Starring: Isabelle Huppert, Laurent Lafitte and Anne Consigny
Directed By: Paul Verhoeven
Rated: R
Running Time: 131 minutes
Sony Pictures Classic

Our Score: 4 out 5 stars

“Elle” has put me in an uncomfortable situation as a male reviewer because I’m going to have talk about rape. The act has been used before, so in that sense, it’s nothing new. Moviegoers have seen it in “Straw Dogs,” “A Clockwork Orange,” “Boys Don’t Cry,” and other films. Sometimes it’s the focal point or a moment that punctuates a grisly reality or message. But in “Elle,” there’s something disturbingly different about rape. It seems like an afterthought in the busy life of Michele (Huppert) and slowly becomes a tool of empowerment.

The movie begins with an intruder, breaking into Michele’s home, quickly and savagely raping her, as her gray cat casually looks on. He finishes and flees without much thought, leaving her unconscious and bleeding. It’s a difficult scene, no doubt. But what happens next is bizarre. She picks herself, goes to work, and even tells her son that she won’t entertain the thought of calling the local authorities. But that doesn’t stop her from daydreaming about murdering the rapist with her own bare hands.

It almost seems like she’s too busy to worry about the rape. She’s got a company to run with a video game that’s nearly half a year behind schedule. She seems unfazed by the video game graphics of a demonic creature molesting and raping an innocent woman, or the excessive amount of sexual and graphic violence that her all-male staff seems to be worried about inserting into the game itself. Then there’s all the family drama at home.

Her son can’t stand-up and assert himself in his own marriage, her ex-husband lingers trying to suckle at her own success, her mom lives with an escort, and her dad is one of the most infamous serial killers France has ever seen. “Elle” seems to be saying that the rape is almost the least of her worries, and certainly one of the least most screwed up things to happen in her life. That’s not to take away from the ferociousness of the movie’s opening moments.

“Elle” is an unpredictable journey that explores the psyche of a woman; Not a victim. It’s impossible to foresee how the movie unfolds because most of the time, Michele is shattering stereotypes and clichés of how society feels a rape victim should react. That’s not to say that this movie could be viewed as grossly insensitive to actual rape victims. But to put it bluntly, it is liberating to see someone who realizes the horrors and stigmas attached to rape, only to relish in it and use it as fuel for a much deeper and darker fire.

You don’t have to wait long for the rapist in “Elle” to reveal himself, unleashing a myriad of moral and ethical questions, both for Michele’s character and the man behind the ski mask. The surrealism of the movie is perfected by Huppert’s performance, which feels tragic at first, but unflinching when she breaks through the shackles of the viewer’s expectations. Huppert gives Michele a realistic range, which seems even more daunting when you begin to realize that Michele’s purpose may be to subvert a lot of society’s views of violence, sexuality and innocence.

Director Paul Verhoeven took a bold step directing “Elle” because it’s hard to imagine a mainstream audience stomaching it past five minutes or seeing Michele as a relatable character. It’s crazy to think that this is the same man who brought American audiences, “Hollow Man,” “Starship Troopers,” and “Showgirls.” With that in mind, this could be a middle finger to American taste and sensibilities after Hollywood flushed him down the toilet.

Starring: Andrew Garfield, Adam Driver and Liam Neeson
Directed By: Martin Scorsese
Rated: R
Running Time: 161 minutes
Paramount Pictures

Our Score: 4 out of 5 Stars

Very rarely do you have a religious piece of filmmaking that doesn’t question religion or support the existence of a greater entity. Martin Scorsese is no stranger to the topic; raising hell with “The Last Temptation of Christ,” but his latest film is a deep meditation and self-reflection on the topic. The myriad of ideas behind “Silence” are a little too insurmountable to summarize without glossing over one or two powerful and important themes. Nothing about this feels like your stereotypical Scorsese movie, which means it’s all substance and no style.

The movie follows Jesuit priests, Sebastia Rodrigues (Garfield) and Francisco Garupe (Driver). They receive a distressing letter about their mentor, Father Cristovao Ferreira (Neeson). He’s apparently committed apostasy and disappeared in post-Feudal Japan. Despite warnings about the inherent dangers of being a Christian during the Kakure Kirishitan era, a time when Christians were deep in hiding in Japan and feared being publicly executed for their beliefs, the duo head off with nothing but their faith and an alcoholic guide looking to be forgiven for his past sins.

While the first act establishes 17th century Japan, the rest of the movie follows Sebastia. There’s nothing unique about him, I guess that’s just how the cards fell in terms of storytelling and/or history. Both Sebastia and Francisco are devout men, struggling to deal with the harsh reality of potentially being murdered for their religion in a foreign land, as they watch as others are brutally slain in their God’s name, and in inherently, their names as well.

