Author Archives: Keith Garlington

The Top 10 Films of 2015

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Can you believe we have reached the end of another movie year? That means it’s time for film critics, bloggers, and movie lovers to put together their Best of 2015 list. Some people roll their eyes at these lists and dismiss them as frivolous obligations. I’ve always loved doing them because they give us a chance to reflect on and debate the movie year that was. So let’s get to it. Below you will find my favorite films from 2015. It’s always tough leaving some movies out of my Top 10 so to remedy that I like listing my 11-20 picks as well. Here they are:

(Click on the movie title to read my full review)

#20 – “The Martian“
#19 – “Meru“
#18 – “Z for Zachariah“
#17 – “Everest“
#16 – “The Gift“
#15 – “The Connection“
#14 – “Slow West“
#13 – “What We Do in the Shadows“
#12 – “The Look of Silence“
#11 – “Creed“

Now let me share my Top 10 movies of 2015:

MISSION POSTER#10 – “Mission: Impossible Rogue Nation” – There are those who find it easy to dismiss the Mission Impossible franchise. Personally I’ve enjoyed them and the last two films have launched the series into a wildly entertaining direction. Just look at this year’s installment “Rogue Nation”, the best of franchise so far. Christopher McQuarrie helms this action-packed entry, but he does several interesting (and frankly unexpected) things. McQuarrie knows Tom Cruise is his star, but this time around Cruise steps back a bit and we see his character constantly dependent on those around him. McQuarrie also gives us a tough and independent female character superbly played by Rebecca Ferguson. The film hurdles all of the normal romantic and action tropes helping to make this a fun and entertaining ride.

 

PHOENIX#9 – “Phoenix“ – Despite several other contenders, Christian Petzold’s “Phoenix” may be the most haunting film I saw in 2015. This simmering post-World War 2 German period drama is a prime example of how slow-boiling storytelling can sometimes be the most riveting and potent. The superb performances, especially the lead work from Nina Hoss, portray broken characters, hulls of their former selves, each bearing their own heavy burden. The story deals with the after effects of the Holocaust, intimate betrayal, loss of identity, and more. It pushes its implausibility to its limits yet it feels perfectly suited for the parable being told. “Phoenix” is intriguing and subtly suspenseful from those quiet personal early moments to the satisfying final exhale. This is an enthralling tale from a confident filmmaker.

 

BEASTS poster#8 – “Beasts of No Nation” – One of the more interesting stories of 2015 was “Beasts of No Nation” and not strictly the film itself. In October it released in theaters and on Netflix at the same time. The Netflix release riled up the four biggest American theater chains who refused to show the film. While this had to have hurt it to a degree, positive word of mouth quickly spread. I’m glad it did. “Beasts” is a stinging and visceral spotlight on child soldiering told through the eyes of a young war orphan. Writer and director Cary Fukunaga stays away from regional politicking and keeps his story more personal (something a few critics have found disappointing). It’s a great move that keeps the film in a better place. Throw in an eye-opening debut performance from Abraham Attah and Idris Elba in top form and you have one of the year’s best.

 

Brooklyn POSTER#7 – “Brooklyn” – There is something to be said for simplicity in both filmmaking and storytelling. “Brooklyn” encapsulates that idea by telling a simple, straightforward story with a classical approach. But don’t let my words fool you. Director John Crowley and writer Nick Hornby inject the film with several subtle but creative strokes that make this more than just a simple old-fashioned love story. “Brooklyn” is sweet and sincere. It dances close to convention and cliche but it never goes that far. Its focus stays grounded and personal. And then there is Saoirse Ronan. This is her best work in a career defined by good performances. And she does this at 21 years-old. It’s hard to grasp the level of maturity shown in this performance from such a young actress. What a travesty if Ronan doesn’t get an Oscar nomination for her work.

 

ELLY POSTER#6 – “About Elly” – Some may call this a cheat and I can see why. “About Elly” actually premiered overseas in 2009 but ridiculous distribution tussles kept it from coming to the United States. That changed on April 8th when “About Elly” finally nabbed a limited US release. That’s one bit of reasoning I used to have it on this list. The other being that this is a spectacular film that deserves to be talked about. It’s written, produced, and directed by Asghar Farhadi who is easily one of the best filmmakers working today. This immersive drama is a sharp and intelligent examination of relationships under stress from a writer who is one of the best at penning thoughtful, introspective dialogue. “About Elly” is right up there with Farhadi’s Oscar-winning “The Separation” and this film again defines him as one of the best pure cinematic storytellers on the planet.

