Comedy

Review- Winnie the Pooh

Posted on by bernardovillela

Winnie the Pooh (Disney)

Winnie the Pooh is one of those characters and series of stories that I cannot write about without giving you a bit of personal information to help put things in perspective for the reader this way you, the reader, can understand where I’m coming from and you can then gauge what your reaction will likely be. I’ve loved this character and the world he inhabits since I was very young. However, as I grew older, more knowledgeable and perhaps a bit more cynical I cast a leery eye on the modern renditions of Winnie that Disney was creating. However, I recently gave one a chance and while it wasn’t great it was much better than I expected. So I came into the film open-minded and cautiously optimistic.

Immediately, I fell in love with this film because they brought back the live action introduction wherein we see Christopher Robin’s room. It sets the tone for the rest of the film where a new story was being unfurled in a very traditional manner but to a new generation. From there on in all the choices are a very delicate balance between trying to recapture some of the old magic and also advance the narrative in some new directions.

One very clear way in which this was done is in the brilliant job that was done in casting this film. Firstly, you have Jim Cummings not only doing double duty as both Tigger and Pooh but his Pooh is eerily similar to Sterling Holloway’s original version. What’s more stunning is Craig Ferguson’s performance as Owl because I literally had no idea who played Owl but he’s fabulous. The last and most important cog in any of these films is the narrator. John Cleese, of course, does wonderfully and the Narrator is very involved in this tale.

Which brings to mind an interesting point about this film is that the book and the text within that act as interstitials between the occasional scene gets very involved in the telling of the tale. This I’m sure must be fun for kids but it’s a great treat for the parents and adults as it’s a joke that works on a couple of levels.

What’s most refreshing about the film is not even that it manages to be very funny but that most of it stems from a series of misunderstandings. The timing is crisp and the jokes do have variety some are cutesy but some are also rather smart. What’s also fantastic is that the morals of the story fold themselves in very naturally and aren’t overly-apparent when they’re happening and also not overly on the head when told to Pooh at the end.

It also manages to be a genuinely touching and heart-warming film without needing to be cloying or schmaltzy. The characters to those familiar to us are well-established but for those new to them they are quickly and clearly re-established as is their relationship to one another and their search for the “creature” they believe has Christopher Robin and for Eeyore’s tail reflects all that’s great about each of them and it jumps off the screen.

There are used in the film many different techniques that make the film feel more modern such as the chalky animation to describe the mythical “Backson” during the musical number that accompanies it and the fantasy sequences as Pooh through most of the film cannot sate his hunger for honey.

In summation I would not hesitate to call Winnie the Pooh a great film. In little more than an hour you had two searches and two other characters had their own subplots, the songs are all good and well sung and there’s a great bit of comedy and philosophy as per usual. As a post-script I’m saddened that those who were not inclined to see Harry Potter were likely averse to going to the movies that weekend and thus you get the returns for Winnie the Pooh were less than stellar. With that in mind I urge you, if it’s no longer playing at a theatre near you, to see this film on home video please. You won’t regret it.

10/10

Review- Zookeeper

Posted on by bernardovillela

Kevin James in Zookeeper (Columbia Pictures)

Upon hearing about the film Zookeeper one would think and hope that there’s got to be more to it than just talking animals. The good news is that there is. The bad news is that there really isn’t that much more to it. Sadly, the film aside from not being that funny gets bogged down in a transparent and overly predictable love plot that makes the entire thing seem like an exercise rather than an attempt to create.

While the film starts well enough with a humorous and slightly heartbreaking inciting incident of a failed proposal attempt there comes a point where all the cards are laid out on the table and you start to see where it’s heading. Now I harp on this because this isn’t your usual amount of predictability, I’m talking about an experience wherein you can predict how and when all the dominoes of the story will fall with a great amount of accuracy, this lack of the unexpected leads to a lack of joy and a lack of real comedic impact despite the occasional half-hearted chuckle.

When there is a twist, and I use that term lightly here, it’s like a breath of fresh air and what you’re witnessing becomes exponentially more enjoyable than it should be. When you combine two old hat concepts like talking animals and chasing after a dream girl that doesn’t make the story different or unique by default there needs to be a bit more to it than that but the film never quite gets there.

