The Silver Bullet ~ Midsommar



Synopsis
: What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.

Release Date: July 3, 2019

Thoughts: Horror movies are always a bit divisive between elitist critics and populist cinephiles but 2018’s Hereditary managed to unite them almost universally.  It took me a second watch to truly appreciate what writer/director Ari Aster was going for and even then I still had issues with the finale.  That aside, I’m looking forward to Aster’s next summer screen scare, Midsommar and from the looks of this second trailer audiences are in for another squirmy ride through some very freaky goings-on.  I like that the film is set completely in the daylight, giving Aster and his actors little room to hide – I just hope this time the ending can live up to everything that has come before.

The Silver Bullet ~ Maleficent: Mistress of Evil



Synopsis
: Explores the complex relationship between the horned fairy and the soon to be Queen as they form alliances and face new adversaries in their struggle to protect the moors and the magical creatures that reside within.

Release Date: October 18, 2019

Thoughts: Though it was inspired by an undying classic and received a prestige release from Disney in 2014, Maleficent still managed to defy some lofty expectations to become a sizable hit.  Retelling the Sleeping Beauty story from the perspective of the supposedly evil protagonist (how very Wicked of them), the film had great visuals and a nice style but suffered from often being a word-for-word remake of the animated film.  It’s taken five years but the studio has enticed Oscar-winner Angelina Jolie (Unbroken) back to play the titular character and expanded her tale in an original story.  This first teaser hints at some interesting new alliances and feels less like a plain cash-grab. Will new director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) and the addition of Michelle Pfeiffer (mother!) help to elevate Maleficent: Mistress of Evil from being a sulky sequel?

The Silver Bullet ~ Judy



Synopsis
:  Legendary performer Judy Garland arrives in London in the winter of 1968 to perform a series of sold-out concerts.

Release Date: September 27, 2019

Thoughts: Our tiny toes have just dipped into the summer blockbuster waters and already studios are teasing us with Oscar hopefuls arriving in the fall. That’s ok because this long overdue biopic of doomed star Judy Garland looks like a nice turn for Renée Zellweger who has been laying low for the last several years.  Could Judy be the comeback vehicle that gets her a fourth Oscar nomination and maybe a second win?  It’s too early to tell for sure but more than fine to speculate this far out.  The first look at the September release features Zellweger (Bridget Jones’s Baby) singing as Garland and while she doesn’t sound quite like Judy she definitely looks like her in the brief clips shown.  True, fleeting glimpses don’t equal a convincing performance and I actually found it concerning how little extended glances we get – but let’s just chalk it up to the teaser quality of this teaser trailer.

The Silver Bullet ~ IT: Chapter 2



Synopsis
: Twenty-seven years later, the Losers Club have grown up and moved away, until a devastating phone call brings them back.

Release Date: September 6, 2019

Thoughts: Back in 2017, Warner Brothers took a risky move by remaking Stephen King’s IT as a big screen endeavor. Though the television mini-series had unquestionably not aged well it still held a soft spot in the hearts of many a fan.  Thankfully, the gamble paid off and director Andy Muschietti (Mama) delivered not only a scary as hell horror film but one that also captured King’s nostalgic tones as well.  The performances were far above average considering that most of the kids were unknowns and that helped keep the tension up throughout.  Two years later comes the concluding chapter featuring the members of the Losers Club that have grown up and are revisited by a vengeful evil that has been waiting for them for many years.  The first teaser trailer is a doozy too, crafted mostly as a scene between Jessica Chastain (The Martian) and a creepy lady that lives in her childhood home.  I found myself slowly inching away from my desk as it went along not sure where it was taking me.  Here’s hoping this sequel seamlessly branches off the first film and ends with the kind of bang it deserves.

Movie Review ~ The Hustle


The Facts
:

Synopsis: Two female scam artists, one low rent and the other high class, team up to take down the dirty rotten men who have wronged them.

