Growin' Up: Review of Moonlight

Moonlight

Director: Barry Jenkins

By Alex Watson

Never before has finding your own identity been so painstakingly realized and director Barry Jenkins picture Moonlight is a movie that lives up to its big festival hype. Emotionally heart wrenching throughout, this movie makes the most of its unique premise and shows us both the pains that come with both youth and adulthood in unflinching detail. We observe life through the eyes of one person through three different ages and Jenkins makes us unable to look away for even a moment.


This picture traces the life of Chiron (Alex Hibbert, Ashton Sanders, Trevante Rhodes), a gay drug dealer through three different ages. A bullied young kid with an abusive crack addicted mother (Naomie Harris), at first he finds a father figure in dealer Juan (Mahershala Ali) and a friend in Kevin (Jaden Piner, Jharrell Jerome, Andre Holland). Throughout growing up Chiron is often bullied for his size and for being homosexual. Struggling to stand up for himself and find his real persona will lead the young man down a slippery slope.

Starting with Chiron running from three bullies who pick on him daily, Jenkins wastes no time in showing the problems this boy faces. Juan at first is a kind and encouraging figure in the boy's life in parallel to his mother Paula who is capable of being immensely loving to incredibly abusive in a heartbeat. When they first meet, he struggles to get the young man to talk and invites him to eat dinner with his talkative girlfriend Teresa (Janelle Monae) Often staying in this dealer's luxurious house, Chiron has a feeling of security compared to his harsh life living in poverty at his dingy mother's place where he is often 'entertaining' or on drugs. There is a touching scene early on when Chiron asks Juan what a homosexual slur kids throw at him means and Juan follows up with a talk about finding his own path in life. While Juan provides him with a blanket from the abuse, there is also a big issue of him dealing the very drug that afflicts his mother. While catching Paula smoking crack, he berates her for his irresponsibility while she follows up with mocking for being the one causing it.

The middle chapter of Moonlight is by far the most poignant as it shows the harshness of teenage life as Chiron is a lonely, vulnerable teenager beaten up daily by bully Tyrell (Patrick Decile). This sequence is also the first showing of his changing sexuality as while Kevin has grown into a popular and boisterous teenager, one night at the beach will create a life changing moment. Jenkins and cinematographer James Laxton handle this scene masterfully and under the darker and more night washed tones, this moment is one of the standouts. There is also a growing risk of violence in Chiron and the abuse both at home and daily at school are a source of constant tension. Jenkins makes every second like a ticking time bomb and when Kevin is forced to inflict a brutal beating on his friend, that feels like the straw that breaks the camels back. The groundwork is laid and the scared little boy formerly called 'Little' will evaporate before our very eyes.

Chiron has turned into a copycat version of his former father figure as the movie goes full circle in chapter 3. Jumping forward a decade, Chiron is now a muscle-bound dealer where the gold chains and earrings. Going by the street name 'Black' (a name Kevin gave him previously) he commands the respect denied to him in high school. Underneath he may be the same lost and affected boy which is shown in an emotional scene with his mother in rehab who although scolds him for becoming what she feared acknowledges that she ruined her own life. The real game changer comes when Kevin calls him out of the blue wanting to meet, in an instant Chiron is floundering, speechless and digging up emotions thought lost. The use of music during this finale is well used by Jenkins as 'Hello Stranger' by Barbara Lewis strikes up. Hard truths are revisited and Chiron is forced to face the person who he really is, never before have these type of characters had this kind of emotional depth. While Jenkins might not transgress into sentimental territory, the raw power of his script shines through. Photographer James Laxton is one of the true stars as his ever-changing cinematography from sunny and shiny to a neon-lit Miami night provide the movie with its feel.

The triumvirate of young men playing Chiron are equally excellent, Alex Hibbert is the shy and curious young Chiron who although sheltered from harm is aware of his surroundings. Ashton Sanders is the lost and angry side to this character and his performance is the one that will tug at audience sides as he comes across a young tiger who is poked one too many times. Trevante Rhodes is very much the character muscle but it able to convey Chiron's vulnerable side masterfully during the final act. Naomie Harris is also a revelation as his addict mother and each time she enters the fray we hold our breath. The extent of her addict and the unpredictability that comes with her persona is expertly portrayed by Harris. Mahershala Ali and Janelle Monae make for a fine pair of surrogate parents in the early stages of Jenkins' movie and together they give a loving and protective feel to the story.

