Quiet, but never precious, this adaptation of Judy Blume's beloved coming-of-age novel is everything fans of the book could have wished for and then some. Air is a richly entertaining, nimbly paced ensemble piece, but it's also a passionate tribute to innovation and equity - something industry (entertainment and otherwise) could use a whole lot more of. In some ways Air is a thesis statement for Artists' Equity itself, a tautly written drama about upending traditional licensing deals in favor of a policy where athletes (and artists) get a piece of everything they touch. But much like Jordan on the court, Viola Davis is the GOAT as Jordan's steadfast mother, Deloris, who is determined to play hard ball for her son. Chris Messina steals scenes as unhinged, foul-mouthed agent David Falk, while Jason Bateman underlays his straight-man deadpan with subtle emotion as Rob Strasser. Corporate business meetings and athletic shoe design hardly seem the stuff of scintillating drama, but as with so much of his work, Affleck leads with humanity, digging into the people behind Air Jordans and why that personal touch was essential to their success. It follows Phil Knight (a delightfully gonzo Affleck), his company Nike, and employee Sonny Vaccaro (Damon) as they attempt to forge a business deal with Michael Jordan and develop the Air Jordan shoe line. (See: Blackberry, Tetris, Flamin' Hot.) But the flashiest (and the best) of them was Ben Affleck's Air, the first film from Affleck and Matt Damon's production company, Artists' Equity Studio. Christian HolubĢ023 is the year for crisp, cool takes on corporate IP. She's been a musician, a dancer, and a reality TV star, but here she proves she is truly an actress to reckon with. Gary Gunn's skilled score keeps everything moving, from one time period to the next. The real highlight of the film, though, is Taylor's passionate performance. The film takes place over the course of Terry's childhood and teen years like Moonlight's Chiron, he is thus played by three different actors: Aaron Kingsley Adetola at 6, Aven Courtney at 13, and Josiah Cross at 17. Although other people come in and out of the protagonists' lives, A Thousand and One is especially focused on the unshakable bond between mother and son, as they try to survive in a gradually gentrifying New York City (depicted through occasional archival speeches from politicians like former Mayor Rudy Giuliani) that somehow always manages to be most expensive for poor people. It’s a scene that’s dynamic in so many ways, we’d be remiss to exclude it.History as seen from the street, A Thousand and One evokes film favorites from the past decade like Moonlight and Boyhood in its decades-spanning story of Inez (Teyana Taylor), a single mother who steals her young son Terry from foster care so that they can pursue the American dream of independence and family together. Most of all, their clash tells a story through action instead of existing just for action’s sake. Plus, Wong and Nap-lan refuse to scuffle in just one place, moving from one stage to another without missing a beat. At times, their combat looks downright balletic. Li and Yen are on point with every movement they make. But duration isn’t the only detail that makes this a stand-out sequence. Their fight lasts roughly seven minutes, which is respectable in its own right. It’s not a surprise, then, that Li’s final bout with Yen is equally so. For best proof, watch their titanic duel at the end of Tsui Hark’s Once Upon a Time in China II. Bruce Lee gets all the glory, but Li and Yen are gods who belong to the same pantheon as the Little Dragon. Let’s face facts: Jet Li and Donnie Yen are, and forever will be, two of the true greats of martial arts cinema. Once Upon a Time in China II: Wong Fei-hung vs General Nap-lan
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |