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Film reviews

Wildcat Review

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Written and directed by Ethan Hawke, Wildcat follows the true story of the writer Flannery O’Connor. Through the direction of Hawke, he casts his daughter Maya Hawke as O’Connor. It is an adaptation gearing on the real struggles of O’Connor boil. Artistry is divine in capturing verisimilitude. Wildcat soars with abundance as it searches for the talent of O’Connor to be recognized. It brings in the 1950s era with mental difficulty. It brings in the narrative of Maya’s voice as she battles her errors in her evolving writing days. The subtleness is superb. There is a reality that an in-depth invigoration precedes Wildcat.

The film begins with Flannery creating a story in her mind. From that point on, it goes to the reality that she is in. With facing rejections from her writing, the support around her is not hopeful. Her mother is Regina (played by Laura Linney). Regina tries to encourage Flannery to focus on other aspects of her life. Flannery’s writing is what brings meaning to herself. Her emptiness is sad and hard to bear. She is living in an era of many classes and segregation among races. She also is dealing with lupus. Her theme of writing is her life. 

Wildcat is breathtaking on Flannery to build her name. As her disease lingers, she only continues to form her creative mind. With some hopes for love, acceptance, and having a voice, Wildcat parallels all those values. The sense of Flannery in a blur is because of her window closing due to her disease. The narration continues through her moments of aches. Maya’s performance is revolutionary. Her portrayal of someone real delivers vast characterization. “Characterization” with constant thinking of connection. How though? Does Maya want to feel loved? Does Maya have other ambitions? Her disease and her voice are her focus.

My appreciation for Wildcat is its realism of encouragement. The “encouragement” is finding your voice. I try to find my voice as a critic every day. Flannery did her work. The theme of love serves as an important as well in Wildcat. Flannery finds herself in a moment with a man named Manley Pointer (played by Cooper Hoffman). At that moment, boundaries seemed blurred. Will Flannery be taken advantage of? Is that what Flannery wants? The cinematics of trial and error set the course of there being no defeat for Flannery to publish her story.

The vastness of moments is only the beginning of a triumphant story. When watching Maya perform as Flannery, the younger days of her father came to me. Ethan’s days in The Dead Poet’s Society and White Fang connect to his daughter. It does in the sense of having a gift and dealing with receiving little recognition. That is the inspiring factor of never quitting a craft of meaning.

Wildcat will enthrall its audience with a story of purpose. It keeps its momentum in keeping Flannery the focus of what she is striving for. Where does the story take its audience? Find out in Wildcat. Three-and-a-half out of four stars.

Film reviews

Babes Review

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The subject of pregnancy is not for everyone and is awkward for many. Pamela Adlon handles this “awkwardness” superbly in Babes. Adlon’s style of directing has no filter which brings out the best in satirical humor.  Babes is a one-of-a-kind comedyin which what should be commonsense does not always seem normal. This movie tackles a variety of difficult subject matter with heart.

The film takes place in New York City. The focus is on two best friends, Eden (played by Ilana Glazer) and Dawn (played by Michelle Buteau). Eden becomes pregnant after a one-night stand. She also suffers with some mental struggles. Eden expects Dawn to always be there for her given her unexpected condition.  Eden’s pregnancy is the overwhelming factor prompting her to keep her friendship with Dawn so close. However, Dawn is busy living her life with her own family and does not always have time for Eden. Still when they are together, they are like high-school besties. 

The art of friendship is portrayed honestly due to Adlon’s direction. There is a sense of disconnect that adults do not want to feel but impacts the relationship between Eden and Dawn. Pregnancy causes challenges which limit the joy in Eden’s life. The story provides a vivid portrait of Eden’s emotional condition and a clear understanding of why she may desire some form of escape. 

Glazer (who plays Eden) is also one of the co-writers of the film. Her character’s personality drives the frequent humor in Babes. Her persistent attitude and quirky coolness keep the awesome jams in Babes rolling. Eden is dealing not only with a major personal struggle, but also with trying to keep a friend in this tumultuous environment. Her vantage point is written and seen thoroughly throughout the film.