“Silence” is a struggle of morality, faith, and life. There are moments where Sebastia’s beliefs are selfish, wholesome, absurd, and compassionate. The clash of religious ideals stems from the Japanese power structure believing in Buddhism and viewing Christianity, not only as a threat, but as a toxic influence that can’t sprout in their land, which they constantly refer to as a swamp. And more frankly, the Japanese government sees Christianity as a sly form of Western intrusion and corruption. The philosophical struggles between the two beliefs don’t develop until halfway through “Silence” and that’s when they things get more profound.

We get to see the rotten and enlightened side of religion’s impact. It’s difficult to pinpoint an encompassing message in “Silence” because it plays out like a scholarly debate on faith. The three biggies in “Silence” are its reflection about how important and damning symbolism can be, it’s criticism about how humans can fetishize their own beliefs, the idols they keep close, and the images that they deem holy, and it’s praise for how religion can teach us compassion and give us silent strength when dealing with the impossible.

On a more personal level, Sebastia’s voice-over narration and internal monologue provide insight into his selfishness of wanting to be martyred much like Christ. Outside of Sebastia’s unintentional egocentric spiritual journey, it’s a humanistic learning exercise as he internalizes concerns that his prayers are said and uttered to an empty void with no one on the other end. Anyone who’s ever prayed can surely relate to that plight.

“Silence” isn’t entertaining in the traditional sense. You may find yourself bored if you aren’t willing to put your beliefs and other beliefs up for scrutiny or if you view religion as an intangible topic. “Silence” is not just an intense examination of religion, but it’s a study of societal ethics and personal morality as it relates to history, culture and your community. It’s not until the end that Sebastia aligns his priorities with what’s best for his. “Silence” may very well be Scorsese’s deeply religious message for those wanting to live life and find peace.

Starring: Ben Affleck, Sienna Miller and Zoe Saldana
Directed by: Ben Affleck
Rated: R
Running time: 2 hrs 8 mins
Warner Bros

Our Score: 3.5 out of 5 Stars

If you don’t include the 1930s and 40s, the list of good gangster films is pretty short. Off the top of my head, I consider “The Godfather” trilogy, “Goodfellas,” “Bonnie and Clyde,” “The Road to Perdition” and “Miller’s Crossing” to be among the best of the genre. I’m guessing that Ben Affleck also agrees with my list as his latest directorial effort, “Live by Night,” samples a little bit of all of them.

After serving his country in World War I, Joe Couglin (Affleck, who not only directed the film but adapted it’s screenplay from a novel by Dennis Lehane) decides he’s not going to take orders from anyone any longer. Wanting to “sleep during the day and live by night,” he decides to pursue a life of crime with two pals from the neighborhood. He doesn’t want to be a gangster. He just wants to be.

Of course, things never go according to plan and Joe soon finds himself in love with the boss’ girl, Emma (Miller). The boss finds out and, after a pretty good beating, Joe lucks himself into the hospital, where he plots his revenge. A revenge that’s not best served cold but one that emanates from the sunny prohibition streets of Tampa.

Directed with an obvious love for the genre, “Live By Night” is a stylish – man did they know how to dress back then – film that overcomes some obvious errors with a first rate cast. Affleck does fine as Joe and I couldn’t help wondering, as I watched the film, if he wouldn’t be perfect if they ever did a bio pic about Gene Kelly. He has the chin and he can certainly wear the clothes. Miller also excels as a girl who seems to be hiding a secret. As Joe’s rum-running partner and later wife, Saldana rises above what could have been a stereotypical “black woman in the south” caricature and makes her Gabriella a strong and equal partner. Other notable performances are turned in by Chris Cooper, Brendan Gleeson and Chris Messina.

Technically the film is quite faithful to the Tampa of the times and, as a Tampa native who once lived at Nebraska on 26th Street, I couldn’t help but swell with pride when I learned that Joe was selling his rum as far north as Nebraska and 27th Street. Not sure if I like rum – I’m not much of a drinker – but it’s nice to know that in the early 1930s I would have been able to have a drink every now and then!

Starring: Lewis MacDougall, Felicity Jones and Liam Neeson
Directed By: J.A. Bayona
Rated: PG
Running Time: 108 minutes
Focus Features

Our Score: 4.5 out of 5 Stars

“A Monster Calls” is not a kid’s movie, although the trailer says otherwise and the studio probably wanted you to think differently when they greenlit it. There are moments that are too childish to entrance a teenage audience, but too dark and meaningful for a young one to fully grasp. I think the only people who would enjoy “A Monster Calls” are an adult crowd. Because when all is said and done, it takes a mature mind to recognize how beautiful and tragic it is.

