FILM REVIEWS - DRAMAS - FILM REVIEWS

Devotion:

Storyline:
A pair of U.S. Navy fighter pilots risk their lives during the Korean War and become some of the Navy's most celebrated wingmen.

Despite advertising this film incredibly well, the product didn't live up to its potential. Having two strong up-and-coming actors, high-stakes action, and a genre that always will have people eagerly waiting to watch, this had almost everything in its favor and managed to flop.

What was the most disappointing about this film was the fact that we have seen this story before. Disregarding, for a moment, that this is inspired by true events, this is a tirelessly seasoned concept that never takes on an ounce of originality. Creating the space to showcase the individuals who made history, the progression was not touching, it was aimless. Filling a two-hour runtime with details that reveal themselves to be pointless, the number of times I checked my watch was unmatched.

Over and above that, the performances held no levity. There was no personal connection, attachment, or feeling of closeness. Written to be flat, the dull characters were clearly not brought to life by the script - but they weren't by the actors, either. With the absence of chemistry and empathy extended, the constant talks of bonds, friendships, and togetherness just wasted time. The lack of a harmonized theme/evidence to support it results in a meaningless film.

Devotion has good it's moments, from crisp direction to insane plane stunts, there are aspects to appreciate and give a nod to. However, that does not mean this is worth the time. Failing to represent the first African-American Aviator for the U.S. Navy in a well-made film, this sadly fell into a poorly made, quickly written, and easily forgettable film.

5/10

The BAM! rating is a newly integrated rating scale in addition to the critic rating each film gets. BAM! is simply the entertainment value that is solely based on whether or not a film is worth watching. A film can have a high BAM! rating and a low critic rating or vice versa.

5/10

The Whale:

Storyline:
A reclusive, morbidly obese English teacher attempts to reconnect with his estranged teenage daughter.

It doesn't happen very often when you see a film that is so remarkably raw that you never want to see it again. The Whale exceeds any expectations of its deceiving looks and most importantly gives Brendan Fraser the space for an unstoppable performance.

While the topic of obesity and the trajectory of America is an underlying topic that is quite overused within adaptions on screen, what this story tastefully changes is the ones that are affected by this are depressed, broken individuals. Following the utter pain of heartbreak, the self-loathing and hatred that unknowingly begins to set in before it is too late raises a chain reaction of poor decisions and uncertainty. The uncensored honesty given by Fraser becomes almost a real-life tribute to his own career/life choices blended with undisguised honesty. Bringing me and every member of the audience to a tear, it is unrealistic for Fraser to not receive an award and high praise for his performance.

That said, the plot itself and the progression created a vibe that made it hard to stay engaged. This is not meant with any connection to the difficult-to-stomach subject matter - even with it being brutally candid - rather the tone did not compliment what was being portrayed. With any uncomfortable premise, there either needs to be an artistic timbre or defying mood, whereas we were given nothing. There was no underlying voice or spirit which continuously reeled you in, it required effort to make yourself stay engaged.

It is easy to jump the gun regarding this film: on one hand, it is a meticulously illustrated tenor of the hidden side of someone's life and on the other, it is a miserable and wretched two hours of pain and animosity. Am I glad I saw this? Yes. Would I recommend this film? I don’t know. It takes a certain mindset and a clear lens to truly appreciate this story and I am still not even sure how I am processing it.

8/10

3/10

All the Old Knives:

Storyline:
Two CIA agents and ex-lovers are brought back together years after a failed rescue attempt and forced to blur the lines between profession and passion.

While the only reason this film seems to be watched is because of the inclusion of Chris Pine and the famous cast, the honest truth is that even with their star power, that doesn't hide the fact that there aren't many positives regarding this jumbled plot.

Given the beautiful scenery, the crisp editing and directing play into one of the things working for their benefit - the setting. Putting the audience in the character's shoes at any given moment, the storytelling from a first-hand perspective sets the tone for the sophisticated feeling.