Stars: Rebel Wilson, Anne Hathaway, Alex Sharp, Ingrid Oliver

Director: Chris Addison

Rated: PG-13

Running Length: 94 minutes

TMMM Score: (5/10)

Review: Just a few short months ago I was praising actress Rebel Wilson for her starring role in the February rom-com Isn’t it Romantic, remarking that I was glad she seemed to be less reliant on her usual fallback shtick to get laughs. The respite from this broad comedy was brief, though, because The Hustle has arrived on the scene as a stealth counter-programming move to the unstoppable blockbuster Avengers: Endgame and it finds Wilson back in well-worn territory that doesn’t do anything to convince her naysayers she’s capable of surprising viewers.

That’s too bad, too, because there was real potential for The Hustle to be more than it winds up being. A more faithful remake of 1988’s Dirty Rotten Scoundrels (which itself was a remake of 1964’s Bedtime Story) than I originally thought it was going to be, it gives Wilson her best co-star to date in Oscar winner Anne Hathaway but doesn’t seem to really know what to do with either lady. Therefore, it winds up being a modestly entertaining time waster providing some gentle chuckles (and one riotously funny sequence) but it’s mostly content to sneak away with your summer money…much like the two female thieves at its center.

After a frothy animated title scene (side note: boy, do I miss a nice credit sequence in movies) we meet up with Penny (Wilson, Pitch Perfect 3) as she’s sidling up to catfish a man (Timothy Simons, The Boss) in a bar. Penny wants people to like her for who she is on the inside not the outside…but she’s going about it in all the wrong ways. Luring the man to the bar using a picture of a different girl, she waits until he proves himself to only care about looks before justifying swindling him out of cash.  This scene is totally unnecessary to the overall plot of the film and seems to only be in there for a visual gag that’s already been selfishly spoiled (as many, many, many of the jokes have) in the trailer.

The movie starts to show some life when Penny meets Josephine Chesterfield (Hathaway, The Dark Knight Rises) on a train to Beaumont-Sur-Mer on the French Riviera. Amused after observing Penny’s efforts in conning an easy mark, Josephine comes to realize Penny might be more competition than she original thought and decides to take her under her wing. After some brief training passages involving physical comedy at the expense of Wilson’s nether-regions and a nice reimagining of a memorable scene from the 1988 film, Penny has graduated and is ready for the big time cons.  Together, the two women grift rich unsuspecting men until one guy (Alex Sharp, How to Talk to Girls at Parties) comes between them and the stakes are raised even higher when love comes into the mix.

By far, the funniest sequence in the film has Wilson posing as a blind innocent hoping to get money for an experimental therapy…only to have Hathaway show up as the German therapist Wilson created as part of her scheme. Watching Hathaway “test” the extent of Wilson’s blindness and try to cure her had me absolutely crying with laughter. Perhaps it was just the mood I was in or the fact that the rest of the film was so weary in its doling out of genuinely funny moments, but this section of the movie alone is enough for me to give it a recommendation.

With Oceans 8 and now this, Hathaway seems to be trying to politely shed the twee persona that became so aggravating around her Les Misérables days, anxiously sinking her teeth into another unapologetic man-eater role. She takes on a befuddling basso profundo Brit accent as Josephine and I couldn’t quite tell if she was actively trying to be bad or if director Chris Addison didn’t have the heart to tell her it stunk.  Thankfully, she gets into her groove right around the time she takes on the German therapist persona and rides that nicely for the rest of the feature. As I mentioned before, she’s matched nicely with Wilson and they seem to get along swimmingly – you get the impression the scenes were cut off right before the actresses burst into laughter.

When the film sticks to the skeleton of its predecessor it really hums and that’s a testament to how well Dale Launer’s script has held up over the last three decades. There’s a few amusing references to the earlier film that fans will likely catch and I liked that there were times I couldn’t tell if this was a remake or a sequel – I half expected original stars Steven Martin or Michael Caine to make an appearance at some point. Yet with too much reliance on Wilson’s same-old comedic foibles and despite the best attempt by Hathaway to drag her co-star away from the obvious jokes, it can’t make an assertive enough play to be remembered as a lesser-than remake of a more joyous film. Still – I’d be totally lying if I said I didn’t enjoy myself more than I thought I would for the majority of the 90 or so odd minutes the film occupied my consciousness.

