Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

Assessing the Wisdom Behind Our Personal Power

Creating and leading a life of fulfillment frequently requires the judicious use of our personal power. That can be challenging in light of what it takes to pull that off. We must be suitably focused yet handle the particulars involved with a deft touch. However, if we fail at that, it’s easy to become frustrated, possibly overpowering our well-intentioned efforts and potentially yielding deleterious side effects, if not outright havoc, that could harm our surroundings or even others. Learning how to avoid those issues and do things right is thus essential, prospects explored in the delightful but poignant new musical fantasy, “Wicked: Part 1” (web site, trailer).

It seems virtually everyone is aware of the timeless fable told in director Victor Fleming’s 1939 screen classic “The Wizard of Oz,” based on L. Frank Baum’s 1900 book, The Wonderful Wizard of Oz. But how many of us are familiar with the back stories that preceded these works, most notably those of two of the most prominent characters, the Wicked Witch of the West and the Good Witch of the North (originally the Good Witch of the South in the principal source material)? That’s what author Gregory Maguire tackled in his 1995 novel, Wicked: The Life and Times of the Wicked Witch of the West, which was subsequently turned into the 2003 hit Broadway musical Wicked, featuring a book by Winnie Holzman and music by John Powell and Steven Schwartz. And now, the magic and majesty of that musical has been brought to the big screen in a two-part film project, the first, now playing theatrically, encompasses the musical’s first act, with the second installment, to cover the second act, is scheduled to be released in November 2025. What’s most important to remember here, though, is that “Wicked: Part 1” is one of those cinematic ventures that truly and faithfully lives up to all of its pre-release billing, a genuinely rare occurrence in today’s movie industry.

For those unfamiliar with this picture’s source material, the film follows the early lives of its two protagonists, Galinda (later shortened to Glinda) Upland (Ariana Grande-Butera) and Elphaba Thropp (Cynthia Erivo), characters who would, respectively, later come to be known as Glinda the Good and the Wicked Witch of the West. These residents of the magical land of Oz, a mythical, stunningly beautiful realm located somewhere over the rainbow, come from very different backgrounds. Galinda, for all practical purposes, is a spoiled princess whose every whim has been systematically indulged by her well-to-do parents and who innately expects to get her way in all things, turning unapologetically pouty when matters don’t go as expected. Meanwhile, Elphaba, daughter of the governor of Munchkinland (Andy Nyman), one of Oz’s territories, is a social outcast who faces constant ridicule from virtually everyone around her because of her anomalous green skin, an inexplicable physical trait she’s had from birth as the product of an illegitimate union between her mother (Courtney Mae-Biggs) and a shadowy stranger.

For all their differences, though, both Galinda and Elphaba share a common interest – both are drawn to the art of sorcery, even though their aptitudes for this skill are decidedly different. Galinda is something of a mystical wannabe, while Elphaba is the real deal, despite having doubts about her abilities. Eventually, Galinda leaves home to attend Shiz University, where she plans to study the subject, despite her underwhelming proficiency at it. At the same time, as Elphaba accompanies her younger paraplegic sister, Nessarose (Marissa Bode), to the school to enroll as a student, she has an unexpected encounter with Mme. Morrible (Michelle Yeoh), the school’s Dean of Sorcery Studies. Mme. Morrible recognizes Elphaba’s gift for the subject and offers her an opportunity to study it under her, even though she’s not officially slated to attend Shiz as a student. However, despite her longstanding doubts about her abilities, Elphaba is nevertheless thrilled by the offer and accepts it willingly.

Elphaba’s impromptu acceptance aside, since she’s not been officially enrolled, she has no place to stay, so Mme. Morrible makes arrangements for her new prodigy to become Galinda’s roommate. Galinda’s not thrilled at the prospect, given that she was supposed to have a suite all to herself and now has seemingly been unceremoniously saddled with a roommate (and one whose “unsightly” skin color makes her an embarrassment to boot). But it’s a trade-off for Galinda, since her hesitant agreement potentially provides her with access to Mme. Morrible (and possibly her instruction), especially since the Dean is highly particular about whom she agrees to tutor, a real coup for someone with unimpressive abilities.

