Review: ‘The Marksman’ (2021), starring Liam Neeson

January 15, 2021

by Carla Hay

Liam Neeson and Jacob Perez in director “The Marksman” (Photo by Ryan Sweeney/Open Road Films/Briarcliff Entertainment)

“The Marksman” (2021)

Directed by Robert Lorenz

Culture Representation: Taking place in various parts of the United States (especially the Southwest) and briefly in Mexico, the action flick “The Marksman” features a racially diverse cast of white people and Latinos, with a few African Americans and Asians.

Culture Clash: A former Marine-turned-rancher, who lives in Arizona, helps an orphaned boy, who’s an undocumented Mexican immigrant, as they try to hide from drug cartel gangsters who want to kill the boy.

Culture Audience: “The Marksman” will appeal primarily to people who are fans of star Liam Neeson and to viewers who like violent and cliché chase movies.

Liam Neeson in “The Marksman” (Photo by Ryan Sweeney/Open Road Films/Briarcliff Entertainment)

By now, Liam Neeson has made so many mediocre-to-bad action schlockfests that he could do them in his sleep. Audiences can also predict in their sleep what’s going to happen in these movies. Does Neeson play a loner who’s got something to prove? Is he an anti-hero who breaks the law as a means to an end? Is there a formulaic and sometimes nonsensical plot amid all the chase scenes, fist fights and gun shootouts? The answer is “yes” to all of these questions. “The Marksman” falls right in line in Neeson’s long list of these types of forgettable flicks.

Directed with little imagination by Robert Lorenz (who co-wrote the derivative screenplay with Chris Charles and Danny Kravitz), “The Marksman” tries and fails to be more socially relevant than the average action movie. “The Marksman” throws in the hot-button issues of undocumented Mexican immigrants and Mexican drug cartels, who have been used in divisive political debates on how the United States should or should not change immigration laws. The movie panders to the worst negative stereotypes of Mexicans who cross over into the U.S. border. And the film pushes another “white savior” narrative that makes a crusading white person as the only person in the story who has the conscience and the courage to do the “rescuing” of someone who isn’t white.

In “The Marksman,” Neeson portrays Jim Hanson, a former Marine who is now a rancher in Naco, Arizona. Neeson keeps his native Irish accent in the movie, so it’s clear to viewers that Jim is an Irish immigrant. Jim sometimes tries to talk like an American cowboy, but it doesn’t sound believable, partly because much of this movie’s screenplay has badly written dialogue.

Jim is a grouchy and sad widower who lives alone, and his life isn’t going so well. In addition to grieving over his wife (who died of cancer), he’s also having major financial problems because his ranch is on the brink of going into foreclosure. Jim gets a visit from a bank official (played by Alex Knight), who tells Jim that he has 90 days to come up with the back payments, or else the bank will take ownership of the property. And it looks like Jim could very well lose his ranch, because when he tries to come up with ways to earn more money, all of his attempts fail.

Jim’s only real companion is his Border Collie mix dog named Jackson. Jim also has an adult stepdaughter named Sarah (played by Katheryn Winnick), who works as a U.S. Border Patrol agent. Jim has been hiding his financial problems from Sarah. But after the visit from the bank official, Jim meets up with Sarah at a bar, where he tries to drown his sorrows in drinking alcohol, and he confesses to her about being close to losing the ranch and feeling very scared about his uncertain future. Sarah is sympathetic and comforting. She drives Jim home because he’s too drunk to drive.

Meanwhile, the beginning of the movie shows the Mexican boy who will unexpectedly come into Jim’s life. His name is Miguel (played by Jacob Perez), who’s about 12 or 13 years old. Miguel lives in Mexico with his widowed mother Rosa (played by Teresa Ruiz) in a modest house. Miguel is shown going to another house to look for an older girl named Lola, whom he has a crush on, but Lola’s brother (played by Harry Maldonado) tells Miguel to leave immediately because Lola is too old for him.

Rosa and Miguel don’t have an entirely squeaky-clean life. Miguel’s uncle Carlos (played by Alfredo Quiroz) helps look after him, but Carlos is a member of a drug cartel. Carlos has stolen a lot of cash from the cartel, so he’s captured and tortured by some of the gang members. The cartel’s boss is named Angel (who’s never seen or heard in this movie), but he has a goon named Mauricio Carrero (played by Juan Pablo Raba) as one of the chief henchman tasked with “making an example” out of Carlos.

