Movie Reviews: 'American Fiction,' 'Aquaman And The Lost Kingdom' And 'The Iron Claw'

American Fiction: 4 1/2 stars

Winner of this year's People's Choice Award at the Toronto Film Festival, the smart, funny and insightful "American Fiction" is a satire that portrays Jeffrey Wright as an optimistic novelist who confronts racial stereotypes by writing a book that forces him to reconcile his 'hypocrisy with balances.

The film is an adaptation of Percival Everett's 2001 novel "Eraser" and stars Wright as Thelonious "Monk" Ellison, a writer and English literature professor frustrated that his publisher rejected his latest work because it wasn't "black enough ". , while another book, We Live in the Ghetto by Sintara Golden (Isa Rey), was critically acclaimed as a modern masterpiece.

While Monk struggles personally, his brother Cliff (an excellent Sterling K. Brown) faces a major life change, while their mother Agnes (Leslie Ughams) gets worse and will soon need a nursing home that the family can't afford. . Work life has been turned upside down.

“Monaco,” says his agent Arthur (John Ortiz). “His books are good, but they are not popular. Publishers want a black book."

“You have a black book,” Monk said. “I'm black and this is my book.”

Enraged, he published My Pathology, a parody of Golden's book, under the pseudonym Stag and Leigh. Filled with boring, reductive stereotypes about gang violence and broken families, his joke novel became a publishing success, receiving a $750,000 advance and a massive marketing campaign.

Apparently the monk is the only one who gets the joke. “That's the most profitable joke you've ever told,” Arthur said.

It may seem like a joke, but monks need money. However, if he accepts the offer, does it mean he is engaged in what he describes as "black trauma pornography"?

“American Fiction” finds sharp humor in identity politics, perceptions and culture wars. Serious in message but fun in tone, it can be perceived quickly. In one scene, Monk and Golden, the only two black jurors on the literary jury, are accused by white jurors of “listening to black voices.” It's one of the funniest scenes in the film, but the emotional nature of the show is very realistic.

As Monk, we see Wright in a different role. When given the opportunity to flex his rarely used comedic muscles, he excels at expressing the mystery of his mischievous character to maximum effect. It's bittersweet. He sees the success of Stagg R. Leigh's fictional book. This confirms his feelings about the bias of the publishing industry. He responded with a mixture of anger and humor. It's a bold move that hopefully means it won't be another 30 years before Wright lands another starring role in a film version.

Brown gives Wright a chance and steals every scene he's in. His character, Cliff, is a catastrophe, a person who comes out and builds a new life. Like Wright, Sterling creates a character that makes you laugh, but the laughter isn't superficial, it comes from a deep well of pain and Cliff's lived experience.

Director Cord Jefferson's "American Fiction" asks why stereotypes of black trauma are so prevalent in entertainment, without being subtly jarring, and who creates limited visions of black life in books and on screen. It's enlightening, but don't forget to entertain.

Iron Claw: 3 and a half stars

Filled with tragedy and trauma, "The Iron Claw," a movie about the Von Erich wrestling family starring Zac Efron and Jeremy Allen White and now in theaters, is not a sports movie. Set against the backdrop of professional wrestling, the film is a study in toxic masculinity and how the sins of fathers can affect their sons.

The film begins with Fritz Von Erich (Halt McCallany), the patriarch of the Championship Von Erich wrestling dynasty. Early in his career, he changed his name from Jack Adkisson to the German Fritz von Eyre to create an evil character. The change intentionally stirred post-match hostility and made him a wrestler that spectators loved to hate.

In the ring he was a ruthless competitor, with a deadly iron claw and his feared finishing move that punched his opponents in the face. His desire to win outside the ring leads him to push his sons Kevin (Efron), Kerry (Whitey), David (Harris Dickinson) and Mike (Stanley Simmons) into the family business.

“Now we all know Kerry is my favorite, then Kev, then David and then Mike,” Fritz said. “But rankings can always change.”

Under Fritz's strict leadership, the Von Erichs became one of the first wrestling families to gain popularity, winning championship belts and fans for their high-flying, acrobatic style, but their successes were marred by tragedy, which his son Kevin attributed to the curse. Name adopted by the family.

“Ever since I was little, people said my family was cursed,” Kevin said. “Mother tried to protect us from God. Baba tried to protect us by fighting. He said if we were the strongest, the strongest, nothing could hurt us. I believed. “We all did it.”

“The Iron Claw” is about sports, and stars Efron and White obviously spent time in the gym preparing for their shirtless fights in the ring, but like all good sports movies, it's not about sports. It deals with universal themes such as tragedy, brotherhood, strength and bullying. The context may be unusual, but anyone who has ever experienced shock will find resonant notes in von Erich's story.