Despite some of the film’s peculiar moments, it is poetic. There are some gags that are repulsive and disastrous, but they do add some value in buffering some drastic scenarios. Between a pregnancy and a friendship, Babes paints a clear picture of the acceptance required in a true friendship. Does Eden want this baby? Does Dawn want to tolerate Eden’s nonsense? Are Eden and Dawn mentally prepared to deal with the changes evolving in their separate lives?  Babes explores some hard-hitting aspects of friendship that are very relatable.  

The complicated picture in this story is one where the paint does not dry quickly. The dynamics between Dawn and Eden get messy before they get pretty. There are rapidly flying colors of clever madness where frustration creates an unsettling atmosphere in this story of a fierce friendship. Adlon knows how to push the envelope when it comes to tough subjects. Her unique vision and directorial talent are on full display in this unique comedy.

What is more important? Is it friendship? Is it pregnancy? Is it the concept of adulting? All these dilemmas are questioned as the complexity of life plays out in this film. It is a bizarre comedy with class that is heartfelt and authentic. Three-and-a-half out of four stars for Babes.

Film reviews

Furiosa Review

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A film directed by George Miller, Furiosa: A Mad Max Saga keeps its momentum throughout. The film is power ball of adrenaline that climbs the ladder to an apex of excitement and entertainment. Furiosa: A Mad Max Saga grasped my attention deeply. The heightening tones of suspense unravel in sequencesand although I enjoyed Mad Max: Fury Road more, Furiosa: A Mad Max Saga still killed it.

The film focuses on the original story of Furiosa (played by Anya Taylor-Joy). Furiosa fell into the evil hands within the film’s apocalyptic world–the warlord Dr. Dementus (played by Chris Hemsworth). Furiosa is navigating the uncharted territory of the wastelands. The citadel is in the hands of Immortan Joe (played by Lachy Hulme). Politics and corruption in the wastelands are heavily apocalyptic. Furiosa is on her own and must fight for the new lands. Furiosa: A Mad Max Saga keeps its continuity on par with Miller’s style of direction. Miller uses less dialogue as many of his films have an emphasis on stylized action sequences. 

The film feels two-sided and then four-sided with Miller’s direction of cutting the film is into acts. This approach makes Furiosa: A Mad Max Saga feel more like a theatrical stage experience of a vast land putting itself back together with some boundaries in mind.  There were no boundaries in Mad Max: Fury Road, only continued on the path of action and road rage. Those two elements are in the depths of Furiosa: A Mad Max Saga, but it keeps combining a storyline.

The depictions of road rage are heart-pulsing, as my IMAX experience made me feel shaky. I felt the action sequences were stuck in my chest, conveying just how invigorating the film is in that format. The film has apocalyptic writing and a creative dynamic with a mix of good and bad. It blew me out of the water.

The story brings its audience to different environments of periland the vibe is rigorously antagonistic. It is a wild adventure where the world of danger and the impending apocalypse only adds to the adrenaline rush. It makes its audience think much more. With Furiosa as the center of attention, much of the film’s upbringing is her environment. Miller’s direction keeps up that flow of the moving parts of importance. That is why the acts of many moments serve a stellar purpose in Furiosa: A Mad Max Saga.

With only thirty lines of dialogue, it contains the equivalent of a half-an-hour worth of words. The action is the focus. Miller’s belief in speed influences more than the road rages the battles, The mayhem never stops and Furiosa: A Mad Max Saga throws its punches to the core. It does in a way that the moments stick with its audience. 

With the dynamic of antagonistic characters, the concept is conquered land. Evil having establishments is written and it creates an emphasis on the long road of survival for Furiosa. The tracks of finding roots to what was lost are obstacles filled with surprises. The technological aspects in the mind of Miller are hardcore. Furiosa: A Mad Max Saga is a new Mad Max adventure with more foundations. The mayhem continues in Furiosa: A Mad Max Saga. Three-and-a-half out of four stars.