Out of My Mind, 2024.

Directed by Amber Sealey.
Starring Phoebe-Rae Taylor, Jennifer Aniston, Rosemarie DeWitt, Luke Kirby, Judith Light, Emily Mitchell, Michael Chernus, Courtney Taylor, Catherine McNally, Kate Moyer, Maria Nash, Jeff Roop, Sharron Matthews, Kim Huffman, Ian Ho, Gabriela Francis, Gavin MacIver-Wright, Maya Lee O’Connor, Nicholas Fry, Miley Haik, Lauren Plech, Nylan Parthipan, Pip McCallan, Isaak Bailey, Christian Rose, Cristiano Buchanan, Anabelle Dietl, and Mia Burke.

SYNOPSIS:

Melody Brooks is navigating sixth grade as a nonverbal wheelchair user who has cerebral palsy. With the help of some assistive technology and her devoted allies, Melody shows that what she has to say is more important than how she says it.

Born with cerebral palsy, Melody Brooks (played by Phoebe-Rae Taylor, also born with that condition and unquestionably a significant key to the authenticity on display) is a nonverbal wheelchair user. She is also knowledgeable with ambitions and has a lot to say, but she is limited to communicating through a board attached to her wheelchair tray (a slight, realistic touch that most films about disability seem to ignore the existence of for some inexplicable reason) containing a chart of basic sentences, thoughts, feelings, and moods for simple expression.

Directed by Amber Sealey (from a screenplay by Daniel Stiepleman and based on the novel by Sharon M. Draper), Out of My Mind mainly works because it understands that giving Melody a Medi-Speak device (an electronic tool that reads off whatever is prompted, while also coming with preprogrammed basic phrases and sentences, read aloud in the usual generic computerized voices) won’t entirely solve the problem if everyone from the school faculty to her friends and immediate family vary in their struggles to listen to those words. The issues raised stem from society and the education system, not the disability itself. That’s not to say electronic voice communicators are useless. A voice is a voice, and her father Chuck’s (Luke Kirby) reaction to hearing her daughter “speak” for the first time in which he lets the waterworks flow is a heartstrings-pulling moment that doesn’t ring false.

However, even he sometimes misses the point and gets so caught up discussing what’s best for Melody with his wife, Diane (Rosemarie DeWitt), that they both end up ignoring her in the heat of the moment. He does happen to be the more forward-minded of the parents, as fearless as his daughter is about enrolling into a standard 6th-grade class rather than overachieving in special education. If expectations are already met, why not raise the bar? That alone feels like a mantra most disabled people already live by, consistently feeling the need to prove themselves to able-bodied people who can’t even be bothered to learn that they don’t have to talk to someone in a wheelchair with an awkwardly kind, pitiful tone. Nevertheless, Diane is the helicopter parent raising justifiable concerns over ostracism and bullying.

As for the speaking device, what Melody chooses to say first is equally moving, as it encapsulates and sums up the frustrations and misunderstandings she has felt, even from her family, her whole life. It’s also important to point out that the film isn’t vilifying the parents; caring for a disabled child is tricky, will wear anyone down, and inadvertently cause those miscommunications, or lack thereof. Despite one or two powerful scenes of them standing up for Melody, whether it be from an ablest school system (including a teacher played by Michael Chernus who is technically qualified at the job but is immensely punchable when it comes to his ableism and treating Melody’s classroom presence as a distraction and nuisance), the film primarily sticks with her perspective, sprinkling in some inner thoughts using the voice of Jennifer Aniston.

It’s a device used sparingly, thankfully not overdone. As for why Jennifer Aniston, Melody loves watching Friends, but one is eager to know if that’s also a choice from the book or one encouraged by Phoebe-Rae Taylor. From little details such as classroom desks placed too close together for wheelchairs to fit through the aisles, classmates feeling an awkward pressure of losing “cool” status if they are caught giving friendship a chance with Melody, and grossed-out glances her way as eating messier foods becomes, well, messy to her face, the film understands the pitfalls of public and social disabled life. Again, maybe that’s already in the novel or screenplay, but it can’t be overstated enough that when filmmakers cast disabled actors, it comes with extra layers of authenticity and insight.

Remember that this is still a Disney+ production, so the material has a sanitized, sentimental feel while broadly playing every narrative beat. Once a nationwide quiz competition comes into play, the narrative’s focus shifts there, perhaps too much, even if it still explores Melody’s othering by some of her peers and that enraging teacher. Bluntly put, it all becomes too plot-focused and even contrived. Feel-good songs also repeatedly pop up to remind viewers that the material will never get too challenging. However, a film is sometimes so well-meaning and educationally beneficial that such saccharine material is worth overlooking. Out of My Mind offsets that with a huge heart and a dignified, optimistic, touching performance from Phoebe-Rae Taylor.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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Martin, starring Kannada star Dhruva Sarja in a dual role, hit the screens on October 11, 2024, under the direction of A.P. Arjun. Featuring Vaibhavi Shandilya as the female lead, with music by Mani Sharma and Ravi Basrur, the film offers a mix of intense action and emotional drama. However, despite its grand production values and high-energy sequences, the film struggles to deliver a cohesive and engaging narrative.