 

SICARIO poster#5 – “Sicario” – Emily Blunt, Josh Brolin, Benicio Del Toro, cinematography by Roger Deakins, direction by Denis Villeneuve. When you read that list of incredible talent involved in making a movie it has to grab your attention. “Sicario” certainly shines as a result of the contributions from each of these components. Blunt, a long time favorite actress of mine, stars in this action thriller centered around drug trafficking along the US/Mexico border. She is fantastic. Brolin plays a role right in his comfort zone. Del Toro steals the show with a tough, cryptic supporting performance. Deakins’ cinematography is strikingly diverse and features some of the best shot sequences of the year. And Villeneuve is a director that has developed his own unique vision and style. And despite an impressive resume, “Sicario” is his best work to date.

 

ROOM POSTER#4 – “Room” – Great things often come in small packages. Okay, so that is a pretty corny thing to say, but it certainly fits when talking about Lenny Abrahamson’s “Room”. This potent and often heart-shattering film is one-half mesmerizing thriller and one-half intense relationship drama. The story’s centerpiece is the love between a mother and her 5 year-old son despite their immensely harrowing circumstances. The film shows us a love that endures, sustains, and saves. The script by Emma Donoghue (based on her own best selling novel) is superb, but it’s the two lead performances that make the film so absorbing. Young Jacob Tremblay is stunningly authentic in what I believe is the best child performance in decades, and Brie Larson does career-defining work that should earn her the recognition she deserves.

 

STAR WARS POSTER#3 – “Star Wars: The Force Awakens” – The sheer audacity required to make this movie is mind-boggling. Being able to do it as well as J.J. Abrams has is amazing. But despite the pressures and expectations, “The Force Awakens” is a really good film. More importantly it is a Star Wars movie through and through. That may sound like nonsense but fans know exactly what I mean. Abrams and company have managed to capture the essence of what makes these films the most cherished franchise in entertainment. This is a dual purpose movie. It serves to connect the old with the new and it injects a fresh energy for this and future installments. It’s nostalgic, funny, exciting, and unapologetically Star Wars. For that Abrams deserves a ton of praise.

 

MAD MAX POSTER#2 – “Mad Max: Fury Road” – The very moment I left the theater back in May I knew that “Mad Max: Fury Road” would be one of my very favorite films of the year. I was really excited for a new Mad Max picture, but all I expected was a wild post-apocalyptic action romp. It is definitely that, but to say it is nothing more would be such a disservice. George Miller embraces and bucks so many action movie trends all at the same time and he does it with gloriously violent artistry. The action is non-stop and shown via the most dazzling visual presentation I have ever seen. But there is more to it than that.  The subtleties of the story combine to create something far more meatier than you may think, and Tom Hardy and Charlize Theron are lights out. This is arguably the best action film of the last 10 years.

 

SPOTLIGHT POSTER#1 – “Spotlight” – I don’t think any other movie from 2015 captivated me by the sheer brilliance of its storytelling quite like Tom McCarthy’s “Spotlight”. Pulling inspiration from a number of classic filmmaking approaches, McCarthy centers his movie around an important and compelling story. By that I mean everything he does is in service of the story he is telling. His direction never outshines it. Same with the stellar cast. This is an ensemble film in the truest sense and the entire cast is more interested in the greater story than big character moments. I would also call this the greatest newsroom procedural ever made. Big words for sure but they fit. Great performances, impeccable pacing, and a script so fluid and rich that I hung on every spoken word. I knew this would be my favorite film the moment I left the theater.

REVIEW: “Phoenix”

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It seems that any movie that deals with the Holocaust, either directly or indirectly, automatically assumes a special level of scrutiny. Undoubtedly the solemnity of the subject matter comes into play. There is also a caution towards anything that may be deemed exploitative or irreverent. I respect that although I do think the defensive stance can sometimes be a bit too harsh in judging a creative vision. That being said, I like that filmmakers are still exploring the Holocaust in unique ways.

