Ashton Sanders

The Equalizer 2

First Hit: Although the plot premise was slightly forced, I loved how Denzel Washington makes sure he’s on the right side of things.

I had difficulty understanding why the couple were murdered at the beginning of this film. Although the film attempts to provide enough information to make it understandable, for me, something was missing. It needed a bit of context in some way.

However, the subsequent murders by a small group of men, doing cleanup, had more clarity.

Meanwhile, we watch Robert McCall (Washington) living his life as a Lyft driver occasionally, using his killing skills to right a wrong to a friend or a societal criminal activity.

The strongest statement to McCall’s effectiveness as a do-gooder was when he rectifies the wrong done to a call girl by a group of young rich entitled men. After taking the woman to a hospital, he goes back to the apartment and pulverizes the group of men for their actions towards the woman.

His closest friend and former boss, from his active government days, Susan Plummer (Melissa Leo), investigates the initial couple’s murder and because she’s so good, the band of men responsible for the initial killing, decide to kill her as well.

This puts McCall over the line and how he’s out for complete revenge. When he discovers the responsible party for the killings are former men he worked with, he ensures they know he’ll come after them, and that his only sadness will be he can kill them only once.

There is a side story about his wife’s death and his inability to go back to where they lived together.

However, it is his guidance towards Miles Whittaker (Ashton Sanders) that really brings out his deep seated patience, caring and mentorship. Miles is torn between wanting to join a gang to earn some coin for himself and his mama and his ability to draw. His brother died by a bullet and in some ways he wants to get revenge. The other, more sensitive side of him, wants to honor his talent for drawing and painting. The film does take time to explore this side as well.

Washington is perfect as the thoughtful, competent killer. His ability to break into a smile, then look someone down with a glare that exudes death is perfect for this role. Makes me want to hope for yet, another episode. Leo is perfect as the no nonsense former leader of a secret government assassination team. Sanders was wonderful as the young man trying to find his way. Pedro Pascal (playing Dave York) as McCall’s old running mate when they worked for the government together. Thought he carried his role with perfectly. Richard Wenk and Michael Sloan wrote the script. For me, the beginning wasn’t set up well enough with the killing of the couple, but other than this, I liked how it unfolded. Antoine Fuqua directed this film. What didn’t work well for me, besides the opening couple’s murder sequence, was the having the final war between McCall and the clean-up team be shot in a storm. For me it didn’t add to the tense ending only made it harder to follow.

Overall: I love Denzel in this role and therefore I enjoyed the film.

Moonlight

First Hit:  A powerful, deep, and intense look into a story rarely shared on the big screen.

Shown in three different stages of his life, the audience is given a profoundly penetrating view of a gay black man’s life journey. Chiron, also known as “Little” and “Black”, is growing up in Miami to a drug addicted mother and no father. He’s played in these three stages by Alex R. Hibbert, Ashton Sanders, and Trevante Rhodes respectively.

As “Little” (Hibbert), Chiron is often the odd boy out. He’s quiet, sullen, and feels out of place. He’s afraid to go home as his mother, Paula (Naomie Harris), is often high or pushing him out the door to make room for one of her many boyfriends.

He’s only got one friend of sorts, Kevin (Jaden Piner), but Kevin cannot stop the other boys from picking on him. While hiding out from bullies who were chasing him, he’s discovered in the projects by Juan (Mahershala Ali) who takes a liking to the boy and takes him in. Juan’s girlfriend Teresa (Janelle Monae) feeds the skinny scared boy. They coax him to speak but only get short bursts of two or three words at a time. Juan takes him to the beach and teaches him how to swim. The effect of Juan and Teresa’s kindness and understanding permeates the first part of the film even when they are not on the screen and shows up again towards the end of the film.

As “Chiron” (Sanders), the tones of harshness and the extreme difficulty of discovering his life, and who he is, becomes more pronounced. His mom is deeper in her addiction; his prevalent sadness is darker as he knows he’s different but has little in the way of social communication tools to help him understand himself. His only friend is still Kevin (Jharrel Jerome). The rage inside is slowly building and comes to a head.

As Black (Rhodes), a nickname given to him by Kevin, he is now an adult. You can see the effect Juan had on him by his car, attitude, and choice of supporting himself. He’s away from Miami, his mom is in a rehab, and he still living a life of being alone. He gets a call from Kevin (Andre Holland) who has been thinking of him and invites him down to Miami. Black goes and takes another step in owning his life.

Beautifully shot, the long slow scenes are left to unfold. It isn’t easy to let the camera roll staying close to an actor’s face without having the actor speak. And at times I wondered if this was smart, but then the next scene would shine light on the reasons why. Each of the actors portraying Chiron allowed the silent inward struggle come to forth; to be shown and not told. To do this, these actors had to pay attention to the director and more importantly, to the story. Each of them kept the sense of longing, unknowing, and sadness throughout the film by sharing specifically for the age being portrayed. This film is fearless in its presentation and the screenwriter and director are to be complemented for this.

Hibbert, Sanders, and Rhodes are each amazingly effective in their singular role. Hibbert’s sorrow and anguish as a small boy wondering why he’s different was amazing. Sanders’s teen existence is superb. He’s tall yet trying to hide from everyone including himself and yet he’d like to be seen. Sander’s is sublime. Rhodes is perfect as his self-assured exterior belies his inner soft aching. The scenes with his mother and Kevin are extraordinary. Piner, Jerome, and especially Holland are engaging and wonderful as Kevin. Ali is amazing as Juan the sensitive drug dealer who becomes a mentor of sorts for Chiron. Monae is a beautiful light in this heavy picture. Every scene she’s in she brings joy and light. Harris is effectively real as Chiron's drug addled mother who really does love her son but has no way to relate to him. Barry Jenkins had a clear vision for what he wanted and wrote an amazingly strong and daring screenplay and brought it to life with stunning direction by getting outstanding performances from everyone.

Overall:  A strong emotionally effective film.

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