Tag Archives: Film

“Patriots Day” movie review

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patriotsdayEmotionally intense–not for the faint of heart. Patriots Day is the dramatic account of the Boston Marathon Bombing and manhunt for Dzhokhar Tsarnaev and his brother Tamerlan Tsarnaev. Starring a powerhouse cast on top of extensive research, this film couldn’t come at a better time when there exists such a low general public opinion of law enforcement. Boston Police Department (BPD) shines as it shows that law enforcement officers and officials truly care about the city they are responsible for protecting. Although tragedies often are more conducive for a documentary film, writer-director Peter Berg combines the information found in a doc film with cinematic storytelling techniques to successfully construct a narrative that will rock you to the core and keep you on the edge of your seat. With the inclusion of first person, news, and surveillance footage, Patriots Day does not shy away from the visceral horror that befell the City of Boston and surrounding areas. You think you may know the story, as I did, but nothing will prepare you for coming face to face with one of the most tragic events in modern U.S. history.

Ordinarily, this is where I summarize the plot; but the plot is mostly known all too well. Fortunately, this film goes beyond the news reports and constructs a diegesis (story/narrative) around the stories of eye-witnesses, victims, the wounded, medical first responders, and law enforcement–both local and federal.

Mark Wahlberg, John Goodman, Kevin Bacon, J.K. Simmons, and the rest of the principle and supporting cast deliver outstanding portrayals of the real men and women who were instrumental in the response to and apprehension of the bombers as well as those who fell victim to the arson and shrapnel. It isn’t often that films depicting tragedies are produced this close to the events contained therein. Occasionally, there are films about tragedies that are truly better suited for a documentary; but, in order to convert it to a cinematic motion picture, a love story is added for diegetic affect. That is not the case with Patriots Day. The focus is on the BPD, FBI, and medical first response to the bombing and massive manhunt that ensued immediately after the explosions. There are certainly romantic relationships indirectly connected to the narrative, but they are mostly included to juxtapose the everyday life that everyone thought they were going to have on April 15, 2013 against the horrifying events that transpired at America’s longest running marathon, which has become such an iconic event each year.

Logistically and diegetically, there is a simple answer as to how this tragedy was so successfully translated to the silver screen so close to the day it occurred whereas other tragic events (mass shootings, bombings, aero-spacial, maritime, etc) are more conducive for and translate to a documentary better. This tragic event is a combination of (1) the explosions themselves (2) the manhunt afterwards and (3) the impressive work of law enforcement. There is more to this story than the bombing itself. Certainly the bombing was the catalyst for the events that ensured afterwards, but the real story is of the incredible actions of law enforcement and other first responders. While there seems to be a general focus in broadcast news media on the negative actions–whether perceived or otherwise–of law enforcement officers, this powerful film shows police officers in a positive light–shows them as individuals who love the city under their protection and stop at nothing to protect the innocent. This is so important in today’s climate of scrutiny of public safety officials.

The cinematography, visual effects, and production design are flawless. So incredibly realistic that you will likely feel transported from your seat into the film itself. To my surprise, the film included interviews with key figures directly involved with or affected by the Boston Marathon Bombing. It’s not uncommon to include photos with textual exposition on the lives of central figures in a historical film; but this film goes beyond telling you “where they are now” or what happened after the events in the film. It includes video footage of interviews–you get to hear from the individuals upon whom the characters were based. I could not think of a better ending to a film such as this one. Patriots Day works because it is the best of what a documentary offers with the brilliance of cinematic storytelling techniques.

For those of you who appreciate historical films depicting tragic events, then this is one that you need to watch. It is not a film to be enjoyed in the conventional sense, but one that packs a powerful message and neither glorifies nor undermines the real historic event. Such a visceral film. Rated R for adult language.

Written by R.L. Terry

Edited by J.M. Wead

“Hidden Figures” movie review

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hiddenfiguresAn absolutely out-of-this-world biographical film! 20th Century Fox, PepsiCo, and TSG Entertainment present Theodore Melfi’s incredible film depicting the lives and careers of three African-American women whose work was extremely influential in the early days of NASA’s Mercury, Atlas, and Apollo missions. In all likelihood, there may not have been successful launches, orbits, and landings if it weren’t for these brave women who refused to back down and take the back seat to white men and women at a time that even government buildings still segregated restrooms, water fountains, and “community” coffee pots. Every once in a while, there is a biographical drama that packs a powerful socio-political message within a simple but brilliant story that is told incredibly successfully. Hidden Figures is a film that should have been released many years ago. How stories like this one go untold, is bewildering. Between the powerful performances, excellent writing, meticulous direction, and fantastic score, this is definitely a film to catch in theaters this weekend. Although Hidden Figures has been on a limited release since December, it receives its nationwide release this weekend and one to watch for when Oscar nominations are released.

