Arts and Entertainment Archives – Page 2 of 325

Review: ‘Golda’ (2023), starring Helen Mirren, Camille Cottin and Liev Schreiber

November 18, 2023

by Carla Hay

Dvir Benedek, Lior Ashkenazi, Helen Mirren and Rami Heuberger in “Golda” (Photo by Sean Gleason/Blecker Street)

“Golda” (2023)

Directed by Guy Nattiv

Some language in Hebrew with subtitles

Culture Representation: Taking place in Israel, mostly in 1973, the dramatic film “Golda” (based on true events) features an all-white cast of characters representing the working-class, middle-class and wealthy.

Culture Clash: Israel prime minister Golda Meir deals with crises inside and outside her cabinet of quarreling subordinates during the 19-day Yom Kippur War while she secretly battles cancer (lymphoma).

Culture Audience: “Golda” will appeal primarily to people who are fans of star Helen Mirren and history-based war dramas that play it too safe.

Helen Mirren and Liev Schreiber in “Golda” (Photo by Sean Gleason/Blecker Street)

“Golda” undercuts its intentions of being a gripping drama of Israeli leader Golda Meir during the Yom Kippur War, by showing her as a mostly aloof politician making decisions in safe office rooms. Helen Mirren is not completely convincing as Meir. The movie did not have to be filmed like a documentary, but too much of this film has hokey and very fake-sunding dialogue and does very surface-level depictions of the horrors of this war.

Directed by Guy Nattiv and written by Nicholas Martin, “Golda” is mostly a series of tense meetings that Golda Meir (who was prime minister of Israel from 1969 to 1974) has with her all-male cabinet of subordinates and other politicians and bureaucrats during the 19-day Yom Kippur War in 1973. Through it all, she chain smokes, has occasional nightmares at home, and confides in her best friend/personal assistant Lou Kaddar (played by Camille Cottin), who was one of the few people who knew that Golda had cancerous lymphoma. (For the purposes of this review, the real Golda Meir will be referred to as Meir, while the Golda Meir character in the movie will be referred to as Golda.)

The movie begins in 1974, when Golda is being interviewed by a panel of five men during the Agranat National Commission of Inquiry in Jerusalem. She has to answer for her controversial decisions and actions during the Yom Kippur War, which started on October 6, 1973. Her attitude during this interrogation is defiant and defensive.

The war was also known as the October War, the Ramadan War, the 1973 Arab–Israeli War, and the Fourth Arab–Israeli War. Arab states (led by Egypt and Syria) tried to seize Israeli-occupied locations, with most of the fighting taking place at the Sinai Peninsula and the Golan Heights. In the end, Israeli was victorious, but it cost Meir her political career.

During the movie’s scene of Golda appearing before the Agranat National Commission of Inquiry panel, she explains her perspective of what happened during the Yom Kippur War. The rest of the movie is a flashback to that period of time in 1973. One of the problems with the way the story is told is that it gets distracted with a subplot about Israeli and Egyptian spies. A better movie would have stayed entirely focused on Golda’s perspective.

But even showing things from Golda’s perspective has some issues in this movie. She’s seen in places like boardrooms and control rooms, where she hears reports about the war and listens to conflicting advice about military strategy, but she doesn’t seem very interested in fully understanding the human costs of the war. It isn’t until one of her secretaries experiences a personal loss from the war that it starts to sink in with Golda that she’s been shielding herself from these realities of war for too long.

“Golda” will no doubt get some criticism for being a war movie that doesn’t show any combat scenes. On the one hand, it might be the filmmakers’ way of making a statement that prime ministers and other national leaders are far removed from the being in the trenches (so to speak) during war. On the other hand, it comes across as tone-deaf that the movie couldn’t even attempt to show more of what people on the frontlines of the war experienced. It’s also hard to believe the movie’s depiction of Golda being as sheltered as she is from witnessing the deadly consequences from her decisions.

Much of “Golda” is about her trying to navigate another war: the feuding between members of her cabinet. There were disagreements on military decisions, there were power struggles, and there were internal betrayals. The cabinet members who were at odds with each other included head of military intelligence Eli Zeira (played by Dvir Benedek), minister of defense Moshe Dayan (played by Rami Heuberger), and chief of staff David “Dado” Elazar (played by Lior Ashkenazi). All of the supporting cast members in the movie give capable but not outstanding performances.

“Golda” also has some underwhelming scenes of her interactions with Henry Kissinger (played by Liev Schreiber), who was a newly appointed secretary of state for the United States at the time. Henry was reluctant for the U.S. to get involved in the Yom Kippur War, while Golda was pressuring him to have the U.S. take a stand. Unfortunately, the way that “Golda” depicts her telling him about the war is with this trite comment when she talks to Henry on the phone: “We’ve got trouble with the neighbors again.”

Mirren certainly seems to be putting in an sincere effort to depict Meir with authenticity. However, the end result is that Mirren (who is British in real life) never quite embodies the Golda character in an entirely believable way and lets the makeup and costumes do a lot of the acting. Much of the dialogue also sounds very phony and overly simplistic.

Perhaps the biggest disappointment about “Golda” is that by the end of the movie, viewers will feel like they will know about her military decisions during this war but haven’t learned much about Golda as a person. The tone of the film is a repeat loop of “and this happened, and then Golda did this, and then this happened.” This formula quickly becomes very monotonous.

There’s a scene in the movie when Golda tells Lou to let her know if she ever sees Golda showing the slightest sign of dementia. “You will tell me,” Golda says. “I can’t trust the flatterers.” The same can be said of anyone who over-praises this mediocre movie as anything but what it is: a very surface-level and often dull film where Mirren’s talent is squandered in doing a Golda Meir impersonation, not a Golda Meir revelation.

Bleecker Street released “Golda” in U.S. cinemas on August 25, 2023. The movie was released on digital and VOD on September 19, 2023. “Golda” was released on Blu-ray and DVD on October 17, 2023.

Review: ‘Wish’ (2023), starring the voices of Ariana DeBose, Chris Pine, Alan Tudyk, Angelique Cabral, Victor Garber, Natasha Rothwell and Jennifer Kumiyama

November 17, 2023

by Carla Hay

Asha (voiced by Ariana DeBose), her pet goat Valentino (voiced by Alan Tudyk) and Star in “Wish” (Image courtesy of Walt Disney Animation Studios)

“Wish” (2023)

Directed by Chris Buck and Fawn Veerasunthorn

Culture Representation: Taking place on a fictional Iberian Peninsula island called Rosas, the animated film “Wish” features a racially diverse cast of characters white, black, Latin, and Asian) representing the working-class, middle-class and wealthy.

Culture Clash: A 17-year-old girl battles with an egotistical and corrupt king over his control of granting people’s wishes.

Culture Audience: “Wish” will appeal primarily to people who are fans of Disney animation and don’t mind watching an extremely formulaic Disney film.

Asha (voiced by Ariana DeBose) and King Magnifico (voiced by Chris Pine) in “Wish” (Image courtesy of Walt Disney Animation Studios)

As a Disney animated film, “Wish” is more forgettable than iconic. Even with a talented cast, the movie’s plot, characters, and songs are generic and derivative. Its references to other Disney movies look more like shameless shilling than fond reminiscing.

Directed by Chris Buck and Fawn Veerasunthorn, “Wish” is a movie that blandly goes through the motions with its simple plot and Disney self-promotion. The movie’s very formulaic screenplay was co-written by Jennifer Lee and Allison Moore. Buck and Lee are the directors of Disney’s Oscar-winning 2013 blockbuster “Frozen” and 2019 mega-hit “Frozen II.” Unfortunately, “Wish” is nowhere near the quality of these two “Frozen” movies.

The protagonist and narrator of “Wish” is 17-year-old Asha (voiced by Ariana DeBose), who lives on a fictional Iberian Peninsula island called Rosas. Asha lives with her widowed mother Sakina (voiced by Natasha Rothwell) and her paternal grandfather Sabino (voiced by Victor Garber), who is about to turn 100 years old. You know you’re watching a Disney animated film about a plucky heroine if at least one of her parents is dead.

The ruler of Rosas is King Magnifico (voiced by Chris Pine), a sorcerer who abuses his magical power to grant wishes for people, by allowing only one person a month to get a wish. These wishes look like bubbles, where Magnifico can envision what the wishes are. Sabino is still waiting to get his wish granted.

Not knowing how corrupt and vain King Magnifico is, Asha applies for a job to be his assistant. During the interview process, Asha sees Magnifico’s nasty temper and his obsessive need for control. Asha’s best friend is a royal servant named Dahlia (voiced by Jennifer Kumiyama), who is a cook in the kitchen at the king’s palace.

King Magnifico’s loyal and loving wife Amaya (voiced by Angelique Cabral) is very supportive of him, because she doesn’t see his true personality. It’s a little hard to believe that a queen whose entire life seems to revolve around her king (Amaya isn’t shown doing anything else but being a wife) hasn’t noticed how he abuses his power with these wishes.

