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Movie review: The Sun Is Also A Star is most interesting when it is least openly romantic

The Sun Is Also A Star (PG13)

94 minutes/opens on May 16/3 stars

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‘The Union’ Review: Old Friends Mark Wahlberg and Halle Berry Reunite in a Middling Spy Movie

Playing ex-flames who team up to save the world, the two leads have chemistry, but the movie lacks the personality to make their low-key screwball dynamic worth the hassle.

By Peter Debruge

Peter Debruge

Chief Film Critic

• ‘The Union’ Review: Old Friends Mark Wahlberg and Halle Berry Reunite in a Middling Spy Movie 2 days ago
• Gena Rowlands Remembered: How ‘A Woman Under the Influence’ Transformed the Craft of Screen Acting 2 days ago
• ‘Jackpot!’ Review: The Lottery Plot’s Preposterous, but Awkwafina and John Cena Are a Winning Combo 3 days ago

Life peaked in high school for Mike McKenna ( Mark Wahlberg ), whereas then-sweetheart Roxanne Hall ( Halle Berry ) managed to escape dead-end New Jersey and travel the world. While he joined the local construction workers union, she joined the Union , a clandestine spy group about whom Roxanne blandly claims, “Half the intelligence community don’t know we exist, and the other half regret finding out.”

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Mike’s been drinking at the same bar ever since Roxanne dumped him, hoping she’d walk back into his life. “Is it as you imagined?” Roxanne asks when she does. “I dunno,” he says. “In my head, you were always wearing a bikini.” Just more evidence that the movie was made for 13-year-old boys, even if Wahlberg thinks he’s making this film for the blue-collar guys back home. What else could he mean when his characters says, “It’s nice seeing yourself reflected on-screen”? He’s not drinking martinis in a bespoke tuxedo, but this hardly feels like the representation that Hollywood’s been missing.

Wahlberg plays Mike as if he doesn’t want to do spy stuff, but the movie never gives him a convincing reason to come around. Maybe he would’ve joined the Union if Roxanne had been kidnapped, or if someone he knew (like Lorraine Bracco, wasted as his mom) were in danger, but as written, the character agrees because the actor playing him likes the idea. I suspect Wahlberg is also responsible for enlisting director Julian Farino (who has nearly two dozen “Entourage” episodes to his name). Comedy he can handle, but action doesn’t come naturally to the helmer, and it shows in set-pieces recycled from 007 and “Mission: Impossible” movies.

Once Mike agrees to join, the film compresses a two-week training program (already cut down from six months) into a trailer-length montage, during which he meets other Union members: top boss Tom Brennan (J.K. Simmons), combat pro Frank Preiffer (Adewale Akinnuoye-Agbaje), psych evaluator Athena Kim (Alice Lee) and an underused IT guy who calls himself “the Foreman” (Jackie Earle Haley). At times, “The Union” seems to suggest that all of these agents were once honest, hardworking stiffs like Mike — in which case, the organization’s name kinda makes sense — but if that were true, then Roxanne doesn’t fit the profile.

Or maybe she does. The trouble with “The Union” is that neither the film nor its characters have much in the way of personality, to the point it’s not even clear how they feel about one another. To reveal the villain would spoil a mild surprise, though it feels reasonable to complain about the cheap trick of insisting said baddie was once married to Roxanne. When all three characters are together, the movie intends to spark jealousy between Mike and his rival, but mostly it just freezes whatever chemistry had been heating up between the ex-high school sweethearts, as Mike finds himself friend-zoned.

In concept, there’s something inherently appealing about Berry and Wahlberg as action stars. Both have shone in the genre before: It’s hard to top Berry’s intensity in B-movie “Kidnap,” while Wahlberg does best in “Patriots Day” director Peter Berg’s real-hero portraits. In “The Union,” it’s easy to tell they’re being doubled by stunt people half the time, and when they’re not, neither actor looks very convincing — which is to say, instead of entertaining the notion that a Jersey boy can be a spy, it shatters the previously accepted idea that Wahlberg should play one.

Reviewed at Egyptian Theater, Los Angeles, Aug. 12, 2024. MPA Rating: PG-13. Running time: 107 MIN.

• Production: A Netflix release and presentation of a Municipal Pictures production. Producers: Mark Wahlberg, Stephen Levinson, Jeff G. Waxman. Executive producer: Jennifer Madeloff.
• Crew: Director: Julian Farino. Screenplay: Joe Barton, David Guggenheim. Camera: Alan Stewart. Editor: Pia Di Ciaula. Music: Rupert Gregson-Williams.
• With: Mark Wahlberg, Halle Berry, Mike Colter, Adewale Akinnuoye-Agbaje, Jessica De Gouw, Alice Lee, Jackie Earle Haley, J.K. Simmons.

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Review: Elliot Page delivers a deeply moving performance in 'Close to You'

"Close to You" arrived in theaters Friday.

As a movie, "Close to You," now only in theaters, can feel clumsy and contrived. As a search for identity, it can soar on waves of raw feeling thanks to the deeply felt, deeply moving performance of Elliot Page in a role he wears like a second skin.

Page plays Sam, a trans man living in Toronto who returns after four years to his suburban hometown on Lake Ontario. The occasion is ostensibly the birthday of his father. In actuality, it's a reunion with family members he hasn't seen or been close to since his transition.