Typically, with material of this ilk the performances can raise it to a level where it ought not be able to reach but that sadly doesn’t happen here. Rosario Dawson, who let me state for the record is a great actress, can’t really elevate the film at all. A majority of the laughs that this film can muster are thanks to Joe Rogan, as our lead’s rival for the affections of his beloved. He is a crazy, over-the-top type of character but at least he’s well-defined and there’s an energy to his scenes. Kevin James’ scenes with him are the best he has really, as a romantic lead and a no-nonsense-business-man he connects less and isn’t as convincing.

The casting of the voices was a bit odd. Cher and Sylvester Stallone are always very obviously themselves and never really become their characters or invisible as I like to call it in voice work. Adam Sandler does well by seemingly impersonating Gilbert Gottfried as the monkey but of course Nick Nolte is the stand out of the voice cast not because he has the most versatile voice but because he’s the strongest actor of the bunch by far.

Of course, in comedies it all comes down to “How funny is it?” If it can hold water as a compelling narrative it can almost be looked at as a bonus. Clearly as a story the film has its failings but it’s really not terribly funny either. It’s the kind of movie that you might see on cable (a lot) and if you had nothing better to do you’d still likely change the channel.

The ultimate failing of this film is that it tried to get a little too cute by creating an excessive amount of symmetry in the story. This symmetry makes the design of the film apparent and instead of being engaged the film just hits you and you just take it. Sadly, there are very few redeeming qualities about this one.

3/10

Make Your Own Film Festival- Pick a Country (Part 6 of 7)

Posted on by bernardovillela

Windows doesn’t discriminate between regions any longer, and neither does Macintosh. Even if they do you should get a warning when inserting a Non-Region 1 DVD (meaning one made for distribution outside the US, Canada and Mexico) saying what region it is and asking if you want to change your computer’s region. Typically, there has been a set limit on how many times you could change regions before it became a permanent switch. Even if your computer is more finicky you still have an opportunity to watch many more DVDs, many of which you can only find online, that you never thought you could before.

Some foreign films have limited appeal and distribution internationally. You should take that into account when traveling overseas and pick up some movies you won’t find in the US. Taking that in to consideration this critic made a number of purchases when in Brazil in 2008 to set up a mini-festival.

Se Eu Fosse Voce (If I Were You)


If I Were You (20th Century Fox Brazil)

This is a genre film. It’s a trading places story which is funny and elevated due to the tremendous performances of the ensemble specifically Tony Ramos and Gloria Pires. While very few of these films go out of their way to try and explain the catalyst of the switch this one does. While in other films most notably Freaky Friday the switch is caused by a minimal twist of fate like a fortune cookie. This film operates on a much more cosmic level with planets aligning, which makes you wonder why they’re the only ones, especially considering the jokey ending which, seemed to imply another switch which would’ve been impossible by the rules established at that point.

Another thing that absolutely undoes all the good work of the cast is the fact that the cat should be let out of the bag about their trading places when Ramos’s character, now a woman trying to pass herself as a man, receives a phone call from her husband trying to live as a woman; at that time of the month and in need of guidance. Unfortunately, the secretary announces it’s his wife so the staff overhears part of the conversation chuckles, this is not something that can be forgiven. He should’ve tried to cover by saying it was a mistake and it was his daughter calling. Worst still this occurrence was about where Act II was turning to Act III so it lightened the climax and rendered it an anti-climax because there was no longer the risk of being found out. We know they will understand one another and the opposite sex better. That’s a given of this subgenre what we need for entertainment purposes is some suspense.

It’s a harmless film in the end. It’s not the kind of bad film that gets you angry but just upset that great performances and talents were wasted in a simplistic tale with obvious flaws that could’ve been easily corrected.

Review- You Again

Posted on by bernardovillela

You Again is now available to stream on Netflix.

You Again is a film that ultimately sinks or swims on the strength of its actors’ performances and due to them it manages to stay afloat.

While the concept is not shockingly original what it did promise was the comedic possibilities of the mirrored stories of high school torment as experienced by both mother and daughter which are to be relived through coincidence brought to their attention by an upcoming family wedding. Where the film falls just a bit flat is that there could’ve been more balance between the disparate rivalries but ultimately it is overwhelmingly about younger set, which makes sense but there are a few issues there.

Now all that is not to say it isn’t funny. It does have its share of laughs. Certainly more than last weekend’s other offering, The Virginity Hit, it’s just matter of some squandered potential.

