2021 End-of-Year Movie Catchup

The year is almost over.  So, I decided to do a little bit of catching up on some movies before I finalized the list for my top 10 favorite movies of the year.

Winston Duke and Zazie Beetz in "Nine Days"
Photo Credit: RottenTomatoes.com

1) “Nine Days” - An understated, yet bold filmmaking debut from this year was writer-director Edson Oda’s meditative supernatural drama, which follows a man named Will (Winston Duke), who interviews five unborn souls to see which one will be given the chance for a life on Earth.  Duke provides a beautiful performance as a man who must make tough decisions of who gets the sought-after opportunity.  While all of the supporting performances are terrific, the standouts are two of the souls, played by Zazie Beetz as the kind, inquisitive Emma, and David Rysdahl as the soft-spoken Mike, both of whom offer windows into their minds and allow us to see the many thoughts that percolate within them as they go through this emotional process.  Oda’s screenplay is a layered, contemplative story that examines life from a fascinating angle, providing us with a poignant look at how each of the characters views this valuable opportunity.  Through Oda’s direction, he allows us to sit and take in the power that he extracts from each of the character interactions, all while he constructs an otherworldly environment befitting to a premise that’s loaded with originality.  In a movie that’s asks some powerful questions about life, this is a story that brims with it. 

Grade: A

Stephanie Beatriz in "Encanto"
Photo Credit: Imdb.com

2. “Encanto” - This year, Disney’s animated films have invited us on cross-cultural excursions through Southeast Asia in “Raya and the Last Dragon” and the Italian coast in “Luca.”  Now, they whisk us away to the lush lands of Columbia in their latest movie, “Encanto.”  The film tells the story of Mirabel Madrigal (Stephanie Beatriz), a young woman who lives with her family in a magical home where everyone has a superhuman ability, except her.  When the magic of their family is threatened, it’s up to Mirabel to find a way save it.  The voice cast has a vibrancy throughout, especially Beatriz and John Leguizamo as Mirbael’s cousin, Bruno.  Although the screenplay is a little rushed near the ending, it subverts the expectations of the traditional Disney hero/heroine story, with the journey being less a physical journey then it is an emotional one.  As for the music, while a couple of the songs aren’t too memorable, there are some standouts, such as the opening number, “The Family Madrigal,” and the emotional “Dos Oruguitas.”  Directors Jared Bush and Byron Howard provide a movie that continues Disney’s tradition of bringing us to gorgeous settings that show how far animation has grown.  This ensures that, despite a couple of flaws, “Encanto” will still find a way to leave you enchanted.

Grade: B+

Isabelle Fuhrman in "The Novice"
Photo Credit: RottenTomatoes.com

3. “The Novice” - When it comes to movies like Darren Aronofsky’s “Black Swan” or Damien Chazelle’s  “Whiplash,” we know that it’s always a tense experience when you watch a movie that focuses on the main character striving for perfection and the addiction into which it can morph.  Such is the case with writer-director Lauren Hadaway’s filmmaking debut.  The story follows Alex Dall (Isabelle Fuhrman), a college freshman who joins her school’s rowing team, only to become obsessed with being the best.  Fuhrman delivers a profound performance of a young woman who puts herself through the physical and psychological wringer to place herself above everyone else.  For a character who shows a full, yet unsettling commitment to her goals, Fuhrman shows the fullest commitment to inhabiting this character and her questionable ideals.  Despite some heavy-handed symbolism in spots, the screenplay’s central message is still impactful as we see the dangerous degree to which Alex dedicates herself to reaching her goal, showing a character who’s her own worst enemy.  Hadaway delivers exhausting workout sequences and rowing scenes, bringing us through moments of blood, sweat, tears, and blisters, always having you wonder what Alex will lose as she strives for what she wishes to gain.

