Review by Jonathan Berk Creating a documentary that feels like you're watching a spy thriller is no easy feat. With Taking Venice, director Amei Wallach manages to tell this true story in a way that makes it feel less like a documentary through innovative visuals and a propulsive score. Historical docs often find their audience simply because the subject matter is engrossing, but this film shows you can sometimes have your cake and eat it too. Taking Venice tells the story of the first time an American artist entered the Venice Biennale at the height of the Cold War. Determined to fight Communism with culture, Alice Denny, a Washington insider, Alan Solomon, an art curator, and Leo Castelli, a powerful art dealer, look to make artist Rauschenberg the winner of the Grand Prize. Wallach moves back and forth, developing the scheme while simultaneously informing the audience of the art movement of the time as well as Rauschenberg’s contemporaries. It doesn't take long for Wallach to demonstrate that this isn't the average archival footage and still picture documentary. While those are present, the film blends them together with modern footage in ways that showcase the art. A still photo in a sepia tone will merge with full-color moving video to create a unique visual style. There are moments when newspapers in France or Italy are displayed, and then the language morphs into English to reveal the content for the likely American audience. These visual embellishments add a distinct style that makes it stand out from other historical documentaries. The score by Chee Wei Tay is the next element that makes this film pop. It's so energetic and feels like one you'd hear in a spy or crime thriller. It makes each element of the story feel a little more dangerous than it really is. While a “conspiracy” or “scheme” is happening, it doesn't seem like the stakes were all that high. Yet, the film sets out to make it feel like they were, and the score does much of the heavy lifting with regard to this. The final piece that really makes everything click into place is the presentation of the importance of art. Present is a combination of elements that discuss the impact of the various fights for equality in the '50s and '60s, and how the art of the time reflected that. The cultural impact of the various artists of the time essentially becomes weaponized to combat Communism, but the artists themselves have their own agenda. The power of art is no mystery to cinephiles, but the movie and the subject matter do a great job selling it.
The film fills its audience with a feeling of discovery and anticipation. Unless you’re already intimately familiar with the subject matter, you will likely learn something new at multiple points. The framing of a conspiracy being uncovered only helps to hook the audience and bring them along on the journey. Taking Venice is a very well-made documentary that tells a story about which any art lover should know. There were so many elements that I knew nothing about prior to watching, and I was captivated the entire time. The art that is displayed in both the archival footage and the modern day exhibits holds historical significance. Again, this could have easily just been a PBS documentary with talking heads and photographs Ken Burns-ing their way across the screen. Instead, it's something much, much more. Taking Venice will be in theaters on May 17. Rating: 4.5/5
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Review by Jonathan Berk Mothers need love, too — especially if they've been so focused on taking care of their only daughter for the majority of the last twenty years. Though it's never easy to let your child grow up, it is eventually a necessity that you stop taking care of them so you may finally focus on yourself. That's essentially the point of Mother of the Bride. Lana (Brooke Shields) finally sees her daughter, Emma (Miranda Cosgrove), after she's been in London for an entire year. Emma drops the big news that she's engaged and getting married in a month in Thailand, which will be a part of her new business. While it's not easy to step back, Lana is surprised to find that her future son-in-law's father is the lost love of her life from college. Shields is definitely game for the comedy in the film. Several moments feel a bit cheesy, but she makes it work despite the material. Cosgrove and Shields have enough talent to mostly sell the mother-daughter relationship, but the dialogue does them no favors. Nearly every moment that contains conflict feels overly fabricated and far too melodramatic. The history between these two is filled in with clunky exposition that will make audiences roll their eyes or laugh with a hint of derision. If the actors didn't have the talent, the film would be quite unwatchable. Benjamin Bratt plays the father of the groom (Sean Teale), and it is always a treat to have him in a project. Bratt looks fantastic, and the history between his character and Shields's is by far the most compelling storyline in the film. His introduction leads to one of the aforementioned eye-rolling scenes, where they fall into the pool in one of the more cliche rom-com-type moments. While director Mark Waters has delivered some pretty beloved films, including Mean Girls and Freaky Friday, there is an undeniable Hallmark movie sheen in this one. The overall aesthetic is too bright, and everything feels a bit too polished. There is almost something uncinematic about the look of everything that makes it seem as if it belongs amongst the ever-growing library of those beloved TV network movies.