Before Carlos is caught by the other cartel thugs, he makes a frantic phone call to Rosa and tells her that she and Miguel must leave the house immediately because people will be looking for them and will want to kill them. Rosa takes a travel bag full of cash (which is presumably the stolen cash) and follows Carlos’ orders. She and Miguel barely manage to escape from the house before Mauricio and his cronies show up. The gangsters have tracked Rosa down because they took Carlos’ phone and saw her number in the phone.

Rosa has enlisted the help of a guide to take her and Miguel to the U.S. border. But shortly before they get to the border, the guide changes his mind when he sees that they’re being followed in a Chevrolet Suburban SUV, and he figures out that Rosa is running away from gang members. He tells Rosa and Miguel that they’re now on their own. He advises them to find the part of the border’s wire fence that can be loosened so that they can cross over.

With Mauricio and his thugs (he has two with him, including his brother) quickly catching up, Rosa and Miguel frantically race to the fence and find the part of the fence that they can go through to get to the U.S. border. However, one of Rosa’s legs accidentally gets cut on the fence wire. Miguel is running ahead of her into the middle of a road, where he almost gets hit by a beat-up Chevy truck. Who’s driving the truck? Jim, of course.

Jim knows immediately that the woman and boy he’s encountered have entered the U.S. border illegally, so he calls the U.S. Border Patrol to report them. His plan is to hold them until the Border Patrol agents can arrive and take over. But then, Mauricio and his thugs show up and demand that Jim (who has a gun) hand over Rosa and Mauricio. Jim refuses by saying, “Sorry, Pancho, these illegals are mine. I suggest you just turn around and say ‘adios’.”

This leads to a shootout and chase scene that includes Mauricio hopping on the truck and trying to get Jim to run off the road. However, Mauricio is thrown off of the truck. And in the end, Mauricio’s brother and Rosa end up dying from gunshot wounds. Mauricio leaves in defeat with his remaining cohort. But, of course, Mauricio will be back for revenge.

The Border Patrol agents take Miguel to the nearest detention center, and they plan to deport him back to Mexico, since they were able to track down some relatives who are willing to take custody of Miguel. As Jim is driving away, he notices that Rosa left behind a bag full of cash in his truck, along with a slip of paper that has a street address in Chicago. There’s no name with this address, but Jim immediately figures out that Rosa intended to flee with Miguel to this address.

Jim suddenly has a change of heart and decides that he’s going to take Miguel to this address. He calls his stepdaughter Sarah, finds out that Miguel is going to be deported, and Jim asks her if there’s anything she can do to stop it. She firmly says no and tells him it would be against the law for anyone to stop the deportation.

But that doesn’t prevent Jim from showing up at the Border Patrol detention center, pretending that Sarah gave her permission for Jim to visit Miguel, and talking his way into the room where Miguel is being held. Jim has been told that Miguel blames Jim for his mother’s death, but somehow Miguel doesn’t show much hesitation in trusting Jim when Jim tells Miguel to leave with him.

Jim and Miguel sneak out of the detention center. Is it kidnapping or is it doing the right thing? Jim thinks it’s the latter. And that’s when they go on the road trip that takes up the rest of the movie.

At first, Jim thinks Miguel doesn’t speak English, so there are some tense moments where he tries to communicate with a sullen Miguel. But then, lo and behold, Miguel reveals that he can speak and understand English perfectly. A very ignorant Jim is surprised to find out that Miguel learned English in school. It’s as if Jim thinks Mexico is a backwards country where the only language that’s taught in school is Spanish.

“The Marksman” has some very ludicrous plot holes to explain what happens next in the story. Mauricio and three of his thugs have crossed the U.S. border (by bribing a border patrol agent) and have been staking out the Border Patrol detention center to find out what happens to Miguel. It’s actually pretty dumb that they’re sitting in their car and hanging out conspicuously in a parking lot where they could be easily caught by Border Patrol agents.

Because of this stakeout, Mauricio and his thugs happen to see the exact moment when Jim and Miguel drive away in Jim’s truck. They follow Jim to his remote ranch. (Jim doesn’t notice that he’s being followed, even though he should be paranoid about being caught for kidnapping.) Jim and Miguel have left the ranch and have started their road trip by the time the thugs show up at the ranch. Mauricio and his cronies snoop around the house, and that’s how the gangsters find out personal information about Jim.

