Alex McPherson

Total Post: 156

Alex McPherson is an unabashed pop culture nerd and a member of the St. Louis Film Critics Association.

Jordan Saves the Day in Forgettable ‘Tom Clancy’s Without Remorse’

Jordan Saves the Day in Forgettable ‘Tom Clancy’s Without Remorse’

By Alex McPherson

“Without Remorse,” roughly based on Tom Clancy’s 1993 novel, is a serviceable yet forgettable action film elevated by a committed performance from Michael B. Jordan.

We follow John Kelly (Jordan), a Navy SEAL chief who finds himself immersed in an international conspiracy with a gargantuan body count. After rescuing a CIA operative in Aleppo, Syria, and unexpectedly encountering Russian military forces, all hell breaks loose. Three months later, Russian FSB operatives brutally murder two SEAL team members who participated in the mission. They also execute Kelly’s wife, Pam (Lauren London), and unborn child. While Kelly is able to kill three of the operatives at his house, one escapes.

Mean-spirited CIA officer Ritter (Jamie Bell) and Defense Secretary Clay (Guy Pearce) want to brush the situation under the rug for fear of starting an international incident, but Kelly takes matters into his own hands. Thanks to the help of his superior officer, Lt. Commander Greer (Jodie Turner-Smith), Kelly gets the intel necessary to exact revenge without, well, much remorse or self preservation. After being arrested and branded a felon for his vengeful acts, he’s placed on a black ops team to eliminate those responsible once and for all. Copious bloodshed ensues, and Kelly eventually acquires the last name of “Clark.”

Worth watching if only for Jordan’s acting chops, “Without Remorse” ends up feeling predictable, dated, and shallow by the end credits — squandering an opportunity to give Kelly much depth, or present a storyline that isn’t swamped in clichés. That’s not to say there isn’t some entertainment value to be found here, however, as Jordan’s performance remains consistently engaging, and director Stefano Sollima knows how to stage punchy, visceral set pieces.

Indeed, even though “Without Remorse” fails to delve into Kelly’s psychology beyond the surface level, Jordan’s portrayal lends him a damaged, unhinged quality. Jordan convincingly sells the fact that Kelly has nothing left to lose and is ready to die for retribution over his family’s killing. He’s always a gripping presence onscreen, and we can infer deeper tensions from his body language alone, even if Taylor Sheridan’s script avoids any kind of real complexity in his character or the larger plot he’s embroiled in. 

Similarly, side characters, particularly Turner-Smith, turn in decent performances, but they end up feeling quite plain. There’s little to latch onto emotionally across the board, and “Without Remorse” fails to make any kind of meaningful social commentary. The plot twists are easy to foresee, ending with patriotic sentiments that caused me to roll my eyes.    

If only Sollima’s film had given us more time to grow attached to Pam before she’s unceremoniously riddled with bullets, or provided any unique spin on the “America vs. Russia” trope, then perhaps “Without Remorse” could have stood out from its military-obsessed competition. Alas, for all the film’s thematic failings, it still remains enjoyable, due to the slickly choreographed shoot-em-up sequences peppered throughout.

Jordan, ripped as ever, absolutely shines in these scenes. A brutal interrogation within a burning car, an underwater escape from a downed airplane, and a claustrophobic punch out in a jail cell stand out in particular. It’s too bad the final-act skirmishes feel repetitive and too video gamey to impress. They’re sometimes dimly lit and, reflective of other elements, feel generic.

As a precursor to more Tom Clancy films down the road, “Without Remorse” carries out its mission dutifully, but uncreatively. Jordan, holding the whole ordeal together with his jacked arms, deserves better. 

“Tom Clancy’s Without Remorse” is a 2021 action thriller directed by Stefano Sollima and starring Michael B. Jordan, Guy Pearce, Jamie Bell, Jodie Turner-Smith, Colman Domingo and Lauren London. Rated R for violence, the movie runs 1 hr. 49 minutes. Streaming on Amazon Prime beginning April 30. Alex’s Rating: B-

Oscars 2021: Alex McPherson’s Picks, Predictions

Oscars 2021: Alex McPherson’s Picks, Predictions

By Alex McPherson

Alex’s Picks and Predictions for the 2021 Oscars

Well, dear readers, the 2021 Academy Awards are nearly upon us. How unbearably exciting. Although most of my favorite films of 2020 were snubbed — “First Cow,” “Bacurau,” “Da 5 Bloods,” and “Never Rarely Sometimes Always” among them — there’s still a fine crop nominated this time around. Below are my picks and predictions for most of the categories. Please keep in mind that, as a recently graduated University student perpetually hunting for a paying job, I haven’t had time to watch every nominated film, and as such, I have omitted categories that I couldn’t weigh in on effectively. Now that we’ve gotten all that out of the way, let’s begin.

Best Picture:

  • The Father
  • Judas and the Black Messiah
  • Mank
  • Minari
  • Nomadland (prediction)
  • Promising Young Woman (pick)
  • Sound of Metal
  • The Trial of the Chicago 7

My personal picks for “Best Picture” are “Sound of Metal” or “Promising Young Woman” — two thought-provoking, eminently well-crafted experiences supported by outstanding performances from Riz Ahmed and Carey Mulligan, respectively. I never officially reviewed “Promising Young Woman,” but the film’s genre-blurring style and controversial ending have stuck in my mind ever since I watched it. “Minari” is pretty damn good as well. Sheesh, I suppose that I enjoy all the nominees on some level. 

Anywho, director Chloé Zhao’s “Nomadland” will most certainly take top honors. A well-acted, atmospheric, and resonant endeavor, Zhao’s film nevertheless became slightly too predictable for my taste in its latter half. 

