SYNOPSIS: Inspired by true events, Bad Education stars Academy Award nominee Hugh Jackman and Academy Award winner Allison Janney. The story follows Frank Tassone (Jackman) and Pam Gluckin (Janney) who reign over a popular Long Island school district on the verge of the nation’s top spot, spurring record college admissions and soaring property values. But when an embezzlement scheme surfaces that threatens to destroy all they’ve built, Frank is forced to maintain order and secrecy — by whatever means necessary.
MOVIE REVIEW:
Bad Education is a movie about a seemingly morally righteous, hardworking and charismatic superintendent who stole almost $11 million out of the school’s annual budget over several years. This is not a fairy tale coughed out by director Cory Finley and writer Mike Makowsky but a true story based on a scandal that happened in an affluent suburb in Long Island two decades ago.
This dramatized retelling stars Hugh Jackman as Frank Tassone, a charming eloquent superintendent who turned a public school into one of the best in terms of national ranking. Frank in short was a problem solver, an overachiever, a faithful partner who still kept a photo of his late wife on his desk. We could say a dozen good things about Frank Tassone but despite his success, ultimately he is not the man he portrayed. Ends up Frank has been embezzling money via his same-sex partner in Manhattan, has another younger lover in Vegas, chalking up bills from cosmetic surgeries to dry cleaning and expensive suits at the school’s expense.
His accomplice on the other hand is none other than his assistant superintendent, Pam Gluckin (Allison Janney) who spent the school’s money on lavish holidays, vacation home, jewellery and artwork. All seems well hidden or forgotten until one day, a school reporter, Rachel decides to poke her nose into the school’s financial records and slowly uncover the duo’s embezzlement.
Without resorting to mindless sensationalized dramatics, Bad Education is intriguing and genuinely well-written and staged. Liked a piece of layered onion, Finley slowly peels off the layer to reveal the ugliness of every character. Both Tassone and Gluckin feels that the amount of money they took were more or less a compensation to their hard work and dedication to the school. Ray Romano who plays Bob, the local real estate agent and among those who served on the board was obviously blinded by greed as the reputation of the school indirectly increased the value of the local properties while the grades-obsessed parents are too busy to notice the wrongdoings of the superintendents.
Hugh Jackman delivers a nuanced and subtle performance as a man with a compelling, complicated persona. Bad Education marks his second fascinating screen performance after another scandalous drama, The Front Runner. If you loved Allison Janney in I, Tonya, then you shouldn’t miss her as Gluckin, the ultra-cool, no-nonsense school staff who no one dare to confront.
Although Bad Education did a good job chronicling the evil and greed of human beings, it is however less forthcoming in detailing how all the scams and bongus accounting actually took place. There are some details which we loved to be included in though on the whole, it doesn’t really affect the characters or storytelling. Bad Education is a not-to-be-missed, small-scaled drama that boast rich performances and narrative. It’s a true story that doesn’t sound convincing on paper but it’s one hell of a movie that reminds one that money it seems is the root of all evil.
MOVIE RATING:
Review by Linus Tee
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BOOK REVIEW #33: DIE HARD: THE ULTIMATE VISUAL HISTORYPosted on 05 May 2020 |
SYNOPSIS: Wanting to leave their dystopian world behind for a faraway paradise, three outlaws plot a money heist — and draw the attention of a vicious killer.
MOVIE REVIEW:
Sitting through the first half-hour, you might wonder what all the hype about writer-director Yoon Sung-hyun’s ‘Time to Hunt’ was about. The first Korean film to be selected to bow in the Berlinale Special section, it rode a wave of positive reviews before being picked up for worldwide release of Netflix as a result of the coronavirus pandemic scuttling its theatrical plans.
Yet, its sluggish opening that establishes three young buddies adrift in a dystopian version of South Korea of deserted streets littered with trash and crumbling buildings is hardly compelling stuff, especially as the trio of Jun-seok (Lee Je-heon), Jang-ho (Ahn Jae-hong) and Ki-hoon (Choi Woo-shik) aren’t exactly likeable or endearing.