Though Page teamed on the script with director Dominic Savage, "Close to You" -- which features many awkward scenes of improvisation -- is not even close to being a biography. For that, read "Pageboy," the acclaimed 2023 memoir in which Page is bluntly candid about his fears regarding gender dysphoria and his hard-won path to happiness.

Review: Cliches come fast in 'It Ends With Us'

There are issues galore for Sam that Page, 37, delineates with intuitive brilliance. An Oscar nominee at 20 for playing the title role in "Juno," Page excels in films both intimate ("Hard Candy") and epic ("Inception"). And he deftly handles the emotional demands rocking Sam's world in "Close to You."

Sam's mother Miriam (a terrific Wendy Crewson) offers open-hearted support, but sometimes trips up on pronouns. His father Jim (Peter Outerbridge) is outwardly more progressive. But Sam can't help feeling that he's "just a disappointment to them."

Sam's siblings Kate (Janet Porter), Megan (Alex Paxton-Beesley) and Michael (Daniel Maslany) push hard to show they're in Sam's corner, but shake their heads in disbelief when Sam insists that he's happy. There is nothing subtle about the reactions of transphobic brother-in-law Paul (David Reale), an uber-jerk whose hostile accusations reflect much of the outside world.

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These characters feel more like mouthpieces than flesh-and-blood humans. But the sting feels fresh when Sam hits them with a question that cuts to the core of his story: "Why weren't you this worried about me when I was actually not OK?"

Why indeed? The power of these scenes is undeniable. As is Sam's reunion with Katherine (the sublime deaf actor Hillary Baack), his once-closest friend who is now married with children. When Sam walks out on his family, ready to catch the next train home, he first reconnects with Katherine in a scene of surpassing tenderness.

You can feel the connection between the two actors (they worked together in a 2013 film called "The East"), just as you feel the bond between Sam and Katherine, as it touches on moments of sexual and psychological intimacy.

Page and Baack are so good that you long for a more fully developed look into their characters. But the film's improv nature and the decision to set the story as virtually a day in Sam's life frustrates our longing to know more, to go deeper.

And yet Page leads as ever with his heart. For all the narrative bumps, Page lets us see Sam as he opens up to the world, no matter how it hurts. Even when the film goes soft, the bruised beauty of his performance hits you hard.

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Justin Baldoni addresses "friction" on It Ends With Us set

"You're always navigating personalities."

The film, which is based on the Colleen Hoover novel , was recently released in cinemas – though fans have suggested a rift between its stars Baldoni and Blake Lively .

The rumours have gained traction due to the fact that the actors haven't done press together, while Lively and the rest of the movie's cast don't follow Baldoni on Instagram.

Related: It Ends With Us review: Blake Lively shines in controversial Colleen Hoover adaptation

The Hollywood Reporter also claims there was tension during the post-production process.

While Baldoni didn't address these rumours directly in a new interview with Elle UK , he admitted there was "friction" and "navigating personalities" while making the movie.

"It's very challenging to act and direct, and especially with a project like this," he said. "There was a lot of pressure playing such a complex role like Ryle and, of course, as a filmmaker, you're always navigating personalities.

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"There are all these things that happen every day on set, there's always friction that happens when you make a movie like this. Then at the end of the day, it's that friction, I believe, that creates the beautiful art.

"Everything in life needs friction to grow," Baldoni continued. "And look, we created something so beautiful and so magical, and it was hard, and it was worth it at the same time.

"And I grew so much as both a filmmaker, an actor and as a person throughout this experience."

Related: Colleen Hoover's Regretting You getting movie adaptation after It Ends With Us success

It Ends With Us follows florist Lily Bloom (Lively), who is trapped in an abusive relationship with Ryle Kincaid (Baldoni), and crosses paths with first love Atlas Corrigan (Brandon Sklenar).

While it has earned mixed reviews , the movie has made an impressive box office debut , taking $50 million in North America in its opening weekend and $80 million globally.

It Ends With Us is out now in cinemas.

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Sam is a freelance reporter and sub-editor who has a particular interest in movies , TV and music. After completing a journalism Masters at City University, London, Sam joined Digital Spy as a reporter, and has also freelanced for publications such as NME and Screen International .  Sam, who also has a degree in Film, can wax lyrical about everything from Lord of the Rings to Love Is Blind , and is equally in his element crossing every 't' and dotting every 'i' as a sub-editor.

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‘the bikeriders’ 4k ultra hd movie review.

Filmmaker Jeff Nichols’ period crime drama roars from the cinemas to the 4K disc format to enchant home theater owners in love with midwestern motorcycle culture in The Bikeriders ( Universal Studios Home Entertainment, rated R, 116 minutes, 2:39:1 aspect ratio, $44.98).

Inspired by Danny Lyon’s photobook of the same name, the movie covers the violent shenanigans of the Chicago-based Vandals Motorcycle Club, a fictional version of the actual Outlaws Motorcycle Club, from 1965 to 1973 as they transitioned into an organized gang.

The story of the “club” comes to light via photojournalist Lyon (Mike Faist) as he interviews riders but focuses on Kathy Bauer (Jodie Comer) who fell in love with and married the newest Vandals’ member leader Benny Cross (Austin Butler).