And because “Wish” is a very predictable Disney animated film, there’s a wisecracking talking animal or non-human sidekick for the protagonist. It’s a donkey named Valentino (voiced by Alan Tyduk), who is Asha’s constant companion. Another Disney animation cliché: a cute and mute ally to the protagonist. In “Wish,” it’s a golden star named Star, who is summoned from the sky after Asha makes a wish.

Asha has several friends who are mostly forgettable. Here’s how these characters and their voice cast members are described in the “Wish” production notes: “Harvey Guillén as the outspoken-but-heartfelt cynic Gabo; Niko Vargas as quick-with-a-smile optimist Hal; Evan Peters as strong-but-sleepy guy Simon; Ramy Youssef as Asha’s allergy-plagued pal Safi; Jon Rudnitsky as her kind and wiggly-eared friend Dario; and Della Saba as shy-but-surprising sweetheart Bazeema.” One of these pals will betray Asha in a plot development that has absolutely no suspense.

“Wish” also has no surprises, as it plods along from one scene to the next. The action sequences are unremarkable. The dialogue is often terribly written. The voice performances are average overall, although DeBose’s singing is among the few highlights of “Wish.” The movie’s visuals are not very impressive.

“Wish” also fails to have one outstanding song that will become a beloved classic. (Julia Michaels and Benjamin Rice co-wrote the seven original and disappointing songs for “Wish.”) If a Disney animated musical film does not have at least one amazing song that can be easily be remembered after the movie is over, then you know how lackluster and unimaginative the movie is.

Walt Disney Pictures will release “Wish” in U.S. cinemas on November 22, 2023. A sneak preview of the movie will be shown in U.S. cinemas on November 18, 2023.

Review: ‘Saltburn,’ starring Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver and Archie Madekwe

November 17, 2023

by Carla Hay

“Saltburn”

Directed by Emerald Fennell

Culture Representation: Taking place in England, mostly in 2006, the comedy/drama film “Saltburn” features a predominantly white cast of characters (with a few black people) representing the working-class, middle-class and wealthy.

Culture Clash: A mysterious Oxford University student becomes infatuated with his rich male classmate, who invites him to spend the summer with him at his family’s sprawling estate, where mind games and chaos ensue.

Culture Audience: “Saltburn” will appeal primarily to people who are fans of the movie’s headliners and movies that skewer the upper class of society.

Jacob Elordi in “Saltburn” (Photo courtesy of Amazon MGM Studios)

“Saltburn” seems inspired by “Brideshead Revisited” and “The Talented Mr. Ripley,” with a touch of “Absolutely Fabulous. “Although not as great as these inspirations, “Saltburn” has memorable performances and eye-catching scenes. The ending has a major plot hole. This plot hole might be easily overlooked during the sequence of events that are meant to shock viewers, but it’s a plot hole that nearly ruins what could have been a completely believable conclusion. Hint: “Saltburn” ignores the fact that coroners exist.

Written and directed by Emerald Fennell, “Saltburn” is her second feature film as a writer/director, following her 2020 feature-film directorial debut, “Promising Young Woman,” which won an Oscar for Best Original Screenplay. “Saltburn” has many recycled plot points from other movies, so “Saltburn” is not really all that original, but it does have some scenes that are fairly unique. “Saltburn” had its world premiere at the 2023 Telluride Film Festival.

“Saltburn” (which takes place mostly in 2006) begins by showing the arrival of a new student at Oxford University in England: Oliver Quick (played by Barry Keoghan) has joined the graduating Class of 2006 sometime in December 2005, close to the Christmas holiday season. Oliver is a loner who is the type of overachieving student who will read every book on a professor’s recommended list, even though he doesn’t have to do all that work.

One of the first people Oliver meets at Oxford is one of his roommates: Michael Gavey (played by Ewan Mitchell), who wants to be Oliver’s friend and is even nerdier and more socially awkward than Oliver is. Michael is the type of dork who will bark out demands that Oliver prove his knowledge of answers to random questions that Michael verbally throws at him. Michael likes to feel intellectually superior to almost everyone, even though he secretly craves acceptance from the popular students in the school.

The most popular clique in the class is led by a wealthy heartthrob named Felix Catton (played by Jacob Elordi), who uses his good looks and charm to get whatever he wants. The Catton family’s opulent and sprawling estate is called Saltburn. The other students in Felix’s clique are also affluent and/or come from prominent families.

The opening scene of “Saltburn” shows Oliver saying, “I wasn’t in love with him. I loved him, of course, Everyone loved him … I protected him … But was I in love with him?” Before he answers that question, the movie shows Oliver’s arrival at Oxford.

The “him” in Oliver’s opening monologue is Felix, of course. Oliver seems instantly infatuated with Felix the moment that he sees Felix. Oliver admires Felix from afar, until one day, Oliver is riding his bike on campus, when he sees Felix looking dejected as Felix is sitting near a tree-lined bikeway path. Oliver stops and asks Felix what’s wrong. Felix says that his bicycle has a flat tire.

Felix explains that he’s already late for a class, which is too far away for him to walk in order not to miss most of the class session. Oliver generously lets Felix borrow Oliver’s bike. A grateful Felix later invites Oliver to hang out with Felix and his inner circle at a local pub. It’s the beginning of a friendship between Felix and Oliver, who quickly shuns Michael after Oliver is accepted into Felix’s clique. Michael isn’t too happy about this rejection and later makes some hilarious cutting remarks to Oliver about Oliver’s social climbing.

Someone who also isn’t happy about Oliver joining the group is Felix’s American cousin Farleigh Start (played by Archie Madekwe), who sees Oliver as a socially inferior interloper. Farleigh already had a grudge against Oliver, who embarrassed Farleigh in front of one of their teachers named Professor Ware (played Reece Shearsmith), when Oliver showed he knew more than Farleigh about the topic of discussion.

However, Farleigh still has some clout with the professor, who confesses that Farleigh’s mother (a famous actress named Fredrika Start, who’s never seen in the movie) was his crush when he and Fredrika were students at Oxford. People who watch “Saltburn” shouldn’t miss the first 15 minutes of the movie, which quickly explains the backstories of Farleigh and Oliver, who end up having a rivalry over Felix’s attention.

Farleigh’s mother moved to the United States, where Farleigh was born and raised. She had some kind of mental breakdown and has financial problems, so she sent Farleigh to live at Saltburn, because her brother is Sir James Catton (played by Richard E. Grant), who is Felix’s father. Farleigh’s father is not in Farleigh’s life. It’s mentioned Farleigh has been expelled from many schools for getting sexually involved with male teachers. Farleigh feels a lot of resentment and shame for having to ask his uncle James for money.

As for Oliver, the word has gotten around to many students at the school that he’s on a scholarship. Oliver tells people that he is an only child, and his estranged parents are heavily involved in drugs. According to Oliver, his father is a drug dealer who’s been in and out of prison. His mother is a drug addict and an alcoholic. Oliver hints that he experienced a lot of abuse and trauma in his childhood. Oliver makes it clear that he wants nothing to do with his parents.

“Saltburn” breezes by the academic year to show the graduation of Oxford’s Class of 2006. With no immediate plans after graduation, Felix invites Oliver to stay for the summer with the Catton family at Saltburn. The best parts of the movie take place at Saltburn, which is not only a playground for the family’s indulgences but also a prison of bottled-up resentments, sexual manipulation, and psychological warfare. Oliver gets swept up in it all.

The other members of the Catton family at Saltburn are Felix’s self-centered and vapid mother Elspeth Catton (played by Rosamund Pike) and Felix’s jaded and insecure late-teens sister Venetia Catton (played by Alison Oliver), who have some of the best lines in the movie. Elspeth is the type of person who will smile and pretend that her insults are compliments. Venetia, who has an eating disorder, is both rebellious and needy.

All of the Catton family members don’t do much at Saltburn except smoke, drink, eat lavish meals, lounge around, and have parties. When the younger members of the family play tennis, they wear tuxedos and party clothes. The family has a longtime butler named Duncan (played by Paul Rhys), whose “stiff upper lip” mannerisms suggest that he’s heard and seen a lot of unmentionable things at Saltburn, but he is loyally discreet.

Carey Mulligan (the star of “Promising Young Woman”) has a small supporting role in “Saltburn” as Elspeth’s tattooed friend Pamela, who is staying at Saltburn after getting out of drug rehab. Pamela has overstayed her welcome, but Elspeth won’t come right out and tell Pamela to leave. The snappy rapport between redhead Pamela and blonde Elspeth will remind “Absolutely Fabulous” sitcom fans of the rapport between “Absolutely Fabulous” substance-abusing fashionista friends Edina “Eddie” Monsoon (the redhead) and Patricia “Patsy” Stone (the blonde).

“Saltburn” unpeels the layers of Oliver, who at first seems in awe and somewhat overwhelmed to be in the presence of the Catton family’s wealth. Slowly but surely, it’s revealed that there’s a lot more to Oliver than what he first appeared to be. And there are some things he does in the movie (especially those involving bodily fluids) that are intended to make viewers uncomfortable.

