2021 has been a year filled with disappointing movies. The pandemic has played a crucial factor, with many studios opting to push back their release dates to 2022 (or 2023), hoping that theaters can lure audiences back once those who are more tentative feel safe again. Movies, as a whole, couldn’t get worse than the 2020 batch. Unfortunately, 2021 has proven to be worse. There are still a handful of films that I haven’t seen that I hope will elevate the year (Dune, Nightmare Alley, Belfast, Spider-Man: No Way Home, C’mon C’mon, Being the Ricardos, Licorice Pizza, Red Rocket, Spencer, Last Night in Soho).
Category Archives: Clifton Collins Jr.
Honey Boy (2019)
Ruthless, raw, and honest. That describes to a tee Alma Har’el (LoveTrue, 11/8/16) Honey Boy, the film based on writer Shai LaBeouf’s (The Peanut Butter Falcon, Borg Vs. McEnroe) own childhood experiences with his father. Showcasing events over two time periods, the 2005 version of Otis Lort (Lucas Hedges – Manchester by the Sea, Ben Is Back) is a 22-year-old, rising movie star who has had violent, alcohol-induced brushes with the law. His latest DUI has landed him in a court-ordered rehab, where he is diagnosed with Post Traumatic Stress Disorder (PTSD), something which he steadily denies. As part of his therapy, he is pressed by his counselor (Laura San Giacomo – Havoc, Sex, Lies, and Videotape) to dig deeper and pen out the events in his life that have led him to this point. At this point, we continually go back and forth between the 1995 and 2005 timelines.
Once Upon a Time in Hollywood (2019)
Once Upon a Time in Hollywood is arguably my favorite Quentin Tarantino’s (Inglorious Bastards, Django Unchained) movie. However, that isn’t saying a lot since he is not one of my favorite directors out there. I admit that there is an audience for his movies. I’m just not a part of that audience. For me, his films are too often over the top, are loaded with extreme and unneeded violence, and contain the foulest language you’ll hear from a big-budget movie any year that one of his movies was released. Once Upon a Time in Hollywood was FAR different than his previous eight films. The story was not over the top. The cursing, while present, was used to accent a verbal exchange rather than serve as the root of it. And outside of a 10-15 minute sequence, there wasn’t any over-the-top violence. This movie was long and a bit boring, but it wasn’t bad. It also had excellent acting performances.
Man Down (2016)
Continuing the two themes of actors who I once didn’t really like but who, in recent films, has begun to win me over (Miles Teller) as well as films about characters suffering from Post-Traumatic Stress Disorder (PTSD) after serving in wars in the Middle East (Thank You For Your Service) comes the critically panned Man Down, a movie that I don’t ever recall being in the theatre and didn’t know existed until a good six months after it was released. Earning a score of just 17% on Rotten Tomatoes, director Dito Montiel (A Guide to Recognizing Your Saints, Fighting) delivers an emotionally disturbing uneven film about a character traumatized by a specific incident that happened on his single tour. Man Down stars Shia LaBeouf (Lawless, American Honey) in what might be his finest performance to date. He stars as United States Marine Gabriel Drummer, who, after a raid and clearing of a house gone wrong in a village in Afghanistan, tells his story to Captain Peyton (Gary Oldman – Darkest Hour, The Dark Knight Rises), a military superior. The critics said that this movie exploits PTSD compared to a more subtle movie like Thank You For Your Service (which also has the advantage of being based on a true story, something that Man Down lacks). While I can see that, especially in the film’s final act, I disagree as a whole. War is hell. It’s one of those things that we don’t have to experience firsthand to believe. But it is something we need to experience firsthand or be close to someone who experienced it firsthand to understand truly. When we can’t, we sometimes turn to books, television, or movies hoping that they will portray a true picture for us. I think that’s what Montiel did here, even if a vast majority of his critics disagreed.
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Triple 9 (2016)
If you watched season 1 of HBO’s True Detective and you were as much of a fan of the six-minute single-shot shootout scene that ended episode four’s (titled Who Goes There) as I was, you might just very well like John Hillcoat’s (The Road, Lawless) underappreciated Triple 9. Likewise, if you watch Game of Thrones and found the intense battle between the Jon Snow led wildlings and the white walkers at the end of season five, episode eight (titled Hardhome) as the best single scene in the history of the show, you might just very well like the star-studded Triple 9. If I had trusted my instincts and not those of the critics, I would have been able to appreciate this gem of a popcorn flick on the big screen. Instead, I let the movie pass through the theaters, knowing I would see it eventually at home, but convincing myself that, despite the awesome previous, I would be disappointed by this movie. One of my colleagues at work recently asked why I hadn’t told her to see Triple 9, knowing that it was a movie right up my wheelhouse. She was really the first person I actually knew who had seen the movie. So I feel obligated early on in this review to match this movie with an audience that can best appreciate it. If you like the intensity that comes with a bank robbery movie (my two favorite bank robbery movies are The Town, which is my second favorite movie ever, and the original Point Break), I can’t think of a reason that you wouldn’t like Triple 9. There are plenty of underlying storylines, but just like those two movies, Triple 9 refuses to take its foot off the accelerator and doesn’t confuse its audiences by undervaluing the ferocity of its story by wasting even a single scene that isn’t relevant to its story. In 2016, you almost needed a caveat when talking about movies. So while Captain America: Civil War is the best movie to be released in the first five months of the year, the best non-superhero movie is Triple 9.
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