The film absolutely pulls from recent releases in what almost feels like a mash-up of Crazy Rich Asians and Ticket to Paradise. The "exotic" setting with the excessive wealth and the focus on the parents of the happy couple rather than the couple themselves seems to pull from those recent rom-com successes. In the opening scene, RJ proposes to Emma at a fancy restaurant that he's emptied out, minus the staff and far too many flowers. It's gorgeous and excessive, which is a solid metaphor for this movie. It feels like it wants to be the wedding sequence from Crazy Rich Asians but is not quite capable of selling it the same. Still, Mother of the Bride isn't doing anything wrong. While the dialogue could have used a little bit of touch-up, it's a perfectly enjoyable entry to the genre. Other than feeling a bit like a made-for-TV movie, the performances help elevate the overall product. Even though every moment of drama feels far too contrived, the comedic elements help to counter the melodrama. Mother of the Bride will be streaming on Netflix on May 9. Rating: 3/5 Review by Jonathan Berk The Planet of the Apes franchise has always straddled the line between sheer entertainment and profound allegory. Audiences can watch it for the simple joy of a compelling science fiction narrative or dig deeper into the layers of meaning embedded in the story. Matt Reeves's entries elevated the franchise led by Andy Serkis's performance as Caesar, making film nerds debate why motion capture performances aren't recognized at the Oscars. With Wes Ball taking over where War for the Planet of the Apes left off, many were concerned that Kingdom of the Planet of the Apes would be another sad studio attempt at a cash grab. Fortunately for fans and moviegoers, it is a worthy entry in the series. Many generations have passed since Caesar died to save the apes. His teachings live on in some tribes but not in others. The Eagle Clan has built its own system of rules and lives in solitude. Noa (Owen Teague) is the son of the tribe's Chief Koro (Neil Sandilands) and is tasked with obtaining an eagle egg that he will raise in the tribe's tradition. However, his whole world is about to expand as a new tyrannical ape leader seeks to build his empire. Going into this fourth entry of the franchise, one thing that was concerning was if the CG's quality would take a dip, but it really didn't. This film has some absolutely gorgeous frames, and the characters are often photorealistic. That doesn't hold up in some scenes when there are a lot of apes, and the quality dims a lot. Still, anyone who thought this film would be less than will be surprised it is not. That rings true with both the story and the characters. While there is plenty of spectacle, Ball's film provides a wealth of moments to sit with the characters. When we meet Noa, he is troubled and struggling with so many parts of his life. He is working on a rite of passage, figuring out where he fits in with his clan, and then suddenly and drastically changing his way of life. The characterization is done so well, as is the world-building. There is exposition given in long stretches of dialogue, but it makes sense in the story being told. The Eagle clan has no knowledge of the past, but the two factions that Noa meets reveal similar information used for different purposes. This idea of knowledge being power — and how it is wielded by those who possess it — feels very pertinent. Noa becomes an audience surrogate who has no information on Caesar, and it makes sense that characters fill him in through these aforementioned stretches of dialogue.
Raka (Peter Macon) shines as a voice of reason and is a fantastic addition to the film. He is a strong character who instantly clicks into his role. Noa and Raka convey so much of the emotional weight in the movie that it's easy to forget these are CG characters. This concept has been the magic of this franchise, and we are fortunate this film can deliver it again. As noted, the film doesn't just have CG apes sitting around campfires talking. The opening sequence has Noa, Anaya, and Soona climbing to retrieve eagle eggs. There is an immediate sense of tension, and the stakes of the moment become clear. Pretty much every action scene in the film has a thematic weight to it that draws the audience in. These moments in the film work because the time was taken to invest in and develop the characters. It does seem to be the magic trick of this franchise: making human audiences root for the apes more often than the humans. Kingdom of the Planet of the Apes is peak blockbuster filmmaking. It has tons of spectacle but with characters that the audience will be invested in. The power of the sci-fi genre is on full display here, and Wes Ball proves he is a filmmaker to be taken seriously. This is a film that rewards seeing it with a crowd. Kingdom of the Planet of the Apes is in theaters on May 10. Rating: 4/5 Review by Jonathan Berk Is there a bigger moment in a high schooler's life than attending prom? It's one of those milestones that can really influence a person's post-high school life. Or, at least, filmmakers seem to think so, as it's the setting for so many movies. While it's impossible not to think of dozens of movies related to the big dance, director Kim O. Nguyen's film Prom Dates finds some new ground to tap into. Young Jess and Hannah are hiding under a table at a prom and decide to make a pact that their senior prom will be legendary. The film jumps ahead to the day before their big dance, and everything is looking perfect. That is, of course, until their dates cancel on them. Now, Hannah (Julia Lester) and Jess (Antonia Gentry) have 24 hours to find replacements… but it seems the whole world may be against them. The comedy in this film is real, in large part thanks to Lester and her clear comedic chops. Several moments will elicit bursts of laughter, and many of them center around her. That's not to take anything away from Gentry, who also has some funny moments — it's just that Hannah finds herself in more extreme situations that are inherently comedic. This is established pretty early on when Lester is at the assembly waiting for Gentry to arrive and starts to choke on her gum. The coughing fit leads to several rapid-fire jokes that should inform audiences right away if they will enjoy this movie's sense of humor. Naturally, it wouldn't be a high school movie without a little bit of drama. While the cast is relatively small and most of the drama slightly constrained, some moments hit big highs. Hannah's boyfriend, Greg (Kenny Ridwan), is so in love with Hannah that he's unaware of how needy he is. Their breakup not only leads to some hilarity but also to some genuine, heartfelt moments. The movie finds a good balance with a good mix of these, for the most part.
