Search
Selah and the Spades (2019)
4.0
Rate It
Movie Watch
Five factions run the underground life of Haldwell School, a prestigious east coast boarding school....
Moonlight (2016)
7.6
Rate It
Movie Watch
The childhood, adolescence, and adulthood of a gay black man named Chiron growing up in a rough area...
Coming-of-age LGBT
Mr Mercedes
8.5
Rate It
TV Show
Mr. Mercedes is an American mystery thriller television series based on the novel of the same name...
Mr Mercedes
Gareth von Kallenbach (965 KP) rated Selah and the Spades (2019) in Movies
May 28, 2020
Selah (Lovie Simone) is leader of The Spades. One of the five cliques that run the student body in their upper-crust private school. The campus is filled with bored students who nothing better to do than spend the time roiling in teen angst, drugs and group hierarchies.
The school is run by five factions, each one function in a different capacity. Like Student Government for juvenile delinquents. They are organized enough to call group meetings, but not focused enough to get the through without arguments.
This is Selah’s senior year. She is caught between trying to figure out what to do with her life after graduation, waiting for the acceptance letters to come in while she is completely fixated on The Spade’s control over the drug trade on campus. She is also trying to find her successor to run the Spades once she leaves her alma mater. Her best friend, Maxxie (Jharrel Jerome) is her right hand in the Spades. Together, they have kept the five groups running the underground smoothly. It’s their senior year and they have plans.
Paloma (Celeste O’Connor)is the new sophomore at the school. She is immediately befriended by Selah, who quickly decides that Paloma would be the perfect person to inherit the Spades crown for the following year. While Selah tutors Paloma in the business of running the show, Max becomes distracted by a new face on the cheerleading squad, leaving Selah to go into a slow, emotional and mental tailspin.
Overall, the film felt unfocused, as if the purpose was to create a lowkey Lord of the Flies. It’s difficult to find empathy for teenage struggles in a private school setting. The film seems to be about Selah’s concern with losing her identity and the fear of leaving all that is familiar to her as she moves on to her next phase in life.
We see the kids trying to run this warped StuGo, undermining the leaders hold on each group. There isn’t much empathy for the students. They don’t have to worry about their next meal. These kids don’t have to worry about doing well in school in order to earn a scholarship for college.
The story lacks depth. It does not illicit empathy for any of the characters. There is one scene in the film that I had hoped would set the tone for the film. I was disappointed because that scene perfectly encapsulated how women are expected to be and how to they can take control of the narrative. I was hoping for more in this movie and it did not deliver enough.
The school is run by five factions, each one function in a different capacity. Like Student Government for juvenile delinquents. They are organized enough to call group meetings, but not focused enough to get the through without arguments.
This is Selah’s senior year. She is caught between trying to figure out what to do with her life after graduation, waiting for the acceptance letters to come in while she is completely fixated on The Spade’s control over the drug trade on campus. She is also trying to find her successor to run the Spades once she leaves her alma mater. Her best friend, Maxxie (Jharrel Jerome) is her right hand in the Spades. Together, they have kept the five groups running the underground smoothly. It’s their senior year and they have plans.
Paloma (Celeste O’Connor)is the new sophomore at the school. She is immediately befriended by Selah, who quickly decides that Paloma would be the perfect person to inherit the Spades crown for the following year. While Selah tutors Paloma in the business of running the show, Max becomes distracted by a new face on the cheerleading squad, leaving Selah to go into a slow, emotional and mental tailspin.
Overall, the film felt unfocused, as if the purpose was to create a lowkey Lord of the Flies. It’s difficult to find empathy for teenage struggles in a private school setting. The film seems to be about Selah’s concern with losing her identity and the fear of leaving all that is familiar to her as she moves on to her next phase in life.
We see the kids trying to run this warped StuGo, undermining the leaders hold on each group. There isn’t much empathy for the students. They don’t have to worry about their next meal. These kids don’t have to worry about doing well in school in order to earn a scholarship for college.
The story lacks depth. It does not illicit empathy for any of the characters. There is one scene in the film that I had hoped would set the tone for the film. I was disappointed because that scene perfectly encapsulated how women are expected to be and how to they can take control of the narrative. I was hoping for more in this movie and it did not deliver enough.
Bob Mann (459 KP) rated Moonlight (2016) in Movies
Sep 29, 2021
Waxing or Waning?
Seldom do I go to see a movie where I know so little about the plot as this one. I knew it was a “coming of age” drama about a young man growing up in a black neighbourhood in Miami. Period. That ignorance was bliss (so that’s the way this review will stay: I will avoid my usual high-level summary here). For there are twists in this story that you don’t see coming, and moments of such dramatic force that they are cinematically searing.
Playing the young man, Chiron, over three stages of his life are the actors Alex Hibbert, Ashton Sanders and Trevante Rhodes. However, Mahershala Ali, who plays Juan – the drug dealer with a heart – has been the one with all the awards visibility (having this week won the Screen Actors Guild Supporting Actor award, as well as being within the ensemble cast award for the upcoming “Hidden Numbers”). For the avoidance of doubt, Ali and all of these other actors are excellent, as is Jharrel Jerome (in his feature film debut) as Chiron’s 16-year old friend Kevin. But the performance that really spoke to me was that of Ashton Sanders, who has both an uplifting and heartbreaking role as the “middle” Chiron and delivers it supremely well. A real breakout role for him.