Christian Petzold does just that. He directs and co-writes “Phoenix”, a simmering drama set in post-World War 2 Germany. Petzold favorite Nina Hoss plays a Holocaust survivor named Nelly who sustains a gunshot wound to her face while at Auschwitz. Once the concentration camp is liberated Nelly is cared for by her friend Lene (played with a calculated quietness by Nina Kunzendorf). Lene arranges for Nelly to have reconstructive surgery in hopes that she will look exactly as she did before. Unfortunately the trauma is too extensive and the surgeon can’t quite recreate her past appearance.

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The two return to Berlin where Lene finds them an apartment. Lene tells Nelly that she is due a substantial inheritance and recommends using it to go to Palestine where as Jews they can feel safe. But all Nelly can think about is her husband Johnny (cryptically played by Ronald Zehrfeld). Against Lene’s wishes, Nelly seeks out Johnny who is working at a night club called Phoenix. What follows is a twisty, melancholic story that plays with the ideas of identity, betrayal, loss, and discovery.

One of my favorite things about “Phoenix” is the ever-present cloud of uncertainty and mystery. I wouldn’t call this a thriller, yet it has this potent, understated suspense that exudes an almost Hitchcockian vibe. We even get this from the characters particularly Johnny. The film lures us in to make judgements about him only to later cast doubt on our perceptions.

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And then there are the performances, a collection of some of the year’s best. Hoss’ tempered, haunting portrait conveys a woman who is a shell of her former self but who desperately grasps to reclaim her former life. Hoss visualizes her mental trauma without an ounce of flashiness or mendacity. Kunzendorf is equally good in her handling of a character hurt and hardened by the atrocities and frustrated by the quick willingness to forgive. And then there is Zehrfeld who flawlessly works with the material to give us a character so fully hard to read.

These three performances keep the story moving at a hypnotizing slow boil right up to what is the most subtly devastating final scene of the year. The story sometimes pushes the bounds of implausibility yet it is never a problem within the film’s parable-like framework. “Phoenix” deals with the aftereffects of the Holocaust without digging too deeply into the particulars. Instead it stays focused on Nelly, a character every single one of us will have no trouble sympathizing with.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “The Connection”

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It was back in 2011 when Jean Dujardin caught the collective eyes of the movie world by winning the Best Actor Oscar for his fabulous work in “The Artist”. It was the first time many people had heard of Dujardin, but in reality he had already established a good career and shown himself to be a solid actor in his home country of France. A quick gander at his body of work reveals an actor with an impressive range who can handle any genre.

In “The Connection” the charismatic Frenchman dives into the 1970s drug trade and delivers one of my favorite performances of the year. The film is based on the French Connection, not so much the movie (although comparisons are inevitable), but the real life network that saw heroin processed in France and then distributed around the world most notably New York City. The French Connection’s roots go back as far as the 1930s but the film examines the time period during the 1970s when the network began to unravel.

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Dujardin plays Pierre Michel, a juvenile court officer who gets promoted to Magistrate of Marseille’s organized crime unit. Michel immediately sets his eyes on a powerful drug gang called la French which is ran by the hard-nosed Gaètan “Tany” Zampa (played with a sadistic charm by Gilles Lellouche). Despite the concerns of his reluctant team, Pierre begins chipping away at Zampa’s network. But he learns the hard way that bringing down such an elaborate and ruthless organization isn’t without costs.

Director Cédric Jimenez allows his crime thriller to expand beyond the police station and streets. We also spend time at Pierre’s home where his wife Jacqueline (Céline Sallette) grows tired of his obsession with his work. Her frustration and his work-related stress make home life difficult. There is also the possible threat to his family which grows with each dent he makes in Tany’s outfit. All of this adds another layer to Pierre’s character. He moves from an ambitious crusader to a man left broken, helpless, and overwhelmed.

But the film also spends time inside of Tany’s world. He’s a good husband to his high maintenance wife and a loving father to his children. But when dealing with business we see an entirely different side – one not afraid to extort or kill. We see the layers of his drug operation and the lengths he will go to protect it. Tany begins to feel the pinch from Pierre’s team which leads to bloody infighting with one of his lieutenants. The violence ramps up leading Pierre to be more aggressive. But you always get the sense that Tany has the upper hand.