That said, the details that fill the captivating images are not presented in a coherent way. To say the least, the runaround and hodgepodge of a non-linear storyline needed the stability of direct narration or a character to latch on to. Rather, in the absence of both, the result turns into a confusing run-through of the past that could have been told in a better way.

On top of that, there is absolutely no indication of the future or the past (besides hairstyles) which leads to a questionable viewer each time it changes - which *shockingly* switches every few moments.

And, though the construction of the plot is the true downfall of this film, All the Old Knives isn't all that exciting otherwise. From stiff and lifeless performances all the way to predictable small talk dialogue, even with supporting an unpredictable finale, there was just too much going wrong to save this film on a whole.

6/10

Father Stu:

Storyline:
Follows the life of Father Stuart Long, a boxer-turned-priest who inspired countless people during his journey from self-destruction to redemption.

Although Father Stu is a religious-based story and holds many concepts that are related as such, at the end of the day, the real grit of the film is the harsh truths and life lessons that we all need to be reminded of from time to time.

Given this level of faith and religion is not something I practice nor would I classify myself as educated on, the beliefs of the character are not forced upon the audience. Rather, you are not living in his world, but watching from an outsider's perspective all the things that are happening with no control.

While Mark Wahlberg delivers upon a raw and indicative individual who is flawed but not lost, a more powerful script would make his performance that much more impactful.

Having the potential to be deeply chilling and the utmost candid, due to dialogue that only brushes the surface of vulnerability, conversations that are quite predictable, and supporting characters that are pretty lifeless, while it is still affecting, it is not out-of-this-world phenomenal.

All the best aspects of this film come from what this story embodies - it's never too late to be a better person - and not its setting and first glance subject matter of religion (which is normally and understandably quick to scare some off). I do not want to see this more than once, as it is not impactful enough to be worth the slow tone and dragging on progression. However, it raises thought-provoking questions about how you are living your life, regardless if everything is not cinematically perfect.

6/10

The Outfit:

Storyline:
An expert tailor must outwit a dangerous group of mobsters in order to survive a fateful night.

Surprisingly biting off as much as it can chew, The Outfit defies all odds in creating a mysterious crime drama with individual characters. While having its unjustifiable moments, the bigger picture this looks at is just as enjoyable as it is well made.

What's creatively played within this story is that it has all the familiar aspects that period crime pieces have, but with storytelling that dives into layers and layers of individual stories. While they are all related to each other, each character has their time to shine and is deliberately separate.

Not to mention the distinct, off-centered tone that immediately finds a way into the audience's perspective, watching the downfall and antsy mystery from the outside builds tension for an unpredictable turn of events.

Never knowing who to root for, confusing the good guys for the bad, and appreciating the cinematic direction come as just the surface of elements that carry the strong weight of this rare film. Having its imperfections chalked up to be worthwhile, while this may not be high on anyone's radar, it deserves to be - it's simply the fresh, innovative, and original cinema that we don't have enough of these days.

7/10

7.5/10

The Card Counter:

Storyline:
Telling the story of an ex-military interrogator turned gambler, he is haunted by the ghosts of his past.

Though I have my respect for the sophistication of Paul Schrader and unspoken essence for any one of his films, The Card Counter, however, relies too heavily on the suspense of the unknown that it is so little we do know. Trying its hardest to be cinematic and mysterious, it, in turn, develops a randomized and off-putting progression.

The uninviting portrayal of Oscar Isaac is borderline too devoted in comparison to everything and everyone else included. The supporting roles have no chemistry, and while that's arguably the point, it's not consistent. Creating a world where half the aspects are rigid and cold, the rest are lively and upbeat, making all details discredit each other.

Not to mention the unsystematic presentation of characters - all of who feel like you are watching the A-list actor, not a character they're portraying - and unplanned chaos unfold in every scene.

Given it takes a mood and mindset to enjoy this story, as it's deliberately slow and making a statement, it's simply too plain to make the impact it's trying to. Thinking it represents something bigger than what it is, from the randomized ticking score to the overly silent implications, this film is odd, and not in a good way.

4/10

Death on the Nile:

Storyline:
While on vacation on the Nile, Hercule Poirot must investigate the murder of a young heiress.

