I will be the first to admit that I don’t seek out super hero movies and I frequently get the DC and Marvel Universes mixed up. With that admission, it’s always such a joy when a super hero film surprises me, entertains me, and even, sometimes, connects me emotionally. “Shazam!” is one such example and to my surprise, I enjoyed the first “Wonder Woman” (2017) film starring Gal Gadot, or at least the first 2 hours of it. With Patty Jenkins at the director’s helm once again for the sequel, “Wonder Woman 1984,” I held out hope that it would not disappoint. What I received was a mixed bag of treasures and failures.

In “Wonder Woman 1984,” several decades have passed since Diana Prince (Gadot) lost her true love, Steve (Chris Pine) as he sacrificed himself for the greater good during WWII. Diana takes us back to her youth and her training, a visually stunning recreation of a competition among the strongest of women on the island. The one vital lesson she learned that day, “no true hero is born from lies,” will help her in the dangers that lie ahead.

It’s now the mid-80’s and a jewelry heist is taking place at a mall with 4 nefarious men who seem to be straight out of a comic book with their exaggerated mannerisms and reactions. Just as they’re about to get away, Wonder Woman swoops in to help save the day. This scene is a delight as Wonder Woman stops to save a young girl, giving her a wink of the eye, and then single handedly wraps up the thieves and delivers them to a cop car on the street below. This playful, unrealistic, straight from the pages of a comic book scenario sets up a promising tone for the rest of the film.

“The Mysterious Female Savior,” aka Diana works as a specialist at the Smithsonian when she’s not capturing theives. She’s not only drop-dead gorgeous, she’s also intelligent, a leader, kind, and speaks a myriad number of languages. Reaching out to a new hire at work, Diana befriends Barbara Minerva (Kristen Wiig) an awkward, low-talking, socially inept wallflower who wants nothing more than to be more like Diana. This character is sad yet so humorous as Wiig is no stranger to making an audience laugh as she brings her own signature style of comedy to this role. Both Diana and Barbara find that when they can have their deepest desires and wishes come true, there’s a price to pay and that’s where our main villain Maxwell Lord (Pedro Pascal) comes into the story. Avarice for power and wealth drive this man to use others, but his discovery of a gem just may give him what he needs.

The rest of the story plays out exactly the way you would expect in a super hero movie, but this one has a love story as a primary component. As Steve (Pine) re-enters the story, the humor ramps up to balance when Barbara isn’t in a scene. His reaction to the changes in technology from the 1940’s to the current day of 1984 adds the perfect element of levity. And his comments on parachute pants and donning a fanny pack is laugh out loud funny. If you lived through the 1980’s, it’s a walk down memory lane as we are transported back to a time of break dancing, goth styles, big hair, loud colors, and shoulder pads. Only Diana Prince can pull off the styles of the ’80’s and she does. Keeping true to the film’s beginning of creating characters that feel ripped from the pages of a comic book, Lord and our unexpected number 2 villain, have relatable issues concerning love, acceptance, and bullying, but it never tips the scales into the dark waters of reality that “Joker” found itself. (Forgive me if I’ve mixed the universes again.)

Gadot is the perfect Wonder Woman with strength, agility, intelligence and heart which are all characteristics she readily displays. While Pine reincarnates his persona from the original 2017 film, newcomer Pascal gives us a maleficent character with more than meets the eye. Wiig, a standout in the film, is transformative in her portrayal of Barbara as she hones in on subtle attributes of this woman’s personality and uses her comedic prowess. Unfortunately, once all of the characters are introduced, the film loses its pacing. There’s so much time spent on the evil Max Lord beginning to take over parts of the world, controlling all who he encounters, that the story’s momentum flounders. It’s a race against the clock, but there’s so much repetition that we forget that aspect. With a running time of 2 hours and 31 minutes, we needed the humor to stitch through the story, but alas it does not.

“Wonder Woman 1984” is chockfull of special effects, stunts, and incredible cinematography to bring this saga to life. The beginning is strikingly memorable and while the story suffers from becoming the same as almost every other super hero movie, the performances, humor, and ultimately the love story keep you engaged.

You can stream this on HBO Max on Dec. 25, 2020

3 Stars

Disney Pixar has done it again with “Soul” thanks to the inspirational co-writing and co-directing of the renowned artist Pete Docter who gave us “Up,” “Inside Out,” and “Toy Story.” With animation that makes you forget it’s animated, Jamie Foxx, Tina Fey, Angela Bassett and an array of other well-known and talented actors use their voice to bring these characters to life. It’s a remarkable story, perhaps geared more toward adults than children, that sends a perfect message of living our best lives each and every day.