Hidden Figures is the story of three absolutely brilliant African-American women who served as the problem-solving geniuses behind some of NASA’s greatest space operations in all of history including John Glenn’s (Glen Powell) first earth orbit and Alan Shepherd’s symbolic penetration of earth’s atmosphere into space. Katherine Goble (Taraji P. Henson), Dorothy Vaughn (Octavia Spencer), and Mary Jackson (Janelle Monae) work as computers (the term used at the time before the conventional modern use) at NASA’s Langley facility near Washington D.C. Never assigned to a permanent position, these talented ladies work tirelessly to support NASA’s operations and aspirations of space exploration. At a time in which it was incredibly difficult for persons of color–much less women–to climb out of temporary and entry-level jobs, these women do not permit archaic societal norms to stop them from reaching their greatest potential as an engineer, programmer, and mathematician respectively. This untold story will move you as these three women, that society and NASA determined could not be more than computers, are significantly instrumental in launching the space program that indirectly united people from all over the world and cemented the U.S. as a then-leader in space exploration.

What a story! And the best part about it is that it is based on actual events and three real women who are responsible for the success of NASA’s early space programs and even help to launch some of the more contemporary missions. Unlike many biographical dramas, there is a comprehensive nature to this film as it contains two important stories. There is the foreground story featuring the women at the center of the movie, but there is also the story of the state of the U.S.’ domestic socio-political policies at a time of civil rights unrest–especially in places like Virginia. Both stories parallel one another and serve to pack a powerful punch. After watching this film, it is clear that this film wishes it had existed in the 1960s. Within the former story, the focus is primarily on the life and career of Katherine Goble followed by Dorothy Vaughn, and to a lesser extent, Mary Jackson. Each woman specializes in a different STEM (as it is now commonly referred) area. Katherine is a mathematical genius matched by none, Dorothy understands early computer language better than anyone at NASA, and Mary is an aspiring engineer with a brilliant mind for aerospace design. The latter story, underscoring the socio-political civil rights unrest, is certainly highlighted in the film but never takes the focus completely off the story in the foreground; however, is vitally important to this powerful story with a message that those who you least expect to rise to be leaders in their respective fields, can and will! Despite all the challenges coming from within the work place and the country itself, these three women prove that you should never be afraid to be the best. Being good, isn’t good enough. Be the best!

Although this is truly a powerful film with a beautiful message that is just as relevant today as it would have been 50 years ago, it never quite hits the mark that I had hoped it would and perhaps that is due to the PG rating. Suffice it to say, there are some remarkable scenes with powerful speeches, but the film is just shy of the level of intensely as it should have contained. I realize that some of what transpired in the Space Task room, wind tunnels, and courtroom may have been taken from transcripts for authenticity, as this is a movie, I feel that there should have been more of a dramatic license taken out to increase the emotional impact of the film. It certainly has a moderately high emotional impact, but there was definitely the potential to take it up several more degrees. Two scenes come to mind. (1) Katherine challenging the segregation policies at NASA as it relates to common comforts such as restrooms and coffee and (2) Mary petitioning the court to permit her enrollment for graduate level engineering classes held at an all-white school. Dorothy also has a couple of encounters with her superior (Kirsten Dunst) but they are more subtle–no less powerful and important to the film. In regards to the scene in which Katherine confronts Mr. Harrison, the scene feels a little cut short of where it should have ended and Mr. Harrison’s (Kevin Costner) response could have been more dramatic. When inside the courtroom as Mary was addressing the judge, this would have been the perfect time for a speech that would have brought a flood of tears to the eyes, but it stops short of where it could have gone too. Over all, the screenplay is excellently written. These are just two areas that I feel could have struck a more powerful emotional cord. As it is, these scenes are still some of the most brilliant in the film and leave an impact.

