How to Make an American Quilt

Tags

1990's, Alfre Woodard, Anne Bancroft, Dermot Mulroney, Drama, Ellen Burstyn, How to Make an American Quilt, Jean Simmons, Jocelyn Moorhouse, Johnathon Schaech, Kate Capshaw, Kate Nelligan, Lois Smith, Maya Angelou, Winona Ryder

Film Title

How to Make an American Quilt

Director

Jocelyn Moorhouse

Starring

• Winona Ryder as Finn Dodd
• Anne Bancroft as Glady Joe
• Ellen Burstyn as Hy
• Alfre Woodard as Marianna
• Maya Angelou as Anna
• Kate Nelligan as Constance
• Jean Simmons as Em
• Lois Smith as Sophia
• Kate Capshaw as Sally Dodd
• Dermot Mulroney as Sam
• Jonathon Schaech as Leon

A heartwarming tribute to female friendship and the shaping of life’s experiences, How to Make an American Quilt is a very sweet and enjoyable movie. It’s nothing revolutionary or startlingly original, but it’s story of looking to the past in order to unlock the future is beautifully directed and acted.

Finn Dodd is a 26-year-old graduate student, who is working on a thesis over the summer. She can’t quite settle on a topic and always changes her mind when she thinks she’s got the right parts. This confusion and inability to come to a decision extends to her boyfriend Sam, who has just proposed. Finn obviously cares about him, but is deeply unsure of whether marriage is a good idea for her. While mulling things over, she goes to visit her Great Aunt Glady Joe and Grandmother Hy, who themselves are sisters usually at each other’s throats. They are both part of a quilting group that includes wise leader Anna; her free-spirited daughter Marianna; stern Sophia; grieving Constance and quiet Em. They are currently in the process of making a wedding quilt for Finn and in their own ways, they each inspire her and give her support in her time of indecision. Over the summer, conflicted Finn is regaled with stories of love from their pasts; some tragic and some inspiring. We glimpse the lessons these older women have learned; from how Glady Joe and Hy became more than a little strained, why Sophia turned into such a battle-axe and in general how love is what you make of it. Also present is a hunky guy named Leon, who takes a shine to Finn and potentially throws a spanner in the works. It all comes down to whether she is ready to make a commitment or live her life in freedom.

Jocelyn Moorhouse beautifully conjures up the loving and touching lessons of life in a straightforward but effective way. We become like Finn, learning about the women who came before her and their experiences with love. Moorhouse aims for the emotions and heart with How to Make an American Quilt, and succeeds in getting you invested in the brief flashes of events that these women now speak of. As sentimental as some of it is, the gentleness and often low-key approach keeps the film on a pleasing level without slipping into overly histrionic content. the pleasures in are listening to the various experiences of these women and how young Finn reacts to them. From heartbreak and upheavals to the starts of companionship, all the stories have some weight on her and impact. Like with any film that weaves together an ensemble story line however, some of the arcs come off better than others that are patchy. This is only to be expected really as it would be impossible to craft something that gave every strand, without it turning into a marathon of a movie. The stories that make the most emotive impression are the ones of Hy and Glady Joe and the flashbacks to Sophia’s early life; where she had some promise but never got the chance to enjoy it due to the inevitability of timing. They are played out in organic and poignant fashion that knows how to get your care. The other stories all have currency, though more than a couple may have been better if expanded upon. If I was to compare this movie to something, the equivalent would be a quilt itself. It’s got some rough edges and is well-worn, but has that cosy and snug feeling that lifts your spirits. The luscious cinematography renders everything with a distinct glow. Thomas Newman’s stirring score is a big plus in this feel good movie.

If there is anyone who can play indecision and curiosity convincingly, it’s Winona Ryder. With her naturally inquisitive and youthful face, she’s excellent casting for Finn. All the confusion and searching questions are there, as she listens to the stories of the past in hopes of unlocking her future.  Anne Bancroft and Ellen Burstyn provide gentle humour, classy depth and consummate professionalism as the feuding sisters, whose grievances are plain to see but whose love for the other more than combats anything completely severing them. Alfre Woodard has the right bohemian air and fun for her role of effervescent Marianna. The wisdom and dignified grace of Maya Angelou stunningly embodies the passionate leader of the quilting group Anna. Angelou possesses a nuanced voice of experience and clarity that is impossible to ignore. I could listen to her voice all day it is that soothing and imbued with sage. Kate Nelligan and Jean Simmons are both moving as two of the women, realising they are linked through one of their husbands philandering. Lois Smith captures the well of sadness arising from someone whose ambitions were cut short, resulting in a hostility and bitterness of character. Kate Capshaw is a breath of fresh air in her small but important appearance as Finn’s flighty mother. She seems very irresponsible but what she ends up saying is quite beneficial and unexpected. Whether big or small in size of parts, all of the ladies here do good work. Dermot Mulroney does well with his limited part of Finn’s boyfriend, letting the female cast members take the lion’s share. Johnathon Schaech is largely there to provide the temptation for Finn, complete with the fact that he never seems to be wearing a shirt.

