User reviews

This film is about a man. A man who carries the burden of generations of hardship, who couldn't fulfill his own greatest dreams because of the oppressive context in which he lived and who tries to close himself off from the world with fences. Tragically, in closing himself off he loses site of the changing times, he boxes his loved-ones in, and he creates an oppressive environment that emulates everything he tried to guard against. The timeless question lies within this story (adapted from a Pulitzer winning play) is: can we hate a man like this? Or, when we consider his circumstances and trials, is he a hero to admire?

It's worth seeing and is worthy of praise. If not from the acting (particularly Viola's), from the captivating and poetic screenplay. Every word uttered seems calculated by the mind of a genius.

A very strong emotional performance by the great Denzel Washington, not his best per say but it gives us everything we love about this great actor. A well driven vehicle for Washington as well as well made by Washington who also directed the film.

Denzel and Viola Davis were a pretty outstanding combination. It seems like a no brainier that one day these two would work together on this level and here it is. It was worth seeing just to see these two as a couple going through their hard times.

It's a very basic movie, despite putting some money into the CGI to make it look like the 1950s, it all takes place in one area and relies a lot on the experience actors and the performances they give, so little is done to change the tone. It really feels like the movie is giving us a Broadway production.

It was also very gritty. Denzel and Viola gave some real life to these characters. It's very rare that you get the movie star whose also an actor and he's unafraid to open up, but that's what Denzel does and so did Viola, just not afraid to let it all hang out for the role.

Worth seeing to see some real craftsmanship in acting. It was a great movie adaption to a great play.

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When you pair up Denzel Washington with Viola Davis on screen, you know you're in for two of the most outstanding performances you'll see all year and that's exactly what you get from FENCES. That said, if only director Denzel Washington and his crew could've figured out some ways to lessen the stage play feel to it and make this seem more cinematic. But then again, breaking out of that format is indeed usually the challenge when dealing with straight up adaptations from stage plays, just like "August: Osage County" a few years ago.

Scripted by August Wilson, adapted by Wilson's own Pulitzer Prize-winning play, Denzel Washington plays an African-American father struggling with race relations in the United States while trying to raise his family in the 1950s. He's still bitter from his doomed baseball career in the past, blames it on the white man, so when his son tries to get into sports, he discourages him, telling him that the white man wouldn't give him a single opportunity out there in the field. Denzel's character's wife, played by Viola Davis, faithfully stands by his side despite the secret that would change their family forever.

Story-wise, it doesn't get more well-thought out than FENCES, it's dialogue-driven, it's performance-driven, this material is every actor's dream come true because it has so many layers and it provides room for you to showcase the best version of your chops. We know Denzel and Viola Davis are phenomenal, but FENCES allows them to venture into places and show us shades that may not have been seen before. And I'm sure it feels liberating for all the actors involved in this film to just dig deep down, tap into those emotions and lay them bare for the world to see, and there's no wrong way of doing it.

The conflicts in FENCES are powerful, like a fist through a wall. Nuances surround the characters so you end up understanding where they're coming from despite being in agreement or disagreement with many of their decisions. To a certain extent, I think Quentin Tarantino and Aaron Sorkin fans would find FENCES appealing since each of the characters has incredibly long lines that run like 100 mph. Marital affair, resentments, built up hatred, forgiving your past, there's no shortage of drama in FENCES, its cup overflows. But again, as I said earlier, I think there's a missed opportunity here, the film just didn't do enough to make itself appear cinematic. Composer Marcelo Zarvos' music is almost non-existent. Forget the backseat, many of film's elements are practically locked up in the trunk.

I'm always weary and leery of plays what have adapted into film. I rarely enjoy staged plays because of the literal histrionics, all of which are unnecessary when projected onto the big screen. You see, movies benefit from close-ups, microphones, and thoughtful editing, none of which are appropriate for the theater, whether in-the-round or not. Indeed, one can hermetically take in a movie on a phone with earbuds, alone, in bed.

What is the point of making a play into a movie? It all too often falls flat. The actors act so hard you can taste the hint of Golden Globes, maybe an ensemble Emmy (depending upon the venue). I have to admit, the first act of Fences is like this. The dialogue flies at you so fast you're not sure you're hearing actual conversations or a handful of logorrheic psychopaths who just happen to occupy the same backyard from time to time. Robert Altman, I'm looking at you.