Grade: A-

Riz Ahmed in "Mogul Mowgli"
Photo Credit: RottenTomatoes.com

4. “Mogul Mowgli” - One of the most superb and new dramatic visions of the year comes from director, Bassam Tariq.  In his film, we follow Zed (Riz Ahmed) a British-Pakistani rapper who’s career is on the rise.  When he’s diagnosed with a degenerative autoimmune disease, he returns to London to see his family.  Ahmed, who cowrote the screenplay with Tariq, provides hard-hitting work as an artist who boasts a commanding energy when performing, but then must go through a heartbreaking shift when faced with restricted movement.  Given how Ahmed stared in Darius Marder’s “Sound of Metal” last year, in which he played a drummer who faces progressive hearing loss, Tariq’s film serves as a fine companion piece, with these being two films concerning artists who encounter intense hardships that hinder their ability to create.  Through occasional dreamlike imagery, a couple of electric concert sequences, and scenes of Zed dealing with his family and the possibility of never being able to perform again, the film has to cover quite a bit in just 90 minutes, but succeeds.  Through this, you’ll come away from the movie feeling as if you experienced a full view into the main character’s life, both with what he faces in the present, and what he has faced in his past.   

Grade: A 

When Looking for Work, a Man Falls into a World of Dark Attractions

Rooney Mara and Bradley Cooper 
in "Nightmare Alley"
Photo Credit: RottenTomatoes.com

Guillermo del Toro loves his monsters and specters.  Whenever we see a movie from him, it’s always exciting to see what new and memorable creations he’ll bring to his latest film.  However, in movies like “The Devil’s Backbone,” “Pan’s Labyrinth,” “Crimson Peak,” and “The Shape of Water,” he’s used these creatures and ghosts as a way to explore the monster-like tendencies that can be found in humans.

Now, with the neo-noir psychological thriller, “Nightmare Alley,” he leaves monsters and ghosts out of the story and instead focuses on the violent and cruel actions of humans, making this his first movie to not include these horror entities.  As with his other work, his characters and settings absorb you in the dark, complex environments that he presents to the screen.

In the early 1940s, Stanton “Stan” Carlisle (Bradley Cooper) finds work helping at a carnival.  After honing his skill to con people as a psychic, Stan pairs up with a devious psychologist, Dr. Lilith Ritter (Cate Blanchett), and the deceptions that they pull on others will soon have deadly consequences.

Cooper provides superb work as a man who, while always expressing glimmers of a troubled past, carries an air of genuineness and workmanship about him as we meet his character.  He gives his character a soft charisma as he tries to bond with the other carnies and make a living.  For the first third of the movie, Cooper has a charming, work-your-way-from-the-ground-up enthusiasm that hooks you into his arc.  However, once Stan reaches fame as a psychic, Cooper brings out the cunning nature of a showman who lets his newfound greed for success get the best of him.  We see the obsessiveness for trickery engulf him as he sinks further and further into bigger cons, forging an amoral path that shifts him into a much different person than to whom we were introduced.  Cooper excels at digging into every aspect of his troubled character, leading to an emotional climax that has some of the finest acting he’s ever accomplished.

Blanchett is engaging as a therapist who’s on the same level of deceitfulness as Stan.  She always has an expression on her face where you can see the gears turning as she contemplates her next move, keeping you on your toes as you wait to see how her connection to Stan will develop.  Blanchett has the look and persona of an actress from the film-noir era, which was when the original film from Edmund Goulding was released, creating a character who inhabits her environment to the fullest degree.  Lilith’s wrapped in a mystery that’s enticing to see unfold, and in true Blanchett fashion, she grips your attention whenever she makes an appearance.

Rooney Mara, who plays Molly Cahill, a fellow carny who soon becomes Stan’s assistant in his mentalist act, gives a wonderful performance as a young woman who has a love for the carnival and her coworkers.  However, as the movie goes on and she begins performing more with Stan, Mara shows Molly’s increased sense of conflict that she experiences as Stan’s act becomes more and more questionable.  She sees the unsettling changes that overcome Stan, and Mara is excellent in her emotional portrayal of an individual who has a love for performing, but realizes that this love is being poisoned by Stan’s growing greed.