One of Mr. Harrison’s lines in the film contains a large degree of irony. The line was something to the effect of “How can the U.S. government justify NASA when it is consistently unable to get into and explore space?” The irony therein is seen in today’s defunding of NASA for, essentially, that very concept. NASA did not lose the bulk of its government funding due to any particular presidential administration but from remaining in the 80s and never launching into the 21st century. After the Space Shuttle program, NASA did very little to grow–its technology and engineering remained fairly stagnant. Sure, communication technologies greatly benefited from NASA engineers, but that is not what made NASA an exciting organization from the 60s thru the 90s. What made NASA great was the perception of being explorers–exploration excited a society! Once NASA no longer appeared to be focused on exploration and shifted its focus to communication technologies, it lost that public support that was such a part of what brought so many people together. In many ways, the perceptions and issues facing NASA prior to and during the early missions is plaguing it today. Instead of an inability to launch a man into space and orbit the earth (later to land on the moon), there is now the demonstrable evidence and perception that NASA has an inability to create manned vessels capable of exploring space. Satellites and camera are great, but nothing parallels the actual exploration of space by humans. If NASA could one again be seen as explorers, then perhaps a new generation would petition the government to once again proactively support the iconic organization.

Hidden Figures is definitely not to be missed while it is in theaters. It is a larger than life story that is best appreciated on the big screen. For those in the audience who remember the early days of NASA, there is plenty of vintage footage to accompany the modern cinematic storytelling in this film. Even Kennedy’s famous “we will go to the moon” speech is in this movie. More than a biography of the glory days of NASA, this is a story of three women who, against all odds, rose to the challenges they faced on a daily basis to prove that women are capable of anything that a man can do. Between breaking the sound barrier, gravitational pull, and paving the way for equal rights and treatment in the workplace, this film will hit close to home for many who know what it is like to feel oppressed for who they are.

Written by R.L. Terry

Edited by J.M. Wead

“La La Land” movie review

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lalalandSimply dazzling! A beautifully produced motion picture musical that is sure to delight audiences around the world. Ryan Gosling (Sebastian) and Emma Stone (Mia) shine brightly in this self-reflexive modern romantic film set on the backdrop of a classically composed movie musical echoing the song and dance numbers that Busby Berkeley brought to the silver screen through Hollywood studio system powerhouse Warner Bros. Summit Entertainment’s La La Land will have you laughing one moment and crying the next in this roller coaster of emotions. Every aspiring professional who has the dream of a substantive career as an artist in the visual and performing arts–or just an artist in general–needs to watch this film. If you have ever been discouraged on your career path, or lack thereof, this film will aid in reigniting the flame that fuels your dreams of writing, acting, playing, or whatever your passion happens to be. Whereas many films similar to this one would have shot it as a period OR modern piece, this film is nothing short of a masterpiece that harnesses the nostalgic appeal of the classic musical with the power of modern cinematic storytelling.

Stories of struggling to reach your dreams are nothing new, but there is so much more to the story of Mia (Stone) and Sebastian’s (Gosling) respective goals of successful careers in the city of angels. Following a chance meeting at a night club in LA where Sebastian was playing a set list of traditional Christmas carols, Mia and Sebastian continue to bump into each other at parties and in the work place. The focus of this musical is on the everyday life of two struggling artists trying to make it in a city notorious for shattering dreams and breaking hearts. Mia and Sebastian must learn what is more important: chasing dreams of being in the spotlight or a once-in-a-lifetime opportunity for a beautiful love unmatched by any other.

Best part about Damien Chazelle’s La La Land? The old-school movie musical feel from the moment the film opens. From set pieces to matte paintings to the manner in which the cameras capture the story as the drama unfolds, this is both a modern story of romance and conflict and classic Hollywood musical. While some may find the cinematography, lighting, and editing to be nothing remarkable, the fact of the matter is that it required great skill and hundreds of hours of effort to capture the essence of an old Hollywood musical. To recreate a nearly extinct film genre, is an outstanding achievement in cinematic storytelling and deserves all the 9s and 10s this film is receiving from critics and fans alike. La La Land takes pages right out of the books of Busby Berkeley (Footlight Parade) and Gene Kelly (Singin’ in the Rain). Such a gorgeous combination of a classically structured and choreographed musical within a modern Hollywood. And the film could have easily rested its laurels on the technical and artistic achievements alone, but the film also possesses an incredibly beautiful love story between two aspiring artists.

