When Meeting Her Boyfriend’s Family, a Woman Becomes an Outsider Within Her Culture

From left: Michelle Yeoh, Henry Golding, and Constance Wu
in "Crazy Rich Asians"
Photo Credit: Imdb.com

Director Jon M. Chu’s film, “Crazy Rich Asians,” which is based on Kevin Kwan’s 2013 novel, opens with a quote from Napoléon Bonaparte that reads, “China is a sleeping giant.  Let her sleep, for when she wakes she will move the world.”  Well, it looks like that quote now applies to the romantic-comedy genre, as Chu’s latest film offers said genre an opportunity to tell a love story within the Chinese culture, with plenty of fine performance and visual splendor to spare.

Rachel Chu (Constance Wu) is an economics professor at New York University, whose boyfriend, Nick Young (Henry Golding), invites her to Singapore for his best friend’s wedding.  It isn’t until they get on the plane that Nick reveals to Rachel that he comes from a family of wealthy real estate tycoons.  While Rachel’s nervous about meeting Nick’s relatives, she’s determined to make the best of it.  However, when Nick’s mother, Eleanor (Michelle Yeoh), expresses disapproval of Rachel, the latter will begin to wonder if she will ever fit into the family.

Wu offers a delightful performance that captures the excitement and anxiety of meeting new people in a whole new world.  She displays the friendliness of her character as Rachel’s introduced to Nick’s family, but also carries a hint of self-doubt as she’s exposed to a lifestyle in which she never imagined herself, not knowing whether or not she will be accepted.  Using an abundance of wit and emotion, Wu presents a character that engages us in Rachel’s journey as she tries to prove to Nick’s kin that she’s more than an outsider, but an individual who understands how important family and culture mean to them.

Wu and Golding have a strong chemistry throughout the film that helps you care about the obstacles that they have to face, and they have a love that has you know that they can overcome any challenge that may impede them from the happiness that they seek.  This is an on-screen bond that helps make the story as endearing as it is.

Yeoh gives a wonderful performance as Nick’s demanding mother.  However, the iciness in her character isn’t a caricature of a mother who frowns upon her potential daughter-in-law, but she has her own motivations as to why she doesn’t think that Rachel is an acceptable companion for Nick.  There’s an important scene that Yeoh shares with Wu a little more than halfway through the film, and it’s here where we have a heartbreaking view into what has shaped Eleanor’s perception of Rachel, and Yeoh manages to bring tension with her character’s sternness and upper-class sense of composure, which are factors that Yeoh uses to take charge of every scene in which she appears.

Aside from Yeoh, the film has many other memorable supporting performances, two of which are Awkwafina as Goh Peik Lin, Rachel’s comical and lovable best friend from college; and Gemma Chan as Nick’s cousin Astrid Leong-Teo, a character who never fails to light up the screen with her radiant kindheartedness.  With this film having as big of a cast as it does, you think of the quote from Lorraine Bracco’s Karen Hill during her and Henry Hill’s wedding in “Goodfellas” when she narrates, “By the time I finished meeting everybody, I thought I was drunk.”  That’s a positive thing because it allows you to experience what Rachel’s feeling as she works to keep up with meeting Nick’s many friends and relatives.

While the screenplay by Peter Chiarelli and Adele Lim carries a few genre clichés, the details with which the film explores the characters’ relationships and their culture make up for it.  Other than the main plot about Rachel trying to find approval from Nick’s family, the narrative also features a subplot that has a similar theme for another set of characters, and this enriches the story’s theme about family and gives depth to some supporting characters in a film that has a lot of them.  And, in regard to the story’s display of Chinese culture, we’re given a thorough view into how it shapes the lives of the characters. 

Chu’s direction offers much that sweeps you away into the film’s Singaporean backdrop.  You have Vanja Cernjul’s cinematography that captures the beauty of the film’s locations; Mary E. Vogt’s gorgeous costumes; art direction from Leslie Ewe, David Ingram, and Gary Mackay; and set decoration from Andrew Baseman.  With these factors, this film has some of the finest visual styling that I’ve ever seen in a romantic-comedy.  If you feel like that films of this genre don’t seem like they need to be seen on a big screen, I assure you that the visual beauty of this film makes it worth experiencing in a theater.

The scene that utilizes the camerawork, costumes, and sets to the best possible degree is the sequence with Nick’s friend’s wedding.  Between the gorgeous details of those aspects and a cover of Elvis Presley’s “Can’t Help Falling in Love” from Japanese-American singer and YouTuber Kina Grannis, you have a scene that’s so abundant in romance that it may become your favorite part of the film.  I know that it did for me, and this scene alone gives me the incentive to see this movie again.

