Reviews

Director David Salzberg defines what he believes it means to be an American soldier in his newest documentary, and he does so with absolute grace. Armed with an abundance of archival footage, Salzberg substitutes the excessive gore that is typically associated with the war genre and replaces it with highly personal interviews that reveal the heart that goes into every mission. The talking heads of this film are not afraid to reveal both the pride and personal sacrifice that went into the Korengal "Valley of Death". These accounts serve as fluid narration to complement immersive raw footage that puts viewers in the front lines of service. Hopefully, Salzberg's documentary serves as both a tribute to the brave men and women who have and continue to put the interests of the greater good above their own, as well as a reminder that in war, there is more at stake than lives.

'In Like Flynn' is as irresistible as Errol Flynn was in his prime. Fortunately for film buffs, this biopic removes most of Flynn's sex appeal for a more captivating character; more specifically, it depicts Flynn as a real life action hero. By favoring his dauntless personality over his physique, Director Russell Mulcahy has the liberty to present this biopic as a Hollywood blockbuster, a technique in which I have yet to see in cinema. Not only is this decision an effective means of storytelling, it also broadens the film's demographic to appeal to both action junkies and cinephiles alike!

Stockholm fires on all cylinders, from its witty dialogue to its exceptional acting, but its character development is definitively the film's high point. In a story about a sympathetic captor, it would be easy to have him fully transform from villain to hero and have audiences satisfied that good prevails. However, Lars (Ethan Hawke) never loses his edge despite the development of a caring relationship with his hostage. The decision to develop a character that doesn't come full circle in his arc is a risky move, but it reaped a great reward for Dir. Robert Burdeau. The depth that he brings to Lars makes this film the perfect blend of style and character, ultimately creating the perfect cross between crime drama and dark comedy, which is guaranteed to appeal to any film buff.

Soul to Keep is one of the few films that I've seen to not feel contrived in its representation of adolescence. While most films depict youth in a way that feels very convoluted and inorganic, Dir. David Allensworth captures teens for what they are: simple. The characters of this film don't need long term goals and profound thoughts, they just want to have fun, and they suffer the consequences of ignorance. I applaud Allensworth for creating characters that act as they should, not as adults see them.

Finally, a supernatural thriller is not about survival! Instead, Darkness Visible adds a layer of mystery to a genre that is oversaturated with people fighting for their lives against all-powerful demons. Instead, this film focuses on the ties that Ronnie (Jaz Dezol) has to these unusual happenings, which has a lot more depth than characters running away from strange sounds and inanimate objects. In turn, this intrigue keeps audience invested in the plot rather than waiting in anticipation for the next fright. The richness of the plot makes for a superior horror film that has more to offer beyond the scare factor.

Dir. Sean Hanish is just as selfless in his filmmaking as Judith Wood was in her pursuit for equality. Saint Judy follows Wood's (Michelle Monaghan) relentless journey to find asylum for Afghan refugee Asefa (Leem Lubany), after an immoral arrest for her empowerment and education of young women. Hanish is equally determined to give Wood a voice that is heard beyond the judicial system, using any cinematic means necessary to project what Wood preached on to the big screen. He does not shy away from expositional dialogue, which works to his advantage, because giving Wood an entire backstory would have dragged out the plot to the point where audiences would lose interest. Hanish also uses the B Plot brilliantly by giving viewers a break from the complexity of the legal case while still engaging them in the domino effect that Judith's devotion has on her domestic life. Saint Judy ultimately follows the framework for a biopic in a way that emphasizes the thematics of Judith Wood's story over her own personality, which is an act just as altruistic as Wood herself.

The true tragedy that makes this film so powerful comes from the unfortunate truth that humans are inherently "greedy little piggies". Director/Writer Nosipho Dumisa powerfully embodies this flaw in each of her characters, and makes it highly individualized through a screenplay that relies more on character development than gore. The conflict of every role is crafted by powerful performances, particularly Monique Rockman, who plays her role of the abused girlfriend as seemingly regretful more than she is spiteful. Every instance of tension is capped-off by an unwarranted act of violence that draws sympathy from audiences. Dumisa makes it impossible to ignore the unfortunate circumstances that protagonists and antagonists alike are thrown into, which had such a strong impact that I found myself questioning my own morality as I exited the theater.

While Antonio Mendez Esparza's most ambitious feature may be a cinematic masterpiece, it could easily pass as a work of live theater. The majority of directors use an abundance of close-ups to force audiences to see their vision; Esparza, on the other hand, often fills the screen with as much of the scene's surroundings as possible. This fly-on-the-wall technique in turn liberates viewers to choose what they want to see on-screen based on their personal intrigue. Carefully crafted performances by both the focal and ensemble cast also allows viewers to interpret the conflicts of each scene, as opposed to the employment of dialogue to reveal this information. Newcomers Andrew Bleechington and Regina Williams are both brilliantly nuanced in their facial expressions and intonations, making their internal struggles implicit. As for the film's extras, Esparza seemingly put his actors in the middle of some chaotic scene and starts rolling. Life and Nothing More could very well be a game-changer for the way that we watch films, paving the way for a much more free-flowing viewing experience. I highly advise cinephiles to be at the forefront of this movement by watching this movie through that lens.