The Edge of Seventeen

Rated: MThe Edge of Seventeen

Written and Directed by: Kelly Fremon Craig

Produced by: James L. Brooks, Richard Sakai, Julie Ansell

Executive Producer: Donald Tang

Music by: Atli Örvarsson

Starring: Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, Haley Lu Richardson, Blake Jenner and Hayden Szeto.

The Edge of Seventeen is a coming-of-age drama with a few laughs thrown in, because teenage angst is funny when looking back.  Not at the time of course.  Being 17 is all about wanting to die at the embarrassment of it all: pimples, older siblings who seem to have it so together and bestie-best friends who are supposed to be there forever (but never are because they’re human too).

Even though it feels like you’re the only one who feels anything at 17, you (hopefully) come to realise that others feel too.

Nadine (new comer, Hailee Stinfeld) is a girl who’s always felt different.  A loner, living in the shadow of her perfect brother, Darian (Blake Jenner, think, Everybody Wants Some!! (2016)).  Until she meets Krista (Haley Lu Richardson), who becomes her bestest buddy.

Life is good.  She has her mate and her Dad, the only two people in the whole world who understand her.  But when Krista hooks up with her brother, Nadine’s bubble bursts.  And she’s left in a world where people are fake and nice and she’s the only one who knows it.

It’s teenage angst baby, where you just love that guy and he doesn’t know you exist and you just know that mum’s mad and favours your brother more than you and you just, want, to, DIE.

And just like that self-obsession, the film revolves around Nadine. Thankfully the film was well cast and that annoying whine didn’t grate too much.

Woody Harrelson cast as Mr. Bruner, the ever-tolerant teacher, diluted the hormone fuelled rants of Nadine.

And there were some laugh-out-loud moments.

In retaliation to Nadine’s mum (Kyra Sedgwick) Nadine yells – ‘I’ll do something just as bad!  I’ll post on Facebook that you pluck the hairs around your nipples!’

There’s a raw honesty in the script (written by Kelly Fremon Craig; the second draft 4 years in the making) that is genuinely funny and at other times gives a jolt as the secrets of girl-teenhood are revealed.

First time director, Fremon Craig, has given free rein to the protagonist here which cuts both ways.

The audience is given insight and authenticity that only freedom can give.  And I praise this honesty.  On the other hand, there’s a little too much girl craziness – a fine line between funny insight and the urge to reach for the mute button.

The soundtrack helped to smooth over the emotion.  And the deadpan humour of Woody as the history teacher not only balanced the character of Nadine but was a release of pressure for the audience.

Overall the film was entertaining with a great script giving a different feel to a storyline that’s been done many times before.  I kept thinking back to Ghost World (2001) but The Edge of Seventeen is more drama/comedy than art house.

So, relatable and honest, but also a film about teen angst, which I’m happy to admit is time past.

The Founder

Rated: MThe Founder

Directed by: John Lee Hancock

Based on the original screenplay by: Robert Siegel

Produced by: Aaron Ryder and Don Handfield

Starring: Michael Keaton, Nick Offerman, John Carroll Lynch, Laura Dern, Linda Cardellini, Patrick Wilson, B. J. Novak.

Business is war.  It’s not even dog eat dog, it’s rat eat rat.

A true story based on the uprising of McDonald’s, The Founder is a remarkable story of Corporate America.  Of how persistence and will power can create an empire for a man with a mouth and a keen eye for a successful business.

The film begins in 1954, showing Ray Kroc (Michael Keaton) on the road trying to sell five-spindle Multimixers used to make milkshakes to the owners of Drive-In Diners.

After sitting in his car waiting for over 30 minutes for his meal, Ray checks in with the office to get an order for six Multimixes.  He decides to drive out west to San Bernardino, California, to see what sort of restaurant would require so many milkshakes.  And that’s when the real story begins, when Ray pulls up to the original McDonald’s, to see the lines of people waiting for their meal served not in 30 minutes, but in 30 seconds.

McDonald’s was a vision set in motion by the two McDonald brothers, Mac (John Carroll Lynch) and Dick (Nick Offerman).  It was the McDonald brothers creation of the Speedee System, an assembly-line style of food preparation, that made the delivery of food to customers, fast.

The golden arches, the iconic symbol of fast food that’s now dotted across the globe in 35,000 locations was created by Dick McDonald.

The brothers are the true Founders.  But without the business acumen of Ray Kroc, McDonald’s would have remained just one restaurant.