Moonlight is deservedly the best review movie of 2016 and currently it will serve as a front-runner for awards season. Barry Jenkins emerges a real talent to watch and his unlikely premise is one of the strongest offering we could have wished for.

Hit The Road Jack: Review of Jack Reacher: Never Go Back

Jack Reacher: Never Go Back

Director: Ed Zwick

By Alex Watson

The First installment was an accomplished ride with plenty of thrills. With Jack Reacher: Never Go Back, new director, Ed Zwick (who also directed Tom Cruise in The Last Samurai) comes the closest to capturing Reacher's book persona. Many complained loudly about Tom Cruise's casting as the ex-army man, but this movie only proves what an inspired choice he was. Despite a great Cruise turn, a poor central story fails to give audiences the same kind of excitement.

When Jack Reacher (Tom Cruise) assists the army in apprehending a wanted suspect, he makes the acquaintance of Major Susan Turner. When he makes a visit to D.C he finds that Turner has been arrested for espionage. When he starts digging deeper into the case, Reacher suddenly finds himself accused of murder. To clear his and Turner's name he busts her out of jail and goes on the run. Soon it becomes clear that this corruption plot cuts close to home.

Zwick kicks start Jack Reacher: Never Go Back in terrific style as we open on Reacher alone in a diner with four men lying beaten up outside. Sipping his coffee without a care in the world, our hero then proceeds to inform the smug sheriff that in the next 90 seconds a phone will ring and he will be the one wearing the cuffs. His early phone calls to Turner (who has become his replacement in the military police) wouldn't look out of place in a new age romantic comedy, when he finally fulfills his promise of visiting her in Washington, that's where Zwick decides to change tracks. When he discovers that Turner has been arrested, his old detective instincts kick in and quickly it becomes clear that something fishy is going on. When they attempt to arrest him for the murder of Turner's lawyer, his suspicions are swiftly confirmed.

Aside from a lot of scenes featuring this man running around, this sequel does pose a question as to how men like Reacher really survive? This film introduces 15-year-old Samantha (Danika Yarosh) who may or may not be Reacher daughter. Throughout the picture we see him playing protector to this young troublemaker while wrestling with his inner conflict. Years of drifting around have given this guy a lack of ability to settle down, could this girl be key to living a normal life?  He argues constantly with Turner and Samantha on their road trip and struggles to keep his cool. His reasons for abandoning the army are still ambiguous "I woke up one morning and the uniform didn't fit" he tells Turner in the beginning. His former employers have also laid a nasty surprise for him as a clause in discharge allows them to reactivate him and also arrest him.

Despite being a fun and entertainment blockbuster, Jack Reacher: Never Go Back is let down by a weak central plot involving a dull corruption scandal involving military contractors led by General James Harkness (Robert Knepper). While surprises lie around every corner, they fail to excite quite like The Zec plot line in the first film. When the action switches to New Orleans, even setting the last act during the annual Halloween celebrations doesn't provide sufficient enjoyment. Instead, we are stuck watching Reacher and company hopping across rooftops trying to evade the least threatening blockbuster villain The Hunter (Patrick Heusinger) who seems to do little more than just wear black and beat people to a pulp. Ed Zwick does his best but cannot match the stellar work that Christopher McQuarrie brought us last time. Though this character seems to be making his presence felt on the big screen and we can expect another outing for the 'Ex-Major'.

Tom Cruise is what gives this Zwick's movie its strength and when it comes to anchoring big money projects, look no further than this guy. Many die-hard Reacher fans complained he was too small to play this guy but Cruise captures his gruff attitude and hard-nosed detection and Never Go Back feels like he wearing the shoes comfortably. Mission: Impossible might still be his calling card, but with enough time Jack Reacher could be equally strong.

Jack Reacher: Never Go Back is a good ride if you just want some big screen fun, but Lee Child fans might not be so pleased.

Proof: Review of Denial

Denial

Director: Mick Jackson

By Alex Watson

Some excellent performances are sadly not enough to prop up Mick Jackson's Denial. While this is a solid and thought-provoking story of the notable libel case involving holocaust denier David Irving, it lacks the needed spark to bring it to life. David Hare's script is a well-paced one, but Jackson's direction often flounders, letting down what could have been a gripping story.

