BRUISED
As a first-time director, Halle Berry impresses in throwing a gritty emotional punch to an extremely familiar underdog story. And while it doesn’t fully connect – Berry’s performance definitely leaves a mark. Her portrayal as Jackie Justice – a shamed MMA fighter who’s contending in and out of the cage for redemption and for her son she’s unexpectedly reunited with – is dauntless with much humility. It’s a role that reminds audiences just how great of an actress she is. Unfortunately, the narrative itself doesn’t stand a chance as it has every single cliché coming out swinging, supplemented by subplots with no real substance. While far from a TKO, Berry’s efforts have enough fight to make this a small victory.
PASSING
Adapted from Nella Larsen’s 1929 novel, this is a complicated, fairly compelling character study of two Black women living a life full of prevarications. Tessa Thompson and Ruth Negga are a divine duo, illustrating a sorrowful sense of shame, jealousy, and embarrassment in pretending to be something they’re not. In her directorial debut, Rebecca Hall presents a layered period piece that deals with female and racial identity, and telling it in stunning black and white feels that much more meaningful. Regardless, you can’t help but tell there’s an emotional intent Hall is laboriously working towards that never entirely comes to fruition. There’s inarguably exceptional work happening here that’s worth admiring, yet not nearly as effective as the delicate material would suggest. Overall, as this tangled relationship reaches its conclusion, it’s rather abrupt and surprisingly substandard.
TICK, TICK…BOOM!
Jonathan Larson forever changed the bright lights of Broadway as the creator of Rent at just 35 years old. Though, in Lin-Manuel Miranda’s first-rate feature directorial debut, Larson is a theater composer counting down the days to when he turns 30 and feeling as though the career he seeks was the wrong choice and a waste of time. He’s working away on what he hopes will be a masterpiece in the making while suffocating under the stresses of a demanding creative process – consequently pushing his relationships and friendships further and further away.
It’s a no-brainer as to why Miranda would choose to get behind the camera for the first time to bring Larson’s musical life story to the screen. This is undeniably in his wheelhouse, and the genius vision he brings to this adaptation is quite affecting – constructing everything to feel inspiring and very much alive. And with his portrayal as Larson, Andrew Garfield is the best he’s ever been. He’s a tour de force, pouring his heart and soul into a role he manifests so magnificently. Miranda and the unbelievable talent assembled around him show Larson’s stunningly artistic gifts, his hardships, and what he gave within the short amount of time he had. Dreams do come true, and even though Larson died too soon to see it through, this is an emotional and eloquent tip of the cap to him and the magic of musical theatre.
Brandon Vick is a member of The Music City Film Critics’ Association, the resident film critic of the SoBros Network, and the star of The Vick’s Flicks Podcast. Follow him on Twitter @SirBrandonV and be sure to search #VicksFlicks for all of his latest movie reviews.
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