Keoghan gives a fascinating performance as Oliver, who is quite the chameleon. Madekwe is compelling in his depiction of the very snarky Farleigh, Oliver’s main adversary. Pike and Oliver are also standouts for their portrayals of a mother and daughter who are caught between smug vanity and crippling self-doubt. Look beneath the physically attractive surfaces of Elspeth and Venetia, and you’ll see two women who hate that their worth is defined by how they look and how much wealth they have.

Elordi is also quite good in his role as Felix, who is shallow but is a less-toxic member of the Catton family. “Saltburn” plays with viewers’ expectations of whether or not ladies’ man Felix will acknowledge Oliver’s obvious infatuation with Felix. And if so, what will be done about it? And what if Oliver gets rejected?

“Saltburn” has some stunning cinematography (by Linus Sandgren) that alternates between bright hues of idyllic luxury and the shadowy darkness of secrets and decadence. The movie’s production design and costume design are also noteworthy. “Saltburn” has some intense emotional scenes that are well-acted with clever dialogue.

Where “Saltburn” stumbles the most is in the last 20 minutes of the movie, which will be divisive to viewers. The concluding part of “Saltburn” is very suspenseful, but when answers to mysteries are finally revealed, they are rushed through the story and just create more questions that the movie never bothers to answer. Still, there’s no denying that the cast members’ performances are worth watching. And the movie’s flaws are outnumbered by the areas where “Saltburn” excels.

Amazon MGM Studios released “Saltburn” in select U.S. cinemas on November 17, 2023, with an expansion to more U.S. cinemas on November 22, 2023.

Review: ‘Next Goal Wins’ (2023), starring Michael Fassbender, Oscar Kightley, Kaimana, David Fane, Rachel House, Beulah Koale, Will Arnett and Elisabeth Moss

November 17, 2023

by Carla Hay

Michael Fassbender (center) in “Next Goal Wins” (Photo by Hilary Bronwyn Gayle/Searchlight Pictures)

“Next Goal Wins” (2023)

Directed by Taika Waititi

Culture Representation: Taking place in 2011, mostly in American Samoa, the comedy/drama film “Next Goal Wins” (based on real events) features Asian/Pacific Islander and white characters representing the working-class, middle-class and wealthy.

Culture Clash: A hard-drinking and volatile soccer coach is exiled to work with the American Samoa National Team, which hasn’t scored a goal in years.

Culture Audience: “Next Goal Wins” will appeal primarily to people who are fans of filmmaker Taika Waititi, star Michael Fassbender, and “against-all-odds” sports movies that are very corny.

Cast members of “Next Goal Wins,” including Lehi Falepapalangi (third from left), Kaimana (fourth from left), Michael Fassbender (fifth from left) and Beulah Koale (sixth from left). (Photo by Hilary Bronwyn Gayle/Searchlight Pictures)

“Next Goal Wins” should’ve been a creative and exciting sports movie, considering the uniqueness of this true story. Instead, it overuses tiresome clichés of a grumpy outsider training a ragtag team. The dull comedy and ethnic stereotypes are cringeworthy. “Next Goal Wins” had its world premiere at the 2023 Toronto International Film Festival.

Directed by Taika Waititi (who co-wrote the subpar “Next Goal Wins” screenplay with Iain Morris), “Next Goal Wins” is based on a true story of how Dutch-born soccer coach Thomas Rongen transformed the American Samoa National Team from being on a losing streak of never scoring a goal in games for years to being a team capable of scoring goals and winning games. This story was also the subject of the 2014 documentary “Next Goal Wins.”

The scripted version of “Next Goal Wins” (which takes place in 2011) follows every single formula that has been done so many times already in similar movies, except the sports team in “Next Goal Wins” happens to have a transgender player. Waititi does occasional voiceover narration that’s supposed to sound folksy and whimsical, but it just comes across as annoying and unnecessary. Waititi also has a cameo role in the movie as an American Samoan priest.

In the beginning of “Next Goal Wins,” there’s a flashback to 2001, as the narrator explains that the American Samoa National Team experienced a humiliating 31-0 loss in a FIFA World Cup qualification match against Australia. Archival footage shows some of this match, as the narrator says the obvious: The American Samoan team is bad at playing soccer. The team hasn’t scored a goal in the 10 years since then.

“Next Goal Wins” then fast-forwards to 2011. The head of the American Samoa Football Federation is cheerful and friendly Tavita (played by Oscar Kightley), but he doesn’t have the respect of the team. How do we know they don’t respect him? While he was asleep, they used a marker pen to draw breasts on his face. Tavita has these markings on his face for a few days. It’s supposed to be a funny sight gag in the movie, but it just looks stupid.

Tavita’s wife Ruth (played by Rachel House) is fed up with the team never being able to win a game. At the spouses’ home, she tells Tavita what needs to happen to find a better coach for the team: “You have to go off-island.” Tavita and Ruth have a young adult son named Daru (played Beulah Koale), who is on the team and who dislikes this idea of finding a new coach from outside of American Samoa. “It’s treason!” Daru exclaims.

Ruth yells, “We’re getting a real coach!” And besides, Ruth tells Tavita and Daru, she’s already placed an ad to get a new coach for the team. The team has a coach named Ace (played by David Fane), who will be demoted to assistant coach when the American Samoa Football Federation finds a head coach who can “save” the American Samoa National Team.

Meanwhile, on the mainland United States, abrasive soccer coach Thomas Rongen (played by Michael Fassbender) is facing a four-person panel from the American Soccer Federation telling him that he’s been fired from his most recent team. Thomas still gets a chance to work for the American Soccer Federation, but he’s told that he’s being exiled to work with the losing-streak American Samoa National Team. Not surprisingly, Thomas is angry and insulted.

Making matters worse, two of the people who’ve made this decision are Thomas’ estranged wife Gail (played by Elisabeth Moss) and her current boyfriend Alex Magnussen (played by Will Arnett), the smug leader of the American Soccer Federation. (This love triangle scenario did not happen in real life.) Rhys Darby has a small and inconsequential role as another American Soccer Federation panelist named Rhys Marlin. Darby seems to be in this movie only because he’s a friend of Waititi, a fellow New Zealander comedian.

Also different from real life: The Thomas Rongen in this movie isn’t a native of the Netherlands. Instead of having a Dutch accent in this movie, Thomas Rongen has an Irish accent, because Fassbender has an Irish accent in real life. In this “Next Goal Wins” movie, Thomas is a stereotypical down-on-his luck coach with a drinking problem who hates having to work with a losing team.

The scenes of Thomas getting culture shock in American Samoa are unimaginative and boring. Thomas gets annoyed that every person who gives him a car ride in American Samoa is laid-back and won’t drive faster than 20 miles per hour. Thomas thinks it’s ridiculous that people in American Samoa want to work less hours than what he’s accustomed to on the mainland.

Thomas doesn’t understand the local tradition of “curfew time,” when people stop everything during certain times of the day to pray and meditate. Thomas becomes enraged when the team members tell him that they don’t want to practice on Sundays, for religious reasons. That’s why it looks so phony later in the movie when Thomas (who acts like he’s allergic to religion for most of “Next Goal Wins”) actually gets baptized in a body of water, with several members of the team in attendance.

As for the team members, only a few have memorable personalities. Daru is the team’s rebellious “bad boy” and is one of the team’s worst players. Jaiyah (played by Kaimana) is a transitioning transgender woman, whose name in her previous life was Johnny. Rambo (played by Semu Filipo) is a goofy and bumbling police officer, who somehow gets recruited to the team after he pulls Thomas over for erratic speeding on the road.

Other team members include Jonah (played by Chris Alosio), a promising young striker; Pisa (played by Lehi Falepapalangi), a large-sized goalie; and Samson (played by Hio Pelesasa), a long-haired midfielder. There’s a very hokey segment of the movie where Thomas and Jaiyah work together to track down former team members in attempts to convince them to play for the team again. The most notable of these former members is Smiley (played by Ioane Goodhue), a goalie who was on the team during the embarrassing 2001 FIFA loss and is the closest thing that the team had to a star player.

At first, Thomas clashes with Jaiyah the most because Thomas doesn’t understand what being transgender means. Jaiyah and Thomas get into a physical brawl after Thomas taunts Jaiyah by calling her by her dead name Johnny, even though Thomas knew how offensive that would be to Jaiyah. But in a sappy movie like “Next Goal Wins,” you just know there will come a time when the coach and player who started off as enemies will find a way to become friends.

The movie’s approach to soccer is incredibly simple-minded. Thomas announces to the team that his strategy is for them to work on “strength and discipline,” which he compares to being like “cheese and pepper.” The practice scenes are jumbled and filmed in a lazy way.

The team has a young fan named Armani (played by Armani Makaiwa), who’s about 12 or 13 years old. The movie treats him like a mindless mascot, because Armani doesn’t say anything in the movie, which never bothers to explain why this mute child has all this time to spend with the team. Shouldn’t he be in school? Where are his parents?