The family members whispering amongst themselves is enough to give Conor O’Malley (MacDougall) a nightmare. Conor is viewed as a creative, but fragile adolescent, which makes those around him hesitate to state the obvious. His mom, Lizzie (Jones), has a terminal illness. The chemo isn’t working and the prognosis is bleak for the young mother. O’Malley’s father is out of the picture and his grandmother, played by Sigourney Weaver, is unable to handle the thought of having to bury her daughter. She’s more focused on getting custody of Conor and quickly settling other family affairs.

But Conor is suffering from a different kind of nightmare. Nightly in his dreams, he watches as the nearby cemetery, decrepit church and a twisted dead tree, collapse into the Earth. He screams as he sees his mother being swallowed along with the horrific mess. He clings to her as she’s about to fall into the unknown abyss that’s eating everything up. But before his nightmare reaches its crescendo, he awakes, sweaty and trembling. That’s when he’s greeted by a “monster”.

What conjures the deep throated tree monster, voiced by Liam Neeson, isn’t immediately clear and doesn’t become clear until the end. But what “A Monster Calls” does is provide something unique to the stereotypical coming-of-age movie. The voice of reason lies within the monster that spins fanciful ideas, speaks in vague riddles, and dishes out tales that seemingly relate to Conor’s growing predicaments.

The monster tells Conor that he will tell three stories and that by the end, he wants to hear one from Conor. Each tale doesn’t directly relate to a person or instance in Conor’s life, but each story weaved by the tree can be interpreted on multiple levels, possibly revealing its own secrets and truths to different viewers. The monster isn’t real, although there are plenty of moments to make you question that thesis.

It’s easy to see how a movie like this could have become a nightmare on its own accord. MacDougall, a somewhat fresh face to the movie scene, is given a lot of heavy lifting. While veterans and newcomers like Weaver and Jones are tasked with the adult response, MacDougall has a tougher task. He has to balance the conflict of teenage hormones clashing with a bitter reality. MacDougall handles the emotional cataclysm like a pro. This is a performance that could push him to stardom.

The script never becomes too sappy or attempts to emotionally manipulate the viewer, at least without a satisfying payoff. The visual style matches the fantasy book it’s based on, relying on real-life, CGI, and animation. The animation is a true standout with vibrant water colors that spill from scene to scene. Outside of its wonderfully distinct style, it’s a deep observation about the power of loss and the capacity of absolute truth. “A Monster Calls” is a soulful metaphor for anyone who’s old enough and open enough to feel, think and grow.

Starring: Octavia Spencer, Taraji P. Henson and Kevin Costner
Directed by: Theodore Melfi
Rated: PG-13
Running time: 2 hrs 7 mins
20th Century Fox

Our Score: 3.5 out of 5 Stars

As 2017 begins the good people at Fox have graced us with the inspirational “Hidden Figures,” the first “feel good” film of the New Year.

As the Cold War looms, the United States and the Soviet Union are in a battle to be the first to enter the heavens. The Russians dispatch monkeys, dogs and whatever else will fit in a space capsule high up into the atmosphere, hoping to be the first nation to conquer the blackness of space. As the stakes get higher we join the proceedings at Langley Air Force Base, in Virginia, already in progress. It is here that we meet three of the best “computers” that NASA possesses: Katherine Johnson (Henson), Dorothy Vaughn (Spencer) and Mary Jackson (played with good, old fashioned sass by newcomer Janelle Monae). They are African-American brainiacs whose job is to compute figures for the space program. Of course, this is Virginia in 1962 so they are kept in the “colored computer” room. When a “computer” is requested to help plan the flight of astronaut John Glenn doors are opened, though at a snail’s pace.

Uplifting, if not a little heavy handed, “Hidden Figures” is based on the true story of three very remarkable women and all three stars make the wise choice of not being stereotypical in their performances. Though the fact that they are black is an important part of the story, they could have been green as far as the upper brass at NASA is concerned. They’re not told that a BLACK woman has never sat in on a briefing. They are informed that ANY woman has never been and probably never will. However it is the proudness the ladies show in both their race and gender that carry the film along. In supporting roles, Jim Parsons may find himself typecast forever in scientific roles as he plays one of the main planners of the Glenn mission while Costner is quite credible as the man who must make the decisions necessary for a successful mission. It took me until the end credits to recognize Kirsten Dunst, who co-stars as one of NASA’s HR people. She is also strong here. The film does get a little heavy handed at times, including a scene where Costner takes aim at a sign reading “Colored Restroom,” ripping it off the wall and assumingly ending racial separation as far as bathrooms are concerned.

