Director: Channing Godfrey Peoples
Writer: Channing Godfrey Peoples
Starring: Nicole Beharie, Alexis Chikaeze, Kendrick Sampson

Synopsis: A former beauty queen and single mom prepares her rebellious teenage daughter for the “Miss Juneteenth” pageant.

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Channing Godfrey Peoples’ directorial debut Miss Juneteenth is the story of a single mom and her teenage daughter. Nicole Beharie stars as single mom and former Miss Juneteenth, Turquoise (Turq) Jones. The film focuses on the relationship between Turq and her teenage daughter Kai (Alexis Chikaeze). Turq wants her daughter to have a better life than she can provide. To her, winning the Miss Juneteenth pageant seems like the perfect opportunity that would allow Kai to achieve bigger and better things.

Miss Juneteenth is not your stereotypical “pageant” movie, it focuses more on family dynamics, the struggles of single parenting, and the differences between what parents want for their kids versus what they want for themselves. Turq encourages her daughter to participate in the local Miss Juneteenth pageant, a pageant she won herself shortly before giving birth to Kai. Participating in and winning the pageant would guarantee a full-ride scholarship to any historically Black college. Kai is willing to participate to make her mom happy, but her interests lie elsewhere. Turq isn’t your stereotypical “reality tv” or “stage mom”- she is a bit pushy, encouraging her daughter to do things as she did, but is never excessive or overbearing.

As the child of a single mother, this film hit home for me. My situation was not identical to Turq and Kai’s, but seeing a mom on screen willing to fight and work hard for whatever she thought was best for her child reminded me so much of my mother. We often don’t appreciate what our parents do for us until we are older and this movie reminded me of how amazing my mom is. I appreciate that the film shows that Turq isn’t perfect, but shows she has good intentions for what she does. Nicole Beharie is fantastic as Turq and a clear standout in the film. I hope to see her in more dramatic roles in the future.

The only flaws in Miss Juneteenth are it’s not an entirely unfamiliar story. It’s a plot we’ve seen before, but the settings and characters make this film stand out enough to encourage people to see it. I was also disappointed in how little the film addresses Juneteenth. Many people may have been unfamiliar of what Juneteenth is and its importance until very recently. In many areas of the country there is no widespread mention of it, it’s not taught in schools, and/or it’s not celebrated publicly. I figured a film with “Juneteenth” in the title would have included a little more background for viewers unfamiliar with the holiday. Miss Juneteenth does provide a little history on the holiday, but it isn’t integral to the main story. The movie would have been very similar if the pageant was not associated with Juneteenth.

Miss Juneteenth is a familiar but important film. Any movie willing to highlight the challenge of single parenting and the resilience of those families – not in an overdramatized setting – is one that should be acknowledged. Channing Godfrey Peoples’ Miss Juneteenth is real and both heartwarming and heartbreaking. It’s available to rent on multiple platforms such as Amazon, YouTube, and AppleTV in the US and Canada.

Overall Grade: B

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https://www.youtube.com/watch?v=oZgFBeTyg0U

Director: Natalie Erika James
Writers: Natalie Erika James, Christian White
Stars: Robyn Nevin, Emily Mortimer, Bella Heathcote, Chris Bunton, Jeremy Stanford

Synopsis: A daughter, mother and grandmother are haunted by a manifestation of dementia that consumes their family’s home.

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Who are you — the person who would describe a house as “well-constructed” or “has good bones?” Yours truly won’t be a part of the “good bones” club, that’s for sure, having been effectively unnerved by cinematic yarns where the abode is alive, both as a vessel and as its entire self, such as Poltergeist, The Changeling, original Amityville, Crimson Peak, mother!, et cetera. Monster House, too; chandeliers have been blacklisted ever since the film morphed it into an uvula…

Without a doubt, then, watching Natalie Erika James’ Relic is identical to reentering the fray, to again inspect creepy corridors and go up the scary stairs (and meet someone who wasn’t there). Just as soon as the film starts, the elderly Edna (Robyn Nevin, exuding The Visit vibes even with the more-restrained screen time) discovers that an unknown plus-one is in her home — a darkened, unmerry humanoid gift on Christmas night. This is also the only sequence where colors, borne out of the Yuletide lights, don’t want to escape the frame. Shortly after, Edna disappears. When her daughter Kay (Emily Mortimer, captivating) and granddaughter Sam (Bella Heathcote, reactive and thankfully being a character with more agency than the governess in Dark Shadows) pay a visit and no one returns their “hello”s, they carry out a search. Then, Edna reappears. Big Question time: Is the family matriarch still who she is, or is she now under the influence of the plus-one that is still playing resident (and is breathing moldy life into the residence)?

