Film reviews

The Piano Lesson Review

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From my experience, I will say that the Washington family has the gift of pontification. They do it all so well in The Piano Lesson. Directed by Malcolm Washington, the son of Denzel Washington, who on his rise to fame. Along with John David Washington (Denzel’s other son), he continues to be an icon worthy of his father’s legacy in his movies. The Piano Lesson is a film where art and appreciation find their value to the deepest core. It is all centered on an heirloom piano and weaves emotions continuously in a cinematically enticing experience.

The film focuses on the Charles family.  The setting is a home owned by Doaker Charles (played by Samuel L. Jackson). In that home is an heirloom piano that is enriched with designs dating back to ancestors with its carvings. The story is based ona play adapted into a film. The conflict though, is between a brother and a sister, Boy Willie (played by John David Washington) and Berniece (played by Danielle Deadwyler). Boy Willie aspires to a brighter future, but only if he sells the piano.Berniece wants to keep the piano—it has much of her legacy engraved. Tensions boil over as the dynamic of family and the meaningfulness of the piano create one long boxing match that is relentless to find a sacred path for all involved with or without the piano.

The dynamics of a large family with many personalities ranging from Wining Boy (played by Michael Potts), Avery (played by Corey Hawkins), Boy Charles (played by Stephen James), and more, make for a lot to take in with The Piano Lesson. It is a fueled drama where the dramatics of seriousness and empathy tango for a passionate scenario—there may be some withdrawals without the piano. The engravings and their meanings are where the disagreements keep creating the flow of a family that falls apart, rejuvenates, and then cycles into the same pattern again,rapidly agreeing then disagreeing about the fate of the piano. 

The evolution of authenticity is surreal in The Piano Lesson. As more arguments and revelations unfold, eerie events begin to happen. In those moments the film fuels its audience to be curious too if there are spirits having expectations. There is the sensation of shifting to create a universe of unexpected tension rising for something unforgettable. The feelings for the piano are the beginning, but the deeper meaning of cultural tides may cause unforeseen consequences.

The direction is superb. The experience is relentless. This film is a theatrical journey—the setting of a time gone by loops in the importance of family at that time.  The presence of the piano is where the film stands tall for a fight to find the light of empathy. The Piano Lesson fuels characterizations and dynamics with a fulfilling atmosphere of serious considerations, of what happens when the feelings surrounding an object of purpose are not taken seriously. Where does the piano stand? Who is in the right? It will take many wrongs before finding the “right” one in The Piano Lesson. Three out of four stars.

Film reviews

The Best Christmas Pageant Ever Review

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This is one of those Christmas flicks true to faith. It is also one where tradition and meaning come with class and attitude. Dallas Jenkins’s version of The Best Christmas Pageant Ever presents meaning in the context of joy. To an extent, though, I found the film to drag in instances. There are emotional and joyful characterizations. Its form seems to feel like a Hallmark Channel movie.

The film centers on a mother and a father, Bob (played by Pete Holmes) and Grace (played by Judy Greer). They are just two parents trying to navigate the Christmas holidays for the sake of their children. The monumental event in their town is a Christmas Pageant. There is a family known to bring problems to the table. They are the Herdman family. They consist of a group of six kids. They are known to cause conflicts among others. They like to feel they own the town set in the film. Grace is the one taking on the direction role of the pageant. The film is narrated by an older version of Beth (one of the child characters). The narration is done by Lauren Graham. It is a dynamic with a Christmas tradition that brings in importance while also having frustrating plateaus.

I do feel that it fuels its positive side. That is because there are moments where the performances of Holmes and Greer try to remind young ones of acceptance and good spirits. “Good spirits” go in limbo repeatedly in The Best Christmas Pageant Ever. The connective side of the film is its pattern of trying to adapt to the acceptance of others. This is around the difficulty of the Herdman family. The film’s direction focuses on their negative energy, and it keeps looping back to the pattern of tolerating them. “Tolerating them” as in others trying to help them find the goodness in them.

When it comes to being present with community and holiday joy, The Best Christmas Pageant Ever does an excellent job at keeping the emotions of that alive. It continuously keeps that positive faith thriving high. The characterizations and the setup are a little much for the theatrical scene experience, but it is one for families to get wrapped up in. The narrations of moving parts and the plateaus of communities (among a pageant) remind its audience how Christmas tends to have unexpected obstacles. “Unexpected obstacles” on the fact that individuals cannot change others.

As mentioned, The Best Christmas Pageant Ever feels like a Hallmark Channel movie. To clarify, it has more cinematic qualities for that type of experience. This means that it is one of those that may be worth the time spent at the cinema. Some may not feel like that with its aspects. However, with its context, family patterns, and holiday spirit, it is a holiday flick to get cozy (together) and families to enjoy together. The sensation of the love that keeps spiraling through the film is what makes me appreciate The Best Christmas Pageant Ever. Not an exhilarating, but a loving level. Three out of four stars for The Best Christmas Pageant Ever.

Film reviews

Don’t Move Review

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Don’t Move is a cat-and-mouse premise with a spiraling limit. Directed by Brian Netto and Adam Schindler, the testing of the waters gets vivid (rapidly) in Don’t Move. The writing is a killer with a motive. However, the “motive” does not go as planned. There is a setting with a forest and a mountain. And one hiking trip in peril with a tantalizing twist.

The film’s main character is Iris (played by Kelsey Asbille). The film begins with going on a hike to grieve the loss of her child. As she stands over the ledge on her hike, another hiker gets her attention, and he is Richard (played by Finn Wittrock). They start some small talk, but within minutes, she finds herself as Richard’s hostage. She tries many means to escape, but then she realizes that Richard has injected a relaxant into her bloodstream. Therefore, running and being in shock causes a shutdown of her motor skills. The film makes the clock tick. Can Iris escape the dangers of Richard (who is a killer)? Can Iris keep her body from shutting down? Don’t Move is like an odyssey of its audience worrying about running out of gas. However, it is in terms of human functions to survive.

Don’t Move is a film of adrenaline. It is also thought-provoking. As Iris finds herself fighting to keep her system from shutting down, Richard finds himself to be causing more disasters among himself. This is because when witnesses get in the way, he mustkeep destroying the evidence (as he is dealing with Iris). Therefore, the film creates more for its audience to think about while the chaos is already mayhem.

There is a saying in the film, “Wrong place, right time!” it is the “wrong place” for both characters because both are in harm’s way. Iris is doing everything (in her power) to run before giving Richard the chance to hurt her (even more). Richard tries to keep his act together and keep Iris in sight. Otherwise, his raging behavior sends off red signals. The suspense is all intuitive. However, it does not offer many surprises. It contains more shock value of its graphic violence.

The frequent thoughts of Iris and her body shutting down had my attention on Don’t Move. The focus of that halting effect made my head spin repeatedly. The natural setting adds to that pressure (for the audience). Limited cell service, a small town, and a race to survive.

Even though it is in tune to be shockingly disturbing, its cleverness is that its killer is not getting his way. The two-sided stressors of the hostage (Iris) and the Killer (Richard) bring in lots of damage to be considered (for its audience). The damage creates a two-to-tango dynamic intensively in Don’t Move. Overall, it is a typical continuity setup that grasps terror with misdirection. “Misdirection” with one at risk for motor skills shutting down (along with the risk of being murdered) and one running out of time to hide his uncharted territory. Two-and-a-half out of four stars for Don’t Move.

Treating cinema in many forms of art!