Best Director:

  • Thomas Vinterberg
  • David Fincher
  • Lee Isaac Chung
  • Chloé Zhao (prediction; pick)
  • Emerald Fennell

In keeping with her film’s awards season spark, I predict Chloé Zhao to win for “Nomadland.” Zhao, who also wrote and edited the film, is a prime choice for this category. Lee Isaac Chung and Emerald Fennell also stand out among the nominees. However, I wasn’t on set for any of these films, so who am I to judge?

Best Actor:

  • Riz Ahmed (pick)
  • Chadwick Boseman (prediction)
  • Anthony Hopkins
  • Gary Oldman
  • Steven Yeun

Every nominated actor gave a superlative performance, rendering my personal choice an arbitrary one. Chadwick Boseman’s portrayal of Levee Green in “Ma Rainey’s Black Bottom” is undeniably powerful (my prediction to win), but I’d have to go with Riz Ahmed as Ruben in “Sound of Metal.” A complex and massively conflicted character, Ahmed imbues Ruben with a soulful edge that renders him one of the most memorable and empathetic protagonists in recent memory.

Best Actress:

  • Viola Davis
  • Andra Day
  • Vanessa Kirby
  • Frances McDormand
  • Carey Mulligan (prediction; pick)

I haven’t seen “The United States Vs. Billie Holiday” or “Pieces of a Woman” yet (sue me), but I’m still confidently choosing Carey Mulligan’s performance in “Promising Young Woman” as the hopeful winner here. A shattered, sardonic soul fueled by grief, Cassandra is always a compelling presence. Mulligan’s portrayal captures her turbulent emotions with searing impact. Who will actually take home the Oscar, though? No clue, really. There isn’t a clear frontrunner going into the ceremony. 

Best Supporting Actor:

  • Sacha Baron Cohen
  • Daniel Kaluuya (prediction; pick)
  • Leslie Odom, Jr.
  • Paul Raci
  • Lakeith Stanfield

Good grief, what an outstanding collection of performances. Paul Raci’s portrayal in “Sound of Metal” is first-rate, but I’m picking Daniel Kaluuya’s masterful turn as Chairman Fred Hampton in “Judas and the Black Messiah” as deserving of the trophy. Kaluuya gives a dynamite performance — conveying Hampton’s authoritative grandeur, but also quieter moments of reflection and intimacy. There’s little doubt in my mind that he won’t walk out empty handed. He should have been nominated for the “Best Actor” category, though. Hmph.

Best Supporting Actress:

  • Maria Bakalova (pick)
  • Glenn Close
  • Olivia Colman
  • Amanda Seyfried 
  • Yuh-Jung Youn (prediction)

Besides the strange nomination of Glenn Close for her over-the-top performance in “Hillbilly Elegy,” this is a highly contested category. I loved Yuh-Jung Youn’s performance as the grandmother in “Minari,” but Maria Bakalova’s fearless work in “Borat Subsequent Moviefilm” deserves all the accolades. It’s a downright impressive feat of acting and bravery, and she is most definitely my choice for this category. Even so, I predict Yuh-Jung Youn to win due to her previous awards showings.

Best Adapted Screenplay:

  • Borat Subsequent Moviefilm (pick)
  • The Father (prediction)
  • Nomadland
  • One Night in Miami
  • The White Tiger

I’d have to pick the zany, oddly emotional screenplay for “Borat Subsequent Moviefilm” as my preference here. I can definitely see Academy voters going for “The Father,” because of its theatrical structure and the ways it attempts to subvert viewer expectations of what’s really going on in Anthony’s daily life. 

Best Original Screenplay:

  • Judas and the Black Messiah
  • Minari
  • Promising Young Woman (pick)
  • Sound of Metal
  • The Trial of the Chicago 7 (prediction)

Academy voters will probably side with Sorkin’s quippy, rapid-fire dialogue in “The Trial of the Chicago 7.” While that film’s script is definitely enjoyable, I find the incisive, darkly comedic screenplay of Emerald Fennell’s “Promising Young Woman” far more compelling. Chock full of memorable sequences and shocking twists, it forges a path all its own.

Best Cinematography:

  • Judas and the Black Messiah
  • Mank
  • News of the World
  • Nomadland (prediction; pick)
  • The Trial of the Chicago 7

The cinematography of “Nomadland” is richly textured, conveying both the ruggedness of Fern’s lifestyle, but also utilizing her environment as a symbolic representation of her personal journey over the course of the film. “Mank” also features expert camerawork, but its presentation lacks the variety and thematic weight of the former.

Best Editing:

  • The Father (prediction)
  • Nomadland
  • Promising Young Woman (pick)
  • Sound of Metal  
  • The Trial of the Chicago 7

There’s something to be said for all these nominees — each of the films has a different feel, and their editing accounts for that. Yorgos Lamprinos’ (not acclaimed director Lorgos Lanthimos) editing in “The Father” is especially noteworthy for the ways it manipulates and intentionally obfuscates the proceedings to immerse viewers into Anthony’s declining mental state. We never quite get our footing on reality in any given moment.

Best Production Design:

  • The Father (pick)
  • Ma Rainey’s Black Bottom
  • Mank (prediction)
  • News of the World
  • Tenet

I admire how “The Father” manipulates Anthony’s environment to reflect his disorientation and the passage of time, but Academy voters will in all likelihood choose the meticulous attention to detail of David Fincher’s “Mank.” I wouldn’t be upset by that winning — the film has extremely high production value, but a lackluster screenplay supporting it.