Mr. Nichol’s methodical exposition of the crumbling morality of a burgeoning biker gang plays out through some brutal characters sporting vintage Northside Chicago, working-class accents and mightily succeeds due to the phenomenal cast.

Not only do Ms. Comer and Mr. Butler (certainly channeling James Dean) carry the dramatic load, but heavyweights include Tom Hardy as gang leader Johnny (imagine Marlin Brando with a Chicago accent), Michael Shannon as trusted biker Zipco and Norman Reedus as the relocated California biker Funny Sonny.

Also, watch the end credits for some actual photos from the book that covered the gang in 1965.

4K in action: Sure, the ultra-high definition spotlights the production design on urban neighborhoods and gritty cinematography, but viewers will be equally impressed inspecting the incredible collection of vintage motorcycles assembled including the 1956 Harley-Davidson FLH.

Equally eye-catching is the costuming of the gang relegated to greasy and dirty jeans, leather and jean jackets with embroidered patches, and scuffed leather boots.

And, hearing those mechanical beasts is equally immersive, thanks to the all-surrounding Dolby Atmos mix as engines roar from the speakers.

Best extras: An optional commentary track with Mr. Nichols, who also wrote the script, sheds plenty of light on his love for the project, its background and the production.

Often focused on the source material, the director covers the subtext of the narrative, diving into his “hybrid” film that mixes fact and fiction such as some of the dialogue for Kathy was taken directly from Mr. Lyon’s original audiotapes.

The memories of the 15-year odyssey to make the film play out as the director offers much introspection of his thematic and cinematic choices.

He covers why he used Kathy as the narrator, on deciding to shoot the film in Cincinnati, his vintage musical choices, casting choices, coordinating the mud fight sequence and identifying the characters’ real-life counterparts in the photos at the end of the film.

Viewers then only get three short featurettes: three minutes on the production; a three-minute spotlight on the director; and a little more than three minutes in a minuscule look at the vintage clothing and motorcycles used in the film.

Unfortunately, viewers get very few specifics on the types and years of the bikes used and that is too bad since they were occasionally the stars of the movie.

• Joseph Szadkowski can be reached at [email protected] .

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‘The Sun Is Also a Star’ Review: Young-Adult Romance Burns Bright…For a Bit

By David Fear

“I thought it would take me a lifetime to understand the human heart,” says Natasha Kingsley (Yara Shahidi), a montage of New York City playing underneath her voiceover. “All it took was a single day.” Given the placement of that line of dialogue, this means it takes roughly three minutes for someone watching The Sun Is Also a Star, the adaptation of Nicola Yoon’s 2016 YA novel, to roll their eyes. This is the first time you’ll find yourself rotating those orbs a full 360-degrees in exasperation, and given that the movie matches its young couple’s earnestness and hopeless romanticism step by puppy-love step, it won’t be the last. But for all of this melodrama’s talk of destiny as a divine matchmaker and other such hooey, there’s an intimate sense of everyday life embedded into the amore -conquers-all story that helps counteract the cosmic slop. These kids’ heads are in the stars. The movie, however, largely prefers to keep its feet on the ground.

And given the heartstring-attack premise — not to mention the torn-from-today’s-headlines timeliness — the approach is appreciated. Natasha, you see, is the daughter of immigrants, and a random ICE raid has resulted in the whole Kinglsey clan being forcibly deported to Jamaica. (“You’ll be fine,” a case worker tells her. “Everything is irie there.”) She has one day left to rectify the situation, so she talks her way into getting a sit down with a lawyer who might be able to help. While standing in Grand Central Station, she’s spotted by Daniel Bae (Charles Melton, a.k.a. Reggie from Riverdale ), a Korean-American young man who’s on his way to a make-or-break interview to secure a spot at Dartmouth. He noticed her because she’s wearing a jacket that says “Deus Ex Machina” on the back — the same phrase he randomly scribbled on a piece of paper that very morning! When life hands you a sign that on-the-nose, how can you ignore it?

So Daniel feels compelled to follow her out of a subway station when he spots her again, and ends up saving her life. He thinks their meeting is fate. She believes that if you can’t prove something with the scientific method, forget it, buddy. Then both of their appointments get postponed. He suggests they hang out for the afternoon. Just give him an hour or two, he pleads, and he can show her love is real.

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You can already feel those eyes heading heavenward again — which is why it’s a good thing this film is blessed with Ry Russo-Young behind the camera. A filmmaker with a background in offbeat character studies and slightly cracked indie dramas — see: Orphans, You Won’t Miss Me, Nobody Walks — she has a knack for left-field choices and a great feel for filming people. (Even her previous foray into young-adult cinema, Before I Fall, is not your average teen handwringer.) Which is why you get a swooning teen romance where the vibe is a lot more Linklater Jr. than John Green, with the twosome trading philosophical ideals and wandering around a vibrant NYC filled with midtown planetariums, Koreatown karaoke joints, Harlem beauty shops and pulsating life on every corner.

