After an Unsettling Discovery, a Promising High-Schooler is Questioned

From left: Tim Roth, Kelvin Harrison, Jr.,
and Naomi Watts in "Luce"
Photo Credit: RottenTomatoes.com

Director Julius Onah’s psychological drama, “Luce,” is a film where it’s impossible to pin down who’s telling the truth, and who’s telling lies.  Your questions pile up as the story goes on, and you start to not do anything else but second guess yourself at every turn.  This film is relentless in its suspense, and it’s impossible to be relaxed while you’re watching it.

Luce Edgar (Kelvin Harrison, Jr.) is a high-school student who was adopted from a war torn country as a child.  He now lives a peaceful, suburban life with his parents (Naomi Watts and Tim Roth) and excels in both academics and athletics.  However, when Luce’s teacher, Ms. Wilson (Octavia Spencer), finds something disturbing in his locker, speculation will soon be made as to what secrets Luce is hiding.

Harrison, Jr., makes an incendiary, star-making performance in the lead role.  He’s able to win us over with Luce’s charisma, but also has us suspicious of him when he acts as if he knows more than he’s letting on.  The success with which he plays both sides of this character has us always switching alliances, as sometimes we want to support him, but at other times, we feel as if we shouldn’t.  However, no matter which side you’re on, you always manage to feel some sympathy for Luce when he’s confronted with the notion of being expected to carry himself a certain way, and this helps you understand the conflicted nature of his feelings.  With this being one of Harrison’s first leading roles, seeing him be able to show his character as equal parts friendly and threatening, and sometimes blending them to an unsettling effect, helps make this one of most unforgettable films of the year, and Harrison ensures that Luce is a character who will stand out during the rest of the year. 

Watts and Roth are superb as a mother and father who pride themselves in their son’s accomplishments, but must come to terms with having to choose between whether to believe him, or the accusations of others.  As you see them go back and forth between these two choices, the emotion that they put into their portrayals makes you feel in your gut how difficult it is for them to figure out if they went wrong somewhere in their parenting.  They ponder what they’ve given up in order to care for Luce, wondering if they’ve provided Luce with everything they were supposed to, and seeing them navigate a minefield of uncertainty concerning their son is as tension-filled as it is heartbreaking. 

Spencer is powerful as a character who might be as troubling as Luce.  We have every reason to believe that she’s looking out for Luce’s best interests, but that she also might have some resentment towards him, and the actions that her character takes can work for either side of this coin, making Ms. Wilson an ambiguous figure, just like Luce.  It’s a role that has Spencer’s character anchored in her intentions, and the intensity of Spencer’s performance makes Ms. Wilson’s interactions with Luce an enthralling battle of strong-willed personas.  The film also has an exploration of Ms. Wilson’s personal life, and the way in which Spencer shows her character handling these personal stresses adds a rich layer to Ms. Wilson that connects well with her arc involving Luce.

The screenplay by Onah and J.C. Lee, which is based on the latter’s play from 2013, sheds light on topics such as privilege, race, and the weight of people’s expectations, among other things.  Given how many topics this film tackles, there would be a risk of the ideas taking focus away from each other, but Onah and Lee manage to devote enough attention to each topic, with everything coming into a whole as the movie goes on.  Even when you witness to what all of this leads up, you still sit there going over everything in your head to figure out with which side you agree.  With several characters giving their own viewpoints pertaining to events of the story, this creates an absorbing tapestry of who should and shouldn’t be trusted.  Because of this, you’ll want to see this movie with a friend, due to the fervent discussions that are sure to commence once the movie is over. 

Onah’s direction always has you in an anxious state because of the constant unpredictability of the story.  You’re always prepping yourself for something to happen because every scene carries that possibility as the dialogues between the characters continue to build the tension.  Onah proves that, a lot of the time, these kinds of verbal spars between characters are all you need to create sweat-inducing anxiety.  Each sentence that’s spoken is a piece of a puzzle that becomes more and more complicated as the film goes on, and you’re left fixated on this quandary and trying to figure it out.  Given the many perplexities to the narrative, prepare to spend quite a bit of time thinking about it.

In the end, “Luce” is a movie about the perceptions that we have of people, whether they be right or wrong, which is appropriate because this film isn’t what it seems.