In a modern studio system who appears all too often to be more concerned with franchise building, merchandising, theme park integration, and rebooting, this film is fresh, real, gritty, and endearing. In a climate so predisposed to the Star Warses, Harry Potters, Jurassic Parks, and Avengerses, this film brings with is a breath of fresh air that is nearly unmatched by any other film this year. While many are concerned with the lack of original stories coming out of Hollywood, may this film be a testament that masterpieces can still make their way into cinemas nationwide and not simply the art house theatre of the US’ largest metro areas. Although film is a visual medium and should not rely upon the score or songs to carry the bulk of the film (i.e. Frozen), this film is very much about the music. However, unlike films that integrate music in order to cover up poorly structured and developed writing, La La Land embraces the music as much a part of the story as the writing itself. In many ways, the film plays out like music and flows like a musical score. The way the cameras moves, the editor cut, and the blocking of the characters is very much like a musical staff, like the way music is composed and performed. But at the same time, the movie is not simply about the music but about the relationship between Mia and Sebastian; and furthermore, about their aspirations for the spotlight. Solid writing and a solid score.

The casting of La La Land could not have been more brilliant! Both Stone and Gosling successfully bring about that 1940s feel in a modern story. That could be due to the successes of both in 1940s era films prior. Stone in Magic in the Moonlight and Gosling in The Notebook. While both can successfully carry a period piece on their own respectively, together they are a powerhouse couple like Fred Astaire and Ginger Rogers. Their performances in this film were so incredibly natural, so real, and believable. At the same time, the actors are also very much contemporary–just like the film: classic yet contemporary. Even though the audience is well aware that Stone and Gosling are anything but struggling artists, they play their respective parts so convincingly that you’d swear that we were actually watching a pair of struggling artists who do desperately want a substantive piece of that Hollywood pie. A great screenplay possesses protagonists that the audience will love or love to hate, and the characters in La La Land connect so incredibly well with classic and contemporary audiences.

Inspirational. This film will help to inspire those who have a talent for storytelling, music, or writing to continue to work hard and remain dedicated to one’s craft because that is the only way that a career can pay off. The moment you stop trying is the moment that the dream dies along with settling for less. Not that day-jobs aren’t important. Certainly the importance of a day job is shown in the film, but it’s imperative that the day job never cause an artist to sell out or give up on the dream. Day jobs should fund imaginative dreams not eclipse them. There is much to love about this film; so much so that you will likely find yourself with a desire to watch it again. This IS definitely my pick for Best Picture as we head into award season with the holidays coming to a close.

“Passengers” movie review

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passengersAn intriguing journey with lots of potential but ultimately fails to pull into the space dock. The highly anticipated visually stunning science-fiction film starring Jennifer Lawrence and Chris Pratt proves one thing: Pratt and Lawrence have excellent on screen chemistry and play off each other very well. With films like this one, it’s hard to know where the fault lies. Typically, a film with such potential and a powerful cast is weakened by either the writing or directing. Since the director principally works with the cast, it can be concluded that the writing lacked the drive that this film needed. On a more positive note, this film depicts deep space travel how it could likely be in the not-so-distant future. From the centrifugal force created by the rotating space craft to simulate how artificial gravity could be generated to the onboard technology to the sickbay, this film does a fantastic job of providing audiences with a science-fiction that is almost tangible. Having such a limited cast in one location can spell disaster for cinematic storytelling; but, the film is quite interesting to watch and sufficiently keeps the audience’s attention. Furthermore, the audience mostly connects with Aurora (Lawrence) and Jim (Pratt) well enough. But, the film fails to truly provide audiences with a new adventure because it amounts to a glorified Castaway set in the Disney Springs of shopping malls in outer space–just completely empty of scooters, strollers, and other park guests. Lack of surprise pretty well sums it up.

Welcome aboard The Avalon on the Homestead Company’s routine transport to Homestead II, a new earth colony. All is going well until two passengers find themselves awakened from suspended animation about 90 years too early during a cascade of ship wide malfunctions. Faced with living the rest of their respective lives on board and only the company of an AI bartender (Michael Sheen), Jim and Aurora must cope with the challenges of living together in a world that is merely 1000 meters from stem to stern. When the ship begins to increasingly malfunction and life support at risk, Jim and Aurora much solve the mystery of what originally caused the problem that began the cascade. Just as the ship is keeping a secret, there are other dark secrets on board the ship as well. Meeting with psychological, emotional, and engineering challenges, Jim and Aurora have 5000 other passengers and crew to save while maintaining their own sanity and psycho-social health.