Mauricio uses his connections with computer hackers to track Jim’s movements, based on Jim’s credit card activity. Later in the story, Mauricio enlists the help of some other criminals during this cat-and-mouse game that takes place in various U.S. states, including Arizona, New Mexico, Texas and Arkansas. (The movie was actually filmed in Ohio and New Mexico.) These other criminals are just bit players, because for the most part, the gang doing the actual chasing consists of just four thugs (Mauricio and his cronies) who are in a SUV to track down Jim and Miguel.

“The Marksman” is one of those dumb action flicks where during a big showdown with guns or other weapons, people stand around talking to their targets, instead of using the weapons immediately on their targets. There are some “close calls” where Jim and Mauricio could have been easily killed immediately in real life. But since this is a fictional movie, that type of realism would cut the story too short, so the plot is dragged out in very unimaginative ways.

There’s almost no suspense in “The Marksman” because it plays out exactly how most people expect it to play out. The violence is utterly predictable. Perez’s portrayal of Miguel is adequate (the character doesn’t do much talking), while Neeson is clearly just going through the motions and brings nothing unique or charming to this role. Raba’s Mauricio character is very generic, while the other criminals in the movie have no discernable personalities.

There are moments when Jim starts to doubt his decision to “rescue” Miguel. And there’s a brief interlude where Jim and Miguel express very different views on religion: Miguel is religious and believes in heaven, while Jim is a staunch atheist. This difference in opinion leads to a scene where Jim shows he does have a heart underneath his gruff exterior. But that’s the closest thing to “emotional depth” that this banal movie has.

“The Marksman” isn’t a relentlessly horrible film. It’s just a very lazy film because it does nothing for the genre of action-oriented Westerns. Some viewers might be offended by how the movie depicts Mexican men. The only people who might like this movie are those who can’t get enough of Neeson recycling his same “defiant loner” persona in yet another stale action flick.

Open Road Films and Briarcliff Entertainment released “The Marksman” in U.S. cinemas on January 15, 2021.

Review: ‘Honest Thief,’ starring Liam Neeson

October 17, 2020

by Carla Hay

Kate Walsh and Liam Neeson in “Honest Thief” (Photo courtesy of Open Road Films)

“Honest Thief”

Directed by Mark Williams

Culture Representation: Taking place in the Boston area, the action-crime thriller “Honest Thief” has a predominantly white cast (with a few Latinos and African Americans) representing the middle-class.

Culture Clash: A notorious bank robber battles with FBI agents when he decides to turn himself into authorities.

Culture Audience: “Honest Thief” will appeal primarily to people who don’t mind watching predictable thrillers that have a lot of credibility issues.

Anthony Ramos and Jai Courtney in “Honest Thief” (Photo courtesy of Open Road Films) 

If there’s an action drama with Liam Nesson as the star, then you can bet that his character in the movie is out for revenge. The problem is that Neeson has made so many of these types of “revenge movies” that they all blend together after a while, except for the “Taken” franchise which is its own separate beast. Therefore, it’s understandable if viewers really can’t tell one Neeson pulpy thriller from the next one. At least with “Honest Thief,” the title is a reminder of what type of character Neeson portrays in the movie. The film’s title might be distinctive, but the movie’s mediocre plot and action definitely are as generic and unimaginative as they can be.

In “Honest Thief” (directed by Mark Williams), Neeson plays Tom Dolan, also known as Tom Carter, a notorious bank robber whose modus operandi is to set off explosives to open a safe in a bank while the bank is closed for business. (Tom lives in the Boston area, and Neeson keeps his native Irish accent for this role.) Tom always chooses banks with older safes (which are easier to open) and which are located next to vacant buildings, so the explosives won’t affect a building next door that has an active business.

Tom has robbed 12 banks in seven states over the past eight years. And his total robbery haul is about $9 million, and he’s been successfully able to elude capture for all of these years. Law enforcement has no idea who the bank robber is, and the bank robber is nicknamed the In and Out Bandit by the media, because of how quickly and efficiently he commits the crimes.

But Tom’s life is about to change when he meets Annie Wilkins (played by Kate Walsh), who works as a clerk at a place that rents storage units. Tom goes there to rent a medium-sized unit, which viewers can immediately tell is where he’s going to hide money that he stole from the bank robberies. Tom and Annie flirt a little during this transaction, which indicates that Annie might just become more than a passing encounter.