The one downside of coming to a tried and true genre like the coming-of-age film is falling victim to the formula. While Nguyen's film goes to some places that feel wholly original, quite a few moments are just too predictable. It's not even an issue for things to feel familiar if they fit into the nature of the story; however, there are beats that are definitely common in this genre that simply feel out of place with the characters in this particular film, ultimately dinging the overall success of the movie. Luckily, the elements that feel out of place don't ruin the movie as a whole. The humor is just too strong and the performances too good for this to be overlooked. Fans of films like Booksmart, The Edge of Seventeen, Superbad, and even American Pie will surely find something to love in Prom Dates. There is a good chance the two leads will be starring in bigger projects in the near future. Prom Dates will be streaming on Hulu on May 3. Rating: 3.5/5 Review by Jonathan Berk Few stories are as black and white as they may initially seem. It would be convenient for life to remove all the gray areas and make things simply “wrong” or “right.” Many out there would paint the picture of such simple thinking on far more complex issues; they would much rather say in this war, those are the bad guys, and those are the good guys. The Sympathizer — a new HBO miniseries — grapples with the realities of the complexity of life. Hoa Xuande plays The Captain of the South Vietnamese secret police during the Vietnam War, but he is also a spy for North Vietnam. As the war nears its end, he is told to stay undercover and flee to the United States. There, he takes up residence in a refugee community, where he continues to secretly spy and report back to the Viet Cong while trying to maintain his cover. Xuande gives an incredible performance in this series. His character is complex, and the series explores this duality through various aspects. It is pointed out early in the show that his character is a “half-breed” and seems not to have a true “home.” This factors into his being a spy split between his allegiances. Then, there are his relationships, which often have this layer of duplicity to them as well. Xuande’s performance reflects the struggles his character is going through in all of these moments. He can’t be easily placed in a category of good or bad. This is a theme that’s explored throughout the show, but it is centered on this character. Of course, the real reason many people will come to this show is the draw of Robert Downey, Jr. He’s playing a few different characters, each with very distinctive looks and qualities. As we have come to expect, the performance given by this man is incredible. Despite the, at times, very serious subject matter, there is a quirky sense of humor undercutting the tension throughout the series. RDJ is often providing that humor and seems to be having a great time with it.