And so Elphaba and Galinda thus become reluctant roommates. They don’t get along especially well initially, but, over time, they form a bond as besties. It helps that they each have their own pursuits, too, what with Galinda becoming romantically infatuated with a newly arrived handsome young prince, Fiyero (Jonathan Bailey), and Elphaba taking a zealous interest in her sorcery studies, proving that she lives up to all of Mme. Morrible’s expectations. In fact, Mme. Morrible is so impressed that she suggests Elphaba may be gifted enough to meet and work with the ruler of their realm, the Wonderful Wizard of Oz (Jeff Goldblum), who oversees the kingdom from his home in the resplendent Emerald City.

However, as becomes apparent, not everything in Oz lives up to the carefully crafted façade that has come to characterize it. In particular, in a land that was once peacefully cohabited by both people and talking animals on an equal footing, organized efforts have gradually been rolled out to marginalize the realm’s four-legged residents, removing their civil rights and ability to speak. This is most noticeable through the experience of one of Elphaba’s favorite professors, Dr. Dillamond (voiced by Peter Dinklage), a talking goat who teaches Ozian history. Having been a victim of comparable ostracism, Elphaba is naturally outraged by what’s happening. And, when an invitation to meet the Wizard is extended to her, she looks to address this troubling development with him during their conversation.

Before long, Elphaba is off to the Emerald City to meet the Wizard with Galinda (now calling herself Glinda) in tow. They look forward to the adventure that awaits them. But, when they finally meet the Great and Powerful One, they soon discover that not everything is on the up and up. In fact, new revelations emerge that threaten their friendship, their dealings with the Wizard and the future of Oz’s animals. Are Elphaba and Glinda up to what faces them? Can they make use of their sorcery skills as effectively as needed? And what lies ahead for them in a highly uncertain future? That’s what awaits viewers in “Wicked: Part 2.”

In the meantime, Elphaba and Glinda continue their efforts to create the lives that suit them, which, of course, requires them to make use of their personal power. But, as becomes apparent in the film, this takes training, discipline and focus where their beliefs are concerned, as they dictate what results. And that’s important to recognize, given the role that our beliefs play in manifesting the reality we experience. It’s not clear if these women have heard of this school of thought, and it doesn’t appear to be a course offering at Shiz (at least per se), but, based on how their respective stories unfold, it’s apparent that this line of thinking plays a central role in what they experience, for better or worse.

In some regards, they’re off to a good start by recognizing themselves as “sorcerers.” That term may have some ominous overtones, but it need not be viewed that way, at least with the right mindset. If one believes that sorcery necessarily carries negative connotations, then it probably will, and they’ll be reflected in the outcome. However, if we view “sorcery” as a form of willful, deliberate, consciously creative pursuits, then the results should naturally follow from whatever beliefs and attitudes inspire them, again, for better or worse.

Learning how to make use of this is thus a key component of the education that Elphaba and Glinda receive (and that includes more than just whatever schooling they get). And that’s where their tutelage comes into play, for it helps to provide them with the wisdom and guidance they need to make best use of these practices. For example, it’s important for them (especially Elphaba) that they learn how not to force issues into being – that they need to put their beliefs into place and let them take shape naturally. However, if they were to push matters unnecessarily, they could readily end up with all kinds of unintended side effects, no matter how noble their underlying intentions might be – and it’s easy to see which end of the “for better or worse” scale they’re likely to experience.

What’s more, it’s essential that they’re prepared for the outcomes they’ll experience. If they approach the process haphazardly or willfully ignorant of what will result, they might well be in for a rude awakening. More importantly, though, if they go into the process with an intentionally jaundiced attitude, they could be in for more trouble than they can handle. Indeed, they could easily end up producing outcomes that are positively “wicked,” arguably the most crucial issue associated with the lessons of this story. In fact, onlookers might come to realize that someone could embody that unflattering quality even when it’s not plainly apparent, a scenario that’s perhaps even more troubling than what can occur with individuals who make their infamous intentions completely obvious.

