Meewella | Critic

According to P

Tag: Mauro Fiore

QuickView: A Good Person (2023)

“In life, of course, nothing is nearly as neat and tidy.”

Daniel

Zach Braff takes a more conventional and less self-indulgent approach to his latest film (he remains firmly behind the camera) and this provides greater space for the central themes of grief and addiction to flourish. A Good Person is not subtle in its writing but is elevated by towering performances from Florence Pugh and Morgan Freeman as individuals linked by loss arising from the same car accident. Allison’s grief is masked by painkillers to which she becomes addicted and Pugh’s portrayal is a study in showcasing both the inner pain and how it it muted. Freeman’s portrayal of Daniel is fuelled by anger as a man struggling to be better than he was. Additional connective tissue is provided by Celeste O’Connor as the teenager Daniel is ill-equipped to raise and who forms a connection with Allison. Shot in a more naturalistic style than we have previously seen from Braff, this is a tender film with genuine emotion even if its execution is frequently heavy-handed. If one focuses on the addiction side of the story (which commands an outsized portion of the running time) one will be disappointed by derivative depictions but, taken as a whole with its commentary on grief and the way that those still grieving can aid one another, A Good Person has more to offer than may initially appear.

7/10

QuickView: Spider-Man: No Way Home (2021)

“Wait so you’re Spider-Man too?”

Ned Leeds

Where Avengers: Endgame was the result of a decade of carefully curated MCU crossovers, No Way Home uses a freak multiverse fracture to draw ad hoc from the past twenty years of Sony’s Spider-Man movies, delivering perhaps the ultimate in cinematic fan service for those who grew up during that period. Its strength is the resulting interaction between characters who would never normally have met, drawing on the parallels and differences between the lives of the various Peter Parkers we have seen. The script uses this for emotional payoff and even to provide some unexpected closure years later. In-jokes abound based on the earlier films and even Internet memes that grew out of them. In all of this, the film can be joyfully playful in a similar way to Into The Spider-verse. No Way Home does place certain expectations on its audience’s knowledge, which leaves it unburdened by the need to explain its position in the MCU or to provide fresh introductions for its rogues’ gallery of villains, whose backstories instead become throwaway gags. The weak link is the action which continues the franchise’s trend for CG-heavy fights and wanton property destruction; even J. Jonah Jameson seems incredulous as he criticises the damage to yet another landmark. The most interesting choreography is a sequence combining Spider-Man’s acrobatics with Doctor Strange’s portals, which shows more creativity in a few minutes than the entire climactic battle.

8/10

MCU Phase 4: Black Widow | Shang Chi and the Legend of the Ten Rings | Eternals | Spider-man: No Way Home | Doctor Strange in the Multiverse of Madness | Thor: Love and Thunder | Black Panther: Wakanda Forever

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

Up ↑