it isn’t going to win prizes for innovation, but the beating heart and gentleness of How to Make an American Quilt is effervescent that you won’t be able to resist its charms. Just cuddle up and enjoy this nice fable on life and sisterhood.

Extremities

Tags

1980's, Alfre Woodard, Diana Scarwid, Drama, Extremities, Farrah Fawcett, James Russo, Robert M. Young, Thriller

Film Title

Extremities

Director

Robert M. Young

Starring

• Farrah Fawcett as Marjorie
• James Russo as Joe
• Alfre Woodard as Pat
• Diana Scarwid as Terry

An unflinching dramatic thriller that tackles the subjects of rape, sexual assault and taking justice into ones own hands, Extremities is uncomfortable but intense, gritty viewing, bolstered by a harrowing turn from Farrah Fawcett and tense direction that refuses to make the sensitive subject matter exploitative.

Marjorie is a beautiful young woman living in Los Angeles with her two roommates Pat and Terry. One night when on her way home from work, she is attacked by a masked sadist, who firstly assaults her and then attempts to rape her. Marjorie manages to escape, but the psychopath manages to take her wallet, which contains her personal details. A traumatised Marjorie goes to the police to report the assault on her, but finds that with no witnesses and no proof, there is little anyone can do. A week passes and Marjorie is still shaken by the incident. Things get a whole lot more disturbing when the masked assailant, known as Joe and aware of her whereabouts due to her wallet being in his possession, enters her home and proceeds to torment the terrified Marjorie. He subjects Marjorie to abuse, both physical and emotional. Yet just as he is about to rape her, Marjorie manages to turn the tables on her attacker. Blinding him with insect repellent and caging him in the fireplace, Marjorie inflicts the same amount of abuse that Joe reaped upon her as her own form of justice and revenge for what he has put her through. She is then left with a difficult decision; should she turn him into the police? Or should she continue to torture him to show him how deeply traumatised his attack made her? And when her roommates return and find the horrors of what has happened, it leaves everyone in an uneasy position of what is the right course of action, considering justice in Marjorie’s eyes has failed.

A movie like Extremities could have easily been sleazily done and filled with exploitation, but thanks to the direction it never stoops to such levels. Robert M. Young makes sure that the themes of abuse and rape are presented with believability and are not just papered over. Extremities is an uncomfortable movie to sit through because of the content, but it shouldn’t be a comfortable movie. Tension is built from the very start as Marjorie is left in fear over the attacker returning and is eventually proved right when he comes back. What Extremities successfully manages to do is show us what can happen when justice isn’t served. Not that the film condones any of Marjorie’s actions in imprisoning Joe for what he has done to her, it just sheds light on the dehumanizing effects of assault and what it can ultimately drive someone to do. A suspenseful music score builds claustrophobic impact as Marjorie flips the tables and takes matters into her own hands. Now Extremities isn’t a flawless movie; at times the plotting is a bit scatter shot and some scenes go on longer than necessary. But saying that, those are the only real flaws in a grimly powerful movie.

Heading the relatively small cast is Farrah Fawcett in a shattering role as a woman fighting back after being a victim. Fawcett really commits to the role, making us feel the anger, pain and terror of Marjorie as she attempts to survive and then dish out her own version of justice on the sadistic Joe. It truly is a remarkable performance from Farrah Fawcett, that elicits sympathy because of what her character is put through. Also very effective is James Russo as the stalker/ rapist who enjoys playing psychological games with Marjorie, but doesn’t see what she is capable of and gets a brutal taste of his own medicine. Russo plays the character so well that you feel a genuine sense of hatred towards this brutal monster. In the roles of the roommates who try to reason with Marjorie, Alfre Woodard and Diana Scarwid do their best. Alfre Woodard is the best out of the two, as she is the most level-headed and reasonable. On the other hand, Diana Scarwid is just too over the top to be taken seriously in her role, which is a bit of a shame considering she can be a very good actress given the right role.

