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    Movie Review

    Family drama Ezra takes on struggles of parenting an autistic child

    Alex Bentley
    May 30, 2024 | 2:00 pm
    William A. Fitzgerald and Bobby Cannavale in Ezra

    William A. Fitzgerald and Bobby Cannavale in Ezra.

    Photo courtesy of Bleecker Street

    As awareness about autism has spread in the world at large, so too have movies and TV shows featuring stories dealing with the neurological and developmental disorder. When projects do broach the topic, the autistic character is almost always the driving force of the plot, either as the main character or as someone around which other characters’ decisions revolve.

    Ezra falls in the latter category, as even though it’s named after the school-aged Ezra (William A. Fitzgerald), it centers on his father Max (Bobby Cannavale), a stand-up comedian who shares custody of Ezra with his ex-wife, Jenna (Rose Byrne). As the film begins, Ezra is in a standard elementary school, but a series of outbursts – some of them physical – have Jenna and others wanting to put him in a special needs school.

    When a misunderstanding forces the state’s hand, Max reacts poorly and kidnaps Ezra, with a half-baked plan to hide out with Max’s friend Nick (Rainn Wilson). A call from Jimmy Kimmel Live offering him a coveted spot on the show leads to a longer road trip than intended, with Jenna and Max’s dad Stan (Robert De Niro), as well as the police, trying their best to catch up with them.

    Directed by Tony Goldwyn (who has a small part as Jenna’s new husband) and written by Tony Spiradakis, the film is a mostly surface-level examination of what it means to be a parent for an autistic child. How Max and Jenna handle Ezra differs greatly, with Max exposing Ezra to age-inappropriate material and Jenna generally agreeing with the stiffest restrictions put on Ezra when he runs afoul of authority figures. Although they both clearly love him, neither seems to know exactly what to do with Ezra, which is as honest as the film gets.

    The father-son impromptu road trip is a conundrum for viewers, as it offers up hallmarks of movies with similar journeys, including unexpected detours and obstacles, but with Max’s crime and immaturity at the center of it. There are emotionally bonding moments along the way, but also a fair share of uncomfortable ones, including a scene in which Ezra tells Max that he needs him to be more like a father than a friend.

    As road trip movies tend to do, the film loses focus at times. There’s a semi-weird stop at the house of Max’s ex-girlfriend Grace (Vera Farmiga), where her daughter Ruby (Matilda Lawler) bonds with Ezra over ice cream and horses. The relationship between Max and Stan is given a decent amount of time, but it would have been nice if their scenes included more emotional complexity, as there appears to a lot left unsaid between the two characters.

    Cannavale is a fine actor who does his best to make Max into a believable character. He makes for a good-if-imperfect dad and a so-so comedian, with scenes showing his stand-up sets not really demonstrating the character’s talent. Fitzgerald is a newcomer who embodies the autistic characteristics well. The stacked supporting cast – Byrne, De Niro, Goldwyn, Wilson, Farmiga, Whoopi Goldberg – keeps even the smaller scenes interesting.

    Ezra is a serviceable family drama that offers up a nice story with some minor faults. Anyone looking for strong insights into an autistic character will find themselves wanting, but the cast is strong enough to cover up most of the storytelling deficiencies.

    ---

    Ezra opens in theaters on May 31.

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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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