Best Original Score:

  • Da 5 Bloods 
  • Mank
  • Minari (pick)
  • News of the World
  • Soul (prediction)

It’s difficult to choose a favorite here — I’ve frequently revisited “What This Mission’s About” from Terrence Blanchard’s score for “Da 5 Bloods” — but my personal pick is Emile Mosseri’s score for “Minari.” Incredibly emotional and moving, Mosseri’s compositions perfectly complement the film’s poignant story of the American Dream. I’m predicting Jon Batiste, Trent Reznor, and Atticus Ross to win for “Soul” because of their previous awards momentum, as well as the musical contrast they create throughout the film. Side note: I bet “Soul” wins “Best Animated,” too, because it’s Pixar.

Best Original Song:

  • Fight for You
  • Hear my Voice (prediction)
  • Husavik (pick)
  • Seen
  • Speak Now

I don’t feel particularly strongly about any of these nominees, but I’m choosing “Husavik” from “Eurovision Song Contest: The Story of Fire Saga” as my favorite for its strangely poignant, multilingual lyrics, with in-your-face sentimentality that’s kind of infectious. “Hear My Voice,” from “The Trial of the Chicago 7,” will doubtless emerge victorious — it’s simple, blunt, and fits in nicely with previous winners.  

Best Sound:

  • Greyhound
  • Mank
  • News of the World
  • Soul
  • Sound of Metal (prediction; pick)

The sound design in “Mank” is impeccable in how it evokes films of the “Citizen Kane” era, but “Sound of Metal” should win this category, unquestionably. Utilizing innovative techniques to depict Ruben’s hearing loss, it becomes a character itself as his story unfolds.

Best Documentary Short Film:

  • Colette
  • A Concerto is a Conversation
  • Do Not Split (pick)
  • Hunger Ward
  • A Love Song for Latasha (prediction)

This category was, yet again, a frustrating decision. Each of these nonfiction gems are stylistically distinct, but deeply poignant and immersive in their own ways. I was particularly gripped by the raw, uncompromising “Hunger Ward” (about the ongoing conflict in Yemen), and “Do Not Split” (an up-close-and-personal look at the pro-democracy protests in Hong Kong). “A Love Song for Latasha,” documenting the life and murder of Natasha Harlins, will likely win. Presented in a mesmerizing, vivid fashion. “Love Song” is incredibly moving and would absolutely be deserving of the Oscar. 

Best Live Action Short Film:

  • Feeling Through
  • The Letter Room
  • The Present
  • Two Distant Strangers (prediction; pick)
  • White Eye

An amazing collection of short films, I predict and really hope that “Two Distant Strangers” — about a young black man trapped in a time loop where he’s always killed by the same cop, no matter how he acts — wins the Oscar. A brilliant, heartbreaking film, it’s extremely relevant to today’s climate and remains absolutely essential viewing for anyone with a Netflix account.

Best Animated Short Film:

  • Burrow
  • Genius Loci
  • If Anything Happens I Love You (prediction; pick)
  • Opera
  • Yes-People

This year’s batch of nominated animated shorts was an eclectic one, filled with varying tones, styles, and subject matter. The inventive construction of “Opera” and the twisted, fever-dream beauty of “Genius Loci” stand out in particular. Alas, my personal pick is the heartbreaking gut-punch of a film, “If Anything Happens I Love You.” Focusing on two emotionally distanced parents reeling from their daughter’s death, the film is profoundly well-made, and a prime example of doing less with more. The topic of gun violence is, sadly, ever-relevant, and this film is unflinching in confronting the grief left in its wake.

‘Vanquish’ Is Mediocre John Wick Wannabe

‘Vanquish’ Is Mediocre John Wick Wannabe

By Alex McPherson

With shallow characterization and underwhelming action sequences, George Gallo’s new film, “Vanquish,” winds up being decidedly average.

This generic thriller stars Ruby Rose as Vicky, a former courier for Russian drug dealers, who’s become a caretaker for Damon (Morgan Freeman), a retired police commissioner in cahoots with crooked cops. When the operation Damon’s team is working on is nearly jeopardized, he decides to take matters into his own hands. Vicky can’t afford to pay medical bills for her young daughter, so Damon offers funds in exchange for her embarking on a dangerous task — completing five money pickups from criminals around town. When Vicky refuses, Damon takes Lily hostage and won’t release her until the job is completed. Vicky must utilize her particular set of skills to survive the night and rescue her child.

With a style reminiscent of the “John Wick” franchise, Gallo’s film neglects to make the most of its lead actors and only provides sporadic moments of enjoyment throughout.

Even with low expectations going in, I hoped “Vanquish” would provide a campy, suspenseful experience that didn’t take itself too seriously. Unfortunately, for such a simple premise, the film seems unfocused. In too often switching attention from Vicky to the larger drug-smuggling operations behind the scenes, the pacing suffers, and the film abandons its strengths in favor of bland storytelling with predictable outcomes.

There are faint glimmers of intrigue here and there, however, particularly involving the visuals. Employing thick contrast and color grading in practically every shot, “Vanquish” aims for the appearance of a comic book and is often striking to behold, if sometimes overbearingly so. One scene early on, for example, is bathed in green hues and features a camera angle from the perspective of a scurrying rat — an oddball decision, to say the least. More often than not, though, this threatening atmosphere is undone by hyperactive editing that muddles the intensity. The camera rarely slows down, constantly cutting between shots without precision or purpose. I see what Gallo was attempting in trying to create a hazy, sensory feel at certain points, but “Vanquish” needed a more restrained approach overall. 

This surface-level quality extends to Vicky herself.  Her backstory is relegated to clunky exposition dumps and rushed flashbacks that lack emotional impact. Rose does a passable job with dialogue that chugs along without nuance. We’re not given many opportunities to spend time with her outside of her immediate objectives — rather, we spend a lot of time with Damon and the slimy cops he manages. Portrayed with uneven acting, the officers come across as infinitely less interesting than Vicky. 