Kudos to James for making the “d” in the film she directed and co-wrote not (another) demon but dementia. It’d also be correct to say that the demon is dementia. No matter the thought, though, entertained is the notion that Relic will at one point transform, specifically from the conventional to the conceptual, or from the familiar kind of horror to one that is the stuff of fever dreams (but is the heart of the matter). Think Hereditary or Midsommar, with the major difference being James manages to hide when and where the transition happened. As a result, all that is proven when the setting that Edna, Kay and Sam are in mutates from a haunted dwelling into a rotting mind — testament of Steven Jones-Evans’ inspired production design — the unpleasantries stay charged in impact and relatable in nature. Also key in securing this outcome are Mortimer and Heathcote’s performances, particularly Mortimer who stays authentic as, initially, the as-designed prey for fear and, ultimately, a person whose eyes are now open to the burdens of caretaking (remember this, Edna is fine with Sam but frayed with Kay). The actress is why the ending shot of Relic is beautifully devastating and devastatingly beautiful; it’s been a while since a horror film draws a tear.

But let’s just assume you are the “heartless horror hound” type, and the reason you’ve knocked on Relic’s door is to — firstly — experience the scares. Although James doesn’t opt for loudness or tinker with the elements that often, her stealthy approach is the better, and best, call. Using patience, and with it, the moments that give the film its horror designation evoke a tangible sinister energy, at times to the point where its spikes or drops dictate the behavior of d.p. Charlie Sarroff’s camera. The choice is a smart nod to, and therefore an extension of, the black mold that is used to denote menace in the frame. And since this remains the choice until the end, there’s little difficulty in opening yourself up and validating the newer, truer and more human meaning behind the house that James has built.

“Decay is a certainty for all” is not a new subject matter in films, or horror films, but it’s rare to see it coming through successfully via tact. Relic is horrific and poetic, and for a debut it is simply a stunning one. And for people who have seen what dementia can do — in a brief phone call last Februrary, my 90-year-old grandmother did not recognize me — it may offer some comfort for what is to come. What a construction with great bones!

(And, yes, all the moldy and moldy-mentality symbolism provide more reason to not grant human properties to a house. Those are studs, not bones, OK?)

Overall Grade: A-

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Director: Gina Prince-Bythewood
Writer: Greg Rucka (screenplay by), Greg Rucka (based on the graphic novel series by), Leandro Fernandez (comic book co-creator)
Stars: Charlize Theron, KiKi Layne, Matthias Schoenaerts

Synopsis: A covert team of immortal mercenaries are suddenly exposed and must now fight to keep their identity a secret just as an unexpected new member is discovered.

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Gina Prince-Bythewood is back and in a big way with her latest directorial effort, The Old Guard, which hits Netflix this weekend (July 10). Best known for Beyond the Lights and Love & Basketball, The Old Guard is quite the change of pace for Prince-Bythewood. Leaving beyond romance and drama, she jumps head first into a genre exercise that’s full of mysticism, action and thought-provoking tension.

The Old Guard tells the story of a covert group of immortal mercenaries who become entangled in betrayal and corporate greed after a mission goes awry. Yes, you read that right, immortal mercenaries. Andy (Charlize Theron), along with her comrades Booker (Matthias Schoenaerts), Nicky (Luca Marinelli) and Joe (Marwan Kenzari), have been around for centuries. For reasons unknown, at various points in history, they garnered the power of immortality and have the ability to find each other through dreams. Soon after a mission early on the film goes sideways, they learn of a new immortal, Nile (KiKi Layne), a marine who was thought to be killed in Afghanistan. While Nile and the group get to know each other, a pharmaceutical company learns of the group’s existence and hunts them down in order to monetize whatever is keeping them alive.