The cast as a whole is pretty incredible throughout the episodes: Fred Nguyen Khan, Toan Le, Scott Ly, and Sandra Oh, to name just a few. Of course, all of the characters center around The Captain as he tells his story from a prison. The show jumps through time quite frequently, starting a few years after the fall of Saigon with The Captain locked up and being forced to tell his story. It jumps to the days before the fall of Saigon, to the early moments of the war, and even to the Captain’s childhood. All of these timelines weave in and out over the seven-episode season. It keeps the show moving and builds a bit of mystery to The Captain’s character. The sheer number of sets and costumes, as a result of the many time changes, make the show an impressive production. Episode 4 especially will appeal to film fans, as it leans into some meta-commentary. Every episode has some interesting costuming that aids in the storytelling and the characters. Of course, this is the most prominent feature of RDJ’s characters, as his costumes are quite unique. The Sympathizer has a great pedigree behind the camera, with Park Chan-wook having directed three episodes and Marc Munden and Fernando Meirelles covering the other four. It’s a prime example of the “prestige” TV movement. The finale is mostly satisfying, even though it doesn’t quite resolve everything. The Sympathizer will be on HBO on April 14 at 9pm ET/PT, with new episodes debuting subsequent Sundays. All seven episodes reviewed. Rating: 4/5 Review by Jonathan Berk Rob in High Fidelity is organizing his record collection autobiographically, and he states that if he wants to find a specific song, he has to remember the event he associates with it. Marty in Back to the Future II travels through time, hoping to change something in the past to fix something in the future. Imagine if those two stories crossed, and it was placed into a romantic comedy of sorts. If that interests you, then director Ned Benson’s new film, The Greatest Hits, is for you. Harriet (Lucy Boynton) is approaching the two-year mark of the death of her former boyfriend, Max (David Corenswet), whom she revisits by listening to certain songs that transport her back in time. Her mission to figure out if she can change the past is jeopardized when a surprise collision with David (Justin H. Min) sparks a potential new love interest. The film utilizes this conceit in impactful ways as Harriet and David try to figure out how they fit into each other’s world. Boynton hasn’t been given too many chances to lead a film since her breakout performance in Sing Street. She does not waste the opportunity with this film. Her charm is on full display, and she easily wins over the audience. She is singularly focused now after being utterly destroyed by the loss of Max. Her performance feels genuine and so sincere. One of the biggest challenges with a film like this is establishing the status quo of the world. Benson’s script does a great job of initiating the rules and subsequently adhering to them. The records are sorted by “tested” and “untested,” and we see that she has a lot of earplugs and noise-canceling headphones. We also notice that her car radio is ripped out. It becomes clear after the first time we witness her time travel that she doesn’t know for sure what songs can send her back. Benson plays with a few other ideas in the script centered around this element, making it as intriguing as it is heartfelt. Grief is at the center of the story. It’s an emotion that works quite well with this metaphor. What if you could do something to save the one you loved? Most of the time, we simply wish for the possibility, but Harriet may actually be able to do something about it. She meets David at a grief counseling session, and through their shared grief, something new begins to grow. The possibility of finding happiness after all the pain creates feelings of hope and guilt. It makes what could just be an interesting premise resonate all the more.
Of course, what could be more ripe for this metaphor than music? Songs — and art in general — often send us back to that moment when we had a shared experience with it. A few lines from a song may send you back to that summer BBQ or the awful school dance. Music has the power to transport us back to when we were children or when our heart was split in twain. Benson’s film simply takes this concept most people are intimately familiar with and says, “What if it literally sent your back?” It works wonders for storytelling. The Greatest Hits is full of love and music. Fans of John Carney’s films Once or Sing Street will likely enjoy the sentiment found here. Benson’s only directed a couple of films with a decade between them, but he appears to have something impactful to say about grief. His latest is one to watch. The Greatest Hits will be in theaters on April 5. Rating: 4/5 Review by Jonathan Berk Director Morgan Neville knows how to shape the story of a documentary for maximum impact. Fans of Won't You Be My Neighbor? will remember the emotional impact felt by both the subject and the story's structure. STEVE! (martin): a documentary in 2 pieces brings a similar feeling of admiration and nostalgia for Steve Martin. The two parts of this documentary series could not be more different, as they reflect many aspects of Martin's life and story. The first part of the documentary feels very much like a Ken Burns PBS documentary. Tons of photos of Martin's life appear on screen accompanied by voice-over narration by Martin. The tone is often wistful and feels more like the inner monologue Martin has had with himself throughout his life, which we are now privy to. This section focuses on his life until 1980 and the struggles he initially had breaking into show business. Martin's story is impressive and feels both personal and distant in this presentation style as if we're merely observing things. The second part of the documentary jumps to the modern day as Martin prepares breakfast for himself. This documentary uses a more traditional combination of fly-on-the-wall observation and interviews. The archival footage and photos aren't entirely gone, but now some cartoons of Martin are used to introduce a series of concepts Martin is bothered by. This section still focuses a bit on the career, but it's far more interested in the man behind it all. The second film is far more unique than the first, but together, they reflect a lot of the complexity that is Martin. A magician, comedian, musician, actor, son, husband, father, and collector list just a few aspects of Martin explored in the two-part documentary. Several of these ideas add Martin Short into the film as the two prepare for a tour and promote their hit show Only Murders In the Building. Martin reflects on his life to this point throughout in ways that are again very personal yet distant.