The film’s video-game-esque skirmishes aren’t especially memorable, despite some impressive gore effects. Except for one moment of cocaine-induced gun fu and a slick motorcycle stunt, they fail to stand out — they’re sometimes downright difficult to follow due to the aforementioned editing. 

Side characters don’t fare much better. Damon has an engaging history, but “Vanquish” sends him down a familiar arc as events unfold. Confined to a wheelchair for the entire duration, Freeman doesn’t deliver Damon’s lines with much emotion. Admittedly, this creates some amusing moments of deadpan humor, but Gallo misses an opportunity to give Damon a soul beneath his shady actions — Freeman’s presence is where the primary entertainment comes from. Cynical, calculating, and emotionally distanced from the carnage happening around him, Damon is an over-the-top character that deserves a more over-the-top depiction. 

Failing to embrace its B-movie potential, “Vanquish” isn’t the worst option for an action film, but viewers could certainly do better elsewhere. 

“Vanquish” is a 2021 action crime thriller directed by George Gallo and starring Morgan Freeman and Ruby Rose. It is rated R for bloody violence, language, some sexual material and drug use, and run time is 1 hour, 36 minutes. It opens in theatres April 16. Alex’s Rating: C

‘Summer of 85’ – A Summer to Halfheartedly Remember

‘Summer of 85’ – A Summer to Halfheartedly Remember

By Alex McPherson

Acclaimed French director François Ozon’s newest work, “Summer of 85,” is a nostalgic coming-of-age story that lacks focus and subtlety.

Based on the novel “Dance on My Grave” by Aidan Chambers, the film takes place off the sun-drenched coast of Normandy and follows a reserved, working-class teenager named Alex (Félix Lefebvre), who happens to be fascinated with death. After his boat capsizes, Alex is rescued by the thrill-seeking David (Benjamin Voisin), and the two boys become infatuated with one another. Like most queer love stories in cinema, though, tragedy strikes. Switching back and forth between two separate timelines — one in which Alex is under investigation for a crime; the other presented as a flashback — viewers experience the exhilaration of Alex’s first love, as he recounts the events of those formative weeks.

Despite expert performances, vivid cinematography, and a dreamlike flow, “Summer of 85” remains disappointingly sappy, especially during its latter half. There’s much to appreciate about Ozon’s film, however, and there are specific powerful scenes peppered throughout. This is largely thanks to the chemistry of the two leads, as well as the ways their characters reflect and contrast each other.

16-year-old Alex is unsure whether to remain in school or join the workforce. He’s soft-spoken and, in 18-year-old David’s eyes, failing to capitalize on the exuberance of his youth. Lefebvre convincingly portrays his obsession, childishness, and turbulent emotions in a manner that feels understandable for a boy his age — including a climactic dance sequence that’s fittingly over-the-top.

David, on the other hand, is constantly seeking excitement in his life and grieves the death of his recently passed father. Voisin gives David a flamboyant swagger that’s simultaneously alluring and insecure, conveying a character with additional layers beneath his outgoing demeanor.

“Summer of 85” showcases their bond while bluntly illuminating larger themes, such as the perils of fantasization. The beginning of their relationship, for example, is depicted in a jubilant fashion — the scenery is breathtaking, and the sense of adventure is palpable. These breezy sequences evoke the sense that David and Alex have been literally swept off their feet by each other, throwing their frets to the wayside. There’s a distinctive energy pulsing through these moments, particularly when Rod Stewart’s “Sailing” blares on the soundtrack as David and Alex chart a new course in their lives.

When extreme melodrama comes to the forefront around the halfway point, the previously brisk pacing sags, and “Summer of 85” proves too forceful for its own good. Combined with distracting comedic elements, side characters that are well-acted but underdeveloped, excessive narration, and a conclusion that feels thoroughly Hollywoodized — “Summer of 85” doesn’t quite know what to do with itself. 

Indeed, the film’s disjointed narrative structure ultimately detracts from the suspense Ozon tries to create, breaking from the story’s interiority regarding Alex. If “Summer of 85” insists on portraying the highs and lows of Alex’s passion, then why shouldn’t we experience those feelings along with him without knowledge of the future?

A flawed but consistently watchable effort, “Summer of 85” plays to convention when it could have become unforgettable.

“Summer of 85” is a 2020 French film directed by Francois Ozon and starring Felix Lefebvre and Benjamin Voison. Its runtime is 1 hour, 30 minutes, and not rated. This film is a selection in Cinema St. Louis’ annual QFest from April 16 to 25. Alex’s Rating: B-.

‘The Carnivores’ – A Prime Cut of Madness

‘The Carnivores’ – A Prime Cut of Madness

By Alex McPherson

Director Caleb Michael Johnson’s new film, “The Carnivores,” is a lurid and disturbing psychological thriller that actually prompted nausea at one point, which is no small feat.

This bizarre story follows Alice (Tallie Medel) and Bret (Lindsay Burdge), an amiable yet stressed couple contending with several unaddressed issues. They each work dead-end jobs and can hardly afford to pay vet expenses for their dog, Harvie, who suffers from a terminal illness.

Alice is particularly jealous of Harvie, who receives more attention from Bret than she does. Hungry for intimacy and sleepwalking on a regular basis, Alice barely maintains her sanity. She develops a newfound fascination with meat, having been a vegan previously. When Harvie disappears, Bret becomes increasingly paranoid, and their relationship encounters a veritable smorgasbord of challenges. What follows is a deadpan, sometimes shocking film about the all-consuming pull of passion and the lengths that some will go to satiate it.

With hints of David Lynch and the off-kilter humor of Lorgos Lanthimos sprinkled throughout, “The Carnivores” definitely won’t be for all tastes. Like it or not, Johnson’s vision is undeniably striking — providing richly conceived visuals, devoted performances, and a genre mashup that’s difficult to look away from, even if you want to.