Marketing all its weight toward the immaculate star-studded cast, to which is nothing more than a few big names, Death on the Nile loses track of the goal at stake - solving a murder. Elapsing too much time on developing the characters before any sort of conflict happens, the rest of the elongated film is hard to stay tuned in to.

Creating a pace that was just as slow as the riverboat they were on was driving, the right ideas were executed in the wrong ways. For one, the overly dedicated Kenneth Branagh, from a little too heavy accent to becoming the only one that felt to care about their role, no one was consistently on the same page.

Throwing an excess amount of characters in the mix, to which only half of whom proved themselves relevant, this film needed to either include more A-Listers or even the cast to collectively create a vibe. Instead, there are too many people involved and too much happening for any sort of responsive understanding from the audience.

While there is no denying the satisfying finale, without the jaw-dropping unpredictability that should have come with it, this only seals the deal to an average film. Despite its beautiful depicting directing, this needed a dependable screenplay and plausible presentation of details to make it recommendable.

5/10

6/10

King Richard:

Storyline:
A look at how tennis superstars Venus and Serena Williams became who they are after the coaching from their father Richard Williams.

I am the first to say I have no prior knowledge of Venus and Serena Williams, nor the sport of tennis. That said, this film actively lessens both women's accomplishments by valuing the wrong details.

Though I gather Richard Williams is credited for a large sum for their success, that fact is not the problem that arises within the story. It rather is a lack of commitment to focus on one person.

Making the story, at times, fully about Richard, the inconsistencies show themselves when gears are instantly flipped to be about only Venus instead. Therefore, the act of half-doing each "protagonist" creates a spiral downfall that leads only to the discredit of what the story means.

Not to mention the utter dwindling of Serena's success, this furthers the notion that if this film were only about Richard and/or Venus, leave it that way. Instead, this puts another talented individual on the back burner, and quite frankly, makes the audience forget she's there.

Getting the appeal for this film through the star power of Will Smith, the real touch, however, lies with Jon Bernthal's individual portrayal. Without the pure dedication and stability to keep this film afloat, he ensures that King Richard at least has a heartbeat. Besides him, the rest is a skippable film that slowly loses your attention.

5/10

One Flew Over the Cuckoo's Nest:

Storyline:
A criminal pleads insanity and is admitted to a mental institution, where he rebels against the oppressive nurse and rallies up the scared patients.

Despite being the cultural phenomenon and cult classic that it has developed into today, One Flew Over the Cuckoo's Nest is a good film, don't get me wrong, but it's not the great one that people make it out to be.

I am one as any to appreciate the indescribable performance and many forms Jack Nicholson is able to invent, as he does in this. Assembling motions and facial expressions that are eerily transferred into the audience further and further into the film, there's no denying his talented portrayal.

Yet, whether it's the over-hyping of said performance, the concept of the story, or even the time this was made, this just isn't EVERYTHING it's cracked up to be. Respectively, there is better we've seen from Nicholson, more intuitive and creepy plotlines out there, and films that have aged better than this.

Failing to have the uneasy suspense of a thriller or the drawn-out slowness of a melodrama, this needed to lean more toward one way or the other. While ending with an abrupt and unpredictable climax, it catches the audience off guard to leave more questions and afterthought about what the story really embodies. Yet this is what no one mentions about this film: even with a creative finale, it's just the average story that doesn't have the substance to be a favorite.

7/10

Sweet Virginia:

Storyline:
A former rodeo champ befriends a young man with a propensity for violence.

Beginning with a superb introduction of details that heightens the eerie suspense, Sweet Virginia's quiet delivery creates an individualistic feeling. Having a deliberate and uneven shift of heavy silence and less sound is a prime example of silence speaking louder than words.

This simplistic screenplay has none of the usual nuts and bolts needed to make a hearty story, so it leaves space for the actors to bring their characters and emotions to life.

Specifically, Jon Bernthal. Expressing immense range, he never fails to amaze me. Candidly depicting a morally broken protagonist that is still striving to see the end, without his dark and rageful portrayal, this wouldn't be watchable.

