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    Movie Review

    Beautiful Boy haunts with impact of drug use on one family

    Alex Bentley
    Oct 26, 2018 | 4:45 pm
    Beautiful Boy haunts with impact of drug use on one family
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    The horrors of drug addiction have long been chronicled in movies, ranging from the now-campy Reefer Madness to the brutality of Requiem for a Dream. It’s not often, though that much attention is paid to how a person’s addiction can affect their loved ones, as is the case in Beautiful Boy.

    Based on the memoirs of both David Sheff and his son, Nic, the film mostly chronicles a period in the late teenage years of Nic (Timothee Chalamet) when he goes down a rabbit hole of drugs from which he can’t escape. David (Steve Carell), a freelance writer for publications like The New York Times and Rolling Stone, tries everything he can to stop Nic from using, mostly to no avail.

    David and his ex-wife, Vicki (Amy Ryan), have been divorced since Nic was young, with David retaining custody. David has gone on to marry Karen (Maura Tierney), with whom he has two young kids. Despite this wealth of support, Nic gets deeper and deeper into drug use, culminating with what’s considered one of the most addictive drugs, crystal meth.

    Directed by Felix Van Groeningen and written by Van Groeningen and Luke Davies, the film takes a meandering journey through those years, with a number of flashbacks to earlier, happier times when Nic was young and innocent. While highly effective in tugging at the heartstrings, the flashbacks also serve to muddle the overall timeline. Most of the film is a flashback from an opening scene, so the bouncing back and forth does no favors in keeping the chronology of events straight.

    The story is unrelenting and unflinching right from the start. When we meet Nic, he’s already started his descent, so we’re not privy to knowing exactly what he was like when not on drugs, despite a few expository lines. Consequently, there’s something just a bit off when the film tries to go all-in on its emotions. It’s almost as if Van Groeningen is keeping us at arm’s length so we don’t receive the full brunt of feelings.

    Any parent will likely struggle watching the film, whether you’ve had the same experiences or not. The helplessness that David feels as Nic gets farther and farther away from the boy he knew is gut-wrenching.

    Left mostly unsaid in the film are any factors that might have led to Nic’s drug use. Might it have been the impact of the divorce, something that affected Nic years later despite a multitude of love? A scene of David and Nic sharing a joint is included, but it’s unclear if the filmmakers are trying to point to that as a causation, or merely one step in Nic’s drug usage.

    Through it all, the acting is impeccable. Chalamet was already hailed as the next big thing following his roles in Call Me By Your Name and Lady Bird in 2017, and this role only cements that status. Carell proves once again what a versatile actor he his, easily moving back and forth between drama and comedy. Tierney and Ryan are also great in their supporting roles.

    Like most films about drug addiction, Beautiful Boy is not a film you’ll likely want to watch more than once. Despite some faults, it’s a nicely layered film that should make anyone want to stay as far away from drugs as possible.

    Maura Tierney and Steve Carell in Beautiful Boy.

    Maura Tierney and Steve Carell in Beautiful Boy
    Photo by Francois Duhamel
    Maura Tierney and Steve Carell in Beautiful Boy.
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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.

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    Avatar: Fire and Ash opens in theaters on December 19.

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