Grade: A

For a Beekeeper, Her Life’s Work is a Labor of Love

Hatidze Muratova in "Honeyland"
Photo Credit: Imdb.com

Back in the spring, indie film studio Neon released the enthralling documentary, “The Biggest Little Farm,” where they explored the intimate connection of humans and nature, all in a story about a couple building a farm.  It dove into the fascinating inner-workings of the science behind their operation, showing the lives of the animals and plants in beautiful detail as they work together to construct the intricacies of the farm.

Neon has done it again with Ljubomir Stefanov and Tamara Kotevska’s gorgeous documentary, “Honeyland,” which sweeps us away on a journey of a woman’s tradition that soon faces a threat from those who don’t understand it.

Hatidze Muratova is one of the last Macedonian beekeepers, making a living by selling the honey that her bees create, and always leaving half for them.  When a family of seven moves in near her and plan on making honey with just profits in mind, Hatidze’s way of life will soon be clouded with uncertainty.

The cinematography by Fejmi Daut and Samir Ljuma does superb work in capturing the natural environment that surrounds Hatidze’s home.  In the first scene, we see her walking through valleys and scaling mountain ledges to reach one of the places where she cultivates her bees, and the rest of the film delivers landscapes that are just as stunning.  We see the meticulousness of Hatidze’s work, showing the dexterity with which she performs her beekeeping, which gives us an idea of how long she’s been doing this.  Through all of this, we’re immersed in this beautiful part of the world that we feel lucky to be witnessing on a big screen.

As we watch the new family become acclimated to their fresh surroundings, it’s intriguing to see Hatidze interact with her neighbors, after being alone on the land with her mother for so long.  These benevolent interactions are rendered heartbreaking once Hatidze realizes that the family’s intentions for cultivating bees isn’t for anything more than monetary gain.  We see the strong contrast between Hatidze’s methodical, caring approach to making honey versus the family’s carelessness that’s caused by dollar signs in their eyes.  It’s an emotional storyline as we begin to see Hatidze’s work threatened by those who aren’t as in tune with beekeeping as she is.

Besides the part of the documentary that focuses on the interactions between Hatidze and her neighbors, there’s also a heartwarming plot thread about Hatidze’s dedication to caring for her 85-year-old mother, Nazife.  The mother-daughter relationship shows that, despite Hatidze working all day with the bees, she always makes sure that her mother is fed and rested.  The way this loving and humorous bond is presented shows Hatidze’s deep commitment to her mother as they reside in their hut, eating, talking, and seeming as if all that they need is each other.

An impressive aspect of this movie is how, even though it’s a documentary, it plays out like a drama.  There aren’t any instances in which the subjects talk to the camera or provide narration.  Instead, Ljubomir and Kotevska have events play out in front of them without any sort of interference.  Because of this, you’re given an idea of what a day in the life is like for Hatidze, and it isn’t anything short of fascinating.  You see all of the hard work that goes into her daily routines, and you feel that there’s a sense of enjoyment that she receives from this lifestyle and a strong connection that has been formed between her and her work after doing it for a lengthy period of time.

Ljubomir and Kotevska create a profound portrait of this corner of the world and the traditions that go along with it.  The movie is just under an hour and a half, but when you come out of the movie, you feel as though you have learned so much about Hatidze and people within her life.  The film spends a near equal amount of time on both Hatidze and the family, so we’re able to see the impact that they have on each other, as well as the dynamics that occur within the separate households.  Ljubomir and Kotevska make the most out of every minute that they present to us, resulting in a richness in the details as we examine the countless, valuable things that nature can teach us.   

“Honeyland” is a beautiful odyssey that takes you through the lifestyle of a woman who does something extraordinary with her passion, which treats us to a film that deserves all of the buzz that comes its way.

Grade: A

Despite People’s Doubts, a Group of Women Turns the Tide in a Yacht Race

Tracy Edwards in "Maiden"
Photo Credit: Imdb.com

“The ocean is always trying to kill you.  It never takes a break.”  As we open on Alex Holmes’ emotional, thrilling, and inspiring documentary, “Maiden,” these words from sailor Tracy Edwards are heard over images of rolling waves, waves that are as beautiful as they are frightening.  It’s in this image where he introduces us to the dangers that any boaters can encounter and gives us an idea of what the team of sailors at the focus of the story had to endure to make their dream a reality.