The opening scene introduces us to Joe Gardner (Foxx) who finds himself in a rut as a middle school music teacher. Never having attained his goal of becoming a standout jazz pianist, Joe trudges through his days. But then that day of opportunity comes and he’s ready. Auditioning for the great Dorothea Williams (Bassett), he gets his lucky break and the world is a shiny new place for Joe. Moments later, along a zippy stroll back home, he takes a wrong step and lands in a weigh station between life and death. Just when things were looking up for Joe, it looks like he’s never going to make his earthly dreams come true.

The animation changes in this new place as we only see Joe’s soul and all those who are ascending to the next phase. But Joe, unwilling to leave his life behind, runs, finding himself in The Great Before, the place where personalities and quirks are developed for each and every soul. It is here that he meets the feisty 22 (Fey) who has absolutely no want to become human but together, inadvertently, they discover the true meaning of life.

“Soul” is an existential story delving into what it means to be human and the gifts we are given and how they are attained. While this may sound like a conceptually complicated idea to convey, Docter and co-writers Mike Jones and Kemp Powers find a concrete way to demonstrate it. And in true Pixar style, the emotional element rings loudly, bringing us into the story as we forget that we are watching an animated film, connecting us with Joe and his urgency to not give up on his life. Countering Joe’s dramatic flare, 22 adds the snarky comedy that makes us laugh aloud—it’s a perfect balance. But there’s also a dark side of the film, a land of lost souls which counterbalances and adds an element of fear to Joe’s quest to live. While the darkness may seem disturbing, like in life, we cannot appreciate the light without the dark.

The imaginative elements seems boundless in “Soul” as it captivates you and pushes your cognitive boundaries. With this creativity, as would be expected with any Pixar film, the animation is stellar. Playing the piano, Joe’s fingers hit every key needed to produce the harmonic tones. A simple rise of an eyebrow or the slow turn of a head, gives Dorothea the hesitant and exasperated emotion necessary for a scene. The attention to detail is incredible as the animators find seemingly imperceptible ways to animate these characters and bring them to life. Of course, the voices are the final touch and each character is cast perfectly. Foxx finds the dramatic notes while Fey’s razor sharp wit punches each scene in staccato style. Graham Norton’s droll humor seeps into the bean counter “Moonwind” as we chuckle at his focus on precision. It’s a magical amalgam of writing, directing, acting and animation that equals the passionately evocative story telling of “Coco,” “Toy Story,” and “Inside Out.”

“Soul” is the perfect escape to find yourself and while it may appeal more to adults than children, the animation will certainly capture the heart and soul, pun intended, of everyone who watches it. Be cautioned, parents, as this is going to spur a few questions about life, death, and every existential question you could imagine from your kids…and maybe even from you!

You can stream “Soul” on Disney+ beginning Dec. 25, 2020.

4 Stars

“Ma Rainey’s Black Bottom,” written by playwright August Wilson, is hitting Netflix this weekend. Driven by the talents of one of Broadway’s leading directors, George Wolfe, and its incomparable lead actors Viola Davis as the Mother of the Blues and Chadwick Boseman, a talented young horn player, the story depicts a struggle of equality and how these inequities influence each of the characters during a high-tension recording session in Chicago.

Before arriving in Chicago, the raucously captivating Ma Rainey (Davis) with vaudevillian-like makeup and a gilted smile is performing under a tent to a predominantly Black audience in the deep south. Ma has made a name for herself, crossing the racial boundaries with her vocal and musical talents, appealing to both Blacks and whites. And with her fame comes an angry power culminating in confrontation with those who challenge her. Driving north to Chicago to a recording studio with her band, and her niece and nephew, she’s demanding, rude, confrontational, and manipulative, possessing no fear whatsoever. Whoa be to the one who dares to challenge this woman. But there’s good reason for this lashing out which we learn later.

