Clint Eastwood directs this new crime film inspired by a true story, and plays a 90-year-old man who becomes a drug mule for the Mexican cartel.

As an actor and director, Clint Eastwood has been influencing generations of cinema for over half a decade, and he’s still staying strong in his career, having released 2 movies this year, and also starring in the leading role in this one. His performance is the standout of the film, as expected from him, and he carries the film with the force he always brings to the screen, making a complex character who isn’t always likable but you are interested to watch him throughout the events of the film anyway. Eastwood’s direction is also top-notch and reminds us why he’s one of the master filmmakers of our time. The overall plot is sometimes well written but also gets slow and repetitive at times, and at the end, a bit predictable. Like I said, Eastwood’s role really is great, but other known cast members such as Bradley Cooper, Laurence Fishburne, and Michael Peña should have been given more to do in the film. The movie tackles some relevant issues like the stereotypes of certain races, but it only does so briefly and not very subtly when it is addressed. It’s got some good themes by the end as well as some good tension that Eastwood crafts well, like two men on opposite sides of the law sitting next to each other in a restaurant, which is intriguing when both talk as they don’t know who the other is. However, it often falls into familiar crime drama tropes and under-uses some of its best aspects. The Mule can be enjoyed for what it is and Eastwood brings the energy he always does to the film, but it doesn’t quite go above what one would expect from an average true crime drama, even though Eastwood’s directing touch is there and those who have been following his career should definitely check it out. But in the end it isn’t as memorable as other films he’s starred and directed in recent years like Million Dollar Baby and Gran Torino.

Based on a true friendship between Tony Lip, a working-class Italian-American bouncer, and Don Shirley, an African-American classical pianist. In the 1960’s, Lip becomes Shirley’s driver on a concert tour through the American South.

We have received a lot of movies in recent years that focus on race and segregation through true stories, and it’s nice to have one on a very small scale that only focuses on a friendship between two people but still carries its point across as effectively. Viggo Mortensen stands out as Tony Lip, a somewhat selfish character who has a heart but also acts however he ants and isn’t afraid to use violence on whoever he deems needs to learn a lesson. Mahershala Ali is also great, as he clearly spent lots of training to learn how to become such a great pianist like his character, but his role is also sophisticated and caring despite facing racism in such a time in the Deep South. The chemistry between the two makes the film so interesting; Mortensen’s character has a narrow view of those outside of his poor Italian neighborhood in New York but learns to become good friends with those he never though he’d meet and become a friendlier person. The contrast between the two is also excellent — not just between race but also between social class — Tony Lip has a more uncultured manner, also having grown up in a poor neighborhood, while Don Shirley is a very elegant and honest man, and this contrast makes scenes like the two sharing a bucket of fried chicken come off as very entertaining. Shirley is a character who seems like he’s in a higher class and given more opportunity to perform than other black artists at this time due to segregation, but even though he never sees himself as any lesser than the white audiences he performs to, he feels that he’s treated as “just another black man” to the moment he steps off stage, as he explains in a powerful monologue that’s definitely the best scene in the film. This breaking of stereotype, a wealthy black man teaching a poor white man life lessons like kindness (and he even helps him write poetic letters to his wife), but maintaining of realism makes the film even more thought-provoking, and the dynamic between the two main characters while delivering themes about interactions between race and social class in the ’60s makes the film a worthy watch, that I’m sure won’t be ignored in awards categories like Picture and Actor.

Based on the true story of Garrard Conley (named Jared Eamons in the film), who was forced to join a gay conversion therapy program after being outed to his parents. While there, Jared comes into conflict with its leader and begins his journey to finding his own voice and accepting his true self.