Oh…and stay until the very end of the film. There’s a post-credit scene that’s decently long with one very good joke in it.

Movie Review ~ Tolkien


The Facts
:

Synopsis: Tolkien explores the formative years of the orphaned author as he finds friendship, love and artistic inspiration among a group of fellow outcasts at school.

Stars: Nicholas Hoult, Lily Collins, Colm Meaney, Craig Roberts, Anthony Boyle, Patrick Gibson, Genevieve O’Reilly, Laura Donnelly, Pam Ferris, Sir Derek Jacobi

Director: Dome Karukoski

Rated: PG-13

Running Length: 112 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review: As biopics of famous authors have proved, finding a way to depict the life of someone so renowned for his or her storytelling can be a tricky game. One needs only to look at the curious flatness of Goodbye Christopher Robin, The Man Who Invented Christmas, Becoming Jane, or even as far back as 2003’s Syliva, to see that a screenwriter has their work cut out for them if they want to take on a well-known literary scribe. On name recognition alone, J.R.R. Tolkien is by far one of the bigger names to get the “this is your life” treatment on the big screen and for a man who was so closely associated with fantasy it’s rather pleasant to note his biopic is one that is most grounded in reality.

The life of Tolkien could easily have been covered as a multi-part mini-series on HBO, Netflix, or Amazon Prime (where they are getting ready to film their own series based on Tolkien’s Lord of the Rings novels) because the man certainly lived a life. Raised with his younger brother by a poor single mother who died when he was 12, he went to live in an upper-class boarding house that afforded him the opportunity to go to a good school and get into a prestigious university. Marrying his first love before serving in the war, he returned home to teach and began writing the novels that would be his legacy. These events even read like the plot of a movie we’ve all seen before and would seem to lend itself well to a similar treatment, which would have been just fine. Thankfully, the filmmakers took a different approach.

The movie centers on the friendship that develops between Tolkien (Nicholas Hoult, Warm Bodies) and three other young men he meets in school and remains close with as they go to college and join the war effort. At first an outcast from the boys in his class, Tolkien eventually finds they are really no different from him with their own set of personal problems in life and at home. Robert Gilson (Patrick Gibson, The Darkest Minds) is the headmaster’s son living in the heavy shadow of his emotionally withdrawn father, Christopher Wiseman (Tom Glynn-Carney, Dunkirk) struggles to make a name for himself as a musician, and Geoffrey Smith (Anthony Boyle, The Lost City of Z) is a sensitive poet who becomes Tolkien’s closest friend.

Screenwriters David Gleeson & Stephen Beresford (Pride) give us a light sketch of the early life of Tolkien and a brief dab of his post-War life but their film mostly focuses on his teenage years through his time at the Battle of the Somme. For director Dome Karukoski, this is more than enough meat to cook a fine feast that doesn’t rely on trickery (or much pre-knowledge of the author) to be fulfilling. While there are some interesting visual cues during Tolkien’s war experience that veer to the fantastical, such as seeing dragons in fire raids or ominous evils in plumes of smoke, Karukoski’s movie has its feet on the ground. I was bracing myself for the movie to feature hints along the way of how Tolkien came up with the stories and characters that would earn him a place in the history books. Thankfully, aside from a wise teacher that has a twinkle of Gandalf in his eye, there’s no crusty janitor at Oxford that could have inspired Gollum nor is there a squat gentleman at the local pub enjoying a fine meal who reminds us of Bilbo Baggins. No, the screenwriters and director have held back on being too on-the-nose with these elements and have conveyed instead how the books came out of the collective whole of Tolkien’s life up until the point he put pen to paper.

