Jim Belushi is drinking at a bar when his ex-wife walks in with her date: her divorce lawyer. Belushi winds up in a fight with him and gets dragged off by the cops. At work, he's not fired. He's promoted to the principal of the district's worst school. There's drugs, gang violence, the teachers are just serving time, and Michael Wright -- two years younger than Belushi -- in a leather duster, who is clearly the villain of the piece. On his side are Lou Gosset, who is in charge of security, and Rae Dawn Chong, as an idealistic, struggling history teacher.The movie has a HIGH NOON vibe to it and is one of the right-wing-violence movies of the 1970s and 1980s, like DIRTY HARRY and RED DAWN; the only way to respond to violence is for the principled to use violence. This isn't new. Before the Production Code shut them down, there were movies which glorified vigilante action against gangsters. Now, with the Code shut down, theme theme was again part of the conversation.This movie is no great example of cinema. It is filled with cliches. It is, however, competently directed by Christopher Cain, with good, moody lighting by Arthur Albert and efficient editing by Jack Hofstra. This film offers no advancement in technique, has nothing particularly useful to say. Half a century earlier, it would have been a B movie from a Poverty Row producer. It's totally undistinguished, but it does tell its story swiftly and efficiently.
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Writing for The Hollywood Reporter, Boyd van Hoeij described Call Me by Your Name as an "extremely sensual ... intimate and piercingly honest" adaptation of Aciman's novel and called Chalamet's performance "the true breakout of the film".[200] Peter Debruge of Variety believed the film "advances the canon of gay cinema" by portraying "a story of first love ... that transcends the same-sex dynamic of its central couple". He compared Guadagnino's "sensual" direction with the films of Pedro Almodóvar and François Ozon, and put Call Me by Your Name "on par with the best of their work".[116] David Ehrlich of IndieWire also praised Guadagnino's directing, which he said helped the film "match the artistry and empathy" of Carol (2015) and Moonlight (2016).[199] Sam Adams of the BBC wrote that Stuhlbarg's performance "puts a frame around the movie's painting and opens up avenues we may not have thought to explore", and called it "one of his finest" to date. He extolled the film as one of "many movies that have so successfully appealed to both the intellectual and the erotic since the heydays of Patrice Chéreau and André Téchiné".[201]
Ty Burr of The Boston Globe gave the film three-and-a-half stars, commended the director for "broaden[ing] his embrace of humanity while hitting new heights of cinematic bliss" and said that the film "may be a fantasy but it's one that's lovely and wise."[202] David Morgan of CBS praised the cinematography, production design and costuming for "making a summer in the 1980s palpably alive again." He found Stuhlbarg's character "the most forward-thinking parent in movie history".[203] Richard Lawson wrote that Guadagnino's adaptation "was made with real love, with good intentions, with a clarity of heart and purposeful, unpretentious intellect" and hailed it as a "modern gay classic" in his Vanity Fair review.[204] Chicago Tribune's Michael Phillips was pleased by the "wonderfully paradoxical" visual interests from the director and said Stevens's songs "work like magic on your sympathies regarding Elio's emotional awakening." He praised Hammer's performance as "some of the most easy-breathing and relaxed best work of his career."[205] 2ff7e9595c
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