The rest of the supporting cast immerses you in the carnival community.  There’s Toni Collette as Zeena Krumbein, a clairvoyant; David Strathairn as Peter, Zeena’s husband; and Willem Dafoe as Clement Hoately, the carnival owner.  But, the one who stands out is del Toro’s “Shape of Water” alum, Richard Jenkins, who plays Ezra Grindle, a troubled man who becomes a prime target of Sam and Lilith’s con game.  Jenkins gives Ezra a persona where he seems peaceful, yet a little unhinged, and you’ll be glued to this character as his connection with Stan becomes dangerous.

The screenplay by del Toro and Kim Morgan is a new adaptation of William Lindsay Gresham’s 1946 novel of the same name.  While the portion of the movie that takes place after Stan leaves the carnival has more intrigue and dramatic heft, the segment of the movie that comes before that should still be commended for giving us enough time to spend in the carnival setting and becoming acquainted with the surrogate family that accepts Stan.  The characters to whom we’re introduced offer a well-rounded glimpse into the strange world that Stan soon inhabits, and the details that del Toro and Morgan offer to entice us into this environment helps to prepare us for the intensity that comes later in the movie.

As mentioned before, the narrative also ventures into the idea of the monstrous nature of humans.  It’s an aspect that’s established with a bit of Dafoe’s dialogue, as the carnival barker tells his audience as they group together to see his attraction, “Is it a beast, or is it a man?  You're in luck, because tonight, you will see him feed!  Come on in and find out.  Is he a man...or beast?”  While this concept is meant to feed into Stan’s eventual predatory descent on his targets as a mentalist, it’s a notion that can be applied to more than one character, and del Toro and Morgan provide a complex view into this idea.  It all relates to the film’s other prominent theme of the horrible acts that people will commit in order to hide their truths, or to find out the truths of others.

Del Toro is one of the foremost directors working today when it comes to immersing audiences in the settings that he creates.  When he brings us into the carnival, the details that he includes not only introduce us to the environment itself, but the era as a whole, establishing a firm sense of place and constructing the noir aesthetic of Goulding’s version.  This is all with the help of cinematographer Dan Laustsen, who worked with del Toro on “Mimic,” “Crimson Peak,” and “The Shape of Water.”  Paired with Laustsen’s framing is the stunning production design by Tamara Deverell and Shane Vieau, which excels in bringing to life the carnival setting in the first act of the movie, as well as using cold-color palettes throughout the film that work well alongside the noir camerawork, especially in the winter setting that arrives later in the movie.

Del Toro creates a disturbing parable that shows the unfortunate choices that people make that will take them through life’s darkest alleys and shows that if they’re not careful, it can be difficult to find a way back.

Grade: A-

For Steven Spielberg’s Latest Film, He Revisits and Reinvigorates a Classic

Ansel Elgort and Rachel Zegler 
in "West Side Story"
Photo Credit: RottenTomatoes.com

In 1961, directors Robert Wise and Jerome Robbins gave moviegoers one of the most iconic films of all time with “West Side Story,” an adaptation of Robbins, Leonard Bernstein, Stephen Sondheim, and Arthur Laurentis’ 1957 Broadway musical of the same name, which itself was a retelling of “Romeo and Juliet.”  Through passionate performances, soulful singing, and energetic dance sequences, this is a movie that has remained in the hearts of viewers, both old and young, and it helped set the standard for movie musicals that would arrive over the course of the next few decades.

This is one of those movies that one couldn’t imagine ever being given another chance for an adaptation, a movie that seemed untouchable.  However, when Spielberg was brought onboard to direct a new version, that was reason enough to be cautiously optimistic.  I’m beyond thrilled to say that not only has he delivered what may one of the best movies of the year, but a rare remake that’s better than the original.

In 1957, a gang of white Americans, called the Jets, and a gang of Puerto Ricans, known as the Sharks, are at odds with each other over the changing demographics of their community of San Juan Hill.  When former Jet Tony (Ansel Elgort) falls in love with María (Rachel Zegler), the sister of Sharks leader Bernardo (David Alvarez), this couple will have to overcome their different backgrounds if their love will prevail.