Thankfully, the second and third acts cycle forth with a better pace, with a perfect mix of seriousness and the occasional light- heartedness, ultimately finishing with a satisfying lesson: the racism and classism that has permeated American life from Day One will not be disappearing anytime soon in the face of neoliberal globalization and the faceless mulitnational corporations who benefit from the mantra: Make Good Life Choices and You Will Succeed.

The acting is superb and only occasionally takes on too much of the play-y tone. Go ahead and watch it on your phone, alone, in bed.

29 years after its Broadway premiere, "Fences" arrives in theatres courtesy of a screenplay by the late playwright August Wilson himself. With two Pulitzer Prizes and his ten-play magnum opus, "The Pittsburgh Cycle," (of which "Fences" is the sixth work), Wilson takes his rightful place alongside Eugene O'Neill, Edward Albee and Tennessee Williams as one of the greatest American playwrights. The focus of Wilson's cycle is African-American life across the entire 20th century, with each play taking place in a particular decade. "Fences" is set in the 1950's, but the time frame does not date the material. Its universal themes supersede any of its societal details, though based on this year's election cycle, viewers may be stunned to discover that the American working class is more than just Midwestern and White.

Denzel Washington as Director realises that the greatest star in this film is its writing composition. It focuses briefly on a Garbage collector Troy Maxson (Denzel Washington) who holds court in the backyard of the Pittsburgh home he shares with his wife, Rose (Viola Davis) and their son, Cory (Jovan Adepo). At the point when a film has Actors this focused on talking their lines, to the point where it appears they are turning themselves back to front with anguish, the camera is dependably precisely where it should be. It is with them, tuning in as eagerly as we in the crowd seem to be. This kind of heading is an under-appreciated skill these days, inspiring an earlier time when experts like Billy Wilder and Sidney Lumet carried out their special-ties. Truth be told, it was Wilder who shunned the thought that garish, gaudy course was what made for awesome dramatisation, saying that if "something were said to be very much coordinated, that is verification that it is definitely not." Washington comprehends this, and "Fences" is considerably more capable for his commitment to his on-screen characters' speciality. At the point when Viola Davis is demonstrating to you how hard her heart is breaking, the camera doesn't should vie for your consideration.

"Fences" is a film about how our surroundings shapes us, and how, regardless of how honourable their aims, our folks can't resist the urge to destroy us in some form, similarly as their folks had accomplished for them. This is our legacy as people. Possibly we influence ourselves against that which we saw as amiss with our folks, or we get their ailment and we pass it on. Washington's visual reiteration of crosses all through the film, either on the divider or in the chain Rose wears around her neck, is an indication of the best father-child story ever told. This thought is in the script as well: maybe the most mercilessly legitimate thing Rose tells Cory close to the film's end is that he's much the same as Troy. Particularly after Cory's discourse about how he made a decent attempt to expel Troy's unnerving impact from his spirit. Cory's acknowledgement of this truth, spoke to in his co-selecting of the tune Troy used to sing, is as appalling as it is lovely. Regardless of whether we need it or not, this is our legacy.

Denzel Washington coordinates and stars in a towering screen adaptation of August Wilson's play about an imperfect inward city patriarch. It's convincing, additionally beats the substantial with the significance.

Get ready for a roller coaster ride into deeply personal territory with 'Fences' as it pulls no punches with its strait talking assaults on the senses. Multi award winning playwright August Wilson digs deep into the soul of 50's black America as it comes to terms with life in the hard lane. He is no stranger to this hardship and you can feel the pain from his past and the people he writes about in every scene. This is Eugene O'Neill and James Agee territory and would have been right at home with the thoughtful production works of David Susskind (All The Way Home '63/East Side West Side series). The movie maybe an uneasy watch for those who don't enjoy movies based on stage productions but for those who enjoy in-depth character studies, this will offer some challenging and rewarding viewing. It's longish at around 130 mins so leave yourself a little more time to roll with it as it flows. Performances and photography are equally dynamic with an engaging music score to add the right amount of punctuation. Recommended for serious viewing.