While it doesn’t exactly stretch his range, Hoult’s performance as Tolkien is admirable in its presentation because many general fans of the author likely aren’t too aware of the personal life of the man behind the majestic worlds he created. So there’s a bit of freedom for Hoult to make the role, more or less, his own. Whether he’s muddied up on the battlefields, in natty tweeds lounging around Oxford, or walking through the woods talking to trees, he always seems to be on the right track. As his sweetheart and eventual wife, Lily Collins (Mirror Mirror) turns in her best performance to date by giving some decent nuance to a role that could easily have been tossed away as the “supportive spouse” part. Recognizing her limitations in society, Edith’s one night out with the boys turns from joy to sadness as she realizes that she’ll never (in her lifetime) be able to have the same privileges as the man she loves. If there’s anything that feels truncated in the film, it’s the love affair between Tolkien and Edith which is the first thing to take a backseat in favor of other plot points.

All three of Tolkien’s friends provide good supporting performances, namely Boyle as Tolkien’s best ally and the one he desperately tries to find during the war. Hoult and Boyle have some good scenes together, as does Holt with Genevieve O’Reilly (The Kid Who Would Be King) as Geoffrey’s mother who sadly comes to realize she doesn’t know her son as well as his friends do. In his few brief scenes, Sir Derek Jacobi (Tomb Raider) challenges Tolkien to push himself further as a writer/scholar and it’s not too hard to discern where the genesis of a certain white wizard came from. The only nitpick I have is that there’s a lot of dark-haired guys in the film and during some of the war scenes it was hard to keep track of who was who.

Arriving in the still massive wake of the Avengers: Endgame box-office juggernaut, I fear Tolkien might get lost in the mix because it’s not loud enough to attract much attention outside of fans of the author that know it’s coming. There was some buzz in the news a few weeks back when it came out that Tolkien’s family did not endorse the film, though they hadn’t even seen it at that time. While that may give you pause to see this film, it’s helpful to know that most biographies don’t have the support of the family and sometimes that allows the author of the work to, sure, take a few liberties with the material but also not be as beholden or precious to their subject. In the case of Tolkien, it’s clear everyone involved had a great respect for the late author (he died in 1971) and were invested in this tale of his first valued fellowship.

Movie Review ~ Pokémon Detective Pikachu


The Facts
:

Synopsis: When a private eye goes missing, his son is prompted to find out what happened. Aiding in the investigation is Pokémon and Harry’s former partner: Detective Pikachu.

Stars: Ryan Reynolds, Ken Watanabe, Justice Smith, Kathryn Newton, Bill Nighy, Chris Geere, Suki Waterhouse, Rita Ora

Director: Rob Letterman

Rated: PG

Running Length: 104 minutes

TMMM Score: (6/10)

Review: By the time Pokémon made its debut in 1995, I had graduated from being the target audience for the global franchise. Starting as video games, as so many million-dollar empires do, before expanding into books, tv shows, comics, toys, etc. the brand was revitalized in 2016 when Pokémon Go became all the rage. Finally tapping into a more adult base, this scavenger hunt game was a sensation and the subject of many issues with players traversing onto private property or into oncoming traffic to “capture” their Pokémon. During the summer of 2016, you were either playing Pokémon Go or rolling your eyes at those who were.

If there was one area left for the Pokémon to conquer, it was live-action film. Over 20 animated films were released over the past two decades but when Pokémon Go reignited interest in this country, studios looking to capitalize on the craze sought out the rights to bring the characters to new life on the big screen. Using the popular 2016 game Detective Pikachu as inspiration, four screenwriters collaborated on Pokémon Detective Pikachu and Warner Brothers locked down an A-list star to provide the voice for it’s title character. Now…would the audiences come out and play?

The relationships between humans and Pokémon have evolved at the start of Pokémon Detective Pikachu. While they still “choose” their own Pokémon who become their semi-sidekicks, humans are no longer training them to do battle against others. This is all thanks to the vision of Howard Clifford (Bill Nighy, About Time), the creator of Rhyme City where everyone co-exists in harmony. In the prologue, an experimental laboratory comes under attack and a dangerous next-gen Pokémon is released, causing mayhem and what looks like a deadly car crash.  Jumping outside of Rhyme City, we catch Tim (Justice Smith, Paper Towns) and his friend Jack (Karan Soni, Safety Not Guaranteed) trying to locate a Pokémon for Tim. Once interested in being a trainer, now Tim has his eyes set on climbing the corporate ladder for the insurance company he works for. Everything changes with the news his private detective father has died in Rhyme City, and when Tim starts to dig into the secrets his father was trying to expose it brings him face to face with his father’s Pokémon, Pikachu (voiced by Ryan Reynolds, Life).