The Founder is a character driven story with the crazed look of Keaton matching the perverse determination of Ray Kroc perfectly.

And the story is certainly an interesting one.

What fascinated me was Ray’s fortunate meeting of Harry Sonneborn (B. J. Novak), the financial whiz who came up with the idea to buy the land and then lease to the McDonald’s franchisee.

The idea that McDonald’s is one of the biggest realestate company’s in the world is mind boggling.

But that’s where the fascination ended.

Even with the gumption of Ray, a character to admire from afar as any closer you’d wonder if you’d be left with your wallet, the story just followed from one event to the other.

The monologue of Ray speaking to the camera at the beginning (and the end) added a bit of spice, but I was left wanting more.

The film evoked memories of childhood, of those gherkins flying through the air because no one liked the gherkin.  Seeing the 1950s version of the meat patties made me wish McD’s hadn’t changed from the original – thanks Ray!

But isn’t it interesting that McD’s is providing more quality burgers these days, at more expense to the diner?  The post-war 1950s pushed for more and faster, and the Speedee System was born.  Is it a reflection of today’s society?  Quality even if it costs more?

The Founder is thought-provoking but a greater insight into how Ray’s mind worked, like seeing the Speedee System work, would have given the story more flavour.

And I question the calm camera work here, as there’s a vibrant chaos to the McDonald’s restaurants, that brings out the fun of childhood – just think of those clowns! Showing a bit of craziness would have heightened the movie experience.

Nocturnal Animals

Rated: MA15+Nocturnal Animals

Director: Tom Ford

Screenplay: Tom Ford

Based on: Tony and Susan, written by Austin Wright (first published in 1993).

Starring: Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer, Laura Linney, Andrea Riseborough; Michael Sheen.

A dark emotive story within a story that’s sometimes confronting and always thought-provoking.

Susan Morrow (Amy Adams) is living the life she thought she always wanted: a successful gallery owner married to a handsome husband.  But as her marriage begins to disintegrate she begins to think of her first husband, Edward Sheffield (Jake Gyllenhaal), often.  When she receives a manuscript from Edward, dedicating the novel to her, the film shifts from the life of Susan Morrow to the story written in the novel.

There’s a stark simplicity in both tales here, yet together they create a delicate knot of tragedy.

The garish setting and understated elegance of costume and character is how director and screenwriter, Tom Ford, shows the reality of Susan Morrow.  Art can be trash – ‘It’s trash’ states Susan.  A statement of regret and a hint of her feeling of loss.  Yet the second story, the novel, is a stark crime novel, set in the desert of Texas.  A tale of family, murder, revenge; of the simplistic reality of life. A gut wrenching story compared to her quiet grief and disbelief of the life she’s currently living.

Nocturnal Animals shows the emptiness found in life where priorities made outside ourselves lead to choices that are later realised as mistakes.  And living with those  mistakes creates an emptiness.  What was so important is no longer what life is.  Sometimes, it leads to so much trash.

There’s an influence of the superficial world of fashion here, stemming from Tom Ford’s past life as a fashion designer.  But he uses the contrast the two stories (the life of Susan Morrow against the story written by her ex-husband), of the beautiful house and extravagance of the successful against the dust and murder in the novel, together, to combine both stories into the complex emotion of loss.

Jake Gyllenhaal plays the ex-husband and character in the novel as a sensitive, complicated yet good man, well.  There’s just the right touch here, a subtle and realistic tone.

I remember first seeing Amy Adams in the film Junebug (2005) – those soulful eyes used by director Tom Ford so well here.  It’s remarkable how well she plays tragic torn sadness.

And the highlight, Michael Shannon as the down-at-heal Detective Bobby Andes.  A likable character.  The only truly likable character which makes the story all the more real because the characters are complicated.

The film is based on the novel, Tony and Susan, written by Austin Wright.  The novel unsuccessful at first because thought to be too literary, but then enjoying critical acclaim when released in the UK.  Then taken up and written for the screen by Ford.  An ambitious project.  Yet the cast, pacing, orchestral soundtrack (Abel Korzeniowski) and setting frame the story beautifully.  But this isn’t a beautiful story, this is a thought-provoking tale, shown to confront the audience because the truth is fragile and delicate.

It’s difficult to rate this film as I didn’t particularly enjoy watching.  Yet, the film resonates. It’s not about the enjoyment, but capturing the emotion of regret.