The Old Guard is based on a series of graphic novels by Greg Rucka and Leandro Fernández, with Rucka also having a hand in the screenplay. The script here features plenty of lore and world building, which is admittedly quite fascinating, even if it does get bogged down in exposition at times. To be fair though, much of the film’s backstory carries thematic and emotional heft, keeping things from plodding and being mundane. The writing isn’t seamless, especially in its plotting and it fails to give its antagonist nuance, but in many ways the script is also the strength of the film. At least with how it builds its characters.

Andy is so old that she doesn’t even know how old she is. She can’t remember what her family looks like and grief has taken a stronghold on her due to past failures. Failures that are strikingly visceral when they are revealed to us. Similarly, Booker is wrestling with past regrets and how much he misses his family, which he loved deeply. Joe and Nicky on the other hand have each other. They’ve been around for a long time as well, and before being immortal, their countries were enemies. But as time passed, they looked to each other for redemption and hope. And as for Nile, well, all of this is still very new to her. She struggles to accept her new reality, and weighs whether or not to spend time with her family while she can, or does she use her gifts to do good in the world. What The Old Guard gets right, where many action films fail, is that it takes its time in building character and theme. We truly get to know each of our central heroes, what they struggle with, and how they’re coping in the modern world. The conflict in all of that is truly breathtaking.

Those nuances also work because of the performances in this film. Theron is fantastic as always, and she gives Andy a rugged exterior that matches her tired interior. Schoenaerts is also captivating as he taps into the deep poignancy of Booker and the weight he carries on his shoulders at all times. Same with Layne, who does a wonderful job portraying the tug of war that’s battling Nile. And not enough can be said about Marinelli and Kenzari, who are endlessly endearing and have a chemistry that is palpable. The way they depict action in their physicality, but love and empathy in their emotions, is nothing short of sublime.

The Old Guard may not always get it right, but its characterization is strong thanks to great performances and a script that takes time to focus on what’s beneath the surface. A few contrivances and a thin villain keeps it from being even better. But hey, I’ll take a film trying to be something more rather than relying on safe mediocrity any day.

Let’s talk about Gina Prince-Bythewood’s direction for a brief moment. At times, she does exhibit qualities of a first time helmer of action, which comes off as manufactured in a few places. But for the most part the film is well staged, well shot and the violence is guttural. In order for the film’s themes to hit home, we need to believe Andy’s elite abilities as a warrior, and it works in big part because of Prince-Bythewood’s direction. In particular, the scene where Nile is astonished at what Andy is capable of when she takes on a group of soldiers by herself. Watching that sequence unfold is riveting. What’s brilliant about the action here, though, is the film’s dualing perspectives on violence. On one hand, it isn’t always glorified as Nile watches on in horror in some scenes. On another hand, the film certainly has fun with how our central heroes use it to gain an advantage. It’s an approach that makes Prince-Bythewood’s vision even more textured.

All in all, The Old Guard is a gripping experience. It has its issues for sure, but it’s a film aiming to transcend convention and it mostly succeeds. Netflix has solid ground here for a series that could go on for at least a couple of more films. And I’m curious to see where they go with it.

Overall Grade: B

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Director: Sam Feder
Stars: Laverne Cox, Bianca Leigh, Jen Richards, Alexandra Billings, Lilly Wachowski

Synopsis: An in-depth look at Hollywood’s depiction of transgender people and the impact of those stories on transgender lives and American culture.

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We ought to always be doing homework—the more privileged and less marginalized among us especially. But it’s not just straight white cisgender men. Staking claim to a letter of the LGBTQIA community does not excuse one’s ignorance when it comes to the unique struggles the rest of the alphabet face. Because in order to form that “more perfect union” that this American experiment supposedly never stops striving toward, we must firstly acknowledge and learn about the lived experiences of our fellow humans who also make up this beautiful tapestry of ours. It’s import to keep in mind, though, that it is not the duty of any member of a minority group to educate the unenlightened. Do your own research, folks; there are tons of books, articles, and films rife with information. And, thankfully, filmmaker Sam Feder, executive producer Laverne Cox, and the rest of their team have created a wonderful new resource for those seeking answers.