Brutal but believable and thankfully not sugar-coating any of the issues it addresses, Extremities is a very effective drama/thriller that examines the terror of assault and how the victimization of someone can make them go far beyond what they though they were ever capable of.

Desperate Housewives Season 2

Tags

2000's, Alfre Woodard, Andrea Bowen, Brenda Strong, Cody Kasch, Desperate Housewives, Desperate Housewives Season 2, Doug Savant, Eva Longoria, Felicity Huffman, James Denton, Marcia Cross, Mark Moses, Nicollette Sheridan, Ricardo Antonio Chavira, Richard Burgi, Roger Bart, Teri Hatcher

It was going to be a hard task to match the utter greatness of Season 1 of Desperate Housewives, so it doesn’t come as much of a surprise that Season 2 is something of a lesser season in comparison. That isn’t to say that it is a bad season, far from it in fact as it’s always entertaining to watch the lives of the ladies unravel with drama. But it just doesn’t have the killer punch and mystery of the first offering. Spoilers will follow in this review.

After the Mary Alice(Brenda Strong) mystery was wrapped up, the ladies of Wisteria Lane are attempting to get back to normal again, though this is proving harder than anticipated. Uptight Bree(Marcia Cross) is dealing with the death of her husband Rex, whose heart attack was brought on by Bree’s admirer and pharmacist George(Roger Bart) tampering with his medication. This fact is not known by Bree, who is still trying to keep up appearances but is inside devastated. George begins to infiltrate her life again posing as a shoulder to cry on, but secretly obsessed with her. Bree is also coming to terms with her troublesome son Andrew coming out as gay and his constant attempts to make her life hell. The manipulative George uses Andrew’s often antagonistic behaviour to his advantage as he gets dangerously close to the unsuspecting Bree. Lynette(Felicity Huffman) goes back to work again, while her husband Tom(Doug Savant) becomes a stay at home dad. Although she feels exhilarated being back in a job, she can’t help but feel that the balance between her work life and home life is challenging. She begins to slightly neglect her duties as a mother as she excels in business, but is still very conflicted on what she should do. Susan(Teri Hatcher) is trying to recover after being held hostage by the unstable Zach(Cody Kasch) in the finale after which the teenager runs away, while also dealing with the fact that Mike(James Denton) is actually Zach’s biological father. There is also the matter of her ex husband Karl(Richard Burgi) moving in with the street vamp Edie Britt(Nicollette Sheridan), but still has feelings for her. Rounding out the main drama is the glamorous Gabrielle(Eva Longoria) is pregnant and trying to make it work with Carlos(Ricardo Antonio Chavira) who is incarcerated for eight months. The ups and downs of their union are also tested when Gabrielle suffers a miscarriage just as she is warming to the idea of motherhood. Paul Young(Mark Moses) returns after his near-death encounter with Mike, but is arrested for murder shortly after due to the vendetta of a vengeful neighbour.Then we have the overriding mystery of this season in the form of Betty Applewhite(Alfre Woodard). The religious woman, who has moved onto Wisteria Lane with her son Matthew, keeps herself to herself and is deep down guarding a dark secret. She has her other son Caleb locked up in the basement, as he is meant to have murdered someone but as is always the case with the mysteries of Wisteria Lane, nothing is as it seems and darkness lurks beneath the lovely surface.

Like I previously mentioned, this isn’t a bad season but it just pales in comparison with the debut one. It is the mystery this time that doesn’t become that enthralling or enigmatic enough. Some of the parts of Betty’s story are very mysterious, but they just don’t have the pull that the Mary Alice discoveries had. If the mystery of Betty and her son’s had been given more thought, it might have made this a season on par with the first. There are also times when the neat balance that Desperate Housewives has of comedy and drama becomes a little thin and one is given precedence over the other. There is a lack of consistency in the beginning of the season with the quality changing, but once it gets into the groove, Desperate Housewives Season 2 churns out some great episodes. Now, despite these negative aspects, there’s still a lot to enjoy in this sophomore season. When the humour, sly and dark undercutting of suburbia are allowed to reach their heights without leaving the other out, it is very successful and delightfully observed with help from witty screenplays and genuine emotional drama involving the core ladies. The continuing narration from Mary Alice is always a plus, as she watches over her friends and the daily struggles they go through with a warmth and knowing. I liked how Bree was made the centre of many stories as I’ve found her character interesting and full of so many layers. The theme of conflict is very apparent throughout the season, whether it be physical, emotional or mental and its a very nifty plot point that leads to some truly great episodes. Once again, a tonally diverse score helps add even more playful antics to the already more than eventful proceedings.

