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    Movie Review

    Funny and heartwarming Language Lessons is a balm for the soul

    Alex Bentley
    Sep 10, 2021 | 3:26 pm
    Funny and heartwarming Language Lessons is a balm for the soul
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    Many people have become all too familiar with video conferencing over the past 18 months, so using that method as the conceit for a whole film may not initially sound appealing. But when a story is told well using expert actors, as it is in Language Lessons, it can transcend the gimmick to become something memorable.

    The film throws the audience into the concept right away with Adam (Mark Duplass) starting a Zoom call with Cariño (Natalie Morales), an online Spanish teacher hired for Adam by his husband, Will (Desean Terry). The lessons are a surprise for Adam, who maintains comprehension and conversational ability from his younger years, but wishes to become completely fluent.

    Adam and Cariño strike up a nice bond almost immediately, but very early on the film becomes about much more than just Adam learning Spanish. Through their various lessons and a variety of video messages they send each other, the relationship between student and teacher moves quickly from being merely transactional to something much deeper. They are able to reach that point in spite — or perhaps because — of the physical distance between them, with Adam in Oakland and Cariño in Costa Rica.

    Directed by Morales and written by both Morales and Duplass, the film is able to achieve big levels of emotion that wouldn’t seem possible with two actors never physically performing together. Whether it’s the ubiquity of video conferencing during the pandemic or the way it’s used in the film, the fact that the whole film is told through screens is never bothersome. Even some technical difficulties — fuzzy video, dropped audio, etc. — add to the unique feeling of the story.

    The film is broken up into six chapters which are technically meant to track Adam’s progress, but the chapter titles — immersion, comprehension, context, grammar, extra credit, and fluency — take on a greater meaning because of personal events in both Adam and Cariño’s personal lives. Also, even though the production of the film was made during and influenced by the pandemic, the story never references that event, allowing it to explore different avenues without that added weight.

    Duplass and Morales make for a great platonic pair, playing off each other in many fantastic ways. Neither allows the fact that they weren’t in the same room with other to interfere with their performances. In fact, their banter is arguably enhanced by the separation, with each engaging in movements and dialogue that would have changed drastically had they actually been next to each other.

    Language Lessons is alternately funny, heartwarming, and heartbreaking, making it a balm for anyone tired of noisy blockbusters or the stress of the world at large. It’s not flashy in the least, and that’s what makes it work so well.

    ---

    Language Lessons is playing in select theaters.

    Natalie Morales and Mark Duplass in Language Lessons.

    Natalie Morales and Mark Duplass in Language Lessons
    Photo courtesy of Shout! Factory
    Natalie Morales and Mark Duplass in Language Lessons.
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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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