Breaking

 

Breaking is a dramatic thriller that takes an intense dive into the depths of human struggle, telling the heartbreaking true story of Marine veteran Brian Brown-Easley. John Boyega delivers a transformative performance as Brian, a man pushed to the brink by poverty, homelessness, and a broken healthcare system. When denied disability benefits by the Veterans Affairs, Brian makes a desperate bid for attention by taking a bank hostage.

This film is not for the faint of heart. It's a raw and unflinching look at the consequences of governmental neglect and the invisible scars of war. However, beneath the bleakness lies a powerful story of human resilience and the complexities of empathy. I could see similarities to films like American Skin and John Q. Breaking tackled similar themes of systemic injustice and the desperation it breeds. However, what separated this film from its counterparts was its ability to dig deeper into the psychological toll of war and the invisible suffering of mental illness. It refused to simplify Brian into a villain or a hero, instead painting a nuanced portrait of a man driven to a desperate act because of a broken system.

The ensemble casting was superb. Everyone brought their best to this film. With Boyega leading the charge in his portrayal of Brian, it was nothing short of masterful. He captured the anguish, desperation, and vulnerability of a man caught in a seemingly inescapable trap. Boyega conveys Brian's complexities seamlessly, showing him not just as a desperate hostage-taker, but as a father and war hero failed by the system he served, and a man clinging to the last thread of hope. The supporting performances were equally compelling. Nicole Beharie and Selenis Leyva shine as bank employees caught in the crossfire, their fear etched on their faces but their humanity never compromised. Connie Britton delivered a poignant cameo as a tip line reporter, while the late Michael Kenneth Williams, in one of his final roles, provided a powerful counterpoint as a hostage negotiator who could see glimpses of himself in Brian's plight.

While the film was undeniably bleak, it's not without glimmers of hope. The strength of the human spirit shined through in moments of unexpected kindness and empathy. Breaking may leave you heartbroken, but it will also provoke important conversations about mental health, veteran care, and the responsibility we bear to each other.

Overall, Breaking was a powerful and essential film. It's a stark reminder of the human cost of bureaucratic indifference and a tribute to the enduring strength of the human spirit in the face of unimaginable adversity.

Mission: Impossible Dead Reckoning Part One

 

Mission: Impossible Dead Reckoning Part One is the latest chapter in the almost 30-year-old action franchise. The first of the two-part finale throws Ethan Hunt and the IMF team into a race against time to stop a terrifying new weapon from falling into the wrong hands. Starring Tom Cruise, Hayley Atwell, Pom Klementieff and Ving Rhames.

The plot was an action-packed ride from very first frame. Tightly choreographed fight sequences in claustrophobic spaces, death-defying stunts, and nonstop action will keep the audience glued to the screen and on the edge of their seats. The twists and turns are also well-placed, keeping you guessing until the end.

The villain, while a bit unconventional, reflects the growing anxieties around artificial intelligence in our evolving world. It's a thought-provoking choice that adds depth to the typically straightforward Mission: Impossible plot.

One of the things I like about Mission: Impossible casting is that they do try to reprise a many characters as they can from previous films. So it was nice seeing Ving Rhames, Simon Pegg, Rebecca Ferguson and Vanessa Kirby all reprising their roles. I liked the callback to the original 1996 film with the return of Henry Czerny's Eugene Kittridge, adding a layer of nostalgia and tying the franchise's history into the present. However, the film stumbled when it came to a couple of its female characters. Hayley Atwell's Grace fell into the damsel-in-distress trope, reminiscent of Thandiwe Newton's Nyah in Mission: Impossible 2. Hopefully, Part Two will offer her more autonomy and agency for Grace. Pom Klementieff's Paris, despite being a skilled actress, remained largely voiceless throughout the film. While her mysterious presence and combat skills were intriguing, leaving a talented actress with minimal lines and character development was a missed opportunity, especially considering the lack of female minority representation in the film.

Despite these flaws, Dead Reckoning Part One is a thrilling and entertaining blockbuster. The action sequences are some of the best in the franchise, the twists are satisfying, and the villain raises interesting questions about our future. While the film could do better with its female characters and minority representation, it remains a fun and adrenaline-fueled ride that leaves you eager for the next chapter.