There’s also a very misleading subplot about Thomas constantly listening to voice mail messages from his teenage daughter Nicole (voiced by Kaitlyn Dever), who is always asking why Thomas won’t communicate with her. Why won’t he call her back? The answer, which is revealed near the end of the movie, is completely manipulative.

“Next Goal Wins” repeatedly shows that Thomas wants to get back together with his estranged wife Gail, but it never mentions why they broke up in the first place. The separation from Gail is supposed to make Thomas look lovelorn and sympathetic. But it doesn’t work, because he’s such a relentless jerk for most of the movie, until he goes through a sudden personality change after making a big speech.

“Next Goal Wins” has some heartfelt and well-acted scenes with Thomas and Jaiyah, but how they end up befriending each other looks too forced and contrived. The racial issues that were hinted at in the beginning of the movie, when Daru objected to hiring a non-Samoan coach, are warped to fit a “white savior” narrative, when “Next Goal Wins” becomes about Thomas and how he’s uncomfortable with Samoan culture. The movie treats the Samoans as all having to accommodate Thomas and eventually be willing to tolerate Thomas’ insults and tirades.

Outstanding sports movies about athletic teams make viewers feel like they know several members of the team, not just a few. Unfortunately, that isn’t the case with “Next Goal Wins,” which makes most of the team members utterly generic side characters. The Samoan team members in “Next Goal Wins” are portrayed as helpless dolts who need a rejected and rude coach of European heritage to make them into a winning team. It’s ethnic condescension at its worst. “Next Goal Wins” might have worked as a satire of sports movie stereotypes, but the movie’s comedy and overall filmmaking are as limp as a deflated soccer ball.

Searchlight Pictures released “Next Goal Wins” in U.S. cinemas on November 17, 2023.

Review: ‘The Hunger Games: The Ballad of Songbirds & Snakes,’ starring Tom Blyth, Rachel Zegler, Hunter Schafer, Jason Schwartzman, Josh Andrés Rivera and Viola Davis

November 16, 2023

by Carla Hay

“The Hunger Games: The Ballad of Songbirds & Snakes”

Directed by Francis Lawrence

Culture Representation: Taking place in fictional country of Panem, the fantasy/action film “The Hunger Games: The Ballad of Songbirds & Snakes” (based on the 2020 novel of the same name) features a predominantly white cast of characters (with some African Americans, Latin people and Asian) representing the working-class, middle-class and wealthy.

Culture Clash: Future villain Coriolanus Snow is tasked with making singer Lucy Gray Baird fail in the brutal life-or-death Hunger Game battle, but he and Lucy Gray unexpectedly fall in love with each other.

Culture Audience: Besides appealing to the obvious target audience of fans of “The Hunger Games” franchise, “The Hunger Games: The Ballad of Songbirds & Snakes” will appeal primarily to viewers of fantasy action films that have battles over power, love, and moral ethics.

Tom Blyth and Viola Davis in “The Hunger Games: The Ballad of Songbirds & Snakes” (Photo by Murray Close/Lionsgate)

“The Hunger Games: The Ballad of Songbirds & Snakes” is not the type of movie that’s best appreciated by those who have prior knowledge of “The Hunger Games” fantasy books and/or movies. It’s not terrible or great, but this “Hunger Games” prequel has enough thrilling action sequences and interpersonal drama to satisfy most “Hunger Games” fans. Viewers who are unfamiliar with the franchise might be confused or feel disconnected from the story. “The Hunger Games” movies are based on Suzanne Collins’ novels of the same names. These books are geared to a young adult audience.

Directed by Francis Lawrence, “The Hunger Games: The Ballad of Songbirds & Snakes” is an origin story for chief “Hunger Games” villain Coriolanus Snow (played by Tom Blyth), the movie’s protagonist. Michael Lesslie and Michael Arndt faithfully adapted the movie’s screenplay from Collins’ 2020 novel “The Hunger Games: The Ballad of Songbirds & Snakes.” It’s an epic book of more than 500 pages, so making it into a movie was certainly a challenge. It’s why “The Hunger Games: The Ballad of Songbirds & Snakes” movie clocks in at 157 minutes.

Lawrence also directed the the second, third and fourth film in “The Hunger Games” movie series: 2013’s “The Hunger Games: Catching Fire,” 2014’s “The Hunger Games: Mockingjay – Part 1” and 2015’s “The Hunger Games: Mockingjay – Part 2.” Gary Ross directed 2012’s “The Hunger Games,” the first movie in the series. Donald Sutherland portrayed Coriolanus in those movies.

With a lengthy running time for “The Hunger Games: The Ballad of Songbirds & Snakes,” there are some parts that somewhat dull, but most of the film is engaging enough to maintain viewer interest. In the fictional country of Panem, the Hunger Games is a fairly new barbaric game, where two young people (who are called “tributes”) from each of Panem’s 13 districts have a life-or-death fight until the only person left alive is declared the winner. Spectators from all across Panem witness this brutality, which has large, enthusiastic audiences who enjoy the carnage.

In the beginning of “The Hunger Games: The Ballad of Songbirds & Snakes,” Coriolanus is about 8 years old (played by Dexter Sol Ansell), and his cousin Tigris (played by Rosa Gotzler) is approximately the same age. They are raised more like brother and sister than like cousins. The Snow family is a prominent and wealthy, but their fortunes change when they get the tragic news that Coriolanus’ single father General Crassus Snow was killed in combat during a civil war. Now orphaned, Coriolanus is raised by his beloved grandmother Grandma’am (played by Fionnula Flanagan), who is kindhearted and compassionate.

The movie then fast-forwards about 10 years later. Tigris (played by Hunter Schafer) and Grandma’am say goodbye to when 18-year-old Coriolanus, since he is moving out of the family home to go to a live-in academy. The academy is led by a dean maned Casca Highbottom (played by Peter Dinklage), who is addicted to morphling (a morphine-like drug) that he likes to drink in a small vial. At this point, Coriolanus is no longer wealthy, and he is trying to restore his family’s prestige. Casca does not like the Snow family, for reasons that are explained in the movie.

Coriolanus has been tasked with being the mentor for Lucy Gray Baird (played by Rachel Zegler), who is a tribute from Panem’s 12th district. Dr. Volumnia Gaul (played by Viola Davis) is the callous and authoritarian Head Gamemaker of the Hunger Games. Lucky Flickerman (played by Jason Schwartzman) is the first master of ceremonies for the Hunger Games. Sejanus Plinth (played by Josh Andrés Rivera) becomes Coriolanus’ best friend at the academy.

Lucy Gray is a talented singer (she performs songs, often on acoustic guitar, that are best described as country-tinged pop), so expect to see parts of the movie look almost like a music video with these performance scenes. The songs are generically bland, but Zegler performs these tunes with gusto. It’s not a secret (since it’s revealed in the movie’s trailers) that Lucy and Coriolanus fall in love with each other.

Snakes (including Lucy’s fondness for small snakes) are recurring parts of the story. And the songbird mentioned the most is the mockingjay. There’s also a quick reference to what inspired the first name of Katniss Everdeen, the protagonist of the first four “Hunger Games” movies. (Jennifer Lawrence, who played Katniss, is not in this movie prequel.)

“The Hunger Games: The Ballad of Songbirds & Snakes” (which was filmed in Poland) has impressive production design in the world of Panem is presented. The acting performances are very good, with Davis playing her villain role to the hilt. Blyth also capably handles his role as the complex Coriolanus, who has a believable personality metamorphosis with this performance.

The chemistry between Blyth and Zegler never feels completely convincing, but considering that Coriolanus eventually becomes corrupt, and Lucy Gray is a good person, these characters were a mismatched couple from the start. action scenes and struggles over loyalty and betrayals are the fuel that keep “The Hunger Games: The Ballad of Songbirds & Snakes” going when other parts of the movie get dragged down in some monotony.

Lionsgate will release “The Hunger Games: The Ballad of Songbirds & Snakes” in U.S cinemas on November 17, 2023.

Review: ‘Thanksgiving’ (2023), starring Patrick Dempsey, Addison Rae, Milo Manheim, Jalen Thomas Brooks, Nell Verlaque, Rick Hoffman and Gina Gershon

November 15, 2023

by Carla Hay

Nell Verlaque in “Thanksgiving” (Photo courtesy of TriStar Pictures)

“Thanksgiving” (2023)

Directed by Eli Roth

Culture Representation: Taking place from 2022 to 2023, in Plymouth, Massachusetts, the horror film “Thanksgiving” features a predominantly white cast of characters (with a few African Americans, Latin people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A mysterious serial killer, who’s disguised as Plymouth pilgrim John Carver, gets revenge on people who directly or indirectly caused the deaths of people during a Black Friday riot at a Walmart-type store.

Culture Audience: “Thanksgiving” will appeal primarily to people who are fans of filmmaker Eli Roth and slasher horror movies that skillfully mix comedy with suspenseful mystery.