The four band members, Cutler (Colman Domingo), Toledo (Glynn Turman), Slow Drag (Michael Potts) and eventually Levee (Boseman) congregate in a dilapidated basement room of the Chicago recording studio making you wonder if every band is placed here or is it just for Black bands. But it is here, in this suffocatingly hot and oppressively small room that the foundation of their relationship is poured. There’s a suspicious focus on a locked door to an unknown destination perhaps symbolizing their situations as well as their hopes for the future. A rhythmically vibrant discussion of the constant element of change breaks out accompanied by the occasional musical note. The fast-paced exchanges give insight into the personalities of each of the men, but it is Levee’s restlessness and anxiousness that draws out the conversational topics from “making the world better for the colored man,” to selling your soul to the devil. It’s obvious that the three wise and older men are at peace with their own contributions and successes, and with their honesty with one another and the tolerance of young Levee’s push to have more and be more, we peel back the layers of each of the men to gaze upon their souls.

As the tensions begin to mount between Levee and his fellow band mates, upstairs Ma is making it perfectly clear that this is her group. She is the leader. She is in control and she is the focal point. We get a glimpse earlier that these aspects will most certainly be an issue between Ma and Levee later, and they are. To shake things up even more, Ma insists that her nephew who stutters will do the introduction to the recording much to everyone’s chagrin, especially Irvin (Jeremy Shamos), Ma’s manager, and Sturdyvant (Jonny Coyne), the recording studio owner, as each error costs them money. This, in all honesty, seems to make Ma happy as it’s a way to punctuate that she is in control, not them. Then, throw in some good old fashioned Chicago heat and humidity and you have a volcano ready to explode.

As with any August Wilson play, the potent dialogue fits the era and sucker punches you, leaving you breathless as you attempt to unpack it fully. With powerful prose, each character’s performance word, pause, and movement eloquently conveys the deeply raw experiences of their past; the frustrations, and ultimately the anger within. The stories, an amalgam of the atrocities we’ve read about, bring you to tears. It’s harsh, emotionally confrontational, and still relevant today, unfortunately.

To elicit these evocative reactions, the entire ensemble finds the core of their characters, but this is Levee’s story to tell. He’s young, passionate, and on the surface, he won’t let anyone stop him as forges full steam ahead. But that anger within is easily seen as we pull back the curtain
to expose his past experiences. He has the power of youth in his pocket, but lacks the restraint that comes with age. Coupling this with the emotional trauma and his desires, the volcano begins to rumble and it’s only a matter of time until it erupts.

Boseman is sensational, perhaps his best role. He keys into this character’s cocky, headstrong thinking and creativity while lightly suppressing the fear and frustration that we see in his subtle facial expressions and his eyes. The twitch of his lids and the slight quiver of the corner of this mouth accentuate his soliloquies and just as quickly as he melts, he flips a switch and becomes the gregarious horn player who wants the spot light. The passion with which he creates this character is unparalleled as it leaves an indelible emotional impact upon the viewer all while he dances, sings, and plays his trumpet.

Davis is equally powerful as she portrays a hardened woman who is hell-bent on steam rolling through the remainder of her life. It’s a nuanced role doused in rage, but Davis finds so much more to deliver in this character and we understand her mindset. There’s an element of sadness as she protects her nephew, but happiness seems to be out of reach for this woman. Of course, Wolfe brings his vast knowledge of theater and incorporates it into the film, bringing an energy and greatness to every scene. Bouncing camera angles, seemingly swirling images, and vibrant costuming makes this energetic endeavor even more grand. With succinct editing, the film becomes complete, a product that perhaps the original playwright would give a standing ovation.

You can stream “Ma Rainey’s Black Bottom” on Netflix beginning Dec. 14.

4 Stars

A vengeful woman is a dangerous woman and Emerald Fennell’s debut feature film “Promising Young Woman” accentuates this to an extreme. We meet Cassandra (Carey Mulligan) in a drunken stupor alone in a club, late at night, as three young men across the room have a revolting conversation about her situation. One, seemingly the morally best of the three, offers to drive her home as her friends have abandoned her and she’s lost her phone. Cassandra unwittingly finds herself in this man’s apartment and in a situation in which she’s not giving consent. And with the words, “Hey! What are you doing?” repeated twice, the tone and actions are set for the remainder of the film.

WATCH THE TRAILER HERE

Cassandra works in a coffee shop and seems to have lost her way. Living at home, pushing 30, and in an entry-level job, this young woman was once a promising medical student, shining brighter than her colleagues, according to Ryan (Bo Burnham), a now successful pediatric surgeon who stops in coincidentally for a cup of coffee. The two begin to date, reluctantly-so on Cassandra’s part, but there’s a sweetness with a refreshing humor that perfectly counterbalances the previously gruesome hook-ups we’ve been witnessing.