Indeed, “The Carnivores” is a refreshingly unpredictable experience, with slow-burn pacing and a tone that swerves noticeably from one moment to the next. I’m kept in nervous discomfort, never quite sure how to feel about the craziness unfurling before my eyes.

Alice is a perfect vessel for the film’s absurdist leanings. Although “The Carnivores” begins with her already in a state of mental anguish, Johnson’s film does an exceptional job at establishing her malaise with her day-to-day life. Despite her character’s potential for violence, Medel’s performance and the script’s blackly comic dialogue generate empathy and occasional amusement from her situation.

“The Carnivores” excels at a particular kind of droll comedy that befits this twisted tale perfectly, creating an uneasy atmosphere that simultaneously prompts laughter and grimaces. It’s a tricky balancing act, and Johnson more or less pulls it off effectively, especially in scenes involving Alice’s chatterbox boss and her obsessive preoccupation with slabs of meat.

Bret’s character doesn’t receive nearly as much development, but Burdge still gives her a raw edge beneath her compassionate personality. Watching her take matters into her own hands, as Alice’s life seemingly slips away from her, is upsetting but grimly compelling — not always making much sense, but building towards a suitably ravenous climax.

Of course, much of the film’s strengths lie in its cinematography and score, which constantly keep viewers on edge as to whether or not scenes are taking place in reality, or merely within Alice’s mind. Sensual, vivid imagery of her yearnings and obsessions — including a particularly memorable shot of Alice and Bret making out from either side of a shower door — have a mesmerizing quality that, while sometimes too overt for their own good, are admirable in their confidence.

Unfortunately, however, this tonal mishmash ultimately lessens the film’s emotional impact. “The Carnivores” held my interest throughout, but there are some plot beats that don’t ring as poignantly as they could have, especially near an ending that feels oddly cut and dry.

The premise is also inherently difficult to buy into, and I couldn’t become much involved in the proceedings due to its blunt, in-your-face imagery, especially in the latter half. Perhaps I will grow to appreciate “The Carnivores” more upon repeat viewings, but I couldn’t help but feel slightly distanced from the characters and the peculiar journey we’re taken on.

An acquired taste, “The Carnivores” bites off slightly more than it can chew, but remains satisfyingly well done nevertheless.

“The Carnivores” is a 2020 comedy-drama-thriller directed by Caleb Michael Johnson and part of the 2021 Cinema St Louis Q Fest April 16-25. Starring Tallie Medel and Lindsay Burdge, it is not rated and runs 1 hour, 17 minutes. Alex’s Rating: B.

QFest Preview: ‘Tahara’ – A Resonant Teenage Tale

QFest Preview: ‘Tahara’ – A Resonant Teenage Tale

By Alex McPherson

Olivia Peace’s directorial debut, “Tahara,” provides an incisive look at identity, grief, and societal pressures.

Unfolding during a single day within a Jewish synagogue, the film centers on best friends Carrie Lowstein (Madeline Grey DeFreece) and Hannah Rosen (Rachel Sennott) as they attend the funeral services for their Hebrew school classmate, Samantha Goldstein, who was shunned by her community for her queerness. Carrie, a soft-spoken Black woman, quickly realizes the hypocrisy on display from her peers and instructors, especially during the “Teen Talk-back” session in which she and her classmates are forced to discuss faith in relation to Samantha’s death. They are enacting a performative ritual that contradicts how many of them treated Samantha while she was alive. 

Everyone besides Carrie is seemingly driven by selfish interests, especially Hannah — an impulsive, reckless individual. Hannah is solely focused on attracting the attention of pretty boy Tristan Leibowitz (Daniel Taveras), rather than on grieving the loss of her classmate. After she coerces Carrie into “practicing” her kissing skills, Carrie’s true feelings for her come to the forefront. Hannah is forced to confront her own insecurities, and Carrie must navigate the troubled waters of their friendship.

Although the topics broached don’t break the mold for the coming-of-age genre, “Tahara” makes a positive impression from its opening frames and remains compelling throughout. 

The film’s distinctive style is apparent from the get-go — utilizing a 1:1 aspect ratio that creates a confined atmosphere, enhanced through frequent long takes. Additionally, when the characters experience a euphoric moment, the picture widens to fill the entire screen. During the aforementioned kiss, for example, colors whirl from all directions while Carrie and Hannah become smooching claymation figures — briefly existing on a different plane of existence, only to return to the restrictive norm immediately after.

Indeed, the whole film revolves around Carrie and Hannah’s relationship, as their bond is put to the test. Carrie’s mild-mannered personality sharply contrasts with Hannah’s, but “Tahara” effectively conveys their years of friendship through dialogue that, while often sardonic, feels authentic. DeFreece gives a particularly noteworthy performance as an individual facing challenges from multiple angles who eventually recognizes the importance of asserting herself. 

While Carrie remains sympathetic, Hannah is practically unbearable. Her self-absorption makes her difficult to watch at times, and her stubborn resistance to change proves incredibly frustrating. Sennott’s masterful performance, though, renders Hannah more complicated than she initially seems — an individual deeply unsure of her future and grappling with the person she wants to become. Although the film’s condensed time-frame limits how much we can learn about Carrie and Hannah individually, “Tahara” does a commendable job at illustrating their tensions, rendering each deeply human. 

Overlooking a few exaggerated side characters, Peace’s film successfully peels back the layers of its subjects’ cynicism to reveal a tragic, at times heartbreaking situation with young adults weighed down by external expectations. Religion, mourning, regret, self discovery, social status, and toxic friendships are all explored to various extents in this microcosm of teenage uncertainty. 