In England 1989, Edwards decides to enter the Whitbread Round the World Yacht Race, where she intends to put together the first all-female crew and make an impression on an event that has been male-dominated since its beginning.  With an intense determination, Edwards and her team set out on their boat, “Maiden,” for a race that will have them travel over 32,000 miles for a months-long journey.

At the beginning of the film, Holmes explores Edwards’ home life and what made her become a sailor.  Having faced many difficulties after her father’s passing, Edwards’ becomes an adventure seeker, searching for a freedom that can bring her new opportunities.  With the details from these years of Tracy’s life, we’re able to connect with her more and understand why sailing begins to appeal to her.  It’s an example of how some of the worst moments in your life can lead to some of the best, and watching her as she begins to put the pieces in motion for the vast undertaking that will change the lives of her and her crew will have you enthralled as they overcome one obstacle after another.

Holmes provides an in-depth view of the many challenges that Edwards and her crew come up against, even before they start the race.  From fixing up their boat to securing a sponsor, their journey to get on the water proves to be almost as difficult as when they get on the water.  As the outlook becomes brighter for them, we’re elated to witness the group getting closer to achieving their dream of being a part of the race.

Through interviews from Edwards and her crew, we’re given insights pertaining to their jobs on the yacht, what this endeavor means to them, their worries, and their hopes.  The insights that they provide from their experiences offer a fascinating and motivational view of what it means to go beyond what others think you’re capable to accomplishing, and you’re drawn into their commitment to see the task through to the finish line and make history.

Holmes gives us a look into the legs of the journey as the women spend months at sea, battling the elements as they strive to do what many thought that this group couldn’t do.  We see how difficult this race can become, sailing across unforgiving waters that have you living under the constant threat of disaster.  There are also the physical and emotional tolls that impact Edwards and her crew, but one of the best parts about the journey is when we see them putting those factors aside in order to focus on the task at hand.  They don’t intend to get sidetracked from why they’re on the water, and the dedication that they all display surges throughout this uplifting underdog story.

The second leg of the journey is the most intense, where we see the crew battling life-threatening conditions as they travel from Punta del Este, Uruguay, to Fremantle, Australia.  As they travel through waters that are within the Antarctic region, they must face rough waters and freezing temperatures.  However, this makes the following scene all of the more satisfying, which shows them placing first in the second leg.  This is one of several scenes that leaves a huge smile on your face because of how proud you are to watch Edwards and her team rise above the skepticism of many.   

“Maiden” has Holmes creating a celebratory testament to the importance of never letting your dreams be viewed as impossible, and also about how hard work is its own reward.  This is a story that must be experienced, one that will have you cheering as Edwards and her crew leave all of the naysayers in their wake.

Grade: A

In Hollywood, an Actor and His Stuntman Face a Career Crisis

Leonardo DiCaprio and Brad Pitt in
"Once Upon a Time in Hollywood"
Photo Credit: Imdb.com

Quentin Tarantino is a writer-director who shows you how much he loves movies.  It can either be imbuing his films with homages to other films; or, he can make the bold, creative move of rewriting history and have filmmaking help end World War II, such as what he did in “Inglourious Basterds.”  His appreciation for cinema is contagious, and whenever a movie of his is released, it pretty much becomes an event for passionate moviegoers as they wait to see what ideas he will bring to the big screen.

His love of movies seems to have come to a head in his latest film, “Once Upon a Time in Hollywood.”  This is a film that encompasses all of his enthusiasms for the art form, and with dynamic performances and a story that seems to show every corner of its titular location, Tarantino delivers an irresistible aura in a fascinating story within the entertainment industry.

Rick Dalton (Leonardo DiCaprio) is a former star of a well-known Western television series called “Bounty Law,” and Cliff Booth (Brad Pitt) works as his stunt double.  As Rick begins to face obscurity, he and Cliff will traverse through Hollywood in 1969 as they do what they can to keep their careers alive.