‘I have no right to be unhappy because I have everything’, says Susan Morrow (Amy Adams).  ‘Happiness is relative,’ replies her friend at a dinner party.  A bourgeois luxury.  Yet grief and loss equalises all.

Fantastic Beasts and Where to Find Them

Rated: MFantastic Beasts and Where to Find Them

Director: David Yates

Script Written By: J. K. Rowling

Starring: Eddie Redmayne, Katherine Waterston, Alison Sudol, Dan, Fogler, Colin Farrell, Samantha Morton, Ezra Miller, Jenn Murray, Faith Wood-Blagrove, Jon Voight, Ronan Raftery; Josh Cowdery.

‘Worrying means you suffer twice,’ says Magizoologist Newt Scamander (Eddie Redmayne).  Which is another way of saying, Why worry, when there’s no point.  If something bad is going to happen, suffer through it once, not twice!  What a gorgeous way of treating life, the sentiment setting the tone of the film.

Fantastic Beasts and Where to Find Them is J. K. Rowling’s debut as a screenwriter.  The inspiration from the Hogwarts textbook of the same name, written by her character, Newt Scamander.

It’s difficult not to compare Fantastic Beasts and the previous Harry Potter films as there’s a similarity in vision; not only writer, Rowling, being the creator of both worlds but David Yates returning after directing the previous 4 ‘Harry Potter’ films.

But this is America, not England.  There’s a new language where Muggles are now called No-Maj (humans without magic).   Where the American’s have the Second Salemers – fanatical No-Maj’s who want to get rid of wizardry for good.

Terrified of exposure, Director of Magical Security at MACUSA (Magical Congress of the USA), Percival Graves (Colin Farrell) makes short work of anyone who threatens the fragile hidden world of magic.  Until Newt arrives with his suitcase full of fantastic beasts.

Instead of Harry Potter and his young friends battling their way into adulthood, with an exploration into all the dark corners of life in magic and life as neglected children, we have adults running through 1920s New York trying to re-capture cute magical creatures.  Instead of a darker adult outlook, I found Fantastic Beasts to be more childish in its tone.

There was a lack of depth, the feeling of a beginning, a building of a story rather than a whole which was disappointing after the Harry Potter introduction of J. K. Rowling’s magical world.

But what lacked in story was somewhat off-set by the magical creatures, the Niffler, reminding me of a platypus with a keen eye for all that glitters and all that’s gold.

I couldn’t help but grin and giggle at the behaviour of these creatures, and that brings me back to the childish tone of the film.

Eddie Redmayne as the protagonist, Newt, was likeable and I could relate to his awkwardness, which was essential as I felt if you liked Newt, you liked the film.

But I admit I wanted more from this film, from this story.

The characters were likeable, the creatures adorable, but the story didn’t have that darkness that make the Harry Potter films such a surprise.

Fantastic Beasts is a M-rated film that I’d take my nephews to watch for some fun entertainment.  Which doesn’t make it a bad film just not thought-provoking.  The Harry Potter films were an adaptation with more thought to the themes like good versus evil and all the inbetween.  Whereas Fantastic Beasts felt more like a glossing over of the story.

I’m expecting a series here.  A series that will get deeper and darker as the story progresses.

 

Arrival

Rated: MArrival

Directed by: Denis Villeneuve

Screenplay by: Eric Heisserer

Based on the story: “Story of Your Life” written by Ted Chiang

Starring: Amy Adams, Jeremy Renner, Forest Whitaker and Michael Stuhlbarg.

Without giving too much away, Arrival is a unique movie experience where language is viewed as more than communication; where learning a different language changes our neural pathways to change the way we see, feel and think.

Director, Denis Villeneuve has given his Midas touch to a film that really could have fallen flat.

With the space ships, or Shells in the sky used as the only marketing tool,  I admit, I was worried.

But Arrival had a unique flavour that bent the mind in unexpected ways.

Dr. Louise Banks (Amy Adams) is a linguist contracted by the US government to attempt communication and translation of alien language.  With 12 Shells hovering over cities across the globe, each country attempts to figure out the purpose of the aliens’ visit.

I know, I know, not another alien movie.  But Arrival isn’t just an alien film.  The word, ‘alien’ was used once with Dr. Banks asking, ‘am I the only one using this word?’

And that gives you an idea of the beauty of this film.  There was a distinct lack of drivel.

I love how Villeneuve can get you right up with the characters, to feel the tension and emotion.