Netflix’s documentary Disclosure: Trans Lives on Screen covers the history and impact of transgender representation in media. Cinema has existed for more than a hundred years, and trans figures have been embodied on celluloid for nearly as long. So of course expecting a 100 minute documentary to be able to cover an entire century’s worth of material is unrealistic, however the film does an admirable job. Going all the way back to the silent film days, even directors like the notoriously racist D.W. Griffith included gender nonconforming characters in his work. Narratively, the documentary moves in chronological order from then to now, examining how trans issues have been featured and addressed in American motion pictures over the years.

In addition to Laverne Cox, director Sam Feder assembled a fantastic bunch of individuals to give context to the movies and TV shows discussed in the documentary: film critic Tre’vell Anderson, Transparent actresses Alexandra Billings and Trace Lysette, activist Chaz Bono, Dirty Sexy Money actress Candis Cayne, Transparent producer Zachary Drucker, Shameless actor Elliot Fletcher, Oscar-nominated documentarian Yance Ford, The 40-Year-Old Virgin actress Jazzmun, Transamerica actress Bianca Leigh, media consultant Tiq Milan, Mrs. Fletcher actress Jen Richards, Pose actress Mj Rodriguez, Queen Sugar actor Brian Michael Smith, Survivor contestant Zeke Smith, ACLU attorney Chase Strangio, professor Susan Stryker, and The Matrix director Lilly Wachowski. Just to name a few.

Along with providing an academic context to the content, the contributors offer personal anecdotes, too. Stories about seeing trans depictions on screen and on television for the first time—the good and the problematic. The funny thing about under-representation, though, is that even when the portrayal in question is less than favorable, marginalized persons can still find themselves thankful for them despite the obvious shortcomings. Like the groundbreaking works of art mentioned, the trailblazers responsible for them are not impervious to censure. The funny thing about progress is that in order to move forward, what came before is sometimes rendered outdated. And holding debatable casting and production choices accountable is an important step in making progress.

It ought to go without saying, and yet it must be said. Representation matters. Until recently, trans characters were almost always played by cisgender actors with box office appeal, even if there were trans actors perfectly capable of playing the role. The documentary specifically addresses the casting of Chris Sarandon in the role of Leon, a character inspired by real life trans woman Elizabeth Eden, in Dog Day Afternoon. Little known fact, turns out there was a trans actress in Hollywood vying for the role back in the 1970s. But she was ultimately denied for looking too much like a woman. Looking too much like a woman. To put it another way: a masculine cisgender man was cast in the role of a feminine trans woman over a trans actress who too closely resembled the gender that she and character she’d be playing actually were. Go ahead and look up Elizabeth Eden and ask yourself if looking like a woman would’ve been a bad thing. Instead, Chris Sarandon played the part and ended up receiving an Oscar nomination. In the years since, several more actors have been recognized by the Academy for playing trans characters, and Jen Richards has a theory that both interesting and troubling about the harm that comes with continually casting cisgender actors in trans roles beyond simply taking away work from marginalized artists. She suggests that recognizable cisgender actors in trans roles is related to a lot of the prejudice and violence that trans people experience. I’ll let her speak for herself, but know that Richards’ pitch is compelling, and it would make for a great essay.

Despite the flaws that many of the films and TV shows discussed possess, the speakers reference how important it was to see themselves represented in media nevertheless, even if a better suited actor could’ve played the part instead. Or if the visibility happened to be in the form of a real life trans person guesting on a trashy daytime talk show with an insensitive host or audience. Not all representation is positive. But that’s why there needs to be more of it, period. Because then the problematic depictions wouldn’t feel quite so painful. And thanks to Disclosure: Trans Lives on Screen there’s going to be a whole new generation of trans persons watching this film and seeing the commentators as people they can relate to positively. Trans folks shouldn’t be this film’s sole audience, though. This documentary is essential viewing for trans allies as well.

Overall Grade: A

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Director: Thomas Kail
Writer: Lin-Manuel Miranda (book), Ron Chernow (inspired by the book Alexander Hamilton by)
Stars: Lin-Manuel Miranda, Daveed Diggs, Phillipa Soo, Leslie Odom Jr.