She also trusts the audience enough to let long silences speak volumes and exchanges play out without music offering easy emotional cues. Her street-scene game is strong. Occasionally, we get tangential lessons on the concept of multiverses and Korea’s domination of the wig industry in the 1960s. Natasha’s story of her parents meeting is rendered in a wonderful series of snapshots. Russo-Young later gives us an entire alternate future for her heroes in the span of a song — The Shondells’ “Crimson and Clover,” for those of you playing along at home — that’s just short of breathtaking.

The fact that this flurry of grace notes and moments that feel caught off the cuff keeps so much of The Sun Is Also a Star afloat for so long is an accomplishment, given that the material itself fluctuates between feather-light and leaden. Shahidi, a clutch player on Black-ish and its underrated spin-off Young-ish, does what she can to sell the urgency of Natasha’s emergency maneuvers and eventual mutually smitten state. Melton makes you believe this guy would throw away his future for true love, even if he has a harder time convincing you his nice-guy character isn’t a closet stalker at times. Both of them are fine actors; both of them seem unsure of where to pitch their performances in places, and the result can sometime seem uneven at best. A subplot about Daniel’s rivalry with a bad-boy brother (Jake Choi) might as well be tacked on with pushpins. Even the timebomb factor that keeps things ticking — will Natasha keep her family from being undeservedly kicked out of their country? — feels more like an obstacle for these insanely photogenic lovers than a statement.

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Of course, the idea that this topic is being talked about at all in a studio movie, much less one designed for Friday-night googleplex consumption, feels quietly revolutionary in its own way. Ditto the actor-of-color leads getting the chance to explore the first- and second-generation immigrant experience while still being handed roles that don’t begin and end with that singular notion. There’s such beautiful artisanal touches that Russo-Young adds to what could have been a standard YA-lit flick and so much that the actors do with scenes of people just talking that you can’t write it off. And there are too many dramatic moments that flatline when they should spike, too many plot turns that feel false and too much reliance on “coincidence” as some higher-power string-yanking to say it completely works. Mind you, this is before the film adds a coda that will make even the most ardent believer in romance go “wait, seriously ?” Some stars burn brighter than you think they will — and can’t help but burn out in the end.

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‘In the Rearview’ Review: Shuttling Ukrainians to Safety

Maciek Hamela’s documentary offers a compelling perspective on the Russian invasion of Ukraine through the stories of people fleeing the country in a van.

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By Nicolas Rapold

Maciek Hamela’s perceptive documentary “In the Rearview” seats us in a van shuttling groups of Ukrainians from conflict areas to safety. That simple viewpoint, along with roadside scenes of pickups and drop-offs, captures the moments when ordinary life ended and the deadly chaos of the Russian invasion began.

Filmed in 2022 when Hamela volunteered as an evacuation driver, the van passes checkpoints, burned-out cars and disemboweled buildings while steering clear of mined roads and bombed bridges. But the van presents a safe space where passengers can talk about who and what they left behind, sleep, or just sit in silence.

Instead of dwelling on danger, these serial portraits of everyday Ukrainians — sometimes family members neatly dressed for cool weather, carrying the odd belongings or cat — show people who have made their decision to leave but are still processing what that means.

Travelers young and old talk about what happened in gripping, brief monologues: a lost husband, a surrogate pregnancy left in the lurch at a clinic, an abandoned cow, or torture at the hands of the enemy. The children look cherubic but sometimes glazed-over; unprompted, one girl reflexively proffers a paper with her identifying information to someone at the front of the van.

Many passengers seem to be heading to the Polish border from remote Ukrainian villages. But the van’s familiar interior has a way of underlining how many other millions across history have had to escape military aggression. Hamela’s work as driver and documentarian reflects that reality while offering a spirit of resilience.

In the Rearview Not rated. In Ukrainian, Polish, Russian and French, with subtitles. Running time: 1 hour 24 minutes. In theaters and available to rent or buy on most major platforms .

'Back to the Future': You built a musical out of a DeLorean?

Despite some impressive effects, the songs are too weak and the emotions too thin to elevate movie adaptation beyond routine fan service..

Doc Brown (Don Stephenson) shows his young protege, Marty McFly (Caden Brauch), his time-traveling DeLorean in “Back to the Future: The Musical.”

Matthew Murphy and Evan Zimmerman

Great Scott! It’s yet another movie-to-musical stage adaptation!

This one, “Back to the Future: The Musical,” has proven a hit in London, where it beat out “Frozen” and “Moulin Rouge” — see a theme here? — for the Olivier Award for best musical. As it revs up its first North American tour, which started in June, the show also maintains a decent speed on Broadway, if not the 88 m.p.h. that could, according to the film’s logic, send it back a few decades to when the three films in the franchise passed the $1 billion revenue threshold.

It’s fair to say that the success relies completely on longtime devotees of the films and the kids they bring with them, because this musical works only as fan service. For the critical — hey, it’s my job — there’s more pleasure to be had appreciating the nostalgia-driven joy of the audience than there is in what’s on stage, which is all frantic adrenaline.

The adaptation has been driven by Bob Gale, who wrote the original screenplay and this version’s book. The music and lyrics are from Alan Silvestri, who scored the film, and Glen Ballard (“Jagged Little Pill”). Faithfulness takes top priority, so the synopsis here matches the movie.