The Holdovers

 

Alexander Payne's The Holdovers is a Christmas comedic drama set in a 1970s prep school. Starring Paul Giamatti, Da'Vine Joy Randolph, and Dominic Sessa.

While the plot definitely doesn't break new ground, the execution was well done. The script was full of laugh-out-loud moments alongside quieter moments of reflection. It was a nostalgic indulgence; that tackled timeless themes of loneliness, connection, and second chances. Payne's love for classic '70s cinema shone through in every frame. The film felt like a genuine period piece, drawing inspiration from gems like The Graduate. The soundtrack and score also helped to amplify this effect.

Golden Globe winners Giamatti and Randolph had great chemistry showing how deservedly they were of their awards. Giamatti embodied the crabby history teacher, Paul, as he reluctantly became babysitter to a handful of students stuck on campus during the holidays. Randolph shined as Mary, the school's wise and witty cook who was also struggling with the pain of a loss, and Sessa brought a youthful charm to his role of Angus, a troubled yet bright student. The characters, despite their initial one-dimensionality, blossomed with humor and vulnerability as the film progressed.

Overall, The Holdovers was a charming and beautifully crafted Christmas film. It was a delightful blend of humor, heart, and nostalgia, proving that some holiday stories are timeless. Fans of classic cinema and poignant coming-of-age tales will enjoy this gem.

Napoleon

 

Napoleon, is Ridley Scott’s historical drama that depicts the rise and fall of the French emperor, Napoleon Bonaparte. Starring Joaquin Phoenix and Vanessa Kirby.

The plot and overall score left me wanting more. The pacing suffered from sluggish stretches that drug the narrative down. The length of the film was also an issue. At over two hours, the film felt stretched thin with multiple moments that could have benefited from tighter editing.  The script additionally fell short of Scott's usual high standards. It lacked the depth and complexity of epics like Gladiator, leaving you unfulfilled and questioning the film's central purpose.

Ridley Scott's signature filmmaking style was evident, particularly in the battle sequences. They were chaotic and visceral, however, this intensity wasn't sustained throughout the film.

The acting was mediocre at best. Phoenix and Kirby's decent chemistry offered glimpses of what could have been, but it was ultimately buried under the weight of uneven writing and pacing. Phoenix's portrayal of Napoleon lacked the usual intensity he brings to roles. Vanessa Kirby fared a bit better with her delivery of a nuanced performance as Josephine, though the script unfortunately limited her potential. Additionally the absence of French accents or language threw a wrench into the authenticity, leaving an odd disconnect between performance and subject matter.

While the costumes deserve praise for their historical accuracy, everything else struggled to impress.

In the end, Napoleon felt like a missed opportunity. An all-star cast, a well-respected director and an intriguing subject matter that unfortunately stumbled on its desire to be epic.

The Creator

 

Gareth Edwards' sci-fi action film, The Creator, dives into a post-apocalyptic world disfigured by an AI rebellion. In 2070, fifteen years after a devastating nuclear attack, ex-special forces agent Joshua (John David Washington) finds himself on a crucial mission: hunt down and eliminate the "Creator," a mysterious AI rumored to possess a weapon capable of ending the war.

While the plot gave me vibes of Will Smith's I, Robot, The Creator did still manage to shine on its own execution. With its stunning visuals, Edwards masterfully crafted a gritty atmosphere, showcasing the remnants of a city ravaged by technology, all brought to life by impressive CGI and captivating cinematography. Thematically, The Creator explored the ever-present debate surrounding artificial intelligence. Themes around the potential dangers of advanced technology and questioning the power dynamics between humans and their creations. It also touched on the potential benefits of AI, showcasing its potential to aid humanity in times of crisis.

Diversity, both in casting and language, was refreshing to see. The film featured a multilingual cast, reflecting the world it portrays, and avoided the common Hollywood trope of a mono-cultural future. This added depth and realism to the narrative, reminding us of the complexity of human interaction in a technologically advanced world. The performances of John David Washington and Gemma Chan were a highlight. Washington delivered a brave and determined portrayal of Joshua, while Chan brought nuance and intelligence to the role of a scientist caught in the crossfire. Their on-screen chemistry was a welcome addition, adding a layer of humanity to the story.

Overall, The Creator was a visually stunning and thought-provoking sci-fi thriller. While the plot held some familiar echoes, the film's execution, strong performances, and diverse representation made it a worthwhile watch.