The documentary’s emotional depth is driven by interviews with Reeve’s family, including his children, Alexandra, Matthew, and Will Reeve, who reflect on the day of the accident and the profound changes it brought to their lives. Gae Exton, Reeve’s former partner and mother of two of his children, also provides rare insights into their relationship. However, Dana Reeve, his wife and steadfast caregiver, emerges as a quiet hero. Her unwavering support and compassion offer a touching reminder of the true power of love and resilience. The inclusion of home videos adds an intimate layer, showcasing the strength of their family bond even through adversity.

While Reeve’s accident was a defining moment, the film doesn’t dwell solely on the tragedy. Instead, it celebrates his journey from being a Hollywood superstar to becoming a fierce advocate for spinal cord injury research and disability rights. The use of Reeve’s own voice, narrating from his audiobook Still Me, adds a deeply personal touch, reminding viewers of his indomitable spirit.

Visually, the film blends archival footage, rare behind-the-scenes clips of Reeve’s Superman, and innovative CGI to symbolise his paralysis through the metaphor of Kryptonite—a clever nod to his most famous role. The animated sequences depicting Reeve as a superhero confronting his own vulnerabilities are a creative highlight.

The documentary also features candid interviews with Reeve’s close friends, including Glenn Close, Susan Sarandon, and Jeff Daniels. Their stories—especially those about his friendships with fellow Juilliard classmates like Robin Williams—reveal a multifaceted Reeve, one who was both humble and deeply ambitious.

Despite the sombre tone, Super/Man is ultimately an uplifting film. It reinforces the idea that heroism isn’t about superhuman powers but about perseverance, empathy, and overcoming life’s greatest challenges. Christopher and Dana Reeve embodied these values, and their legacy continues through their children and the Christopher and Dana Reeve Foundation.

While the documentary may leave some viewers wanting to know more about Reeve’s pre-accident career or more details about his family relationships, it succeeds in portraying the essence of his character. This is a touching tribute to a man who, despite unimaginable hardship, found the strength to inspire others.

Final report
Vettaiyan is another award-winning league film that skillfully incorporates Rajini’s signature stardom elements. It is a decent one-time watch. Directed by critically acclaimed ‘Jai Bhim’ filmmaker T.J. Gnanavel, the movie delivers a thoughtful narrative that tackles themes of society-enforced encounters and the online education industry. This crime drama boasts standout performances from Rajinikanth, Amitabh Bachchan, Rana Daggubati, and Fahadh Faasil. The dialogues are sharp, and Anirudh’s two songs add to the film’s appeal. This isn’t your typical fan boy crowd-pleaser, yet it manages to achieve the same effect in a unique way. Flip side, it runs on a single thread and preachy at times.

Go watch it for the stellar casting, Good script and thought provoking dialogues

Positives:

Negatives:

First Half Report:
The first half of #Vettaiyan stands out as one of the best scripts in recent times. Director TJ Gnanavel has crafted a crime investigation story that blends elements of social responsibility with thought-provoking message. If you’re seeking pure mass entertainment, this isn’t the film for you. However, its fast-paced screenplay and direction keep you hooked to the screen throughout. Rajini, Amitab and Fahad are simply superb.

NEW YORK (OSV News) – Fans of the 2017 film “Wonder” may recognize the character of Julian Abans (Bryce Gheisar), a student on whose adjustment to a new school the opening scenes of the touching wartime drama “White Bird” (Lionsgate) focus. Julian was the bully who persecuted the facially deformed but heroic-hearted protagonist of the earlier movie.

Having been expelled for his misconduct, Julian is navigating his present environment and wavering between the proffered friendship of an outsider and the somewhat reluctant patronage offered to him by a callous member of the private academy’s elite. Opportunely, Julian’is grandmother, Sara (Helen Mirren), decides to intervene at this decisive point.

A celebrated artist visiting Julian’s native New York from Paris for a retrospective of her work, elderly Grandmere believes that Julian will profit from her own life lessons. So, in a series of flashbacks that make up the bulk of the story, she recounts to him for the first time the travails she endured as a young Jewish schoolgirl (Ariella Glaser) in occupied France.

Initially pampered at home and popular among her peers, youthful Sara is gifted but selfish and ethically neutral. Thus, although she refrains from joining in the persecution of her school’s main outcast, partially-crippled polio victim Julien Beaumier (Orlando Schwerdt), neither does she come to his defense. Instead, like most of those around her, she simply shuns him.

As the domination of her homeland progresses, however, Sara’s life and outlook change dramatically. Soon German soldiers are rounding up local Jews, both adults and children alike, and Sara is suddenly separated from her loving parents — Max (Ishai Golan) and Rose (Olivia Ross) — and forced to flee into the woods.

Desperate to stay one step ahead of her pursuers, Sara finds that the only person willing to come to her aid is Julien. Not only does he put himself at risk by helping her evade those hunting her down, he also provides her with long-term shelter in his family’s barn.

With the active help of his father (Jo Stone-Fewings) and mother (Gillian Anderson) — who eventually come to regard Sara as their adoptive daughter — Julien succeeds in concealing Sara over the weeks and months that follow. As the two youngsters mature, meanwhile, their bond of friendship is gradually transformed into a burgeoning romance.

A paean to kindliness and the power of imagination, director Marc Forster screen version of R.J. Palacio’s 2019 graphic novel — “Wonder” was also based on Palacio’s work — lacks subtlety at times. Yet, as scripted by Mark Bomback, “White Bird” effectively tugs at the heart by showcasing altruistic heroism in the face of dire evil.

The picture’s formative moral impact, moreover, outweighs its few problematic elements, making it a valuable experience for teens as well as grownups. Both age groups will find themselves rooting enthusiastically for the central pair and joining in the screenplay’s recurring slogan: “Vive l’humanite!”

The film contains mostly stylized violence with a few brief images of gore, mature themes including ethnic persecution, a single crude term and a couple of crass expressions. The OSV News classification is A-II — adults and adolescents. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

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