Logan (2017)

Released: March 3, 2017. Directed by: James Mangold. Starring: Hugh Jackman, Patrick Stewart, Dafne Keen. Runtime: 2h 21 min.

In 2016, Deadpool really started to push the limits of the superhero subgenre, but with Logan, director James Mangold takes the envelope, slashes it apart and creates something that reinvents the idea of what a superhero film can be.

I love it when superhero films offer something different than we’re used to seeing. Mangold does just that with Logan, as he takes a beloved character and creates something so different and original.

The year’s 2029 and Logan (Hugh Jackman) is working as a limo driver and is taking care of Professor Charles Xavier (Patrick Stewart) on a border town in Mexico. Logan’s aging and weary and is trying to hide from the world. His existence is upturned when young mutant Laura (Dafne Keen) arrives and is being pursued by mysterious forces.

Logan feels different because it’s so grounded in realism, and a limited use of CGI helps with that. The world created is fascinating: Everyone’s heard of the X-Men because they’re written about in comic books, and some characters are even Wolverine fans. The world feels real and it looks great. Its setting gives it a Western movie feel and its cinematography complements the story’s raw mood.

The atmosphere and style truly capture the story, and even the score feels like it becomes a character. The story is character-driven, and you feel everything these characters are going through, which makes it so human. It sends you on a roller coaster of emotions and it makes the experience gritty and unique.

Logan’s also raw because our heroes are so vulnerable. Logan has a vulnerability in his older age as he’s past his former glory and isn’t as invincible as he used to be. Even the villainous Pierce (Boyd Holbrook) notes, “Seeing you like this breaks my heart.”

It’s more heartbreaking seeing Charles Xavier in his state. I don’t want to spoil it but I’ll say his condition creates some compelling sequences. It’s enlightening seeing Charles in old age, to know that even the greatest mutants grow old, and Patrick Stewart delivers a striking and vulnerable performance.

His relationship with Logan features the usual tough-love and fatherly vibe, and Charles’ guidance creates great dialogue. Their chemistry’s endearing and their banter finds new life with an R-rating, because it’s so damn funny. Logan’s become self-loathing, and our anti-hero finds purpose with Laura. Logan’s relationship with Laura is great; their chemistry is entertaining to watch as it evolves. Their dynamic is cool where they eventually have to talk, and it’s not cliché banter. Laura is largely mute for the film and emotes distrust well and has a heartwarming curiosity.

Dafne Keen is charming and fiery as Laura, and it is such a good debut. Keen captures the character’s rage so well with a convincing ferocity. She’s great in action, and handles drama even better.

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Hugh Jackman in his last hurrah as Wolverine in Logan. (Source)

Hugh Jackman effectively portrays Logan’s depression. The R-rating allows writers to explore adult themes like this as it reaches a level of sophistication rarely seen in a comic book film. In other X-Men films Logan does feel haunted, but with the mature storytelling, you truly feel and get a sense of how haunted he is at this point in his life.

Jackman is so great physically and moving emotionally. He’s so visceral in rage, and even though the character’s older now, he’s badass and still strong enough to break a shotgun over his knee. His last outing as Wolverine is easily his most remarkable.

Back to the writing. I can’t give enough kudos to writing team James Mangold, Scott Frank and Michael Green, who take X-Men storylines (namely “Old Man Logan”) and mix them into such an original story. They take time telling it, and there are intimate moments and poignant drama throughout.

A scene has our trio eating dinner with a family they’ve met and it’s funny and has great banter. The film has a great capability to slow down and show charming, human scenes like this that develop characters. It shows patience in storytelling, and it shows a comic book movie doesn’t need relentless, non-stop action to be supremely entertaining. The bursts of action are still amazingly directed. They’re bloody and brutal, and just a hell of a lot of fun.

With Logan, I’ll only complain about its villains. Boyd Holbrook is menacing, yet destructible, and has presence as Pierce, but there’s something to be desired since we don’t know who he works for as they make it mysterious in the beginning. Instead of feeling mysterious, it’s often confusing and frustrating. When we find out who they are and what they’re doing, it’s great and interesting, because it strengthens the story.

This gears up to a great finale that is well worth the wait for action junkies. It’s bloody and thrilling. It’s a bittersweet end to an era since Jackman’s been Wolverine for 17 years. As the credit rolls, a chapter of film history rolls with it. Logan is the best of the Wolverine trilogy and it’s just the fitting send-off that Hugh Jackman deserves.

