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    Movie Review

    High Flying Bird aims for the sky with intellectual story

    Alex Bentley
    Feb 15, 2019 | 11:45 am
    High Flying Bird aims for the sky with intellectual story
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    For better or worse, movies that demonstrate a high degree of intelligence are a rare breed in Hollywood these days. That’s not to say that most films are dumb; just that in the name of bringing in money at the box office, many of them simplify their storytelling so that it can be enjoyed by as broad an audience as possible.

    Not playing by those rules is the new Netflix movie High Flying Bird. Directed by Steven Soderbergh and written by Tarell Alvin McCraney (Moonlight), the film centers on Ray Burke (Andre Holland), a sports agent whose biggest client is the recent No. 1 draft pick in the NBA, Erick Scott (Melvin Gregg). Trouble is, the NBA is in the midst of an extended lockout, meaning neither Erick nor Ray is getting paid.

    Ray might have a plan to help put an end to the lockout, but, with the help of his assistant, Sam (Zazie Beetz), he must try to out-maneuver power players like player representative Myra (Sonja Sohn), league rep David Seton (Kyle MacLachlan), and Emera Umber (Jeryl Prescott), the mother/manager of another top player.

    The 90-minute film puts the audience in the strange position of anticipating many events that are never actually shown. Soderbergh and McCraney allude to various consequential moments, but elide them in favor of a lot of speechifying. Oblique conversations in which you can understand every word and still not know what the characters are talking about fill the film.

    What is clear is that the filmmakers are playing with a lot of intellectual ideas. They are interested in highlighting the inequities of leagues like the NBA, where players don’t have as much control as owners over their own fate. It’s a slight spoiler, but the viewpoints of civil rights icon Dr. Harry Edwards, who played an instrumental role in the Black Power Salute by Tommie Smith and John Carlos at the 1968 Olympics, play a big part in this film.

    Soderbergh also splices in interviews with actual young NBA players like Reggie Jackson, Karl-Anthony Towns, and Donovan Mitchell, who talk about their early experiences in the league. However, if he was trying to make comparisons between their lives and the story in the film, it doesn’t quite come across as intended.

    Also, it seems slightly askew that Soderbergh would be the director to helm a film that has a lot to say about this specific African-American experience. With so many African-American filmmakers getting notice for their top-level work in recent years, having a white man, no matter how talented, lead the way in a film like this just strikes the wrong chord.

    Despite the somewhat complicated nature of the film, the performances of Holland, Beetz, and Gregg remain compelling. You may not always comprehend their motivations, but the depth of feeling each demonstrates keeps the emotional aspect of the film on point. MacLachlan and Zachary Quinto, who plays Ray’s boss, are decent in limited roles, but they aren’t showcased enough to make much of an impact.

    High Flying Bird is definitely not a film for the masses, so it will be interesting to see if it gains much of a foothold in ever-growing Netflix library. Like me, you may not be smart enough to grasp everything the film is trying to say, but Soderbergh and McCraney get points just for putting them out into the world.

    Andre Holland in High Flying Bird.

    Andre Holland in High Flying Bird
    Photo by Peter Andrews
    Andre Holland in High Flying Bird.
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    Movie Review

    Clichéd rom-com You, Me & Tuscany can't get by on Italian charm alone

    Alex Bentley
    Apr 9, 2026 | 2:00 pm
    Halle Bailey and Regé-Jean Page in You, Me & Tuscany
    Photo by Giulia Parmigiani/Universal Pictures
    Halle Bailey and Regé-Jean Page in You, Me & Tuscany.

    The romantic comedy has become an endangered species in movie theaters, as most of those that are released these days go to streamers like Netflix. While there have been a few recent successful rom-coms in theaters, they are few and far between. All of which is to say that a movie like the new You, Me & Tuscany faces an uphill battle before it’s even released.

    Halle Bailey (The Little Mermaid) stars as Anna, a former culinary school student who’s struggling in the wake of her mother's death. When she has a chance meeting with an Italian man named Matteo (Lorenzo de Moor) in New York, her dream of going to the Italian region of Tuscany is reignited. Using her last $500 and a plane ticket her mom bought her, she makes her way to Italy looking for an adventure.

    With nowhere to stay and knowing Matteo’s villa is unoccupied, she finds a key and makes herself at home. When she finds an engagement ring soon before she’s discovered by Matteo’s family, she decides to pretend to be his fiancée. The more time she spends with them, the bigger the lie becomes, especially when she starts falling for Matteo’s adopted brother, Michael (Regé-Jean Page).

    Directed by Kat Coiro and written by husband-and-wife team Ryan and Kristin Engle, the film at times feels like it’s not even trying to be good. While the set-up of the premise is okay, the story quickly turns into an eye-rolling mess when Anna shows up in Italy. Not one bit of the character’s story is believable, and even though Michael catches her in an early lie, every member of the family accepts her at face value despite the abundant red flags.

    Of course, many rom-coms are not based in reality, and the filmmakers lean into the genre’s tropes, almost as if they were saying, “We know this makes no sense - just roll with it!” Surprisingly, the gambit works for the most part, as the odd pairing of an American woman, an English-Italian man, and his fully Italian family is enjoyable despite the many groan-worthy moments they produce. The sweet way in which the family brings in a woman still going through grief almost balances out the shoddy way in which the story is told.

    Naturally, there are precisely zero surprises about where the plot is heading, as Anna and Michael grow closer despite knowing they should resist the other. Strangely, though, the filmmakers don’t go all-in on the budding relationship, choosing to slow-roll things save for one notable sexy scene in a vineyard. Coiro and the Engles play up the family aspect as much as the romance aspect, and that choice allows the film to survive for longer than it should have.

    Bailey, a singer-turned-actor, has not yet found her stride on the acting side of things. Her line deliveries are often stilted and her timing is off in key moments. This doesn’t help her chemistry with older Page, who seems to be getting by on vibes and looks alone. The most enjoyable actors in the film are all Italian, including Marco Calvani, Isabella Ferrari, and Paolo Sassanelli.

    There are glimpses of a fully successful film in You, Me & Tuscany, enough to keep it watchable for its entire 104-minute running time. But then they have the Italian grandmother say a gobsmacking line like “If you wanna tap-a that ass, you should tap-a that ass,” and you remember exactly what type of film you’re watching.

    ---

    You, Me & Tuscany opens in theaters on April 10.

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