In terms of performances the four leading ladies certainly deserve their mention. Jamie Lee Curtis and Sigourney Weaver both play to their strengths from start to finish in roles seemingly tailor made for them. Curtis excels in her enthusiastic, slightly goofy and affable role and is a perfect foil to Weaver’s sophisticated, high society businesswoman who puts on airs. Their interaction is why you want more of them. Kristen Bell and Odette Yustman both do very well with their parts even if at the end the truthfulness and motivation of Yustman’s character is somewhat suspect.

The now seemingly standard Betty White appearance was as expected rather funny even with the gag at the end which was a bit much. However, the glue that holds the film together and in fact helps this film be more relatable to a male audience are Mark (Victor Garber) and Ben (Billy Unger). Not that I think that the label “chick flick” is completely apropos as these struggles in high school could just as easily be about men with some slight variations but the target is women. However, with Garber’s character, as Gail’s (Curtis’s) husband, who tries to but can’t quite grasp the situation and Ben, Gail’s son and Marni’s (Bell’s) younger brother, who lampoons the situation brilliantly stealing quite a few scenes along the way, it allows men to find characters with which the identify and ultimately it can bring a wider audience into the story as these characters get involved in the conflicts.

With a film of this type there is the almost mandatory scene where things all come tumbling down for the protagonist. However, I feel that the apparent defeat here is a bit undermined by the toast right before what Marni actually does orchestrate. Things play out such that she could’ve actually escaped with less of the blame and she came out looking better and less conniving than she would have and was intended. Had the start of the Third Act played out differently it might’ve had more impact.

You Again is a funny piece of escapist cinema that could’ve been a little bit more if only a few things had been different. Having said that there is still a good time to be had.

6/10

Make Your Own Film Festival- Pick A Country (Part 5 of 7)

Posted on by bernardovillela

Windows doesn’t discriminate between regions any longer, and neither does Macintosh. Even if they do you should get a warning when inserting a Non-Region 1 DVD (meaning one made for distribution outside the US, Canada and Mexico) saying what region it is and asking if you want to change your computer’s region. Typically, there has been a set limit on how many times you could change regions before it became a permanent switch. Even if your computer is more finicky you still have an opportunity to watch many more DVDs, many of which you can only find online, that you never thought you could before.

Some foreign films have limited appeal and distribution internationally. With that in mind you should take that into account when traveling overseas and pick up some movies you won’t find in the US. Taking that in to consideration this critic made a number of purchases when in Brazil in 2008 to set up a mini-festival.

Avassaladoras (Overwhelming Women)

Overwhelming Women (Fox Filmes do Brasil)

This is the kind of film that would be described in Brazil as “sugarwater,” sweet, simple and ultimately disposable lacking any depth or substance. Granted it does try and in the end it is an anti-romantic comedy in as much as our protagonist gets no one in the end. It is so singularly focused on her finding someone that it barely builds her or any other semblance of a subplot. It is very narrow-minded throughout.

The cast is decent. Caco Ciocler appears here as well and is hardly recognizable and extremely funny. It goes a little over the top at times but at least it is generally light but the resolution in the end is facile and its oncoming was buried. Though they were fine Giovanna Antonelli and Reynaldo Giannechini were underutilized here and their relationship, though understandable, was quite odd until they finally speak to one another.

It is likely this kind of film and the next that give Brazilian films a bad name in Brazil. It’s a genre film, the likes of which we’ve seen thousands of come out of the US so why bother when they can be just as bad coming from the States? Also the idea could likely be better executed on television and at least would be more acceptable light fare in that medium.

Review- Bad Teacher

Posted on by bernardovillela

Cameron Diaz in Bad Teacher (Columbia Pictures)

Bad Teacher is a weird little film. The further removed I’ve gotten from seeing it the less I’ve liked it though there are definitely issues I had with it right from the start. If anything that just goes to show you how disposable it is. While it takes a few pot shots at education that anyone who reads on occasion can take it doesn’t go there enough to be considered a satire and what it does decide to do is not well-executed enough to be memorable.

The level of funniness in a comedy is the ultimate barometer. This film did have me laughing consistently throughout but as opposed to something like Bridesmaids where my two friends and I each had favorite scenes nothing stands out tremendously. Aside from that a truly successful comedy is a rather mindless affair on its first viewing if you’re thinking about the plot or consequences of things the film is usually in trouble and that’s what happened here.

When the filmmakers decided to call this film Bad Teacher they weren’t kidding. The problem is she’s not just comedically inept at her profession she’s criminally inept at it that and she’s so inept that even if at the worst school it’s hard to believe she’d get away with these kinds of transgressions for that long.