Gina Gershon and Patrick Dempsey in “Thanksgiving” (Photo courtesy of TriStar Pictures)

“Thanksgiving” offers a satisfying menu of unique terror scenes, whodunit suspense and laugh-out-loud comedic moments. It’s an instant classic for holiday-themed horror movies. This movie is not for people who get easily squeamish by violent gore.

Directed by Eli Roth and written by Jeff Rendell, “Thanksgiving” takes place in Plymouth, Massachusetts, a municipality famous for being the site where the Mayflower Pilgrims colony was founded in 1620. The Mayflower Pilgrims were among the first to celebrate Thanksgiving (a day to give thanks for good fortunes and blessings), which became a national holiday in the United States. Thanksgiving is celebrated in other countries too, but the Mayflower Pilgrims story is part of U.S. history.

It’s no wonder that Thanksgiving has a special meaning for Plymouth. But in the “Thanksgiving” movie, Plymouth will be the target of terror by a serial killer dressed as a Thanksgiving pilgrim. (“Thanksgiving” was actually filmed in the Canadian cities of Hamilton and Port Perry, Ontario.) The movie takes place during the Thanksgiving holiday season within a two-year period.

“Thanksgiving” opens with a seemingly harmless sequence of two very different households celebrating Thanksgiving Day in 2022, with traditional gatherings for Thanksgiving dinner. The Collins family has a middle-class household consisting of spouses Amanda Collins (played by Gina Gershon) and Mitch Collins (played by Ty Olsson), who works as a manager at a general discount store called Right Mart. (It’s very similar to Walmart.) Mitch has to work that night to prepare for the midnight opening of Right Mart for the Black Friday sales. Family friend Sheriff Eric Newlon (played by Patrick Dempsey) is a bachelor who has been invited to this Thanksgiving dinner, which includes a few other relatives in the Collins family.

The other household is that of the wealthy Wright family, whose patriarch Thomas Wright (played by Rick Hoffman) owns the retail chain called Right Mart, which is very popular in Plymouth. Right Mart is so popular in Plymouth, a crowd of about 100 people have gathered on Thanksgiving night in the parking lot of Right Mart, so that they can be the first people let into the store at midnight, when Right Mart will open to have a massive Black Friday sale.

The Collins household is festive and upbeat for Thanksgiving. By contrast, the Wright household has a lot of tension. That’s because Thomas’ teenage daughter (and only child) Jessica, nicknamed Jess (played by Nell Verlaque), disapproves of Thomas’ wife Kathleen (played by Karen Cliche), because Jessica thinks Kathleen is an opportunistic gold digger. It’s mentioned in conversations that Jess’ mother is deceased. Thomas and Kathleen had a quick courtship and engagement. Jessica is about 16 or 17 years old in the beginning of the movie.

“Thanksgiving” introduces a few too many characters in the beginning of the film, particularly when it comes to Jessica’s social circle of friends at her high school. Jessica’s boyfriend Bobby DiStasi (played by Jalen Thomas Brooks) is a star pitcher on the school’s baseball team. He has the nickname Golden Arm because of his pitching talent. Other people who hang out with Jessica are two couples who attend the same school: rebellious prankster Evan Fletcher (played by Tomaso Sanelli); Evan’s fun-loving girlfriend Gabby (played by Addison Rae); friendly athlete Conrad Scuba, nicknamed Scuba (played by Gabriel Davenport); and Scuba’s cheerleader girlfriend Yulia (played by Jenna Warren), who also comes from a wealthy family.

On the fringes of this clique is McCarty (played by Joe Delfin), a scummy guy in his 20s who sells drugs and guns, often to teenagers. McCarty is somewhat known in the area for having a big annual party (called the McCarty Party), on a night close to the Thanksgiving holiday. Another prominent character in the movie is Ryan (played by Milo Manheim), an academically talented student who has a crush on Jessica and tries to get to know her better, even though Ryan knows that Bobby is her boyfriend.

What happens at the Right Mart in Plymouth will become a violent tragedy. Tensions are running high in the crowd of people who are anxious for the store to open. There’s a barricade separating the crowd from the store, but there is no orderly line for this crowd, which is one of the first signs that things might go wrong. Some people standing close to each other start to have petty arguments when they think someone else is trying invade their personal space. One of these argumentative people is a loudmouth named Lizzie (played by Amanda Barker), who is one of the more aggressive people in the crowd.

Somehow, Jessica’s friends convince her to take advantage of the fact that her father owns Right Mart, because Jessica has access to the master key to the store. Evan is the one who comes up with the idea to go into the store before the crowd can be let in for the Black Friday sales. The people outside can see what’s going on inside store through the long glass windows at the front of the store. Jessica and her pals go in the store, where Evan and a few of the others taunt the bystanders outside by appearing to be shopping inside.

This sight enrages many people in the crowd. One of the bystanders grabs a megaphone from a security guard and shouts that the store is now open. And that’s when all hell breaks loose. People rush through the barricade and crash through the front doors, with many people trampling one of the only two security guards who was in front of the store. This unlucky security guard’s name is Doug (played by Chris Sandiford), and he will be talked about several times later in the movie.

The customers in this mob scene start to act like violent looters. An unexpected arrival at the store is Amanda, who is at Right Mart to surprise Mitch with some leftover Thanksgiving food. Amanda is one of the people who gets physically injured during this chaos. The mayhem becomes such an emergency, Sherrif Newlon is called to the scene. He becomes the lead investigator in the case. At least two people die in the pandemonium. It’s a very gripping way to begin the movie.

“Thanksgiving” then fast-forwards to a year later. Right Mart’s video security footage from the Black Friday tragedy has mysterously gone missing. And so, videos that people took on their phones are what most people see of what happened in the store on that fateful night. The video that Evan took is one of the biggest viral videos out of all the videos from that night that got attention from the media and the public.

TV news reports show that there is controversy in Plymouth because Right Mart owner Thomas wants to do the same Black Friday promotion as the previous year. This decision has gotten criticism from many people who think Right Mart should be closed on Black Friday, out of respect for the people who were hurt or died in the chaos in the previous year. One of the protestors is Mitch, who no longer works for Right Mart. Thomas remains unmoved by the protests, and he refuses to change his decision.

A TV news report on the one-year anniversary of the tragedy mentions that Bobby’s injuries in the melee ended his promising baseball career. Bobby left Plymouth shortly after the Right Mart tragedy and disappeared. However, Bobby suddenly shows up in Plymouth again, close to the one-year anniversary of Right Mart’s deadly Black Friday fiasco. Bobby is apologetic to Jessica for leaving and cutting off all communication with her.

Jessica forgives Bobby, but she has a new boyfriend: Ryan, who isn’t happy to see that Bobby has come back to Plymouth. Ryan and Bobby dislike each other immensely. Their rivalry over Jessica becomes a subplot in the movie.

It’s a Wright family tradition to film themselves for a Right Mart TV commercial. This year, they will be filming the commercial at a local landmark called the John Carver House, which is named after the first governor of the Plymouth Colony. When the Wright family arrives at the house, they see that it has been vandalized. Thomas notices that an ax that had been hanging on the wall is missing.

And you know what that means. Shortly after this theft and vandalism, Jessica and her friends start getting bizarre text mesages from someone who is using the name The John Carver. The messages have photos attached that show a dining table with Thanksgiving decorations. “The table is set,” the first message reads.

The rest of “Thanksgiving” is a wild ride of scares and some laughs. It should come as no surprise that the killer (who is disguised as John Carver during the murder spree) is seeking revenge against people whom the killer blames for the Black Friday tragedy that happened at Right Mart. Some of the movie’s murder scenes are inventive and very gruesome. Hint: You might never look at trampolines the same way again after seeing “Thanksgiving.”

The performances in the movie get the job done well enough for a horror flick. Even in this fairly big ensemble cast, Verlaque naturally stands out, because the story is told mostly from the perspective of Jessica. Delfin also gives a memorable performance as the sleazy McCarty, who is supposed to be some of the movie’s comic relief.

“Thanksgiving” will keep viewers guessing on who’s behind all these murders and the details of the revenge motive. The identity of the killer is a lot easier to guess than the motive. (An end-credits scene looks like a comedic outtake from the movie.) There’s an obvious hint of a sequel, which will no doubt be expected, since “Thanksgiving” is the type of movie that will quickly win over horror fans who want to see this story continue.

TriStar Pictures will release “Thanksgiving” on November 17, 2023.

Review: ‘Napoleon’ (2023), starring Joaquin Phoenix

November 15, 2023

by Carla Hay

Joaquin Phoenix in “Napoleon” (Photo courtesy of Apple Studios/Columbia Pictures)

“Napoleon” (2023)

Directed by Ridley Scott

Culture Representation: Taking place in various countries in Europe from 1789 to 1815, the dramatic film “Napoleon” (a biopic of French emperor Napoleon Bonaparte) features a predominantly white cast of characters (with a few black people) representing the working-class, middle-class and wealthy.

Culture Clash: Napoleon Bonaparte rises from humble beginnings to become emperor of France, but his life is plagued by power struggles, marital problems, and deep insecurities.

