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    Running Down a Dream

    Charismatic Costner coaches McFarland, USA out of sports-movie mold

    Alex Bentley
    Feb 20, 2015 | 12:00 am
    Charismatic Costner coaches McFarland, USA out of sports-movie mold
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    If you’re watching a sports movie, especially one made by Disney, you can usually count on several things: a person or team overcoming seemingly insurmountable odds; resistance to said person or team, often for peculiar reasons; and the wringing out of emotions, whether warranted or not.

    The refreshing thing about McFarland, USA is that it plays into all of those clichés but does not get dragged down by them. Jim White (Kevin Costner) is a combustible coach on the verge of losing his career when he comes to McFarland, California, a small town populated mostly by Mexican laborers working at nearby farms.

    The refreshing thing about McFarland, USA is that it plays into those sports-movie clichés but does not get dragged down by them.

    Noticing the boundless energy some boys display running to and from the fields, White recruits them to start a new cross country running team. To get to the elite status required to compete at the state level, the team must not only conquer other schools, but also bigger obstacles, like being torn between practicing or picking in the fields to make money for their families.

    Unlike many movies of this kind, McFarland, USA is about more than just the sport that binds everything together. Director Niki Caro and a trio of writers examine the realities of living in a town like McFarland, from its inherent poverty to the community and culture that comes out of so many similarly minded people living in proximity to one another.

    Almost from the start, the idea of family is front-and-center in the film, and it remains in play whether dealing with someone’s actual blood or the connection that comes with pursuing a team goal. The running scenes take on extra meaning not just because the team continues to improve as time goes along, but also because of the support they give one another.

    That’s not to say that the film is without faults. The set-ups to various opponents’ making snide or racist comments toward the McFarland team feel obvious and clunky, as do a handful of other sequences. But the predictable ending turns out to be not so predictable, thanks to the early definition of key characters. The film also earns bonus points for respecting the Mexican people and not falling into stereotypes.

    Even if he’s a bit old to be playing this particular part, Costner is at his charismatic best as White. The actors playing the runners, especially Carlos Pratts and Hector Duran, do a great job of bringing out their characters’ joy, pain and frustration. And complementary actors like Maria Bello, Morgan Saylor and Diana Mara Riva round out an interesting cast.

    Go ahead and give in to the charms of McFarland, USA. It inspires both with the success of its team and by what a community can do when the odds are stacked against it.

    McFarland, USA does a great job of respecting the Mexican culture.

    Cast of McFarland, USA
    Photo courtesy of Walt Disney Studios Motion Pictures
    McFarland, USA does a great job of respecting the Mexican culture.
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    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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