With the recent passing last month of John Glenn, “Hidden Figures” is a solid tribute to his courage as well as the courage of the women behind the man.

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Actors: Kurt Russell, Mark Wahlberg, James DuMont, Douglas M. Griffin, Joe Chrest
Directors: Peter Berg
Rated: PG-13
Studio: Lionsgate
DVD Release Date: January 10, 2017
Run Time: 107 minutes

Film: 2.5 out of 5 stars
Blu-ray: 4 out of 5 stars
Extras: 3.5 out of 5 stars

“Deepwater Horizon” is the latest team-up between director Peter Berg and Mark Wahlberg, last being “Lone Survivor”. It is based on a true story and features a top notch supporting cast including Kurt Russell, John Malkovich, Dylan O’Brien, Kate Hudson and Gina Rodriguez. Honestly though, just not a film for me. I remember the events back in 2010 but I never thought to myself, “Damn, this will make a great movie”. Great acting and at points action packed for sure as Berg knows how to deliver but just not interesting enough topic to lock me down.

Official Premise: On April 20, 2010, the Deepwater Horizon drilling rig explodes in the Gulf of Mexico, igniting a massive fireball that kills several crew members. Chief electronics technician Mike Williams (Mark Wahlberg) and his colleagues find themselves fighting for survival as the heat and the flames become stifling and overwhelming. Banding together, the co-workers must use their wits to make it out alive amid all the chaos.

Even though “Deepwater Horizon” is not my favorite film of the year, it does pack a solid Blu-ray presentation. The 1080p transfer works perfectly with the film’s epic scale. In fact, I would have loved to watched the 4K presentation of this film. I can imagine that the action sequences would love outstanding for sure. The audio track included is an outstanding Dolby Atmos (mixed down to Dolby TrueHD 7.1), which really showcases the action perfectly. Literally wall-shaking!

In terms of special features, there is no shortage here at all. In fact, there is around two hours of content included. First up there is an hour-long five-part series “Beyond the Horizon,” which features cast discussing the film behind-the-scenes. There are three all-new featurettes, the first being “Captain of the Rig: Peter Berg”, which puts the director front and center. The other two included are “The Fury of the Rig” and “Deepwater Surveillance”, which dives behind-the-scenes on this difficult production. Lastly there is a real-life tribute in “Work Like An American”.

Starring: Yoo Gong, Ma Dong-Suk, Yu-mi Jeong, Woo-sik Choi, Sohee, Soo-an Kim
Director: Sang-ho Yeon
Distributed by: Well Go USA
Running Time: 118 min
Release Date: Jan 17, 2017

Film: 3.5 out of 5 stars
Blu-ray: 3.5 out of 5 stars
Extras: 2 out of 5 stars

I came across the film, “Train to Busan”, purely by accident and I am really glad I did. This is literally one of the best zombie films I have seen in a long time! It is action packed and really well done. It does run a little long and could have been cut down a bit for pacing but otherwise, I thought this film was a wild ride. If you are looking for something to fill your “Walking Dead” void while it is on hiatus, definitely check this film out!

Official Premise: A mysterious viral outbreak pushes Korea into a state of emergency. The government declares martial law just as divorced Seok-woo and his daughter catch the KTX bullet train from Seoul to Busan to see her mother. But someone on the journey has been recently infected sending the hurtling carriages into complete chaos. As the living dead transform the voyage into a nightmare excursion, father and daughter and a small group of uninfected passengers must fight for survival. Get on board to stay alive!

Well Go USA is behind this release, so this Blu-ray does not come as a combo pack or include a digital HD copy. I would love to see this company get behind digital format and include it with their Blu-rays. It will be available on Ultraviolet, I am sure when it is released so why not throw in a code as an incentive. The 1080p transfer works for the scope of the film, which at times get very epic. The DTS-HD Master Audio track also works well with the action. the track is Korean with English subtitles. There are only two special features included, which are two generic “Behind the Scenes” looks into the production as well as “That’s A Wrap”.

Actors: Malcolm McDowell, Elizabeth Daily, Meg Foster, Sheri Moon Zombie, Daniel Roebuck, Judy Geeson
Director: Rob Zombie
Rated: R
Studio: Lionsgate
Release Date: December 20, 2016
Run Time: 103 minutes

Film: 3 out of 5 stars
Blu-ray: 4 out of 5 stars
Extras: 3.5 out of stars

I have been following this project from very closely from before it was even filmed and even got daily updates from Rob Zombie himself during production. I had REALLY high expectations for this film but was honestly let down quite a bit. I am a huge fan of Rob Zombie’s previous films “House of 1000 Corpses”, “The Devil’s Rejects” and even “The Lords of Salem”. This film just felt kinda bland and didn’t really draw me in. I got the whole plot idea and it is cool but it felt like it needed something more, like a hook to snag you. If you enjoy Zombie’s previous work you may did this but other than that audience, I do not see this crossing over or pulling in a cult following anytime soon.