Can these pitfalls be avoided? Certainly. However, it takes a definite sense of self-awareness to do so, and that’s what Elphaba and Glinda are striving to understand in the course of their respective odysseys. Of course, it’s imperative that they recognize the temptations inherent in tapping into our personal power when it’s not tempered with wisdom. Circumstances can easily get out of hand, as occurs on a number of occasions in the film. Firsthand and secondhand experiences with this kind of fallout can play a key role in shaping our perspectives in this regard, too. Consider the treatment that Elphaba receives at the hands of others – the cruelty to which she’s exposed is an integral factor in molding her attitude, a quality that, in turn, makes its way into her own beliefs and manifestation efforts. It’s understandable how that might happen, of course, but, when one considers the impact its influence can have on the results we achieve, it can become problematic quite easily, even with the supposedly best of intentions behind them. Again, this is why it’s so vital to learn how to infuse judicious wisdom into our materialization ventures and the beliefs that drive them.

There’s a valuable lesson to be found in this, and exposing wickedness for its true nature is a theme that symbolically pervaded this story’s original source materials, both in the Oz books and movie and in the original Wicked novel and stage production. It’s been brought to life again here, and its importance in days like these is crucial, given that we’re currently living under similar conditions in our own world, sometimes carefully veiled, sometimes not. In fact, it’s that deceptively camouflaged nature of wickedness that likely prompted the creators of the source materials to tell this story as a fable or as a seemingly lighthearted musical. Such narratives might seem somewhat disingenuous on their face, yet they also encourage us to peer behind the curtains that individuals like the Wizard use to obscure themselves and conceal their true natures, and that’s just one of many messages being imparted both to Elphaba and Glinda and to us.

It’s quite a rare occurrence these days when a much-anticipated film actually lives up to all of its pre-release hype, but this screen adaptation of the hit Broadway musical truly does so in every regard. Director Jon M. Chu has brilliantly brought to life the back story behind the lives and relationship of the two witches from the Oz mythology. In telling this tale, the filmmaker subtly but effectively presents audiences with a fable on the nature of good and evil. The result is a thoughtful and thoroughly entertaining tale replete with stunning musical numbers, excellent choreography, ample humor, gorgeous cinematography, an inspired production design and superb performances by the four principals, all of whom are certain to be strong awards season candidates (that’s quite a recommendation coming from someone who unapologetically makes no claim to being a fan of musicals). The picture has already won the National Board of Review awards for best picture and director, and more accolades are sure to follow. More than these attributes, though, “Wicked” is an insightful treatise on the quest for power and learning how to make judicious use of it, both in personal dealings and in matters of wider consequence, a fitting cautionary tale for our times (or any time, for that matter).

If I had any complaint here, it would be my concern that this is yet another example of a story that’s been divided up into two installments, a growing trend that I don’t believe will ultimately serve the movie industry well. However, according to the director, this was seen as a necessary step to do justice to the source material, given that it would have been nearly impossible to cram everything into one picture without doing major damage to the content. And, to give the filmmaker the benefit of the doubt, perhaps that will ultimately prove true with the release of part 2 in 2025 (but I’ll reserve judgment on that for the time being). In the meantime, though, this first part comes through as promised, and, in this day and age, that’s a cinematic miracle in itself. The film is currently playing theatrically in both conventional and 3-D formats, and, by all means, please try to view it on as big a screen as possible.

It goes without saying that “Wicked” is one of this year’s most anticipated films, and that includes expectations for its awards season performance. The picture has already garnered four Golden Globe Award nominations for best picture (musical/comedy), best actress (musical/comedy) (Erivo), best supporting actress (Grande-Butera). and best cinematic and box office achievement. It also captured the National Board of Review Awards for best movie and best director, as well as being named one of the American Film Institute’s best pictures of the year. And there are almost assuredly more accolades to come as this awards season juggernaut rolls on.