There’s a vengeful hatred that emanates from Cassandra’s soul, and while we get a glimpse into why she is setting men up to fail and teaching them a lesson about consent, we don’t get the full picture until midway through the film. And then there’s a visceral and shocking twist that knocks you off your feet as you emotionally attempt to process what has happened. It is at this point that we plunge into an even deeper abyss filled with pain and an inability to change or heal.

This is a horror film but not in the traditional sense. Yes, there’s some occasional cringeworthy gore, but the true horror comes from the reality of the situations in which Cassandra is placed. Writer/director Fennell delicately yet boldly travels down several paths: the emotional trauma of rape; the complicit behavior of others; and the stereotypical responses of the he said-she said scenario. But all of these paths have different nuances to them to make you see things from a novel perspective. A perfect example is when Dean Walker (Connie Britton) is confronted with her decisions from years ago. As she, a woman, is rationalizing and justifying herself, you better understand the reasons for the need for the #MeToo movement.

The writing of “Promising Young Woman” is incredibly smart, intuitive, and well-balanced as we quickly begin to not only understand Cassandra, but root for her whether she’s seeking vengeance or attempting to move on in her life as she finds happiness. Fennell artfully balances drama, tension, and humor into this screenplay but it is the humor that is surprising. The various types of comedy she taps into are brilliant—irony, sweet, charming, and malevolent—all finding just the right place in the script and are executed by each actor perfectly. And this all-star cast comprised of Mulligan, Burnham (“Eighth Grade”),Laverne Cox, Alison Brie, Molly Shannon, and Jennifer Coolidge, contribute their own style and personality to their characters to give a resounding reality to this film.

Each character is obviously aptly cast, but of course, the weight of the film rests on Mulligan’s shoulders who carries it with ease while we see in her eyes, the importance of never forgetting the underlying theme. Her cool, measured, and razor sharp words and physical reactions make her formidable, emphasizing her character’s drive and motivation. And whether or not we agree with her character’s actions, Mulligan’s powerfully nuanced performance establishes a connection with the viewer. We feel her anger, initially, and then understand her pain as she struggles internally with her emotional well-being. Mulligan is transformative in this character as she brings a familiar story to light and hopefully, into future conversations.

With the realistic attributes of the film, the ending, although quite surprising isn’t without a few flaws, but not enough to take you out of the moment. In an era that has raised awareness of consent, sexual harassment, and rape, “Promising Young Woman” goes one step further past awareness to start a conversation of understanding, acknowledgment, and perhaps even change.

3 1/2 Stars

Opening in theaters Dec. 25, 2020

“If you or someone you know has been affected by sexual violence, you are not alone. You can contact the National Sexual Assault Hotline at 800.656.HOPE or online.rainn.org. It’s free, confidential, and available 24/7 in English and Spanish.”

When you think Disney, images of uplifting, family-friendly and uplifting films comes to mind. Their newest film “Safety,” based on the true story of Ray-Ray McElrathbey, a freshman football player on scholarship at Clemson University, stays true to this image.

Jay Reeves stars as the young football recruit who is, as any freshman student-athlete would be, struggling to juggle it all. It’s a tough road, but Ray-Ray is looking to his future, knowing that football is a means to an end and probably not a path to a professional career. Taking a heavy class load, attending practice, getting acclimated to school life, and finding his place on the team, Ray-Ray gets a crisis call from home. His mother is being admitted to a rehab facility and his little brother has no choice but to go to a foster home. It’s a heartbreaking moment as Ray-Ray’s mind quickly weighs his options, and then accepts responsibility for caring for Fahmarr (Thaddeus J. Mixson). Living in the dorms with a roommate, Ray-Ray smuggles his little brother in, attempting to be his father-figure and juggle football and school. Of course, this is too much and Ray-Ray finds that it truly does take a village to raise a child.

“Safety” could easily be a fictional tale as it travels down what seems like a predictable road, but knowing it is based in reality adds a level of sincerity to the story and the characters. We watch as Ray-Ray shuts those around him out of his life, not trusting others, but his love interest, a school journalist, helps him shed those fears. The obstacles he faces, from coaches’ inflexible rules to the NCAA’s equality rigid guidelines, add the elements of tension and opportunities for maturity and eloquence from Ray-Ray and he rises to every occasion. While much of this may appear on the surface as being contrived, it feels nothing but sincere as it connects us to not only Ray-Ray and Fahmarr, but every coach and athlete we meet. We are rooting for this unique family called the Clemson Tigers as they ignite love and empathy in us as the viewer.