Official Premise: From the visionary mind of the man who brought us House of 1000 Corpses, The Devil’s Rejects and Halloween comes the horrific story of five carnival workers who are kidnapped the night before Halloween and held hostage in a large compound. At the mercy of their captors, they are forced to play a twisted game or life or death called 31. For the next 12 hours they must fight for their lives against an endless parade of homicidal maniacs.

Lionsgate Films delivered this film to Blu-ray as a combo pack with a Digital HD copy. The 1080p transfer presented with an aspect ratio of 2.40:1. I love the way that Rob Zombie shoots his films, he has a very unique perspective in his films and I really enjoy it. The DTS-HD Master Audio 5.1 track worked well but honestly, I wasn’t a huge fan of the score and music used in this film as I have been in the past especially speaking of “The Devil’s Rejects”. In terms of special features, there are only two extras but they are spot on and worth checking out. Rob Zombie gives a great audio commentary track. “In Hell Everyone Loves Popcorn: The Making of 31” is an insane two plus hour in depth set of featurettes that follows the entire production, so if you enjoyed the film this is a must watch.

Actors: James Allen McCune, Callie Hernandez, Brandon Scott, Valorie Curry, Corbin Reid
Directors: Adam Wingard
Rated: R
Studio: Lionsgate
Release Date: January 3, 2017
Run Time: 89 minutes

Film: 4 out of 5 stars
Blu-ray: 4 out of 5 stars
Extras: 4 out of 5 stars

“Blair Witch” was previously known as “The Woods”. This movie was a big surprised when it was revealed as the long awaited third “Blair Witch” film. Right away the haters came out for this film without even seeing it and trashed it, which is not fair because this film is an awesome and honestly quite terrifying follow up to the original film. I loved everything about it. I would have liked some more questions answered but I am sure it was saved for another film. Unfortunately, due to the power of trolls and the internet, I doubt that will be happening now. Either way, if you feel like being open minded this is a rad flick and had me biting my nails and sitting on the edge of my chair.

Official Premise: A group of college students venture into the Black Hills Forest in Maryland to uncover the mysteries surrounding the disappearance of their friend’s sister, who many believe is connected to the legend of the Blair Witch. At first the group is hopeful, especially when a pair of locals offer to act as guides through the dark and winding woods, but as the endless night wears on, the group is visited by a menacing presence. Slowly, they begin to realize the legend is all too real and more sinister than they could have imagined.

Lionsgate Film is delivering this film in a combo pack including a Blu-ray + DVD + Digital HD copy. The films 1080p transfer is solid enough but remember it is hand shot by the actors not winning any cinematography awards. The sound though is a huge winner delivering an epic Dolby Atmos (which at base is Dolby TrueHD 7.1), which creeped the hell of out me. Especially since this film relies on subtle sounds to scare you. Very effective track!

The special features are jam-packed! There is a fantastic audio commentary track with horror duo Director Adam Wingard and Writer Simon Barrett. Love this one. “Never Ending Night: The Making of Blair Witch” is an epic 6-part documentary that is a must watch for anyone who enjoyed the film! There is focus on the story origin, the cast, shooting style, editing as well as music and sound design. Lastly there is a featurette “House of Horrors: Exploring the Set”, which gives some cool insight into how they came up the house.

Starring: Sasha Lane, Shia LaBeouf, Arielle Holmes, Riley Keough, Will Patton
Director: Andrea Arnold
Rated: R
Studio: Lionsgate
Release Date: December 27, 2016
Run Time: 162 minutes

Film: 2 out of 5 stars
Blu-ray: 3.5 out of 5 stars
Extras: 1/2 out of 5 stars

I heard a little bit of hype around this film and then poof! Nothing. This film disappeared from everywhere, showing up on Blu-ray this month out of the blue. Honestly, Shia LaBeouf was such a promising actor and seemingly threw it all away. I was willing to check out this flick and give him another chance. I have to admit performance wise, this is not a bad one for him and I hope he gets back into the spotlight. Sasha Lane, though, is one to keep an eye out. I have a feeling that we will be hearing a lot more from her in the future. Unfortunately, the film itself is just barely watchable due to lack of cohesive story and ridiculously long running time.

Official Premise: An astonishing portrait of youth on the American fringe, American Honey is told through the eyes of a vivacious teenage rebel who joins a group of fellow misfits hustling and partying their way across the country. Bursting with electric, primal energy, American Honey is an immersive, exhilarating odyssey of heartbreaking beauty — a generation-defining film that celebrates the defiant resilience of youth in pursuit of the American Dream.