Marty McFly (Caden Brauch) is a teenager in 1985 who inadvertently travels back in time to 1955, thanks to the mad genius Doc Brown (Don Stephenson) and his souped-up DeLorean. Marty accidentally interferes with the moment when his parents George (Burke Swanson) and Lorraine (Zan Berube) meet. That means Marty will never be born — not to mention endless other alterations to the space-time continuum — unless he can find a way to make George and Lorraine fall in love. In the meantime, Marty reunites with a younger Doc Brown to figure out his return, leading up to a climactic sequence involving the DeLorean, lightning, and a clock tower.

• Sorry, ‘Back to the Future’ fans — director says sequel is not your density

There are impressive stage effects here, with set designer Tim Hatley, video designer Finn Ross, and illusion designer Chris Fisher collaborating to make the car seem like it’s speeding and to go a long way towards putting filmic action sequences on stage, with a particularly clever means of depicting the climbing of the clock-tower’s staircase.

Unfortunately, it clearly isn’t possible to do in touring houses what can be done in a fixed Broadway or West End theater. The team achieves a lot with the car effects, but this version does lack a spectacular thrill that might have tipped the show into the memorable. Even now the current tech seems to be stretching capacity, as the opening-night performance had to be paused for five minutes to fix a technical glitch, which has also been reported during previews. To the production’s credit, this felt surprisingly not awkward, and those running the show know exactly how to rely on the audience’s goodwill.

The problem is that “Back to the Future: The Musical” never for a second feels like an authentic experience. There are no real emotions, no thoughtful contemplations about time, no actual suspense, not even real characters.

It’s a pleasing plastic bobble-head of a show. It shakes and swivels feverishly, and can raise an occasional smile of familiarity, but it never involves.

Except for the golden oldies borrowed from the film, the music in this musical is, to be blunt, awful. The songs come off as generic sentiments backed by commercial-sounding jingles accompanied by uninspired choreography. “This one’s for the dreamers,” sings Doc, about himself and his own song, and then reprises it later. Worse, his entrance number, “It Works,” can’t decide it if it’s a slow patter song, or an arhythmic rap, neither of which, as the title would suggest, work.

The only number that can be considered spirited, and demands vocal dexterity, “Gotta Start Somewhere,” comes from future mayor Goldie Wilson (Cartreze Tucker), and, oddly enough, could easily be cut given how disconnected it is from the story.

Although it isn’t the fault of the actors — who are clearly skilled — the performances all come across as facsimiles, not exactly imitations (with the exception of Swanson’s take on Crispin Glover) but at least tributes. Rather than Stephenson’s take on a wacky scientist, we feel like we’re getting his light take on Christopher Lloyd’s wacky scientist. And it sure doesn’t help us relate to Brauch’s Marty that his hair looks like a wig even if, perhaps, it isn’t.

Director John Rando gets completely lost in between sincerity and camp, ending up with neither. The former, in this case, would have been the way to go.

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Tv/streaming, collections, chaz's journal, great movies, contributors, the sun is also a star.

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Beautiful, young people fall in a swoony, doomed love over the course of a single, eventful day in a sun-dappled New York City. 

Yes, “The Sun Is Also a Star,” based on the Nicola Yoon novel of the same name, is the impossibly contrived stuff of Young Adult fantasies. And yet the leads are so lovely and the city is so shimmery that it’s hard not to get caught up in its spell—for a while, at least, until its corny coda destroys whatever goodwill the film has generated.

Director Ry Russo-Young (who previously directed the teen time-loop drama “ Before I Fall ”), working from a screenplay by Tracy Oliver (“ Girls Trip ”), aims to break our hearts, but also make us think. “The Sun Is Also a Star” is a fable about what it means to be an immigrant in the United States in today’s increasingly closed-minded climate. The lead characters struggle to be true to their heritage while also defining their own American experience, on their own terms and with their own expectations. These pressing notions are wrapped up in gauzy, dreamy packaging, with likeable, photogenic stars enjoying a sparky romance that grows increasingly melancholy, as we know it can’t last.

Yara Shahidi of “Black-ish” and Charles Melton of “Riverdale” make the leap from television with aplomb as opposites who aren’t just attracted to each other—they literally collide on the sidewalk. Granted, Melton’s hunky Daniel had seen Shahidi’s radiant Natasha earlier that morning in Grand Central Terminal and stalked her through a few different neighborhoods, which we’re meant to think is sweet rather than creepy. But still—they meet cute at a moment when they’re both on the brink of big changes.

She’s the daughter of Jamaican immigrants whose whole family is about to be deported the next day after an ICE raid. He’s the son of Korean immigrants who’s about to visit a Dartmouth alumnus for an interview that might help him secure a spot at the prestigious university. She’s a pragmatist with a head for science who’s fascinated by astronomy. He’s a romantic with a heart for poetry who’d rather do anything than become the doctor his parents want him to be. She doesn’t believe in love; he believes in nothing but. They are ideas, these two, but they’re also pleasant company.

Naturally, as they get to chatting and flirting, they realize how different they are. But when Daniel bets Natasha that he can make her fall in love with him by the end of the day, it’s only a matter of when, not if, despite the fact that she has a ticking clock of her own. In the vein of Richard Linklater ’s “ Before Sunrise ,” Natasha and Daniel walk and talk through the streets of Manhattan, Brooklyn and Queens. And they do have decent chemistry with each other, even as they’re saddled with some cringey, on-the-nose dialogue. (Along those lines, Shahidi is often stuck spelling out the film’s themes through self-aware narration, a frequent YA movie trope.)