Reeves effortlessly carries this heavy load as Ray-Ray, a young man who has experienced tragedy and trauma most of us only read about. This role could easily have been overstated, but Reeves demonstrates restraint and gives us a more nuanced and credible performance. Mixson is equally talented as the irritating little brother who struggles with school, trust, and respect, but gradually finds a better version of himself. Together, Reeves and Mixson create a genuine relationship as they connect you with their characters.

Staying true to the story, the coaches portrayed by James Badge Dale as Coach Simmons and Matthew Glave as Coach Bowden, have their own story to tell, augmenting Ray-Ray’s tale. And as the team becomes a family, all with their own unique personalities, it gives you hope in humanity.

Disney, of course, adds their signature style creating a glossier story to one which was probably much more gritty in real life. But this doesn’t take away from the message and the reality of what it took for one young man to choose his family and potentially sacrifice himself. The story, more than a decade ago, reminds us of the importance of community and family as we reach out to one another. You can’t ask for a better message in our world today, especially as we approach the holiday season.

You can stream this on Disney+ beginning December 11, 2020.

3 Stars

Cheers! “Another Round” stars Mads Mikkelsen as Martin, a burnt out high school teacher slogging through life. His marriage is stagnant and he lacks drive, ambition, and motivation which slaps him hard as his go-getter students fear for their lack of education. This confrontation by his students and his superiors, accompanied by his recognition of his failing marriage, spirals his mental health further down until a colleague/friend proposes that their tight-knit group tests a theory. A Norwegian philosopher claimed that they are meant to function with a low level of alcohol in their systems at all times…like Hemingway. What starts as good if not mischievous fun becomes a turning point in all of their lives.

It’s an interesting theory which writer/director Thomas Vinterberg explores with such believability that I had to look it up. Of course, there’s no such theory that claims that “…humans are born with a blood alcohol content that’s 0.05% too low,” but it sounded good. (I do enjoy my wine!) The four men, all middle-aged, struggling in some way, are high school teachers who agree to maintain a blood alcohol level of 0.05%. And as teachers, they go about the “study” with dedication and precision, writing a list of rules—no drinking after 8 pm or on the weekends— and documenting the results each week hoping to find that their lives and performances have improved. And they do, but of course nothing could be so simple and what goes up must come down.

These men begin to look more like adolescents as they sneak bottles and flasks of booze, hiding them in nooks and crannies around the school. But Martin does find new passion in the classroom. He is engaging with his students who relish in his stories and new-found sense of direction. It’s simply fun to watch his students respond and hang on his every word. And his marriage begins to breathe a breath of fresh air as he once again is partaking in life and not just watching it pass by. All of his friends, a P.E. teacher, a philosophy teacher, and a music teacher, find similar successes, but maintaining that slight buzz requires a bit more and they all begin to push the envelope. It is at this point that the fun and games come to an end and the film takes on a more dramatic tone as one by one, they hit life’s brick wall. Joie de vivre is certainly the sentiment of the film, but “Another Round” gives us so much more to consider.

Mikkelsen’s fine-tuned performance hits all the right notes as he experiences the harsh realities of life. His versatility is endless as he shows us with this character and his keen understanding of “Martin.” While his performance is captivating, the camera working and lighting amplifies his every expression and thought effortlessly.

From start to finish, we get to know these very different men and anyone over the age of 40 understands the issues at hand. In many ways, this is a coming of age film or perhaps more accurately described as a coming to terms of aging film that harkens our youthful dreams as we embrace our decades of living. It’s a brilliant script that comes full circle with each of the characters growing and changing despite themselves. With equal parts humor and drama, “Another Round” is robustly satisfying as it quenches your thirst for life.

You can see this at the Gene Siskel film Center’s “Film Center from Your Sofa” now or on Dec. 18th on major digital platforms.

3 1/2 Stars

For ticket info

“Black Bear,” a twisty dramatic thriller starring Aubrey Plaza, Sarah Gadon, and Christopher Abbott, arrives in theaters (where possible) and on demand, Friday, Dec. 4. Writer and director Lawrence Michael Levine gives us an intense look at the psychology of jealousy as it spills over into the work life of its main character, Allison (Plaza), a famous screenwriter who arrives at a remote retreat run by the husband and wife team Blair (Gadon) and Gabe (Abbott).

