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Film reviews

The Book of Clarence Review

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The Book of Clarence goes deep in an authentic exploration of religion and faith in becoming an apostle. The foundation is setin the era of Jesus Christ, yet in the context though of atheatrical and stage experience. There are countless moments of music and an over-achieving attitude with the film’s characters. The Book of Clarence starts out with being an exhilaration of a fantasy setup, but it falls flat. There is a continuity in the telling of the story of Jesus Christ, but with a different person taking the same steps. It feels like a faith story trying to add a form of diversity or an added layer of a connecting factor that does not do any justice to the narrative.

The film centers on Clarence (played by LaKeith Stanfield). He is an individual who has problems maintaining his debts in Jerusalem in A.D. 33. In the perspective of Clarence, he wants to top the hierarchy of Jesus Christ (played by Benedict Cumberbatch). The film follows Clarence in his new beginning as he lays claim to be a rising new Messiah. He feels that if he can accomplish the impossible, that he will not have debts, gain followers, and live for freedom from any hardship he has experienced in his life. He must prove he can grow though.

Clarence has to prove himself to others not only as a Messiah, but as a warrior. He gets in a death match with Barabbas (played by Omar Sy) to win the freedom of slaves. The film brings that dynamic of race and class in the A.D. era. In these moments the musical elements come through. They are attention-grabbing in the aspect of lending a feeling of exhilaration to the performances. Given the setting though, the factors of the film become misconstrued.

The order of events in Clarence’s upbringing does not do a clear justice how he grows to become a messiah. He gets baptized by John the Baptist (played by David Oyelowo) and makes a deal with Pontius Pilate (played by James McAvoy). Pontius believes that he can get Clarence close to Jesus himself. It is like the magical characters of a bigger story are just floating right to Clarence. The film tries too hard to use a magical approach in respect to the intense religious and spiritual themes. The vibe tries to be overly positive and it does not work well.

The Book of Clarence is centers on the experience of one man finding inspiration to do better. The audience is led to have faith in Clarence and those who are important to him. The most influential to him is Elijah (played by Ry Cyler). Elijah is a friend to Clarence and one that would sacrifice anything for him. Another character that is important to Clarence is his mother (played by Marianne Jean-Baptiste). The people and relationships around Clarence are the biggest factors in the dynamics of who benefits the rise of Clarence. The film though remains messy in its telling of this story.

This is an experience where I felt like I was watching a version of The Passion of the Christ, but one that wanted to have no graphic violence or extreme sadness. Instead, it wanted to go in a more heroic direction of power seeking with a dangerous attitude. It did not work for me. Faith and religion are important to many. The writers added layers of ego to portray a messiah with a rich dynamic to help fuel his growth in hopes that he will rule the world. If he was ruling any world, it is one that would struggle to find its faith and meaning in life. The music made my mind boggle with happiness and enjoyment…for about thirty minutes. The rest of the film was filled with too many characters, enemies, and rituals being thrown in that correlate to the history of the Bible. The connections came out poorly though, to a point where I felt I could not even figure out if I was enjoying the movie or not. I felt neutral about the experience of this unique take on a man becoming a messiah and I should have been enthralled. Two out of four stars for The Book of Clarence.

Film reviews

Memory Review

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Memory is a film that deals with past problems that remain and the life going forward that is yet to navigate. It shows that moments of the past can raise their heads to bring out the worst in people’s lives. It also explores the different sides from various angles centered around a conflict. Memory is a film about channeling anger. Director Michel Franco brings his audience into a world where choices led to consequences and how they have evolved as time went on. Memory is true to its story and its direction as details come into play. It displays that there is still good that can be done regardless of what was done in the past.

The film is centered on a woman named Sylvia, played by Jessica Chastain. She is dealing with past issues of substance abuse and a whole range of other problems. She has a daughter named Anna, played by Brooke Timber. Sylvia is a social worker in a daycare for adults with learning disabilities. She helps people who are incapable every day. She is also trying to reconcile a difficult relationship with her Anna as well as tryingto grow closer to her sister Olivia. Olivia is played by Merritt Wever. Sylvia is introverted due to her emotions. She decides to come out of her shell and attend her high school reunion. As she walks back from her reunion, an odd gentleman follows her back home. This gentleman, Saul, is played by Peter Saarsgard. At first, Sylvia is confused by Saul’s presence. She gets in touch with his brother Isaac, played by Josh Charles, and learns that Saul has dementia. From Sylvia’s realization, she sees that Saul is also having trouble adapting to life due to past problems and mental health issues.

The writing and dialogue feel a bit generic at the start of the film. The melancholy vibe if the directorial style seems appropriate for Memory. There is the concept that after dealing with hard times its main characters do not have much to say. What they do have to do though, is to deal with the reality of the present. Franco’s directing is faithful in this portrait of a drama that is one-of-a-kind.