The phrase minimal attempt can be applied to this film on more than one occasion. Firstly, there is a minimal attempt made by the Bad Teacher to fly right and get these kids to actually learn in pursuit of her goal: breast implants. Then there’s also a minimal attempt to establish her character aside from her suckishness at her job. Her marriage ends because she is a suspected gold-digger and nothing is done to dissuade us.

While she talks about getting into teaching for the wrong reasons perhaps that backstory should’ve been shown not said as well.

Now for the Tits McGuffin. It’s one of the longest McGuffin’s I could remember and while it makes perfect sense why she makes the decision she does I’d liked to have seen that decision not just the evidence. Furthermore her change in vocation is something I like but while it’s conveyed visually perhaps it could be set up with a short conversation with the principal.

The pace of the film overall is quick, however, some parts seem glossed over that shouldn’t and others that need expanding remain thin.

Fair warning that there is a good deal of impunity in this film and that’s something moralistically that you have to sort out on your own. However, one thing I will say is that this is the kind of film that maybe would benefit from a more modernistic approach to comedy with a bit more character-building. However, it is funny enough for me to pass it with a marginal grade of…

6/10

Review- Alabama Moon

Posted on by bernardovillela

Uriah Shelton, Jimmy Bennett and Gabriel Basso in Alabama Moon (Faulkner-McLean Entertainment)

Alabama Moon is a film whose road to distribution was a long and winding one. In fact, it’s eventual home video release (which is how I ended up seeing it) was delayed because it finally got a limited regional release in the Gulf states, mainly Alabama (naturally). It’s worth noting that this model is not unusual. The straight-to-video release isn’t as profitable as it once was, and for some reason just as maligned even in this Streaming Age, so limited releases will act as a springboard for DVD sales.

Alabama Moon tells the tale of young Moon Blake, a boy who is raised in the woods by an eccentric father who is wary of both modernity and the government. Very early on, and rendered rather dramatically, Moon loses his father and much of the film will deal with how Moon tries to cope on his own, while trying to avoid authorities like a bumbling quasi-humorous cop played by Clint Howard or the clutches of a reformatory.

The standout of the film is the performance of Jimmy Bennett, who plays Moon Blake. He was most recently JJ on No Ordinary Family but is perhaps known for playing young James T. Kirk in the Star Trek reboot. While Bennett has played in much grittier, darker and dramatic vehicles before such as Trucker and The Heart is Deceitful Above All Things this may just be his best performance to date. This role demands a lot of him not just in terms of highly-charged emotional scenes but also some comedic timing is required and he needs to be a grounded normal-seeming character in the film’s goofier moments. As I tweeted immediately after watching it he basically makes it worth watching on his own and is “crazy good.”

There are other performances of note as well. Those deserving first mention are Moon’s friends played by Gabriel Basso and Uriah Shelton respectively. They play very different kinds of characters but are equally good foils because it never seems unnatural that Moon would befriend either because they both seem to reflect disparate aspects of his personality both a fighter and a quiet, solitary type.

The adult casting offers more mixed results. John Goodman’s character thankfully plays a more crucial role later in the film than it seems he will early on and is very well played. Then we come to the last key figure which is the police officer played by Clint Howard. Now merely casting Clint Howard, or that you can cast him in the part, is already an indication of how you intend to play a part. Howard can play a creepy menacing type but more often than not he’s goofy and here he’s like a mean-spirited Barney Fife only less competent.

It’s in that writing and casting decision where the die is cast that the tone of the film will be a balancing act between very serious drama in a coming-of-age vein and lighthearted borderline screwball comedy that must counterbalance one another. It is to this film’s credit that it manages to keep them both in check and make the film both light viewing and emotionally engaging at the same time and also some of that credit once again goes to the cast.

The film manages to deal with quite a few themes in a subtler than expected manner despite the variegated tone. One of the main ones being individuation from parents specifically that one can accept their parents’s faults, love them for who they are and learn from them but must eventually learn to see the the world, and interact with it, in their own way.

It may be easy to read this review and see why this film has fallen through the cracks as it’s not exactly the easiest to pigeonhole, however, I hope that in reading this review you have also found it is worth your time.

I was rather pleasantly surprised by this film and I’m very glad I tracked it down.