Yet what's quite annoying about this film is that my initial reaction went over very well, due to the sophistication of its minimalistic presentation with a battling protagonist. But with time, the impromptu ending leaves more questions than answers, abrupt plot holes, and a resolution that counteracts the sole conflict.

While it's easy to be critical of this film from odd interactions, bland dialogue, and its lack of purpose, these arguably become the sole reason to like this film: with realistic silence and crisp edits, it strengthens the progression of the breath of fresh air good B-movies create.

7/10

Don't Look Up:

Storyline:
Two low-level astronomers must go on a giant media tour to warn mankind of an approaching comet that will destroy planet Earth.

Don’t Look Up is a dramedy that lessens the blow of materialistic individuals who command the capitalism of the world, yet it's not funny enough to be easy-going and not powerful enough to make an impact. Resulting in a lousy form of entertainment, the vast majority of the people watching this film are not the ones who need to take the life lesson away from it, and even then it is a mediocre one that isn’t very impactful.

Paving the way with a scatterbrained plot, the nonexistent priorities of the story leave a separation between the characters and the audience but not in a good way.

The film consists of shaky still shots, unfocused angles and moving pictures at all times. While I am not one to get prissy about the deeper meanings behind the motives of directors, as films are so much more than just the director, it seems Adam McKay has lost his voice in this one.

However, this has quite an indicative and bold premise that many would shy away from, which arguably is the reason this crashes and burns. This film succeeds with an untraditional finale, artsy camera work, and a few effective one-liners. While all have the potential to amount to something great they are unaffecting. Hitting the ground running with a hot-take and loud theme, it has to be paired with the nitty gritty and controversial subject matter/characters presenting it - and it wasn’t.

Though harsh, I’m rather being precisely realistic about what everyone's not saying about this film: Don’t Look Up overestimates its redundant storytelling because it's filled with a star-studded cast and a hodgepodge of quirky satire - and then labels itself cinema. Perhaps embodying the very notions it's trying to exploit, it's hard to get behind a once intuitive idea when it's implemented in all the wrong ways.

4/10

5/10

CLICK HERE FOR A LONGER AND MORE IN-DEPTH REVIEW I WROTE FOR THE GRCC STUDENT PUBLICATION.

Small Engine Repair:

Storyline:
Events spin wildly out of control when three lifelong friends agree to do a favor on behalf of the brash young woman they all adore.

I can say with certainty Small Engine Repair is not for everyone, as it's dry, quiet at times, and has an unexplainable feeling of uniqueness. Yet with descriptive performances and fresh, untainted delivery, this is a crisp screenplay with healthy storytelling.

While dramedies usually don't effectively capture the brink of both genres, this has a satisfying balance between the two. Easily deflecting real-world problems with humor initially, the deeper into the story, the realization of life hits. Dealing with situations how many normally do, whether it be hot-headed thinking or dramatics, this holds truths that are dealt with constructively.

Despite the transition among time change being confusing and unclear, along with an abrupt ending that leaves you needing more, this creative type of film never gets made anymore. Having an odd and not fully there plot, the execution of such details relies on the performances and telling of the story.

Sure, there are problems, yet films nowadays need to take a lesson from this film - you don't have to have only A-list celebrities, high advertising, big budget, or a concept that everyone has already done before to be good. Sometimes all it takes is a passionate group and the right audience to appreciate something different.

7/10

7.5/10

Kodachrome:

Storyline:
A father and son hit the road to reach the Kansas photo lab before it closes its doors for good processing Kodachrome.

Although looking and at times feeling as cheesy as its Netflix productional roots, this contrarily surprises by proving to be both respectable and well off.

While there is something to be said for the missing pieces within the character's build-up (lost details, lack of explanation, etc.) and the shaky first act presenting the conflict at hand, the brilliant actions of a superb cast bring these individuals to life. Though words do not do them justice, as the film they are set in is predictable and quite blocky, the honest, raw, and candid emotions pouring within the second and third act make the rest of the unprepared screenplay seem not as important.