Anxiety is shown so well in this film.  And Amy Adams is to be commended.  Her strength, intelligence and femininity shone – Denis making the most of Amy’s blue-eyed goodness.  The insight Villeneuve has managed to show of Dr. Bank’s character is astounding.  If only for this aspect, I enjoyed the film.  Then combine the incredible story, soundtrack and pace with that extra flavour that makes the characters so believable, you’ve got a winning film.

The real surprise for me was Jeremy Renner as the physicist, Ian Donnelly.  I admit I’m not a fan of Renner.  He has played so many cringe worthy characters, I shudder to think.  But in the role of Ian Donnelly, and handled with the skill of Villeneuve, this quiet, thoughtful character resonated well as a support to Dr. Louise Banks.

This isn’t an action film, nor your typical sci-fi, and Arrival isn’t scary.  But the subtleties and suspense of the story kept me completely absorbed.

Arrival isn’t so much an alien film as an exploration into language and how it affects our view of the world.

The Accountant

Rated: MA 15+The Accountant

Directed by: Gavin O’Connor

Screenplay: Bill Dubuque

Starring: Ben Affleck, Anna Kendrick, J. K. Simmons, Jon Bernthal, Jean Smart, Cynthia Addai-Robinson, Jeffrey Tambor and John Lithgow.

Based on a screenplay written by Bill Dubuque, The Accountant is one complicated, cracker of a story: flash backs, fight scenes, number crunching montages, loud shots from military grade riffles to the quiet of an accounting office to the chink of cutlery in a jail cafeteria; wry humour, Crime Enforcement agents to stone cold killers to the dynamics family.  All combined with the overriding discussion of autism.

There was so much going on it was hard to keep a handle on all the threads.

On the one hand, this is a character driven story about family and autism; on the other, The Accountant is an action-packed crime thriller.

Chris Wolff (Ben Affleck) is an accountant, but not your everyday H&R Block style, CPA certified accountant – Chris is a high functioning autistic who’s a savant when it comes to numbers.  He also works for drug dealers and assassins; criminals who call in a guy who’s clean and can uncook their books to find any missing money.

With heat coming from the Treasury Department’s Crime Enforcement Division, Chris needs an above-board job.  He needs to get under the radar.  So when a job to find missing funds from a robotics company comes up, his handler sends him to meet Lamar Black (John Lithgow).  But there’s more going here than the ordinary.  And Chris shows himself to be more than an accounting whiz – he’s an autistic action hero.

I was pleasantly surprised by the attention to sensory detail: colours of paintings, an eye disappearing through a crack in a door that’s slowly closing; flashes of light and loud music…

Epileptics with a photic sensitivity be warned: the flashing light is bright and about 3Hz – a dangerous but effective addition to the film.  But yeah, there should be a warning here!

So, the sensors were certainly entertained and the association with autism and the effect of sensory stimulation on the character were cleverly worked into the story.  What I did miss was Ben Affleck’s cheeky grin.  There’s a deadpan humour that works well, but the constant blank face of Chris felt a bit forced.  People with autism do smile.

I really wanted to love this film as I’m always looking for that thriller that surprises, giving so much more than expected.  And although complicated, director Gavin O’Connor did tie the whole story neatly together, but the main character, Chris, was just too incongruent at times.

A strong performance from J.K. Simmons helped pull the story together, but aspects of the film just didn’t quite fit.  Putting such emphasis on The Accountant having autism was dangerous territory and requires getting it right.  And some aspects of the character grated as they didn’t feel authentic.

I don’t want to give too much away as there’s a lot going here and this is a great story with an interesting message, but getting all the moving parts right felt like a stretch.  Everything was there from story to characters to time spent on delivery.  And I know it sounds like I’m bagging this film but I’m being harsh because I love a good crime/thriller.

As a series, The Accountant would have been perfection.  As is, a cracker of a story that’s so close but not quite for me.

And a grin from Chris would have gone a long way.

Ouija: Origin of Evil

Rated: MOuija: Origin of Evil

Director: Mike Flanagan

Writers: Mike Flanagan; Jeff Howard

Starring: Elizabeth Reaser, Lulu Wilson, Annalise Basso, Henry Thomas; Parker Mack.

Feeling weary after a heavy day, I wondered if it was the right night to watch Ouija: Origin of Evil.  But, what the hey, I thought I’d perk up once I got there, then I’d get into it…  The start would get me there… Or maybe, by the end…  I guess you can see where this is going – there was no perking up!