Deborah Lipstadt (Rachel Weisz) is a Jewish-American academic who has recently released 'Denial: The Holocaust on Trial' which is highly critical of the opinions of Nazi historian David Irving (Timothy Spall). When Irving confronts her directly and challenges whether the Holocaust ever existed, Lipstadt is insulted. Soon after, Irving sues her for libel in England and forces her to prove whether this great atrocity ever existed. With the help of QC Richard Rampton (Tom Wilkinson), she sets out to prove him wrong.

While Denial is a moving picture that deals well with the absurdity of having to prove hard facts, Jackson doesn't succeed in making memorable. Things start well with Irving confronting Lipstadt during a lecture at Emory University in Atlanta. He openly dares her to prove whether the Holocaust ever took place, taken aback Lipstadt refuses to debate facts. Irving is a cunning edge to the movie that holds the glue together and when he sues her, we can tell he isn't going to go quietly. Highly intelligent and self-educated, Irving is a man who firmly believes his theories and will go down swinging to prove them. Soon after, Lipstadt recruits barrister Anthony Julius (Andrew Scott), who famously represented Princess Diana during her divorce who then aids her in getting headstrong QC Richard Rampton.

From there Jackson decides to make this a straightforward legal drama, there are moments that do raise the game such as an emotional trip to Auschwitz with Dutch scholar Robert van Pelt (Mark Gatiss). But the majority of the action before court time is Deborah squabbling with her legal over the best approach to expose Irving's lies. She wants to put former Holocaust suffers on the stand to give validity to the argument- Julius passionately refuses. Irving is a slippery fish in court and gives his now famous statement about the lack of evidence of three chimneys used for cyanide in gas chambers. 'No Holes, No Holocaust' he claims and the case seems at a standstill. During this time there are scenes which do go to a deep core, in particular when during a dinner Lipstadt is encouraged by a Jewish organisation to settle with Irving.

The finale should have the needed fireworks, but Jackson seems uninterested in releasing them. This lack of emotional involvement gives the movie a void that is impossible to fill. Some key flaws in Irving are exposed and it seems his theories of Nazi Germany might have other influences. Overall the movies rolls towards its expected conclusion and while the voices of those who perished are heard loudly, we can't help but feel that this is just tailor made Oscar bait. Mick Jackson, who previously directed The BodyGuard does show some promising touches during the court scenes but this piece really should have been so much more.

Rachel Weisz for what is possibly the first time in her career fails to sufficiently convince us. Her Queens accent feels strained and seems like that is what Weisz is giving primary attention to for her character. Usually an engaging actress, Weisz feels drastically miscast in this role. Timothy Spall firmly steals the acting honours with an impressive turn as Holocaust denier, David Irving. A self-educated and proud man, Irving is a man who seems to have an answer for anything thrown at him. Spall gives this character a likeable and charismatic feel that makes disliking his convictions hard.

Denial is a movie that wants to be considered for the big prizes but unfortunately, it falls short of what it wants to bring across.

By The Numbers: Review of The Accountant

The Accountant 

Director: Gavin O'Connor 

By Alex Watson 

While The Accountant does have stretches where it succeeds as a straight thriller, its underdeveloped story, and misjudged feel are sorely lacking tension. Ben Affleck gives a committed performance, but even he cannot rise to give this movie the dramatic touch it badly needs. Director Gavin O'Connor seems to want to create some sort of autistic superhero and due to a ham-handed backstory for the character and its tendency to gloss over key character points leave us with a lack of empathy.

Christian Wolff (Ben Affleck) is a math savant who runs a small accounting practice, but his work is a mere front for his work does illegally accounting for some the world's most dangerous people. When he is recruited work for a big robotics firm run by Lamar Blackburn (John Lithgow) he uncovers a significant amount of money going missing. During this time he comes across pretty accountant Dana (Anna Kendrick) and he is also been chased by Treasury agent Ray King (J.K Simmons). Where does the trail lead? The answer to that will involve bodies stacking up. 

O'Connor seems unsure about what way he wants to take The Accountant because it starts with some intriguing mystery as we see King talking to a colleague about this mystery figure who traces missing money for the baddies. Christian is a character who is very much a loner and to the films credit it does get a lot of details right about his condition as he doesn't like eye contact, has problems with social cues and is prone to fits of anger when he cannot finish something. What it loses points on is the depiction of his martial arts upbringing by his high ranking army father who groomed him from a young to be some kind of superhero. Also immediately, O'Connor throws believability out of the window when it is revealed that also his hideouts are filled the brim with all the latest fancy weaponry and he can drop everything and move within minutes.

