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    Movie Review

    Boys State offers fascinating glimpse at possible future of Texas politics

    Alex Bentley
    Aug 11, 2020 | 2:18 pm
    Boys State offers fascinating glimpse at possible future of Texas politics
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    Adults who have a decent investment in the state of the political world are almost uniformly fed up with the unending partisanship on display from the main two parties in the United States. Given how fraught the landscape is in politics, it’s a wonder anyone would willingly subject themselves to a system that would seem to have little, if any, rewards.

    Any world, however, can look different if seen through the eyes of young people. Politics is both idealized and exploited in the fascinating documentary Boys State. A yearly event put on by the American Legion, Boys State is a national program that gives an opportunity to high school senior boys (and, yes, there’s a similar program just for girls) to create their own version of state government.

    The film, directed by Amanda McBaine and Jesse Moss, chronicles the goings-on at the Texas event in 2018, which featured over 1,000 participants descending upon the state capitol in Austin. The event splits the boys into two parties, named either Federalists or Nationalists to ostensibly head off any ingrained beliefs of real-world parties. After that, they jockey among each other to run for positions ranging from state party chair to governor.

    The filmmakers focus on a variety of boys, including Steven Garza, who arrives in a Beto O’Rourke T-shirt and appears to be a liberal needle in a conservative haystack; René Otero, whose strong voice and opinions earn him both praise and scorn; and Ben Feinstein, who has disabilities that haven't dampened his sense of self, an attitude that helps him become respected by the members of his party.

    The film is remarkable for a variety of reasons, including its scarcity of adults. Save for a brief opening sequence, almost no adults are shown in the film, which gives the event a freewheeling atmosphere that’s both chaotic and structured at the same time. The filmmakers also appear to have had unfettered access to every aspect of the event, which allowed for them to capture moments that are bracingly honest.

    Since the group is made up of adolescent boys, the ability to take the proceedings seriously varies widely. While many of them approach different political issues with the gravity they deserve, at least one candidate running for governor runs on a platform of getting people to laugh at his penis jokes. Surprisingly, the former group seems to win the day, although there is plenty of macho posturing throughout even the most thoughtful debates.

    While it’s difficult to fully grasp the intricacies of how Boys State works, the filmmakers do a highly effective job of bringing out the personalities of the boys. The beliefs of individual viewers will likely have them rooting for one boy or another to succeed, but the great thing about the movie is that none of the boys are solely defined by their own political beliefs.

    The roads the two parties take at this version of Boys State may have you alternately having hope or despair for the future of American politics, but the film itself is a master class in characterization. No matter where their lives take them, many of these boys seem to have what it takes to be leaders.

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    Boys State, produced by A24, debuts exclusively on Apple TV+ on August 14.

    Steven Garza in Boys State.

    Steven Garza in Boys State
    Photo courtesy of Apple TV+
    Steven Garza in Boys State.
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    Movie Review

    Supergirl loses the sense of fun that Superman brought to DC Comics films

    Alex Bentley
    Jun 26, 2026 | 12:00 pm
    Milly Alcock in Supergirl
    Photo courtesy of DC Studios and Warner Bros. Pictures
    Milly Alcock in Supergirl.

    The new Superman in 2025 brought with a renewed sense of optimism for, if not the concept of the comic book movie, then at least the DC Comics universe. After more than a decade of DC films that felt mostly creatively bankrupt, the leadership of James Gunn gave the story a sense of fun. That included the brief introduction of Kara Zor-El, aka Supergirl, who’s now getting her own showcase in, naturally, Supergirl.

    When we first met her in Superman, Supergirl was in rough shape, arriving at the Fortress of Solitude visibly inebriated. Nothing has changed at the beginning of this film, save for her aimlessly traveling around the universe with her rambunctious dog, Krypto. One of her random stops puts her in the same bar as Ruthye (Eve Ridley), who is looking for help tracking down Krem (Matthias Schoenaerts) and a group known as the Brigands after they brutally murdered her family.

    Kara is initially loath to offer aid, but when Krem shoots a poison dart into Krypto while escaping, her motivation goes way up, especially since Krem holds the antidote. Kara, with Ruthye doggedly following her, uses every means available to her to find Krem, a journey that is hampered by galaxies having different colored suns than the one that gives her powers, the yellow sun.

    Directed by Craig Gillespie and written by Ana Nogueira, the film is a big step back in the fun category, not least because Supergirl is deep in her feelings for much of the film. Her personal trauma, which is detailed in occasional flashbacks, gives a reason for her depression, but fails to land fully. The story seems to want everyone to be sad, as it includes a child trafficking ring and multiple instances of families being murdered.

    Milly Alcock and Krypto in Supergirl Milly Alcock and Krypto in Supergirl.Photo courtesy of Warner Bros. Pictures

    To try to counteract that downer material, the filmmakers give Supergirl many opportunities to show off her fighting skills. While still CGI-heavy, the action scenes contain enough of a semblance of reality that they feel exciting. Unfortunately, this is undercut by the inclusion of several slow-motion sequences, giving the impression that the filmmakers didn’t trust the actors to deliver the goods on a consistent basis.

    Superman (David Corenswet) makes a handful of appearances in the film, and while his presence is welcome given how well the character came across in the previous movie, it also doesn’t allow Supergirl to become her own person. Almost everything she does is colored by either her cousin or her parents, and since her powers are identical to those of Superman, there is very little that makes her story unique aside from how she’s dealing with the fallout.

    Alcock (House of the Dragon, Sirens) gives an appealing performance despite her character being drunk and/or moody most of the time. She definitely sells what Supergirl is going through, so if given a better story in a future film, she’s proven her capability. Schoenaerts makes for a pretty good villain, although he’s aided by a look that includes a face full of studs. Jason Momoa has a memorable supporting role as the bounty hunter Lobo, even if his character doesn’t add much to the story.

    While not a full-on disaster, Supergirl does not continue the momentum that Superman started. With a story that’s more concerned with showing audiences death scenes than a hero saving people, the film doesn’t seem to understand the appeal of a character like Supergirl or how to make her someone audiences will return to over and over again.

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    Supergirl is now playing in theaters.

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