Zegler offers a stunning, glorious breakout performance as María.  Her work in this movie proves that she’s passed being a star in the making because she already is one.  She portrays María as someone who intends to follow her dream and make a life for herself, and through her acting, singing, and dancing, Zegler beautifully expresses her character’s intent on embracing the possibilities that America has for her.  There’s a radiance to her that acts a a wonderful introduction of Zegler to movie audiences, and with her joyousness when performing songs like “Tonight” and “I Feel Pretty,” it’s stunning what she’s able to accomplish, with this not only being her debut film role, but a role in a movie from a director as immortal as Spielberg.  This is a role that Zegler was born to play, which is only appropriate because of how this movie gives birth to an actress that has a promising career ahead of her.

Ariana DeBose, who plays María’s friend Anita, proves to be more than capable of following in the footsteps of Rita Moreno, who portrayed Anita in the 1961 film.  As a sisterly figure for María, DeBose exhibits the love and care that she has for her friend, always being there to give María advice and make sure she stays out of trouble.  She captures the layered emotional arc that makes her character so fascinating, exhibiting a boundless energy when she sings her iconic toe-tapping tune, “America,” only to then have the bright future that she imagined come into question when she realizes the fullest extent of the animosity between the Jets and the Sharks.

While Zegler and DeBose are great together throughout the movie, the peak of their on-screen connection comes near the end.  When the two have differences over which course to take following a tragic event, their duet of “A Boy Like That/I Have a Love” will break your heart as tensions flare between them.

Mike Faist, who plays Jets leader Riff, does his absolute best in commanding his scenes with his unfaltering screen presence.  He has the look of a classic movie star that’s perfect for this film, and the way in which he talks, emotes, and moves shows a person who inhabits his character to portray someone who’s had a rough life and only knows the streets and the friends that he’s made there.  Faist gives his character a street-smart swagger that makes it near impossible to even blink whenever he’s on screen, a magnetism from which you can’t pull away your eyes, especially in the sequence where he performs the song “Cool.”

Alvarez has an energy to him that always shows that his character is ready for a fight and will do whatever’s necessary to protect the ones whom he loves.  Whenever you see Bernardo, he shows a roughness that comes with his need to watch over his territory, and Alvarez unleashes the power of his character as he displays Bernardo’s commitment to his family.

Moreno makes a heartfelt return to Sondheim’s creation as Valentina, the owner of a local drugstore, similar to the Doc character in the original.  As one of the defining aspects of the original “West Side Story,” this return couldn’t be anymore welcome as we see Moreno display her acting and singing talents that wowed audiences all of those decades ago.  For this character, Moreno hits a poignant apex with her performance of the song “Somewhere,” a number that’s used in a different way, compared to the 1961 film.  Where Tony and María sang it in that version, Valentina sings it here, offering one of the most emotional scenes in the film that will have you elated to see Moreno on the big screen once again.

The screenplay by Tony Kushner follows much of the outline from the original film, with all of the wonderful songs and characters intact.  However, one of the things that he does as an improvement over the 1961 film is dig much deeper into the heart of what’s causing the tension between the Jets and the Sharks.  He goes into detail about the Jets being threatened of the changing demographics in their community, as well as the mass demolition around their neighborhood that’s meant to make way for newer landmarks.  This is highlighted in the opening long take that’s the antithesis to the opening of the original.  Where the original had the opening overhead shots of New York City skyscrapers, this movie opens on an overhead long take of massive heaps of rubble that’s meant to be the location of Lincoln Center.  This is a perfect example of taking a story that we know, retaining that story’s essence, but reframing it to present the narrative from a fresh angle.

As a filmmaker, Spielberg doesn’t try to replicate the images from the first movie, but instead uses his own ideas to present these scenes to a brand new audience.  He collaborates with his usual cinematographer Janusz Kamiński and editors Michael Kahn and Sarah Broshar to create musical sequences that range from electric to romantic to tragic, showing us how much love for the source material went into making this movie.  There are balletic confrontation scenes, particularly the Jets/Sharks rumble and the “Cool” sequence between Riff and Tony; the heartwarming balcony setting for María and Tony’s rendition of “Tonight”; and the thrilling prologue that introduces us to the rivalry between the Jets and the Sharks.  However, one of the most memorable songs of “West Side Story,” “America,” moves the action from a rooftop to the streets, allowing for the sequence to unfold with more intricacies that come together without fault, leaving you breathless with the adventurous ideas that were brought to this re-adaptation.  Everything that Spielberg and his team set out to do results in an unforgettable blend of old-school movie magic and advanced filmmaking techniques.