The act of creation can be a rewarding, satisfying and enjoyable pursuit. But, if we approach it through unwise decisions, reckless intentions or unfocused efforts, we might live to regret what we’ve done. Others could even come to view us as bad influences, perhaps leading us to being labeled pariahs. That need not be the case, though, if we take the right steps and approach this venture with the wisdom required to do the right thing – and become anything but wicked.

A complete review is available by clicking here.

New Movies for December

Join yours truly and show host Frankie Picasso for looks at five new films and two film festival wrap-ups on the upcoming movie review edition of the Frankiesense & More video podcast, to begin airing Thursday December 12 at 1 pm ET. Tune in on Facebook or YouTube for all the lively chat and movie fun!

Wrapping Up the Black Harvest Film Festival 

The 30th annual edition of the Gene Siskel Film Center’s Black Harvest Film Festival is now in the books, having featured an array of narrative, documentary and short films. The event featured a strong lineup of offerings this year, a big improvement over past years. In all, I managed to catch six films during the festival’s two-week run. So, with that said, check out what I watched and what I thought at “Wrapping Up the 2024 Black Harvest Film Festival,” available by clicking here.

A Heroic Tribute

“Hero” is a revered term that, regrettably, is often overused, one that should be reserved for those truly deserving of the recognition. What’s more, somewhat surprisingly, it’s a label that is frequently most applicable to those who may not seem like the larger-than-life figures to whom it’s most usually accorded. But, in the case of actor and activist Christopher Reeve (1952-2004), “hero” is an attribute most definitely warranted, as chronicled in the new DC/HBO/CNN documentary, “Super/Man: The Christopher Reeve Story” (web site, trailer).

Having burst onto the scene in the lead role of “Superman” (1978), he embodied the very notion of movie superhero, a character whose uplifting impact was definitely needed in a society deflated by many daunting challenges and disappointments at the time. He would subsequently draw upon his success in this film as a springboard to a variety of other, more diverse roles, such as the lead in pictures like the mystical romance “Somewhere in Time” (1980) and the mystery thriller “Deathtrap” (1982), as well as a supporting part in the historical drama “The Remains of the Day” (1993). He would also make a variety of television and stage appearances, demonstrating a performance range many were surprised to see outside of the superhero portrayals for which he was best known.

Outside of his entertainment career, Reeve became an activist for various causes, most notably environmental issues and civil and human rights causes. He was also avidly taken with many recreational diversions, including skiing, sailing, flying and participating in equestrian competitions. And, in addition to his professional, charitable and leisure time pursuits, he was a devoted family man, having fathered two children with his partner Gae Exton and a third child later with his wife Dana (1961-2006).

However, his life took a drastic turn in 1995, when he was nearly fatally injured in a horseriding accident that rendered him a paraplegic. The shock of the incident required a period of difficult adjustment for him, but it would not ultimately deter Reeve from carrying on in various pursuits with the unflinching support of his family. He returned to acting in a made-for-TV version of “Rear Window” (1998) and assumed directorial responsibilities for the TV movies “In the Gloaming” (1997) and “The Brooke Ellison Story” (2004). He also became an ardent advocate for spinal cord injury care and research that gave hope – and, later, promising positive results – to many afflicted with this condition, leading to the establishment of an immensely successful charitable foundation and the passage of federal legislation bearing his and Dana’s names for furthering these worthy causes.

Reeve’s inspiring story is now the subject of an engaging and heartfelt profile  from writer-directors Ian Bonhôte and Peter Ettedgui. It features a wealth of archive footage from interviews with the actor, backed by images from family home movies, and clips from his many screen and stage performances. This material is effectively complemented by current and past interviews with his three children and his many friends and colleagues in the entertainment industry, including Robin Williams, Susan Sarandon, Whoopi Goldberg, Glenn Close, Jeff Daniels and director Richard Donner. Admittedly, the narrative can become somewhat redundant at times, suggesting the need for some judicious editing, but this release provides viewers with an insightful and heartfelt look at the values and virtues that made Reeve who he was – a true hero and a bona fide super man.

