Here’s hoping those predisposed to stay away because the “Obama” name is associated with Southside with You have second thoughts as far as those are concerned; they might just be surprised to discover just how blissfully entertaining this particular story ends up proving to be.
“For a specific group of people, maybe a bigger one than I let myself imagine it to be, [Don’t Think Twice] could be a film that gets watched multiple times, viewers finding things inside of it that I didn’t even know were there. How great would that be?”
Don’t Think Twice is the kind of movie I knew I liked exiting the theatre but didn’t realize just how much so until I’d had a few extra days to ponder all its narrative nuances. It’s a beautiful, character-driven affair, and while the introspective observations the filmmaker toys with are hardly revelatory that still doesn’t make them any less profound or affecting.
[The Land] is visually dynamic, moves with electric urgency and treats all four of its young protagonists with intelligence and respect. More than that, Caple offers up a conclusion that satisfactorily strays extremely far from the status quo, giving things an aura of originality all other facets of the narrative and the scenario undeniably lack.
From the early, eerie, unquestionably haunting images of a young nun traipsing through a barren, snow-covered Polish countryside going who knows where, to a moment of communal redemption hidden under the shroud of unthinkable secrecy and unimaginable sacrifice, The Innocents is a consistent triumph, achieving an overwhelming aura of brilliance that it manages to sustain first second to last.
The themes lurking at the center [of The Fits], what it is talking about in regards to race, education, peer pressure, gender and just growing up in general, all of it comes through marvelously, the finished feature a stunning achievement all involved should be proud to have had a hand in creating.
Weiner shows, without embellishment, without cinematic sleight of hand, that a person’s worst enemy remains themselves, and no matter how good the ideas might be or how righteous the convictions to help those in need undeniably are all of that and more can be made instantaneously irrelevant just by the push of a cell phone button.
The film’s 92 minutes pass by so quickly it’s all over almost as soon as it begins, everything building to a smashing conclusion that had me wanting to leap from my seat and give Stillman, his production team and his entire cast one long, rousing, vigorous cheer. Love & Friendship is magnificent, and anyone saying otherwise is in my eyes one gouty attack away from objectionable ignominy.
[The Hallow] builds to a nicely nuanced conclusion, one that overflows with emotion and sacrifice, propelling things into the realm of a dark fairy tale the likes of which Brothers Grim would have been proud to have called their own.