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Again, some will make the mistake of comparing this to the beloved William Friedkin film “The French Connection”. I see it more as a companion piece that looks at things from a different angle. “The Connection” is doing its own thing. Much of the film operates like a meticulous police procedural instead of an action-heavy police flick. It deals us a lot of information, but it’s laid out intelligently and cohesively. The story isn’t built around its action. Instead it is about connecting the dots and it plays its compelling cat and mouse game through clues and discoveries. I loved that approach.

“The Connection” is a strong film that deserves to be judged on its own merits and not by some unnecessary comparison. Shot completely in 35mm, the film looks great and features a strong story centered around two thoroughly compelling characters. It also features another superb performance from Jean Dujardin. The film does run a bit long, but I never felt bogged down or bored. Instead I was completely immersed in this intelligent and detail-driven police drama that is well worth seeking out.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “While We’re Young”

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Noah Baumbach has made a career out of making movies about unlikable or generally unhappy characters. Many of his walking human complexities exist in various stages of lethargy, denial, or dissatisfaction. But at the same time the characters he creates drip with humanity and they are fascinating to watch. Yet with all of that being said, I don’t always fully go for his movies.

“While We’re Young” is another of Baumbach’s mixed bags. It is a sincere and genuinely human comedy that connects due to its observational honesty and its willingness to address real emotional struggles. But like a few other Baumbach projects, it doesn’t fully see its promise through and the final act of the film wanders away from what makes the story initially so compelling.

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Ben Stiller and Naomi Watts play Josh and Cornelia Schrebnick, a middle-aged couple living in New York City. Their past difficulties in having a baby are highlighted with the birth of their best friends’ daughter. Josh and Cornelia attempt to brush aside their feelings of disappointment and unfulfillment by focusing on the freedoms they have as a family of two. But even that is effected by the plain ol’ fact that they are just getting old.

Josh is a movie documentarian who has been stuck in the rut of an eight year film project that shows no signs of nearing completion. After teaching a continuing education class at a local college he is approached by young twenty something couple Jamie and Darby Massey (Adam Driver and Amanda Seyfried). The Massey’s invite Josh and Cornelia to dinner where we learn Jamie is an aspiring documentarian and a huge fan of Josh’s first film.

Josh and Cornelia grow infatuated with their new young hipster friends and their exaggerated retro styles. They feel young and energetic whenever they are around Jamie and Darby and they begin feeling a disconnect with their old friends. But is this simply a refuge from their insecurities about getting older, or is the old adage correct – you’re only as old as you feel?

For most of the film Baumbach explores that question through a number of smart and witty conversations and situations. We see the Schrebnick’s, particularly Josh, open up and embrace new things. He puts aside some of his closed-minded, exclusionist perspectives and sees creativity and life in general through a new lens. But at the same time Baumbach is shrewdly pointing a finger, not at Josh but at the Masseys; asking compelling questions about the younger generation.

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Baumbach’s film works on so many levels but it also has its flaws. Stiller and Watts each convincingly play their individual parts. Yet there are moments where I couldn’t quite buy into them as a couple. There are also a few moments where the normal sharp wit gives way to the juvenile. For example, an Ayahuasca scene leads to a running vomit gag that never seems to end. I mean who doesn’t laugh at vomit, right? And the biggest problem is in the last act when the story loses its focus a bit and ventures off in a direction that simply wasn’t that interesting.

Baumbach is a unique filmmaker who tells unique stories. His tales rarely venture outside of his confined view of life, love, and relationships but that’s what provides his films with their own flavor. “While We’re Young” gives its audience things to ponder and to chew on while also being deftly funny and unflinchingly human. It just can’t quite see its strengths through till the end. It’s still a good film. Not “Frances Ha” good but hey…

VERDICT – 3.5 STARS

3.5 stars

REVIEW: “Star Wars: The Force Awakens”

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Caution, concern, skepticism, uncertainty. These are just a few words to describe my feelings after hearing a new Star Wars movie was on the way. After all, we aren’t talking about making any old thing. J.J. Abrams was taking what is arguably the most popular brand of any entertainment form and bringing it back to the big screen. He was tinkering with a property known for having the most passionate, the most protective, the most dedicated, and the most outspoken fan base. He was tackling a franchise viewed as more than a simple series of movies by millions of people from practically every demographic. Abrams was making a new Star Wars movie. No pressure.

