WICKED: FOR GOOD Review

With a More Interesting Narrative Perspective and Higher Stakes, Jon M. Chu's Follow-Up is a Meaningful and Compelling Conclusion to the Saga of the Wicked Witch.

RUNNING MAN Review

Despite Glen Powell's Star Power this is Director Edgar Wright's Least Distinctive Effort to Date as it's Never as Biting or Specific as His Riffs on Other Genres.

PREDATOR: BADLANDS Review

Dan Trachtenberg Continues to Expand on the Predator Franchise, this Time Making the Titular Antagonist a Protagonist we Root For and Want to See More Of.

AFTER THE HUNT Review

Director Luca Guadagnino's Latest May Not Have Been Made to Make Audiences Feel Comfortable, but it Might Have at Least Alluded to Something More Bold.

ONE BATTLE AFTER ANOTHER Review

Paul Thomas Anderson and Leonardo DiCaprio Team-Up for the First Time to Deliver a Thrilling, Timely and Ambitious Film that Delivers on Every Front One Might Hope.

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Showing posts with label Enrico Colatoni. Show all posts
Showing posts with label Enrico Colatoni. Show all posts

A BEAUTIFUL DAY IN THE NEIGHBORHOOD Review

A Beautiful Day in the Neighborhood is not so much about Mr. Rogers as it is about how the ideas and values Mr. Rogers taught permeated through unto others. Fred Rogers was, among many things, the host of a children’s television show, but he was seemingly first and foremost a psychologist who just so happened to practice through the veil of a children’s TV show. He used this platform to help children better understand the world around them, but as director Marielle Heller (Can You Ever Forgive Me?) conveys in her new film it wasn’t just the children who could gain something from Mr. Rogers' lessons in grace and humility. The movie works as well as it does not only because it takes a unique approach to the profiling of a very famous person, but because viewers are immediately endowed with the weight of Lloyd Voegle’s (Matthew Rhys) situation and quickly become invested in the complicated relationship he has with his father and how that fractured relationship has affected him in recently becoming a father himself. There is nothing that is necessarily revelatory or even terribly unique about Voegle's story (based on journalist Tom Junod's 1998 Esquire cover story), but Heller and screenwriters Noah Harpster and Micah Fitzerman-Blue pull us into the inherent drama of Voegle’s situation with the idea this could be anyone in any situation, but given the nature of his job it is someone like Voegle who was allowed the opportunity and access to Mr. Rogers needed in order to tell this type of story. This is Voegle's movie, make no mistake, as he is our lead whereas Tom Hanks' Mr. Rogers is merely a supporting player, but the arc that Voegle experiences is that of someone who's become a cynical adult and a relentlessly gloomy adult at that into someone who believes in the authenticity of Fred Rogers and therefore hopes to heal and better himself because of it. It is through his encounters with Mr. Rogers that Voegle is reminded of a childhood he could care less to remember, but Rogers doesn't so much care to remind him of his own childhood as he does encourage him to remember what it felt like to be a kid in the first place. We were all children once. This is Rogers’ mantra and something he reiterates time and time again in the rare moments he does return the favor and speak. And though A Beautiful Day in the Neighborhood might not be the faithful adaptation of Fred Rogers' life as it was purported to be in the marketing it very much captures the essence of who this man was and how the way he conducted his own life helped countless people navigate theirs.