The cast is without any doubt awesome. Their capability is not unknown to most of us. So what they did on screen was not a shock yet we must take a breath and admire their work.

Denzel again proved he is one of the best. Those monologues and those big stories were captivating. He can hold attention of the audience to an unimaginable level. Viola delivered a performance that overshadowed all her amazing performances that I've seen before. She is one of the best ever and she showed it here again. The supporting actors were not far from their leading comrades. They did great to complete the story.

Denzel's first direction was pretty good. And I would love to see more from him. These types of acting driven movies are not that common and they are more than often very enjoyable.

Thirty years after its first staging Denzel Washington produced a moving film about a poor black working class man chasing ghosts of the past (US segregated years) and its effects on his family (gathering around his caring and strong wife) and life long friend.

The story is moving not at the least because of the strong performance of all the actors.

Although almost the entire movie is staged in the backyard of the house, the story itself offers much stuff tot think over and discuss whatever your role you play in your family.

Great movie.

A very good and heart-wrenching movie, but it stays a bit too close to its roots as a play. Everyone involved delivers a gripping performance. Denzel Washington and Viola Davis are both amazing; all the supporting cast are wonderful too but I'd specifically praise Stephen Henderson (Bono) and Jovan Adepo (Cory). The movie is small and tight and focused; I can respect that choice, but it comes at a cost. We spend probably less than five minutes anywhere outside the Maxson home, and every one of those scenes feels like a welcome view into the larger world that Troy inhabits. Exploring this world would flesh out Troy's life and ground the choices he makes. Maybe that wouldn't work out well -- it would require stepping away from August Wilson's excellent play and creating new material. With Wilson no longer alive, it would be a serious risk, and so the safer choice is essentially a filmed staging of the play. Rating this movie with 8/10 stars is a bit unfair, as it's filled with wonderful performances. But it suffers from being so near to greatness without quite making the jump.

Watching "Fences", it isn't hard to tell it was based on a play. It is very dialogue-heavy and much of it takes place in and around the same house. In the beginning, it can be hard to keep up with the dialogue, but eventually it becomes easier to understand. The performances are superb. Denzel Washington is terrific, making his character sometimes difficult to like, but entirely human throughout. Viola Davis is also astonishing (it's no wonder she won an Oscar), and Washington's direction is also commendable. As I mentioned, some may find it too talk-heavy, but it's still well-worth viewing for the strength of its performances and emotional resonance. 8/10.

"Fences" is a completely passionate film, it is troubled, familiar, ruthless, romantic, charismatic and brutal, engraved 50% on the back of a house in an American suburb in the 50s it shows the story of Troy Maxson (Denzel Washington) A 53-year-old father of a family who works as a garbage collector and fight to support his family, living at age 18 with his wife Rose (Viola Davis), he begins to face problems in his relationship and in his family. It is an adjusted script, capable of having a 20 minute long scene between 3 characters sitting talking, the film is unique and exclusively dialogue, and best of all, this makes the film highly attractive, its 2 hours and little seemed 20 minutes To me, the script full of great dialogues added to stupendous performances make a movie that had everything to be dragged to have a spectacular rhythm. We have a family history, with events that can happen in any family, it is beautiful to demonstrate the beauty of the causes in the family, yes, he is beautiful in demonstrating the problems, however incredible it may seem, the film does not have a great Moral, it just shows how love can be gross, that we do not choose who we love or how we love, but simply, we love. We have a good picture, with an extremely gray color palette, a timid soundtrack - although the music is present in an extremely sentimental way in the film - a great set-up and camera angles that practically act as a character in the movie, between To the dialogues the camera splices against planes and planes sequences, it turns, turns, profiles and is even subjective when needed, the camera acts in history as mere viewers, and even when the camera stands still on the tripe, the characters move from one Side to side, as if they were in a theater, is very delicious. In terms of acting, we have the best in film in 20I6, Denzel Washington is a completely incredible character, his acting is terrifying and at the same time completely emotional, he swallows the camera, steals the scene, it grows to such a point that we are without Reaction, we want to throw the popcorn off, sit glued to the screen, listen to its history and its lessons, learn about the cruelty of love, hate, love, fear and respect. Viola Davis is also wonderful, she does not shed tears, she drool, tears, falls, she surrenders completely to characters, that little screen corner in the film, she grabs hard, her dramatic load is enormous, and when Denzel Does not appear in the film and leaves the camera free for Viola, she also swallows it with extreme ferocity, would be very happy if both took the acting Oscar - but we know only Viola will take. And congratulations to Denzel Washington who also shines in the direction, I0 years later he returns to direct, and concretizes the best work of his career. Finally, we have a simple movie, that enters the house of a family to tell us their stories, we do not have a technically brilliant film, we have a fabulous rhythm, incredible performances, and a story that marks, finally, we have a great movie that It's purp cinema.