Indeed, its promise only begins to show if you can sit through that slow start, picking up with our three protagonists robbing an underground casino by teaming up with one of its croupiers Sang-soo (Park Jung-min).
Their elation at having successfully pulled off the heist turns into fear when they realise they are being hunted by Han (Park Hae-soo), whom we are introduced to by way of a framed collection of human ears on the wall of his apartment. Han has been tasked to figure out who the thieves were, recover the handful of incriminating surveillance tapes which the boys had grabbed, and get rid of them thereafter.
While it may come as no surprise to us that Han is a vicious and sadistic killer, the realisation sends our naïve trio into a desperate cat-and-mouse game. That pursuit unfolds in a tense and gripping second hour within such locations as a parking garage, a hospital building and an abandoned industrial estate.
Those looking for some character payoff within this hour will quite likely be disappointed, given how Yoon trains his sights on the action and nothing more. Oh yes, despite running for their lives, these youths hardly break ranks with one another, remaining closely knit right till the very end. What plot development is therefore limited to some vague revelation about Han’s ties to the authorities, as well as the late entrance of a criminal gang seeking revenge for Han’s execution of their leader’s twin brother.
Not that we are complaining really, seeing as how Yoon fulfils his promise of delivering a hard-hitting science fiction action thriller ultimately. There is no questioning the well-staged sequences pumped with suspense and firepower, soaked in a moody post-apocalyptic aesthetic that is the best excuse for its dystopian setting which otherwise goes nowhere. These sequences are anchored by a mesmerising performance by Park, whose steely charisma easily triumphs the annoying pusillanimity of his character’s prey.
And in case you must know, the ending leaves the door wide open for a revenge sequel, which if it does materialise, will hopefully cut to the chase. Comparisons with Western tropes is inevitable, though those familiar with urban crime movies by Michael Mann (think ‘Heat’ and ‘Collateral’) and Christopher Nolan (think ‘The Dark Knight’) will also recognise his inspirations.
Truth be told, it does fall somewhat short of its hype, but ‘Time to Hunt’ does well enough within its generous two hours-over runtime to satisfy genre fans looking for testosterone-fuelled escapism. Especially if you need a follow-up to the adrenaline-pumping ‘Extraction’, you won’t regret sitting through this title Netflix will likely recommend to you, as long as you give it more than half an hour to earn your love..
MOVIE RATING:
Review by Gabriel Chong
SYNOPSIS: Adapted from Jack London's beloved literary classic, The Call Of The Wild vividly brings to life the story of a big-hearted dog named Buck, and John Thornton (Harrison Ford), the man Buck must learn to trust. Abruptly uprooted from his pampered lifestyle in sunny California, Buck finds himself in the exotic wilds of the Alaskan Yukon. As the newest dog on a mail delivery sled team during the turbulent Gold Rush days of the 1890s, Buck has left behind a once comfortable life for one of hardship and survival. Life again changes dramatically for Buck when he meets Thornton, a loner-turned-adventurer, and it's clear that the two are destined to experience the adventure of a lifetime. Navigating through an environment that is as unforgiving as it is spectacular, the journey profoundly transforms both man and dog. With its unique blend of intense live action and cutting-edge animation, The Call Of The Wild is a visually stunning experience featuring realistic, emotionally authentic characters.
MOVIE REVIEW:
Instead of employing real dogs, there’s a lot of noises about the usage of CGI canines in The Call of the Wild. Of course given the photorealistic looking The Jungle book and The Lion King, the technology is able to bring a new level of emotions to the main character which even a real-life, well-trained canine can’t. That said, perhaps we are the handful that is grateful for the usage here.
Buck, a heavy St Bernard-Scotch Collie mix leads a pampered life as the pet of Judge Miller. But one night, he is kidnapped and sent to freezing Yukon where he worked as a sled dog delivering mail with his new master, Perrault (Omar Sy). Beginning his newfound life in the wild, Buck slowly learns about the treachery of humans- a greedy prospector Hal (Dan Stevens) and the love, generosity of his fourth master, John Thornton (Harrison Ford). And lastly, the wild life that Buck is destined for.