The movie then fast forwards to one year later. Annie and Tom are now a couple, and they are looking at a big house that Tom is going to purchase in Newton, Massachusetts. Tom then surprises Annie by asking her to move in with him. But she’s hesitant because she’s still recovering from a traumatic divorce and is very reluctant to take her relationship with Tom to the level of “live-in partner.”

Annie hasn’t lived with anyone since her divorce. As she tells Tom, “I just don’t want to go through that again.” Tom tells her, “You won’t have to.” And because Annie really likes the house and seems to really love Tom, she then changes her mind and says yes. Annie is studying psychology to become a therapist, which is a skill she’s going to need when she has to deal with all the crazy things that happen to her in this movie.

But what about Tom’s secret life as a bank robber? He’s about to come clean and face the consequences. While staying at the Charleston Hotel, Tom calls the FBI’s Boston office and confesses that he’s the bank robber called the In and Out Bandit. He also mentions that he hates that nickname because he thinks it’s tacky, as if that’s something he should be concerned about in the moment that he confesses to his serious crimes.

The FBI agent who talks to Tom on the phone is Agent Sam Baker (played by Robert Patrick), who listens to Tom’s confession with a great deal of skepticism. Tom tells Baker that he will turn himself in and give back all the money that he stole, on the conditions that he serve a reduced sentence with a maximum of two years, and it must be at a minimum-security prison that’s near Boston.

Baker almost laughs when he tells Tom that the law doesn’t work that way, but Tom stands firm on his demands. When Baker asks Tom why he’s confessing, Tom says it’s because he met a special woman, he can no longer live with the guilt of his big secret, and he wants to start a new life with her after he serves his prison time. Tom hasn’t robbed any banks since he fell in love with Annie.

Tom tells Baker that he’s at the Charleston Hotel in Room 216. Baker then tells Tom that he will look into Tom’s claims, but Baker comments that the FBI has gotten a lot of false confessions from people claiming to be the In and Out Bandit. Tom insists that he’s telling the truth about being the real In and Out Bandit. (And he is.)

While Baker is taking this call, he’s sitting across from his colleague Agent Myers (played by Jeffrey Donavan), who’s even more hard-nosed and more cynical than Baker. Both men have a lot of respect for each other though. Myers considers Baker to be his mentor and closest friend in the FBI.

There’s a minor running joke in the movie that Myers often has his small white-and-brown dog named Tazzie with him. It’s a dog that he doesn’t really want, but he got the dog in a bitter divorce from his ex-wife, who got to keep their former marital home. And, out of spite, he doesn’t want to give the dog back to his ex-wife. Myers doesn’t mistreat the dog, but Tazzie is often seen tagging along with Myers in places that you wouldn’t expect to see a small dog during an intense FBI operation.

The dog’s presence is one of the few semi-humorous things in “Honest Thief,” which takes itself way too seriously for being such a formulaic and substandard movie. (“Honest Thief” director Williams co-wrote the movie’s screenplay with Steve Allrich.) There’s plenty of action, but much of it has so many unrealistic consequences, that anyone watching this movie will have to drop any expectations that “Honest Thief” is nothing more than a cheap retread of Neeson’s other “anti-hero” rampage movies, where he gets angry at certain people and won’t stop until they’re all injured or killed.

Agent Baker thinks that Tom is just another crackpot giving a false confession, so he hands off the report to two subordinate FBI agents named Agent Pete Nivens (played by Jai Courtney) and Agent Mario Hall (played by Anthony Ramos). Nivens is single and very ambitious in his career. Hall is a happily married man with a young son.

The difference between these two men becomes obvious when Nivens complains to Hall about how parents unnecessarily gush about their children to make childless people feel like they’re missing out in life. Nivens basically tells Hall that he thinks being a parent is overrated. Later in the movie, Nivens (who thinks of himself as an “alpha male”) repeatedly manipulates Hall by using Hall’s love for his son as a way for Nivens to get Hall to do what Nivens wants.

Nivens and Hall go to the Charleston Hotel to visit Tom and investigate Tom’s claims. Tom tells these two FBI agents that he hid the robbery money in a storage unit and offers to show it to them as proof. However, Nivens orders Tom to stay at the hotel and says that he and Hall will go to the storage unit by themselves. Tom reluctantly gives them the key to the storage unit and tells them where the storage unit is.