Chronicling the Search for Self

 

The search for self is a process that many of us believe we complete when we come of age. However, as we often later discover, it’s something we need to revisit as the circumstances of our lives evolve. In fact, we might find that this is an ongoing, life-long process that requires continual vigilance and assessment. That can be confusing, if not disconcerting, particularly if we assume we’ve arrived at all the answers we need at an earlier stage of life. What’s more, we may complicate matters by believing that the answers to these questions lie outside of ourselves. But do they? While it’s true that these influences may provide clues about how and where to look, resolution and understanding generally reside within us, an indication that the search for self may be best accomplished by going within. These are among the considerations astutely addressed in the engaging and insightful new comedy-drama, “A Real Pain” (web site, trailer).

Cousins David and Benji Kaplan (Jesse Eisenberg, Kieran Culkin) have been best friends since childhood. While they’ve always had their differences, they nevertheless grew up together thick as thieves and then later spent considerable time running the streets of New York as young adults. In recent years, however, their lives changed, and they’ve drifted apart. David married and became a father, necessitating him to settle down with a dull but steady tech job to support his family and maintain a stable lifestyle. Benji meanwhile stayed single but somehow became lost, unfocused and directionless. In that time, David has grown increasingly concerned about the well-being of his cousin, particularly the state of his mental health. At the same time, though, there’s little that David can realistically do for him, given that Benji’s aimless approach to life is on him – and only he can solve it, no matter how supportive David might want to be.

Through all of this, the one thing that David and Benji had in common was a devout love for their adoring grandmother, an immigrant from Poland who cared deeply for her grandsons, even if it meant employing some tough love at times (especially with Benji). Ironically, her recent passing provided an opportunity to reunite the cousins, as she set aside money for the two of them to take a trip to Poland to visit their ancestral Jewish homeland. It was to be her final gift to them, and she so wanted them to have the experience of exploring their family’s roots. And so, with this loving and generous incentive in place, David and Benji decide to embark on this journey of discovery – not just to become acquainted with their family’s past, but also to see if it’s possible to recapture the connection they once had for one another. Moreover, though, it would ultimately become a journey that would bring them closer in touch with themselves, too.

Upon arrival in Warsaw, David and Benji join up with the other members of their tour group, a small collection of travelers on a highly personal Jewish heritage expedition. It would be a trip designed to take the visitors to many historic sites across Poland, including traditionally Jewish neighborhoods, various cultural enclaves and ethnic cemeteries, as well as the Majdanak concentration camp outside Lublin. In addition, David and Benji would append their own ending to the tour with a visit to their grandmother’s ancestral home, the stop they both most anticipate.

The tour is led by James (Will Sharpe), an academic guide with a wealth of knowledge about the history and culture of Poland’s Jewish population and the various sites visited. Joining him and the cousins are four fellow travelers, all of whom are on pilgrimages of sorts of their own: Marsha (Jennifer Grey), a recently divorced middle-aged former Angelino looking to rebuild her life; Mark (Daniel Oreskas) and Diane (Liza Sedovy), a mature married couple from Ohio whose ancestors managed to escape Poland before any of the 20th Century’s major atrocities erupted, relatives whom they affectionately refer to as “Mayflower Jews”; and Eloge (Kurt Egyiawan), a Rwandan refugee who fled his homeland in the wake of his country’s genocide and immigrated to Canada, where he discovered and devoutly embraced Judaism. And then, of course, there are the cousins, whose introduction to the group is marked by Benji’s charming but cryptic and quasi-inappropriate musings, behavior that would come to characterize many of his interactions with the group during their tour (and would often leave David dumbstruck by what he observes).