Liongate Films delivered this film on Blu-ray as a combo pack with a Digital HD copy. The 1080p transfer is presented with an aspect ratio of 1.33:1. This film was definitely shot with a big ole ode to the videophiles out there. It is extremely arty and specifically shot. The DTS-HD Master Audio 5.1 is interesting and doesn’t disappoint but didn’t really grab me either. If the film wasn’t worse enough, the special features on this Blu-ray are even more disappointing. “Sasha Lane and Riley Keough on American Honey” is the only extra which includes interviews with the actresses.

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Starring: Sunny Pawar, Dev Patel and Nicole Kidman
Directed by: Garth Davis
Rated: PG-13
Running time: 2 hrs 18 mins
The Weinstein Company

Our Score: 5 out of 5 Stars

I’ll admit up front that I am a sucker for films that deal with adoption. I was adopted when I was 18-months old. Inspired by the film “Antoine Fisher” I eventually tracked down my birth family, learning that I was originally the middle of 11 children. That’s right – thanks to a movie I found 10 brothers and sisters. So when I learned that adoption plays a large part of the film “Lion,” I was anxious to see it. And I’m so glad I did.

It is the mid 1980’s when we first meet the young boy Saroo (Sunny Pawar in an amazing performance). Saroo idolizes his older brother, Guddu (Abhishek Bharate). He follows him around and helps him steal coal from the mining trains that pass their small village. They sell the coal for money to help their mother, who works as a laborer carrying rocks! Yes, even in the 80’s people still got paid for carrying rocks. One night, against his better judgement, Guddu agrees to take Saroo with him. The boys get separated and Saroo finds himself on a train taking a journey that takes two days to end. Now alone in the bustling city of Calcutta he must live on the streets. Unable to speak the language (he does not speak Hindi) and unable to find his village featured anywhere on a map, he is placed in an orphanage and eventually adopted by a family in Australia. In the blink of an eye he goes from poverty to wealth and grows into a well-adjusted young man. But he never forgets his past and the family he left behind.

Powerful. That is how I’d best describe “Lion.” In a way I consider myself lucky that I was adopted as a baby. I had no idea the loving family I had been taken from. After meeting my brothers and sisters I learned that I was the family “urban legend.” The oldest child, my brother Anthony, would tell the others that they had a brother “out there” somewhere. When I met Anthony he told me that for quite a while after my birth and subsequent disappearance he would sneak out at night and look for me. My only memories from my youth are of myself and my adoptive parents. To have been age five when I was separated from my family would have been beyond traumatic. Young Mr. Pawar gives an award-worthy performance as the young Saroo. As does Dev Patel, who plays Saroo as a young adult. This is a film made up of moments. Whether it’s Saroo with his girlfriend (Rooney Mara), or his adoptive parents (Kidman and David Wenham) or just him alone with his thoughts, each moment builds on the next. Bring your Kleenex!

Starring: Denzel Washington, Viola Davis and Jovan Adepo
Directed by: Denzel Washington
Rated: PG-13
Running time: 2 hrs 18 mins
Paramount

Our Score: 5 out of 5 Stars

I have to pat myself on the back. I’m happy to say that, over the past 40 years, I’ve been able to see a movie or a play and just KNOW that an actor is heading for stardom. In 1981 I went to see a film called “Carbon Copy,” which featured George Segal as a white man who learns that he has a black son. Making his debut as said son was a young man named Denzel Washington. And while I found the film funny I left the theatre with my friends praising the young Mr. Washington. I was able to meet him a few years later in New York City and I told him how I had singled him out for stardom. He was very appreciative of my comments. So much so that, when he spelled my name wrong on the photo I asked him to sign (he put the “e” before the “a”) I didn’t have the heart to correct him. 35 years since I first discovered him, Denzel Washington is at the top of his game in a film he also directs called “Fences.”

Troy Maxson (Washington) is the typical working man of the 1950s. Monday through Thursday he goes to work, does his job and comes home. Friday is pay day and he repeats his daily routine, only on Friday he gives his pay to his wife, Rose (Davis). Troy also likes to drink. At one time a great baseball player in the Negro Leagues, Troy is too old now to play in the recently integrated Majors. This makes him angry. He watches as he and Rose’s son, Cory (Adepo) builds a successful high school football career but sours on the notion of allowing him to get a scholarship to college. He insists that Cory learn a trade, not rely on sports, to support himself. But there is more going on with Troy then meets the eye.