Despite some of the flaws of the season, the reliable cast are at least on hand to deliver great work. Marcia Cross excels as Bree, the centerpiece of this season. The amount of emotion she projects while also subtlety exuding the demeanor of a perfect house keeper is astonishing. She goes through so much this season: Andrew constantly trying to make her feel inferior, Rex’s death and most importantly her relationship with the manipulative George. The relationship with George and watching her realise his possessive nature and how he killed Rex is genuinely chilling and heart wrenching to watch. As well as the scene when he overdoses and tries to blackmail Bree into saving him, but she calmly lets him die for all the pain he has caused her and her unshakable facade crumbles. I think it’s safe to say that this season belongs to Marcia Cross. Felicity Huffman is excellent at portraying Lynette’s conflicting interests of being in business and raising her kids and her need for a compromise. Huffman gives such comic timing and emotional depth to Lynette that I can’t imagine anyone playing the character because of it. Teri Hatcher is still an absolute joy to view as hapless Susan, now caught between Mike and the last person she thought she’d have feelings for, her ex husband Karl. Hatcher sells the comic and romantic mishaps of Susan with charm and verve, while also letting us relate to her because of the emotions she displays. I liked how Eva Longoria brought out the softer side of Gabrielle this season as she deals with losing her child and her shaky marriage to Carlos. Sure she is still feisty, opinionated and selfish, but she also has a heart there as she begins to want a child again after being dead set against it and the luminous Longoria excellently portrays that. Nicollette Sheridan continues to sizzle as the outrageously trashy Edie, who manages to at least get into the central circle of friends for once after always being the outsider bitch.

Her mystery story line may not be up to much, but Alfre Woodard turns in stellar work as the secretive Betty. Projecting a welcoming image to everyone, we glimpse how underneath she is driven, extremely protective and fast-thinking in situations. She may make some questionable decisions, but Woodard sells Betty’s complex personality very well. James Denton brings his presence to the part of Mike, who is attempting to adjust to life knowing who his son is and his own past. Richard Burgi is very amusing as Susan’s ex Karl, who has feelings for her even though they’re separated. Ricardo Antonio Chavira provides very funny work as Carlos, who has found God while in prison and is attempting to mend his angered ways. This is very much to the chagrin of Gabrielle who prefers her husband the way he was. Special mention must go to Roger Bart this season, who imbues the obsessed George Williams with a disquieting and controlling demeanor as he worms his way into Bree’s life. His death and attempts to blackmail Bree are riveting scenes, even though he has underestimated Bree’s vengeance for killing her husband and he watches as she silently observes him pass away knowing all the pain he has brought her. It would have been good if he’d stuck around a little longer, but when he is on the show he is amazing. I thought it was good that they expanded on Tom’s role and gave Doug Savant more to do. The character goes back to work with Lynette, but finds his masculinity challenged as he can’t accept that his wife is also his boss. Andrea Bowen is likable and extremely mature as Susan’s daughter, who senses that her parents still have a spark of love between them. Like with the last season, Mark Moses in on great form as the chilling Paul Young, while Cody Kasch fleshes out Zach to reveal why he has become so disturbed and how devious he can really be. And not forgetting the sagacious voice of Brenda Strong as the deceased Mary Alice, continuing to watch from beyond the grave.

1. Next – A
2. You Could Drive a Person Crazy – B-
3. You’ll Never Get Away from Me – C
4. My Heart Belongs to Daddy – D
5. They Asked Me Why I Believe in You – B
6. I Wish I Could Forget You – C+
7. Color and Light – C
8. The Sun Won’t Set – B
9. That’s Good, That’s Bad – A
10. Coming Home – C
11. One More Kiss – A
12. We’re Gonna Be All Right – D
13. There’s Something About a War – B+
14. Silly People – B+
15. Thank You So Much – C
16. There Is No Other Way – C
17. Could I Leave You? – B
18. Everybody Says Don’t – C-
19. Don’t Look at Me – A
20. It Wasn’t Meant to Happen – B+
21. I Know Things Now – A+
22. No One Is Alone – A
23. Remember Part 1 – A
24. Remember Part 2 – A+

While not as riveting or laced with mystery that could have been expanded, Desperate Housewives Season 2 is worthwhile watching due to the cast and writing.