Featuring an all-black cast, Fences is a deeply riveting domestic drama that celebrates the talent of Denzel Washington in both the acting and directorial department. Sitting in the director's chair for the first time in over a decade, Washington makes a diligent effort both in front and behind the camera to bring August Wilson's Broadway play of the same time to life on the silver screen. His efforts not only embrace the beauty of Wilson's spectacular theatrical project but effectively shed a bright life on the foibles of the African-American culture during the pre-Civil Rights era when segregation between whites and blacks defined American society. It's only too bad that Wilson who wrote the script here passed away a little over a decade prior to this production. The basis of this historical drama is a story that trims away from action in favor of a dialogue-driven narrative, an effort that focuses on the study of one man struggling to make sense of life in a world where the African-American community were victim of shallow opportunities. Set in the 1950s, this film stars Denzel Washington as Troy Maxson, a black garbageman raising his family in Pittsburgh, Pennsylvania. His family includes his stay-at-home wife Rose (played by Viola Davis), his impaired war veteran brother Gabriel (played by Mykelti Williamson), and his teenage son Cory (played by Javon Adepo) who's set to play college football. When Cory is given the opportunity, his hard-nosed father brushes it off as of result of his disillusionment for not being able to play Major League Baseball at the right age before blacks were being accepted in the league. The tensions between him, Cory, and Rose soon become more heated when they learn some dark secrets about his past.

"Some fences are built to keep people out, others are built to themselves in", a quote by Denzel Washington's character that signifies the premise of his historically resonated drama. This play-based film operates with the story that cradles the history of the troubled race relations that confined many families in the black community in a cage lacking of life opportunities and short of social prosperity. The focus here is not on based on a true story but instead a character study of a man with intense complexity that greatly unravels throughout the story's proceeding. Denzel Washington adopts the role of Troy Maxson who dreams of his family, especially his son, to succeed in life but his deeply perplexing personality not only places a strain on his family, but leaves audiences to discover he is definitely not a great man as he seems. While he evolves into a somewhat unlikable figure, he nonetheless grows into an interesting character. He's plagued with many flaws that define him as a character, and when a secret of his past finally meets the ears of his beloved wife, things take a turn for the worse. The scene in which this happens marks one of the film's most emotional landmarks. Denzel Washington and Viola in particular, are the revelation of the film's emotional crux. The subtle, yet cutthroat dialogue delivered by Washington quickly grabs your attention each scene after another, and the emotionally-charged delivery by Davis is gut-wrenching. The emotional chemistry between the two and his son is powerful enough to the point where it is easy to forget you are watching a movie adapted from a play. Washington's direction certainly ignites the feel of an onstage play, but his execution of the domestic tension in each scene wrings a high-strung sense of authenticity from start to finish. Unlike some cinematic entities where the action is firmly confined to talking, this film succeeds on operating with snappy dialogue without feeling the need ignite an action set piece to lasso one's attention.

Fences is a powerfully rewarding play-based drama helmed by the wildly appealing directorial and acting talent by Denzel Washington, as well as Viola Davis in her powerhouse performance. The movie may feel like a play, especially as it is edited like a play. But does that make it any less powerful? Absolutely not. Washington shines with incredible talent, a talent that more than deserves widespread attention.

Fences is a great movie with a very well developed plot and an outstanding cast. It adapts a play in to film very effectively, staying true to its source material. The movie captures a man as he experiences somewhat of a midlife crisis when his children go off to pursue their dreams, something he feels he never had the chance to do. Normally we see it from the person pursuing the dream's point of view, and the parent that is not supporting them is somewhat of an antagonist, however, here we see it from their perspective, which creates a significantly different story.