Sure, Doris Zander (Lulu Wilson), the possessed little girl, was scary; all freaky-eyed and way too enthusiastic about all things occult.  There just wasn’t enough of a hook.

I liked the 60s style of the clothes and the house of the Zander family, the style somehow adding an authentic flavour.  The characters were all believable and the story was decent.  And that’s what the film was, decent.  There was no zing for me.  The story felt like a formula which reminded me of other films but without the punch because I could see what was coming:

A story of a fortune teller selling closure to people who’ve lost someone.  The fact that Alice Zander (Elizabeth Reaser), the widowed mother of 2 girls, was a sham doesn’t matter.  It’s all about looking after her daughters, Doris (Lulu Wilson) and Lina (Annalise Basso) while feeling like she’s helping others, even though she’s making money out of grief.

It didn’t ring true to me, the idea of Alice sending her kids to a Catholic school and the priest, Father Tom, being ever so obliging to someone working in the occult.  The religious aspect didn’t quite fit.

Playing with a Ouija board isn’t a new horror narrative, and Origin of Evil had a fresh feel; the look of the film itself depicting the ‘cigarette burn’ in the corner of the picture on screen, my thinking, on purpose and timely, making the 60s setting more authentic.  And the transformation of the little girl, Doris, was sophisticated in the reveal of possession.

But I felt there was a holding back.  Not that I want gore or to be disgusted.  I prefer a suspenseful horror.  I just wasn’t shocked or surprised.

I’m always looking for that ultimate horror thriller that gets past the seeing, past the eyeball and burrows its way into the brain, to the place of imagination, and Origin of Evil didn’t do that for me.

There was a quality of execution and I believed all the characters, but the scare factor that gets under the skin just wasn’t there.

https://www.youtube.com/watch?v=IaiZYCSECC4

The Girl on the Train

Rated: MA15+The Girl on the Train

Directed by: Tate Taylor

Screenplay by: Erin Cressida Wilson

Based on: ‘The Girl on the Train’ by Paula Hawkins

Starring: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramírez; Lisa Kudrow.

Alcoholism, restlessness; hurt – The Girl on the Train is a film about the possibilities, the capabilities of someone lost.

The focus of the film surrounds the mystery of the main character, Rachel Watson (Emily Blunt) watching the world go by through the window of a train.

Sure, Rachel’s got her problems: she drinks, she lies, she has blackouts, and she wants what she can’t have.  And the audience, watching the world with her, sympathise: her heart’s in the right place – right?

But the slow reveal of Rachel’s unravelling makes us wonder just what she’s capable of.

And there lies the mystery.  What is really happening here?  Just how lost is Rachel?

The Girl on the Train is a movie of perspectives.  Of what people see compared to what goes on behind closed doors.  This is a film about what’s revealed to the audience and when.  And I think the mystery was handled well by director Tate Taylor (who won a BAFTA Award for best adapted screenplay for, Help (2011)).

I’m just going to say it – I found the book a slow read.  So for once and a rarity for me to say, the condensing of the story into a movie length narrative made for a more dramatic reveal.  The film concentrated on the main thrust of the story, of Rachel, of her illness, about her blackouts; about what actually happened on that fateful day.

No one can say that Emily Blunt can’t act, and indeed, her acting kept The Girl on the Train firmly on track.  Blunt is phenomenal in Sicario (2015), one of my favourites and I recently re-watched Looper (2012) – another fantastic movie starring Blunt.  I like her authentic, down-to-earth style and think she’s fast becoming one of the greats.  And her performance here is to be commended.

Also to note was the performance of Haley Bennett as the saucy Megan Hipwell and Justin Theroux as Rachel’s ex, Tom Watson.

In conclusion, I have to say there’s no real punch here and I wasn’t on the edge-of-my-seat, but The Girl on the Train is an absorbing mystery, shown well.

Deepwater Horizon

Action/Drama           Rated: MDeepwater Horizon

Director: Peter Berg

Screenplay: Matthew Michael Carnahan and Matthew Sand

Screen Story: Matthew Sand

Starring: Mark Wahlberg, Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O’Brien and Kate Hudson.

Based on the article written by David Barstow, David Rohde and Stephani Saul: ‘Deepwater Horizon’s Final Hours’, Deepwater Horizon is about one of the largest man-made disasters to have ever occurred.