A significant theme that emerges in both documentaries is this sense of longing, loneliness, and love. These themes appear in the characters he portrays in his movies and his personal life. Some moments in the documentary begin to explore these ideas that seem to hit a wall. This appears intentional as a continued feeling that Martin is willing to share only so much. He is a celebrity and acknowledges and even appreciates the level of admiration he has received. Yet, he is a person and has boundaries in place that he clearly isn't willing to break. STEVE! (martin): a documentary in 2 pieces is a very compelling watch. Clocking in at just over 3 hours between the two episodes, it's full of love that is just infectious. Fans of Martin will likely walk away with a renewed passion for him and his work. People who may be less versed in his overall oeuvre may find themselves with the drive to explore his work. At the very least, you'll know more about another celebrity and their influence on culture. STEVE! (martin): a documentary in 2 pieces will be on Apple TV+ on March 29. Rating: 4/5 Review by Jonathan Berk There were a lot of mixed feelings about Ghostbusters: Afterlife -- primarily because of all the nostalgia. For some, however, it was exactly what we had been waiting for in terms of a sequel. Yet, the trepidation for Ghostbusters: Frozen Empire was palpable. While there are many negatives in this entry of the franchise, it manages to deliver enough of what we love to still answer the call. After the events of Afterlife, Pheobe (Mckenna Grace) and her family have relocated to New York City and are living in the old firehouse. They are happily busting ghosts in the Big Apple until they cause a little too much damage. Phoebe is the best of the busters but gets benched after the disgruntled mayor discovers her age, only for bigger ghostly machinations to happen in the city. The returning cast is mostly great again. Grace is the central character and works perfectly in that role. She is more than equipped to be the lead character of this historically ensemble-driven franchise. Her character development is solid, but they seem to imply some elements rather than fully committing to the idea. While Grace is the main protagonist, the ensemble element has only increased. Carrie Coon has a strong grasp of her role as the matriarch who is funny and very lovable. Paul Rudd's charm is on full display, and it's impossible not to love him too. Dan Aykroyd, Ernie Hudson, Annie Potts, and Bill Murray reprise their roles and are having a lot of fun. It's hard not to crack a smile every time they appear on screen. Not all of their characterizations make sense, but it was just great having them back. Finn Wolfhard, Celeste O'Connor, and Logan Kim are also returning from Afterlife but often seem like an afterthought. Each gets something to do, but so much of their stories feel crammed into other story elements being introduced. Frankly, Lucky and Podcast don't make sense being in New York and are written into the script in a very clunky way. It probably seems like the film is a little bloated, and that would be an accurate read. There are too many story threads the movie is trying to tie together. These threads introduce additional characters played by some comedic powerhouses: Patton Oswalt, James Acaster, and Kumail Nanjiani. While they deliver varying levels of comedy, it adds to the already overwhelming amount of content.
Many of these characters are relegated to exposition delivery systems to spout nonsense to try to make sense of the film's events. For a comedy about busting ghosts, there is just too much plot. Through the film's early phases, most of the plotting works just fine, but it falls under its weight in the third act. There are moments where the rules of the film and how things work need to be revised. A "ticking clock" element seemingly pauses for characters to complete "quests." It's jarring how noticeably the film puts the brakes on the plot to fix story oversights. The story's not all bad, of course, as busting makes us feel good. There are some fun action sequences, witty one-liners, and iconic creatures. Plus, fans of the franchise often remark, like Jack Nicholson's Joker in the 1989 Batman remarked, "Where does he get such wonderful toys?" From the Ecto 1 to the Proton Packs, seeing the old and new equipment is just a joy. Ghostbusters: Frozen Empire is not perfect, but it does move the story and characters forward in meaningful ways. One benefit to this IP-driven property is that it wasn't worried about setting up the next film. Will there be a third? Probably. However, this film is only concerned with telling this movie's story, even if it's a bit unwieldy. Ghostbusters: Frozen Empire is in theaters everywhere on March 22. Rating: 3.5/5 Review by Jonathan Berk We have hit a weird moment with political biopics. There are tons of important historical figures that people should know about, and a movie seems like a great medium to deliver that information. The downside is that there are so many of these movies, and they're coming out more and more frequently, that the formulaic nature tends to have diminishing returns. Unfortunately, Shirley suffers from the familiar format, and then a few other issues bring it down a little further. Still, there is enough here to make it worth checking out. Regina King plays Shirley Chisholm from her first year joining Congress, which led to her unprecedented