[9.8/10] Growing up is hard enough. Figuring out who you are, figuring out the balance on what’s in the core of your soul and what parts of it you’re willing to share with the world is a difficult endeavor under the best of circumstances. Throw in the difficulties of living in a household of addiction, of a sexual preference that earns you additional scorns, and an already fraught journey becomes a cruel and unforgiving one.
Despite the harshness of these difficulties, Moonlight finds the beauty forged within that crucible, the kindnesses large and small, the transcendent moments and connections, that help a sweet, put upon young boy have something to hold onto as he becomes a man. It is, despite the aesthetic pleasures of its gorgeously shot scenes, at times an ugly, dispiriting film, but ultimately a life-affirming one, centered on the unique challenges of its protagonist, struggling to define himself, and finding his way among the pitfalls and gentler paths of growing up.
It is a lovely (and to my mind, superior) companion piece to Richard Linklater’s Boyhood, another coming of age tale told in pieces with a reserved but introspective bent. Certainly, the circumstances of Chiron and Mason are markedly different. And Moonlight does not share Boyhood’s ambitious ten-year film schedule, instead relying a trio very talented actors who manage to turn three separate performances into one remarkably unified character. But both gain strength and meaning from the contrast of who the young men at the center of these films are at various points in their development, and how they explore what lessons, ideas, modes of being, stick with them or come back later in life, and what falls by the wayside.
It is a film that is both strikingly specific but also universal. Director Barry Jenkins does well to explore the particular hardships of being stuck in the middle of a parent who doesn’t know how to deal with her son’s differences and labors under an addiction and a mentor who accepts those differences, who guides this young man and gives him tools to survive, but who also feeds his mother’s dependency. Moonlight also succeeds in its focus on Chiron’s fraught attraction to his best friend, Kevin, bound up with all the fears and insecurities of teenage affection, with the added challenges of homosexuality and race that deepen the sense of unsteadiness, self-doubt, and betrayal that come with such steps into adulthood. There is a specificity to these threads, a depth and particularity to Chiron’s unique struggle through uncharted waters.
And yet, it is rooted in such recognizable emotions and motivations that the film transcends his individual story at the same time it embraces it. Moonlight explores the perilous effort to define yourself – in relation to, in opposition to, in the shadow of blessings and pain – from the misfit kid who doesn’t know where he belongs, to the troubled teenagers who find comfort but make their choices, to the adult who remakes himself in a loved one’s image. That struggle is an eternal one, one experienced by everyone, even as its given poignant life in one young man’s story.
The most universal, heartening, and at times heartbreaking aspect of Moonlight, however, is that it is also a love story. As much as the core of the film is about Chiron’s development, about the man he would become and the boy he was to get there, the heart of the movie is in the relationship between him and Kevin. In their gentle companionship as children, to their shared vulnerabilities and comfort on the beach in adolescence, to their cautious but tender reunion as adults, Moonlight depicts one of the most complicated, most believable, and most compelling love stories to make its way to celluloid in years. There is a truth in the pair’s few tentative steps, in the hesitant way their romance moves forward and crumbles in turn, and the baggage and lives lived that hang in the background as it’s rebuilt, that gives it a force unmatched.
The shape of that love story is given form by the incredible art direction, editing, and cinematography in the film. At a time when where the two stand in relation to one another is very uncertain, Moonlight lingers on images of Kevin lovingly preparing a meal for Chiron. The warmth of the process, the tactile effort of it, become the focus in a fashion that tells you everything about how Kevin feels without anyone needing to say it. At other point, the camera swirls around, giving you a view of the tumult in this corner of Miami and the man at the center of the orbit. And by the same token, the film’s use of color is outstanding, with crisp blues that stand for the choices confronted Chiron, as outlined by the man who takes him under his wing, often isolating it amid white space or primary colors. There’s a warm naturalism in how the film is shot, where every hue pops and a gentle glow that permeates moments harsh and beautiful.
But all that beauty is in service of what is, unassumingly, a tremendous ensemble film. As the film passes through the years, only Naomie Harris (who gives an incredible performance as Chiron’s mother Paula) appears in all three segments. And despite their comparatively brief appearances, Janelle Monáe and especially Mahershala Ali make big impressions as the early lights in Chiron’s life. But with that lack of continuity, it falls to the tripartite collection of actors who portray Chiron and Kevin at different points in their lives to carry the whole, and each rises to the occasion. There is a unity to these two young men, from youth to adulthood, a cohesiveness to their struggles and their character even as each changes dramatically, that speaks to the overwhelming talents of the actors young and old, and the quality of the writing that support them.