8/10

Review- Pirates of the Caribbean: On Stranger Tides

Posted on by bernardovillela

Penélope Cruz, Johnny Depp and Ian McShane in Pirates of the Caribbean: On Stranger Tides (Disney)

The Pirates of the Caribbean series has, in my estimation, run the gamut from being rather enjoyable to creating the worst film of a given year. What has been consistent, and you may even go so far as to say pervasive, in the series is that there has never been one that was the fullest possible realization of the narrative presented. Even in the enjoyable ones there have been very blatant issues holding it back. While being one of the better ones this installment is no different.

The beginning of the film, ironically when set on dry land, is quite entertaining. Full of action, humor and even a bit of intrigue. The former being in the guise of who is assuming Sparrow’s identity. It keeps a lot of this enjoyable energy throughout but its grasp on it becomes slippery as the film progresses.

One minor element, which I thought would be (and was thankful it was not) a point of elaboration, was the zombies. They were just sort of there, which is rare for zombies and I was thankful that it’s an affectation and not a distraction.

Speaking of affectations we come to Johnny Depp, who perhaps has more affectations in this character than in any other. Depending on the plot this character has been very hit or miss. The enjoyability of Jack Sparrow walks a tightrope in the sauntering, off-balance way Depp himself walks as Sparrow. Sometimes the narrative supports his goofiness and others it loses it edge and plummets: here it’s funny.

As a matter of fact a lot of the film is funny. The humor keeps this film ticking even through some of its major problems, which will be dealt with shortly. There is enough peppered in to keep it interesting for even the spectator most inclined to be disinterested.

There are many characters in the film and that does become a bit of a problem as a simple tale gets convoluted with a bit too much intrigue. The constant need the film feels to keep tabs on all them (at least for a time) makes it drag despite the comedic efforts of some.

This is just one of the factors that lead to the running time to balloon and the pace to suffer. The other being the romantic subplot which really comes from Philip (Sam Clafin), the abducted cleric who doesn’t serve a purpose other than to involve himself in this romance with the mermaid (Astrid-Berges-Frisbey) and inflate the running time. The relationship between Sparrow and Angelica (Penélope Cruz) is more love/hate or antagonistic than a proper love story and their fate is predictable after a certain point.

Oh, yeah the 3D. Um, don’t bother. Had I not seen it abroad for an absurdly cheaper price than I could watch it here I would’ve been peeved about paying 3D prices for that; rather ineffectual.

Overall, I did enjoy the film despite dreading it going in. So it gets a pass.

6/10

Review- Thor

Posted on by bernardovillela

Chris Hemsworth and Natalie Portman in Thor (Paramount/Marvel)

To make it very clear I have in the past set down a list of rules regarding adaptations of any materials wherein I try to divorce myself entirely from the source material when gauging a movie. Meaning that I will not comment on adaptation choices or omissions. With Thor that task was much easier as my knowledge of both the legend and the Marvel rendition thereof is severely limited so I came into the film with a fairly clean slate.

Perhaps what is the most surprising part of the story to me is the fact that the film struck a very good balance of locations. It started for an extended period of time in Asgard establishing the characters and setting up Thor’s predicament and then after he’s exiled to earth switches back frequently. The advertising did make it seem as if it’d be very heavy on Earth-based action but I guess they just didn’t want you seeing too much of Asgard.

I think this balance serves the narrative quite well indeed. As Thor struggles to repent and reclaim his hammer at home the stakes keep on rising and events continue to conspire against him unbeknown to him. The pace is tempered so as the tale isn’t rushed and more meaning can be added to the spectacle rather than there just being a spectacle to behold and the audience “Oohs” and “Aahs” and walks out bloated by candy and soda gas.

You film buffs/comics fans out there might be aware, especially through the intimations made in prior films, that Marvel has been gearing up for an Avengers films. They have been doing so very methodically with slight dovetails in previous films. For the uninitiated where S.H.I.E.L.D. gets involved in the story has been the prelude to The Avengers. S.H.I.E.L.D. is more of a presence in this film as they cordon off his hammer in a makeshift compound and detain Thor for a while but they’re only as much of an obstruction as they have to be they never become an encumbrance to the plot as a whole.

Having said that if you should see Thor be sure to plan your bathroom trip carefully because you’ll want to sit through the end credits for a teaser and a cameo appearance.