Score: 95/100

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Free Fire (2017)

 

Released: April 21, 2017. Directed by: Ben Wheatley. Starring: Cillian Murphy, Sharlto Copley, Brie Larson. Runtime: 1hr. 30 min.

I actually saw this at the Toronto International Film Festival last year (on Sept. 9, 2016), and this is a revised review I wrote in mid-September. I didn’t post this because I was a bad blogger back then but without further adieu, here it is…

Ben Wheatley’s Free Fire, a balls-to-the-wall 1970’s gun battle, is one hell of a ride.

The premise is simple. Brie Larson’s Justine has arranged a gun deal between Irishmen Chris (Cillian Murphy) and Frank (Michael Smiley), and gun dealers Vernon (Sharlto Copley) and Armie Hammer’s Ord. It’s set in 1970’s Boston in an abandoned warehouse and is largely in this one setting, and it’s the perfect set-up for the wild shootout.

Wheatley knows how to build tension from the word go, as the characters walk into the deserted warehouse to do the deal. Some characters don’t like each other, and after some developments, you can cut the tension with a knife.

The sound design make the initial gunshots sound like an IMAX film, almost like they’re in the same room. For the characters, chances of getting out alive decrease when all hell breaks loose and it becomes a true Mexican standoff. It’s like the atmosphere of The Nice Guys mixed with tension and dialogue that would make Quentin Tarantino proud. This does feel like parts Reservoir Dogs, too, with its limited setting and tension.

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Armie Hammer in Free Fire. (Source)

This still effortlessly manages to be fresh, and makes me want to see more of Ben Wheatley’s films (like Kill List and High-Rise). His movies all seem unique and different as he tackles many different genres. Wheatley and co-writer Amy Jump (they’re also married) also edit Free Fire – editing it in such a way where you can follow its quick pace, but you’re not always able to tell where some characters are hiding in the warehouse. It might be a ploy to put the audience in the same space as the characters – not knowing who they’re shooting at or where everyone’s hiding.

The ensemble created is great and each performer brings something memorable to their characters. The costume design, wigs and different accents also set everyone apart. Sharlto Copley’s a scene-stealer as Vernon and he has some of the best moments. Everyone from Brie Larson to Cillian Murphy to Michael Smiley hold their own, delivering physically demanding performances as they crawl on the dirty warehouse floor avoiding an array of bullets.

One of the film’s most pleasant surprises is Armie Hammer. I thought he was bland in The Lone Ranger (to be fair he had little to work with), but here as the calm and collected Ord, he’s badass. He’s also funny as hell, and the range he shows feels like he should be getting more comedic roles.

The most impressive thing about Free Fire is that it’s just deliriously fun. Action comedies can be hit-and-miss especially when there’s a task of finding the right balance. But director-writer Wheatley, and Amy Jump, manage to make the action consistently fresh. The people shooting at each other doesn’t feel repetitive and there are many ways to get characters out of situations. The dialogue’s sharp, witty and hilarious, and this is just some of the best fun I’ve had at the movies in awhile.

Score: 88/100

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Power Rangers (2017)

Released: March 24, 2017. Directed by: Dean Israelite. Starring: Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G. Runtime: 2h 4 min. 

Nostalgia is a big appeal of this Power Rangers reboot, and as a 90s kid, the Rangers were definitely a part of my childhood. A problem of the original TV series, or at least the Mighty Morphin’ Power Rangers: The Movie, is that it feels like it runs out of budget before the big finale.

This fixes it because the final battle with the Rangers’ Zords against Goldar is great, visual eye candy. The cinematography also captures the settings well and the film looks great.

It’s fun mecha action and it’s great that there’s enough budget for a solid finale, even if it feels derivative of The Avengers and Transformers, but it’s still fun. And that’s one thing about this reboot: It’s fun.

The new Rangers crew meet in detention and their introduction feels like The Breakfast Club. At least Saban’s Rangers have super powers – and John Hughes’ crew only power was teenage angst.

Jason Scott (Dacre Montgomery) is the team leader looking for redemption after losing a football scholarship, and now has a chance to lead the Rangers. Montgomery (in his first blockbuster) has enough presence to be a believable leader, even as a bland character.

Billy Cranston, the Blue Ranger (RJ Cyler), is a lovable tech wiz of the group and he works as comic relief and being one of the most interesting characters. Zack Taylor (Ludi Lin in his English-language debut) is the Black Ranger and he’s the most forgettable Ranger.