Both Washington and Davis won Tony Awards for their work in “Fences” on Broadway and it’s easy to see why. Like a play, the two actors banter back and forth for two acts. Act one is all Washington…all braggadocio and swagger. As the film progresses we begin to learn more about Troy through his older, first son Lyons (Russell Hornsby), a musician and Troy’s older brother Gabriel (Mykelti Williamson), a mentally unstable casualty of World War II. Both Hornsby and Williamson give strong, well defined performances. In his film debut, young Mr. Adepo more than holds his own against the veteran Washington. Act two belongs to Davis, whose unquestioning trust of Troy is tested through no fault of her own.

Working with a screenplay by playwright August Wilson (“Fences” is the third of ten plays written by Mr. Wilson which explore the life of Black America in the century of the 1900s.), Washington crafts a fine film as a director, opening up the once stage set drama and giving each actor a place to share their story.

Starring: Natalie Portman, Peter Sarsgaard and Billy Crudup
Directed by: Pablo Larrain
Rated: R
Running time: 1 hr 40 mins
Fox Searchlight

Our Score: 3 out of 5 Stars

I am a Kennedy buff. Born in 1960, I was raised in a family that regarded the Kennedy family in the same way the British regard the Royal Family. I’m too young to remember JFK – though my father once wrote a poem where he noted that I was an angry child because one of my favorite kids programs had been preempted by a speech from the President. My mother woke me up in the wee hours of the morning when Bobby Kennedy was shot. As a 20 year old I worked for Ted Kennedy’s presidential campaign. I’ve studied the family as much as I could. When Jacqueline Kennedy passed away in May 1994 a funny thought went through my mind. I had never heard her speak. Every time I saw footage of her, she was either running from the press or, earlier in her life, smiling quietly. It wasn’t until the era of YouTube, when a television special about the White House that Mrs. Kennedy hosted was uploaded, that I finally heard her speak. Soft and quiet, like the coo of a dove. And that is the voice that drives the new film “Jackie.”

“Jackie” is two very different looks at the former First Lady. First is the young, vibrant Jackie. Freshly moved into the White House, she has angered some in the country by remodeling. To show the people what she did, she agrees to host a television special, giving many in the country their first look inside “the people’s house.” The second look is that of an angry widow, just a week after the assassination of her husband, trying to figure out how to make sure her martyred husband’s legacy will live on. This is the more dramatic Jackie and this is where “Jackie” works best.

It’s been six years since Natalie Portman won the Best Actress Oscar for “Black Swan.” Since then, with the exception of a couple of Marvel movies she hasn’t really been showing up in mainstream films. Here she returns with a vengeance. She captures every facet of Jacqueline Kennedy. The smiling, laughing young woman and the embittered widow, refusing to change out of her clothes, stained with her husband’s blood, because she “wants them to see what they’ve done.” Again, it’s the second persona, one who agrees to speak with a reporter to describe her feelings and to conjure the image of Camelot, that holds your attention.

Portman is surrounded by a good supporting cast, including Greta Gerwig as White House Social Secretary Nancy Tuckerman, Crudup as the reporter who knows all along that he will never be permitted to print most of his interview and Danish actor Caspar Phillipson, who bears an amazing resemblance to the late President Kennedy. Sarsgaard is adequate as RFK, but the fact that he doesn’t even attempt a New England accent is annoyingly noticeable.

But Portman is the story here. Go check her out before she disappears for another six years.

Starring: Jennifer Lawrence, Chris Pratt and Michael Sheen
Directed By: Morten Tyldum
Rated: PG-13
Running Time: 116 minutes
Columbia Pictures

Our Score: 1 out of 5 Stars

At casual glance, “Passengers” is “Cast Away” in space. 30 years into a 120 year journey, Jim (Pratt) is awoken from suspended animation due to a technical glitch with the spaceship, Avalon. But out of the thousands aboard the ship, including the crew, he is the only one to be disturbed from his slumber. Alone, he spends the next year trying to entertain himself, only finding companionship with an android bartender named Arthur (Sheen). But there’s only so much chit chat with a machine, along with digital dance gaming, basketball, and other recreational activities, one can do before developing cabin fever and crippling loneliness.

But on one particularly lonely day, after contemplating suicide, Jim comes across a pod containing Aurora (Lawrence). It’s love at first sight, but suddenly he develops a moral quandary in his brain. Being an engineer, he has the capability of waking up Aurora. Aurora’s natural beauty is alluring enough for him to do some electronic snooping. So, much like a 21st century stalker, he goes through her digital footprint and learns everything about her. This should creep out any sane audience. Right?