The film focuses on Efron and White's children, Kevin and Carey. Both performances stand out for their physicality, but are deepened by the emotional turmoil surrounding each character.

Efron digs deep for the best performance of his career. As Kevin watches his family fall apart, he falls into depression, fearing that the curse is real and could affect his wife (Lily James) and children. In such a physical film, it is the interior life that reveals the passion and generous anger that lie behind the enormous figures of the characters.

White has a notable role, but as Carey, the son who pays an enormous personal price for wanting to please his disobedient father at all costs, he reacts more outwardly to the story's twists and turns than to the pain he feels over their sharing, taking it with you. you are tangible...

Maura Tierney does a lot with her mother Doris Von Erich. An indestructible figure, his face radiates a calm intensity that speaks louder than words when his buried emotions threaten to boil over.

McCallany plays a much bigger role. He was the catalyst, the agitator, pushing his guys into the ring to get whatever they needed. It's the obvious bogeyman of cinema. The problem is that the family doesn't realize it until it's too late.

“The Iron Claw” is a dark, slow-paced film that looks outside the box and focuses on the price this family paid for their success.

Aquaman and the Lost Kingdom: 2 and a half stars

Jason Mamoa returns as the universe's most famous merman in Aquaman and the Lost Kingdom, the latest DCEU film currently in theaters.

“I am the king of Atlantis,” says Arthur Curry/Aquaman (Mamoah). “Five hundred million of all known species in the oceans call this place home. But that doesn't mean everyone likes me.

The angriest of all the sailors is David Kane/Black Manta (Yahia Abdul-Mateen II), a pirate and mercenary who Arthur blames for his father's death. Jesse Ken dies when his hijacked Russian nuclear submarine is submerged. Aquaman could have saved her, but he refused. Now Black Manta wants revenge and is ready to use the dark magic of the cursed Black Trident to get it.

“I will kill Aquaman,” he says, “and destroy everything he loves. I will kill his family and leave his kingdom in ruins. Even if it means making a deal with the devil." " ".

Like I said, he's angry.

To prevent Black Manta from destroying everything important in his life, Aquaman decides to team up with his half-brother Orm Marius/Ocean Master (Patrick Wilson). The problem is that the former king of Atlantis is imprisoned in the desert for crimes against his former kingdom. Aquaman, dressed in an invisible suit, frees Orm and reluctantly agrees to fight the former king Black Manta.

“I don't know what awaits us,” Aquaman says at the beginning of their adventure, “but we cannot leave our children on Earth without hope.”

“Aquaman and the Lost Kingdom” is reminiscent of an episode of the Saturday morning cartoon “Super Friends.” A mix of silly humor and action, it has a lot to offer but ultimately feels like too much exposition, too confusing CGI, too little character development and not enough Black Manta. After a chaotic first hour of build-up, the film picks up steam in the second half, but even when it picks up, the stakes are never high enough to match the initial drama of the first film.

Momoya game. Understand that Aquaman is a mix of kitsch, glamor and action. “There are people who think I'm ridiculous,” says he, a powerful underwater superhero who rides across the sea with the help of a giant sea monkey. But shifts in tone, whether due to reshoots or rewrites or simply shaky editing, often result in disjointed viewing. The delicate balance between humor and emotion here is not as carefully balanced as in the first film, and the character's sudden mood swings, from animal mode to Joker, are jarring.

Unused Abdul Mateen II. He's a villain with relatively little time to appear, whose thirst for revenge is matched only by his ability to make his ridiculously retro-sci-fi black manta ray costume look good.

Many films are about revenge, but here it quickly becomes a MacGuffin that sets the film in motion but is quickly forgotten as other plots remove it from the picture. His plan to accelerate the planet's warming by exploding its Orichalcum fuel reserves is obviously the work of a supervillain, but an underdeveloped one.

“This has to stop,” Atlana (Nicole Kidman) says in textbook definition.

Among the supporting characters, Wilson has the only story arc. From unreliable leader to unlikely hero (no spoilers), he's just as entertaining as Aquaman, but still delivers the funniest scene in the movie (again, no spoilers, but it wouldn't be out of place on the disgusting reality show). . “Scary factor.” However, his presence allows the film to explore a story of redemption that adds some pizzazz to an otherwise generic plot.

Amber Heard fans and haters may be divided over her appearance. Supporters will think it's underused, while critics will think it takes up too much screen time. Suffice it to say, he's a minor character who appears everywhere but doesn't have much to do with the main plot.

“Aquaman and the Lost Kingdom” has its moments (make time for the fun mid-credits scene), but the rough waters of the script and a low-stakes story offer little reward.

