T-Minus: Review of Hidden Figures

Hidden Figures

Director: Theodore Melfi

By Alex Watson

Hidden Figures brilliantly brings to light the essential role played by three African-American women during the Space Race at NASA. A story previously unknown to the public, all three helped change the boundaries of both gender and race during their time at this institution. Director Theodore Melfi brings across as a heartfelt feel to this picture and wonderfully lets the story tell itself rather than going for an overblown approach. The work these three women did was nothing short of miraculous and John Glenn's now famous flight might have been a far different story if not for their actions.

Katherine Goble (Taraji P. Henson), Mary Jackson (Janelle Monae) and Dorothy Vaughn (Octavia Spencer) are all employees of NASA. All feeling frustrated by the lack of advancement for both women and African-American's, each will take liberties into their own hands to get their voices heard. Space Director Al Harrison (Kevin Costner) is concerned with the upcoming space flight by John Glenn (Glen Powell). With the world watching, all of these three women will combine to launch one of the most anticipated moments in history.

The strength of Hidden Figures come from the toughness of each of the three leads. All are brilliant and brave in their own ways, Katherine is a mathematical genius whose gift is frowned upon by her all male superiors including insecure Paul Stafford (Jim Parsons). Dorothy is the defacto leader of a team of 'Computers' who is repeatedly denied promotion despite being overqualified. Sharp-tongued Mary while encouraged to be an engineer is denied due to silly technicalities. Melfi presents each of these characters with great authenticity and doesn't succumb to the urge to phone in the message. Set against the era of segregation, their battle isn't just in the workplace, it's all around. Thankfully the people around them are not presented as outright racists. Characters such as Kirsten Dunst's snooty Vivian Mitchell are ones bound by tradition and protocol.

Against the clock with the space race, the US is losing ground to the Soviets once Yuri Gagarin goes into orbit. Al Harrison is a boss that at first is concerned only with the job, once he gets wind of Katherine's ability with numbers it makes things a whole new ball game. All on her own at first, she receives a cool and hostile welcome. The only coloured bathroom she can use is half a mile away at her old building. She looks destined for obscurity until both John Glenn and Harrison see that the importance of this mission hinges on her. His defence of her isn't one where the sparks fly and no passionate speeches are given, just a quiet assurance that her qualifications are essential. Mary is also fighting her own battle because her wanted promotion depends on her taking advancement courses at an all white school. Mary is someone who doesn't need people fighting in her corner, through using her own words and her natural instinct is able to overcome anything.

Hidden Figures is a tribute towards those who refused to be confined to the shadows. Battling prejudice throughout, each member shows their spirit and determination when times get hard. Dorothy in particular comes across as a real hero when she learns to program IBM machines better than the men who built them. It is impossible to think of John Glenn's flight without their involvement. Katherine's maths is by the far the element that makes the difference because although Stafford arrogantly states his math is perfect and tries to black out key 'classified' information, Katherine repeatedly sees the flaws. The men in their lives are also quietly brilliant with a wonderfully romantic turn by Mahershala Ali as new lover Jim Johnson. Playing both father figure to her three daughters, Jim is the rock she needs and this story is one that gives this picture a sweet feel.

Three magnificent turns are what makes this picture so potent. Taraji P.Henson is Oscar worthy as the brainiac Katherine. Giving her a silent determination, Henson gives a turn that has both heart and great charm. By far the strongest character of the bunch, this could open new doors for this actress. After impressing as a surrogate mother in Moonlight, Janelle Monae is a force of nature as Mary Jackson. Gifted with a quick wit and even quicker tongue, this woman is unafraid to go it alone when it comes to her dreams. Octavia Spencer could well be up for supporting honours again with another tough and frank turn as Dorothy. Authoritative whenever she is on screen, this kind of role is second nature to Spencer. Kevin Costner is also impressive as boss Al Harrison and shows how memorable he can be with the right type of part.

Hidden Figures is a picture that stands out on its story alone and is one that could see some love when it comes to awards season.

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.