FILMS from AFAR

This tense, sci fi-action film is enjoyable, so long as you can suspend disbelief and withstand an overly sentimental final act. You also need to appreciate Lopez, who is in most scenes, often as the only human, in the titular character role of Atlas. It's a shame the film's creators felt the need to fashion a happy ending -- especially considering the dire stakes of artificially sentient robots attempting to eliminate humanity (even if it is to save the planet from our selfish ways). The idea of neural links between humans and AI bots is frightening enough to call for at least a more ambivalent closure. Instead, the way Lopez and her robot Smith bond is all human sentimentality, including some metaphysical philosophizing about the meaning of life and death. Their bonding leads to several awkward lines and moments in the film's final act. Other dialogues throughout the film can also feel a little clunky, but if you focus mostly on the nonstop action, Atlas makes for a fun watch. Read the full review at Common Sense Media Images courtesy of Netflix

There is cinema that is entertaining, cinema that is educational, cinema that is emotional. And there is cinema that is necessary. Io Capitano falls into the latter category. It’s all those other things as well, but this is a story that takes the collective experiences of many migrants and boils them into one harrowing tale that viewers can’t turn away from, following the odyssey of two teens from Senegal to Italy. The film had a screening with the Pope and has become an educational tool in Italian schools, according to interviews with director Matteo Garrone. It’s also picked up accolades all year, from best director and best young actor (for star Seydou Sarr) at its premiere in the 2023 Venice Film Festival, to making the shortlist for the International Oscar, to sweeping last week’s Donatello Awards with seven nods, including best film and director. Garrone has said in interviews that his goal with this film was to put the camera on the other side of the immigration experience, to offer a “reverse shot” and give voice to the traditionally voiceless. He has called himself an “intermediary” in the extent to which he relied on formal and informal consultants (including the extras on set) who had made the trek themselves. Read the full review at AWFJ.org.

The streaming platforms have assembled a small cottage industry of films about middle-aged women finding second chances at love, and Brooke Shields could easily become a star of the genre. She brings with her to films like Mother of the Bride an audience of women her age who grew up admiring her. Trouble is, if the films seem like toss-aways -- as A Castle for Christmas unfortunately did -- she could risk losing those followers. Mother is a notch above that one, though it does feel like a knock-off of the Julia Roberts and George Clooney-led Ticket to Paradise in both story (former couple reunited at a child's wedding) and Southeast Asian setting. As in that film, Mother sees its middle-aged characters reminiscing and reliving some of the excitement of their youth. These are likable scenes set to period tunes like the Go-Go's. A pickleball scene (one of the first on film??) is also very funny. But other meant-to-be-funny scenarios fall flat, and comedian Rachael Harris goes sorely underused. The film also sets up a hard-to-believe premise of a young woman allowing corporate sponsors to make her wedding Instagrammable. Shields is stronger here in the dramatic moments than the comedy. Considering her past career, that may be more a problem with the writing than the acting. If you've watched Pretty Baby: Brooke Shields, you know the model-actress-mom has earned her maturity. Here's hoping for future films that give her more opportunities to show that side of her. Read the full review at Common Sense Media.

This offbeat and disturbing yet enthralling drama constructs an imagined world that displays a continued solidification of the distinctive personal voice and style of Mexican director Manolo Caro. The premise of Down the Rabbit Hole is the life of a 10-year-old boy raised entirely within the confines of his drug-lord father's sprawling compound. But none of that is spelled out for us. Rather, Caro reveals the realities of this world piece by piece, from a spoiled child with an oddly shaved head and no friends his own age, to his father's seething intimidation of a dinner guest, to symbolic wild animals locked up in cages in the yard, to a basement full of weapons. We are along for the ride, and the film -- co-written by Alejandro G. Iñárritu's regular collaborator Nicolás Giacobone, based on a novel by Juan Pablo Villalobos -- masterfully holds back key pieces of information to both arouse our curiosity and increase the tension. It's clear something is off from the very opening scene, when the boy sits alone in a long hall of taxidermized animals and a tall wall of hats. The composition and setting feel reminiscent of Wes Anderson, but the story goes off in much a darker and more sinister direction. It's as if we are becoming aware of the evils that lurk, and losing our innocence alongside Tochtli. Besides the unique look of the film, the tale also works thanks to exceptional performances by the underappreciated García-Rulfo (The Lincoln Lawyer) and child actor Miguel Valverde. Read the full review at Common Sense Media.