Culture Audience: “Napoleon” will appeal primarily to people who are fans of star Joaquin Phoenix, director Ridley Scott and history-influenced war movies that put more importance on battlefield scenes than crafting compelling stories.

Vanessa Kirby and Joaquin Phoenix in “Napoleon” (Photo courtesy of Apple Studios/Columbia Pictures)

The long-winded “Napoleon” is a film that acts as if epic battle scenes are enough to make a great war movie. Overrated director Ridley Scott continues his awful tendency of shaming female sexuality more than male sexuality. Napoleon has an American accent. Historical inaccuracies aside—and there are plenty of these inaccuracies in the movie—”Napoleon” (which clocks in at a too-long 158 minutes) is ultimately a very superficial film that is more style than substance.

Although people can agree that “Napoleon” star Joaquin Phoenix is a very talented actor, there’s no legitimate reason for why he has an American accent in portraying a well-known French leader such as Napoleon Bonaparte, when all the other “Napoleon” cast members portraying French people do not have American accents. (They have British accents.) It wouldn’t have been that hard for “Napoleon” director Scott to require Phoenix to not have this phony-sounding and distracting American accent in this movie and instead have Phoenix be consistent with the other cast members’ accents for those portraying French people. It’s just lazy filmmaking, albeit on a very big budget for this overpriced film.

“Napoleon” takes place from 1789 to 1815. He was emperor of France from 1804 to 1814 and part of 1815. Napoleon died in 1821, at the age of 51. The movie has some moments of unexpected comedy, but a lot of that comedy is unintentional. Many lines of dialogue in the uneven “Napoleon” screenplay (written by David Scarpa) are so cringeworthy, they’re funny—as in, viewers will laugh at the dialogue, not laugh with it. The relationships in the movie are presented as very shallow, with poorly written conversations as flimsy substitutes for what are supposed to be meaningful emotional bonds.

As an example of the type of junk that viewers have to sit through when watching “Napoleon,” there’s a scene where quarrelling spouses Napoleon and Josephine (played by Vanessa Kirby) have one of their many arguments during a meal at a dinner party in their palatial home. Josephine calls Napoleon “fat” in front of their guests. Napoleon replies, “I enjoy my meals. Destiny has brought me here. Destiny has brought me this lamb chop!”

Napoleon’s courtship and subsequent marriage to Josephine are portrayed as fueled primarily by lust on his part (and his desire for her to give birth to a male heir) and desperate gold digging and social climbing on her part. Napoleon met Josephine after she was released from prison and essentially destitute. Napoleon gets Josephine’s attention when he sees her playing cards at a dingy nightclub and stares at her like a stalker. Their relationship in the movie consists of a few robotic-like sex scenes and more scenes of them having a dysfunctional and twisted rapport of insulting each other.

“Napoleon” makes it clear that petulant Napoleon and manipulative Josephine got some kind of sexual arousal from their war of words/verbal abuse, where each tried to assert control and dominance over the other. Very little is shown about how Josephine and Napoleon were as parents. Kirby and Phoenix give very capable performances, but neither performance rises to the level of outstanding, due to the substandard screenplay and the bloated direction for “Napoleon.”

Napoleon and Josephine were both admittedly unfaithful to each other during their marriage, but Josephine’s infidelities are repeatedly shown on screen, while Napoleon’s infidelities are not shown on screen and almost excused. The overwhelming sexist tone of this movie is that Napoleon deserved more sympathy for being cheated on, while Josephine is portrayed as a heartless “harlot” who deserved very little or no sympathy. It can’t be blamed on sexism in the 1700s and 1800s. “Napoleon” director Scott made the choices on what to show and what not to show in this movie.

Even though he is an unfaithful husband, Napoleon hypocritically thinks that he’s entitled to his infidelities, while Josephine gets no such entitlement. Napoleon’s jealousy goes beyond the norm and crosses the line into obsessive possessiveness. A scene in the movie shows Napoleon abruptly leaving his military duties on the battlefield to go home to Paris, to show Josephine that he “owns” her, after he hears that she has another lover. When Napoleon is later asked why he made such a sudden (and temporary) departure from his military command, Napoleon replies: “My wife is a slut.”

Napoleon was famous for his abrasive and cocky personality in real life. In this movie, Phoenix depicts not only that unlikeable side to Napoleon but also portrays Napoleon as an emotionally wounded man-child whose feelings get hurt if Josephine doesn’t act as if she’s a submissive wife who worships him. When Josephine doesn’t get pregnant as fast as he wants her to get pregnant, Napoleon blames her and acts personally offended that her body is not conceiving and delivering the heirs that he wants in the timetable he expects them to be born.

Napoleon’s family members are side characters who ultimately exist to react to his ego and whims. Napoleon’s younger brother Lucien Bonaparte (played by Matthew Needham) benefits from Napoleon’s political power. For a while, Lucien is Napoleon’s trusty sidekick, but then Lucien disappears for large chunks of the movie with no real explanation. Napoleon’s mother Letizia Bonaparte (played by Sinéad Cusack) was strong-willed and meddling in real life, but in this movie, she’s an underdeveloped and sidelined character.

“Napoleon” (which was filmed in Malta) becomes a repetitive slog of battle scenes on the field, his marital problems, and the occasional exile. It’s all formulaic at a certain point. Napoleon’s opponents and allies are nothing but hollow historical figures in this movie, which has admirable costume design and production design. Napoleon’s trusted political adviser Paul Barras (played by Tahar Rahim) has a hopelessly generic personality before he disappears from the story. British military commander Arthur Wellesley (played by Rupert Everett) has some of the most embarrassingly terrible lines in the movie.

Yes, the action scenes in “Napoleon” are visually impressive. But there are plenty of war movies with better action scenes. What happens in between those scenes are watchable moments at best and disappointing missed opportunities at worst.

Apple Studios and Columbia Pictures will release “Napoleon” in U.S. cinemas on November 22, 2023.

2023 Critics Choice Documentary Awards: ‘Still: A Michael J. Fox Movie’ is the biggest winner

November 12, 2023

by Carla Hay

Michael J. Fox in “Still: A Michael J. Fox Movie” (Photo courtesy of Apple TV+)

The following is a press release from the Critics Choice Association:

The Critics Choice Association (CCA) unveiled the winners of the Eighth Annual Critics Choice Documentary Awards at a gala event in New York City. Still: A Michael J. Fox Movie took home five trophies in all including the top award of the evening for Best Documentary Feature. The film’s other victories were Best Director for Davis Guggenheim, Best Editing for Michael Harte, Best Narration for Michael J. Fox, and Best Biographical Documentary.

The Critics Choice Documentary Awards recognize the year’s finest achievements in documentaries released in theaters, on TV and on major digital platforms, as determined by the voting of qualified CCA members.

20 Days in Mariupol, American Symphony, and The Deepest Breath each took home two awards.

20 Days in Mariupol won the awards for Best First Documentary for director Mstyslav Chernov, and Best Political Documentary.

Jon Batiste won Best Score for his work on American Symphony and the film also took home the award for Best Music Documentary.

The Deepest Breath was another of the evening’s double award-winners, with wins for Tim Cragg in Best Cinematography and Best Sports Documentary.

The trophy for Best Archival Documentary was awarded to Being Mary Tyler Moore.

Best Historical Documentary went to JFK: One Day in America.

The award for Best Science/Nature Documentary was presented to Secrets of the Elephants.

In the True Crime Documentary category, there was a tie between Lennon: Murder Without a Trial and Telemarketers.

The Last Repair Shop won the award for Best Short Documentary.

Best Limited Documentary Series went to The 1619 Project.

30 for 30 took home the award for Best Ongoing Documentary Series.

At the ceremony, the Pennebaker Award was presented to acclaimed documentarian Ross McElwee. The award, formerly known as the Critics Choice Lifetime Achievement Award, is named in honor of D A Pennebaker, a past winner. It was presented to Kopple by Chris Hegedus, Pennebaker’s long-time collaborator and widow.

For the fourth year in a row, the Critics Choice Documentary Awards welcomed National Geographic Documentary Films as the Presenting Sponsor.

The Catalyst Sponsors for the Eighth Annual Critics Choice Documentary Awards were Amazon MGM Studios and Netflix.

The Spirits Sponsor of the event was Milagro Tequila.

To stream the ceremony, learn more about the Critics Choice Documentary Awards, and see the full list of nominees and winners, visit the Critics Choice Association website.