Naomi Scott as Kimberly Hart (the Pink Ranger) is impressive, convincingly playing a bitchy side while trying to be a better person. We catch her in a transition from Queen Bee to social pariah with the popular kids.

Trini Kwan (Becky G) is the Pink Ranger and is one of those characters who has trouble fitting in – which makes her relatable. Bryan Cranston is a compelling Zordon who unites the crew and offers guidance.

The Angel Grove crew gain super strength after finding the Power Coins entrapped in crystal. The Coins are there after a prehistoric fight between Zordon and the treacherous Rita Repulsa (Elizabeth Banks). To protect the Zeo Crystal (which can destroy planets) against Rita, Zordon had to order a meteor strike which sent Rita to the bottom of the sea.

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Naomi Scott, RJ Cyler, Dacre Montgomery, Ludi Lin and Becky G. in Power Rangers. (Source)

This is basically The Breakfast Club with mecha action. The crew even have a heart-to-heart around a campfire. Their comradery’s realistic, and it’s nice watching their bond grow after being strangers. The casting of little known stars is smart. I only recognized RJ Cyler for Me and Earl and the Dying Girl and Becky G for that annoying song “Shower” about singing in the shower.

Tonally, the film’s wobbly. The movie writes a love letter to the campiness of the original TV series, but it’s hard to see what mood the writers and director Dean Israelite are going for.

It tries to be a dark and mature origins story (like Chronicle, and there’s also a bit of that film’s visual style). It also has enough angst to make John Hughes blush. The film also takes itself too seriously and Rita Repulsa (Elizabeth Banks) feels so out-of-place because of it. She has the most personality but she’s so campy that it doesn’t work when she tries to make threats and be serious. There are times when her character is so silly that I couldn’t contain my giggles.

Banks finds a finesse of chewing the scenery so much that there’s a sense that she’s in on the joke of being campy and she embraces it. It’s great in that sense and Banks seems to be having the most fun out of anyone.

The film’s a good origins story, but it’s easy to get antsy on the road to the film’s finale because the crew don’t put on their Ranger suits until the last 30 minutes. It’s part of their development because the armour is this weird alien thing that needs to decide that they’re worthy to wear them. It’s super different from their usual spandex armour. It forces them to unite but it makes their training less compelling since they’re in civilian clothes.

The 22-year-old critical me has a few criticisms with this reboot but the 10-year-old me loves it. It’s fun and it writes a love letter to the original series’ campiness, while creating believable characters that are a good new team.

Score: 75/100

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The Fate of the Furious (2017)

Released: April 14, 2017. Directed by: F. Gary Gray. Starring: Vin Diesel, Dwayne Johnson, Charlize Theron. Runtime: 2h 16 min.

After being a series primarily about street racing, The Fast and the Furious franchise is now a different beast entirely – featuring heist films, revenge stories and everything in between.

The franchise keeps things fresh as they display huge action set pieces that defy logic and gravity – but they’re high-octane fun because they’re so ridiculous and it embraces the insanity.

When a mysterious woman seduces Dom into the world of terrorism and a betrayal of those closest to him, the crew face trials that will test them as never before.

The Fate of the Furious, though it pleases, is the weakest film since the franchise shifted direction after the fourth outing. Old characters are brought back that never felt super important, but others like Mia (Jordana Brewster) are left out. She’s off-the-grid with Bryan O’Conner (the late Paul Walker) raising their baby, as Bryan’s alive in the movie universe. They’re in retirement now after the beautiful tribute to Walker at the end of Furious 7. It’s just strange not to have Mia there since she’s actual family of Dominic Toretto (Vin Diesel), who’s always saying he doesn’t have friends – he has family.

A new female’s introduced in the form of Charlize Theron’s Cipher, the franchise’s first female villain. She’s a malicious hacker and mastermind who gives hacker Ramsay (Nathalie Emmanuel) a run for her money.

She’s generic in motivation in generally wanting to see the world burn. Everything she says is also a bit of a cliché. It’s totally fine because Theron gives the character such a presence, which makes her a good villain. She’s one of those enemies who does things from the comfort of her high-tech plane and has minions do her bidding, and gets peeved when she needs to leave the office. It doesn’t give her a lot to do, though.