DiCaprio gives a dramatic and humorous performance as an actor who’s fearing irrelevancy.  His comical moments arrive whenever he messes up a line while filming and berates himself for it, or when he confronts intruders on his property.  However, the crux of his role is the way in which he captures the fear that his character has of being forgotten.  As Rick works to act his heart out in whichever acting opportunities come his way, DiCaprio shows how much his character values his career, someone who has been in the spotlight for so long and will do anything to have it keep shining on him.  This is a performance with much intensity, both high-key and low-key, and like many of DiCaprio’s other roles, this is a character that he ensures that you’ll remember.

Pitt presents his character as someone who’s more laid-back and doesn’t seem as worried about the future as Rick.  However, in the scenes where he’s apart from Rick and running errands around Hollywood or is back at his home, Pitt shows subdued hints of someone who’s lonely without his best friend.  This solitude is amplified in portions of the movie where Pitt doesn’t have much dialogue, be it when Cliff is on the roof of Rick’s house trying to fix his television antenna, or cruising down the streets of Los Angeles, and this let’s us try to read Pitt’s character when it’s not clear what’s going through his mind.  And, when Pitt is given the chance to show Cliff’s fearlessness and mix it in with some of the movie’s funniest scenes, Pitt creates one of the coolest movie characters you’ll see this year.

Having DiCaprio and Pitt work together reminds one of Robert Aldrich’s 1962 film, “What Ever Happened to Baby Jane?,” in that it had two of the biggest actresses of that time (Bette Davis and Joan Crawford) appearing in a story about two women who were washed-up entertainers, and they had never acted together before that.  This is the case with DiCaprio and Pitt, as they’re two of our most-notable stars today; they’re in a story about two people whose time in the entertainment industry seems to have passed; and they’ve never worked together before this movie.  The two of them are sometimes separated for sizable portions of the movie, but when they’re given the chance to be together, their interactions helps produce a superb on-screen bond, out of which these two iconic actors make the most whenever they have the opportunity.

The rest of the cast is an excellent ensemble.  Besides DiCaprio and Pitt, you have Margot Robbie as actress Sharon Tate; Emile Hirsch as Hollywood hairstylist Jay Sebring; Margaret Qualley, Dakota Fanning, and Austin Butler as members of the “Manson Family;” Timothy Olyphant as actor James Stacey; Bruce Dern as rancher George Spahn; Al Pacino as Dalton’s agent; Kurt Russell as a stunt coordinator; Mike Moh as Bruce Lee; and Luke Perry, in his final film role, as actor Wayne Maunder.  Many of these cast members are only given one or two scenes, but they all make an impression, and the inclusion of so many characters provides this movie with a sprawling, epic feel of exploring this period of Hollywood.

Tarantino’s screenplay has a few scenes that could have been trimmed a bit; but, for the most part, the movie flies by.  The story takes a sort of day-in-the-life approach when depicting its two main characters, with Rick spending his days filming television shows and contemplating the direction in which his career is headed, while Cliff is seen going about the day-to-day business that occupies his time when he’s not needed on the set with Rick.  Both of these story lines highlight how the two of them are at a crossroads when it comes to their usefulness to those around them.  Each of their stories is given enough time to unfold and provide us into the look of these characters’ lives and the deep friendship that they have built out of their collaboration.

Cinematographer Robert Richardson, who worked with Tarantino on “Kill Bill: Vol. 1,” “Kill Bill: Vol. 2,” “Inglourious Basterds,” “Django Unchained,” and “The Hateful Eight,” shows Hollywood on a grand scale as he brings walks us down the streets and drives us swiftly on the roads as we explore the many goings-on of the film’s location.  Whether it be through long takes that allow for conversations and actions to play out at a steady motion, or crane shots that offer us views of Los Angeles, Richardson makes sure that we become immersed in the Hollywood that his camerawork presents to us.  With what you see in this film, the teamwork between Tarantino and Richardson continues to be one of the cinema’s finest director-cinematographer collaborations to date.

Tarantino gives us a thorough look and feel for 1960s Hollywood.  With the help of Barbara Ling’s production design and Arianne Phillips’ costumes, we’re absorbed in the period detail of the film’s setting, and the attention that seems to have been committed to get the right look is magnificent.  It’s at the point where you don’t feel like you’re watching a movie, but staring at a portal that’s allowing you to view 50 years into the past, and this shows how much dedication Tarantino had in bringing this era to life.