The following day, the tour embarks on its site visits, all of which are diverse in nature but most of which end up eliciting Benji’s unpredictable behavior, followed by David’s attempts at deciphering these incidents and/or apologizing to his fellow travelers for his cousin’s unforeseen indiscreet and enigmatic outbursts. As awkward as these episodes can be, however, they help to shed light on Benji’s state of mind, insights that provide David with food for thought on where his cousin is coming from, as well as what might have prompted such events in the first place. At the same time, these occurrences also help David to better understand his relationship with Benji, as well as his understanding of himself and how and why his life has unfolded as it has, particularly since he last saw his cousin. That’s especially true for David getting in touch with what he believes he’s lost about himself since becoming a husband, father and upstanding responsible adult. While he may not regret what he’s become, he also can’t help but wonder about what he’s given up in the process, qualities like charisma and spontaneity that Benji has managed to hold onto, even if having done so has carried its own set of challenging consequences, especially in social settings.

Such is how their trip plays out. But, by the time David and Benji reach the end, are they any clearer about their situations than when they started out? Did this hoped-for revelatory experience provide them with the meaningful answers they sought when they went into it? And, if not, what are they supposed to take away from this odyssey, and will it help them going forward? Those are the kinds of questions many of us may ask ourselves when we take the time to stop and concertedly assess the state of our lives. But do the answers help? In the end, it comes down to what we believe.

Our beliefs ultimately provide the cornerstone of how we see ourselves. In fact, they form the basis for the very existence we experience, the key principle underlying the idea that these resources are responsible for manifesting our reality, even if we’re not fully aware of those notions or understand how or why they occupy such a prominent place in our consciousness. It’s unclear whether the cousins are aware of this school of thought, but, based on how their lives are unfolding, it’s a line of thinking they should make a sincere effort to recognize, grasp and put to use in order to create harmony, contentment and peace of mind for themselves.

Given where David and Benji are coming from, that’s a tall order, especially since they have only a vague idea of where to begin, let alone how to find answers. That’s especially true for Benji, whose unpredictable behavior reveals that he probably has almost no clue what he knows about himself or what he wants out of life. He can be brooding and withdrawn one minute and then wildly manic the next. He can also be charming and approachable one second and then crude, insensitive and inappropriate the next. It’s almost as if he’s trying out different approaches to life to see what works best for him, but these constant shifts in behavior and attitude provide him with no meaningful or useful insights. And, as a consequence, others have no idea what to make of him – or he of himself.

David finds himself somewhat in the same boat, even if his perspectives and actions are more subdued than those of his cousin. For instance, he often finds himself frustrated with Benji, especially since he has little idea where his erratic behavior is coming from. Naturally, he’s confused; whatever beliefs David must have held about Benji when they were younger no longer apply, because his cousin appears to have changed – but then so has David himself. He’s approaching life differently from when he was younger, and that altered outlook makes it difficult for him to understand Benji. And that, in turn, prompts David to take a good, hard look at himself, to gain a new appreciation of his own current sense of self.

From that, David is quietly troubled that he has given up things about himself that he once liked, attributes that he subverted or sacrificed for the sake of being responsible. What’s more, his now-more reserved nature makes him feel somewhat marginalized compared to Benji, who seems to be the center of attention most of the time, be it for better or worse. When Benji’s charming and thoughtful sides emerge, he’s embraced by everyone around him. And, when his troubling side surfaces, he’s the recipient of concern and sympathy, regardless of whether the behavior that prompted this response was legitimate or questionable. Meanwhile, in most cases, David is either ignored or paid scant lip service to however he behaves, reactions that make him feel underappreciated, frustrated, left out, and, in some cases, angry or envious.

The bottom line in this is that Benji and David are trying to reconcile significant disconnects with each other and within themselves. But where do they look for answers? In some respects, they’re both hoping that this trip will provide meaningful clues. Getting to know their ancestors’ heritage, they believe, will provide them with insights about themselves. But will it? Even though this journey is meant to be a tribute to their late grandmother and a way to better understand their family’s legacy, their predecessors’ existence in the old country was very different from the lives they’re each leading now. And, even though this excursion could be seen as a fitting homage and an intriguing look into their relatives’ past, will the insights they glean from it really provide the kind of clarity they seek about themselves now? Indeed, in the end, they may find the experience modestly interesting, but will it be enlightening and helpful? Invariably, they’re likely to achieve greater success by looking to themselves and the beliefs they hold about their existence.