As the movie faded to black, I began discussing it with the friends who accompanied me to the cinema last night. And we shared a mutual reaction of hmm, not exactly sure what this was or how to read it but it had some interesting components. And that pretty well covers it. The film will likely keep you entertained but with few surprises, it lacks anything to make it memorable in a positive way. Forgettable is what this movie will become in the no-so-distant future. Essentially, Passengers is what you would get if Gravity and Titanic were to have a baby. Star-crossed lovers on a ship that is self-destructing in the vacuum of space. One of the most intriguing components in the plot of the film is also highly disturbing. While love and infatuation causes many to go to great lengths in order to see desire become reality, it is a double-edged sword that can cause one to behave selfishly if not displaying signs of sociopathy. While Pratt’s performance is what is to be expected from one of the most bankable actors in Hollywood who is equally a dedicated family man, his performance is never quite on par with his Castaway counterpart. However, Lawrence delivers an intense performance as she plays off Pratt,the bartender, and The Avalon itself.

The cinematography and editing are excellent. In fact, the technical elements of the film are impressive! Not quite as groundbreaking as Gravity or Interstellar but still outstanding. There is one scene in particular that still has me puzzled as to how it was able to be achieved so flawlessly. The set design, albeit spartan, is beautifully sleek and functional. As film is a visually driven medium of storytelling, the camera often pulls in close to characters to establish intimacy but juxtaposes that against pulling back to reveal the oppressive loneliness of being alone on a massive ship in space. For a brief moment, I experienced the dread that is created in Kubrick’s The Shining when Jim meets Arthur the bartender. Interestingly, the music (composed by Thomas Newman), camera direction, dialog, blocking, an set design all work together seamlessly to establish that unparalleled sense of dread, loneliness, and self-destructive despair that are so iconic to The Shining. Unfortunately, that powerful sense of dread is lost in weak writing. Had the film embraced the potential to channel The Shining, it may have played out more memorably. But, this is a love story so the horror plot devices that could have helped the film were not integrated into the plot. Although there are may significant contributors to a film’s success, the success of a film often relies upon the direction, writing, and cast. As briefly mentioned in my opening paragraph, the director (Morten Tyldum) of a film principally works with the cast and is responsible for blocking, delivery of dialog, and perception; so, it is likely the screenplay by Jon Spaihts that is responsible for the weak story. A director and cast can work hard to makeup for a weak screenplay, but in this case, the lack of developed story showed through.

Despite sharing the screen with Aurora, this truly is Jim’s movie and others simply happen to appear in it when necessary. As a side note, I could easily see how this film could be translated into a stage production. Perhaps on stage, the story could evolve to leave more of an impact on the audience.

“A Monster Calls” movie review

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monstercallsA breathtakingly beautiful and dynamic film that typifies the art of visual storytelling in the gothic style. Focus Features’ A Monster Calls directed by J.A. Bayona is nothing short of a Terms of Endearment, in theme anyway, for a new generation. You are certain to laugh and cry your way through the film. Based upon the novel by the same name, written by Patrick Ness and illustrated by Jim Kay and conceptualized Siobhan Dowd, Bayona’s adaptation of the novel plays out to be a deep, rich story that will touch the hearts and minds of each and everyone in the audience. For anyone going through the stages of grief, this film will especially ring true and perhaps bring about comfort. Although the protagonist Connor, played by Lewis MacDougal, is twelve years old, this dark melodrama with a plot revolving around terminal illness is not typically something that will appeal to kids of Connor’s age. Despite the fantasy elements and the young protagonist, A Monster Calls is more suited for older teens and adults; however, by the same token, the movie isn’t entirely going to initially appeal to adults since the protagonist is quite young. I screened the movie last night in an auditorium filled with patrons of all ages and there was not one dry eye in the audience. Looking at the film from the outside and analyzing the plot and cast, it would appear that it may not attract droves of people because of the gothic fantasy nature, typically aimed at kids and young teens, with content and theming best suited for older audiences; however, the film truly transcends age barriers and stereotypes to touch those who are young or young at heart.

While most twelve year old boys are busy with school and learning to develop socially or even romantically, or just simply playing video games and having Stephen King type adventures, Connor (MacDougal) is dealing with far more than a kid should every have to deal with. Connor’s mother (Felicity Jones) is very ill and Connor is forced to grow in many ways kids should not quite quickly to take care of her. Not entirely going through this terminal illness alone, Connor has a grandmother (Sigourney Weaver) who looks in on him and his mother–a grandmother with whom he shares little in common. With Connor’s father settling down in Los Angeles, Connor feels very much alone while dealing with his mother’s illness. Expressing his emotions and thoughts through water color and sketch artwork, Connor uses his penchant for beautiful art as a form of therapy. Just when all seems lost, an unexpected ally in the form of a rather gothic tree-like monster (Liam Neeson) appears in his window one night. Apprehensive at first, Connor befriends the monster who guides him on a journey of courage, truth, and faith that combine in a powerful fusion of imagination and reality.