The Forgotten

Tags

2000's, Alfre Woodard, Anthony Edwards, Dominic West, Gary Sinise, Joseph Ruben, Julianne Moore, Linus Roache, Psychological Thriller, Science Fiction, The Forgotten

Film Title

The Forgotten

Director

Joseph Ruben

Starring

• Julianne Moore as Telly Paretta
• Dominic West as Ash Correll
• Gary Sinise as Dr. Jack Munce
• Alfre Woodard as Detective Anne Pope
• Linus Roache as Mr. Shineer
• Anthony Edwards as Jim Paretta

A potentially intriguing premise descends into confusion and disjointed genre melding in The Forgotten, which despite the talent included comes out as a weak and unmemorable movie. Only for a strong turn from Julianne Moore and a suitably eerie score, The Forgotten remains partly watchable.

Telly Paretta is trying to survive the grief of losing her young son Sam in a plane crash fourteen months earlier. No matter how hard she tries, she is haunted by the pain of loss and sadness at losing her beloved son. Her husband Jim thinks it is time that she moves on, but Telly thinks otherwise and continues to cling to the memories of her little boy who was tragically taken from her all those months ago. Then one day Telly wakes up and the strangest thing has happened. The photographs of her and her son are gone. All the tapes of him are blank. And everyone who Telly comes into contact with, even her husband, tells her that they have never heard of her son and that she is delusional. Her psychiatrist Dr Munce explains that Telly has fabricated these memories of ever having a son. Everything that she has experienced up to this point has been a dream or fantasy, according to everyone surrounding her. Bewildered and shocked, Telly knows that she had a son and wants to prove that she is not slipping into madness, despite everyone around her questioning that her boy ever existed. Telly soon finds something of an ally in Ash Correll, who she says had a daughter who died in the same crash. At first, the miserable alcoholic dismisses her claims and won’t listen, but he comes to see that she is right about the whole thing. Now with Telly and Ash searching for the truth, they find mysterious government agents on their tail. And that’s not all, a strange and unexplained force seems to be after them as well. What will be unearthed in Telly’s quest for answers?

Director Joseph Ruben knows how to direct a thriller, but none of that skill is evident here as he tries to straddle the stands of psychological thriller and sci-fi into one. The whole tone of the film suffers and is hellishly disjointed, coming off as a directionless thriller and an X Files reject . This is a shame because the opening sets up what could have been an interesting story, that is wasted and falls short in almost every category there is. The whole basis of a mother searching for her son could have provided a lot of deep emotion here, yet The Forgotten squanders most of the impact. The Forgotten aims to be unpredictable and unexpected, but the script is weak and as the story plods on, it becomes to ludicrous to take seriously. The visuals of moody blue and grey are actually quite well done, but can’t make up for the shortcomings of the film. An ominous and melancholy score, with an underlying electronic edge, adds some much-needed suspense and eeriness to the proceedings.

The saving grace of The Forgotten is the ever-reliable and excellent Julianne Moore. Rising above the multitude of flaws in the story, she invests Telly with emotional clarity and tenacity in her attempts to prove she is right and hopefully discover the truth. Moore is the reason to watch this film as she shines in the part and brings emotive depth and conviction to a hollow film. Unfortunately, none of the other parts are interesting or particularly well-written. Dominic West, Gary Sinise, Alfre Woodard, Linus Roache and Anthony Edwards all have great talent, but the material they are given to work with is abysmal so none of them can make any impact in such sketchy roles.

So except for some striking visuals, melancholy score and Julianne Moore’s performance, The Forgotten should be exactly what the title says.

 

12 Years a Slave

Tags

12 Years a Slave, 2010's, Alfre Woodard, Based on a true story, Benedict Cumberbatch, Brad Pitt, Chiwetel Ejiofor, Lupita Nyong'o, Michael Fassbender, Paul Dano, Paul Giamatti, Sarah Paulson, Solomon Northup, Steve McQueen

Film Title

12 Years a Slave

Director

Steve McQueen

Starring

• Chiwetel Ejiofor as Solomon Northup
• Michael Fassbender as Edwin Epps
• Lupita Nyong’o as Patsey
• Benedict Cumberbatch as William Ford
• Paul Dano as John Tibeats
• Paul Giamatti as Theophilus Freeman
• Sarah Paulson as Mary Epps
• Brad Pitt as Samuel Bass
• Alfre Woodard as Mistress Harriet Shaw

Unrelenting, visceral and staggeringly powerful, Steve McQueen’s 12 Years a Slave is based on the true story of Solomon Northup, a free black man who was kidnapped into slavery and unimaginable cruelty. It won’t be the easiest film to watch, but it shouldn’t be as it shows the horrifying constitution of slavery and one mans quiet bravery in order to survive.