The original “West Side Story” is a movie that has been beloved for many years, and given what Spielberg has accomplished with his retelling, I think we can say that the same will happen for his film.

Grade: A

The Arrival of Two People Alters Life on a Montana Ranch

Benedict Cumberbatch and Jesse Plemons in 
"The Power of the Dog"
Photo Credit: RottenTomatoes.com

Out of all film genres, the one that may be the most iconic to the medium is the western.  Not only do the films within this genre have an unparalleled grandness to them, but they also carry a sense of time that you don’t quite feel with other genres, in that you can see an era of America from decades and decades ago that has been explored in film countless times. 

The latest addition comes from writer-director Jane Campion with her film, “The Power of the Dog,” a film which proves that, even in the 2020s, there’s still a wealth of stories to tell in the western genre.

Phil Burbank (Benedict Cumberbatch) and his brother, George (Jesse Plemons), are the wealthy owners of a ranch in 1925 Montana.  When George brings his new wife, Rose (Kirsten Dunst), and her son, Peter (Kodi Smit-McPhee), to live with him on the ranch, Phil will start to experience feelings that he didn’t know he had.

Cumberbatch provides a tense performance as the surly ranch owner who can make anyone nervous whenever he enters the room.  There’s an understated ruthlessness to how he operates the property and demands respect from his peers, leaving the viewer on edge as you anticipate how he will interact with those around him, particularly Rose and Peter.  However, as the film goes on, Cumberbatch shows the cracks that slowly form in his persona, exposing the true self underneath that he tries to hide, but might be wishing to be revealed.  It’s a performance that has intriguing emotional layers that will pull you even further into his character later in the film and keep you hooked into where his arc will take you. 

Dunst gives heartrending work as a woman who tries to protect her son from the roughness of Phil and the other cowboys, while also dealing with her personal demons.  We see the psychological toll that Phil’s presence has on her as she tries to be a caring mother and wife, and Dunst exhibits the pain of someone who’s doing what she can to make the best of her new life, but is always looking over her shoulder to avoid Phil, who always seems to be just a few feet away.

Plemons gives a quiet, yet profound performance as an individual who’s the opposite of Phil, trying to be the peacekeeper between Phil and his new family.  Plemons provides a presence that acts as a source of relief whenever he’s on screen because of how he gives his character a tone of voice that exudes reasonableness, which is much needed whenever he has to handle his brother’s uncouth attitude.    

Smit-McPhee gives the type of performance where much of the impact comes in his facial expressions.  We see an emotionally beaten-down individual who’s ridiculed by Phil and the other ranchers for not fitting in with them, all while attempting to get through his day-to-day life the way in which he wishes.  Smit-McPhee gives a portrayal where we can sense the turmoil that’s hiding within his character, sometimes showing a pained stoicism of someone who doesn’t quite know how to present himself in front of others who view him as different.

The screenplay by Campion, which is based on Thomas Savage’s 1967 novel of the same name, allows the characters to develop with subtleties that immerse you in their arcs.  The four main characters are constructed in such a way where it seems like they each have pains that are residing within them, but aren’t disclosing them right away.  The narrative has us study these characters to see how outside factors are influencing the way in which they live and interact with others, and it’s always fascinating to see what will happen when their ideals clash.

Another neat aspect about the screenplay is how, despite being a western, it forgoes action set-pieces that we often associate with these movies, and instead focuses more on the characters and the drama that takes place among them.  In terms of the narrative, this is a western that’s built on a smaller scale, offering a refreshing change of pace for how stories within this genre can be told.

This is Campion’s first directorial effort since her 2009 film, “Bright Star,” and she makes a majestic return as she captures the vastness of the Montana wilderness and utilizing it as a beautifully framed background for the intimacy of the story that’s being told.  With cinematography by Ari Wegner, we’re given the expansive imagery of the open country that we’ve come to love from this genre, all while Campion builds tension amongst her ensemble and maintains a slow burn as we venture deeper into the hearts of Phil, Rose, George, and Peter.