Despite some jokes that fail to land and occasionally heavy-handed symbolism, “Tahara” remains engaging from beginning to end. I wish Peace’s film wasn’t limited to showing a single day in the life of these characters, however, as the conclusion remains frustratingly open-ended and fails to give one specific character the resolution they deserve. The film’s initially comedic bent gives way to straight-up drama by the end credits, not shying away from ambiguity and leaving the future unpredictable.

Multifaceted and surprisingly ambitious, “Tahara” is a coming-of-age film worth experiencing, as well as an impressive calling card for director Peace.

“Tahara” is a 2020 movie directed by Olivia Peace that runs 78 minutes. It is a narrative feature selected for Cinema St Louis’ annual QFest, which will take place virtually April 16-25. For ticket information and festival offerings, visit www.cinemastlouis.com/qfest. Alex’s rating: B+

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

By Alex McPherson

“Zack Snyder’s Justice League” is an entertaining, four-hour superhero epic that greatly improves on Joss Whedon’s 2017 version. After leaving the first production due to a family tragedy, director Snyder is finally able to give fans what they’ve been craving. 

Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller), Cyborg (Ray Fisher), and another familiar face team up to take down a world-ending threat. This time, a horned monstrosity named Steppenwolf (Ciaran Hinds) seeks to eliminate humanity from Planet Earth via three powerful “Mother Boxes” and rebuild it under the leadership of Darkseid (Ray Porter), who wants to control the galaxy. Feeling partly responsible for the death of Superman (Henry Cavill) in “Batman V. Superman: Dawn of Justice,” Batman becomes a reluctant leader as he and Wonder Woman bring the squad together. Heroes both new and old undergo their own arcs, to varying degrees — involving the topics of grief, faith, hope, and unity in times of crisis.

Aiming to please those who willed it into existence, “Zack Snyder’s Justice League” is difficult to recommend to viewers who aren’t already fans of the DC Cinematic Universe. The film contains moments of emotional resonance and visual spectacle, but proves grueling by the final hour — reverting to predictable plotting and repetitive, CGI-reliant action sequences.

At least the central characters are given more opportunities to shine. From its opening frames, “Zack Snyder’s Justice League” establishes itself as a slower, mournful affair, with a 4:3 aspect ratio, dour chapter titles, muted color palette, and a clearer sense of organization. Snyder has crafted an unarguably more coherent storyline than before, maintaining a grittier tone than the original cut and giving scenes more time to breathe. Even though the storytelling itself is clunky, largely thanks to hit-or-miss dialogue and frequent exposition dumps, I appreciate Snyder’s ambition. 

The added depth to Cyborg (a.k.a Victor Stone) is particularly noteworthy. After Victor and his mother are killed in a car crash, his father, Silas Stone (Joe Morton) uses a Mother Box to resurrect Victor in a robotic body. Thanks to his new abilities, Victor becomes an all-powerful presence, able to tap into the world’s technological web with ease, and representing the League’s key to vanquishing Steppenwolf. Despite his powers, Cyborg is gripped with resentment towards his father and deeply uncertain of his own future. Fisher’s acting is endearing and empathetic, the most convincing in the entire film. His character  — practically deserving of its own standalone installment — remains the heart and soul of the whole endeavour. 

The Flash (a.k.a. Barry Allen) is also further fleshed out, but his journey lacks the nuance and complexity of Cyborg’s. He is much more confident in his speedy capabilities and doesn’t spout as many cringey quips as in the 2017 iteration. Batman, Aquaman, and Wonder Woman, on the other hand, aren’t given much new material to work with under Snyder’s guidance, but we’re given more context for their actions. This helps create a stronger sense of flow from scene to scene than before, and all the actors give decent performances.

In terms of antagonists, Steppenwolf’s goals are more clearly outlined. Exiled from his demonic homeworld, he’s trying to prove himself to his master, Darkseid. Even though we understand where he’s coming from, Steppenwolf is still difficult to empathize with. Revealing more about his history doesn’t automatically fix his blandness or render him memorable. He’s big, powerful, odd-looking, and ready to slice and dice his way to victory.

Speaking of violence, “Zack Snyder’s Justice League” is rated R, allowing Snyder to indulge in bloody carnage that feels far more visceral than other cinematic comic book offerings. As expected, however, Snyder deploys an over-abundance of slow motion to present every shot as a work of art to be gawked at. Yes, there’s instances of beauty in his eye-popping, effects-heavy compositions, but they lose their thrill as the hours pile up.

Combined with an unnecessary epilogue that’s purely fan service, “Zack Snyder’s Justice League” doesn’t quite justify its existence for casual moviegoers. Nevertheless, I wholeheartedly support Snyder’s efforts to realize his vision. That being said, four hours is a huge time commitment, especially when viewed in a single sitting, and his film doesn’t differentiate itself enough to truly stand out.

A self-serious, over-indulgent, yet admirable effort, “Zack Snyder’s Justice League” isn’t the masterpiece that some have touted it as, but it proves sporadically enjoyable. I just needed a long nap afterwards.

“Zack Snyder’s Justice League” is a 2021 release from Warner Brothers that is exclusively showing on HBOMax, as of March 18. It stars Ben Affleck, Gal Gadot, Jason Momoa, Henry Cavill, Ray Fisher and Ezra Miller as the six superheroes in the DC Justice League. is Rated R for violence and some language. It has a run time of 242 minutes. Alex’s Grade: B –

Nightmarish Sci-Fi ‘Come True’ Is Mysterious Slice of Horror

Nightmarish Sci-Fi ‘Come True’ Is Mysterious Slice of Horror

By Alex McPherson

Anthony Scott Burns’ new directorial effort, “Come True,” is a flawed yet eerily effective horror film that explores the nature of dreams.