Usually, only the human that choses the Pokémon can understand what their little friend is saying but somehow Tim hears Pikachu loud and clear. Pikachu has lost his memory, only being able to piece together that he was also in the crash with Tim’s father. Just as invested in finding the evil Pokémon and who might be behind their actions, Pikachu teams up with Tim and they begin to sleuth around the city for answers. Along the way they encounter an eager junior reporter (Kathryn Newton, Ben is Back), a gruff police detective (Ken Watanabe, Transformers: Age of Extinction), and a plethora of wacky Pokémon.  In one particularly notable bit, Pikachu and Tim have a run-in with Mr. Mime, an excellent but mischievous pantomime with an act that was a highlight of the film.

Director Rob Letterman (Goosebumps) knows how to work with blending live action and the computer animated Pokémon creations and most of the visual effects are impressive. It’s not as seamless as it could be, though, and that gives the film a second-tier feeling that doesn’t befit a release from a first-rate studio. The screenplay is fairly basic and hinges on a twist that becomes rather obvious within the first thirty minutes. Smith is not that appealing as a leading man (already proven by audiences actively asking for him to be eaten in Jurassic World: Fallen Kingdom) and the charismatic Reynolds is relegated to being merely a voice which only gets at half of what makes him so engaging. Yet, the film bounces along, working almost in spite of itself with a handful of nice gags and chuckle humor that was appealing. It’s not the raucous comedy of Long Shot but it doesn’t elicit deadly silence either. For what it’s worth, my audience absolutely roared with laughter at obvious insider Pokémon references that went right over my head. One thing is clear, the film wants you to invest in the Pokémon brand – it’s almost a feature length commercial for their line-up of characters which will equate to mass dollars being spent on products.

I can’t honestly tell you what a fan of Pokémon will think about Pokémon Detective Pikachu but as an uninitiated viewer I found the film to be sporadically funny, rarely boring, but almost instantly forgettable. The kind of ho-hum pre-summer flick that arrives before the bigger players in the hope of cashing in quickly before vanishing from screens in time to be a back-to-school gift on BluRay. There’s nothing particularly bad to report but it’s all so pedestrian and uninspired you’d think a little more effort would be put in to mask the blatant consumerism on display.

Movie Review ~ Long Shot


The Facts
:

Synopsis: An unemployed journalist battered by his own misfortune endeavors to pursue his childhood crush and babysitter, who now happens to be one of the most powerful and unattainable women on the planet.

Stars: Charlize Theron, Seth Rogen, O’Shea Jackson Jr., Andy Serkis, June Diane Raphael, Alexander Skarsgård, Ravi Patel, Bob Odenkirk, Randall Park

Director: Jonathan Levine

Rated: R

Running Length: 125 minutes

TMMM Score: (7/10)

Review: Don’t look now, but we may actually be in a small scale renaissance of the mid-range romantic comedy. There were rumblings that it was coming back when last year’s Crazy Rich Asians made a splash, only to be followed by the popular streaming releases like To All the Boys I’ve Loved Before and The Set Up. So far this year, we’ve had the modest hit Isn’t it Romantic and soon after Long Shot’s May release there’s still The Sun is Also a Star to look forward to and Last Christmas for the holidays…plus several more Netflix offerings along the way. It’s not a full scale rebirth of the genre but it definitely gets a healthy dose of mouth-to-mouth resuscitation courtesy of Seth Rogen and Charlize Theron in Long Shot.

Originally conceived as more low-brow comedy titled Flarsky, the script from Dan Sterling attracted the attention of Seth Rogen after it got good buzz on The Blacklist, the infamous Hollywood insider-y annual survey of the “most liked” motion picture screenplays not yet produced. Rogen brought in screenwriter Liz Hannah (The Post) who gave the film a good polish, making the starring female role more of real person and creating more equality between the lead protagonists. With a new title and Rogen’s friend Jonathan Levine (Warm Bodies) in the director’s seat all they needed was a star. And boy did they get one.