I did feel that it was a bit too like a play at some points, there are long sequences where the characters merely speak and it all has nothing to do with the plot whatsoever. It clearly was not altered much from the theatre script, it could have changed some scenes to make them more film-esque, as their were far too many moments where I felt I could have just watched it on stage.

The cast is phenomenal, Denzel Washington hits it out of the park with this one, portraying a damaged man with alcoholism. He develops his character's state very realistically throughout. Viola Davis also shines as Washington's wife and received a well deserved Academy Award for her passionate, daring and raw performance that is transcending every moment she is on screen.

It was an Oscar contender for a reason, be sure not to miss it. Powerful, intense performances and an engrossing plot, Fences is certainly worth the watch for anyone looking for a good drama.

A down on his luck father begins to spiral out of control as his children leave home.

Best Performance: Denzel Washington

(RATING: ☆☆☆☆ out of 5)

THIS FILM IS RECOMMENDED.

IN BRIEF: Two of the year's most outstanding performances help to elevate a flawed but effective transition from stage to screen.

GRADE: B

SYNOPSIS: A bitter and angry man destroys himself and his family.

JIM'S REVIEW: That gifted writer August Wilson's eloquence and poetic language remains intact in his 1983 Pulitzer Prize winning play and this 2016 film version. But the transfer from stage to screen does little to hide its theatrical origins. Except for some mighty fine acting, the emotional connection is somehow off balance because the filmmaking lacks the nuanced cinematic expertise it needs.

Troy Maxson (Denzel Washington) is an embittered black man whose early dreams of a baseball career were dashed by age, alcohol, and discrimination. Now he works as a garbageman in 1950's Pittsburgh, providing for his family and never really finding true happiness for himself. He is estranged from one son from a former marriage, Lyons (Russell Hornsby), bullies and thwarts the hopes of another son who wants a football career, Cory (Jovan Adepo), and tolerates his brain-injured older brother, Gabriel (Mykelti Williamson). All the while, his close friend, Jim Bono (Stephen McKinley Henderson), and Troy's devoted wife, Rose (Viola Davis), act as his conscience, supporting him unconditionally and giving him sage advice, of which he continually ignores.

What works well in a live theater production does not transition as well as a film. The filmmaking is competent enough but too conventional. The filming is basically straight-on shots and severe close-ups. The one set look (the back yard of the Maxson's house) keeps the stagey quality front and center, although there are some different locations thrown in to break up the monotony. Much of the dialogue becomes too much allegory (Troy's baseball references, the building of the fence itself, the constant alluding to the devil and the Grim Reaper, etc.) and never has a gritty authenticity to be truly convincing. Yet these monologues are still powerfully performed despite the artificiality and contrived plot mechanics on screen.

Mr. Washington is the film's director and he gives it a valiant try to open up this drama but he just can't resist the urge to heighten the melodrama rather than underplay it. His vision is, at times, heavy-handed and lacks the subtlety and pathos that the text deserves. Stronger directorial restraint would have made the film even more effective.

But it is the superb acting that sets this film apart from the routine. Mr. Washington is astounding. His larger-than-life performance shows his character's pride and envy. The actor is not afraid to show the flaws in this man and Mr. Washington delivers his lines with the perfect tension and anger as he browbeats the people he loves. His Troy is far from likable, but one strangely feels empathy for this damaged man. Ms. Davis also has her moments of power and passion as she tries to cajole her husband and protect her son from her husband's self-hatred. Her confrontation scene with Mr. Washington is flawless. The ensemble is uniformly fine, especially Mr. Henderson who downplays his role with the right degree of compassion and strength.

Fences is excessively theatrical, more than it needed to be, but the movie-going experience is still a highly rewarding and engrossing drama due to one of the best ensembles one will see this year.

Fences is a drama film starring and directed by Denzel Washington. Despite knowing next to nothing about how African American people lived back in the 1950's, this film offers an interesting look into how things once were for them. It also features one of Denzel Washington's best acting roles of his career.

In 1950's Pittsburgh, Troy Maxson (Denzel Washington), a working-class father, works in his neighbourhood's waste management service. In the midst of dealing with his job and personal insecurities, Troy also tries to come to terms with the needs of his mentally impaired older brother Gabriel (Mykelti Williamson), his two sons, and his wife Rose (Viola Davis).