presidential campaign in 1972. Chisholm assembles a scrappy team to help build her campaign, but they are up against a lot. She has to navigate racism, sexism, and her relationships throughout the campaign. To no one's surprise, King is incredible. She brings gravitas to any role at this stage in her career. This lends itself well to Chisholm, who one must assume had a similar confidence given the things she did. It takes a special kind of actor to be able to step into any scene and own the room. King is more than qualified and, thus, perfect casting. The cast includes some incredible talent to support King: Lance Reddick, Lucas Hedges, Andre Holland, Terrence Howard, and Michael Cherrie, among others. The pedigree of the cast is evident in director John Ridley's film, but the script doesn't do them any favors. For the most part, there are a lot of characters telling us things rather than the film showing us. Hedges is tasked with a lot of exposition in clunky scenes. The character's introduction is an interview with King, in which he praises her so that the audience knows their history. It feels so unnatural, and it's just one of many examples of moments like it sprinkled throughout the film. The overall look of the film works. It feels like something from '70s TV, which blends well with some of the archival footage used in it. There are some scenes, however, that are just far too dark. You can't make out any details in those moments and the reason for it is unclear. Low-light cinematography is a challenge for sure, but usually, there is an apparent reason for the lighting to be that dark. It's not something that detracts from the film, but it was noticeable.
This biopic at least breaks away from the birth-to-death format that is used too often. However, it still fails to capture the tension that Chisholm must have been feeling. The stakes are incredibly high, but the film never finds the angle to capture that intensity. It moves from one room of people talking to another. Even in the moments where Chisholm clearly would have been going through it, the film can't quite deliver that feeling to its audience. The good news is that Shirley is not a bad movie. Still, it does not feel essential, and it really should. The cast and the historical figure the film is about should make it a priority on your Netflix watchlist. It just fails to reach that level of excellence. Still, there is enough in the film to warrant its existence on the streaming platform. Shirley will be in select theaters on March 15 and streaming on Netflix on March 22. Rating: 3/5 Review by Jonathan Berk Every time you invest time in a film festival, you hope to see something that blows you away. Sing Sing set the bar so high as an opening night film at SXSW. The story is inspiring. The performances are breathtaking. It's a powerful film showcasing the power of art and storytelling through incredible characters based on a true story. Divine G. (Colman Domingo) is imprisoned at Sing Sing for a crime he didn't commit. While working to appeal his case, he finds purpose by acting in a theater group with other incarcerated men. After their recent performance of A Midsummer Night's Dream, they recruit Divine Eye (Clarence Maclin), who joins with some reluctance. He proposes a change in tone for their next performance, and they start to prepare the troop's first comedy. Maclin gives an absolute example of a star-making performance. He is up against an incredible, Oscar-nominated actor and manages to outshine even him. To give full credit to Domingo, he not only gives an impressive performance but is willing to share the screen with his fellow actors. That space may be why Maclin stole the show, but it seems more likely that's an impressive raw talent. He delivers in so many ways that seeing what happens next will be exciting. The story being told in this film feels so essential. It is both about the redemptive qualities of storytelling and a great reminder that the people in jail are precisely that: people. Humanity is on full display in this film. Life is not always easy to look at, but you must. Many of the other actors in this movie are former inmates who were part of the theater program. They all get incredible moments, and every character can have a moment that feels organic.
As if the film wasn't impressive enough, the Q&A after the screening at SXSW elevated the content even more. Each member of the cast and crew that spoke somehow elevated off of the last. There was no denying the passion that each man put into this project. Their experience with the program and individual success stories add something to the film. Over the last decade, filmmakers like Sean Baker and Chloé Zhao have opted to use real people instead of professional actors in their stories, as this brings a level of authenticity to the performance. However, sometimes, that authenticity comes at a loss in performance quality. That is not the case for Kwedar's film, as this cast has experience acting, which is obvious given the subject. Sing Sing is a film that we need to discuss. Everyone involved delivers an incredible message with heart and passion. However, it's important to note that it is also really entertaining. The film got tons of laughs and probably just as many tears. It's an incredible experience all around. Sing Sing is screening at the 2024 SXSW Film Festival, which runs March 8-16 in Austin, TX. Rating: 5/5 |
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