Campion’s work here is a welcome addition to the gloriousness of westerns, and her commitment to using a sweeping backdrop to tell a character-driven story is what gives the movie its lasting power. 

Grade: A 

Through a Documentarian, a Young Man Remembers His Difficult Past

Amin Nawabi in "Flee"
Photo Credit: RottenTomatoes.com

When it comes to the documentary genre, as long as the subject matter is fascinating, the traditional use of interviews and archival footage isn’t an issue.  However, it’s always a memorable experience when documentaries employ different approaches to absorb us in their subjects.  There are documentaries like “Three Identical Strangers” and “The Rescue,” which use some dramatic reenactments to tell their stories, and “Honeyland,” which unfolds like a narrative drama, without the use of any traditional documentary hallmarks.

The genre delivers an innovative entry (this one being animated) with Jonas Poher Rasmussen’s heartrending film, “Flee,” a searing account of one man’s journey to find a better life.

The story follows Amin Nawabi, a young man who lives in Denmark with his boyfriend.  As he’s interviewed about his life, he reveals the events involving him leaving a war-torn Afghanistan with his family to moving to a new country as a refugee.

The vivid, expressive animation gives us a chance to experience Amin’s story in a way that can best be described as unforgettable.  Even though Amin’s narration keeps this movie grounded in the knowledge that it's a documentary, the flashback sequences outside of the framing device of the interview process create a narrative within the movie that highlights Amin’s talent as a storyteller, almost making you forget that this is a documentary and instead making it seem like you’re just sitting next to someone as they tell you their story and confide in you these intimate details.  Through these flashbacks, Amin shows himself to be a chronicler of tremendous impact, immersing us in what he experienced as a refugee in his dangerous travels to find a new life.

 

The movie has the feeling of a therapy session, with the director asking Amin to lay down at the beginning as he prepares to unload the unimaginable experiences that he has had.  The tone of Amin’s voice exemplifies how revealing such details are equal parts liberating and painful.  He seems relaxed as he lays down and puts his trust in the documentarian, but also holds a tone of someone whose past continues to haunt him, an individual whose past has engraved itself in his heart, mind, and bones.  Through his voice, Amin invites the viewer into his memories as we go through these dark years of his young adulthood, with is tone expressing the far-reaching impact that these events have had on him.

Although the director talks here and there with Amin, he also let's Amin tell his story without asking too many questions.  We have lengthy, uninterrupted stretches of Amin speaking about his past and having us venture deeper into what he did to survive the seemingly endless days of traveling, waiting, and traveling some more in order to reach a place of safety.  By allowing Amin these chances to talk for several minutes at a time, this lets his words sink into us as we come to understand the unthinkable circumstances of his former life.

As Amin reveals his past, he provides us with a detailed account of his family and what their life was like before and after they escape from Afghanistan.  We’re given a sense of how much they loved their home and how much it pained them to have to leave.  Following that, we have a gut-wrenching descent into the horrors that he faced as he and his family went through their journey to reach the safety that they needed.  The story then shows what came after, as Amin tries to adjust to a peacefulness that seems alien to him, but does what he can to rebuild his life.  Through these three stages of the narrative, each portion of Amin’s story is given the attention that it deserves so that we can understand everything through which he’s been.

In between these stages, we have the moments of Amin with the documentarian.  These scenes have a sense of comfort to them as we see what’s transitioned several years after the end of Amin’s journey.  This comfort comes from witnessing Amin taking his life day by day, and although he’s still troubled by his past, he’s doing his best to move on and live the life he always wanted with his boyfriend.

While there are bits of news footage used here and there, everything else in the movie is animated.  The animation is used in such a way that has us see Amin’s story through his eyes, and this allows us to feel more connected to his character as he takes us through these years of his life.

When we view Amin’s collection of memories in “Flee,” it’s as if we’re watching someone live, die, and then be reborn.

