Movie review

Florence Pugh proves her stardom yet again in A Good Person

The rise of Florence Pugh has been pretty astonishing to witness. After gaining acclaim for her film debut in 2016’s Lady Macbeth, the actor has gone back-and-forth between mainstream and art fare, starring in films as disparate as Fighting with My Family, Midsommar, Black Widow, and Little Women, for which she earned an Oscar nomination.

Now, thanks to her former romantic partner Zach Braff, she has another intense leading part to add to her filmography in A Good Person. Pugh plays Allison, a young, music-loving pharmaceutical rep who’s engaged to be married to Nathan (Chinaza Uche). One day, however, she’s involved in a car accident that winds up killing Molly (Nichelle Hines) and Jesse (Onwumere), her would-be sister- and brother-in-law.

The bulk of the film takes place a year after the accident, as Allison is still struggling with pain resulting from the crash and the grief/guilt over the deaths. Simultaneously, Daniel (Morgan Freeman) is doing his best to raise Molly and Jesse’s daughter, Ryan (Celeste O’Connor), and deal with his long estrangement from Nathan. A search for help with addiction for both Allison and Daniel leads them into a tentative friendship.

Written and directed by Braff (Garden State), the film touches on its serious issues in a deft manner. While Allison’s depressive state sends her down a bunch of tough roads for both her and the audience, the film is balanced with lighter moments, many of them courtesy of Allison’s mom, Diane (Molly Shannon). As much as the film is a meditation on how – and how not – to handle grief, it thrives on Allison’s various relationships, and scenes with each of the main co-stars build those bonds nicely.

Smaller details, like Allison riding her bike everywhere because she’s afraid to drive, pay dividends as well. Riding her bike causes her to show up sweaty and out-of-breath in multiple scenes, adding to the haggard and withdrawn look she maintains for most of the film. There can be a certain cliché in how someone acts when they’re trying to portray the state Allison is in, but Pugh, Braff, and the filmmaking team are able to subvert that trope with their choices.

If there’s one fault to the film, it’s that Braff can’t quite land the plane on each of the characters’ stories. All of the stories are related to one another, so it’s difficult to untangle them. After spending most of the film keeping them relatively separate, a decision to bring them all together in a late scene feels rushed and unsatisfying. It doesn’t ruin the film, but it does lessen it to a degree.

Written for Pugh by Braff when they were still a couple, the film hinges on Pugh carrying most of emotional weight of the story, and she delivers in a big way. She eschews histrionics in favor of more subtle acting, and the result is powerful. The 85-year-old Freeman hasn’t had a meaty dramatic role like this in a long time, so it’s nice to see he still has it. Shannon, O’Connor, and Zoe Lister-Jones also elevate the story.

Though it’s early in the year, it’s not out of the realm of possibility that Pugh could snag an Oscar nomination for her performance in A Good Person. You could call it a star-making turn if she weren’t already a star; this just solidifies her place in Hollywood for years to come.

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A Good Person opens in theaters on March 24.

Photo by Jeong Park / Metro Goldwyn Mayer Pictures

Florence Pugh in A Good Person.

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Movie Review

Chris Pratt plays one man against the AI machine in thriller Mercy

Photo courtesy Amazon Content Services

Chris Pratt in Mercy.

It seems like every other movie set in modern times being released these days includes either a reference to or a plot revolving around artificial intelligence. In the real world, the benefits of the technology compete with its downsides, but when it comes to movies A.I. is almost always seen as a threat, including in the new film Mercy.

The audience is thrown headlong into the slightly futuristic story involving LAPD Detective Chris Raven (Chris Pratt), who finds himself strapped in a chair in a sparse room, being told that he is on trial for killing his wife. Turns out he’s in a court dubbed “Mercy,” which is overseen by an AI judge named Maddox (Rebecca Ferguson). By the rules of the court, Raven has 90 minutes to provide reasonable doubt of his guilt, or he will be executed on the spot.

Raven is in a multi-pronged quandary: Not only does he believe he’s innocent despite a trove of evidence pointing to his guilt, but he’s also the poster boy for the law enforcement side of the equation, having arrested the first man who went to Mercy. Anger and disbelief for Raven turn into acceptance, which then turns into him tapping into his detective skills, scrutinizing every shred of evidence the court provides him in a desperate attempt to save his own life.

Directed by Timur Bekmambetov and written by Marco van Belle, the film is a relatively propulsive thriller despite having a so-so story and even worse acting. The film is told in real time (with a few fudges here and there), so the concept alone of a man trying to prove his innocence in a short amount of time provides good intrigue. Bekmambetov’s use of digital elements as Raven scrolls through files or calls potentially exculpatory witnesses like his partner, Jaq Diallo (Kali Reis), keeps the film visually interesting.

On the other hand, the swift viewing of videos and documents by Raven, not to mention the high degree of cooperation by Judge Maddox, opens up more than a few plot holes. The filmmakers try to explain away a few leaps in logic by having Raven falling off the sobriety wagon the night before, but they can only use that excuse for so long. They also have the AI judge experience technical glitches along the way, errors that seem to point toward a wider conspiracy until they’re completely forgotten.

More than anything, it’s difficult to get over the wooden acting of Pratt and the misuse of other usually reliable actors. Pratt has no real presence, especially when he’s confined to a chair, so any emotion he tries to conjure up comes off as contrived. Ferguson is done no favors by a role that shows only her upper body and has her alternating between robotic and oddly sympathetic. Reis earned an Emmy nomination for True Detective: Night Country, but has little to do here, a fate that also takes out Chris Sullivan as Raven’s AA sponsor.

If you’re okay with turning off your brain for a little while, Mercy can be an enjoyable watch. But if you find yourself scrutinizing why characters make the odd decisions they do, or the wishy-washy way the film approaches AI in general, then you’re likely to find the whole thing lacking.

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Mercy is now playing in theaters.

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