Film section editor at DigBoston, a biweekly newspaper.
Labor activism defines 9to5, but isn’t necessarily what makes it engaging. Which poses the question, what does it have for the already converted audience? First, it’s a vital piece of previously unreported Boston history, correctly prioritizing specific details over generalized platitudes. Second, the editing’s clean and intuitive enough to pursue that piece of history across other regions and decades of time without losing sight of the specific people and particular motivations that started it off. And third are the interviews…
Very perceptive at dramatizing moments where teenagers’ performances of masculinity and maturity inadvertently melt into something more fraught and real. Like when a study group suddenly gains a sexual undercurrent neither party knows how to deal with (Shen and Cheung are beautiful as two people who are both too anxious to start hooking up with each other), or when a fight at a house party gets a little too edgy for even the fighters involved. And the performances match that…
Legitimately humbling experience to watch this and whole time be thinking this is clearly among the first examples of Twin Peaks (2017)-influenced cinema only to find that actually The Empty Man was on the shelf for so long that it was already being shot around the same time Twin Peaks was airing. Like a displaced reflection—see you at the curtain call.
No Sudden Move’s script is by Ed Solomon, who deserves some credit despite having gone too far with the homage. His narrative establishes a diverse range of characters that each behave somewhat believably despite all being unwitting pawns within a reasonably complex plot that’s specific to an industry, a region, and a historical period—which is a minor feat, and it does play. Tying it all up, for better or worse, is the script’s very thematically unified vision of American life...…