What might perhaps be overlooked is that in a tale such as Thor where you’re dealing with gods in another realm, the Earthlings who find him and those trying to detain him is that acting is pivotal. It’s pivotal both in the casting and the direction of the film. Which is why Kenneth Branagh, as counter-intuitive as it likely sounded to you at first, is the perfect director for this vehicle. This is a man who made his name as an actor and a director by interpreting Shakespeare if anyone can infuse some comedy but also lend this kind of tale the kind of gravitas it needs to succeed it’s him. Yes, it’s strange to see his name attached to something CG-heavy but there umpteen thousand people involved in that aspect he’s just making sure the tale is communicated and it is.

Speaking of the effects they were absolutely fantastic. The most challenging thing for a film is to create a wholly new world and this clan did that with ease. There is some pretty effective creature-work in here too, chilling stuff. The effects, of course, can only do so much it’s merely an interpretation of the production design which is also great. The sets and locations, where they need to be, are grandiose and majestic and just marvelous.

And now for my token paragraph on the 3D. I did see it in 3D. I debated not seeing it in 3D. I don’t think I would’ve liked it one iota less if I had gone the conventional route. If you want to save some money go for it. The colors, scope and vistas will be just as impressive.

I will readily admit my expectations were not very high for Thor. I’ve given you the positives as there were many. It wasn’t perfect but it was darn good and enjoyable and left me wanting more no matter how I come about it (be it comics or a sequel).

8/10

Review- Win Win

Posted on by bernardovillela

Paul Giamatti and Alex Schaffer in Win Win (Fox Searchlight Pictures)

When writing a review I am not one who revels in deliberating on flowery prose with which to acknowledge the contributions of actors in a film. This is not to say an actors contributions to a film are insignificant, the prevailing reason for this fact is that as wonderful or irrelevant as a performance is, my opinion usually boils down to the narrative and how well it functions. However, on occasion you’ll find a character-driven piece that is so perfectly cast that it bears mentioning front and center.

That’s the case in Win Win. This film is all about its characters and each of the actors assigned to their respective characters could not be more well-suited, it’s quite literally pitch perfect. Paul Giamatti plays a more humbled and down-to-earth character than he’s usually given to toy with. The vulnerability there allows us to identify with him even when he makes mistakes and we know it at the time. He is flanked by friends who despite very different outward personas hide hurts from which they seek refuge. Each is played brilliantly by Bobby Cannavale and Jeffrey Tambor respectively.

The mentions of the cast will continue as necessary but I can proceed because what works best in this film is that it never devolves into a self-indulgent character study but allows the plot to flow from the characters.

It takes a sufficient amount of time to develop the characters and then allows the information to progress the story rather than have the plot move ahead and character development is left chasing. A prime example is Alex Shaffer’s character, he first shows up as a complication in Mike’s (Paul Giamatti’s) plan then we learn who he is, he wrestles to have something to do and then we discover he’s good. Director Thomas McCarthy’s gamble to find an actor who was a wrestler first paid off big time, as Shaffer plays the role of a disaffected teenager to a tee and adds more dimension to the role than perhaps was even written.

The dialogue in this film is funny and like everything else is character-driven. Nothing is flippantly tossed out for a laugh but everything grows out of who we learn these people are and how they’ll react to given situations. Jackie, Paul’s wife (Amy Ryan) is a prime example of this. A lot of her dialogue is hysterical but only within the context of who we discover she is and not inherently.

The characters get introduced to in drips and drabs such that we quickly, without being spoonfed, discover what makes them tick. The family dynamic is introduced with a triad of scenes each punctuated in profanity, the depths to which Terry (Bobby Cannavale) is suffering from his divorce is revealed slowly and almost as an aside and even wrestling, which ends up being a major component of the film, doesn’t get thrown into the mix straight away.

The film benefits greatly from having a very tight and neatly structured script that paces itself to perfection. Aside from making sound and effective narrative decisions it is great mechanically. As I was watching it I wondered if Newmarket Press had picked it up for the Shooting Script series (it seems it has not but hopefully it will).

The title of the film reflects itself in the narrative in a subtle way in as you get the resolution you wanted. Yet, it’s the manner in which it’s handled that’s the most satisfying. It’s not a sappy or stereotypical ending. Ultimately, the characters end up with what they want but not how they expected to get and not without sacrificing.

The climactic conflict that needs resolving to get to said point is also very well dealt with. To put it simply it’s wordlessly and cinematically resolved. There are times in life when we know words are futile and an action must either be forgiven or not and life must go on. This is even more true in cinema and few films realize and this one does.

This is a great serio-comic film that resonates with truthfulness and is the rare film I’d categorize as a must see.

10/10