Movie Reviews
AMERICANS WITH NO ADDRESS: THE DOCUMENTARY Review
More than a million homeless people in the United States lack basic needs, self-worth, medical care, and a sense of community. Each person has inherent dignity, because every person is created in God’s image. The government may have failed, but private citizens have rallied to answer the call. AMERICANS WITH NO ADDRESS: THE DOCUMENTARY stands apart because it lays out the need, while also highlighting some solutions. However, the movie has plenty of disturbing content about crime, poverty, substance abuse, and mental illness. Strong caution is advised for pre-teenage children.
Dominant Worldview and Other Worldview Content/Elements:
Strong Christian, biblical worldview in documentary about the issue of homelessness, with dozens of interviews of experts, government officials, homeless people, doctors, and charity workers, including many Christians;
Foul Language:
No foul language;
Violence:
Some discussion about violent crime, plus a brief scene from an upcoming movie where a man holds a knife against an elderly homeless man;
Sex:
No sex;
Nudity:
No nudity;
Alcohol Use:
Discussion about alcohol abuse and alcoholism, and the need for rehab and recovery;
Smoking and/or Drug Use and Abuse:
Discussion about drug abuse, overdoses and the drug epidemic and the need for better rehab and recovery programs; and,
Miscellaneous Immorality:
Some discussion about mental illness and its effect on homelessness.
AMERICANS WITH NO ADDRESS: THE DOCUMENTARY is a very well thought out, superbly executed, and inspirational documentary that explores the current homeless crisis in the United States. All political parties agree that the government has failed to solve the problem, and some argue that the government has made the problem much worse. This masterfully done documentary includes content with adult topics, such as drug use, violence, broken families, and crime. So, MOVIEGUIDE® advises extreme caution for children.
The movie explores the homelessness epidemic in 20 cities across 18 states in the United States. It interviews dozens of people about the subject, including experts, government officials, policemen, homeless people, doctors, and people working in nonprofit groups giving food and shelter to the homeless.
According to the United States government, homelessness rose 12% in 2023, to 653,104 people. Also, it’s been estimated that one third of the population knows a family member or a friend who became homeless in the last year. Homeless encampments that were once only associated with “Skid Row” in big cities are now seen everywhere. Yet, government spending on homelessness has tripled in the last 12 years.
The documentary says the homeless problem isn’t new. In fact, it’s been brewing since Congress passed the IMD Exclusion Act of 1965, which left the problem of homelessness to the states. This essentially means that the federal government will not offer assistance to any homeless persons between the ages of 21 and 65.
In 2013, the federal government began providing HUD housing to homeless persons without requiring treatment for substance addiction recovery and mental health illnesses. Experts agree this is a system set up to fail. To make matters worse, in the last several years, state governments have stepped in to provide clean needles, straws and other paraphernalia to assist homeless people in their substance abuse issues. Hospitals are only allowed to provide 15 beds to mental health patients, no matter the size of the hospital. Many people in need are turned away or end up in prison. The rate of incarceration has exploded in recent years. Moreover, the closure of most mental hospitals in the 1970s and 1980s only made the problem worse.
The system clearly is broken, the movie argues. In fact, the movie shows that many of the measures taken have been detrimental to those in need and is costing taxpayers even more money. For example, the city of San Francisco spends $257,000 per day to clean up homeless encampments. This doesn’t solve the problem, because the homeless population simply moves to another nearby location.
More than physical needs, scores of people are bereft of love, self-worth and a sense of community. Each person has inherent dignity as every person is created in the image and likeness of God.
The movie quotes Mother Teresa, a champion for the homeless, who once said, “We think that sometimes poverty is only being hungry, naked and homeless. The poverty of being unwanted, unloved and uncared for is the greatest poverty.” Then, movie also quotes the co-founder of the Salvation Army in 1865, Catherine Booth, who said, “You are not here in the world for yourself. You have been sent here for others. The world is waiting for you.” Amy Grant personalizes it best in the movie when she ponders, “What if I were that person? Because life can turn on a dime.”
The government has failed us, but private citizens have rallied to answer this call to care for our brothers and sisters who are “outcasts, lost and forgotten.” Some of these organizations across the country include Step Up, Haven For Hope, Community First! Village, the Salvation Army, St. Vincent De Paul, Harbor of Light, Helping Hands, and The Helping Up Mission, a collaboration between Johns Hopkins University and The Helping Up Mission. These programs are spread out across the country. All of them are successful, to one extent or another, the movie notes.
In the end, the movie’s best, most enlightening parts are the stories of the people involved in this issue, whether it be the homeless people themselves or the Christians and charity workers helping them.
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Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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