While romantic-comedies have reached some low points throughout the years by telling the same narrative over and over again, “Crazy Rich Asians” shows that if there are opportunities for this genre to tell stories from new perspectives, then this genre will be here to stay.

Grade: A-

When a Housewife Finds Her Talent, Her Life Falls Into Place

Kelly Macdonald and Irrfan Khan in "Puzzle"
Photo Credit: RottenTomatoes.com

Director Marc Turtletaub’s film, “Puzzle,” opens with the main character, Agnes (Kelly Macdonald), preparing her house for a birthday party.  She cleans, puts up the decorations, and makes sure that everyone is having fun.  It isn’t until she brings out the cake and her guests sing “Happy Birthday” that we find out the party’s for her.  Agnes is a homemaker to the point where her family expects her to plan her own party.  This is her norm, but things are about to change.

Agnes’ evolution into leading a better life is explored in Turtletaub’s follow-your-dreams drama that’s heightened by an inspirational story and strong performances from Macdonald and Irrfan Khan.

For many years, Agnes hasn’t done anything but keep her family's house in order for her husband, Louie (David Denman), and two sons, Ziggy (Bubba Weiler) and Gabe (Austin Abrams).  After she completes a jigsaw puzzle that was given to her as a birthday present, she travels to a puzzle store to buy another one and sees an ad for someone who’s looking for a partner for a national jigsaw puzzle competition.  She soon meets Robert (Khan), who encourages Agnes to work towards something about which she’s enthusiastic.  While Agnes is hesitant at first, she soon uses her newfound talent as a way to break out of her rut.

Macdonald delivers a performance that shows how the routine of her character's life has driven her to boredom.  We know that her dedication to the household is expressed out of love for her family, but the yearning for something more that will give meaning to her life is always present.  As she begins putting puzzles together, Macdonald shows the hints of happiness that this passion brings out, and you're overjoyed as she starts to express the confidence that she needs to bring excitement into her life.  Although her character remains rather timid throughout the film, Macdonald's able to bring out Agnes' assertiveness to terrific effect when she's standing up for herself, and you feel glad that you're able to witness Agnes emerge from her sheltered life and venture down a new road.

Khan is superb as Agnes' new friend who helps her cultivate her talent.  His soothing voice and relaxed persona towards Agnes allow you to feel the positive life change that’s she's about to experience.  Khan exhibits a personality that helps Agnes bring out a side of her that she didn’t think existed, and the warmth that Khan displays towards Agnes provides a refuge for her as she has her occasional escapes from her daily life.

The screenplay by Oren Moverman and Polly Mann, which is based on Natalia Smirnoff’s 2010 Argentinian film, “Rompecabezas,” offers a lot of insight about who Agnes is and her motives for changing her life, all of which provide some strong character development for her as the story progresses.  And, when you give it some thought, the puzzles have a much deeper meaning at the end of the film, a meaning that emphasizes the growth of Agnes' character to a great degree.

However, the narrative doesn't just focus on Agnes exploring the world of puzzles, but also focuses on the problems that her family is facing.  Although it's kind of strange to see characters like an overworked housewife and inconsiderate husband in a movie that takes place in the present day, the narrative is able to subvert our expectations in other respects.  

Turtletaub uses cinematography by Chris Norr to produce some wonderful close-ups of Agnes doing puzzles.  These shots display the love that she has for these challenges and capture the feeling of being transported to a different mindset when you're doing something that brings you joy.  Some of these close-ups are of her hands placing the pieces together, and as we hear the satisfying sound of the pieces connecting, we know that each connection brings us closer to Agnes finishing a puzzle and having us see the results of her talent.  

Just like with a completed jigsaw puzzle, you have to step back and appreciate the details that go into “Puzzle" because, although it may seem like a small story, there's more to it in between the grooves of its pieces.

Grade: A-

A Rookie Detective Fights a Community’s Prejudice

Adam Driver (left) and John David Washington in "BlacKkKlansman"
Photo Credit: Imdb.com

Spike Lee's a filmmaker who’s able to challenge his audiences with narratives that focus on social and political issues that resonate through our lives.  His portraits of race relations in America have been emblazoned in cinema across the last few decades, with films like his 1989 comedy-drama, “Do the Right Thing”; his 1991 romantic-drama, “Jungle Fever”; and his 1992 biopic, “Malcolm X.”  What’s respectable about Lee’s approach to storytelling is that, although he tends to shed light on certain topics that may be challenging to discuss, he doesn’t care about that because he’s determined to say what he has to say.

For his latest film, the hard-hitting true-story crime drama, “BlacKkKlansman,” Lee delivers a film that’s timely in the issues that it tackles and has a power that escalates from one frame to the next.