Yet, what many (myself included) forget is that a film can have off-putting things you dislike or even hate, and it still can be a good film - it is all about the balance between the good and bad and what it means to you.

Kodachrome's plot itself is rough around the edges, filled with hectic movements, and an irrelevant love interest, but these imperfections still amount to less than what the beautiful performances and touching theme add up to. As far from perfect as you can get, this minimalist symbolic execution catches you off guard and makes the audience experience every ounce of hate, love, and humor in every moment, as some dramedies can lose their touch on.

7/10

7.5/10

House Of Gucci:

Storyline:
When Patrizia Reggiani marries into the Gucci family, her unbridled ambition begins to unravel their legacy.

Given this entire production has been playing its cards to showcase its immense talent from its star-studded cast and the intricacies they hold within the family as the reason for people to come out and see it, the cold truth of what House of Gucci turned out to be is the opposite - an unnecessarily long and unaccomplished story full of fluff.

Diving into each scene with a different mindset, the tone never reached a consistent pace. Having multiple portions of the story transitioned to be unconnected, the relevance of the entire production gets dismissed by its own doing.

What may come as the biggest washout is the heavily mediocre performances. Deserving more from each decorated individual involved, no one was on the same plane. Jared Leto, for instance, while his dedication was overblown, exaggerated, and simply just too much to handle, though completely unfitting, at least his effort was clear. As for the rest of the cast, it varies from feeling like a high school play to the first time any of them had read their lines.

Although it is not this film's fault it was poorly produced, as it's a victim of the recent wave of unneeded and underdeveloped Hollywood biopics with A-list stars, instead, what could have been definitive and powerful resulted in something hard to get through and too easily forgotten.

4/10

5/10

CLICK HERE FOR A LONGER AND MORE IN-DEPTH REVIEW I WROTE FOR THE GRCC STUDENT PUBLICATION.

Belfast:

Storyline:
A young boy and his working-class Belfast family experience the tumultuous late 1960s.

It's quite hard to describe Belfast, as the interpretation without a doubt depends on the viewer to take in the meaning. What is a universal notion, however, is that this film is not for everyone - it's slow-paced, dragging, and inconsistent. While it's safe to say anyone could find a way to appreciate it, few would say they enjoyed it.

Utterly raw performances, on the other hand, establish the bond among relationships. Portraying lifelike situations and dialogue that is as far from fabricated as one can get, some singularities are skilled and tasteful.

Elements like a black and white picture, unique directing, and an untraditional path of a young boy, once more, make what this film stands for undeniably uncommon and wholesome.

Having mixed views myself, there is a separation that blocks the sentimental connection between viewers and characters that needed to be established to make things heartfelt. Watching this story from the outside in, there is a dependence on holding the audience's attention and maintaining the progression, but it wasn't there. So, considering the equally creative and distancing aspects, take it for what you will, Belfast is not a must-see, but it's not undervalued, either.

7/10

4/10

Ida Red:

Storyline:
Ida "Red" Walker may not survive her terminal illness in prison. She turns to her son, Wyatt, for one last job and a chance to regain her freedom.

Placing the audience into a story that was missing an hour of development, Ida Red is bland, undescriptive, and believes it is more in-depth than it truly is.

With numerous inconsistencies in the script, this storytelling falls into a troubling pace. Leading the film with an opening scene that was neither cool nor refreshing, that rest that follows has the same feeling, yet it was entirely unrelated. Thus, in turn, develops a compilation of half-baked events that were treated as if they were valuably contributing to an antsy feeling - spoiler alert, they weren't.

Leaving details unsaid to be meticulous and artsy is hoping the audience will be on the edge of their seat in suspense, but rather does the opposite. By providing unaffecting, lame antagonists, confusing conflicts with impactless resolutions, and unfitting moments collectively add up to a thoughtless mindset.

Thinking that with a well-known cast, a crime boss formula that sells, and an under-the-radar release of a B-movie would add up to a number-one picture, this does not have its priorities in line. Ergo, a lack of relevance for the few ingredients included makes this not worth anyone's time, even for the dedicated Josh Hartnett fans like myself.