Featuring a brilliant performance from both Denzel Washington and Viola Davis, Fences is an earnest and convincing depiction of life in a 1950's African American neighbourhood. The direction from Washington is also worth noting, with his interesting choices in camera angles and framing of certain scenes. The film's screenplay feels very much like a play, of which its original source material is based on. My only major complaint is that the film feels a bit long. At almost 2 hours and 20 minutes in length, I feel that roughly 10 minutes could have been cut from its overall runtime.

I rate it 7.5/10

Fences is very realistic. However there are a number of glaring errors that must be addressed. First and foremost is the lengthy scene where Rose confronts Troy over his infidelity in the backyard. No one and I do mean no one would discuss such intensely private matters out in the semi-public space of their back yard but only inside behind closed doors. Second there were never any neighbors on the porches or in the yards of nearby houses. This is just not true to life. Also the painted backdrop of the city skyline of Pittsburgh was clearly not a photo but a painting. Furthermore it was ludicrous to have only two smokestacks spouting smoke on the horizon. In those days in the "Steel City" as Pittsburgh was known once, there would have been scores of steel mills running full blast and smoke pouring from their chimneys causing smog all over the city. Another major quibble is the fact that Troy did not have a blood test done to determine if the baby whose mother was the "wild woman" he had been "messing with" was actually his or another man's. In real life of course that would have been first before he agreed to take the baby and raise her. Another minor thing was the fact that the wooden fence was only completed on one side of the house lot back yard instead of the three open sides as Troy kept saying he was going to do. This was barely 1/3rd of the projected project completed. Last, the two pictures by the kitchen door of JFK and MLK were not true to life. Their pictures would have been hung in a place of honor in the living room as they were in hundreds of thousands of Black homes across America. These issues aside it was a very well done movie, well acted and well written. We need more true to life stories like this instead of all the junk that is in the movie theaters nowadays.

It is interesting to go to a movie not knowing what to expect except that a movie directed and produced by Denzel Washington, written by the late August Wilson, and starring Denzel Washington and Viola Davis should be seen. Such was the case with us when we went to the see August Wilson's Pulitzer-prize winning play (adapted for film) today. In this day and age, of movie going, it would be a little like expecting to see a "regular" movie and ending up by seeing Eugene O'Neill's The Iceman Cometh instead—a lot of conversation with little action or even different scene locations.

The main setting for this movie takes place in the backyard of a colored man's house in 1950s Pittsburgh—that of Troy Maxon (Denzel Washington). The movie actually begins on the back of a garbage truck with two old friends and work mates:Troy and his lifelong friend, Bono (Stephen Henderson)--working together and wishing they could drive the truck rather than picking up the garbage cans from home to home.

After work one payday Friday, the friends continue their conversation in Troy's backyard as Troy starts to build his fence. They are joined by Troy's wife Rose (Viola Davis) as she goes in and out of the backyard from the back porch. Tory's 34-year-old-son, Lyons (Russell Hornsby), stops by his dad's house to borrow $10 from his dad. Lyons gets no money or sympathy from his dad who gives him a lecture about the value of money and life in general. As we watch the interactions, we notice that Lyons calls Troy "dad" and Rose by her first name, indicating that she is not his mother.

Cory (Jovan Adepo) is Troy and Rose's high school-aged son who lives with them. Cory and Troy argue over Cory's job and his wanting to play football for the school team. Soon, Gabriel (Mykelti Williamson) enters the picture as Troy's mentally handicapped younger brother. He talks and behaves as the "fool" of the play, but he is no bother to anyone who knows him except that he needs to be watched. Troy tells Bono that without Gabriel's sacrifice during the war (he now has a metal plate in his head), he and Rose would not have been able to own the house. (Gabriel's government checks paid for most of the mortgage payments.)