###

Winners of the Eighth Annual Critics Choice Documentary Awards

*=winner

BEST DOCUMENTARY FEATURE

20 Days in Mariupol (PBS)
American Symphony (Netflix)
Beyond Utopia (Roadside Attractions)
The Deepest Breath (Netflix)
The Eternal Memory (MTV Documentary Films/Paramount+)
Judy Blume Forever (Amazon Studios)
Kokomo City (Magnolia Pictures)
The Mission (National Geographic)
Stamped from the Beginning (Netflix)
Still: A Michael J. Fox Movie (Apple TV+)*

BEST DIRECTOR

Maite Alberdi – The Eternal Memory (MTV Documentary Films/Paramount+)
Madeleine Gavin – Beyond Utopia (Roadside Attractions)
Davis Guggenheim – Still: A Michael J. Fox Movie (Apple TV+)*
Matthew Heineman – American Symphony (Netflix)
Amanda McBaine, Jesse Moss – The Mission (National Geographic)
Steve McQueen – Occupied City (A24)

BEST FIRST DOCUMENTARY FEATURE

20 Days in Mariupol (PBS)*
26.2 to Life (Film Halau)
Bad Press (Oklafilm)
Bobi Wine: The People’s President (National Geographic)
Kokomo City (Magnolia Pictures)
Orlando, My Political Biography (Sideshow)
Smoke Sauna Sisterhood (Greenwich Entertainment)
The Thief Collector (FilmRise)

BEST CINEMATOGRAPHY

Tim Cragg – The Deepest Breath (Netflix)*
Tony Hardmon, Matthew Heineman, Thorsten Thielow – American Symphony (Netflix)
Lennert Hillege – Occupied City (A24)
Franz Lustig – Anselm (Sideshow)
D. Smith – Kokomo City (Magnolia Pictures)
Toby Strong, James Boon, Bob Poole, Neil Fairlie, Wim Vorster, Joshua Tarr, Pete Allibone, Neil Harvey, Andreas Knausenberger – Secrets of the Elephants (National Geographic)

BEST EDITING

Sammy Dane, Jim Hession, Matthew Heineman, Fernando Villegas – American Symphony (Netflix)
Madeleine Gavin – Beyond Utopia (Roadside Attractions)
Michael Harte – Still: A Michael J. Fox Movie (Apple TV+)*
Michelle Mizner – 20 Days in Mariupol (PBS)
D. Smith – Kokomo City (Magnolia Pictures)
Aaron Wickenden – The Mission (National Geographic)

BEST SCORE

Jon Batiste – American Symphony (Netflix)*
Danny Bensi & Saunder Jurriaans – The Mission (National Geographic)
Nainita Desai – The Deepest Breath (Netflix)
Philip Glass & Paul Leonard-Morgan – The Pigeon Tunnel (Apple TV+)
Katya Richardson & Kris Bowers – The Last Repair Shop (Breakwater Studios)
D. Smith – Kokomo City (Magnolia Pictures)

BEST NARRATION

20 Days in Mariupol (PBS)
Written and Performed by Mstyslav Chernov

32 Sounds (Abramorama)
Written and Performed by Sam Green

The Disappearance of Shere Hite (IFC Films)
Written by Nicole Newnham, Eileen Meyer and Shere Hite
Performed by Dakota Johnson

John Lennon: Murder Without a Trial (Apple TV+)
Performed by Kiefer Sutherland

Secrets of the Elephants (National Geographic)
Written by Martin Williams, Caroline Hawkins and Jonathan Frisby
Performed by Natalie Portman

Still: A Michael J. Fox Movie (Apple TV+)*
Written and Performed by Michael J. Fox

BEST ARCHIVAL DOCUMENTARY

Being Mary Tyler Moore (HBO | Max)*
The Disappearance of Shere Hite (IFC Films)
It Ain’t Over (Sony Pictures Classics)
JFK: One Day in America (National Geographic)
The Lady Bird Diaries (Hulu/ABC News Studios)
The League (Magnolia Pictures)

BEST HISTORICAL DOCUMENTARY

The 1619 Project (Hulu/Onyx Collective)
JFK: One Day in America (National Geographic)*
The Lady Bird Diaries (Hulu/ABC News Studios)
Lakota Nation vs. United States (IFC Films)
The League (Magnolia Pictures)
Occupied City (A24)
Stamped from the Beginning (Netflix)

BEST BIOGRAPHICAL DOCUMENTARY

Being Mary Tyler Moore (HBO | Max)
The Disappearance of Shere Hite (IFC Films)
Going to Mars: The Nikki Giovanni Project (HBO Documentary Films)
Judy Blume Forever (Amazon Studios)
Pretty Baby: Brooke Shields (Hulu/ABC News Studios)
Sly (Netflix)
Still: A Michael J. Fox Movie (Apple TV+)*

BEST MUSIC DOCUMENTARY

American Symphony (Netflix)*
Carlos (Sony Pictures Classics)
Ladies First: A Story of Women in Hip-Hop (Netflix)
Little Richard: I Am Everything (Magnolia Pictures/CNN Films)
Love to Love You, Donna Summer (HBO | Max)
Taylor Swift: The Eras Tour (AMC Theatres)
What the Hell Happened to Blood, Sweat & Tears? (Abramorama)

BEST POLITICAL DOCUMENTARY

20 Days in Mariupol (PBS)*
Beyond Utopia (Roadside Attractions)
Bobi Wine: The People’s President (National Geographic)
Deadlocked: How America Shaped the Supreme Court (Showtime)
Every Body (Focus Features)
Lakota Nation vs. United States (IFC Films)
Silver Dollar Road (Amazon MGM Studios)

BEST SCIENCE/NATURE DOCUMENTARY

32 Sounds (Abramorama)
Between Earth & Sky (PBS)
Life on Our Planet (Netflix)
Path of the Panther (National Geographic)
Poisoned: The Dirty Truth About Your Food (Netflix)
Secrets of the Elephants (National Geographic)*
Wild Beauty: Mustang Spirit of the West (Gravitas Ventures)

BEST SPORTS DOCUMENTARY

Black Ice (Roadside Attractions)
BS High (HBO | Max)
The Deepest Breath (Netflix)*
It Ain’t Over (Sony Pictures Classics)
The League (Magnolia Pictures)
Reggie (Amazon Studios)
Stephen Curry: Underrated (Apple TV+)
Welcome to Wrexham (FX)

BEST TRUE CRIME DOCUMENTARY

Burden of Proof (HBO | Max)
The Jewel Thief (Hulu)
John Lennon: Murder Without a Trial (Apple TV+)* (tie)
Murdaugh Murders: A Southern Scandal (Netflix)
Telemarketers (HBO | Max)* (tie)
The Thief Collector (FilmRise)
Victim/Suspect (Netflix)

BEST SHORT DOCUMENTARY

The ABCs of Book Banning (MTV Documentary Films/Paramount+)
The Barber of Little Rock (Story Syndicate)
Between Earth & Sky (PBS)
Keys to the City (New Yorker)
The Last Repair Shop (Breakwater Studios)*
Last Song From Kabul (MTV Documentary Films/Paramount+)

BEST LIMITED DOCUMENTARY SERIES

The 1619 Project (Hulu/Onyx Collective)*
Big Vape: The Rise and Fall of Juul (Netflix)
Deadlocked: How America Shaped the Supreme Court (Showtime)
JFK: One Day in America (National Geographic)
John Lennon: Murder Without a Trial (Apple TV+)
Secrets of the Elephants (National Geographic)
Shiny Happy People (Amazon Studios)
Telemarketers (HBO | Max)

BEST ONGOING DOCUMENTARY SERIES

30 for 30 (ESPN)*
Frontline (PBS)
Murdaugh Murders: A Southern Scandal (Netflix)
POV (PBS)
Trafficked with Mariana van Zeller (National Geographic)
Welcome to Wrexham (FX)

About the Critics Choice Awards

The Critics Choice Documentary Awards are an offshoot of the Critics Choice Awards, which are bestowed annually by the CCA to honor the finest in cinematic and television achievement. Historically, the Critics Choice Awards are the most accurate predictor of Academy Award nominations.

The Critics Choice Awards ceremony will be held on January 14, 2024 at the Fairmont Century Plaza in Century City, CA, and will be broadcast live on The CW.

About the Critics Choice Association (CCA)

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, in recognition of the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

To learn more about the Critics Choice Documentary Awards and see the full list of nominees, visit the Critics Choice Association website.

Review: ‘American Symphony’ (2023), starring Jon Batiste and Suleika Jaouad

November 12, 2023

by Carla Hay

Jon Batiste in “American Symphony” (Photo courtesy of Netflix)

“American Symphony” (2023)

Directed by Matthew Heineman

Culture Representation: Taking place in 2022, this documentary film of jazz/pop musician Jon Batiste features him, his wife Suleika Jaouad, and a racially diverse group of people (African American, white and a few Asians) as he prepares to do a one-night-only “American Symphony” show at New York City’s Carnegie Hall while experiencing difficulties in his personal life.

Culture Clash: At the time that Batiste was experiencing some career highs (including winning five Grammys that year), Jaouad was battling cancer, which came back after years of being in remission.

Culture Audience: “American Symphony” will appeal primarily to people who are fans of Batiste and movies about couples or family members dealing with health challenges.

Suleika Jaouad and Jon Baptiste in “American Symphony” (Photo courtesy of Netflix)

“American Symphony” is a documentary about love on many different levels in telling the story of musician Jon Batiste and his writer wife Suleika Jaouad during her cancer journey. There are no real surprises but the movie is a bittersweet celebration of life. “American Symphony” is also a musical treat for people who appreciate Batiste’s unique artistry. He also composed the score for this documentary. “American Symphony” had its world premiere at the 2023 Telluride Film Festival.