But New York City looks lovely and inviting—a place where seemingly anything is possible – through the eyes of cinematographer Autumn Durald Arkapaw, who recently shot Max Minghella ’s vibrant “ Teen Spirit .” “The Sun Is Also a Star” also explores sections of the city we don’t often see in movies, from a black hair care store in Harlem to the Roosevelt Island tram, as Daniel tries to prolong their “fated” connection and Natasha insists it’s pure coincidence while fighting to keep her family in the U.S. A scene at a karaoke bar where Daniel seductively croons “Crimson and Clover” while richly hued lights play across Natasha’s mesmerized face is particularly lush.

Certainly, you don’t see a movie like this for realism. You go for the escape, and to bask in the glory of its gorgeous leads. But “The Sun Is Also a Star” deserves credit for trying to sneak in some actual substance beneath the fluff. It also features an ending that’s downright perfect and borderline daring—if it had indeed ended there and not continued on five years and several minutes of screen time later. There’s a natural stopping point that feels just right and leaves the story on an achingly wistful note. But then it keeps going in a scene that prompted unintentional (but well-deserved) giggles from the audience during a recent screening. Sometimes, it’s better if everything isn’t written in the stars.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film credits.

The Sun is Also a Star (2019)

Rated PG-13 for some suggestive content and language.

120 minutes

Yara Shahidi as Natasha Kingsley

Charles Melton as Daniel Bae

Gbenga Akinnagbe as Samuel Kingsley

Miriam A. Hyman as Patricia Kingsley

Jake Choi as Charlie Bae

Cathy Shim as Min Soo Bae

Keong Sim as Dae Hyun Bae

Jordan Williams as Peter Kingsley

Camrus Johnson as Omar

• Ry Russo-Young

Writer (novel)

• Nicola Yoon
• Tracy Oliver

Cinematographer

• Autumn Durald
• Joe Landauer
• Herdís Stefánsdóttir

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10 best movies about the newspaper industry, ranked (according to imdb).

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The newly released The French Dispatch  has shined a light on the newspaper industry, being a love letter to The New Yorker and investigative journalism at large. But as great as the colorful movie is, there have been many other classic films about the newspaper and publishing industry released over the decades.

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The French Dispatch sits right in the middle of the greatest publication-related movies, according to IMDb. It was rated lower when the movie was first released in Europe, but ironically, despite being based in France, US audiences love the Wes Anderson-directed film a lot more.

The Paper (1994) - 6.7

The newspaper industry is one of the most hectic workplaces, as journalists work around the clock to get stories to the printers in time. Though it has a comedic edge to it, no other movie represents the exhausting environment like The Paper , which takes place over a period of 24 hours at the fictional New York Sun .

Though it wasn't as loved by general audiences, it was praised endlessly by critics, but that may have something to do with the fact that they relate to the movie so much. It's also the first of a couple of great performances by Michael Keaton, as he stars in both The Paper and Spotlight .

Absence Of Malice (1981) - 6.9

Absence of Malice doesn't get enough attention, as it's a must-watch for not just viewers who want to see investigative journalism, but it's a gripping courtroom drama and neo-noir thriller too. The title refers to the defense against libel defamation in that the defense has the right to know damaging personal information.

The movie isn't all that realistic, as the journalist in the movie does certain things that no self-respecting journalist would ever do, but it's still massively entertaining. There are a lot of similarities between Absence of Malice and the much more popular All The President's Men , and all the snappy dialogue and the procedural investigative format are just as compelling.

Shattered Glass (2003) - 7.1

Hayden Christensen doesn't have a great reputation because of his starring roles in the Star Wars prequel trilogy. But he is in so many great movies that are unfairly overlooked, and Shattered Glass is one of many. The movie follows a journalist who fabricates his outrageous stories to become more popular.

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The movie also stars Rosario Dawson, and with Christensen and Dawson's chemistry so strong, they'll be reunited in the upcoming Disney+ Star Wars series, Ahsoka . The actor will be reprising his role as Anakin Skywalker, and Dawson couldn't be more excited about it .

The Post (2017) - 7.2

It's almost as if there was an increase in popularity for investigative journalism-based movies after the award-winning Spotlight , as The Post followed not long after. But The Post is much more ambitious, as it's directed by Stephen Spielberg and stars Tom Hanks and Meryl Streep. However, it proves that a big-name director and two of the biggest movie stars in the world isn't always a winning recipe, as it doesn't touch on the perfectly paced captivating 2015 movie.

But there are still things to love about the film. The movie is about The Washington Post's attempts to publish the Pentagon Papers in the 1970s, and it does still make what would have been a routine humdrum ordeal exciting. Not only that, but it's a great-looking period drama and it features  one of Spielberg's best opening shots .

The Front Page (1974) - 7.3

Where movies about newspapers and publications are generally fairly serious, as they're usually thrilling exposés, The Front Page is much more lighthearted. The movie marks the fifth and penultimate collaboration between the directing-acting duo Billy Wilder and Jack Lemmon, and it's one of their most grounded.

