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    Movie Review

    Unpregnant presents abortion-themed story with humor and heart

    Alex Bentley
    Sep 11, 2020 | 5:00 pm
    Unpregnant presents abortion-themed story with humor and heart
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    Few hot-button topics have been the subject of more movies in recent years than abortion. And we’re not talking about including it as part of a broader story, but films where it is the main focus. In fact, it’s almost like a duel back and forth between the opposing sides, with 2011’s October Baby and 2019’s Unplanned on the pro-life side, and 2014’s Obvious Child, 2015’s Grandma, and 2020’s Never Rarely Sometimes Always going pro-choice.

    The new HBO Max movie Unpregnant falls squarely on the pro-choice side. High school senior Veronica (Haley Lu Richardson) is shocked to discover she’s pregnant, and then dismayed when Bailey (Barbie Ferreira), a childhood friend with whom she’s grown apart, discovers her secret. Unwilling to confide in her friends or her mother, and overwhelmed by her nice-but-domineering boyfriend Kevin (Alex MacNicoll), Veronica turns to Bailey for help in getting an abortion.

    The biggest issue is that they live in Missouri, and the nearest clinic that allows a minor to get an abortion without parent permission is in Albuquerque, New Mexico. And so the duo sets off on a road trip, one with a built-in time crunch that quite obviously will fall prey to multiple obstacles along the way.

    Based on the book by Jenni Hendrix and Ted Caplan, and co-written by Hendrix, Caplan, director Rachel Lee Goldenberg, and two others, the film is both a teen comedy and an issue-based drama. Were Veronica’s pregnancy and desire to get an abortion not at the center of the story, you might be able to pretend it’s a playful film about a girl discovering how she’s made the wrong choice in friends over the years.

    For the most part, the movie touches on aspects of getting an abortion without getting bogged down in the politics of it. However, Veronica having to go so far to get the procedure and a pointed line of dialogue toward the Missouri state legislature are acknowledgments of the real-life hurdles that have been put in front of women in certain areas of the country. On the flip side, a brief encounter with a Christian couple (Breckin Meyer and Sugar Lyn Beard) is too heavy-handed in vilifying those who are pro-life, almost turning them into horror movie villains.

    That last part is one of several odd tonal shifts the film makes. The filmmakers try to keep the story light and breezy most of the time, but they make sharp turns into divorce, sexual identity, and religion that don’t always mesh well with the surrounding events. It’s not that those topics shouldn’t be addressed, but the transitions between the main story and the side plots can be jarring.

    Richardson has made a lot of interesting choices in her movie career, and this role fits right in with the niche she’s made for herself. She’s relatable and charming, but maintains a bit of an edge. Ferreira, who co-starred on HBO’s buzzy Euphoria, does well in the sidekick role, bringing more to it than might be expected. Special note should be made of cameos by Betty Who and Giancarlo Esposito, who make the most of what could have been throwaway roles.

    Although the film has some nods toward nuance, Unpregnant is mostly unapologetic in its pro-choice stance, which undoubtedly will cause some to denounce it. For those who don’t dismiss it outright, it has two great performances by young actors on the rise and a message about friendship that never goes out of style.

    ---

    Unpregnant is now streaming on HBO Max.

    Alex MacNicoll in Unpregnant.

    Alex MacNicoll in Unpregnant
    Photo by Ursula Coyote
    Alex MacNicoll in Unpregnant.
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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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