Directed by Matthew Heineman, “American Symphony” (which was filmed in 2022) features voiceover narration from Batiste and Jaouad, indicating that this is as much a documentary about her as it is about him. Batiste just happens to be more famous than his wife, but it’s clear from watching the film that they treat each other as respected equals. Batiste and Jaouad have been a couple since 2014. Their 2022 wedding ceremony is shown in “American Symphony.”

In 2011, Jaouad was diagnosed with acute myeloid leukemia and chronicled her cancer journey in The New York Times column/vlog “Life, Interrupted,” which won an Emmy Award. Batiste is an Oscar-winning composer (for Disney/Pixar’s “Soul”) and was the bad leader/music director for “The Late Show with Stephen Colbert” from 2015 to 2022. In 2022, he was nominated for 11 Grammys and won five Grammys, including Album of the Year for “We Are.” That same year, he also did a one-night-only show “American Symphony” concert at Carnegie Hall, with the show featuring his original music that reworks classical and jazz.

The documentary shows that at the same time Batiste is experiencing these career highs, Jaouad’s cancer has returned. The day that Batiste found out that he was nominated for 11 Grammys was the same day that Jaouad had to begin chemotherapy. Later, she had to get a bone marrow transplant. “American Symphony” shows how Batiste and Jaouad experience emotional lows that are raw and intense. However, the documentary is a testament to inner strength and the power of a loving support system.

“American Symphony” is also Batiste’s personal reflection of what music has meant to him in his life and how he had to stay true to himself, when other people were telling him to change so he could “fit in” better at the places where he wanted to be. Born in 1986 and raised in the New Orleans area, Batista goes back to his alma mater of Juilliard, which he describes as very “European classical,” not a “black Southern thing.”

The bond that this loving couple has is joyful to behold. Batiste says of Jaouad: “I learn from her all the time to look into the darkness and despair and to face it—but you can’t let it consume you.” Jaouad comments that what she admires Batiste’s ability to deal with life’s extremes: “I actually don’t know how to hold such extremes.”

“American Symphony” juxtaposes dreamy-like scenes of Batiste relaxing in nature (there are multiple shots of him in ocean water) with the stark and harsh realities of hospital visits with Jaouad. Batiste’s “American Symphony” concert is a rousing and emotionally moving conclusion that expresses many of the emotions that he poured into writing this symphony. People who watch this memorable documentary will appreciate its message that life is a symphony whose music and lyrics are still being written.

Netflix will release “American Symphony” in select U.S. cinemas on November 24, 2023. Netflix will premiere the movie on November 29, 2023.

Review: ‘Going to Mars: The Nikki Giovanni Project,’ starring Nikki Giovanni

November 11, 2023

by Carla Hay

“Going to Mars: The Nikki Giovanni Project”

Directed by Joe Brewster and Michèle Stephenson

Culture Representation: This biographical documentary film of activist/poet Nikki Giovanni features her first-person perspective, as well as commentary from African Americans and white people who are connected to her in some way.

Culture Clash: Giovanni, an outspoken critic of white supremacist racism, discusses overcoming an abusive background, family conflicts and resistance to her activism.

Culture Audience: “Going to Mars: The Nikki Giovanni Project” will appeal primarily to people who are interested in watching documentaries about unusual political activists.

“Going to Mars: The Nikki: Giovanni Project” is a journey into a unique life and perspective that might not be for everyone, but it stands firm in its authenticity. This documentary about poet/activist Nikki Giovanni is bold and somewhat unconventional, just like Giovanni. The movie evokes outer space travel as an apt metaphor for how ideas and influences can transcend boundaries.

Directed by Joe Brewster and Michèle Stephenson, “Going to Mars: The Nikki Giovanni Project” had its world premiere at the 2023 Sundance Film Festival, where it won the U.S. Grand Jury Prize: Documentary. The movie is told almost entirely from the perspective of Giovanni, with narration of some of her poems by actress Taraji P. Henson. The movie has the expected mix of archival footage and interviews conducted exclusively for the documnetary. However, “Going to Mars: The Nikki Giovanni Project” has added elements of atmospheric scenes of outer space, since Giovanni talks a lot about space travel and Mars.

The movie opens with a quote from Giovanni, “The trip to Mars can only be understood through black Americans.” If that sentence intrigues you, then this documentary might be your type of movie. Giovanni says in the documentary’s opening remark: “I don’t remember a lot of things, but a lot of things I don’t remember, I don’t choose to remember. I remember what’s important, and I make up the rest. That’s what storytelling is all about.”

In another voiceover, Nikki says: “I’m a big fan of black women, because in our blood is space travel, because we come from a known through an unknown. And that’s all that space travel is. If anybody can find what’s out there in the darkness, it’s black women.”

During a public Q&A with journalist/writer Touré, to promote her 2017 nonfiction book “A Good Cry: What We Learn From Tears and Laughter,” she comments on the enslaved black female slaves who were kidnapped in Africa and forced to live an enslaved life in the United States, where they were often raped by their white enslavers: “Being forced to have sex with aliens, whatever they put in us, we held it, and then we birthed it, and then we named it, and then we loved it. Why wouldn’t we do that on Mars?”

Giovanni was born Yolande Cornelia Giovanni on June 7, 1943 in Knoxville, Tennessee, but spent much of her childhood living in Ohio. Sometime in her childhood, she was given the nickname Nikki. Her parents Yolande Cornelia Sr. and Jones “Gus” Giovanni (who were sweethearts at Knoxville College) worked in public schools. Nikki graduated from Fisk University in Nashville in 1967. She has been a professor of writing and literature at Virginia Tech since 1987.

Nikki first came to national prominence as part of the Black Power movement that rose in the late 1960s. The documentary includes many archival clips of her appearances on TV shows, including “Soul!,” where she was a frequent guest. “Going to Mars” has has footage of several of Nikki’s speaking appearances, including at the 2016 Afropunk festival.

She also gets candid about her parents’ volatile marriage and says that her father often beat up her mother. Nikki says in a voiceover: “It was a stormy relationship at various points, but we know that deprivation gives us stormy relationships.” Later, she is shown saying during a WHYY radio interview about how she felt about her abusive father at the time she lived with him: “It was clear I was going to have to kill him, or else I’d have to move.”

Nikki’s complicated emotions about race and gender includes admitting to her prejudices. In a “Soul!” interview she did in 1971 with writer/poet James Baldwin, when she was at the height of her Black Power fame, she confessed that her biases were affecting her personal life: “I don’t like white people, and I’m afraid of black men. What do you do? That’s a cycle. And that’s unfortunate, because I need love.”

Nikki found love with her wife Virginia Fowler, who recruited Nikki to work at Virginia Tech. The two women are both cancer survivors: Nikki battled lung cancer in the 1990s. Fowler is recovering from lung cancer and breast cancer. Fowler talks a little bit about her cancer journey, but Nikki doesn’t really discuss her own cancer experiences in the documentary.

Nikki’s selective memory is also shown when someone named Tom calls her to ask Nikki to discuss her time at an unnamed magazine, but she declines to be interviewed. Nikki says it’s because she had a seizure and “doesn’t remember much.” She also chooses not to go into details about the relationship that resulted in the birth of her only child Thomas Govanni, who was born in 1969, and she raised him as a single mother.

Nikki doesn’t talk about the turbulent relationship that she’s had with Thomas, but Fowler comments that Nikki and Thomas were estranged for a number of years and have since reconciled. Thomas and his daughter Kai Giovanni appear briefly in the documentary, which shows Kai going to Nikki’s house for the first time.

Perhaps the biggest drawback of this documentary is that the most candid comments from Nikki are not things she said in exclusive interviews for the documentary but things she talked about in archival clips. Much credit should be given to the documentary’s research and editing teams for including a lot of this rarely seen footage. There’s an archival audio clip where Nikki is says, “I think I’ll run away with the ants and live on Mars.”

Most of the documentary’s original footage of Nikki consists of her at her home (such a scene of her doing some gardening), hanging out with friends such as performer Novella Nelson, or making public speaking appearances. The most vulnerable that Nikki gets in the documentary is toward the end, when she copes with the grief over the death of her beloved aunt Agnes, who passed away at age 94. The documentary shows Nikki getting the news of the death and later speaking at Agnes’ funeral. Nikki comments during a moment that she is now the oldest living person in her family.

Nikki’s outlook on life can be summed up in two of her speaking appearances that are featured in the documentary. In a Q&A at the Apollo Theater with educator/actress Johnetta Cole, Nikki says: “I honestly think the most important word for me is ‘duty.’ … Our people have a great history, and it’s our duty to tell that story.” At another speaking appearance at a library in front of children, Nikki (who has written several children’s books) says: “I’m very fortunate that I just don’t care what people think about me.”

HBO released “Going to Mars: The Nikki Giovanni Project” in select U.S. cinemas on November 3, 2023. HBO and Max will premiere the movie in 2024, on a date to be announced.