Burns’ film centers around Sarah Dunne (Julia Sarah Stone), a sleep-deprived high school student drifting through her day-to-day life. She refuses to stay at her mother’s house, possibly due to an abusive past, and relies on her friend, Zoe (Tedra Rogers), as her main support system. She has recurring nightmares where she flows through a post-apocalyptic wasteland containing shadowy figures, cavernous interiors, and a never-ending stream of passageways — always ending near a humanoid, cloaked in darkness, with glowing eyes and an imposing physique. 

Lacking a secure place to slumber overnight, Sarah enrolls in a sleep study run by a group of scientists with suspicious morals. The team, led by Dr. Meyer (Christopher Heatherington), is able to observe participants’ dreams as they’re experiencing them, thanks to some 80s-inspired sci-fi technology. Soon enough, the study goes off the rails as strange events start occurring. What ensues is a mind-boggling ride where Sarah’s life is thrown into turmoil. 

Suffice it to say, “Come True” is out there. Viewers expecting clear-cut resolution will be disappointed. Indeed, Burns’ film sacrifices plot coherence for atmosphere and mood. This style, however, ultimately overshadows some thematic missteps later on.

Eschewing the jump-scare-heavy tendencies of mainstream horror, “Come True” relies primarily on creating a sense of uneasiness and danger looming on the horizon. Burns’ precise cinematography — full of slow zooms and long, drawn-out shots of mysteriously empty streets and glossy, claustrophobic interiors — encourages us to consider more malevolent operations behind the scenes.

The proceedings are also divided into chapters with Jungian-inspired titles, such as “The Persona” and “The Shadow,” inferring a grander picture beyond Sarah’s immediate situation. Combined with the aforementioned nightmarish sequences and a score overly reliant on the synthesizer — it’s practically as if we’re experiencing a dream along with Sarah. 

Regarding her character, Stone gives a noteworthy performance that renders Sarah captivating from beginning to end. Although “Come True” withholds information from us regarding her past experiences, Stone empathetically conveys her exhaustion, fear, and disorientation as she’s sent down a turbulent path that keeps both herself, as well as viewers, second-guessing what’s real and what isn’t.

Her character arc, as well as the plot’s larger themes, aren’t spelled out to viewers, which heightens unpredictability and encourages reflection once the end credits roll. This is a highly metaphorical, bizarre coming-of-age tale of subconscious thoughts rendered conscious experience, targeting universal fears that the screenplay assumes many of us share. “Come True” takes some work to decipher, but holds rewards for viewers up for the challenge. At least, I think so. There’s some elements of the story I haven’t wrapped my head around yet.

That’s not to say the film’s ambiguity works entirely in its favor. When a young, creepy scientist named Jeremy (Landon Liboiron) shows up, “Come True” expects viewers to care for him, and his uncomfortable relationship with Sarah, without developing his character in a satisfying fashion. Saddled with occasionally clunky dialogue, he remains far less interesting than Sarah herself.

Additionally, the film’s final moments are unintentionally humorous and feel overly blunt in comparison to the slow-burn pace adopted previously. More than anything else, viewers will likely be left feeling befuddled and maybe even cheated.

Despite unfortunate detours into perversion and muddled storytelling in its latter half, “Come True” provides memorable visuals and a multi-layered plot that earn a recommendation.

“Come True” is an unrated sci-fi horror film from IFC Midnight that was released March 12. Directed by Anthony Scott Burns, it stars Julia Sarah Stone, Christopher Heatherington and Landon Liboiron, it runs 1 hour, 45 minutes. Alex’s grade: B

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

By Alex McPherson

Shot entirely via iPhone, director Anthony Z. James’ “Ghost” is a thought-provoking exploration of fatherhood, redemption, violence, and how the past informs the present.

The film takes place during a single day and follows Tony Ward (Anthony Mark Streeter), an ex-con re-entering society after 10 years behind bars. Emerging into an unforgiving world that’s moved on without him, Tony attempts to mend fractured relationships, including with his son, Conor (Nathan Hamilton), and chart a new path forward for himself.

Conor is psychologically scarred by his father’s actions and the direction his own life took as a result, but still cares for him nevertheless. Both men are forced to confront whether they will be consumed by their demons or work to overcome them. When Tony’s old boss, Dominic (Russell Barnett), shows up, complications arise. Can Tony escape the world he left behind, or is history doomed to repeat itself?

Even though “Ghost” dips into familiar territory, James’ film is a refreshingly subdued affair, with a pair of intriguing central characters and a strong sense of place.

From the opening frames, it’s clear that Tony feels alienated in the working-class streets of London. Streeter’s nuanced performance expertly conveys Tony’s regret, grief, and determination to turn his life around. He’s prone to brashness, but remains sympathetic. Hamilton is similarly effective as Conor — a youthful individual full of potential, yet held back by his own impulsivity that likely stems from his troubled childhood. Their scenes together, combined with James’ restrained approach, are where the film absolutely shines.

Shooting via iPhone lends a gritty, tactile edge to the proceedings, giving the film a documentary-esque feel at times. “Ghost” is more focused on small-scale relationships than anything else, willing to take an unhurried pace to tell a story that feels grounded in plausibility. Overlooking some occasionally shoddy sound design and awkward camera placements, it’s difficult to imagine “Ghost” being presented any other way. 

The majority of the film unfolds in prolonged conversations that feel true to life, for the most part — complete with awkward pauses and cinematography that creates a voyeuristic, fly-on-the-wall quality throughout. During other moments, James presents shots reflective of characters’ mental states. Tony, Conor, and Dominic are often framed against borders, both literal and figurative, that illustrate their difficulties connecting with the world around them, as well the internal conflicts they individually face.