Grade: A

A Father Helps His Daughters Make History on the Tennis Court

Demi Singleton, Saniyya Sidney, and 
Will Smith in "King Richard"
Photo Credit: RottenTomatoes.com

The story of tennis players Venus and Serena Williams is probably one of the most recognizable and inspiring in the last 25 years of sports history.  Becoming prodigies at a young age and taking the world by storm was an impressive feat to behold, and it couldn’t have been more clear that they would be considered as some of the greats when it came to tennis.

Their story is the center of director Reinaldo Marcus Green’s biopic, “King Richard,” a fine addition to the sports drama that boasts powerful performances and a deep love for tennis.

Richard Williams (Will Smith) is a tennis coach living in Compton, California with his wife Oracene (Aunjanue Ellis), daughters Venus (Saniyya Sidney) and Serena (Demi Singleton), and step-daughters Tunde (Mikayla LaShae Bartholomew), Isha (Danielle Lawson), and Lyndrea (Layla Crawford).  As Venus and Serena continue to train, Richard will do what he can to make sure that they reach their fullest potential.

Smith provides his greatest performance in years as a hardworking father who’s adamant about giving his family the best life that he can.  He sheds his blockbuster persona and digs deep into this character to give us an inspiring view into a parent who doesn’t see anything less than the greatest of prospects for his daughters.  Just like his performances in “Ali’ and “The Pursuit of Happiness,” Smith shows his intense capability of wielding a dramatically rich role when given the opportunity.  There’s an optimism that Smith’s character carries throughout the film that keeps you absorbed in Richard’s journey to help his daughters.  However, there’s also a troubled past hidden behind the cheerfulness, with Richard revealing a part of it to Venus in a heartrending scene that reinforces Smith’s dramatic talents.  Smith does superb work in balancing the joyous and sad sides to his character, offering a performance that blurs the line between “movie star” and “actor.”

Ellis delivers terrific work as Venus and Serena’s mother, showing her support for their efforts while also having her character exhibit a calmness that lets us see her high tolerance for Richard’s stubbornness for sticking to his special ways of training Venus and Serena.  But, in one of the film’s most memorable scenes, Oracene pushes back against Richard, creating a poignant sequence where she picks apart Richard’s character to get to the core of why he is the way he is, and Ellis makes this a prime example of a character providing a quiet, yet impactful presence, only to burst through it all when the timing is right.

Singleton has several opportunities to make an impression as Serena, and succeeds, but the movie then shifts of a lot of its focus to Venus as we follow her career taking off before that of Serena’s.  Sidney exhibits a fierceness and determination whenever she steps onto the court, exemplifying a character who, despite just being a teenager, is aware of who she wants to be and what dream she wishes to achieve.

Jon Bernthal gives an energetic performance as Venus’ coach, Rick Macci, showing his character’s enthusiasm for the sport and the strong work ethic with which he trains his athletes.  The vibrancy of his character exhibits an intriguing contrast between Richard’s obstinate persona and unconventional approach to training, leaving Bernthal and Smith to have some great interactions when they disagree with the other’s athletic plan.

The screenplay by Zach Baylin doesn’t focus on the lives of the Williams sisters in full, but instead hones in on 1994 at the start of their professional careers.  By the time the movie begins, Venus and Serena are avid tennis players, so the movie doesn’t have to spend time on them learning the game, and can instead focus on what they’re going to do with their talents.  The narrative has family drama and sports drama in equal doses, providing us with a detailed look into how the two intertwined within the Williams family.  It’s a straightforward movie, but one that unfolds with a heartfelt view into the story behind Venus and Serena’s success.

As a director, Green is able to maintain the strong camaraderie of his cast and have the near two-and-half-hour runtime move at a good pace.  But, the rest of the filmmaking sometimes carries the feel of a TV movie, and the camerawork from renowned cinematographer Robert Elswit doesn’t quite live up to what he’s done before.  Despite that, you’ll still be won over by the power of the story and performances.

While many have enjoyed viewing the Williams sisters’ talent on the court over the years, “King Richard” gives you the chance to see how their uplifting story began.

Grade: A-