WATCH THE TRAILER HERE

There’s an edge to the atmosphere as Allison arrives at the retreat, initially greeted by Gabe. The awkwardness between the two is the first red flag that we are in for a searing time, particularly as the perky Blair cuts into the scene complimenting Allison at every turn. It’s one of those moments that we’ve all experienced as we try to put our best foot forward—even when it’s not really who we are.

As Allison stares at the blank pages in front of her and the time ticks on, the three add another element to the story: alcohol. This certainly loosens everyone’s tongues as they plunge into deep emotional waters lashing out and defining their personalities more accurately. There’s trouble in paradise and a palpable connection between Gabe, a quiet and somewhat morose young man, and Allison. The complicated and multi-layered story begins to build the foundation until the tension increases exponentially. Truths are revealed which lands them all in a place no one could have predicted.

To give you any more to the story would spoil the fun of the unexpected twists and turns this film takes, but suffice it to say, you’re going to love the surprises that reveal themselves. For much of the first half of the film, there’s an element of live theater as we only have the three actors in each scene. There’s a contemplative quietness to Plaza’s character who gives us subtle signs that there’s more to her than meets the eye. And when all three characters converge in the living room to discuss “issues,” that’s when we feel like we are watching a new version of “Who’s Afraid of Virginia Wolff.” The camera work circles the group, creating a paralleled feeling of dizziness to accompany the rapid fire dialogue. This succinctly intense scene pulls us into their world as we wait for the next shoe to drop, but instead, the rug is pulled out from under us.

Plaza’s performance is hauntingly potent as a troubled screenwriter. Her dark, foreboding gaze reaches your soul as you attempt to put together the pieces of the puzzle before your eyes. Abbott’s range in this film is challenged and he easily rises to the task. And Gadon finally has a role to allow her to showcase her abilities as a multifaceted actor and she shines. Together, the three are mesmerizingly engaging as they tell a story of love and betrayal.

As the entire film takes place in a home deep in the woods, the feeling of isolation is immediate. A place that should incite peace, instead harbors tension and anxiety thanks to deft performances and cinematography. And Levine’s non-linear storyline works perfectly to elevate the tension and the intentional confusion of the viewer to create a powerful dramatic thriller.

“Black Bear,” which premiered at the 2020 Sundance Film Festival, is one of those indie gems that could fly under the radar, but you’d be missing out if you don’t see it. Plaza, Gadon, and Abbott are sheer magic together as they push their acting limits to a higher level and tell a trippy and thoroughly entertaining story.

3 1/2 Stars

I believe. And you will too after seeing Dana Nachman’s newest uplifting documentary “Dear Santa.” Nachman, known for finding stories that renew our faith in mankind like “Batkid Begins” and “Pick of the Litter,” shares the backstory of “Operation Santa,” an annual program from the United States Post Office that helps Santa recruit elves and make dreams come true on Christmas morning.

WATCH THE TRAILER HERE

Nachman pulls on our heartstrings from the moment the cameras start rolling as we hear from the mouths of babes defining who that jolly old elf is, and writing their own special letters to him. Eliciting our own childhood memories and those of our own children, you can’t help but smile as they dream of puppy dogs, race cars, Barbies and Legos. These kids know the story of how it all happens, but what they don’t know is what comes after they send their letters and before Santa squeezes quietly down the chimney to deliver the goodies. That’s where “Operation Santa” comes in and Nachman shares the many special stories of one Christmas season.

Nachman travels Post Offices across the country, enlightening us about the more than 100 year-old program. Santa, needing a little help, has recruited many postal worker elves who invite people to adopt letters. These helpers then shop and deliver the toys to good little girls and boys. Traveling to Chicago, Arizona, California, and NY, Nachman introduces us to the postal elves like Janice who found her true calling as an elf and Jamie who was born to be one of Santa’s helpers. We see what it takes for these elves to organize and find others to help during the holidays to make Christmas morning one filled with joy and not sorrow.

The individual stories from across the country include Christopher who wants 10 Dutch bunnies because “they fill my heart up with joy.” And Lorelai and Victoria whose homes were destroyed in the Paradise, CA fires wanting simple things they no longer have, grateful for anything Mr. Claus decides to bring. Some of these stories will bring a tear to your eye and break your heart and others will make you laugh aloud. But Santa doesn’t discriminate between kids and adults. He also gets letters from adults who are struggling and asking for needed items that most of us take for granted.