Seinfeld's directorial debut is jam-packed (pun intended) with ideas, '60s references, cameos, and general nonsense, and audiences can enjoy watching its giddy crew of entertainers having a ball. If you come for the cast of Unfrosted, you won't be too disappointed by the conventional set-up, nostalgic tone, or overly cluttered script. Expect pop culture callbacks galore, as well as the most obvious '60s references you can think of, from JFK and Vietnam to the microwave oven, Archie comics, the Bay of Pigs, and the race to put a man on the moon. The film's candy-colored wardrobe and production design, meant to feel reminiscent of a box of cereal, looks straight out of a sitcom of the era. Amy Schumer and man-servant Max Greenfield are highlights in the sprawling cast, as are (spoiler alert) cameos from Mad Men stars Jon Hamm and John Slattery, and Kyle Dunnigan as a troubled Walter Cronkite. Hugh Grant also turns in a memorable portrayal as a pretentious Shakespearian wannabe stuck in a Tony the Tiger costume. His leadership of a Jan. 6-style insurrection, storming the capitol (of Kellogg's) in horned headdress, is priceless. Read the full review at Common Sense Media.

This drama based on popular author John Green's novel is an emotional rendering of mental illness, and its young leads offer a very sympathetic portrayal of teenagerhood. Co-star Cree is especially fun as the fast-talking Daisy in Turtles All the Way Down. She complements Merced's withdrawn, wide-eyed Aza. It's no easy task for a young actor to wordlessly emote as much as Merced is asked to here. Her spirals into panic are voiced over by internal monologue, and they're visualized as flashes of light and images of what she's worrying about (bacteria) combined with screeching noises. Whether the depiction rings true for you could depend on your own experience, but it's an effective way to convey the distress that the character repeatedly feels. Though this is certainly the epicenter of the story, the film also weaves in romance, a mystery, and a lot of everyday teen experiences. The latter are the most fun, real parts of the film as viewers watch Merced and Cree rock out in the car, shoot the breeze over burgers at Applebee's (purchased with a coupon, always), or banter in the school cafeteria. Repeat viewings would help catch more of the witty asides, as when Aza googles "cute things to text a boy," or Daisy quips, "You don't have to wait for a boy to ask you out -- what are you, a handmaiden?" One quibble: A disproportionate number of teen movies seem to have millionaire characters who are able to whisk friends away on a private jet or host blow-out pool parties at their parents' mansions. It undermines the connection viewers might feel with these otherwise relatively realistic characters. Read the full review at Common Sense Media.

An enjoyable romance that takes itself a tad too seriously in the second half, this film is driven by alluring turns from Hathaway and Galitzine. The premise of The Idea of You is centered on the idea that, at 40, Hathaway's Solène is considered too old for Galitzine's 24-year-old boy band member, Hayes. Society judges her, and she judges herself. But it's hard to think of the stunning Hathaway as "old," even when she's dodging awkward flirtation from divorced dads at her 40th birthday party in one of the film's funniest early scenes. Unfortunately, the film gives up on the humor and veers into melodrama as it works its way to a drawn-out ending. In this, and in the unhurried sex scenes focused on Solène's pleasure, the film makes its target audience clear. The Idea of You has some insightful musings on the process of maturing in adulthood. Solène does eventually confirm her stage in life by choosing her daughter's happiness over her own. Hathaway also gives a moving monologue about the moment she realized her marriage was over. She's shown letting go of her anger and disappointment, and she's definitely the driver of this film. But Galitzine -- riding a wave, after Purple Hearts and Red, White & Royal Blue -- matches her. He transmits vulnerability as a self-doubting but talented artist, and his performances in the boy band concert sequences are right on the nose. In these and other scenes, the film plays with split screens, color filters, and slow motion, all of which -- combined with a varied soundtrack -- adds momentum to this entertaining, star-driven romance. Read the full review at Common Sense Media. Images courtesy of Amazon Prime Video.

This documentary offers a fascinating and magically animated look at the life and inner thoughts of the now-well-known Mexican artist Frida Kahlo. Frida represents an extensive labor of documentation, collection, curation, editing, and animation. The work pays off in a film that serves as both an introduction to Kahlo's life and work for those unfamiliar and a deeper dive behind the biographical details into her emotions. The animations bring her portraits to life in a way that feels both natural and fantastical. The use of voiceovers in her and others' own words gives the sense of hearing them recount their lives. It's fascinating with this particular set of characters because they lived in such an historically important period. So much has been written about the Surrealists in Paris, for example, but this might be the first time you've heard Kahlo describe their café culture as full of hot air, and their art movement as a "decadent manifestation of bourgeois art." We hear a friend's eyewitness account of the bus crash that left Kahlo debilitated and in pain her whole life. We gain a true sense of Kahlo's pioneering feminism and creativity through her early push for independence, her questioning of religious doctrines, her natural explorations of bisexuality, her pledge to paint only what she knew and felt to support herself through her art, and her decision to remarry Rivera only on the condition of sharing all expenses 50/50. This film will remind you again what a loss to the world that Kahlo didn't live past the age of 47. Read the full review at CommonSenseMedia Images courtesy of Amazon Prime Video