Also shining with a dramatic and extremely emotional performance is London’s own Naomie Harris (“Spectre“), justifiably nominated for a Supporting Actress Oscar. Unlike last year’s insipid and dull “Our Kind of Traitor“, where she was given criminally little to do, here she is blisteringly real as a caring mother spiralling down an addiction plug-hole. A career best.
Grammy-nominated musician Janelle Monáe, in her feature film debut, is also eminently watchable alongside Mahershala Ali as Juan’s girlfriend Teresa.
Above all, this powerful ensemble is the best evidence possible that the diversity arguments all over last year’s Oscars were 100% correct. These are all indisputably realistic performances by black actors that must surely move viewers regardless of their colour or creed.
The film has eight Oscar nominations, and I definitely agree with the acting nominations to Maharhala Ali and Naomie Harris. I’d also agree with the award for music to Nicolas Britell (“The Big Short”) which is astonishingly eclectic and jarringly appropriate to the story that unfolds. I could even go along with the Best Film Editing nomination, although I am hardly an expert in the subject.
The remaining nominations are for Best Picture, Best Director (Barry Jenkins), Best Writing Adapted Screenplay (also Barry Jenkins) and Best Cinematography (James Laxton). However, here my opinion diverges with the Academy and – I suspect – many critics. Yes, this is a really engrossing film with a fine and surprisingly non-standard Hollywood ending. It is certainly well worth watching, but is it a top film of the year? No, I don’t think so. There are some aspects of the film that just plain irritated me.
Firstly, the camera work is frequently of the hand-held variety, particularly in the first half of the film, that leads to a serious case of seasickness if you are sitting anywhere other than the back row of the cinema.
More crucially for me, the film introduces two fantastic and atypical characters, but then – inexplicably – the script just unceremoniously dumps them with hardly any further reference made. I found that enormously frustrating and mystifying and spent the rest of the film waiting for a closure that never came.
There is also enormously pervasive use of the “N-word”, right from the opening music track. I appreciate this is probably perfectly appropriate to the ‘hood that the characters occupy, but the continual usage is shocking (at least to a white audience). It is probably designed to shock, but after a while the shock wears off and it becomes more tiresome than offensive.
Based on all the Oscar hype then, this was a bit of a disappointment. But that view is purely relative to all of the great Oscar Best Film candidates I’ve seen in the last few weeks. It is still a very interesting film due to the story that goes off in a novel and surprising direction, and one that is worthy of your movie dollar investment.
Playing the young man, Chiron, over three stages of his life are the actors Alex Hibbert, Ashton Sanders and Trevante Rhodes. However, Mahershala Ali, who plays Juan – the drug dealer with a heart – has been the one with all the awards visibility (having this week won the Screen Actors Guild Supporting Actor award, as well as being within the ensemble cast award for the upcoming “Hidden Numbers”). For the avoidance of doubt, Ali and all of these other actors are excellent, as is Jharrel Jerome (in his feature film debut) as Chiron’s 16-year old friend Kevin. But the performance that really spoke to me was that of Ashton Sanders, who has both an uplifting and heartbreaking role as the “middle” Chiron and delivers it supremely well. A real breakout role for him.
Also shining with a dramatic and extremely emotional performance is London’s own Naomie Harris (“Spectre“), justifiably nominated for a Supporting Actress Oscar. Unlike last year’s insipid and dull “Our Kind of Traitor“, where she was given criminally little to do, here she is blisteringly real as a caring mother spiralling down an addiction plug-hole. A career best.
Grammy-nominated musician Janelle Monáe, in her feature film debut, is also eminently watchable alongside Mahershala Ali as Juan’s girlfriend Teresa.
Above all, this powerful ensemble is the best evidence possible that the diversity arguments all over last year’s Oscars were 100% correct. These are all indisputably realistic performances by black actors that must surely move viewers regardless of their colour or creed.
The film has eight Oscar nominations, and I definitely agree with the acting nominations to Maharhala Ali and Naomie Harris. I’d also agree with the award for music to Nicolas Britell (“The Big Short”) which is astonishingly eclectic and jarringly appropriate to the story that unfolds. I could even go along with the Best Film Editing nomination, although I am hardly an expert in the subject.
The remaining nominations are for Best Picture, Best Director (Barry Jenkins), Best Writing Adapted Screenplay (also Barry Jenkins) and Best Cinematography (James Laxton). However, here my opinion diverges with the Academy and – I suspect – many critics. Yes, this is a really engrossing film with a fine and surprisingly non-standard Hollywood ending. It is certainly well worth watching, but is it a top film of the year? No, I don’t think so. There are some aspects of the film that just plain irritated me.
Firstly, the camera work is frequently of the hand-held variety, particularly in the first half of the film, that leads to a serious case of seasickness if you are sitting anywhere other than the back row of the cinema.
More crucially for me, the film introduces two fantastic and atypical characters, but then – inexplicably – the script just unceremoniously dumps them with hardly any further reference made. I found that enormously frustrating and mystifying and spent the rest of the film waiting for a closure that never came.
There is also enormously pervasive use of the “N-word”, right from the opening music track. I appreciate this is probably perfectly appropriate to the ‘hood that the characters occupy, but the continual usage is shocking (at least to a white audience). It is probably designed to shock, but after a while the shock wears off and it becomes more tiresome than offensive.
Based on all the Oscar hype then, this was a bit of a disappointment. But that view is purely relative to all of the great Oscar Best Film candidates I’ve seen in the last few weeks. It is still a very interesting film due to the story that goes off in a novel and surprising direction, and one that is worthy of your movie dollar investment.