With Tarantino’s unwavering love for movies, “Once Upon a Time in Hollywood” seems to be a movie that only he could have made.  You’ll become lost in it, and you might even forget where you are.

Grade: A-

An Ordinary Guy Finds His Calling in the World of Karate

Jesse Eisenberg (left) and Alessandro Nivola in
"The Art of Self-Defense"
Photo Credit: Imdb.com

Writer-director Riley Stearns is going to make a name for himself this year.  His second directorial feature, “The Art of Self-Defense,” isn’t just dark and funny, but it’s also bold in how it manages to do whatever it can to subvert your expectations and shock you in between making you laugh.

Casey Davies (Jesse Eisenberg) lives a life devoid of any excitement.  Following a night where he’s mugged, he decides to start taking martial arts classes.  As Casey becomes more in tune with his fighting abilities, his life soon takes some startling turns.

Eisenberg hasn’t been in many memorable films since his breakout performance in David Fincher’s “The Social Network,” so seeing him in a role where his character goes through such drastic changes throughout the story is something to see.  He shows his character’s ineptness when tying to interact with others, but he soon transforms into something that’s much more lethal.  While Eisenberg’s performance may show the type of awkward persona that we’ve seen in several of his other films, this one starts off like that, but will then stun you in how it veers into a different, more disturbing direction.  It’s a wonderful transition to witness, one that may even cause you to fear his character as the film goes on.

Imogen Poots delivers a great performance as one of the dojo’s top students, Anna, someone who as a stoic exterior, but has a simmering anger beneath for past wrongs committed by others.  It’s a performance that may seem one-note at first, but further in movie, this turns out not to be the case.  Soon, Anna begins to open up more to us, Poots engages the audience as she starts to reveal the reasoning behind the actions of her character and inviting us to uncover the mysterious nature of her role.

Alessandro Nivola, who portrays the karate sensei, gives another performance that proves that he’s an actor whose talent deserves more recognition.  As an instructor who makes you question the type of person he is right away, Nivola creates a character who’s effective in how grating his overzealous attitude of self-defense is, having you wonder if he has what’s best for his students in mind.  He’s able to mix the comedic and malevolent aspects of his character well, keeping us on edge as he takes as many unexpected turns as Casey.

The screenplay by Stearns can be pretty unsubtle in terms of its message, but the way in which it goes about presenting its story makes up for this flaw.  While it takes a while for the movie to pick up, it takes a very dark, yet still comedic turn near the end of the first act and brings this film into different territory.  From there, the story takes some entertainingly vicious turns that upend the movie in the best way.  Although the story follows a couple of beats that are similar to those of Fincher’s “Fight Club” and Timur Bekmambetov’s “Wanted,” such as showing a main character in their mundane life and striving towards something better, the narrative unfolds in an unpredictable way that makes this a story at first seem like something you know, but as it goes on, you realize that you couldn’t be more wrong.  In the middle of this is a thought-provoking view of modern masculinity, a view that can make a significant impact on the viewer with its strangeness and realness.

Stearns does a lot to catch you off guard as to how dark this movie can get.  Because of how odd the world of this movie is depicted, it’s easy to go along with the sharp transition that this film makes about half an hour in.  Despite the world that’s shown in this film reflects on current themes, it doesn’t quite look like or feel like our own, which allows for us to become immersed in the off-kilter nature of the film’s setting and make the environment seem absurd enough to take place in some alternate universe.

“The Art of Self-Defense” marks an ambitious continuation for Stearns’ filmmaking career.  Through a timely story and excellent performances, this movie hits the audience as hard as the punches and kicks that his characters inflict on each other.

Grade: A-

Within a Family, There’s a Secret That Everybody Knows, Except One

From left: Jiang Yongbo, Aoi Mizuhara, Chen Han, Tzi Ma,
Awkwafina, Li Xiang, Lu Hong, and Diana Lin in "The Farewell"
Photo Credit: RottenTomatoes.com 

With families differing between cultures, and their traditions carrying on for decades, maybe even centuries, it’s fascinating to see many of the world’s customs portrayed in movies, as well as see how people honor their family history across nationalities.  Although there might be many variances between these cultures, one of the things that’s a commonality is togetherness, and it’s always a life-affirming concept to see on screen.