This fast-paced documentary will -- like its subject -- entice looky-loos, but there's not much pleasure or resolution to be found in revisiting this seemingly unending mess. The timing of Stormy is very clear, with Trump running again for president and about to go on trial in the Daniels "hush money" case. The film's tagline is "being outspoken is not a crime," but Stormy herself makes clear she is no warrior for justice and hasn't been outspoken out of any altruistic motive. What's new here is a behind-the-scenes look at how this publicized case impacted her and those around her. She allows the camera to capture her fighting on the phone with her husband, agreeing to give up custody of her daughter, and reacting to death threats on Twitter. It seems like a good portion of these more compelling scenes comes from footage shot by director Denver Nicks for an earlier and never-completed documentary. It's revealed in Stormy that she and Nicks had an affair, but it's not discussed whether or how that contributed to his footage being used in someone else's documentary. Director Sarah Gibson's proficient final product includes more recent interviews with Daniels as well as celebrities like Jimmy Fallon, Seth Rogen, and Rachel Maddow. It reveals the web of competing lawsuits that have left Stormy buried under piles of court documents and potential debt. Does Stormy wish she'd never met Donald Trump, an interviewer asks her? Definitively yes. You might wish the same about this entire cast of characters after spending another two hours with them here. Read the full review at CommonSenseMedia Images courtesy of Peacock

Few deserve a biopic more than the pioneering figure of Shirley Chisholm, but perhaps because she was so groundbreaking, this film feels insufficient even despite its two-hour run time. King thoroughly embodies Shirley, prosthetic teeth and accent included, and she's surrounded by an excellent cast and an understated, authentic period production design and wardrobe. But, as always, trying to capture the essence of an icon's life, career, relationships, personality, and significance in under two hours is a daunting task. Writer-director John Ridley opts for an episodic narrative that can at times feel rushed. In choosing to focus on her presidential campaign, the film skips over Chisholm's early rise to political power. Viewers unfamiliar with her life and career might need this context to better understand her character and motivations, as well as the significance of people and figures around her. Nonetheless, Shirley provides an entertaining enough and well-produced introduction to a preeminent historical figure. Read the full review at CommonSenseMedia Images courtesy of Netflix

Good for Disney for supporting the release of a poignant, global story like Nigerian ballet student Anthony's, though this unhurried and understated film will appeal to a limited audience. Anyone interested in dance, or who has been, had, or even known a child with an exceptional talent, will connect with Madu. The directors are holding no hands, explaining little, and allowing the quiet teen to live his story at his own pace. This opens up some emotional moments, many involving Anthony's mother and family, and allows viewers to draw their own conclusions about Anthony's feelings and his likely future. The downside to this is that you may feel you want more information. What's the story behind the Instagram video that alerted the UK school to the Nigerian boy's talents? What do his teachers really think of him (he's clearly special in his village; is he just one in the crowd of other dance students)? Who was the camera operator with Anthony at so many intimate moments? Was it one person or more? The film opts to essentially pretend the camera isn't there (outside of direct interviews), which does foster a fly-on-the-wall sensation but also leaves out an obviously important part of this story and how it came to be a film. Read the full review on CommonSenseMedia Images courtesy of Disney+

This is a nuanced documentary that doesn't spoon-feed its ideas but gets them across clearly and via an emotionally appealing package. Girls State focuses on several attendees of the Missouri conference, providing just enough backstory to appreciate their individual lives and perspectives. The teenage girls -- who are all open and thoughtful -- make friends and learn about the world and themselves, all while solidifying their own political ideas and self-images in front of the camera. In one scene, they debate political ideas and the merits of the conference while braiding each other's hair. It's a kinder, friendlier political landscape than is often seen in "grown-up" politics. Two teens, fresh off disappointing election losses, pivot admirably to other meaningful activities, with one reporting a story that questions the inequalities between Boys and Girls State programs. These differences between the programs soon become a theme. While the program supports girls coming together to talk politics, learn about democracy first-hand, and combat sexism by considering future careers in government or law, there appears to be a level of sexism in the program's very structure -- the directors' previous work Boys State offers clues too. Indeed, the article the young reporter writes runs with an edited headline that downplays these differences, and it's easy to understand her disappointment and, yes, disempowerment. This is one of several places where criticism of the Girls State organization is implied, though it's unclear as to whether the filmmakers gave the organizers an opportunity to speak to this. What is for certain is the energy and curiosity displayed by the teenage girls, who show a real desire to go out and change the world. You wouldn't bet against them. Read the full review at CommonSenseMedia Images courtesy of Apple TV+