Gina Prince-Bythewood’s occasionally poignant drama, on Netflix, seems interested in its characters’ inner lives only as a pretext for advancing the action.
Christopher St. John is part of the dismayingly long list of minority filmmakers who made one, great feature and never received a chance to make another.
In his new film, the director Christopher Munch plays elaborate games of historical impersonation and speculation with a restrained, poker-faced delight.
The film’s comedy is less outrageous and less physical than in Apatow’s others, and centered more on the causes and effects of psychology, perhaps because it’s set in a world remote from Apatow’s own.
Lee’s new film pulls the traumas of black men’s experiences of the Vietnam War out of obscurity and puts them in the forefront of political consciousness.