Charlize Theron (Mad Max: Fury Road) is the real reason you should be buying a ticket to see Long Shot and is the film’s not-so-secret weapon. Sure, you may be a fan of Rogen, romantic comedies, or just need a solid two hour film that is worth your time but Theron is by far the main selling point Long Shot has to offer. Already adept at playing any genre she’s thrown into, Theron dives headfirst into a role that requires the actress to convince us her gorgeous buttoned-up Secretary of State could fall for Rogen’s lumpy (but lovable) political journalist, all while keeping her composure as she plots out an environmental treaty to lay the groundwork for her presidential run.

Recently fired from his grassroots publication, Fred Flarsky (Rogen, This is the End) is drowning his sorrows with his best friend (O’Shea Jackson Jr., Straight Outta Compton) at an upscale benefit when he runs into his old babysitter Charlotte Field (Theron). Flarsky may have written a few popular pieces on the internet but Field has done considerably better for herself; she’s the youngest Secretary of State under a dim bulb President (Bob Odenkirk, Nebraska) who was elected after playing the Commander in Chief on TV for years. When the President decides not to run again and offers to endorse Field, she gets early reports (from a too-brief cameo by Lisa Kudrow, Friends with Kids) that the public doesn’t think she has a sense of humor. Running into Flarsky and reading his material gives her an idea: why not hire this guy who knew her back in the day and see if he can punch up her image?

For Field, this starts as a business proposition. For Flarsky, this is a chance to get closer to a girl he has had a crush on since he was a pre-teen. Even more than that, he believes in her as a politician and gets behind her as a potential presidential nominee. As they make their way around the globe gathering support for her environmental protection plan, the two get closer…much to the horror of her staff members (June Diane Raphael, Girl Most Likely and Ravi Patel, Master of None) until they become an unlikely item.

It really is on Theron to sell us on her character falling for Fred and Rogen and Levine help her get there (with no small assistance from Hannah’s script) by keeping Charlotte aware of their differences but following her heart anyway. That’s what makes it all work because, unlike other Rogen vehicles where he’s paired with beauties just…because, here he initially winds up with the girl by winning over her brain first before anything physical happens.

Clocking in a tad over two hours, the movie comes in just a hair too long and a wiser editor could have excised more of Jackson’s unnecessary scenes as Fred’s friend that don’t wind up informing the action on anything we don’t already know. As good as Raphael and Patel are, they only work in small doses and their business could be trimmed as well because we really want more time with Theron and, to a slightly lesser extent, Rogen.  I can’t forget to mention Andy Serkis (Black Panther) popping up in a truly bizarre role as a publishing magnate with ties to Charlotte and Fred.  It’s not that the role is bizarre, it’s that Serkis is under heavy layers of make-up to render him unrecognizable.  Why?

The film almost makes it across the finish line without resorting to gross out gags but can’t resist a fairly atrocious bit of toilet humor that cheapens things up at the wrong time. Honestly, I get why they inserted it in the grand scheme of things but it sinks the film to a different level that I thought it was rising above.  Still, that and a rather perfunctory ending can’t erase the fun of the previous 100 or so minutes and any movie that prominently features Roxette’s mega-anthem “It Must Have Been Love” on more than one occasion already scores high in my book.

The Silver Bullet ~ Crawl



Synopsis
: A young woman, while attempting to save her father during a Category 5 hurricane, finds herself trapped in a flooding house and must fight for her life against alligators.

Release Date: July 12, 2019

Thoughts: It’s not hard for me to figure out where my love of creature features began. Ever since I saw Jaws as a kid I’ve been enthralled by monsters on land, under the sea, and in space.  From nature run amok atrocities to alien lifeforms, I’m pretty lenient on films that pit men and women against some beast with really sharp teeth.  We’ve been pretty starved for these mid-budgeted movies (at least in theaters) with tastes shifting to blockbuster entertainment for the masses but this July sees the release of Crawl and it looks schlocky and fun.  While, as usual, the trailer gives away more than I’d like, there’s more than enough here to get me interested in what other scares director Alexandre Aja (Horns) has in store.  Also…while I’m not freaked out by spiders, snakes, or sharks, I am legit frightened by alligators and crocodiles so this is going to be sweaty palm experience for me.