Nivens and Hall go to Tom’s storage unit and find out that Tom was telling the truth, because they find millions of dollars in cash hidden in boxes. Nivens then convinces a reluctant Hall that they should steal all the money for themselves and pretend to everyone else that the money was never there. Nivens appeals to Hall’s desire to be able to pay for whatever his family wants, as a way to persuade Hall that he will never have any more money problems for the rest of his life.

Nivens and Hall are packing up the boxes of cash in their car trunk when Annie suddenly approaches them to ask what they’re doing with Tom’s stuff. Annie mentions that she saw them on the office’s surveillance cameras, and she came outside to investigate. Nivens and Hall lie and tell Annie that Tom asked them to help move some of his items from the storage unit.

Because Tom had told Annie that he was temporarily staying at a hotel due to plumbing repairs in his home, she believes want Nivens and Hall have to say. Even though Annie is suspicious, she asks a lot of leading questions that are easy for the crooked FBI agents to lie about, such as, “How do you know Tom? Did you serve in the Marines with him?” And, of course, they say yes.

Putting aside the fact that they know they’ve been caught on camera taking things out of the storage locker, the stupidity of Nivens and Hall’s decision to steal the money also comes from the fact that they wouldn’t be able to spend all that money without arousing suspicion. And who knows if that stolen bank money has bills that are marked? These are things that FBI agents and other law-enforcement officials are trained to know about, but the corrupt FBI dimwits in this sloppily written movie don’t consider these very realistic factors.

And not to mention that a snake like Nivens wouldn’t hesitate to double-cross his partner in crime, so Hall is incredibly naïve for putting his trust in Nivens. Hall finds out how much of a loose cannon Nivens can be when something happens after Hall and Nivens get back to the hotel and they lie to Tom by saying that they didn’t find any money in the storage unit. What happens next in the hotel sets off a chain of events that lead to Tom going on the run, Annie getting caught up in the danger, and certain FBI agents chasing in dogged pursuit.

When there’s a movie as poorly thought-out as “Honest Thief,” sometimes it can be entertaining because of the action sequences. But the action in “Honest Thief” is very unremarkable and has been seen in dozens of other movies just like it. People get beaten up, there are some explosions, some car chases, some shootouts, some chases on foot. And there are lots of scenes where Neeson just barrels along with injuries that, in real life, would put someone in an emergency room at a hospital.

“Honest Thief” is just another unimpressive action showcase for Neeson as yet another angry and misunderstood loner who’s out for self-righteous vengeance while he goes through the expected motions with gun violence and other predictable stunts. Neeson has been sticking to this formula for quite some time for his action films, so most of his fans should know what to expect. Anyone expecting high-quality entertainment from “Honest Thief” will definitely feel cheated.

Open Road Films released “Honest Thief” in U.S. cinemas on October 16, 2020.

Review: ‘Ordinary Love,’ starring Liam Neeson and Lesley Manville

February 14, 2020

by Carla Hay

Liam Neeson and Lesley Manville in “Ordinary Love” (Photo by Aidan Monaghan/Bleecker Street)

“Ordinary Love”

Directed by Lisa Barros D’Sa and Glenn Leyburn

Culture Representation: Taking place in Belfast, Northern Ireland, “Ordinary Love” has a predominantly white cast of middle-class characters, with the story focusing on a middle-aged couple who’ve been married for about 30 years.

Culture Clash: The couple’s marriage is put to the test when the wife finds out that she has breast cancer, and they have disagreements about her medical treatment.

Culture Audience: This movie will appeal mostly to people who want to see a well-acted, tear-jerking drama with realistic portrayals of marriage and health issues that affect millions of people.

Liam Neeson and Lesley Manville in “Ordinary Love” (Photo courtesy of Bleecker Street)

It’s no easy task to make a movie about someone getting cancer. The subject matter can be extremely depressing and there’s always the possibility that it will turn off an audience. However, the drama “Ordinary Love” is probably one of the most emotionally authentic scripted “cancer movies” that’s been made in quite some time. But be warned: Some of the scenes are so realistic, they’ll be very triggering for anyone who’s gone through something similar.