This is certainly a year for fantastic monsters and fantasy, isn’t it? However, A Monster Calls is definitely not your typical fantasy. It deals with deep emotions, dark themes, and material usually better suited for adults. Why then choose such a young protagonist? Perhaps the author Patrick Ness wanted to reach those kids who are going through tough times and who are dealing with situation that most kids won’t face until they are much older. Some kids are just forced to grow up more quickly than others. It’s important that cinema and literature not forget them because words on pages or moving pictures may be the only source of comfort, escape, or allegory. Director J.A. Bayona appears to have successfully translated the novel to screen–from what I know. Interesting that the movie opens with the narrator describing Connor as being too old to be a kid but to young to be an adult. By extension, that is precisely where this movie fits in. It’s too “old” to be a kid’s movie but too “young” to be an adult movie. And that’s okay. Growing up is hard, and when faced with a family member or close friend with a terminal illness, life is exponentially more difficult emotionally and even psychically. Unconventional as it may seem, this film is powerful and transcends the age spectrum to provide a strong emotional journey that audiences can appreciate and from which people may receive comfort. If for no other reason, having a kid starring in a melodrama brings audiences of all ages together–many who may be going through something similar as the child, parent, spouse, or lover of someone who is terminally ill. It’s okay to grieve and let go.

From the opening credits alone, I was confident that this was going to be a visually stunning movie. The water color animation and brushstrokes are reminiscent of the story of the three brothers in Harry Potter. Absolutely beautiful. Much in the same way Kubo and the Two Strings was an innovative animated film, A Monster Calls also contains unconventional and innovative methods of telling its story. Similar to how the animated story of the three brothers in Harry Potter was integrated into the diegesis of a live action movie, so it is with this film. The more I thought about the technical and emotional elements of A Monster Calls, it is clear that it’s truly a dynamic means of cinematic art. Dynamic in that there are three different types of storytelling methods used diegetically each highlighting a different form of art: (1) motion pictures (2) visual art (3) oral storytelling. It’s been said that the novel is an extension of oral storytelling, the play an extension of the novel, and motion pictures an extension of the play. At the root of all those methods of communicating through art is the very concept of storytelling. And A Monster Calls has the art of storytelling in spades. There are so many levels to the diegesis in this film; much like an onion or matryoshka doll, this film has a message of how to deal with grief at its core but there are many different routes to get to that central theme. Each layer teaches Connor and the audience something different and valuable. The cinematic storytelling elements of direction, cinematography, editing, and score are all equally beautiful.

Structurally, A Monster Calls is an intimate story reinforced and surrounded by artistic German expressionism calling attention to its own artifice. From the exterior shots to interior rooms, the various sets appear to be meticulously constructed on a stage and the wardrobe much like perfect costumes. The art tells the story effectively with little exposition required. Fernando Velazquez’ score is so incredibly moving that you may find yourself listening to the score as it too truly assist in the overarching means of telling this story. The design of the monster is brilliant and ominous all at the same time. Almost animatronic in nature, the tree plays out like there is a puppeteer on the inside articulating the movements. The monster feels just as much like an actor as the actors playing the human characters. Liam Neeson was a perfect choice to cast as the tree’s voice. His deep bass is comforting, warm, and wise-sounding. But just who is the tree (in the story)? Although we are never told whose spirit inhabits the tree that has seen thousands of years go by, there are a couple of hints as to who it might be if you pay close enough attention to subtleties in the film. At the end of the day, whether it’s the spirit of someone or the personified life of the tree itself, it is of little consequence to the movie. Still, its definitely fun and interesting to talk about as my friend and I did after the film.

If you enjoy movies such as The Iron Giant, The Giving Tree, or Terms of Endearment, then you will immensely enjoy this film. Presently in advanced screenings and limited releases, you may need to wait a few weeks before it is at a theatre near you. Although slated for a January wide-release, it may make its way through many markets before then. Originally set for an October release, it makes since to have held it until Oscar season since this is one of those films that could grab the attention of the academy. Definitely bring your tissues.