Now comes the worst part. Instead of asking a moral question about the lengths humanity would and should go to combat isolation, “Passengers” takes a disturbingly sexist route. Jim awakens Aurora and keeps his bastardly deed to himself, thinking he’ll wait for the right moment to tell her he’s ruined her life and condemned her to a lonely death. Of course, any good audience should know it’s only a matter of time until Aurora finds out. But once she does, “Passengers” attempts to paint Jim as the.

I’m really not ruining anything for you. I’d like to believe I’m saving you. Aurora’s revelation happens around the midpoint of the film. The only reason it happens so early is so that “Passengers” can spend the rest of its runtime, justifying Jim’s actions, directly and indirectly. But the movie makes the mistake of allowing Aurora to say the one thing we should all be thinking, “He’s committed murder.”

He has. “Passengers” never finesses the simple, but complex ethical questions behind Jim’s actions. Instead we’re just supposed to believe the ends justify the means. It doesn’t help when we watch as Aurora attacks Jim in his sleep, along with moments where Aurora is by herself. Instead of watching her sulk or seeing her realize the horrifying predicament she’s in, we watch her play video messages of her friends back on Earth, basic calling her narcissistic and selfish. It also doesn’t help that when Jim and Aurora are separate, Aurora is helpless and constantly at risk of peril, while Jim seems like a self-sufficient machine.

Regardless of its visual style and modest attempt at interesting concepts of intergalactic space travel, the most glaring flaw in “Passengers” is one that can’t be ignored. It should be condemned and abhorred. While Jim’s plight could certainly be relatable and sympathetic, “Passengers” almost seems to casually fall back on the concept of victim blaming. “Passengers” is a movie about a relationship built on selfish lies, stalking and entitlement. Its attempt at romance and a cutesy happy ending are stomach-turning.

Starring the Voices of: Matthew McConaughey, Reese Witherspoon and Seth MacFarlane
Directed By: Garth Jennings
Rated: PG
Running Time: 108 minutes
Universal Pictures

Our Score: 3 out of 5 Stars

An Illumination Entertainment movie without any Minions or Gru seems like a risky venture, given their track record when they release a movie that strays away from the “Despicable Me” franchise. But if the masterminds at Illumination are willing to roll the dice more on endeavors like “Sing,” they’re bound to find a diamond in the rough. “Sing” isn’t about to blow the roof off, but its decent escapism.

Buster Moon (McConaughey) is a confident Koala that’s stuck operating a failing musical theater. He’s a visionary looking to make a profit and bring live entertainment to the surrounding city. Moon is also looking to make his deceased father proud because his father worked his tail off washing cars to buy Moon the theater for him (I don’t know how with that profession). But in a world where musical theater is apparently no longer popular, Buster gets the idea to hold a singing competition to bring the masses back to his sinking business.

The competition brings creatures from all walks of life including Rosita (Witherspoon), a pig, is a stay-at-home mom who’s overworked and overloaded with over two dozen children. Then there’s the wise-cracking, street singing mouse, Mike (MacFarlane), who’s a clear pun on Frank Sinatra during his times in the Rat Pack. Ashley (Scarlett Johansson) is a punk rock porcupine who’s trying to find her own voice in her boyfriend’s crappy band. There’s also Meena (Tori Kelly), a teenage elephant, Johnny (Taron Edgerton), a gorilla, and some other throwaway animals that you shouldn’t worry yourself about because the movie doesn’t either.

Luckily “Sing” avoids becoming an animated version of “American Idol,” but it also follows a lot of familiar beats and story tempos. Because the movie seems completely content and forthright with being an unoriginal idea from the get-go, it can be forgiven because of its good-natured spirit and endearing characters. “Sing” really treats these characters as individuals with hopes, dreams and ambitions, instead of caricatures that can carry a tune. It helps make their songs more meaningful and power…but…

…most of the time (if not all) they’re singing contemporary pop-culture hits, or recognizable oldies and classics, which is only irksome if you feel that Nicki Minaj or Crazy Town isn’t appropriate for a kid’s movie. If writer and director Garth Jennings really wanted to tell us that musical theater is deserving of a reboot or our attention again, he should have considered hiring a crew to write some original music. Having animals sing Taylor Swift or Leonard Cohen feels lazy in a year where Disney hired Broadway’s latest darling, Lin-Manuel Miranda, to write lyrics for “Moana.”

Despite its lack of storytelling imagination and original songs, “Sing” is still an adorable movie with an IPod stuck on shuffle soundtrack. It’s made better by the voice actors, who I presume actually sing, which is pretty much an all-star cast of karaoke finalists (except for MacFarlane who really is as good as he sounds). But don’t expect McConaughey to hang his voice acting hat on this one. He’s more likely to gloat about his voice work in “Kubo and the Two Strings.”