Now available for streaming on Amazon Prime Video from November 15, Martin is an ambitious attempt at blending action and thrills but leaves the audience with mixed feelings due to its underwhelming storytelling.

Plot Overview
The story begins in Pakistan, where Arjun (Dhruva Sarja), injured during a gangster conflict, finds himself hospitalized. Under mysterious orders from an unidentified figure in New York, he is injected with a drug that erases his memory. As he realizes he’s in danger, Arjun escapes and slowly uncovers fragments of his past.

Through a series of encounters, Arjun learns that his real name is Arjun and he hails from India. He sets out to meet Regina, a young woman whose address he obtains. However, upon reaching her home, he discovers she has been murdered. Regina’s cryptic clues lead Arjun to learn about his nemesis, Martin (also played by Dhruva Sarja). When Arjun contacts a mysterious number, he understands that his mission to capture Martin has brought him to Pakistan.

As the story unfolds, Arjun returns to India with plans to save his friends Parashuram and Vivek, as well as his fiancée Preethi (Vaibhavi Shandilya). But his path is fraught with dangers from Martin and a villain named Mustaq. How Arjun confronts Martin, uncovers Mustaq’s motives, and navigates the chaotic circumstances forms the crux of the narrative.

Analysis
Martin marks Dhruva Sarja’s foray into dual roles, with the first half focusing on one character and the second half introducing the other. While the premise of a gangster-versus-navy officer conflict involving illicit arms worth ₹12,000 crores has potential, the execution falls short.

Strengths
High Production Values: The film boasts grand visuals, including tanks, helicopters, and large-scale action set pieces, which are visually impressive.
Dhruva Sarja’s Presence: Known for his mass appeal, Dhruva Sarja brings a commanding screen presence, but the lack of depth in his characters hinders emotional engagement.

Weaknesses
Complex Narrative: The film’s non-linear storytelling, filled with flashbacks, leaves the audience confused and disconnected.
One-Dimensional Characters: Both the hero and the villain lack emotional depth, making their confrontations feel hollow.
Overloaded Action: Excessive fight scenes, chases, and explosions dilute the narrative, causing fatigue rather than excitement.
Inadequate Supporting Roles: The absence of strong supporting characters diminishes the impact of the story.
Underwhelming Music: Despite big names like Mani Sharma and Ravi Basrur, the music and background score fail to leave a lasting impression.
The film’s pacing suffers due to prolonged action sequences and insufficient focus on building a strong narrative backbone.

Performances
Dhruva Sarja: While his dual roles showcase his versatility, the lack of compelling character arcs limits his performance.
Vaibhavi Shandilya: Has minimal scope to shine, as the film sidelines romance and emotional subplots in favor of action.
Supporting Cast: Achyuth Kumar and Anveshi Jain are underutilized, with no memorable moments to contribute to the story.

Technical Aspects
Cinematography: Sathya Hegde captures the action sequences effectively, but the lack of strong narrative visuals diminishes its impact.
Editing: The film’s runtime could have been trimmed significantly, particularly the overlong action scenes.
Direction: A.P. Arjun’s attempt to create a high-stakes thriller is commendable, but the lack of clarity in storytelling undermines the film’s potential.

Verdict
Martin aims to be a thrilling action spectacle but is marred by a convoluted plot, excessive action, and underwhelming emotional depth. While fans of Dhruva Sarja may enjoy his powerful screen presence, the film fails to connect with a broader audience due to its lack of cohesion.

The last time we saw anything Wizard of Oz related on the cinematic stage was more than a decade ago, with Sam Raimi’s often overlooked prequel effort, ‘Oz the Great and Powerful’. What folks have managed to remember about that one, they usually recall between groans and mumble through palmed faces.

That was a film that was, and still is, criticized for lackluster special effects, a suspect cast, and an adhesion to a corny tone that bled into the film’s visuals, as well as impacted the screenplay. Raimi, in accordance with his cinematic character, preferred kinetic camera movements and sharp colors and lighting over other such worries about tonal cohesion and character, at least in that instance.

What’s become odd in retrospect, factoring in the release of the topic at hand, ‘Wicked’, is that the new film struggles with the same issue in a slightly different way. Sure, Wicked’s computer generated elements are cleaner, and much glossier, than anything the world of Oz had to offer in 2013.

But the new film doesn’t just utilize those effects — it relies on them. Wicked has become yet another unintentional bastion for slapping CGI on every single scene, and every little thing. Impressive practical sets here are washed out with brown and grey digital overlays; the sunshine has lost the colorful aura which defines it, and the moon emits only a flat blue hue.

Where is the true middle ground for bringing Oz to life on the visual front, then? That still isn’t clear, but in the case of the newer film, we’ve taken a step in the right direction with many new merits.