Boy Erased is the second directorial effort of Joel Edgerton, who also writes and stars in the film, and I’ve been a fan of his acting even before he took a seat behind the camera. He’s proven himself to not only have a grip on a script and cast but also convey a theme strongly through filmmaking. Lucas Hedges has impressed me very much these last few years, especially in Manchester by the Sea and Three Billboards Outside Ebbing, Missouri, but in the leading role he is once again able to shine as a young man who wants to be himself but his parents and peer’s beliefs come into conflict with who he is. Edgerton also stands out as the leader of the gay conversion program who also believes homosexuality is a sin and a choice, even though it is part of who somebody is. This head therapist acts as a source of passionate hate and demoralization for those who are at the therapy, even though back then some people thought this kind of therapy would “cure” people and make them heterosexual without considering what mental and emotional harm this would cause.  Also remarkable are Nicole Kidman and Russell Crowe as Jared’s parents, who seemingly must choose between what they believe and their unconditional love for their son. The movie is tough to watch in some parts because of how unfortunate the situation was — members of the LGBT community were forced to believe something was wrong with them and that they had to be “fixed”, and that this kind of therapy is even still allowed in 36 states. I’m glad we live in a time where more people accept others for who they are and more LGBT men and women can live life as they please and feel comfortable with their identity, even though the world still isn’t perfect. This powerful execution is resonant yet imperfect — a more linear storytelling and some more on-screen emphasis on the protagonists’ emotional state would have made his arc hit home even more, but the final 20 minutes are especially fantastic and deliver every performance to its fullest, and its theme wonderfully.

Boy Erased has powerful themes and outstanding performances that will resonate, as well as an important message that is as relevant today as it was then.

First Man tells the incredible true story of Neil Armstrong who took a giant leap for mankind by leading the Apollo 11 mission and becoming the first man to step onto the moon.

I’ve been following the filmography of Damien Chazelle ever since he made a name for himself with the unforgettable indie Whiplash, and I again was there in the theater for when he rocked the world with the marvelous, award-winning, record-breaking La La Land. So of course I could not miss his newest big-screen hit, this time an adapted screenplay from a book on the true story of the mission that changed the world. Chazelle takes a well-known story and though we all know how it ends, he makes it feel exhilarating and gripping. Every shot is breathtaking and the cinematography is an achievement for modern cinema. The camera angles are perfectly selected, making these scenes riveting, and the shots of space, Earth, and the moon are incredible. It’s hard to tell how much was practical and how much wasn’t because it looks so realistic. The sound and editing also make for intensity and strong effectiveness in the action. The moon landing scene will glue your eyes onto the screen, and even if you know how it will end, it’s so beautifully done, with the music, tension, and even emotion by the end make it the most unforgettable scene of the entire year. Ryan Gosling brings out another moving performance as Neil Armstrong, with subtle moments from beginning to end that will bring emotion to you like almost no other actor this year, and Claire Foy brings lots of strength to Janet, Neil’s wife, in sequences that will guarantee her an Oscar nomination, as well as very impressive chemistry with Gosling.

Chazelle directs this mission delivering strong themes like how the hard work of many can achieve the most impossible dreams, and we see how much training was required but also the hardships that occurred during the preparation for the launch. There’s also some very powerfully written parts, showing a tragedy that happened in Armstrong’s life and how his family felt about him embarking on such a journey. The cinematography always stands out with the rare 70mm format making it look even more like a period piece, and like I said, every scene set in space will blow you away and make you need to catch your breath at the end. Every shot is so brilliantly composed and the handheld cam even works for the effect of intensity — at times it feels like Chazelle wants you to be on that spaceship with the characters. The music by Justin Hurwitz is also fantastic and deserves him another Oscar win, and I doubt any score this year will top the amazing music in this film and the effect it has on many great scenes in the film. However, there is one major flaw I have in the writing of the film — I felt like we didn’t feel much of Armstrong’s personality, and didn’t really learn much about who he was other than what we did. The movie makes some attempt at a personal arc for him which works very well, but if we had seen more about his relationship with his wife and kids and how the events of his life shaped who he was as a person, perhaps his character would be more compelling as well as the performance. It felt like the movie focused greatly on the Apollo 11 mission and the space journey Armstrong embarked on, but if only he had embarked on a bit more of an emotional journey as well. I personally felt more attached to Gosling’s other characters like Sebtastian in La La Land, the Driver in Drive, and K in Blade Runner 2049 because those films dug deeper into those character’s emotions and personalities while this film only scratched the surface of that. Thankfully the technical aspects and overall story redeems the film, with a marvelous second half that deserves a second directing Oscar for Damien Chazelle.

First Man is a technical masterpiece with wonderfully directed and shot sequences that will floor audiences, and even though I don’t think this will become one of my favorite movies like Whiplash and La La Land have, the performances and especially the out-of-this-world journey, one you know so well but is brought to screen with top notch execution, makes it a film that must be watched on the big screen.