Let’s be honest, when Disney acquired the Star Wars brand from George Lucas for $4.06 billion there was reason for Star Wars junkies like myself to at least be cautious. The Disney-fication (my new word) of Star Wars worried me. Then J.J. Abrams was given the keys to the new film. Abrams, a guy I have always seen as hit-or-miss, is best known for rebooting the Star Trek film series. But he didn’t only reboot Star Trek. He completely altered the structure, tone, and feeling of the Star Trek universe replacing it with a hip new Hollywood version. That’s the last thing I want in a new Star Wars picture.

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Abrams, a self-admitted Star Wars fanboy, has said all the right things when talking about the new film. He directs, co-writes, and co-produces “The Force Awakens”, which is essentially Episode VII. It is a film positioned as a conduit connecting the old to the new as well as an injection of fresh energy for a new generation. That sounds good, but can it deliver? Can this new era of Star Wars suck me in like the previous efforts. An answer was hinted at once John Williams’ score struck that glorious and familiar opening note.

I was able to avoid spoilers and all story details which made my viewing experience all the better. For that reason I’ll stay away from any semblance of a plot synopsis. But let’s just say the film starts with a bang and we are quickly introduced to the franchise’s new players. Abrams wants us to make early connections with these folks because they are clearly set to be key ingredients in this film and the franchise in general.

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On one side we meet the resourceful scavenger Rey (Daisy Ridley). She’s the highlight of the new bunch – a strong independent sparkplug who is remarkably resourceful yet burdened by her past. We get the jittery, disillusioned Finn (John Boyega). He’s the film’s cowardly lion – a man with a conscience but who is too afraid to follow it. Boyega goes full throttle in every scene which isn’t always the best acting choice. And then there is Poe Dameron (Oscar Isaac), the best pilot in the galaxy. He’s a cool, rousing Han Solo type but with Luke Skywalker’s unwavering devotion to his cause. And then there is the little droid BB-8, an example of a cutesy character done right.

 

In the other corner we have The First Order, an evil Third Reich-ish force risen from the ashes of the Empire. They are led (or are they) by the volatile and dangerous Kylo Ren (Adam Driver). He is driven by an almost maniacal obsession to be the most feared person in the galaxy. There is the smug opportunist General Hux (Domhnall Gleeson) whose lust for power rivals that of Kylo Ren. He operates a Nazi-like military force and flexes his murderous muscles at will. But there is also the shadowy enigmatic Supreme Leader Snoke (Andy Serkis) who we only see in a familiar grainy hologram form.

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And then you have the classic characters who Star Wars fans love. It has been roughly 30 years since the events of “Return of the Jedi” and names like Han, Luke, and Leia are spoken of by many in near mythical terms. Harrison Ford returns as Han and he gets the bigger chunk of screen time. He’s slower, grayer, but ever the cool space pirate. He and his howling compadre Chewbacca feel as if they haven’t missed a beat. Leia (Carrie Fisher) is focused on leading the resistance movement against The First Order. Luke (Mark Hamill) has disappeared after a particularly troubling event. And of course there is C3PO and R2D2. Seeing these characters again is exciting for any true fanboy. I do think there are moments between them that deserved a little more attention, but I’ll leave that one alone for now.

The real trick for Abrams is juggling all of these characters both old and new. To help he brought in writers Michael Arndt and Lawrence Kasdan (who also worked on the scripts for “The Empire Strikes Back” and “Return of the Jedi”). The script works mainly because the characters never get lost in a deluge of special effects. Each are given their own moments particularly the new faces who are well-developed and left with enough questions to be intriguing.

Speaking of the effects, there is a ton of CGI yet it never looks overused or blatantly obvious.  As good as the prequels often looked there were many instances where Lucas would visually overload his screen. Not here. Regardless of how fantastical things get, the special effects work to promote the setting, the characters, or the story. The new weapons, vehicles, and technology are fun, much of it based on blueprints from the original trilogy. Star Wars has always been known for its top-notch sound design. Here is no different. And Williams’ score is perfect sometimes feeling plucked right out the earliest films.

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Seasoned Star Wars fans will notice several nostalgic throwbacks, entertaining Easter eggs, and cool bits of fan service, but in a sense this contributes one of the film’s few problems. It plays it too safe specifically in the final act. Don’t get me wrong, I love the fan service. It struck a strong chord with me. But at the same time it kept the big ending on a relatively short leash. It was way too familiar down to certain details. Not bad by any means, but very familiar. It could be that Abrams feared alienating the tough-minded and vocal fan base. I can respect that. Now that he has expressed himself as a Star Wars loyalist I’m hoping the next installments will take us into some newer directions.