3/10

Less Than Zero:

Storyline:
A college freshman returns to L.A. for the holidays at his ex-girlfriend's request but discovers that his former best friend has an out-of-control drug habit.

Developing a fully functioning story out of not many details, Less Than Zero is a minimalistic and nonessential watch, but can, however, change the pace of the routine drug film.

Proving himself with dedication and resilience, Robert Downey Jr. authenticates his vital role within this shaky story. Attesting his development with his unpredictable movements and motivations, although leading to a dead-end, his diligence was till the end.

That said, considering this is an insightful concept, the presentation is unstable. Jumping from one notion to the next, the impression is not as impactful as what could have been. Going forth with storytelling that skimps out on the gritty confrontation that was brewing, this is mildly affecting.

While this film has its repercussions that were meant to resonate long after it's done, they are quite easily forgotten. Even if this is pleasantly different, though redirecting your thoughts at the time, after the fact, it's just the middle-of-the-road type of story.

5/10

6/10

Layer Cake:

Storyline:
A successful cocaine dealer gets two tough assignments from his boss on the eve of his planned early retirement.

Paving the way for Daniel Craig's career, Layer Cake has its bumps within its progression but makes up for it with an eye-catching storyline, not to mention its deserving break-out performance of Craig.

Prospering by originating a suspenseful feeling from the get-go, this fast-paced, thrilling turn of events keeps everyone on their toes with each second. Never letting up on the intricacy of details from each scene, there is no one to turn to in this enthralling battle of trust.

Amongst the doubt and skepticism, the uneasy suspicion within characters has no awareness of each other. Teamed with brilliant performances from everyone involved, collectively, the dedication is unified. Having mutual diligence to the product at stake, the effort and talent are the same, as this simply is well performed.

Given the few implications that were unfitting and editing select moments to the wrong point in the plot, this film is completely entertaining. From an extensive finale to groovy storytelling, this is sure to please in one way or another, even if it's not the top of the list in the genre or the first go-to.

6.5/10

7/10

The Greatest Showman:

Storyline:
Celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

Prefacing my unpopular opinions on The Greatest Showman with the truth of this being one of the most perfectly executed soundtracks and choreography in a musical film, it contrastingly centers around a hurried theme and a majority of useless characters.

Developing a mediocre storyline that is poured out into just about every PG, life message presentation, there is nothing different about this. Although this tries to spice up its missing plot points with appealing song and dance, it only amplifies its struggle to create relevance to its flat characters.

Not to mention this gets strong critical accusations toward the glorification of P.T. Barnum and his untrue telling of his life story, while the common public (me included) would know nothing about it, it makes you think - this was indirectly written to begin with, and it wasn't even accurate?

While this features a musically talented cast and a soundtrack that is listenable after the fact, the telling of the story may be enjoyable, but it's not rewatchable nor well written to the everyday film watcher.

6/10

6.5/10

The Eyes Of Tammy Faye:

Storyline:
An intimate look at the extraordinary rise, fall, and redemption of televangelist Tammy Faye Bakker.

Attempting to shine a light on an extensive concept, The Eyes of Tammy Faye may be filled with remarkably raw performances, but is halted by a stale screenplay. Leaving too many things unsaid, the film itself has its aspects to appreciate, yet is too unimaginative on a whole to be recommendable.

However, with possible career-best performances from Jessica Chastain and Andrew Garfield, their intimate and personal rendition is incomparable. Without their pure dedication, this film would be hard to get through; their mesmerizing talent unconditionally finds a way to touch the audience in one way.

Basing this screenplay off the revolving biography film culture, it's not that this film did not have a reason to be made, rather it was not executed in the way it should have - thus creating something unimpactful. Feeling as though there is no true purpose, this is missing a theme or any substance to go along with it.

Though descriptive through its costumes, directing, and performances, when there is no moment of truth within a direct story, it raises the question: what's the point?