“Dear Santa” is a whirlwind journey during one of the busiest times of the year, particularly for the U.S. Postal Service and Nachman captures this energy and the logistical complications of this endeavor from the inside. But it’s the end of the journey, Christmas Day, that will warm your heart as Nachman captures the deliveries. These are scenes that would make even the grumpiest of Scrooges smile and shed a tear of happiness. And it’s all from the kindness of others, supporting “Operation Santa.”

To learn more about “Operation Santa,” go to https://about.usps.com/holidaynews/operation-santa.htm. And to find out more about the making of this film, check out the interview I had with Nachman, at www.reeltalkwithchuckandpam.com

You can see “Dear Santa” on demand on most major digital platforms including Amazon and iTunes as well as in select theaters.

3 1/2 Stars

Riz Ahmed (“The Night Of”) stars as Ruben a young man in a heavy metal band on his way to success, but suddenly begins to lose his hearing. It’s a surprisingly empathetic film that delves into the hearing versus the deaf community and the balancing act between the two.

WATCH THE TRAILER HERE

The beginning of the film, unless you’re a heavy metal music fan, is a bit off-putting, but quickly we experience Ruben’s auditory changing world as he does. His talented girlfriend Lou (Olivia Cooke) and he travel from gig to gig in their shabby but comfy sleeper van, but one day, Ruben finds he cannot hear more than muffled sounds. Confused and scared, he finds his way to an audiologist who diagnoses his hearing loss, attributed to drug usage, as one that is irreparable. The only way to regain his hearing is through an expensive surgical procedure of cochlear implants. No money and now no way of getting any, he finds himself alone and struggling—a position that a recovering addict may relapse—as he searches for answers and himself along the way.

“Sound of Metal” is a sensorial masterpiece allowing the viewers to walk in Ruben’s shoes. It’s not a total world of silence, initially, but one that is muffled, giving it a sense of being underwater and in an unfamiliar and unnavigable world. With deft direction of both Ahmed’s reactions and sound editing, we find the anger, the frustration, and the fear of the future that Ruben is feeling. Ahmed’s keen understanding of his character is expressed in every nuanced manner, from his bold round eyes that dart like a captured deer to his once confident swagger as a drummer now hesitatingly putting one foot in front of the other in a world he just doesn’t understand.

Finding refuge in a facility for the deaf run by Joe (Paul Raci), Ruben begins to see the world in a different way. He also begins to see himself in a new and perhaps improved way. He gets in touch with his thoughts and begins to help others, specifically children with hearing loss. This environment poses the question of is deafness a difference or a handicap. And that is a question that Ruben combats as he knows there’s a solution just $40,000 away in a surgical procedure.

Ahmed is the star in this story, but never is he overly dramatic or artificial. His subtleties in posture, body language, expressions, and every attribute a seasoned actor hopes to have is effortless conveyed. The cinematography accompanies the sound design like a well oiled machine, delivering and accentuating Ahmed’s performance. Ahmed lets us into his character’s mind as we understand he demons with which he struggles and his intrinsic conflicts.

“Sound of Metal” is a small cast of characters, but of interest is Paul Raci who’s knowledge and understanding of the deaf community comes naturally. We see this in his passion as he explains what it means to be hearing impaired or deaf and how this community differs in its views from the hearing world. Raci’s emotive performance finds perfect harmony with Ahmed’s seemingly genuine reactions and together they enable you to have a deeper and more meaningful understanding of this world.

While his drug usage caused Ruben’s hearing loss, Marder is careful to never be heavy handed with this aspect of the story. It’s an element, but only one to provide a vehicle for the plot to move forward. The script takes us on a journey most would never know and when we come out on the other side, we see and feel our environment differently. With a compelling story arc, we root for him to regain his hearing only to find ourselves questioning whether or not this is truly the best thing for him. Ahmed has created a character with whom we are invested. We care about him and see as he reaches a cross roads in his new life. Ultimately, it’s his choice and Marder allows the rest of story to unfold naturally. And as the pacing of the film revs up, it readies us for the finale—one that will leave you speechless and contemplative. It’s not often a film can provide these elements along with a natural sense of empathy.

Releasing on demand Dec. 4 on Amazon Prime and all other major digital platforms.

3 1/2 stars