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Charlize Theron and Vin Diesel in The Fate of the Furious. (Source)

She’s able to lure Dom to the dark side, make him betray his family and do her bidding. The story packs surprises in characterization, especially since it’s surprising he’d betray the people he loves. I won’t go further into that, because, spoilers.

Films in the franchise between Fast Five and Furious 7 have good stories, but the eighth offering is the most generic plot in recent years, as the villain endgame is so familiar. The story just feels slapped together to work as a frame for the amazing stunts and nutty action.

The story dissatisfies but it’s not the most important part. The big, glamorous action makes this worthwhile and it’s still a lot of fun. From a street race in Cuba that offers a short trip to the series’ roots, a getaway in Berlin, to a fists-flying prison break, the action is great. Hacking plays a cool role in a big action scene in New York City, the film’s main setting.

After things calm down after the New York action, the finale is where things get most exciting and the crew learn that in Soviet Russia, submarine chases you! The franchise also keeps things interesting with diverse settings, as the globe-trotting team spans three continents this go around.

The Fate of the Furious makes Dom feel fresh by giving a new look at the character, but other characters are becoming stale after eight outings – namely Letty. It makes me wonder if they’ll have enough gas left in the tank for two more films.

Mr. Nobody (Kurt Russell) returns and is good again, and a new character includes Little Nobody (Scott Eastwood). Comic relief Roman (Tyrese Gibson) and Tej (Ludacris) rip on him a lot and they’re generally funny, per usual. Jason Statham as Deckard Shaw is really awesome and even outshines Johnson’s Hobbs, who’s trying to fill the leader role of the good guy team.

Hobbs has memorable lines as talks in puns and silly dialogue. He sees something particularly gruesome at one point and his response is simply “Hmm, nasty.” When he often has such vivid threats and comments, you can’t help but feel disappointed because it’s such a perfect opportunity for a laugh or a pun. It’s almost like the writers stop trying.

Score: 65/100

 

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Ghost in the Shell (2017)

Released: March 31, 2017. Directed by: Rupert Sanders. Starring: Scarlett Johansson, Pilou Asbaek, Takeshi Kitano. Runtime: 1h 47 min.

In a futuristic world that’s trying to advance technology even further, Hanka Robotics takes a woman horribly injured in a car crash and puts her consciousness into a cyber-enhanced body and call her Major (Scarlett Johansson). She becomes a cyborg cop working in Section 9’s anti-terrorist bureau, fighting the world’s most dangerous criminals.

First, it feels necessary to talk about the whitewashing controversy – which has been dogging Ghost in the Shell’s production since Scarlett Johansson’s casting as Major Mira Killian. I haven’t seen the original film, but Johansson’s casting affects some believability. Even if you can get past the controversy, it’s still not that enjoyable.

It’s nice to have a female-led blockbuster but Johansson’s stiff, bland and robotic. I know she’s all robot except for her brain, but it would be nice if the brain would give her human emotion or personality. Her brain makes her an imperfect soldier because at one point she disobeys orders to try to save some lives. The character’s compassionate in the scene, but her face doesn’t get the memo and she doesn’t emote compassion or make me believe it. Major’s a hard character but it’s Johansson’s first performance I don’t like, mostly because she’s bland and there’s little depth.

The martial arts part of her character is cool – though an explanation for her powers of invisibility would be nice. The invisibility makes action scenes great when she’s fighting and flipping a guy in shallow water. The splashing and choreography makes great eye candy, and the visuals are the film’s strongest aspect. There are other fun action scenes, so it’s a shame so many other aspects are bad.

The world created is fascinating. The norm is for everyone who has enough money to have cyber-work done to enhance their bodies – one character gets a new liver so he can drink more booze – and it’s so normal that people ask you on the street if you want an enhancement instead of drugs. The skyline – full of Geisha and koi fish, indicating most likely they’re in Japan – is interesting but giant holograms in the background are so distracting that a man going for a casual jog becomes a scene-stealer.

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Scarlett Johansson in Ghost in the Shell(Source)

The world is as creepy as it is cool. Being fully human is weird now, and there are creepy characters galore – especially ones with jagged teeth, and robotic Geishas are the source of nightmares when they open their faces. There’s other nightmarish imagery abound, and if the world feels creepy in live-action – I’m curious to watch the original to see how it’s portrayed in anime.