The correlation of conflicts that lies beneath the surface for both Sylvia and Saul creates connections of empathy in Memory. The melancholy feeling of Memory is a landscape of human emotions. Despite both Sylvia and Saul dealing with their detrimental scenarios, they learn to reassess their lives. That is because of their shared past. They went to the same high school and have had underlying problems that they have carried with them forever. Despite their rough history and troubling conflicts, Sylvia looks after Saul on a regular basis. They spend time together and build a relationship, but is their growing relationship because of their vulnerability?

There is also that side of Sylvia showing deeper concerns for her daughter. Her daughter has that attitude of being hateful and vindictive, because of how much her mother shelters her. As Sylvia navigates her errors with her daughter, she sees more growth with helping Saul. As Sylvia gains clarity, she begins to care seriously about her daughter’s secretive behavior. Anna is distraught at how her mother has rules and how she feels her life is in turmoil. The dynamics of Memory are vast with problems going from one individual to the other. It is hard for Sylvia, Anna, and Saul to keep their heads high, but all they can do is try. It is a more difficult struggle for Saul than it is for Sylvia. Sylvia can support herself financially, but Saul cannot. The past and mental health problems impact him the most.

It is an experience where any human can feel rough emotions from the past at any time in their life. Anna finds herself distraught with her mother’s silence—it is belittling and condescending with layers of detrimental conflicts. The lighting in the film is neutral—that is in juxtaposition to the dynamic between Sylvia and Saul in Memory. The truth of Sylvia’s problems is a harrowing past that is unforgivable. Sylvia and Saul are fall in love simply because they feel there is no one else to care for them. Those who are in their lives only remind them of their failures.

Memory is not an experience of happiness. There is a neutral quality throughout the film meant to enhance its sense of reality. The eerie and quiet feeling displays the emotion of a loving heart. The performances of Chastain and Saarsgard is a revelation of humanistic nature, and it is a ride of mixed feelings that keeps its audience thinking about the human condition thoroughly. Three and a half out of four stars for Memory.

Film reviews

The Teachers’ Lounge Review

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The profession of teaching must follow codes of conduct and a set of instructions in order to protect both teachers and their students. Likewise, there are also rules that students are expected to abide by, and they do not always understand given their young developing minds. In The Teachers’ Lounge rules and confidentiality hit the fan drastically. This makes for a movie experience that is both mentally draining and captivating. The choice of a particular teacher spirals the audience into the examination and inquiries involved. In The Teachers’ Lounge the question remains, “Is this proof, or an assumption?” The answer unfolds in the realm of a hectic and low-paid profession and quickly moves in an audacious direction in The Teachers’ Lounge.

I was raised in a family of teachers and professors and The Teachers’ Lounge spoke to me truthfully. The level of tolerance and patience needed each day is the key to understanding the film’s depths in portraying a hard scenario in a school setting. Especially when the rights of teachers, rights of parents, and rights of students are involved. The film shows that being a teacher is a career where a cautious mind is essential to solving many problems…no matter how big or small.

The Teachers’ Lounge takes place in Hamburg, Germany. The main character is Carla Nowak (played by Leonie Benesch). Carla is a schoolteacher of young students and her school routine is a consistent part of her daily life. That is until there is a theft, as Carla reports an individual that she suspects has stolen from her. That individual is a faculty member, Friederike Kuhn (played by Eva Lobau). Going forward, when disciplinary actions are taken, the matter does not remain quiet. The other factor to this problem is that Friederike’s son Oskar (played by Leonard Stettnisch) is also Carla’s student. With Friederike facing serious charges, Carla’s career begins to spiral downhill. Oskar starts to act out badly in her class as rumors go around about what has happened, and Carla struggles to keep her confidentiality intact as a teacher. Oskar becomes stuck in the middle of this intense and confusing matter with his mother and as a student. The question becomes one of who is most at risk in this confusing and frustrating scenario.

The writing in the film dives deep into a portrait of how rules and school systems begin to be at risk when serious questions develop. The parents of other students become infuriated, and Carla’s students act out more. The picture is thorough in pointing out that scenarios are not as private as some may think…even for teachers. Despite how true Carla’s case might be, there are still consequences. With rebellious students, the ugly dynamic is hard to tolerate, and Carla has no choice but to put up with it to keep her integrity.

This is one of the most chilling, exhilarating and mammoth experiences I have had with an international feature. It is a film in which going by the rules is questioned, along with the pressure of grueling rumors that carry through the film and enhance its psychological tension. The Teachers’ Lounge is unforgettable and the direction is on par with its inner conflict of underlying issues. It eagerly puts together the moving parts of the dynamic for a resolution. What will come of all this turmoil of a theft scenario? Who will suffer? How does it impact the faculty and the students? Find out in The Teachers’ Lounge. Three-and-a-half out of four stars.