In 1972, Ron Stallworth (John David Washington) applies to the Colorado Springs Police Department and becomes their first African-American detective.  He’s tasked with working in the records room, but he knows that he’s capable of more.  Ron soon formulates a plan for him and his team to infiltrate and take down the local chapter of the Ku Klux Klan.  

Washington (son of Denzel Washington), provides an understated, yet powerful performance.  From his opening moments, Washington provides layers to his character as we see a man who knows that he has to keep his emotions in check while on the job.  When he’s being interviewed by the police chief (Robert John Burke) and one of his colleagues (Isiah Whitlock, Jr.), a racial epithet is spoken; not directed at Ron, but as a way to get a point across.  Washington has Ron show brief facial expressions that this word bothers him, but we see that he has to keep a level head in order to do his job.  Washington shows us this internal conflict throughout the film when there are certain things that he’s asked to do, even if he’s not sure whether or not they’re right.  All of this culminates in a performance that offers the film a tension that has us wondering how Ron is going to grow throughout the story, and the complexities that Washington brings to his character add many layers to his arc.

Adam Driver offers an emotional performance as Detective Flip Zimmerman, who becomes the police department’s man on the inside during the investigation.  As he does this, Zimmerman experiences the hatred that the KKK has for his people, which are those of the Jewish faith (the KKK doesn’t know that he’s Jewish); but, just like Stallworth, he has to retain his composure and resist the urge to express anger over the derogatory things that are said about his people.  This helps to tie into one of the best scenes of the film where Flip explains to Stallworth that, throughout this life, he never saw himself as Jewish and that his family didn’t do much to practice Judaism.  However, at this point, his character realizes that he should cherish his background and be proud of it, and it’s here where Driver expresses the pain that he’s felt with the verbal attacks on his people, and it results in a poignant heart-to-heart with Stallworth as the film goes deeper into its themes of racial and religious identity.

Laura Harrier is wonderful as Patrice Dumas, the president of Colorado College’s black student union.  Whenever Harrier’s on screen, you get caught up in the energy and passion that she brings to her character’s fight for racial equality, and it inspires you as you watch her lead these young students towards the societal changes that they deserve.

Corey Hawkins appears in just one scene as Kwame Ture, an organizer in the Civil Rights Movement, as he delivers a speech at a meeting of the aforementioned black student union.  His performance is so impactful that it’s a shame that he doesn’t appear more, but even though he has a limited amount of screen time, he makes the most out of this sequence and gives you goosebumps because of how commanding he is in only these few minutes.

When it comes to the cinematography, Chayse Irwin’s camerawork has stunning shots aplenty, but one scene in which it stands out is in the scene with Ture.  As he addresses the college students, the camera keeps cutting to close-ups of the faces in the crowd as they remain enthralled in Ture’s speech and show motivation to continue their effort for equality, and it all brings a beauty to this scene where we feel a lot of hope, despite the hatred that lingers in the community.

The screenplay by Lee, David Rabinowitz, Charlie Wachtel, and Kevin Willmott, which is based on Stallworth’s 2014 memoir, “Black Klansman,” is a hard-hitting portrait of one of the many historical occurrences during the Civil Rights Movement, and the writers go in-depth with the political and social views of all of their characters, providing you with a detailed look at this era in American history and those who were involved in the events of the film.

A noteworthy aspect of the narrative is how there are occasions when the writers focus on the racist depictions of African-Americans in the media, similar to what Lee did with his 2000 comedy-drama, “Bamboozled.”  One such example is a scene in which the local chapter of the KKK watches D.W. Griffith’s 1915 film, “The Birth of a Nation,” where the Klan members and their families enjoy the racist portrayals of African-American men.  Meanwhile, earlier in the film, Ron and Patrice discuss the portrayal of African-Americans in Blaxploitation films, where Ron isn’t bothered by those portrayals, but Patrice views them as doing a disservice to their race.  Then, at the end of the film, Lee composes a shot that frames Ron and Patrice in a battle-ready pose that’s similar to something that you might see in a Blaxploitation movie, which reflects how those movies gave African-Americans many opportunities to be the heroes in film. 

The writers also tackle a certain type of racist portrayal of African-Americans that was seen in early twentieth-century media.  What the writers do is make a comical response to the depiction of subservient African-Americans that were shown in movies and use it for the character of Connie Kendrickson (Ashlie Atkinson), a wife who’s always there to serve the demands of her husband, Klan member Felix Kendrickson (Jasper Pääkkönen).

Going back to what I mentioned earlier about Lee refusing to hold back in his vision, not only does he allow us to experience the full force of the message that he’s trying to convey in the narrative, but he also does this with painful effect in the film’s epilogue, which has some of the most heartbreaking and enraging moments that you’ll see in a movie all year.  It’s here where Lee emphasizes the racism that’s still present today and implores us to help make a difference that will change our country for the better.  

