In the final days of the Pacific War, two Japanese soldiers, a senior officer and a local recruit, are cornered during the battle of Okinawa and hide in a banyan tree, only coming down for food. Unaware the war has ended, the two await reinforcements for two years. As they wait, they discover differences in rank, worldviews and motivation.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
Tran Quoc Bao succeeds in telling us a story about martial arts, human decay, and friendship. The originality shown by his filmmaking is admirable and brings fresh air to the classic Chinese martial arts genre.
The trainwreck is hot but tame.
A commentary on the exploitation of the elderly fueld by the inherent greed of capitalism.