Based on a classic story by Jack London, The Call of the Wild is a family-friendly adventure that features both an excellent grizzled Harrison Ford and a grizzled CG lead. There’s no lack of heart-pounding moments such as Buck and teammates escaping an avalanche or Buck gaining leadership over the mean-spirited alpha dog, Spitz. Plenty of heart-warming, believable scenes between John and Buck that makes this flick a step better than the usual wave of forgettable dog movies liked A Dog’s Purpose and A Dog’s Way Home. It must be added that Harrison Ford only appear in the second half of the movie despite Ford being heavily featured on the cover and publicity materials.
Coming back to the topic of employing CGI for the animal cast. Honestly, there’s hardly a moment in the entire 100 minutes movie where you are distracted by the CG characters. I’ll bet many will complain of Buck being too human-like but not to worry, the mannerisms are never too exaggerated to turn into a misstep. Director Chris Sanders, a veteran animator who has directed Lilo & Stitch and How to Train Your Dragon delivers an old-school adventure with lots of heart and well-meaning themes. It’s the first film to be branded under the 20th Century Studios label but rest assured, it’s going to sit perfectly inside the Disney vault for years to come.
SPECIAL FEATURES:
It’s All About Buck is a three part features which mainly focus on the origins of the novel (with London’s great-granddaughter), motion-capture of Buck which was assisted by a performer onset and the computer generated effects.
The World of the Wild takes a brief look at the locations and set designs.
A Man and his Dog interviews Han Solo and Chewie sorry I mean Harrison Ford and his involvement in the project.
AUDIO/VISUAL:
The DTS-HD Master Audio 7.1 soundtrack is immersive and robust with lots of ambient outdoor sound effects liked the avalanche or the rapid river sequences. Visual quality is excellent and detailed as you can tell from the close-ups of animal fur and facial expressions.
MOVIE RATING:
DVD RATING:
Review by Linus Tee
SYNOPSIS: Tim thinks he's invited the woman of his dreams on a work retreat to Hawaii, realizing too late he mistakenly texted someone from a nightmare blind date.
MOVIE REVIEW:
If you were never fond of Happy Madison comedies, ‘The Wrong Missy’ ain’t going to make you change your mind; yet for those who love Adam Sandler’s gross-out comedies, you’ll find this latest offering familiar yet entertaining in so many ways.
Starring in the role otherwise played by Sandler is David Spade, who plays the strait-laced salesman Tim Morris that first encounters the titular Missy at a disastrous blind date he tries to escape from by climbing out of a bathroom window.
Kudos to comedian Lauren Lapkus – right from the hilarious opening sequence, she grabs your attention as the obnoxious firebrand whose idea of fun is to set her date up for a bar fight with a hulk (WWE star Roman Reigns).
After escaping from that encounter, Tim meets the woman of his dreams through a meet-cute at an airport. That stranger, whose name is also Missy (Molly Sims), not only shares his fondness for James Patterson’s Alex Cross novels but also his love for Phil Collins.
Not surprisingly, Tim jumps at the opportunity of inviting the former beauty pageant winner to his corporate retreat in Hawaii, intending to use her to raise his profile with his new boss Winstone (Geoff Pierson) over his rival known unsubtly as Barracuda (Jackie Sandler, Adam’s wife).
Alas, Tim texts the wrong Missy, and instead finds himself on the plane to Hawaii next to his earlier blind date from hell. Missy tells Tim how thrilled she is that he fancies her, claiming that it saved her from committing suicide, leaving Tim too timid to admit to her right from the start that she was a misunderstanding.
So the mismatched couple end up checking into the same hotel room at a picturesque beach resort where Tim’s colleagues are also booked; and to nobody’s surprise, it isn’t long before Missy is terrorising the whole cohort with her psychic readings, lap dances and crazy dares (e.g. jumping off a cliff and landing smack on the beach below).