Movie Review ~ The Mustang


The Facts
:

Synopsis: A violent convict is given the chance to participate in a rehabilitation therapy program involving the training of wild mustangs.

Stars: Matthias Schoenaerts, Jason Mitchell, Bruce Dern, Gideon Adlon, Connie Britton, Josh Stewart

Director: Laure de Clermont-Tonnerre

Rated: R

Running Length: 96 minutes

TMMM Score: (8/10)

Review: I wouldn’t blame you if you happened to let The Mustang trot on by you as we start to approach the jumping off point of the summer movie season. It’s not a flashy movie with superheroes dueling it out in a grand finale of a popular franchise (Avengers; Endgame) nor is it a horror film out to spook you (Us, Pet Sematary, The Curse of La Llorona) and it definitely isn’t a family film like Dumbo, though I’d argue that’s not a family film either. It doesn’t feature actors that can open a movie on their name alone and the film has been marketed accurately as a heavy drama with a main character often hard to root for.

I saw The Mustang right after taking in Captain Marvel for a second time and the experience was different though some of the feelings were the same. Both films featured strong examples of emotional resonance but whereas Captain Marvel is designed to have you sort of blasted backwards in your seat, The Mustang’s quiet grace made it a film you wanted to lean into and sit a little further forward for.

In a Nevada prison, Roman Coleman (Matthias Schoenaerts, The Danish Girl) is serving a long sentence for a violent crime we only get bits and pieces of information about. Used to serving his time in his preferred solitary confinement, he’s brought back into the general population and given a roommate (Josh Stewart, Interstellar) for the first time in years. Barely speaking more than a few words to anyone in a given day, Coleman starts a prison job maintaining the grounds but is intrigued by the horses being watched over by other inmates. He becomes fixated on one particular horse too wild to be broken and is recruited by the salty program lead (Bruce Dern, Nebraska) to try to see if he can have any luck taming the beautiful horse.

Now, it isn’t hard for the audience (or Coleman) to see the obvious parallels between the prisoner and the horse and that doesn’t seem to concern director Laure de Clermont-Tonnerre in the slightest. In fact, I feel the filmmakers almost go out of the way to show us how closely tied in personality the man and mustang are. Stubborn and willful could describe Coleman or the horse he names Marquis and over time the two form the bond we expect but in ways we can’t quite predict. The path isn’t easy and the film features several unsettling acts of violence (not always directed toward the horse) that don’t feel like cheap devices to gain sympathy.

At a sleek 96 minutes, The Mustang is mostly muscle and is led by a stellar performance from Schoenaerts. Over the last several years Schoenaerts has proven to be a dependable presence in films but he’s yet to truly break through to the next level of stardom in the US. His performance is as good as any Oscar nominee last year (even better than at least one) as is Mudbound’s Jason Mitchell (Contraband) memorable supporting turn as a fellow inmate that shows Coleman the literal ropes of the horse ring. A sidewinding subplot concerning Coleman’s prison visits with his estranged daughter (Gideon Adlon) skate the edge of maudlin but the two actors are so good in their strained meetings that you begin to feel just as uncomfortable in their presence as they are. Featured in just two scenes, it’s never a bad day when Connie Britton (This Is Where I Leave You) appears onscreen as a prison psychologist.

Financed with monies awarded by the Sundance Institute, The Mustang has the distinct feel of an indie drama that would go over well at the Sundance Film Festival before playing at your local art house cinema. It’s likely a bit too small to become a breakthrough hit and its release date so close to highly anticipated blockbusters will all but push this one out of your local theater quickly. So after you see Avengers: Endgame, consider saddling up to this one. Or, make this one your first choice because it won’t be around for long.