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    Movie Review

    Broad stereotypes undercut message of movie musical Everybody's Talking About Jamie

    Alex Bentley
    Sep 8, 2021 | 3:03 pm
    Broad stereotypes undercut message of movie musical Everybody's Talking About Jamie
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    While movie adaptations of stage musicals have remained popular through the years, it feels like 2021 has become the year of the musical. It started with In the Heights, which will soon be joined by Dear Evan Hansen, Lin-Manuel Miranda's directorial debut tick, tick...Boom!, and Steven Spielberg’s version of West Side Story. Joining that group is one that may not be as familiar to American audiences, Everybody’s Talking About Jamie.

    Set in Sheffield, England, the film tells the story of Jamie (Max Harwood), an out-and-proud high school student. While it's a known fact around town that he's gay, he does harbor one secret: His dream of becoming a drag queen. With encouragement from his mom, Margaret (Sarah Lancashire), and his best friend Pritti (Lauren Patel), Jamie pursues his dream, finding help from local costume store owner Hugo Battersby (Richard E. Grant), who just so happens to be a drag queen who goes by the name of Loco Chanelle.

    Jamie’s dream doesn’t go unchallenged, though. His father, Wayne (Ralph Ineson), has essentially been absent from his life following a divorce from Margaret, with his mom doing her best to hide Wayne’s disdain for who his son is. Jamie also has a teacher, Miss Hedge (Sharon Horgan) who seems to undercut his ambitions at every turn, and a classmate, Dean Paxton (Samuel Bottomley), who takes every opportunity to bully and make fun of him.

    The original stage production team of writer/lyricist Tom MacRae and director Jonathan Butterell occupy the same roles for the movie. They do a good job in general in their roles, but their closeness with the project may have hindered their ability to translate it effectively from stage to screen. While broad characters and situations can work well in a theater setting, a movie usually requires more nuance, especially when telling a story like this.

    As the title would seem to indicate, the only person we get to know well is Jamie, although his mom is also showcased to a good degree. Everyone else is given only surface-level examination, which is especially troublesome when it comes to the antagonists of the story. Each comes across as either over-the-top or ridiculously unreasonable, personalities that weaken the message of the film as a whole. Most viewers will already want Jamie to succeed; there’s no need to stack the deck in his favor so egregiously.

    On the flip side, Jamie is not always a fully sympathetic character, which would be great if those scenes were treated in a believable manner. But just like those who don’t like him, Jamie acting in a petulant way over not getting exactly what he wants rings false based on what we know about him otherwise. His arc is also utterly predictable, which, given the relative uniqueness of his life, shouldn’t be the case.

    MacRae’s lyrics touch many of the right notes when it comes to conveying the sentiments of the story, but the songs themselves are a bit generic. Musical theater fans will find themselves with a sense of déjà vu throughout the film, as nearly every song sounds exactly like ones that have been doled out on stage for decades. The only song that stands out is “This Was Me,” with Hugo singing about being a drag queen and living through AIDS epidemic. Curiously, this is also the only song that was not in the original stage musical.

    Harwood, who’s making his film debut here, does a great job of embodying his character and has a nice voice. He could’ve modulated his performance better at times, but for the most part he succeeds. Grant and Horgan are the two best-known actors in the cast, with Grant rising above his thinly written character more than Horgan. Lancashire and Patel are both winning in their supporting roles.

    It’s fantastic that Everybody’s Talking About Jamie features a young gay character whose challenges lie beyond merely coming out to his friends and family. But the generic songs and broad stereotypes do the story no favors, making it into a musical that’s not for the ages.

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    Everybody's Talking About Jamie will open in select theaters on September 10; it will premiere on Amazon Prime Video on September 17.

    Max Harwood and Sarah Lancashire in Everybody's Talking About Jamie.

    Max Harwood and Sarah Lancashire in Everybody's Talking About Jamie
    Photo courtesy of Amazon Studios
    Max Harwood and Sarah Lancashire in Everybody's Talking About Jamie.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 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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