A lot of times, the movies that are often difficult to watch are those that are most necessary for us to view.  “BlacKkKlansman” is one of them.

Grade: A

When the World's at Risk, a Team of Agents Will Risk it All

From left: Simon Pegg, Rebecca Ferguson, Tom Cruise,
and Ving Rhames in "Mission: Impossible - Fallout"
Photo Credit: RottenTomatoes.com

The "Mission: Impossible" film series, which is based on the hit ‘60s/‘70s television show by Bruce Geller, has to be commended for retaining most of its quality for over two decades, with the first movie being released in 1996.  While the second film wasn't as good as the first, each film after that was better than the last.  What has helped the series endure is the five films being helmed by different directors, going from Brian De Palma to John Woo to J.J. Abrams to Brad Bird to Christopher McQuarrie.  This constant change of hands has allowed the series to stay fresh and experiment with different visions.  

The latest and sixth installment, "Mission: Impossible - Fallout," has McQuarrie behind the camera once again, which makes this the first time that a director has returned to the franchise.  Despite this series benefitting from having different filmmakers for each installment, I have to admit that it's exciting to have McQuarrie come back, seeing as he directed by favorite film in the series, "Mission: Impossible - Rogue Nation," which is the previous installment.  Now, he brings the series to a new peak with its next outing.  

Two years after the events of “Rogue Nation,” IMF (Impossible Missions Force) agent Ethan Hunt (Tom Cruise) and his team are tasked with finding stolen plutonium, all while being overseen by CIA agent August Walker (Henry Cavill) after a mission goes wrong.

Cruise continues to impress with his flawless, death-defying stunt work.  The way in which he puts himself in constant danger to perfect these bold acts shows the commitment that he still holds for his character, even after all of these years.  While he’s proven himself to be more than a big-budget-blockbuster star on several occasions, that aspect of his career is as strong as it’s ever been, with him displaying boundless energy from scene to scene.  Aside from this, he also accomplishes displaying Ethan's deeper emotions when his character has to make tough decisions concerning the safety of those to whom he’s close, which provides an adequate source of drama in between the action.

In the tradition of the “Mission: Impossible” films, Cruise is backed up by a talented supporting cast, and there’s a strong chemistry amongst everyone who's involved.  Among these supporting performers are Cavill; Ving Rhames and Simon Pegg as Ethan's fellow IMF agents; Rebecca Ferguson as a former MI6 agent, who was a standout new addition in “Rogue Nation”; Sean Harris (another cast member returning from "Rogue Nation"), as the main antagonist; and Vanessa Kirby as an arms dealer.

Although McQuarrie’s screenplay takes the “nuclear weapons” route that we’ve seen in other movies of this kind, he makes up for that by populating the story with exciting set-pieces, twists and turns, memorable characters (a newer one even has a neat connection to a one-off character from a previous film), and some emotional depth in the relationship between Ethan and his ex-wife, Julia (Michelle Monaghan).  With these factors going into the story, McQuarrie succeeds in making the most out of the film’s nearly two-and-a-half-hour runtime, the longest of any “Mission: Impossible” film.  And, believe me, even with that runtime, the film goes by in a flash.

While none of the former installments have been direct sequels to each other, "Fallout" acts as a sequel to "Rogue Nation," so even if you haven't seen any of the "Mission: Impossible" films, you should at least watch "Rogue Nation" before seeing “Fallout."

With McQuarrie having provided some of the series' best scenes in "Rogue Nation," such as the white-knuckle opera house sequence in Vienna and the thrilling motorcycle chase through Casablanca, I couldn't wait to see the sequences that he would deliver for “Fallout,” and he doesn’t let you down.  With the help of cinematography by Rob Hardy (who provided excellent work for Alex Garland’s “Annihilation” back in February) and editing by Eddie Hamilton (who worked on “Rogue Nation”), we’re given several memorable sequences, such as a HALO jump into Paris, which is shot in a terrific long lake; a car/motorcycle chase throughout Paris; and a helicopter chase throughout the mountains of Kashmir.  All of this goes to show that the “Mission: Impossible” series will never leave you wanting for stunning action, as it always succeeds in making your heart race and absorbing you in the daringness of the characters.  Although it’s always exciting to have a different director for each film, I wouldn’t mind having McQuarrie return for a seventh installment, if one were to happen.

Given how movie franchises tend to be content with churning out their sequels as quickly as possible, it’s great to know that the “Mission: Impossible” series doesn't rush when it comes to releasing each film, as the number of years between releases range from as low as three to as high as six.  This shows that the filmmakers and studio want to give themselves enough time to craft a movie that will offer you a great time at the theater.  

These films are impossible to resist, and if the series stays on the upward trajectory that it's been experiencing, I don't expect that sentiment to change anytime soon.

Grade: A-