The main problem is that so much of story feels confused and not much makes sense. At the centre is a potentially interesting story of corporate corruption, sadly due to a poor script by Bill Dubuque, motivations are confused and the plot becomes muddled from there. It seems like O'Connor is more interested in letting the bodies hit the floor that really explaining what is happening to his audience. Dana is a character that although introduced as the sweet romantic relief, is drastically underwritten to the point of being unnecessary. There is zero chemistry alongside Christian and the sloppy romance approach just feels awkward and unreal. His motivation for wanting to see her live is completely glossed over and seems like an eleventh-hour story addition. Similarly ill-explained are the intentions of mysterious man Braxton (John Bernthal) who goes from place to place makes bizarre threats but not clueing us into the bigger picture. 

A clumsy and mismatched ending with some predictable twists is also a big problem for The Accountant as things come full circle. What could have been a cold-blooded and remorseless finale is fumbled at the one-yard line by O'Connor who tries to add a comedic touch. Throughout we see Christian take aim with his huge sniper rifle and emotionlessly kill any number of hitmen with a brutal efficiency.  While the final moments do so his great killing ability it just feels a flavorless and dull end to this journey which doesn't bring its audience much joy. Its focus on how autistic are just people and capable of being stone cold killers feels like a big misjudgment when the story alone of Christian being the man who goes where the average fears to tread would have been fascinating alone. Gavin O'Connor has made some good films, Miracle and Warrior showed the bonds of brotherhood well, his thriller credentials remain in the balance. 

Ben Affleck does his best to bring Christian to life and on some levels, he does succeed because he handles the little details of his diagnosis well. His portrayal of this character as some kind of weapons Superman leaves his character feeling mismatched and he is never really able to recover from this tailspin. There are solid supporting turns for Anna Kendrick, J.K Simmons, and John Lithgow, but none really has much to work with and for a cast of this caliber they feel stranded in a weak story line. 

The Accountant is a thriller that could well have had more merits, but instead, the audience will have to stick to playing count the body numbers. 

 

Derailed: Review of The Girl On The Train

The Girl On The Train

Director: Tate Taylor

By Alex Watson

Book adaptations often divide fan opinions, but in the case of Tate Taylor's adaptation of Paula Hawkins popular thriller The Girl On The Train, the cries of anguish have been loud. Many fans were upset by the unnecessary changing of the story from London to New York and by the casting of Emily Blunt who was deemed 'too beautiful' for the role by Hawkins herself. While it may not be a complete disaster, this movie drops well short of the expectations and what could have been a well-crafted thrill ride turns into a ride to nowhere.

Rachel Watson (Emily Blunt) is an alcoholic divorcee who still pines for her former life with ex-husband Tom (Justin Theroux). Taking the same train every day, she sees him playing happy family with the woman he left her for Anna (Rebecca Ferguson). On the same train, she observes the couple next door Scott (Luke Evans) and Megan (Haley Bennett) who to Rachel seem to like the perfect couple. When Megan goes missing and is presumed dead, Rachel takes it upon herself to find out what happened. By involving herself in her old world and invading other people's lives a dangerous path follows.

While the moving of location to New York might be one of the stronger points of The Girl On The Train it lacks the needed tension that book gave in buckets. The early train rides past her old neighborhood in upstate New York are breathtaking. We feel the pain as the train stops and forces her to gaze upon her husband living in their old house with the woman who ruined things.  Another plus point is how Tate Taylor with brutal honesty demonstrates the effects of Rachel's alcoholism and how her misery has compiled from her self-loathing. Bitter about her divorce and unable to shake the past she is lost in a sea of despair and her constant appearances have caused friction. After waking from one particularly disturbing blackout, she is shaken to the core.