Troy's past is plagued with problems. He hates his father and still wonders if he is alive somewhere. He had also served time in prison. Before prison, Troy had been a great baseball player—in the Negro Leagues before blacks players were accepted in the majors. Now at 53, he resents this and says that there were better Negro players than Jackie Robinson; they were just never given a chance to play in the majors. (The baseball metaphor is used throughout the play, and talking about baseball is both a continuous topic of conversation with Bono and as an object lessons to teach Cory about life—"That's Strike one" (as if to say, 'you have two more strikes before you're out of here'). In fathering Cory, Troy seems as doomed to be hated by his son as Troy was to hate his own father. But, unlike his dad, Troy has "stuck it out" with his family rather than running away. In exchange, he wants people to respect him and HIS house more.

This leads us back into the building of FENCES: Fences to keep the bad things out of his house (and to perhaps separate Troy from his own past?: Troy challenges Death to come and get him after he builds a fence).

But, as Bono has known for some time, Troy has been keeping a secret from Rose: He has been seeing another woman, and now she is expecting his baby. When Troy finally has to confront Rose with his problem, this leads them to their biggest confrontation. The baby and what to do about it..... When the baby's mother dies in childbirth, he is left alone with the baby to confront the world alone, again......

One last scene takes place in the Maxon's backyard 6 years later.

This movie that starts with idol and disconnected conversations, remembrances, and arguments, builds into an extended family saga.

As we watched this movie in a fairly crowded theater on a holiday weekend, we noticed that the audience was clearly griped by the movie. One could tell by their silent attention and timely gasps.

The dog days of August Wilson's play "Fences" about a a 1940's Pittsburgh Afican-American family has been adapted to the silver screen, and the Denzel has taken the helm. Mr. Washington directed the movie "Fences" and stars as Troy Maxson, a Pittsburgh garbageman in innner city Pittsburgh who goes through a mid-life crisis. Viola Davis co- stars as Rose Maxson, Troy's supportive wife. There are more actors that crossed the fence into this film including: Stephen McKinley Henderson as Troy's BFF & fellow garbageman Jim Bono, Jovan Adepo as the Maxson's teenage son Cory, Russell Hornsby as Troy's eldest son Lyons, and Mylketi Williamson as Troy's mentally-disabled brother Gabriel. Even though it was a little weary at times, Washington's direction was staged as an actor's showcase, and none of these actors disappointed. Washington and Davis are pretty much assured of Oscar acting nominations with their fiery performances, and deservingly so. McKinley Henderson was outstanding as Bono, as was Hornsby as Lyons. August Wilson's screenplay adaptation of his play was quite impressive; a powerhouse scribe. But I have to go back to playing the Violains; because it was Ms. Davis' performance that I thought was the primary reason I think all of you should jump the fence and hold on to view "Fences". **** Good

More or less set within one single location, Fences is the third directorial effort from Denzel Washington and is quite tellingly an adaptation of August Wilson's stage play. It always intrigues me when an actor of Washington's calibre steps behind the camera, having not done so many times before, and with a cast that also includes Viola Davis, Fences was definitely going to grab my attention even more.

Troy Maxson (Denzel Washington) is a man who very much lives by the old school values of working hard and never letting anybody give you a head start in life. Living in 1950s Pittsburgh with his wife Rose (Viola Davis) and their son Cory (Jovan Adepo), Troy tries to raise his family while coming to terms with the past mishaps in his life.

Fences is very much a film driven by some astonishing performances and powerful dialogue written by August Wilson. The basic setting of the film lures you in while the far from basic narrative, full of emotion and consequence, packs the punch that makes Fences such essential viewing.

There's no glitz or glam to any of the direction or cinematography however, there doesn't really need to be when a film can hold your attention through just the dialogue and performances. Fences has left me wanting to see how the adaption stands up against the stage play, and if it's anything like the film, it must be a pleasure to sit through.

Coming to the performances, which really are the film's major strength, Fences will knock you well and truly out of your seat. I could watch Denzel Washington act all day and while it may seem like he's on autopilot sometimes, I can assure you he's not. Washington just makes it look so easy because he is so damn good and in Fences, he gives the best performance I've seen from him in a while. Up against him is Viola Davis, herself a force of nature in the acting department, and she delivers a wonderful performance, one stunning moment in particular making it adamantly clear that there is no one stopping Davis from winning all of the Best Supporting Actress awards going.

Fences is a little lengthy however, when the film possesses such great performances and meaningful dialogue, it demands your attention from the first moment right through to the very last.