If That Mockingbird Don’t Sing is a hilarious movie thanks to the teenage actors featured in it, especially considering the director of the film, Sophie Bones, is only 20 years old. The film sets out to address teenage pregnancy just for the fun of it, not to mention the casual acting of the children while tackling one-dimensional characters. Juno wouldn’t be complete without stereotypical teenage movies, and somehow the character of the film has Sophia Bones as the teenage mother. The movie is more focused on Aitana Doyle, a likable add-on, and fair enough there is more to focus on in the movie. After Luan Fannin portrays her main character, Lucas, a College Boyfriend Long-Suffering out of nowhere finds out, and to put things in simpler words college hopeful boyfriend breaks up with a student abroad.
There are abrupt transitions of character such as the love triangle which appears to be inserted for the sake of it in the middle of the love story, or, Lucas’s change of heart of becoming a father or even the very first thing he receives as a clue as to the sex of the baby. Still, Bones does integrate some good and motivational segments into the collage which raises the motion picture If That Mockingbird Don’t Sing higher than your usual regional film festival independent feature. Carrie Lucas’s mother (Catherine Curtin( with a woman called Sydnie appears to be arguing with rather than seeing the two having any future franchise together. They help in meeting the demand of the people who are getting tired of romance films with overqualified supporting roles. Not that it is all of breathtaking standard but enough is enough the demonstrate that Bones is at least capable of being a genuine innovative and refreshing voice in the telling of the story in the indie documentary.
All American is arguably one of the most straightforward documentaries in Heartland, however, it definitely packs an emotional punch. Action on the wrestling mat may be sparse in the Mark Andrew Altschul film but it is filled with the intricate details of the characters’ lives away from the mat. The film is not chiefly about the immigrant story, but while New York City is home to many first-generation Americans, there are three young girls whose fathers are American.
Altschul also concentrates on the struggles the girls have, not only in learning the pastime but also in reconstructing their self-image in relation to their family, friends, and society. What forms a rather sentimental element in the plot is a girl who came to a family of immigrants from Yemen and was expelled from the home for wishing to take up a sport something her parents considered inappropriate for females. Other characters in the film had a similar upbringing: traditional parents who restricted the girls and discouraged any active engagement in sports or other activities. But what is nice in the film is that so many girls really overcame the stigma and made efforts to be accepted, and even in the end, that is what gives All American the strength it has.
There is no hate towards the K-drama 2:15 PM which is directed for the first time by Seryong Jeong and written by Ok-nylon Park. Since I did watch the movie I can’t help but refrain from thinking about Hirokazu Kore-eda’s Monster, the movie being screened in Heartland happens to be one of the movies that were the best for the last year. However, what the former neglects to account for is the sheer amount of depth to be able to surpass what has previously been displayed on the screen all the essence and chaos that happens beyond the credits.
The boundaries of Jeong’s movie are encapsulated by two girls portraying Park So-yi and Gi You, their fusion underway while they do not take the easy routes. On returning home from school, Hyun-su (Park So-yi) bumps into Min-ha who weeps after her dad loses his cool and shatters a window out of rage. Hyun-Su finds it unbearable to watch a Min-ha in such a miserable state and being all alone, she resolves to start seeing her on a daily basis.
Jeong’s incorporation of weak elements into the drama is commendable, especially with regard to Min-Ha’s violent father and Hyun-Su’s migration to Canada. It is impressive that Jeong integrates these in just about 75 minutes but then again the film doesn’t feel complete, there appear to be other possible avenues plenty of other avenues to explore.
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