Like their earlier Sandler-Spade Netflix offering ‘The Do-Over’, writers Chris Pappas and Kevin Barnett work their storytelling around a couple of zany set-pieces – there’s one involving a shark tank dive with Rob Schneider as their guide Komante; another involving a talent show involving a hypnotised Mr Winstone; and last but not least, another involving a threesome with Tim’s ex Julia (Sarah Chalke).
Director Tyler Spindel is hardly a newcomer to the Happy Madison gang, and he puts that experience to good use milking the most out of his performers in each one of these hilarious sequences. Not all the jokes land, but the fact that none of them are mean-spirited does make it easier to forgive the ones which do not.
Then there is Lapkus, who breathes both wild comic life and unexpected empathy to the proceedings, and makes Missy an unexpectedly well-developed character despite going over-the-top in many scenes. She and Spade share an agreeable yin-yang dynamic, playing off each other with ease. The cameos certainly add to the glee, including Nick Swardson as Tim’s friend and head of HR, Jorge Garcia as a guy Tim meets on the plane to Hawaii, and rapper Vanilla Ice.
Contrary to what you may expect, ‘The Wrong Missy’ isn’t as gross or low-brow as you may be expecting it to be; instead, Spade and his Happy Madison folks have found the right balance between sweet and raunchy, wringing some genuinely good laughs alongside a predictable but nonetheless heartfelt ending. Like we said, as long as you accept it is a Happy Madison production, you’ll enjoy it for what it is worth.
MOVIE RATING:
Review by Gabriel Chong
SYNOPSIS: A couple (Issa Rae & Kumail Nanjiani) experiences a defining moment in their relationship when they are unintentionally embroiled in a murder mystery. As their journey to clear their names takes them from one extreme – and hilarious – circumstance to the next, they must figure out how they, and their relationship, can survive the night.
MOVIE REVIEW:
Most of us have probably seen enough rom-coms to know that it is the chemistry between the lead actors who make it or break it. ‘The Lovebirds’, premiering on Netflix as a result of the coronavirus pandemic, just reinforces that.
The plot, about a married couple on the verge of calling it quits who become unwittingly embroiled in a murder mystery is ramshackle. The action, whatever little there is, is unexciting. But damn if we aren’t tickled, engaged and even thrilled by the sizzling duo of Kumail Nanjiani and Issa Rae.
When we first meet Jibran (Nanjiani) and Leilani (Rae), they are two individuals in New Orleans who have decided to extend the morning after their first hook-up with an impromptu breakfast and walk in the park. That meet-cute however lasts just one ‘Four Years Later’ caption, whereupon we find them in a heated argument just before they are supposed to go to a party Jibran is hardly enthused about.
The ping-ponging rhythm of their argument is transfixing, as they move effortlessly from bickering about how Jibran thinks Leilani foolish for wanting to participate with Leilani in ‘The Amazing Race’, to how she thinks he’d rather spend time making his documentary about corruption in the educational system than making out with her, and to her co-worker Keith is jealous of and suspects of having a thing for Leilani.
They take their fighting into the car en route to the dinner party, but are interrupted when a cyclist crashes into their windscreen. In an even stranger turn of events, a man who claims to be a cop jumps into their car, chases down Bicycle Man, and proceeds to run him down and over him. Said cop runs off just before a pair of eyewitnesses stumble upon Jibran and Leilani with the dead cyclist, and in their bewilderment, the lovebirds decide to flee the scene, fearing their skin colour would make them subjects of the authorities’ discrimination in such investigations.
After some confusion and much bickering, our leading couple decide to solve the mystery themselves, using the cyclist’s phone to track down his acquaintances, residence and connection to the murderer. Unfolding over the course of a single night, these encounters would include being tied up in a barn by a pissed-off Senator’s wife (Anna Camp), breaking into an apartment where a group of fratboys run a blackmailing scheme, and crashing a masked sex cult gathering out of ‘Eyes Wide Shut’.
