hudson, but unfortunately the reliance on so much dialogue with little action is occasionally a disservice to the film. Like a Blues Band version of a David Mamet play, Ma Rainey is a movie that simply plays better as a live performance, and short the wonderful performances of its cast and a timely theme, does little to keep the viewer engaged for a short 94 minutes.

The actors do an amazing job delivering the dialogue in such a way that you believe it must have happened that way. Each conversation between any two of the characters delivers a nugget of understanding for those of us who were not alive in the 60s, and know these famous figures solely from their public details. The interactions between these four characters by these brilliant actors is the most fun I’ve had watching historical fiction in a very long time.

I expected a lot from this movie going into it, due to the subject matter of two humans trapped within their own frailties, together, during a lockdown we all have experienced for nearly a year now. Locked Down is a love story, one that is very palpable to many of us in this real life, with an adventurous twist I didn’t see coming. Locked Down was written by Steven Knight (Serenity, Dirty Pretty Things), and directed by Doug Limon (American Made, Mr. And Mrs. Smith). It stars Oscar Winner Anne Hathaway as Linda, and Oscar nominee Chiwetel Ejiofor as Paxton, two very flawed, very real lovers at the end of their romantic cycle, yet imprisoned together still as a result of the COVID-19 virus lockdown. These are very relatable characters, with relatable individual flaws, forced to stay together physically when emotionally the relationship has clearly run its course. There are so many profound, and funny, moments in this film. Paxton chides a toilet paper hoarder by asking how many arses she has. Linda recollects her Grandma as a Calvinist. Hathaway delivers an amazing scene describing the reality of recovering smokers using the imagery of serpents coming through the floor. And her explanation for why she didn’t tell him she was smoking again, that if she didn’t tell, it didn’t happen, is an amazing allegory for the lies and cover ups we tell ourselves when we fail. I give Locked Down a 4.5 out of 5 for what it is. A love story. While it may not be the finest love story of our time, it is certainly the most authentic in its characters and delivery. I encourage anyone at the precipice of relationship we all find ourselves in eventually to treat themselves to what may happen, if we simply continue to love, and endure.

Mank is a film written by Jack Fincher, and directed by the immeasurable and courageous David Fincher (Se7en, Social Network, Gone Girl). A film, taking place at RKO Pictures in the 1940s, that pokes at the essences of the cinematic heroes of years’ past can be viewed as no less than heroic. But the story itself, one of fine pedigree, ends up being nothing more than a well-acted study in monotony. Unforgettable performances by this top notch acting crew include brilliant Oscar Winner Gary Oldman (Dracula, Tinker Tailor, Soldier, Spy, and Darkest Hour), Amanda Seyfried (Mamma Mia, Mean Girls), Sam Troughton as a slightly believable John Houseman, and a perfect performance by Tom Burke as Orson Welles, easily the most impressive acting past Oldman himself. Ferdinand Kingsley as Irving Thalber is a revelation! Trent Reznor of Nine Inch Nails does the score. Mank follows the days and months of hopeless alcoholic Herman Mankiewicz, as he is chosen by wunderkind Orsen Welles to pen his next great masterpiece. Mankiewicz, or, Mank as he is referred to, works within his own constraints having recently experienced an automobile accident that has rendered him lame. Not to be constrained by physical limitations, the perpetually inebriated Mank requires the absolute best from his entourage to assist him in completing his rushed opus, Citizen Kane. At all points along the journey his support team of lovers and professionals endure Mank’s idiosyncrasies to bring out his best and complete the masterpiece that would become Citizen Kane, such as it is. I will say, as a former student of theatre, that the performances throughout this film are miraculous, and almost make this a film worth watching. But, as a critic, and in full honesty, unless you are an extreme fan of the original subject matter, or an actor seeking to find the pure nuances of pure theater, then I would struggle to recommend this movie as enjoyable. For a date night where neither party truly wants to watch fine cinema, yes. For an auteur looking to advance her or his craft, yes. If you are looking to lose yourself in fictional bliss for two hours and solve the mysteries of life however, no. I expect many of the cast and likely the film itself to garner much recognition by the Academy in 2021, and well deserved. The performances are the only thing this incredibly slow and boring story have to offer. Look for Oldman, Seyfried as Marion, an irrelevant love interest, Burke and Kingsley to receive proper attention by the Oscar voters. But while Iexpect the film to garner many award nominations due to the theme of historical drama, I’m not prepared to recommend this film for any reason outside of the masterful performances of its actors in a largely boring tale. I give this film 3/5 stars solely on the strength of its actors.

The Midnight Sky is based on the book GOOD MORNING, MIDNIGHT by Lily Brooks-Dalton, adapted by Mark L. Smith (The Revenant), and directed by George Clooney. The score is provided by Oscar Winner Alexandre Desplat (The Shape of Water). George Clooney plays Augustine. His performance is brave and wonderful, as his direction is beautiful. Caolinn Spingall plays Iris, the young girl who seems to be mistakenly left on planet and now in the unwanted care of Augustine, a man whose parenting history throughout the film suggests he is not the best keeper of her care and safety. All the while, above the Earth preparing to re-enter after a long journey, is the spaceship Ether. The astronauts, years separated from loved ones are brilliantly played by David Oyelowo (Selma) as the Captain, and Felicity Jones (Star Wars: Rogue One) as Sully. Rounding out the crew is Kyle Chandler (Friday Night Lights), Tiffany Boone as Maya, and a brilliant performance by Demian Bichir (The Hateful Eight) as Sanchez. Ethan Peck delivers a small, but starmaking, turn as a younger version of George Clooney’s Augustine, who he breezily channels. Yes, this film is a bit of a contrived survival film. Yes, at times it appears to be a confused science fiction adventure. But at its heart, it is a redemption film for Augustine. It is a wonderful redemption film at that with a surprise ending on a level of Shamalan’s Sixth Sense and Signs. While the premise appears cardboard, Clooney is not. His character has discovered a life purpose worthy of the great movies of our time. I hope to see Clooney recognized as actor and director for this film, along with Jones, Oyelowo, and especially Bichir and Peck. The performances are Oscar worthy, the beauty of the cinematography is other-worldly. I give this movie 4 of 5 stars. You will need to have patience to get to the end of this story, but your patience will be rewarded with a very satisfying ending to a deceptively simple plot.