Writer-director Lulu Wang delivers such a story with her comedy-drama, “The Farewell,” a superb look at a family that strikes a perfect balance between laughs and tearjerking emotions.

Billi (Awkwafina) is a Chinese-American woman living in New York City.  When Billi finds out from her parents (Tzi Ma and Diana Lin) that her grandmother (Zhao Shuzhen) has been diagnosed with terminal lung cancer, they decide to go to China to see her, all while having the family keep the diagnosis a secret from her.  As their visit progresses, Billi is unsure if she will be able to keep her grandmother in the dark for long.

After giving a hilarious supporting performance last summer in “Crazy Rich Asians,” Awkwafina delivers a stunning dramatic turn that shows us her awe-inspiring range, showing the anguish that it takes to hold such a dire secret from someone and pretend that everything is fine.  When her character is with her grandmother, Awkwakina shows the love and respect that she has for her, which makes her performance all of the more emotional as she tries not to crack under the weight of the situation.  Through all of this, Awkwafina also shows the ache of being a sort of outsider in her family while visiting China because of how she’s the only one who believes that keeping the secret from her grandmother is wrong.  Between Billi expressing love for her grandmother and sadness from hiding her true feelings from her, Awkwakina’s performance is as heartwarming as it is heartbreaking, leaving you amazed at what she can accomplish as an actress.

Shuzhen provides a comical performance as a carefree grandmother who doesn’t want anything more than the best for her family.  She exudes absolute happiness whenever she’s on screen, showing a love for life that brings about endless vibrancy, and her welcoming smile and personality get you caught up in her age-is-just-a-number spirit.  Despite her character’s illness, Shuzhen leaves you in such an uplifted mood at her optimism, and you can’t help but grin as she tries to help her family have the greatest time possible while on their visit.

The whole cast provides a genuineness in their performances that makes this a fascinating family to watch as they share several meals, interact with one another, and try to catch up on how everyone is doing after not having seen each other in a long time.  Everyone does terrific work in creating this family and presenting the dynamics among them as they have discussions, all of which have a strong naturalism to them.  This is a way to absorb you into their lifestyle, making you feel like a guest at their dinner table as they open up to each other and allow you to get to know them.

The screenplay by Wang, which is based on her own experiences with her grandmother’s illness, provides a lot of insight into this family and how they deal with keeping the cancer diagnosis a secret, all while depicting the inner conflict of Billi trying to keep that secret, but wanting to tell her grandmother.  This serves as an exploration of how Chinese citizens and Americans would handle the situation differently, allowing the audience to think about what they would do in such a scenario and about the ethics behind both sides of the argument. 

The direction by Wang is observational, seeming like she’s letting the family sit and talk as they go over certain issues.  Through this, she brings you into her culture and provides you with the opportunity to see her lifestyle.  Wang doesn’t feel the need to add any visual flairs because she doesn’t want to distract us from the details of each family member as we watch them, and that’s not a bad thing at all, as it keeps the setting grounded and lets the cast go about the movie with as much realism as possible.

In terms of the views between Chinese and American culture, one of the best scenes in the film is a dinner sequence in which the family discusses raising children in China, as Billi’s extended family has done, versus America, which is what Billi’s immediate family has done.  Voices aren’t raised and there aren’t exaggerated physical movements during this debate, but you can still feel the tension as Wang seems to step back and allow the conversation to play out.

In “The Farewell,” you can sense the love that Wang has for her heritage and family in every scene, and you feel lucky to be given an opportunity to look inside the world of these characters as they handle their ordeal, making this a beautiful, funny, tender, and dramatic family portrait.

Grade: A

For a San Francisco Native, There’s No Place Like Home

Jonathan Majors (left) and Jimmie Fails in
"The Last Black Man in San Francisco"
Photo Credit: RottenTomatoes.com

The opening scene of director Joe Talbot’s drama, “The Last Black Man in San Francisco,” has a sidewalk preacher (Willie Hen) stand on a crate and lament to passersby of how the San Francisco of the past is now gone, replaced with something that seems to overshadow what he remembers of the city.  It’s a scene that invites you into the plight of the main character and how he must face this issue, resulting in a film that’s a beautiful and unforgettable story of what it means to call a place your home.