Synopsis: The real life of one of America’s foremost founding fathers and first Secretary of the Treasury, Alexander Hamilton. Captured live on Broadway from the Richard Rodgers Theater with the original Broadway cast.

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For the last five years, there might not be anything more important in American culture than the musical Hamilton. From the moment it hit Broadway in 2015, there was nothing else like it, a hip-hop inspired musical about the United States First Secretary of the Treasury. Tickets were hard to come by, with the pricing in the thousands and a lottery established to give away free seats. It made creator Lin Manuel Miranda and his cast members stars overnight. The songs were performed across the world. With the help of the streaming service Disney+, everyone can have the opportunity to experience the event of our lifetime in the comfort of their living rooms with the original Tony-winning cast.

Hamilton is based on Ron Chernow’s biography about the American Founding Father. Told through the lens of his friend turned rival Aaron Burr (Leslie Odom Jr.), we see Hamilton’s (Miranda) rise and fall of his political career. We also explore the complications of his personal life, and the legacy he is fighting to perceive. The first act tackles his time during the American Revolution, where he helped George Washington (Christopher Jackson) and America’s allies secure our independence. At the same time, we’re introduced to Hamilton’s wife Eliza (Phillipa Soo), and her sister Angelica (Renée Elise Goldsberry). Both women are intricate in Alexander’s life, inspiring him to chase the version of America he wants for all of us.

In the second act, we follow Hamilton and the nation after the Revolutionary War and the start of our country. We also see him go toe to toe with Thomas Jefferson (Daveed Diggs) and James Madison (Okieriete Onaodowan) within Congress during the Washington administration. As every event plays out, Burr’s frustration towards Hamilton grows by becoming jealous of his rise to power, destined to see his foe fail. Lastly, throughout both acts, we are given little snarky opinions from England’s King George (Jonathan Groff), gleefully watching America’s adolescent leadership from afar.

In this 160 minutes’ journey, we not only take a glimpse into the life of a great man, but we take a look at the beginning of our country, told by actors and artists that represent our time. In an era where representation across all media needs to improve, Miranda bestows his beautiful lyrics into the hands of men and women who we’ve never seen in parts like this. Refreshing to see, “Hamilton” can branch out to every human being because of this initiative inclusion. When people are young and see someone on stage or screen that looks like them, they can believe in their dreams. Then they can take a shot at becoming the next great individual in the field they are pursuing. They embody the American dream.

Beyond this message, Hamilton is also a beautiful, insightful look into America’s History. For the most part, Alexander Hamilton isn’t mentioned a lot in our history classes when we are young. To learn more about him from a musical than in our local school systems is downright embarrassing and proves we all need to do a better job in learning our countries history. Miranda’s battle cry throughout his music is for Americans to maximize their knowledge of everyone and everything within its history. With this, we can understand our past to fix our current politics and society. Everyone has a story to tell, and it can be just as fascinating as someone like George Washington or Thomas Jefferson.

All these ideas and issues are conveyed even more powerfully on film than watching it in a theater. When director Thomas Kail zooms his multiple cameras around, we catch the stage production’s true humanity. Every emotion is heightened, from smiles to tears, looking at the hard work it takes to portray characters in the creative style Miranda has written them. You can see how every word flows beautifully from memory as it goes and conveys the heart of a revolution and a love for a country they want to live in freedom. In terms of cinematic experiences, Hamilton is right up there with anything you will see in 2020.

Each performance shines with many moments to make you cheer and get misty-eyed over. While Miranda and Odom Jr. are great leads, “Hamilton” is elevated over other musicals due to its supporting casts. From the infectious fun of Digg’s Thomas Jefferson’s “What Did I Miss?,” to Jackson’s encouraging “One Last Time,” to the heartbreaking solos from Goldberry and Soo with “Satisfied” and “Burn,” they’re the performances you will remember when the end credits start to roll.

In the end, Hamilton is excellent no matter how you see it. Whether it’s on stage or film, there is no way you can say it’s not one of the best art pieces of all time. As humans, we want to nitpick and deconstruct things that are universally loved. But with this material and all the talent involved, it’s clear Hamilton is too damn perfect.