The movie follows a reporter who covers his final crime story before his retirement, which is about a man on death row. It's based on a play from 1929, and while it has been adapted numerous times on TV and in movies, The Front Page is the best of them all.

The French Dispatch (2021) - 7.5

The French Dispatch is the newest movie about the newspaper industry, and it's the most interesting because, though it isn't based on a true story, it is based on a fictitious version of The New Yorker . Not only is it about the newspaper industry, but  The French Dispatch is a great anthology movie  too, as each story follows different journalists' work on fictionalized versions of infamous New Yorker articles.

The cartoon-like movie hasn't been out for long, but the general response is mostly positive and has been referred to as a love letter to journalism. Though it has been criticized for Anderson indulging too much in his trademark style, such as using different film formats depending on the time period, and every shot being so perfectly symmetrical.

Zodiac (2007) - 7.7

It might seem strange that Zodiac is one of the best movies about the newspaper industry, as it's a crime thriller about the real-life Zodiac killer. But it was the San Francisco Chronicle who were sent ciphers from the killer, and it was the cartoonist of the newspaper, Robert Graysmith, who was deciphering them. Graysmith did as much work of attempting to uncover the killer as the police.

The movie does a great and accurate job of depicting the events of what happened, and  Zodiac is now considered a classic . Between the procedural way it lays down each clue, and the distinct high-definition look of the movie, the 2007 film is one of the greatest thrillers of the 21st century and one of the best newspaper movies ever.

All The President's Men (1976) - 8.0

All The President's Men is the most well-known political biopic, as it depicts the Watergate scandal during the Nixon administration. Just like The Post , the 1976 movie is another film that centers around The Washington Post's attempts to bring the real facts to its readers.

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Along with being exhilarating and intense, President's Men features the best, most observant portrayal of investigating journalists ever put to film. Because of this, the movie is considered a classic and is one of the most important American movies of the 1970s.

Spotlight (2015) - 8.1

Though it doesn't sound like it, as the all-star ensemble cast perfectly captures the tensions of trying to expose the Catholic church for its child sex abuse, Spotlight  has become a modern classic. Spotlight is a special investigative team for the Boston Globe, and the 2003 story was their biggest triumph.

Despite its touchy subject matter, the film was a triumph and it's Mark Ruffalo's best 2010s movie . It could have been the first of a series of anthology movies about the Spotlight team, as they won Pulitzer prizes for exposing political favoritism in Massachusetts in 1972 and transit mismanagement in 1980. Unfortunately, that doesn't seem like the case.

Citizen Kane (1941) - 8.3

Citizen Kane is a perfect movie for so many reasons. From the incredible establishing shot at the beginning to the reveal of the meaning of the word "Rosebud" at the very end, the movie is iconic. But on top of that, the film centers around the titular character, a publishing magnate who had so much power over the tabloids.

The character is even based on real-life media barons William Randolph Hearst and Joseph Pulitzer, the latter of which the Pulitzer Prize is named after. There are a hundred different reasons to watch the masterpiece, and the journalistic aspect of the movie is just one of them.

NEXT:  10 Films (Apart From Mank) To Watch If You Liked Citizen Kane

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A summer storm may be headed for b.c.'s south coast.

'Like a slow-motion oil spill': B.C. tour guides haul 32.5 tonnes of plastic debris from ocean

Richmond man convicted of killing two gets statutory release, but with conditions, more layoffs coming to global news, many in b.c., says unifor, chilliwack rcmp arrest one in connection with racist social media posts.

Kids in the Hall's Kevin McDonald comes Vancouver's The Improv Centre

Watch and learn how to get laughs from the Canadian comedy stalwart and Kids in the Hall alum

Movie review: Alien: Romulus starts strong but gets old fast

Sorry, vancouver: happy gilmore 2 is shooting in new jersey, canada's health minister cites cheerleading movie bring it on when asked about liberal plans, meet the vancouver music supervisor who helps set the mood for your favourite movies and tv shows, latest entertainment videos, actor sam neill catches tim minchin's vancouver concert.

The acting legend, who is in town filming the new Netflix series Untamed, enjoyed the sold-out show at the Queen Elizabeth Theatre

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UBC professor ranks every Disney musical song to create a top tune playlist

UBC School of Music professor studied every Disney musical song to come up with a Top 114 tracks list. And he's got the world's attention

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Rogers joins TIFF as lead sponsor of film festival, but not year-round events

Festival has been hit by COVID-19 restrictions, Hollywood strikes and most recently the loss of long-time lead sponsor Bell

Vancouver-shot Longlegs is a summer box office hit

Nicolas Cage horror film becomes top grossing indie horror/thriller

'Joy and collective power': The Vancouver Queer Film Festival boasts 97 films from 25 countries

Ben Whishaw stars in an opening night short film at Vancouver Queer Film Festival

Newcomers helping to cushion Metro Vancouver from slowing economy, possible recession: Report

Local spotlight.

Find the best places within Vancouver . From local businesses to food to medical to legal services.

Bikini worn by Carrie Fisher when she 'killed' Jabba bought for $240K

'They asked me if I wanted my stunt double to kill him, but I wanted to,' she said of an iconic Star Wars moment

This Day in History, 1949: Movie stars Tony Curtis and Dan Duryea visit Vancouver for the premiere of Johnny Stool Pigeon

Johnny Stool Pigeon was a film noir crime drama about international drug smuggling, and set in Vancouver, San Francisco and Tucson, Arizona.