Ultra-deep-water drilling off the coast of Louisiana, the rig suffered a massive blowout after pressure caused oil to explode up the pipeline.  The oil then caught fire destroying the rig.  The disaster killed 11 people and leaked 50,000 barrels of oil into the ocean for 87 days.

Deepwater Horizon is about putting the audience in the midst of the disaster, about pressure from the depths hard to fathom.  In fact, the whole scenario is difficult to get my head around because I’m not an engineer nor a deep sea drilling technician that understands drilling and pressure and the forces of rotting dinosaurs from a previous millennia.  And there isn’t a requirement to have this knowledge as the film shows the staff, doing what they do, without dumbing it down for the audience.

The story is shown in a way where you get it.  That the mud is used to contain the pressure of the oil, so that if it’s oozing up the pipes onto the rig, that’s a bad thing: the mud isn’t stopping the pressure.  And if that dial goes to a psi in the red area of the dial, that’s a very bad thing.

That’s what I liked about the film.  Being right there with the people working on this monstrous rig.

Mark Wahlberg as the Transocean chief electronics technician, Mike Williams, gives a great performance as an everyday guy doing his job.  And Kate Hudson as the wife waiting at home keeps the cheese to a minimum – it’s all about down-to-earth folk just dealing with it.

Wahlberg and director, Peter Berg, have worked together previously in the film, Lone Survivor.  Another survival story about making tough decisions. Berg doesn’t use cheap tricks to tug the heart strings, he just tells a tale with an authentic flavour and Wahlberg plays the no-nonsense hero well.  And the simplicity and straight forward telling of Deepwater Horizon gave the story more impact and power.  It was left to the audience to feel the emotion.

I love a good techy film and Deepwater Horizon filled the bill with great camera work to show the scale undertaken to drill into the depths of the ocean; and the explosion and visual spectacle of the disaster was totally believable on screen.

There was a glossing over of the politics of dealing with BP, but covered by the interaction between Donald Vidrine, the BP company man played by John Malkovich (he plays a villain just so well) and Kurt Russell as Mr. Jimmy who was the offshore installation manager.

Rather than the politics or emotional drama, Deepwater Horizon was more about the confrontation of the disaster itself.  And I liked that.

LIFE, ANIMATED

Rated: PGLIFE, ANIMATED

A documentary by: Roger Ross Williams

Editor: David Teague

Cinematographer: Tom Bergmann

Composer: Dylan Stark, T. Griffin

Original Animation: Mac Guff

Based on a book by: Ron Suskind

Starring: The Suskind Family: Owen, Cornelia, Walter and Ron.

LIFE, ANIMATION is a documentary based on a book written by Ron Suskind, father of Owen who at age 3 was diagnosed with autism.

This is a story about Owen’s journey from childhood, to his devastating withdrawal at age 3, to his diagnosis of the pervasive developmental disorder of autism, through to miraculously living on his own in assisted residential care. All due to the Suskind family’s persistence and recognition of Owen’s ability to communicate through his understanding of the exaggerated emotional cues shown in Disney films.

Owen’s father, Ron, has used his journalistic skill in portraying the difficulties of autism: the constant overstimulation (due to lack of filtering of the external environment), the loss of understanding of words and the determination to release him from his autism prison.

I can understand how this documentary, directed and produced by Roger Ross Williams (Music by Prudence; God Loves Uganda), has won so many audience awards: Telluride Mountainfilm Festival, San Francisco International Film Festival, Full Frame Film Festival and the list goes on…

Not only a remarkable insight into autism, I found myself constantly smiling.

The Suskinds are just such a loving, supportive family, that every triumph is experienced right there with them. And Owen himself is a genuinely lovely guy. It’s such a pleasure to see him open up and become a young man.

Yes, there are difficulties, and I shed a few tears through-out the film, because that’s life.

I could relate to Owen’s difficulties, the falls we all take. And I could admire his tenacity to keep getting up and keep fighting the good fight: the losing of his voice and then finding it again.

This is a heart-felt story that is shown so well by the directing. And the soundtrack is perfect: there to amplify the moments without becoming intrusive. What amazed me the most was the original animation created by Mac Guff to depict Owen’s own imagined stories.

I could sense the amount of time and care put into this film and I have to say, it has really paid off. The film is a seamless journey, shown with emotion that is real and made relatable to everyone.

I laughed, I cried, I smiled and I learnt something not only about Owen and his battle with autism, I also found an opportunity to reflect on my own life journey.

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