It does get over-the-top, and even lowbrow at times, but the fun is less about the physical shenanigans themselves than watching two skilled performers reinventing the classic Hollywood subgenre of remarriage (where an existing couple on the verge of falling out spend the rest of the movie falling in love with each other all over again). Both Nanjiani and Rae are absolute naturals at such rat-a-tat wordplay, and they elevate what is otherwise a ho-hum script.
We don’t blame you for expecting a witty outing, not least because both veterans of HBO comedies have proven that they are capable of better. Yet there is little doubt Nanjiani and Rae are having fun next to each other, and it is their sheer star power which makes this an enjoyable if ultimately forgettable exercise in screwball comedy.
So like we said at the start, ‘The Lovebirds’ flies because of the charm of its performers, both of whom are reason alone to catch this rom-com/ murder mystery/ action comedy. Amidst the gloom of the pandemic, you can really do a lot worse than this slice of star-inspired lunacy..
MOVIE RATING:
Review by Gabriel Chong
SYNOPSIS: Inspired by true events, “The Banker” centers on revolutionary businessmen Bernard Garrett (Anthony Mackie) and Joe Morris (Samuel L. Jackson), who devise an audacious and risky plan to take on the racially oppressive establishment of the 1960s by helping other African Americans pursue the American dream. Along with Garrett’s wife Eunice (Nia Long), they train a working class white man, Matt Steiner (Nicholas Hoult), to pose as the rich and privileged face of their burgeoning real estate and banking empire – while Garrett and Morris pose as a janitor and a chauffeur. Their success ultimately draws the attention of the federal government, which threatens everything the four have built.
MOVIE REVIEW:
Unfortunately for Apple TV+, ‘The Banker’ never got the awards-season attention it was set up for last year after one of the film’s producers was accused of sexual abuse and wanton revisionism. To add insult to injury, its planned two-week limited theatrical rollout in March was thwarted when the coronavirus hit. Yet those curious about what drew the streaming service to acquire this drama will ultimately be rewarded with a thoroughly engaging historical biopic which more than transcends its ostensibly self-serious trappings.
If you haven’t yet heard of Bernard Garrett and Joe Morris, we’d suggest you turn to Google only after you’ve seen the movie. Played by Anthony Mackie and Samuel L. Jackson respectively, both whip-smart businessmen broke the real-estate colour line in Los Angeles in the 1950s, owning more than 175 downtown properties during their prime, and becoming two of the wealthiest African Americans in the country. Their ploy involved recruiting a white frontman, Matt Steiner (Nicholas Hoult), whom they schooled to secure them deals they would otherwise be denied access to.
It is a fascinating tale all right, told largely from Bernard’s point-of-view – beginning from when he was a shoeshine boy outside the main bank of small-town Willis listening to his customers talk finance, then moving to Los Angeles with his wife Eunice (Nia Long) to find his fortune, then teaming up with the Irish businessman (Colm Meaney) to buy up property in white neighbourhoods, and last but not least partnering with Joe to make a bid for the prestigious Bankers Building for leverage over the banking institutions it counts as its tenants.
Clearly inspired by Steven Soderbergh, for whom he had written ‘Ocean’s Twelve’ for, director and co-writer George Nolfi employs a caper-ish take to the material. There is much fun in the unlikely pairing of Bernard and Joe – the former low-key, cool and rational; and the latter loud, garrulous and freewheeling – and even more fun when both of them start giving the working-class Steiner tutorials in golf, etiquette, Scotch-drinking and algebra. With full credit to Nolfi, his montage of financial maneuverers involving cap rates, multiplicative inverses and loan packages is surprisingly intriguing.
Only in the second half does the film wear its activism on its sleeve, with Bernard revealing in his purchase of the Willis bank a deep-seated conviction to better the lives of the people of his community by giving them access to capital and home ownership. Bernard ain’t no martyr, but he made his own mark in a little-known chapter of civil rights history. Their enterprise would eventually become undone, less so by Bernard’s personal hubris than an over-estimation of someone close to him; even so, the turn of events leading to a high-profile reckoning in front of a Senate committee is less compelling than their earlier rise to success, and some may even find the social commentary at the end somewhat underwhelming.