Migration: 3 stars

“Migration,” a new animated film from Illumination Studios starring Elizabeth Banks, Okwafina and Kumail Nanjiani and now in theaters, is a story of expanding horizons against the wild blue.

The story revolves around the Mallards, a family of ducks who live a quiet and happy life on Bucolic Musheed Pond in New England. Mac (Kumail Nanjiani) is the protective father who tells his children, Dax (Caspar Jennings) and his daughter Guen (Tracy Ghazal), the horrific stories of the hunters of the world outside their flooded home.

When the other idiot uses the dam as a stop on his journey south, it captures the imagination of Dax, Guen and Mother Palm (Elizabeth Banks). Mac is not inspired. He says he will only leave the pond if he and his family find a safe place to live, but the rest of the family is surprised by the interesting things happening in their little corner of the world.

“I don't want to lose your life because you're afraid to leave this pond,” Pam tells a McKay thug.

Mothers and children can't wait to take flight, see the world and transport themselves to tropical Jamaica in the winter. Mac doesn't want to, but he agrees to run away with Pam, the kids and his ugly Uncle Dan (Danny Diwito).

“We're missing a whole world,” Pal said. “Things we didn't know existed.”

During a stop in New York City, they free Jamaican Homeean parrot Dale (Kigan-Michael Key) from his prison at a Manhattan restaurant run by a chef (Jason Marin) who specializes in duck a l'orange.

“What is orange duck?” Goen asked.

“It's you,” Champ (Akwafina), a strong leader of a gang of New York pigeons, “including the orange ones.”

Trying to stay away from the chef's menu, the Malards' immigrant vacation becomes a journey of invention as they connect with the larger world.

“Let's finish this crazy, wonderful adventure,” Mac said.

“Migration” is a funny but little personal growth story and a good message about little personal growth and the fear of overcoming fear. The lessons are simple, presented in a preferred, quick manner that doesn't try too hard to lecture or teach morality. This is a lighthearted adventure featuring Mike White, co-author of White Lotus.

From mild panic to meeting an older Heron (Carol) in New York, Mac's picture of all fears features songs from every major ensemble. A new high altitude adventure. It is episodic, which gives new character to the Malards, brings out the differences in the story, and offers new opportunities for funny situations in each chapter.

“Migration” doesn’t have an anarchic conviction like the “Despicable Me” films of the Enlightenment. If you're in the mood for more Minions madness, be sure to arrive in time to see "Mouth," a quintessential short from the Minion universe that kicks off the show. Complete the short (1.5 hour) "Migration" and use a fair amount of minion magic.

Light but fun and fast-paced, "Migration" is a fun and lively voice work with lively cinematography (Baby Duck will love Goen) and an adventurous setting.

Area of ​​interest: 4 stars

If you don't leave The Hotspot, director Jonathan Glazer's latest film in theaters now, with the words "I really liked it" crossing your lips. Based on the 2014 novel of the same name by Martin Amis, it is a study of a malignant disease that is disturbingly common and terribly unpleasant.

Rudolph Hussein (Christian Friends) and his wife Headwig (Sandra Hular) painted the “zone” of a normal family.

Set in 1943, the hairdresser runs the house, raises his five children with Aya and the housekeeper, and takes care of the couple's garden. Rudolph Auswitz works as a concentration camp commandant at the side gate. As the children play in their large garden, swim in the pool and sleep at friends' birthday parties, the unimaginable horror of the camp can be heard in the background. The screams of pain, the weapons and the barking of Hus' family reach the ears of the family, where life resumes its natural course.

Höss's convenience in causing death earned him a promotion and he threatened to move his family from their home to an ordinary Berlin street. While on the streets, the commander organized the kind of care he could never muster for his family, his wig and an orphanage, and drew up a timetable for the operation that killed 430,000 Hungarian Jews in 56 days.

Director Glazer never enters the camp. Instead, he points the camera at the family. The discrepancy between the images (the smiling child in the pool, the wig and his mother sitting in the guest room) and the camp's words is devastating.

The composer sticks to composer Mica Levi's beginning and ending, adding just an extra burst of music here and there. The absence of music is deafening and forces the ear to focus on the barbarity that we can hear but not see.

He thought back to old horror films like Val Luton's Cat People and realized that what you can't see, what you have to imagine, will have the biggest impact. Glazer knows what's going on on the other side of the wall between the house and the field. It will be worse than he can show us. The “Zone of Interest” is an intellectual atrocity that penetrates the brain and is not soon forgotten.

“The Zone of Interest” is a single film. It's embarrassing, it relies on experimental editing, it's lazy in its presentation of the benefits of evil, it's not an easy film, but it will have resonance long after the credits roll.

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