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Movie review: Deadpool & Wolverine brings the laughs, eh?

Marvel/X-Men mashup teams Ryan Reynolds, Hugh Jackman and more cameos than we'd care to mention

Vancouver makes a surprise appearance in Deadpool 3

Fans will be happy to see Vancouver skyline and English Bay pop up in the latest and last trailer for Deadpool & Wolverine

Film review: Twisters is a tornado tale that's right up my alley

Sort-of sequel mixes charms of the 1996 original with just enough novelty to keep you glued to your seat, before blowing you out of it

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Alec baldwin’s involuntary manslaughter case dismissed.

Judge Mary Marlowe Sommer dismissed the case based on the misconduct of police and prosecutors and said it cannot be filed again

Shelley Duvall, star of The Shining and Nashville, dies at 75

The long-time resident of Texas Hill Country was neither in "hiding" nor a recluse, just out of the spotlight

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Kids in the Hall alum Kevin McDonald coming to Vancouver

Comedian and actor Kevin McDonald comes to Vancouver Improv Centre for show and workshops

Box office hit and Vancouver-shot Longlegs leans in to Silence of the Lambs as source of inspiration

Director and writer Osgood Perkins says his tense, psychological thriller starring Nicolas Cage was inspired by Silence of the Lambs

So Help Me Todd and Modern Family director to visit Vancouver Film School

Emmy winner and TV/film veteran Michael Spiller will be bringing his four decades of expertise to students at the VFS.

What's filming in Metro Vancouver and B.C. this summer and fall

A busy summer and fall are ahead for the local film, TV and streaming production industry. Here's what to watch for

Film review: Kinds of Kindness delivers all kinds but little kindness

Not a morally uplifting triptych but at least it's a thespian showcase, as Emma Stone, Jesse Plemons, Willem Dafoe and others play multiple roles

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Film review: A Quiet Place: Day One lowers the stakes

Prequel to Jonn Krasinki's stellar pair of films could easily have been called A Quiet Place: Quest for Pizza

Just announced: Monty Python legend Eric Idle coming to Vancouver

Vancouver is the only Canadian stop for the comedy legend's new live show Always Look on the Bright Side of Life, Live!

5 movie stars to spot in Vancouver this summer

Emily Blunt, Dwayne 'The Rock' Johnson, Elizabeth Olsen, Owen Wilson and Lily Gladstone are shooting projects in Hollywood North

Blake Lively to star in Vancouver writer's Netflix thriller — plus her 5 best movies

Vancouver author's novel and short story to set to become Hollywood films

Toy story: Meet the man behind YVR's collection of Disney figurines

Ken Stephens, the man behind the Disney display at the Vancouver airport, started buying toy figures at garage sales for his kids. But he got the collecting bug, and never stopped.

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Rihanna points to this 'stunning' Vancouver star as the actor she'd like to play her in a biopic

RiRi reveals at Fenty launch Bones and All actress and former Harry Styles girlfriend as her pick for a biopic

Ryan Reynolds and his mom make surprise appearance on The View

The Vancouver star and his mom were in the audience for a taping of the hit ABC daytime talk show. Watch the clip

Movie review: Bad Boys: Ride or Die is, like everything, all about family

Will Smith and Martin Lawrence are like brothers. The police captain was like a father to them. One of them getting married. Oh, and there are also shootouts

Ant-Man star Evangeline Lilly is saying goodbye to Hollywood — for now

The former B.C. resident and star of The Hobbit and Lost has announced she is leaving acting

What to know about the movie Donald Trump doesn't want you to see

The Apprentice, starring Sebastian Stan as a young Trump, includes scenes of him undergoing hair treatments and popping amphetamines

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This Vancouver school was just named among the best film schools in North America

For the eighth straight year Vancouver Film School ranked among the best schools by Hollywood-based trade publication Variety

I'm Just Here for the Riot: Vancouver documentary about the Stanley Cup riot debuts

Filmmakers Kat Jayme and Asia Youngman examine the violence of the 2011 Vancouver Stanley Cup riot and ensuing online shaming in their new film.

This Day in History, 1949: Pint-sized Romeo Mickey Rooney gets hitched for the third time

The movie star's (lack of) size and penchant for marrying would become as renowned as his roles

Super Size Me filmmaker Morgan Spurlock, who skewered fast food industry, dies at 53

Spurlock made a splash in 2004 with Super Size Me, which chronicled the detrimental effects of eating only McDonald's food for 30 days

Film review: Furiosa: A Mad Max Saga is that rare prequel that actually feels needed

Anya Taylor-Joy is suitably angry in the title role, even as Chris Hemsworth as Dementus pushes the plot forward

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The return of The Phantom Menace

Reissue of this travesty of a film is all about greed and gullibility

Are film critics too mean?

Sometimes entertainment critics take it one (or maybe two) steps to far

First photo: Dwayne 'The Rock' Johnson on the Vancouver set of The Smashing Machine

The Rock is cooking up the story of Mark Kerr, one of the founders of UFC, in Vancouver. Here's a first look

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