Overall Grade: A

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Director: Hirokazu Koreeda
Writer: Hirokazu Koreeda (screenplay), Ken Liu (film in film based on short story by)
Stars: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Ludivine Sagnier

Synopsis: A stormy reunion between scriptwriter Lumir with her famous mother and actress, Fabienne, against the backdrop of Fabienne’s autobiographic book and her latest role in a Sci-Fi picture as a mother who never grows old.

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Hirokazu Koreeda is a filmmaker whose always been interested in the truth about humanity. Whether it be about family, memories, how our past effects us in the present, the things that define us as people, whatever the case may be, he’s always examining the fundamental truth of our day to day lives. So, it’s apt that his latest film is simply called The Truth.

But JD, how does this differ from his previous films? Well, I’m glad you asked. For one, this is Koreeda’s first non-Japanese film. It’s spoken in French and English, and it stars legends Catherine Deneuve, Juliette Binoche, and Ethan Hawke. That in and of itself separates this film from the rest of Koreeda’s filmography.

Secondly, it’s Koreeda, in a somewhat meta way at times, exploring the film industry. The Truth is a movie about the movies. Well, a specific movie. A sci-fi film even. Which couldn’t be further from what has defined Koreeda’s own career. The Truth is centered on the relationship between Lumir (Binoche) and her mother Fabienne (Deneuve), an older actress who recently published a book about her acting career. The problem, though, is that Fabienne has seemingly manufactured certain events involving Lumir. “I won’t tell the naked truth, it’s not interesting,” Fabienne rebuttables at one point. It becomes clear early on that the two have a wedge between them.

A plight that becomes further highlighted when Fabienne begins shooting this sci-fi film that she’s been cast in. The movie is about a mother/wife who decides to live in outer space (aging is reduced drastically in zero gravity environments) as she’s been diagnosed with cancer. However, she does come home every seven years to see her daughter and husband. This, of course, leads to emotional conflict as the daughter becomes distant from her mother, despite her deep love for her. Sure, that’s an obvious metaphor for Fabienne and Lumir, but in the hands of Koreeda it’s poignantly effective. Especially thanks to Deneuve and Binoche, who offer captivating performances and tap into those emotional nuances effortlessly.

But it’s not just time and distance that The Truth is interested in as it relates to familial relationships. Koreeda is equally fascinated with memories and questioning if they can be trusted. From scene to scene, characters offer up memories that effect them deeply, only for the film to then question the validity of those memories. “You liked your mother’s acting as a child,” Luc (Alain Libolt) tells Lumir at one point. “I don’t remember that,” replies Lumir. Of course it’s ironic as Luc is also recalling that from his own memory. So, whose memory do we trust in that moment? What is the truth in that one sentiment alone? That’s just one example. The film is littered with textured sequences that similarly provoke the raw way in which we cling to memory and emotion.

I, obviously, don’t want to give anything away, but it’s quite breathtaking in how all of that culminates in the final scenes. There’s so much about love, heartbreak, brokenness, running from the truth, re-connection and forgiveness that threads together in such provocative ways.

Y’all, Ethan Hawke is in this film. If you’re a fan of Koreeda and Hawke like I am, this was truly a treat. Hank ultimately has a small role, but an intriguing one. He’s the husband of Lumir and a small time TV actor, which lent itself to some funny meta jokes about his abilities to act. He does tether to The Truth’s larger themes, given one scene he has with Lumir that reveal’s his true character, but mostly Hank is there to offer some welcomed levity to the film.

All in all, The Truth is everything that we typically love about Koreeda. Its ideas on the truth, why we’re afraid of it, how we can embrace it again, is nothing short of sublime. Perhaps the film’s metaphors and parallel storylines are obvious at times, but when conjured together in Koreeda’s calm rigorousness, it makes for a riveting experience. As usual, Koreeda doesn’t do anything flashy with his direction. It’s pragmatic and shot with assiduous diligence. In short, it’s about his characters. What they are experiencing and how they’re evolving. Not only will you be able to handle The Truth, but you’ll be wanting more by the time the credits roll.

Overall Grade: A-

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