The skewed narrative does well to show Rachel as an unreliable narrator and its non-linear structure makes us second guess frequently. Permanently sozzled, we often wonder if Rachel is hiding something as she can never seem to remember anything "I'm not the girl I used to be" she denotes frequently. Investigating officer Detective Riley (Allison Janney) suspects she knows more but Rachel is unable to trace her steps. Megan and Scott represent everything she yearns for, but as events inform us all is not as it appears. While it is key to the plot, Megan's story feels undercooked and doesn't quite draw us in. Haley Bennett looks the part of the devoted wife, but she fails to really engage. Her supposedly volatile relationship with Scott is never properly explored and her sessions with the mysterious Dr. Kamal Abdic (Edgar Ramirez) fill more like fillers than actual plot devices.

Key to the fans frustration in The Girl On The Train is Erin Cressida Wilson's script, what starts as promising stuff soon ruins itself with its insistence on too many twists, the majority of which feel predictable and it lacks the suspense of the novel. The final act which was soon shocking on paper just feels bland and near laughable. Taylor tries to dress things up well, but his talented cast cannot bring this to fruition. The cinematography of Charlotte Bruus Christensen is the real star of the piece as through her gliding shots she draws the audience into the heart of things. She firmly captures the continual insomnia of Megan and Anna's restlessness with her perfect home life. One notable exception is watching Rachel waking up to more than a hangover in her room, through Christensen she wakes up to pools of vomit, blood, and a nasty head wound. This one scene is the element that changes the tide.

What holds the film together is an outstanding star turn by Emily Blunt who is proving herself a capable actress across multiple forms. Blunt does more than just capture Rachel's continual drunkenness she absolutely nails her fragility and disillusion of how her once perfect life has gone south. In one amazing monolog, she ably demonstrates the characters self-destruction, hatred, and her desperation. Mesmerizing throughout, Blunt holds the audience sympathy but never crosses over into alienating them. She also gives Rachel a good air of hope and we hope she finds the redemption she so needs. Many criticized Blunt as miscast in this role, but it is impossible to think of the picture working without her.

The Girl On The Train will go down as a badly missed opportunity, it might be a pretty looking ride but its lack of story will have fanatics steaming at the ears.

Station Approach: Review of Off The Rails

Off The Rails

Director: Adam Irving

By Alex Watson

Adam Irving's documentary featuring on notorious NYC transit offender Darius McCollum is a bittersweet tribute to a man's love of trains and how the government has kept him locked up for it. Having spent the majority of his adult life rolling in and out of prison, Off The Rails exposes the fundamental lack of care provided to him by the state, their refusal to acknowledge his mental illness and their unwillingness to really solve the problem.

As a bullied child, Darius McCollum often sought refuge in the NY Subway and when he did it was love at first sight. By age 12 he was helping out at pretty much every station and found an acceptance and love he never felt before. At 15 one MTA official asked him to drive his train down to World Trade Centre and even though Darius perfectly drove train, he was still arrested which would become his first of 29 arrests. Darius has spent a lifetime pretty much volunteering for the MTA, but although Irving makes out that his crimes are victimless, the State of New York refuses to see it that way.

Irving and many other commentators pin-point Darius' early Aspergers diagnosis as the root cause of his inability to stop riding trains and buses. One scene documents how one judge dismissed this diagnosis simply because she read an internet search and claimed "he should be able to control his impulses" His many prison sentences could have likely been avoided if state officials had provided adequate care. While imprisoned he has yet to be given counselling or any kind of psychiatric help. Frequently throughout Off The Rails we see Darius released from jail and forbidden to leave the city and visit his ailing mother in North Carolina. All they are succeeding in doing is putting an addict right next to his addiction again. While he's a continual source of humiliation to the MTA, we question whether their constant prosecution is necessary?

Throughout this movie, the audience will find its emotions flying up and down as we fear what will happen to this man next. There are moments which make us smile such as the heart-warming story of Darius impersonating a transit supervisor and telling employees how to improve their work or his brief finding of love with ex-wife Nelly. It's Darius' relationship with his beloved mother that gets us the most as despite almost never seeing her son she still loves him unconditionally. She is convinced that moving her son to North Carolina with her will end his obsession one and for all, but getting him there is the big problem. Many people got to bat for Darius throughout this movie such as social workers, advocates, even a former NY district attorney expresses a degree of sympathy for him. Despite their support, Darius is treated simply as a felon and it feels like a matter of time before he ends up inside again.

