This film is very thoughtful in every sense of the word. The writing and act structure is magnificent and creative in an attentive way. Despite only having seven scenes, the writing never drags or stutters. The film has only three characters, but the twists and turns create a captivating experience that does not allow for boredom or world-weariness. The characters themselves are very well fleshed out and react to situations well. The justifications of each character create interesting dynamics that evolve into an intriguing story filled with introspective ideas. The actors play a wonderful role in emotional scenes that bring the world to life. The cinematography is both thought-provoking and expressive, as well as the set design and location. The written story was emotional, but the acting and editing brought a new visual medium to the story in a succinct, beautiful way. The themes of this film struck me to my core, and I would recommend it to anyone that doesn't just want easy answers. It evokes discussion on multiple fronts, from the story to behind-the-scenes decisions.
3 Reviews
We're All at Fault
batesdon4 March 2023
This is an emotionally riveting story of what's morally responsible in human relations. It hits a perfect high C in revealing the complexities of sincerely trying to help others in big trouble while also trying parochially to help yourself avoid a similarly disabling fate. It's not a pretty picture, but it's given absorbing and entertaining weight by the superb cast and its penetrating acting, the crafty direction, and the piercing dialogue. There are no vacant moments. The contradictions become ever more obvious as the plot thickens. The ironies pile up. The behaviors turn menacing. Fear takes over. Reality sets in. We witness the fragility of the human condition in its myriad manifestations, both for the sadly put-upon and the gladly privileged alike. Any moment, our world could collapse. Any moment, we could be exposed to an ultimate humiliation -- the death of our friendships, family, freedom, dignity, loves, our very lives -- because of the commonplace decisions we often make that turn out to be morally and ethically damaging for all concerned. This movie resides in a loose framework of law and order, but its meaning, purpose, and palpable presentation emanate from the powerfully passionate portrayal of the veteran writer/director and actors who turn what could easily have been concocted as a preachy sob story into a taut and menacing portrait of the human condition and our role, individually and collectively, in making it better or worse. Obviously, I like this film, including the fact it resonated with me because I've had my brief moments in "the system" and know firsthand the hurt and pain it produces, both when it must and also when it mustn't. But, again, this story is about the human condition that gets magnified several decibels because of the punishing context. Once you see it, you can't avoid the question its title asks. Spread the word.
Laughable Depiction of New York Legal System
lavatch27 March 2024
Warning: Spoilers
This film was made in 2022. But the New York that was being depicted was closer to 1952. It is difficult to understand the intent of the filmmakers, given the way the law is now being interpreted in the United States legal system.
Young Elsa Mercado is a Puerto Rican who had murdered her abusive father in order to protect herself and her brother. She spent time in prison for manslaughter and the film depicts her attempt to get her life back in order.
She has two devoted and sensitive helpers in Sandy James and Paul Fleming, who are both working their way up in the New York political and judicial systems. After she is harassed in a restaurant and injures the perpetrator, Elsa fears that she will have violated her parole and will be sent back to prison. But the scrupulously honest Ms. James is reluctant to intercede on Elsa's behalf by approaching the DA to give Elsa preferential treatment.
The film's entire premise about how the law is being applied in New York was preposterous and did not reflect the new norm of "social justice" that affords protection to the criminals, not to the victims of crime. The ambitious Sandy James never would have become the mayor of New York. To accomplish that goal, she would have needed to adopt the persona of Letitia James.
Despite the good performances and the skillfully written dialogue, "What We Do Next" was a laughably bad film when it comes to the reality of the legal system today. The film should be bottled in a time capsule labeled "nostalgia" and sent back to the time when law and order truly existed.
Young Elsa Mercado is a Puerto Rican who had murdered her abusive father in order to protect herself and her brother. She spent time in prison for manslaughter and the film depicts her attempt to get her life back in order.
She has two devoted and sensitive helpers in Sandy James and Paul Fleming, who are both working their way up in the New York political and judicial systems. After she is harassed in a restaurant and injures the perpetrator, Elsa fears that she will have violated her parole and will be sent back to prison. But the scrupulously honest Ms. James is reluctant to intercede on Elsa's behalf by approaching the DA to give Elsa preferential treatment.
The film's entire premise about how the law is being applied in New York was preposterous and did not reflect the new norm of "social justice" that affords protection to the criminals, not to the victims of crime. The ambitious Sandy James never would have become the mayor of New York. To accomplish that goal, she would have needed to adopt the persona of Letitia James.
Despite the good performances and the skillfully written dialogue, "What We Do Next" was a laughably bad film when it comes to the reality of the legal system today. The film should be bottled in a time capsule labeled "nostalgia" and sent back to the time when law and order truly existed.
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