Moonlight is simply a superlative film, one whose merit and impact, I must confess, are hard to capture with the clumsy implements of the written word. It is wide in scope, spanning years and grazing eternal truths, but also focused and succinct on the compelling story of Chiron and committed to providing a glimpse of his inner life. It shows harrowing events in gorgeous ways, and tender moments with artistic care. It is a film about who we are, and who we choose to be, that finds power and beauty in the spaces in between.
This episode is simply stupendous.
Space combat in this TV show is different than other sci-fi shows. It's more realistic, and just plain cool. It would be worth watching the show just for that, but the writing is excellent too!
The population differences are interesting: Earthers, Martians, OPA, and Belters (and Ceres inhabitants, if they are different.) I especially like the Martian culture. The humans who come from Mars are vaguely similar to Romulans in Star Trek (TOS); their difficult life on Mars has resulted in a fascist-like dedication to the state and fierce militarism, yet also a noble dedication to their own people. There is also a sort of Cold War type stand-off between Earthers and Martians, with little information flow and a lot of mystery and suspicion. The ending of this episode also brings to mind Romulans. And yet, the Martians are unique and don't seem derivative at all. One nitpick: the red lighting in the Martian helmets is trying too hard to say, "These guys are the Martians!"
Belters are tall and thin. In this episode or the previous one, we learned that Belter prostitutes are very striking in lingerie. Belters are even more culturally different from Earthers than Martians are, in that Belters have their own language, which apparently includes body motions.
The Earthers we've seen have mostly been corrupt upper class and bureaucrats. They enjoy fine wine, while giving lip service to plans of recycling that they'll probably never actually implement.
Oh, and then there are the Mormons. LOL. They count as their own faction. And they have a Plan.
I liked it better when the four DC shows aired on four different nights, but whatever. I guess the people at the CW wanted to boost the ratings by airing Legends after The Flash.
I can't believe that they made an episode about the Legends trying to convince George Lucas to become a movie director. That is so wild. I love it. And there were so many awesome references to Star Wars, like "You're our only hope" and the trash compactor.
Rip forgot who he is and to be honest, I hope he won't remember anytime soon. I like the team as it is.
Every now and again I randomly remember that Arthur Darvill played Rory Williams on Doctor Who. Apparently, he was destined to play characters travelling through time and space on a ship.
It was such a small moment, but I love the trope of a super intense scene with people running or fighting cutting to a shot of someone riding in an elevator with soft music in the background. It always makes me laugh, no matter how many times I've seen it.
"- I have an idea.
- So this would be a new milestone for you then."
Professor Stein went in and took no prisoners, huh? How did Mick manage to recover from such a savage burn?
why is Sheldon turning into a such a sexist twat? bring our lovely awkward boy back.
Ok, this show just went from "pretty cool" to "amazing". I enjoyed this show, but I just fell in love with this show.
This show is so eerie but in an excellent way. I could totally see having these human droid bots in the future as part of everyday families. Looking forward to seeing how this season turns out!
Only worth the plot of the Android
It may be realistic for every conversation to be interrupted by a phone call or a text, but it's seriously annoying for us viewers. I was praying for them to shut off the cell phone service, and this episode my prayers were answered. Finally the government did something right...
This shit is so awful.
Excellent adaption. Highly recommended. I can wait for part 2 :-D
First when I heard that Mark Ruffalo is playing the Hulk, I thought "Awww man, no way!".
But he was terrific! I really enjoyed the quiet way he was speaking and thanks to Lou Ferrigno's screaming, for the first time the Hulk was really scary to me. I was like "Oh shit! You better run Black Widow!" ;D
Combined with a great sense of humor he probably was the best charakter during the 2 hours.
The scenes I liked the most were: "Thor vs. Iron man" & "Thor vs. HULK" :D
That was something that every Marvel fan was waiting for - just awesome!
Iron man is totally rocking it again. Tony Stark's presence is sensible all over the screen.
And how could it be bad with the support of Alan Silvestri. He did a great job with the soundtrack.
It's fun, it's great action, it's very entertaining - but there are two things I have say:
1st: Cobie Smulders (alias: Robin Scherbatsky from HIMYM) did absolutely not fit into that movie. I was always waiting for her to say something stupid & her role was maybe completely useless.
2nd: The plot - it was nothing new. You know one world get pulled onto the earth, invasion, destroying the city... It's pretty much like "Transformers 3" but with super heroes.
Anyway, I suggest you go and watch it - it's one of the best Marvel's.
Can't wait for part two!!!