If the screenwriting (credited to Nolfi and three other writers) loses steam towards the end, the acting never does. Mackie brings his signature poise to play Bernard, calibrating his act perfectly to match that of the irrepressible Jackson. As similar as it may be, there is no denying Jackson’s effortless magnetism or how his usual braggadocio is a perfect foil to Mackie. Between Mackie and Jackson, there is little room for Hoult to shine, but the young actor makes the best of what time the story accords his character, especially in the final act.
So even as it may have gotten some bad press leading up to its release, ‘The Banker’ still has a lot you can bank on, including top-notch performances by Mackie and Jackson, a riveting true-story on which it is based and Nolfi’s snappy direction. We’d wish it turned out more poignant than it ends up being, but this is no doubt the sort of old-fashioned, prestige picture those looking for some polished storytelling will definitely enjoy. Trust us, your time investment is safe with this one..
MOVIE RATING:
Review by Gabriel Chong
SYNOPSIS: Set in the dazzling world of the LA music scene comes the story of Grace Davis (Tracee Ellis Ross), a superstar whose talent, and ego, have reached unbelievable heights, and Maggie (Dakota Johnson), her overworked personal assistant. While stuck running errands, Maggie still aspires to her childhood dream of becoming a music producer. When Grace’s manager (Ice Cube) presents her with a choice that could alter the course of her career, Maggie and Grace come up with a plan that could change their lives forever.
MOVIE REVIEW:
As far as feel-good movies go, ‘The High Note’ hits all the right notes.
Like director Nisha Ganatra’s earlier ‘Late Night’, her latest is another story about two women: an older, accomplished yet jaded superstar, and an idealistic underling chasing her dreams.
The former is a fictional R&B diva named Grace Davis (Tracee Ellis Ross), a multiple Grammy Award-winning musical icon who goes from city to city performing her No. 1 singles to packed arenas. She hasn’t put out a new record in a decade, and is contemplating a residency in Las Vegas arranged by her hard-charging business manager (Ice Cube) of more than 20 years.
The latter is Grace’s personal assistant Maggie (Dakota Johnson), a longtime fan who relishes the opportunity of being able to work for her. Maggie also aspires to be a music producer herself, and has been spending her time secretly tinkering with the mix on Grace’s upcoming live album. She knows Grace has been writing some new material, and thinks her idol can do much better than choose a path that would most certainly lead to artistic obsolescence.
This is as much Maggie’s story about following her dreams as it is Grace’s, each fraught with her own insecurities. On one hand, Maggie is all too eager to forge her own producing career with David (Kelvin Harrison Jr.), a young soul singer she has a meet-cute with in a grocery store as Phantom Planet’s ‘California’ is playing on the sound system; and on the other, Grace is struggling to overcome her own fears as a middle-aged African-American female singer (“In the history of music, only five women over 40 have ever had a number one hit and only one of them was black,” she says).
Than undercut each other, the multiple storylines complement each other, offering up duelling perspectives of two individuals at different stages of their career in the music business who are both faced with the choice of following their own path. Certainly, you could also say the same about David, who is initially reluctant about stepping into the recording studio and has to be coaxed and reassured by Maggie of his own talent, but it is ultimately around Maggie and Grace that writer Flora Greeson has chosen to anchor her narrative around.
Chances are that you won’t mind it one bit, not least because both Johnson and Ross are such luminous actresses in their respective roles. Johnson, whom most will remember for daringly baring it all in the ‘Fifty Shades of Grey’ trilogy, gives perhaps her most winning performance as the airy yet focused Maggie. She and Ross make ideal screen partners, injecting real pathos into the symbiotic relationship that their characters share but only acknowledge much later on.
