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    Movie Review

    Love, Simon transcends stereotypes with universal appeal

    Alex Bentley
    Mar 15, 2018 | 4:19 pm
    Love, Simon transcends stereotypes with universal appeal
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    Telling stories about gay people in movies has somewhat mirrored their advancement in the real world. For many years, appearances by gay characters were limited to either small, independent films or as the butt of jokes in mainstream films. Their stories have slowly but surely emerged from the shadows, seemingly punctuated by Moonlight winning the Best Picture Oscar in 2017.

    However, as was the case with Moonlight and Call Me by Your Name, gay characters' love lives are still hidden in many movies. That’s also the case in Love, Simon, but in many significant ways, it’s one of the most freeing and romantic stories about a gay person yet.

    Nick Robinson stars as Simon Spier, a high schooler who has not yet come out to his family or friends. When another student anonymously comes out on his school’s social network, Simon jumps at the chance to connect with someone familiar with his situation.

    The two become pen pals over e-mail, correspondence that is intercepted by another classmate, Martin (Logan Miller). Martin uses this knowledge to try to get a date with Simon’s friend, Abby (Alexandra Shipp). Simon reluctantly agrees to help, but his actions have unintended consequences for himself, Abby, and the other two members of their friend quartet, Leah (Katharine Langford) and Nick (Jorge Lendeborg, Jr.).

    In one way, the film remains a very conventional coming-out story, one full of angst even though Simon has a seemingly robust support system. However, despite the film being entirely about a boy coming to terms with his sexuality, it moves far beyond those constrictions. It treats Simon’s story and love life as plainly as any heterosexual one that’s come before it, and in doing so, it becomes transcendent.

    This shouldn’t be any surprise, as the film is directed by Greg Berlanti, the man behind the DC Comics universe on TV, and written by Elizabeth Berger and Isaac Aptaker, who are writers and producers for NBC’s This is Us. Just as they’ve done in their acclaimed TV work, they have adapted Becky Albertalli’s book (Simon vs. the Homo Sapiens Agenda) into a film that is full of deserved emotion, one that has just as much universal appeal as the high school movies of John Hughes.

    They are aided by winning performances across the board. Robinson, Langford, Shipp, and Lendeborg are the friend group you always wish you had, and their interactions pump the film full of life. Jennifer Garner and Josh Duhamel make great parents for Simon, involved without being clingy, caring without being clichéd. Tony Hale is a little too goofy as the school’s vice principal, but he lands a few good lines.

    Love, Simon manages to be a film that’s specific to the experience of gay people, but also one that’s achingly familiar to anyone who’s struggled through their teenage years. For this and many other reasons, it’s a movie that’s not to be missed.

    Nick Robinson, Talitha Bateman, Jennifer Garner, and Josh Duhamel in Love, Simon.

    Nick Robinson, Talitha Bateman, Jennifer Garner, and Josh Duhamel in Love, Simon
      
    Photo courtesy of Twentieth Century Fox Film Corporation
    Nick Robinson, Talitha Bateman, Jennifer Garner, and Josh Duhamel in Love, Simon.
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    Movie Review

    Stephen King film adaptation The Life of Chuck aims for the heart

    Alex Bentley
    Jun 13, 2025 | 1:20 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
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    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.

    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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