Despite the film’s success in these areas, however, “Ghost” resorts to predictable beats by its conclusion. While I appreciate how James ratchets up tension in confrontations later on, these scenes betray the naturalistic approach utilized previously — sending the film down a bloody path of genre convention that feels forced rather than organic.

Additionally, James crams too much plot into a short time frame. Coming in at only 85 minutes, I wish that he had given these characters more time to grow, rather than trying to condense their journeys into a single day.

 It’s also disappointing that the side characters surrounding Tony and Conor aren’t given much development. Conor’s ex-girlfriend, Kat (Severija Bielskyte), for example, is used primarily to demonstrate Conor’s misplaced anger, without being given an opportunity to leave much of an impression. Similarly, Tony’s ex-wife, Valerie (Emmy Happisburgh), only features prominently in a couple of scenes, and undergoes a rushed arc that defies believability. Heading into its suspenseful final act, Dominic also gets an exposition-dump-heavy subplot that’s too convoluted for its own good — albeit one that concludes in a darkly poetic fashion.

All in all, “Ghost” is worth recommending to viewers seeking a crime drama with a compelling relationship at its core. Although the final act lacks the finesse that came before, there’s much to enjoy in this promising debut.

“Ghost” is a 2020 film released last summer that is now available on Amazon Prime. Directed by Anthony Z. James and filmed entirely on an iPhone, the film runs 1 hour, 25 minutes. It starts Anthony Mark Streeter and Nathan Hamilton. Alex’s Rating: B

‘Coming 2 America’ Is A Passable Reunion

‘Coming 2 America’ Is A Passable Reunion

By Alex McPherson

“Coming 2 America” is an enjoyable sequel that fails to match the charm and creativity of the 1988 original. 

In the fictional country of Zamunda, Prince Akeem Joffer (Eddie Murphy) lives comfortably with his wife, Lisa (Shari Headley), and their three daughters, one of whom (played by KiKi Layne) is more than worthy to assume leadership. Per Zamundan law, none of the Joffers’ daughters can become heirs to the throne, which creates a dilemma when Akeem’s father, King Jaffe Joffer (James Earl Jones), falls deathly ill. 

In a morally troubling revelation, a prophet reveals that Akeem actually has a male child… in America! Turns out, during his quest for romance all those years ago, Akeem was drugged and taken advantage of by Mary Junson (Leslie Jones), who later gave birth to their son, Lavelle (Jermaine Fowler). Upon learning this, Akeem travels with his pal, Semmi (Arsenio Hall), to find Lavelle and bring him to Zamunda to become a prince. Meanwhile, General Izzi (Wesley Snipes), the vicious leader of neighboring country called Nextdooria, shows up as a threat to Akeem and Zamunda generally. 

  Director Craig Brewer provides a heartwarming, irreverent trip down memory lane with moments of brilliance here and there, along with a strong sense of déjà vu. Even so, “Coming 2 America” still proves amusing from start to finish, largely thanks to the cast of returning faces.

When the film makes direct callbacks to the previous installment, it succeeds in spades. The dynamic between Akeem and Semmi is as watchable as ever, although they aren’t exactly the protagonists anymore. It’s a pleasure spending time in the iconic barbershop once again as well, with multiple people played by both Murphy and Hall simultaneously. Additionally, flamboyant dance sequences make a welcome return, although I wish their out-there style had extended to other departments. Indeed, overlooking its nostalgic appeal, there’s a disappointing lack of inspiration in “Coming 2 America,” which resorts to predictable, shallow storytelling throughout.

  Akeem, portrayed by Murphy in top form, remains likable, but comes across as more irritating than endearing this time around. Akeem is stubbornly resistant to cultural change in Zamunda — eager to make Lavelle a Prince whether or not Lavelle wants to. Before too long, though, he is sidelined, and Lavelle takes center stage until the film’s clunky final act.

In trying to tell a different kind of fish-out-of-water story, most of “Coming 2 America” revolves around Lavelle’s experiences in Zamunda. Perhaps the film should have been titled “Coming 2 Zamunda?” The initial thrill of his new lifestyle is replaced with feelings of discomfort and entrapment. Unfortunately, Lavelle displays little of Akeem’s personality or charisma. A street-savvy millennial, he finds pleasure in embracing the royal lifestyle of Zamunda, but lacks depth and intelligence — spouting numerous pop-culture-heavy jokes that only land about half of the time. 

There are, admittedly, some funny sequences involving Lavelle’s princely trials, such as a challenge involving a neighborhood lion. Most of his screen time later on, though, is devoted to a sappy romance with his hairdresser, Mirembe (Nomzamo Mbatha), which provides few surprises and recycles a central theme from the first film.

The rest of the new arrivals are solid enough, but they aren’t fleshed out in any meaningful way. Jones deploys her usual brand of in-your-face raunch as Lavelle’s mother, and Tracy Morgan does what he can with an underutilized role as Lavelle’s Uncle Reem. Snipes gives a scene-stealing turn as General Izzi, an exuberant performance that fits in perfectly with the wacky characters from “Coming to America.” There are also a couple of celebrity cameos that I won’t spoil here.

Despite its missed opportunity to tell a more memorable story and stand out from its predecessor, “Coming 2 America” should entertain fans of the franchise and newcomers alike. For all my criticisms, I nevertheless had a smile on my face by the end credits.

“Coming 2 America” is a comedy sequel directed by Craig Brewer and starring Eddie Murphy, Wesley Snipes, Arsenio Hall, Jermaine Fowler, Shari Headley, James Earl Jones, Leslie Jones and Tracy Morgan. It is rated PG-13 for crude and sexual content, language and drug content. and its runtime is 1 hour, 50 minutes. Alex’s Grade: B. The movie is available on Amazon Prime beginning March 5.