“The Way Back”: Sobriety Is Its Own Reward
A man struggling with the death of his son agrees to coach his former high school basketball team.

Hot-tempered Greek immigrant Andreas arrives in America in 1915. He finds work on a railroad, but soon gives his corrupt foreman Mekakis a savage beating. Making his way west across the country, Andreas eventually comes upon another railroad looking for workers. It turns out Mekakis has gone westward, too. He offers Andreas the only job suitable for him, a "mountain mover" on the suicide squad: He must grapple down the face of a cliff, position sticks of dynamite and then climb back up again before the lit fuses reach the explosive.
A man struggling with the death of his son agrees to coach his former high school basketball team.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Moonlight is a film that will certainly be remembered for how it won Best Picture, but the movie itself should be known for its excellent representation of one of the most underrepresented groups in film: Black, gay men.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.