Whereas Maggie and Grace share the more compelling dynamic in the film, those who like their rom-coms sweet yet sensitive will no doubt enjoy the scenes between Johnson and Harrison. There is palpable chemistry between them, and their time making music together in the studio will give you great vibes. Ditto the excellent supporting cast, including a very funny Ice Cube as Grace’s agent, June Diane Raphael as Grace’s catty house manager, and Bill Pullman as Grace’s aging hipster dad whose interest in music sparked Maggie’s own from a young age.
So while it may not be as smart as ‘Late Night’, Ganatra keeps ‘The High Note’ consistently breezy and engaging throughout, deftly balancing the various plotlines to give depth and detail to the characters within. It is telling how much you’ve been won over when you don’t even mind the late twist that adds some frankly unnecessary soap-opera schmaltz. In these depressing times, we frankly hardly mind the feel-good high road which this generous-hearted movie delivers, even if it is ultimately intended as light escapism.
MOVIE RATING:
Review by Gabriel Chong
SYNOPSIS: Jack Cunningham (Ben Affleck) once had a life filled with promise. In high school, he was a basketball phenom with a full ride to college, when suddenly, for reasons unknown, he walked away from the game, forfeiting his future. Now years later, Jack is stuck in a meaningless job and drowning in the alcoholism that cost him his marriage and any hope for a better life. When he is asked to coach the basketball team at his alma mater, which has fallen far since his glory days, he reluctantly accepts, surprising no one more than himself. As the boy starts to come together as a team and win, Jack may have finally found a reason to confront the demons that have derailed him. But will it be enough to fill the void, heal the deep wounds of his past, and set him on the road to redemption?
MOVIE REVIEW:
Although the trailers portray The Way Back as sort of a basketball sports movie, it is actually a redemption drama about a man named Jack Cunningham (Ben Affleck) who is trying to find his way back to life after losing his son and separating from the wife he loved.
Jack Cunningham in short is a broken man. He drinks on the way to work, during work and after work. He is basically an alcoholic in desperate need of help until one day he is asked to step in as the basketball coach at his former high school, Bishop Hayes. Despite being a star player in his younger days, the basketball team at Jack’s former school is trailing far behind others. Jack’s mission is to bring his team to the playoffs at the same time, struggles to battle his own inner demons.
Ben Affleck is front, left, right and center in The Way Back. He is extremely solid as an alcoholic probably because of his own real-life’s struggles and rehab (the tabloids will tell you a lot) which make his performance even more relatable and believable. All the anguish, sorrow and pain of Jack Cunningham is well conveyed through the eyes of Affleck marking one of his best on-screen performances of all time.
The plotting of The Way Back however is rather formulaic. The supporting characters like Jack’s ex-wife (Janina Gavankar) feels weak; the same goes for Dan, the assistant coach and a few of Jack’s students. The movie is crammed with subplots that feel predictable, cliché and less compelling compared to Jack’s story arc. Ultimately, Brad Ingelsby's screenplay is hardly refreshing or new, it’s wrapped around Affleck’s performance and that alone carries more weight than the entire movie.
Gavin O’Connor who worked with Affleck in The Accountant delivered a mature, well-made drama despite the rather mediocre material. It should be as emotionally satisfying as his earlier MMA movie, Warrior but unfortunately offers too little surprises. We swear this is a movie that is best watched with Affleck in mind.
SPECIAL FEATURES:
The Way Back: This Sporting Life is a segment that has Affleck, O’Connor and members of the cast talk about the sports film genre.
Every Loss is Another Fight: The Road to Redemption that briefly discussed about alcoholism and Affleck’s own struggles.
AUDIO/VISUAL:
The Dolby True-HD 7.1 soundtrack is an overkill for a movie liked The Way Back. It simply offers a few select scenes of crowd ambience and a barrage of Cunningham’s swearing and cussing. Visual quality is serviceable with the exception of several (maybe intended) low-lit moments. Again, this is not a title to showcase your fancy soundbar or 4K UHD television.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
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KELLY ASBURY (1960 - 2020)Posted on 27 Jun 2020 |
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