6/10

A Time to Kill:

Storyline:
A fearless young lawyer and his assistant defend a black man accused of murdering two white men who raped his ten-year-old daughter.

Being engulfing from the start, this screenplay is devoted to pleasing the viewers with its anticipation. Carefully adding meticulous details within its execution, the presentation purely works by good storytelling. Living on the same level with the characters, this becomes just as personable and realistic as an everyday situation.

Arguably one of Matthew McConaughey's best roles, he doesn't get credit for his unwavering performance. With an utterly dedicated progression, he shines in bringing to life what could have simply been just another law film. Conducting an unembellished, true-to-life individual, his raw depiction is transferred through the audience.

While this touches base on some political topics without forcing a heavy feeling, A Time to Kill develops a world to live in within its screen time. From candid emotions to understandable situations, this is by no means perfect but submerges your attention -- even with a few aspects that can get out of hand, considering its small faults, its favors are enough to make this a must-see.

7.5/10

8/10

Respect:

Storyline:
Following the rise of Aretha Franklin's career, this is the true story of the music icon's journey to find her voice.

Though depicting someone's hardships, upbringing, and independence of any sort is always difficult, Respect provides the feeling that it was made to stay relevant in today's standards of biopics than anything that is well made or worthwhile. From a stiff progression to skimping out on achievements far greater than having a powerful voice, this doesn't pay tribute to the consequential efforts Aretha Franklin went through, nor does it deliver any satisfaction.

With how poorly written this screenplay is, the sincerely blocky dialogue comes as no surprise. Failing to reach the audience on a personal level, this simply is nothing more than faulty storytelling. Pouring an immense amount of time into moments that are built with significance but correspond with minor resolutions, the themes this was going for needed a sturdier plot to showcase them.

Having conflicts that deserved more time for their consequences to play out on screen, shying away from the gritty truths that are incorporated within her life, and mostly flaunting all the unsatisfying moments within the songs that could have been included, there is little within this that's necessary. While having the sole positive of this film be the remarkable musical talent of Jennifer Hudson, it coincides with a mediocre performance and a displeasing life story.

5/10

Nine Days:

Storyline:
A reclusive man conducts a series of interviews with human souls for a chance to be born.

Simply having a lack of words that deserve the title of describing the purpose of this film, manifesting a forthright representation of life, Nine Days encapsulates a truthfully touching theme that films nowadays miss out on.

Integrating a beautiful and quite frankly attentive meaning, the heartfelt moments aren't explicitly stated, rather are worked for later in the story. Sincerely taking its time to get its feet on the ground, it becomes worthwhile once you understand the importance the development was leading to; sticking through till the end, these scenes linger well after it's over.

Using the alertness of the viewer to its advantage, the fiction this depicts isn't far from reality in terms of the way it's taken. With deeper meanings than what is flatly played on paper, this proves to have wit within its mesmerizing concepts.

Though this has a clear and straightforward direction, it is something that wouldn't get a re-watch. Without a doubt a tearjerker, while this is something that I am glad to have watched, this slow-burn raw emotion is too heavy to continuously get a rise out of the audience each time.

8/10

6.5/10

YOUR CART

Devotion:

The Whale:

All the Old Knives:

Father Stu:

The Outfit:

The Card Counter:

Death on the Nile:

King Richard:

One Flew Over the Cuckoo's Nest:

Sweet Virginia:

Don't Look Up:

CLICK HERE FOR A LONGER AND MORE IN-DEPTH REVIEW I WROTE FOR THE GRCC STUDENT PUBLICATION.

Small Engine Repair:

Kodachrome:

House Of Gucci:

CLICK HERE FOR A LONGER AND MORE IN-DEPTH REVIEW I WROTE FOR THE GRCC STUDENT PUBLICATION. ​

Belfast:

Ida Red:

Less Than Zero:

Layer Cake:

The Greatest Showman:

The Eyes Of Tammy Faye:

A Time to Kill:

Respect:

Nine Days:

CLICK HERE FOR A LONGER AND MORE IN-DEPTH REVIEW I WROTE FOR THE GRCC STUDENT PUBLICATION.