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Movie Review

Semi-autobiographical Suncoast explores end-of-life decisions with grace

Alex Bentley
Feb 9, 2024 | 2:25 pm

Topical movies tend to come down hard on the side of a particular issue that a filmmaker wants to shine a light on, with little to no ambiguity as to their true feelings. The new Hulu film Suncoast is a different beast, as it approaches a controversy from the recent past in a very personal way that’s only tangential to the larger issue.

Doris (Nico Parker) is a teenager who helps take care of her disabled brother, Max (Cree Kawa), who has brain cancer, leaving him unable to see, walk, or talk. As he approaches the end of his life, their mom Kristine (Laura Linney) decides to put him in a care facility called Suncoast near their home in Clearwater, Florida, one which just so happens to also being caring for a woman named Terri Schiavo.

Schiavo is a woman who came to be known in the early 2000s because her persistent vegetative state caused a dispute between her husband and her parents, with protesters joining both sides. The film has one of the protesters, Paul (Woody Harrelson) befriend Doris during several meetings outside of Suncoast. At the same time, Doris uses her mom’s fixation on Max’s needs over her own to open up their house to her high school classmates, broadening her friend group in the process.

Written and directed by first-time feature filmmaker Laura Chinn, the film has a lived-in feeling that’s confirmed by a dedication to Chinn’s brother Max at the end. Telling the semi-autobiographical tale of her own family’s experiences allows Chinn to broach the topic of end-of-life decisions in a relatively light way, acknowledging the emotions of the issue while still giving time for more fun scenes.

To this end, scenes about high schoolers acting immature and/or irresponsibly surround heavier scenes, such as one where Doris and Paul debate whether or not letting Schiavo die is “murder.” Complicating matters is the knowledge that Max will die sooner rather than later, and whether it’s fair to Doris for her to give up any semblance of a social life to “be there for her brother.”

While the film has a very dramatic issue at its core, Chinn does a great balancing act of acknowledging the controversy but never letting it overwhelm the more intimate story she’s trying to tell. The pain Doris is feeling on multiple fronts is evident from the beginning of the film, and Chinn manages to craft a coming-of-age story that feels familiar and different at the same time.

Helped by a mass of curly hair and an innocent face, Parker turns in a great performance that, coupled with a memorable appearance in the 2023 HBO series The Last of Us, should bode well for her acting future. Linney and Harrelson are, per usual, fantastic in their supporting roles, elevating every scene they’re in. The actors playing Doris’ classmates are hit-and-miss, but Daniella Taylor and Amarr show some promise.

Suncoast is a family drama that talks a lot about death without ever coming across as morbid or depressing. Chinn, who’s spent most of her career writing comedic material, makes an auspicious film debut, making a film that resonates on multiple levels without being cloying or preachy.

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Suncoast is now streaming on Hulu.

Laura Linney and Nico Parker in Suncoast

Photo by Eric Zachanowich / courtesy of Searchlight Pictures

Laura Linney and Nico Parker in Suncoast.

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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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