Jun is a farmer who lives near a pineapple field with his mother Dita and his brother Mako. His aunt from Manila who can’t bear a child offers to adopt Mako with a promise to give him a good life. Jun and Mako face their impending separation and think of ways they can spend every minute together.
21 Bridges isn’t going to revolutionize action cinema. However, its action components are respectable. Every act is visibly clear, and as time moves forward, the film changes its conflictual rhythm.
The social issues The Half of it takes on are handled well, between the antagonization brought on to Ellie for her race and the conflict that arises from her being gay. Both aspects of her character are built up over the course of the film and don’t seem abrupt or rushed. The film shows racism towards Ellie and her and father in varying levels, from having her schoolmates specifically address her as "Chinese girl” to the fore mentioned way her Dad is treated due to language barriers. The same can be said about Ellie being a lesbian. While she never truly “comes out” in the narrative, that does not undermine her journey of self-discovery from being meaningful. These ideas aren’t thrust upon the viewer in a preachy manor, the scenarios that occur feel believable given the rural setting. The film presents watchers with problems whom those like Ellie may face, and leaves us to sit with them and reflect.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
In ‘The Owl House’ protagonist Luz Noceda stumbles across a portal to another dimension where magic exists, called The Boiling Isles.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.