Batou (Pilou Asbaek), Major’s partner, has rather creepy eyes, but his character design is based on the source material. The supporting cast’s generally fine and Michael Pitt is strong as Kuze, though he sounds like Stephen Hawking’s computer voice malfunctioning. I like the supporting players more than Major and their personality make this more bearable.

Takeshi Kitano plays Daisuke Aramaki, the unit’s Chief, and it’s jarring that he’s the only one who speaks Japanese in the film. Everyone responds to him in English – but can apparently understand Japanese. Since everyone has robotic upgrades – you’d think a language component can be downloaded that let’s you speak Japanese. While it’s never crystal clear if this is set in Japan, but if it is, it’s especially strange that he’s the only person who speaks Japanese.

Some action scenes are memorable – notably the finale – but the only source of good entertainment is the film’s final 30 minutes when the story goes somewhere and we get answers for Major’s visions and glitches. It’s the only point where Major is almost interesting. I say almost because she’s just so dull that there’s an emotional wall that makes it difficult to become invested in her story.

The plot itself has some surprises but it rarely enthralls. The futuristic world’s interesting, but it’s even more fun to leave because it’s so bereft of passion.

Score: 40/100

 

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Going in Style (2017)

 

Released: April 7, 2017. Directed by: Zach Braff. Starring: Michael Caine, Morgan Freeman, Alan Arkin. Runtime: 1h 36 min. 

Joe (Michael Caine), Willy (Morgan Freeman) and Albert (Alan Arkin) are retired, lifelong friends who are losing their pension after the company they worked for is bought out. To make matters worse, Joe’s in danger of losing his home because of a mortgage payment plan he was sold.

He discusses that with a sleazy banker (John Pais) in the film’s first scene, and it’s saved from being boring thanks to a funny bank robbery.

If Joe loses his home, he, his daughter Rachel (Maria Dizzia) and granddaughter Brooklyn (Joey King) will be homeless within 30 days. He rallies Willy and Albert to rob a bank so he can save his home and stick it to the banks. They figure they’ll take what would have been theirs in pension payment, and at the tail end of their lives – they don’t have much to lose and they’re going out in style.

Surprisingly, Going in Style doesn’t actually have a lot of style. It’s basic filmmaking and the direction’s unremarkable. This is Zach Braff’s third film (at the biggest budget of $25 million), but it doesn’t have the quirkiness of his writing featured in his first two films Garden State and Wish I Was Here. The film’s written by Theodore Melfi (Hidden Figures), based on the 1979 film of the same name. The writing’s formulaic at best.

It’s a predictable caper but it’s so heartfelt and enjoyable. Its heart is always in the right place and it’s a benign tale about loving life and making the best of everything, no matter your age.

It’s also very funny, too, and the cast have great comedic timing and make the best jokes hit their mark. The best part of the film is having Caine, Freeman and Arkin share the screen. Their presence is what makes it special, even this isn’t as good as it should be – like the way that it’s great at the time but it’s forgettable.

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Alan Arkin, Morgan Freeman and Michael Caine in Going in Style. (Source)

Still, they’re so charming and they help make this a good time at the movies. Their chemistry is great, and you can feel like these guys have been friends their entire lives. They’re all mostly the same age, but their development feels diverse, especially in terms of motivation for the robbery.

Joe’s motivation is pure since he’s trying to provide for his family. His friendship with granddaughter Brooklyn (Joey King) is sweet and one of the reasons I was most invested in Joe. Brooklyn’s really the only family of the trio that have a good role – and even Joe’s daughter could be written out entirely since she’s there for two scenes.

Willy’s motivation is so he can have enough money to see his family more than once a year. Albert’s the curmudgeonly guy of the group – suiting his delivery – and he’s content being alone. The bachelor gives into the heist because he’s tired of being broke. He also meets a new lady, Annie, who gives charisma to his development – and she’s played by the delightful Ann-Margret.

Its third act has some clever moments inside and outside of the heist, and the training they get from a criminal insider (John Ortiz) is fun. Though, it could benefit from more action.

It’s understandable that there isn’t since they’re a trio of good guys who don’t want to hurt anyone. It sucks out some excitement out of the heist – even though it still feels tense. It’s nice that there’s two heists and the main one is fun – but the one at the beginning is funnier.

I liked that they’re trying to rob a bank at a geriatric age and it makes for a different sort-of heist caper. It has low-speed chases instead of high-speed chases, like when they have a practice theft at a grocery store and hijack an old lady’s motorized shopping cart. It’s one of the funnier moments, and it’s scenes like these when you know it doesn’t take itself too seriously and it’s better for it.