But enough of that. I am so happy to be able to stand up and tip my hat to J.J. Abrams. Talk about a bold and pressure-filled undertaking. Taking the reigns of the biggest entertainment franchise in the world was gutsy and the pressures to deliver a new yet faithful sequel were intense. But he does it. “The Force Awakens” is a fun, action-packed tablesetter for a new era of Star Wars. It has heart, emotion, and a childlike exuberance that should spark a flicker of excitement in even the most hardened person’s heart. But most importantly it FEELS LIKE a Star Wars movie. That may sound a bit silly to the more casual audience, but Star Wars fans know exactly what I mean and that may be J.J. Abrams’ single greatest accomplishment with this film.

VERDICT – 4.5 STARS

4.5 STARS

REVIEW: “Room”

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Each year a handful of movies come along, movies I was completely unaware of, and they absolutely blow me away. It’s one of the real treats of the movie year – being blindsided by a high quality film. More often than not these are smaller independent pictures that unfortunately don’t get the same press or push offered to many lesser big budget films. The succinctly titled “Room” leads this year’s small but admired group of fantastic cinematic surprises.

Irish director Lenny Abrahamson’s “Room” is based on Emma Donoghue’s 2010 award-winning novel of the same name. Donoghue was hired to handle the screenplay of what is essentially two stories. The first half is an entrancing mystery thriller while the second half deals directly with the emotional aftermath. But the core thread that runs from start to finish and the true centerpiece of the picture is the relationship between a mother and her son.

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Brie Larson plays a young woman named Joy. At age 17 she was kidnapped by a man we only know as “Old Nick” (Sean Bridgers). Repeatedly raped over a seven year period, she is kept locked up in a semi-furnished garden shed. During that time she became pregnant and gave birth to Jack (played with startling authenticity by Jacob Tremblay). The two call their 10 x 10 home ‘Room’. Everything in it has meaning to young Jack (he often starts the day saying good morning to their few possessions). They have a bed, sink, toilet, bathtub, TV, a makeshift kitchen, and a skylight. They are never allowed outside. This is literally 5 year-old Jack’s interpretation of the world.

The first half of the film shows us life inside Room. Over the years Joy has created a fabricated sense of normalcy for her son. Room is the world and TV represents make-believe. Joy does everything she can to protect Jack from the reality of their situation. But sensing she can’t take anymore, Joy begins breaking down the pretend walls she created to protect her son and puts together a risky plan of escape.

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The second half of the picture deals with a young boy’s discovery of the real world and a mother coming to terms with a truly horrible ordeal. We are introduced to Joy’s parents who have split up in the seven years their daughter has been missing. William H. Macy plays Joy’s father who still can’t cope with his guilt and grief. Joan Allen is fabulous as Joy’s mom, a much more stabilizing and supportive force.

Much of the film is seen from Jack’s perspective. Abrahamson does a strong job capturing the amazement of hearing a telephone or seeing a skyline for the first time. We also witness the anxiety and fears of talking to other people or even walking down a set of stairs. Everything is new to Jack (when hearing a knock on the door for the first time he warns “The door is ticking.” Even the camera works to relay these feelings, often subtly dropping to Jack’s height to observe a conversation or move from one place to another.

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Young Tremblay’s performance is astonishingly genuine and the amount of emotional detail he gives is beyond his young age. And his chemistry with Larson is warm, truthful, and without a hint of artifice. Larson proved herself to be a strong dramatic actress in 2013’s “Short Term 12”. Here we see her taking on a much more complicated and demanding role. Here she does work so rich with feeling and nuance. It’s a career defining performance.

“Room” plays with so many compelling ideas – child rearing, media manipulation, maternal bonding, post-traumatic stress, and isolation just to name a few. It pulls you through a range of emotions, breaking your heart multiple times along the way. But there is an underlying hope to “Room” that is even present during the most grim moments. And ultimately this is a story of the power and saving quality of love. It’s not always easy to watch, but that beautiful theme shines brightly through the film’s uncomfortable and harrowing exterior.

VERDICT – 4.5 STARS

4.5 STARS