The story follows a young African-American man, Jimmie Fails (Jimmie Fails, playing a semi-autobiographical version of himself), as he and his best friend, Montgomery Allen (Jonathan Majors), an aspiring playwright, try to regain the former’s childhood home.

Fails, in his feature-film debut, delivers a heartrending performance as a man who will do whatever he can to reclaim the home that’s been a part of his life, even when he wasn’t living in it.  It’s a melancholic portrayal that has him present an unending longing in Jimmie’s eyes as he tries to get back his home.  While you get a sense of how much the house means to him throughout the whole film, one scene that sticks out is when he meets with a banker to go over the possibility of him being able to afford the house.  In this sequence, Jimmie bares his soul when talking about how dedicated he would be towards paying off the house, even if it’s out of his financial grasp, and you’re nothing short of moved when Fails performs this scene.  This is an understated performance for the film’s duration, but the way in which Fails is able to convey the deep passion that his character has for his house and San Francisco without overdoing it is impactful, leaving you in awe at this promising new actor.

Majors is every ounce as good, helping Jimmie on his quest to acquiring the house.  The loyalty and camaraderie that he shares with Jimmie shows you how much Montgomery cares about helping his friend achieve what he desires, even if Montgomery sometimes seems like he might not think this is what’s best.  While Montgomery seems soft-spoken for most of the film, there’s a sequence within the last half hour where all of his emotions come to a head, and the power with which he expresses them astounds you and causes you to stop breathing as he takes the reins of what may be the most pivotal scene in the film.

Any sequence that Fails and Majors share is something to treasure, as their brotherly connection highlights how home isn’t just a place, but the people with whom you share your life.  There’s an inseparableness between them that seems like it can withstand the changes that have occurred throughout the years in San Francisco, and you experience the comfort that they feel as they go about their day-to-day lives enjoying each other’s company and try to make their way in a city that seems to have forgotten them.

Populating Jimmie and Montgomery’s beloved childhood city is a group of strong supporting performances, such as Danny Glover as Montgomery’s grandfather; Tichina Arnold as Jimmie’s aunt; Rob Morgan as Jimmie’s father; Mike Epps as Jimmie’s childhood friend; Finn Wittrock as a real estate agent; and Willie Hen as a preacher.  Despite each of these characters having limited screen time, they all add their own significance to Jimmie and Montgomery’s story and make their appearances as impactful as they can.

The screenplay by Talbot and Rob Richert, which is partly based on Fails’ life, focuses on the gentrification that San Francisco has experienced, with the story allowing us to travel throughout the city’s streets and get a sense of the personality that’s been erased from this region over the years.  On several occasions, such as in one scene with a tour group on Segways, or another scene with a trolly full of obnoxious party people, we see the how much of the city’s character has changed, giving us the chance to mourn with Jimmie and Montgomery as they gaze upon a city that’s unrecognizable to them.  It’s a deep examination of San Francisco and a friendship whose roots are based within it, and we’re offered a chapter in Jimmie and Montgomery’s lives that succeeds in showing us the wider picture of what they’ve experienced while growing up.

In his feature-directorial debut, Talbot captures the sights, sounds, and people of San Francisco with a love that’s so strong, it just about whisks you away to those streets and makes you a part of the city.  With the help of cinematography from Adam Newport-Berra, Talbot has us move around the house, where the camerawork captures the gorgeous interior that’s kissed by the sunbeams that hit through the windows.  We travel from room to room as we see how much this home is ingrained in Jimmie and Montgomery’s lives, and the excitement that they express as they enter the house and exude boundless joy absorbs you into this grand occasion.  There’s also the use of slow motion in a few instances within the first 10 minutes as Jimmie and Montgomery travel down the city streets and view the people that cross their paths.  The use of slow motion allows us to hone in on the details of those citizens as these two characters glimpse at them, letting us see these individuals through Jimmie and Montgomery’s eyes.

Through an emotional gaze of two young men trying to recover what’s theirs, “The Last Black Man in San Francisco” is a tribute as to how your home shapes your identity and the importance of never forgetting from where you came.

Grade: A