Score: 70/100

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Gifted (2017)

Released: April 14, 2017. Directed by: Marc Webb. Starring: Chris Evans, Mckenna Grace, Lindsay Duncan. Runtime: 1h 41 min. 

Marc Webb’s first return to indie after directing the two Amazing Spider-Man films is remarkable, and it’s also refreshing that Chris Evans does intimate indies like this in between his Captain America outings.

In Gifted, a sweet family dynamic is explored as a single man Frank Adler (Evans) is raising his niece in a small Florida town. His niece, seven-year-old Mary (Mckenna Grace) isn’t like other children at all; she’s a child prodigy in mathematics. She’s been homeschooled the first part of her life after her mother died, and now Frank is realizing she doesn’t have great social skills and puts her in first grade in public school.

Frank’s drawn into a custody battle with his estranged mother Evelyn (Lindsay Duncan), because once Evelyn learns that Mary’s a prodigy – she wants to bring her into a life dedicated to mathematics.

The custody battle drives the plot and it’s interesting because there’s merit to both arguments. Evelyn doesn’t want Mary’s potential to be wasted, and Frank’s fighting to give Mary a normal childhood even though she’s an extraordinary little girl. Lindsay Duncan is great as Frank’s mom, the character’s hard but she has good moments in the role, and even though she’s the opposition of the custody battle, it’s so well-written that there’s still some sympathy for the character. It’s intriguing seeing the backstory of her relationships with her children.

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Mckenna Grace and Chris Evans in Gifted. (Source)

As for the main cast, the chemistry between Chris Evans and Mckenna Grace is magical. You wholly believe they’re uncle and niece and the development of their relationship and characters is great. Their fights tug at the right heartstrings and the film’s a true tear-jerker. The chemistry also helps a predictable story become one of 2017’s most charming films.

Mckenna Grace is also a great young actress, and since she lost her two front teeth before filming, she’s that much cuter. She’s funny and captures the sass and attitude in the role. It’s funny when she’s sassy not because she’s adorable, but that the lines are so good and she has so much energy that it’s so much fun watching her. She’s just like a real kid having fun, and like her character, just trying to be a kid. She also has a convincing emotional range.

The character makes math fun because she’s so passionate about it and when Frank tries to close her homework so she plays outside, she just opens another book. Her hunger to learn is almost contagious.

Chris Evans is also fantastic. The character’s strong because he’s vulnerable and realistic, since he doesn’t know what he’s doing but he’s trying his best. He wants what’s best for Mary, and he’s trying to raise Mary how he thinks his sister would have wanted. He’s fighting for normalcy for her. I also loved how he doesn’t try to influence her when forming opinions and wants her to choose things for herself and grow her independence. He’s becoming a bit of a new superhero, fighting for his niece.

There’s a scene where Frank and Mary are silhouettes in front of a sunset on a Florida beach (well, it’s filmed in Georgia) and Frank is holding her hand and Mary’s walking up his legs. They’re having a conversation that shows that Frank doesn’t want to influence her beliefs in anything. Their chemistry and Marc Webb’s direction make this little charming scene because it’s so intimately done and so human. It’s engaging and unique, and it works so well because their relationship feels so convincing.

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Octavia Spencer and Mckenna Grace in Gifted. (Source)

It’s also little scenes like this and scenes like Mary singing with neighbor Roberta (Octavia Spencer) that make this so damn charming and memorable. The movie’s a drama and while it’s sappy, the sentiments ring true and you get lost in everything the characters go through.

Some of the film’s heartbreaking and there’s a lot of funny material and some big laughs. It’s one of those films that I can say made me laugh and cry, and it has a surprising ability to do both at the same time. This is just such an engaging custody battle and a story about trying to be a good parent and doing what’s best for your kid.

The supporting cast’s also memorable. Jenny Slate (Zootopia) is Mary’s teacher Bonnie and she’s part of some funny moments. Octavia Spencer is good friends with Frank and Mary and their landlady. She has a lot of big laughs, too, and she’s a delight to watch. There’s also a one-eyed cat named Fred that’s a scene-stealer.

The story’s sometimes predictable but it has a few surprises, and the performances and engaging story it tells make it a film not to be missed – even if math bores the hell out of you.

Score: 90/100

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