In the beginning of the story, life seems to be on a tranquil keel for middle-aged Belfast couple Tom (played by Liam Neeson) and Joan (played by Lesley Manville), who’ve been married for about 30 years and appear to be retired. Viewers see them going on pleasant walks together and going on errands. But one day, Joan feels a lump on her breast and makes a hospital appointment to get a medical exam about it.

Tom accompanies Joan to the appointment, where he tells her in the waiting area that he hates hospitals because they’re depressing and they remind him of death. After the exam, they’re told that the cyst in Joan’s breast could be cancerous. The doctor tells them that on a scale of 1 to 5, where 1 is not cancerous and 5 is definitely cancerous, the cyst is about a 3. Joan tries to look on the bright side, but Tom is already bracing himself for bad news.

And it is very bad news: Joan has cancer, and she has to have surgery to remove two lumps and about 13 lymph nodes. As the dreaded news sinks in, Joan tries to deal with it as bravely, even somewhat cheerfully, as possible, while Tom grows despondent and pessimistic.

The cancer diagnosis and the possibility of Joan dying also opens a wound from their past: Tom and Joan’s only child, a daughter named Debbie, died when she was an adult. It’s not mentioned in the movie how she died, but Debbie’s death has left a huge void in their lives. “I’m glad that Debbie isn’t here to see this,” Joan says of her cancer diagnosis. “It would break her heart.”

While in the car on the way to checking in for her hospital stay, Joan remembers that she hasn’t had time to visit Debbie’s grave since the cancer diagnosis. She asks Tom go to Debbie’s grave to tell her about Joan having cancer. Tom thinks it’s a ridiculous request, but Joan gets very upset and emotional when Tom expresses reluctance to do what she asked. He eventually does what Joan wishes. His scene at the grave is one of the most gut-wrenching parts of the movie.

There isn’t an unrealistic moment in “Ordinary Love,” mainly because of Neeson’s and Manville’s superb performances. The movie’s greatest authenticity is not from wailing melodrama (which a lot of cancer movies have) but from the quiet moments, such as the fear in Joan’s eyes as they’re preparing her for surgery, or the small talk that she makes with a fellow patient who’s also about to go into surgery.

The movie also shows the tensions that can arise from this traumatic medical diagnosis. Joan snaps at Tom because she thinks he asks the doctor too many questions. Tom thinks that Joan is not asking enough questions. She tells him to be quiet. Viewers can tell that this bickering isn’t really about how many questions the doctor is being asked but about how differently Tom and Joan are dealing with the diagnosis.

And in one of the best scenes in the film, the emotions run really raw when Tom and Joan get into an argument about how she takes her medication. He thinks she should be more mindful of her prescription pills—what to take and when to take them—and he starts to lecture her by saying that they’re both going through this together. Joan explodes and accuses him of being unsympathetic. She tells him that that as bad as he might be feeling, she feels even worse because she’s the one who has cancer and she’s the one who’s going through the type of pain that’s so severe, she can’t even think straight.

If people who see this movie wonder why it seems so realistic, it’s because “Ordinary Love” screenwriter Owen McCafferty’s wife Peggy was diagnosed with breast cancer. And “Ordinary Love” directors Lisa Barros D’Sa and Glenn Leyburn are married in real life, which no doubt added a genuine layer to how Joan and Tom’s marital dynamic is portrayed on screen.

Tom and Joan also have several moments of loving support throughout this ordeal. When Joan starts to lose her hair because of chemotherapy, she asks Tom to help her shave it all off. He then tells her, “You’re a star, kid. You’re an absolute star.” And there are moments of shared humor, such as when Joan ends up choosing a wig and they have some laughs over her new look.

There’s also a subplot where, by chance, Joan sees a fellow patient she knows from her past. His name is Peter (played by David Wilmot), and he was one of Debbie’s teachers when Debbie was a child. Peter also has cancer, and he and Joan end up becoming confidants. Meanwhile, Peter’s life partner Steve (played by Amit Shah) and Tom find common ground in the feelings of grief and anxiety that come from having a partner go through cancer treatment.

“Ordinary Love” is the kind of movie where viewers will probably end up shedding some tears or getting very emotional in other ways. The title of the film is somewhat of a misnomer because the story shows that any love that can help someone through the trauma of cancer is far from ordinary.

Bleeker Street released “Ordinary Love” in select U.S. cinemas on February 14, 2020.