This is particularly true for Benji, who develops a close friendship with Marsha. She’s in the process of putting her life back together after a major change in her circumstances, and Benji may well believe that he can learn something valuable for himself by drawing from her experience. But can he, given that she seems to be almost as lost as he is? She may well have just as much trouble getting in touch with the beliefs behind her existence as Benji does about his.

Similarly, Benji appears to sense – albeit vaguely – that accessing the beliefs underlying his emotions is important to figuring things out. This comes to light in the often-hostile reactions he has to James’s intellectualized observations offered up during the course of the tour. Benji seems almost offended that James discusses the lives of Poland’s Jewish forbears in such “clinical” terms, doing little to evoke the feelings behind what those individuals may have experienced in favor of a largely academic framing to his running commentary. On some level, Benji seems to realize that emotions and their associated beliefs are important to understanding oneself, but he sees James’s intellectual musings as getting in the way of grasping the core of that notion. This may be little more than a knee jerk reaction on Benji’s part, but it nevertheless provides a clue about what’s going on with him internally. The trick for him, of course, is can he recognize the value in this and how it might help lead him to the answers he seeks?

Clearly this overall experience provides the cousins with much to chew on. But is it enough? In many regards, it can be viewed as a starting point for further evaluation. However, doing the legwork in their search for self and the beliefs that underlie it is up to them. Here’s wishing them well – as well as the same for anyone else experiencing similar circumstances.

Finding ourselves can be an eye-opening, enlightening but sometimes-painful ordeal, especially if we’re unclear about where to look and how to go about it. Such is the case for the cousins in this impressive release from writer-actor-director Eisenberg. As their odyssey unfolds, they come to realize that they can only go so far in looking outward for guidance and meaningful insight. And the picture’s aptly selected title is an ably suitable metaphor on multiple levels, not only in describing Benji’s often-manic, irrational and unpredictable behavior, but also in characterizing the anguish that he and David undergo in making their way through this emotional minefield. While the film’s road trip/buddy movie format could use some periodic tweaking in terms of focus and its balance between comedy and drama, it nevertheless provides a subtle but poignant examination of conditions that many of us experience. The film features a breakout performance by Culkin, who shows just how adept he can be with the right material (an award-worthy portrayal, to be sure), as well as a refreshingly understated portrayal by Eisenberg uncharacteristically playing against type. Add to this the film’s gorgeous cinematography of Polish landmarks and the country’s landscapes, as well as its fittingly appropriate Frédéric Chopin soundtrack, and you’ve got a profoundly thoughtful release, one that should give anyone in the cousins’ shoes pause for reflection, something from which we can all benefit from time to time, no matter what we’re ultimately looking for and where we’re searching for it.

“A Real Pain” is deservedly racking up its share of awards season recognition, including four Golden Globe Award nominations for best picture (musical/comedy), best actor (musical/comedy) (Eisenberg), best supporting actor (Culkin) and best screenplay, as well as two Independent Spirit Award nominations for best screenplay and supporting performance (Culkin). In addition, the picture earned the National Board of Review’s award for best supporting actor (Culkin) and a designation as one of 2024’s Top 10 Films, an honor similarly bestowed upon it by the American Film Institute. And, earlier in the year, “A Real Pain” won the Sundance Film Festival’s Waldo Salt Screenwriting Award and was nominated for the Grand Jury Prize for drama. The film is currently playing theatrically.

Finding ourselves can be a truly rewarding experience, but it often takes work, and sometimes on a continuing basis, too. Indeed, it can be, to quote the movie’s title, “a real pain.” The effort is worth it, though, especially when it yields the satisfaction and fulfillment we seek. And, thankfully, it’s a venture that conveniently begins at home. So don’t go booking that flight to Warsaw just yet….

A complete review is available by clicking here.

Copyright © 2024, by Brent Marchant. All rights reserved.