McCollum himself emerges as a colorful and at times entertaining subject and his complete honesty about his inability to give his love of riding the rails is deeply moving. Wanting to make a change but frequently denied the tools to do so, Darius is a figure who has gained a notoriety in the New York media for following what he loves. Off The Rails is a picture that offers plenty of solution and paths for people to take, but the state seems determined to keep him on the same path. As the movie's credits close in we hope for an ending that brings us the warmth and closure we so desperately seek but those hoping for a fairy tale better be prepared.

One of the stand out films from this year's Bloor Hot Docs Festival, Adam Irving's film might not have much exposure in the mainstream, but this is documentary that is worth seeking out.

Ocean of Oil: Review of Deepwater Horizon

Deepwater Horizon

Director: Peter Berg

By Alex Watson

As a director Peter Berg is able to convey disasters well, his previous effort Lone Survivor with Mark Wahlberg was a thrilling yet poignant tribute to man's instinct to survive the odds. His latest picture Deepwater Horizon chronicles the 2010 disaster which resulted in the biggest oil spill and the worst oil rig disaster in history. After original director J.C Chandor stood done, many wondered how precisely Berg would approach this subject? This picture full analyses how greed by big corporations and unsafe practices can result in things going array very quickly.

Mike Williams (Mark Wahlberg) is a Chief Electrician on the Deepwater Horizon oil rig in the Gulf of Mexico. When arriving with his superior Mr. Jimmy (Kurt Russell) and co-worker Andrea Fleytas (Gina Rodriguez), they realize that the contractors BP are massively behind schedule are trying to recoup lost time by sidestepping important measures for rig safety. Although their superiors assure them all is fine, their negligence will soon result in a disaster that will put all lives on the line.

The first hour of Deepwater Horizon is a finely tense affair and Berg ensures our anticipation and dread is cranked up to the max. The opening is a calm and blissful affair as we see Mike bonding with his wife Felicia (Kate Hudson) and his daughter. Out of the grizzled rig vets on screen, Mike is the only one we really get to know and seeing his family again becomes an important character strength. When the crew arrives on site, things begin to technical and Berg doesn't hold back on jargon such as blowout preventers, kill lines, and negative pressure tests.  Mr. Jimmy is highly suspect about the methods being used by his BP bosses and when he notices they are 43 days behind, his suspicions are confirmed. Every little creak and bump that we hear in the rig could be a potential hazard.

Donald Vindrie (John Malkovich) is an arrogant BP bigwig who acts as if he knows the drilling business like a second nature and his over confidence and shortsightedness are what derails events. He is the very face of corporate corruption that values the dollar over their worker's safety. The underwater pipes are heavily overloaded and could burst at any second. To master the tension, each shot we see of a negative pressure test and the gasket meter running in the red zone makes our hearts jump. Vindrie sternly refutes that the pipe is the problem, not the overloading, Mr. Jimmy can see a disaster brewing but is powerless to intervene due to the stubbornness of the people above him. All around us, we cannot tell whether the workers or the rig will blow first?

When the explosion occurs at first it is a horrifying mixture of mud and flames, but asides from a quick burst Deepwater Horizon is unable to make use of the needed action. Everything that can catch fire does and what starts as a minor explosion soon becomes a fiery tomb. There are some nervy moments watching Mike sulking around corridors of the wrecked rig looking for any survivors. Unfortunately, these moments are seldom seen and it leaves a dampener on what has been a great ride. Each time either Mike, Jimmy or anyone attempts to kill off the flames, we all know that saving this place is a foregone conclusion. For the final segment, it just feels like Berg is attempting to draw more minutes out when it should focus on the workers running for safety. Aside from this slight lapse, this is still a fine tribute to the bravery and courage that people demonstrate when things are on the line.

Mark Wahlberg proves to be Peter Berg's go to guy when he needs acting chops and as Mike Williams, he gives a fine performance of an every man faced with an impossible task. A likeable family man, Mike is the one look we get at workers off the rig and his quiet intensity is what sets him apart. Kurt Russell also makes for fine supporting fodder as Mr. Jimmy, his weary and frustrated manner with his BP superiors is what gives this picture some friction. His character might appear to be a typically cliched one, but Russell owns every minute of his screen time. Skilled at villainy, John Malkovich is perfectly oily (no pun intended) as Donald Vindrie. Coming across the kind of self-serving swine you always cross in corporate offices, Malkovich perfectly emphasizes the meddling forces at bay.

Deepwater Horizon is a fine disaster piece and firmly demonstrates the heroics taken on what has become one of the worst disasters this century.