Beginning in 1841, Solomon Northup is a free black man living in Saratoga Springs, New York with his wife and two young children. He works as a carpenter and is highly skilled at playing the fiddle. He is offered a two-week job as a musician by two men, who proceed to drug him and place him in chains in preparation for being sold into slavery. Stripped of his freedom and renamed Platt he is first sold to William Ford, who is relatively benign and benevolent towards Solomon. The same can’t be said about John Tibeats, the weasel like worker of Ford’s takes every opportunity to voice his racist attitudes and tensions soon come to a shocking head. In order to help Solomon, Ford sells him to Edwin Epps. Solomon realises that in order to survive he must hide the fact he is an educated man and be as quiet as possible. Unfortunately, Epps is a violent,unpredictable slave owner who believes he is doing the work of God by abusing his plantation workers. Epps lusts after Patsey, one of his best workers who he also abuses many times. His lusting after her doesn’t sit well with his wife, who takes every opportunity she can to inflict pain on Patsey. As the years go by, Solomon attempts to survive by holding onto his hope. Prepare for a brutally honest, harrowing but also hopeful tale of the quiet courage of one man against the odds.

The first thing that deserves praise is Steve McQueen’s refusal to sugarcoat any of the torture that happens to the slaves. Whereas other movies shy away from it, McQueen lets his camera linger on the brutal scenes to show us the inhumanity of it. Two scenes that are hard to watch but staggeringly powerful and brutal are Solomon struggling with a noose around his neck as we hear his breathing become little more than a gasp and the horrifying whipping of Patsey, her back covered in lacerations and her face streaming with tears. I admire the way McQueen shows the unflinching detail and lets the audience feel the emotional and physical pain endured by the slaves. He doesn’t let the audience sit comfortably and makes them really squirm with the showing of human suffering. Hans Zimmer contributes an evocative score to match the emotional intensity of the film. The cinematography captures the twilight beauty of the bayou as the willow trees gently blow in the breeze but juxtaposes these with sickening images of torture and pain, creating the notion that there may be beauty in the world but the reality is a harsh and brutal eye-opener. To think that these inhumane actions really happened to people is horrifying to think of.

What really makes 12 Years a Slave a powerful and important film is the uniformly excellent cast. Heading this is the powerful performance of Chiwetel Ejiofor. He embodies the quiet, stoic bravery of Solomon with immense emotional dexterity. Even when he isn’t speaking, his intense eyes radiate the emotions his character endures as he attempts to survive the utter horror he has been thrown into. His performance is a marvellous and subtle piece of work that deserves all the praise it is getting. Tearing up the screen is McQueen regular Michael Fassbender as the evil Edwin Epps. Fassbender intensely plays this man of cruelty who uses religion as a way to justify his treatment of his slaves. He shows us the unpredictability of Epps as he wrestles with his desire for one of his workers. Lupita Nyong’o in her debut performance is a powerful presence in what has to rank as one of the best debut performances in cinema. She is heartbreaking, sincere and devastatingly powerful as Patsey, the slave who endures an immense amount of cruelty at the hands of her owners. Benedict Cumberbatch plays the benign slave owner who respects Solomon, whilst Paul Dano is a slimy, rat like presence as the insecure racist Tibeats. Paul Giamatti is the unscrupulous man who sells slaves without a care in the world. Sarah Paulson adds a frightening and vindictive dimension to her character, the spurned wife of Epps who unable to handle the love he has for one of his workers takes her anger out in horrifying fashion on the object of his affections. Brad Pitt has a small role as the abolitionist who listens to Solomon’s tale of survival. Pitt isn’t really given much to do in the film and his presence can be a little distracting. Alfre Woodard in a small but memorable role plays a former slave who is married to her former owner and now has servants to wait on her. The only flaw I can really think of is concerning the passage of time which isn’t really addressed that much. But with that being my only quibble, the film is still one of the most powerful and eye-opening films I’ve seen in a long time.

Raw, visceral and full of emotional impact, 12 Years a Slave is a powerful and haunting achievement in filmmaking that should be seen at least once by everyone for its examination of slavery and the courage of one man thrown into it.