Writer-director Storm Saulter’s “Sprinter” jogs along a predictable path, but makes a mad dash straight for the audience’s gut right before the finish line. While the narrative about a Rastafarian runner’s star on the rise blessedly doesn’t utilize emotionally manipulative devices or contrivance to make its sentiments heard, it generically adheres to the sports movie playbook. The hero’s meteoric ascent, fall from grace, and inevitable comeback is a formula that’s been done before. However, setting it against the backdrop of real social issues like immigration and the lack of local economic opportunity enhances the immediacy. It’s heartfelt in its delivery, but not a totally unique offering.
Akeem Sharp (Dale Elliot) was dealt a major blow early on when his mother Donna (Lorraine Toussaint) left Jamaica to find work in the United States to help support their family. Her stay was only supposed to last two years,...
Akeem Sharp (Dale Elliot) was dealt a major blow early on when his mother Donna (Lorraine Toussaint) left Jamaica to find work in the United States to help support their family. Her stay was only supposed to last two years,...
- 4/26/2019
- by Courtney Howard
- Variety Film + TV
Tapping into our cell phone-obsessed zeitgeist and harnessing marital disputes for incendiary plot twists, Italian director Paolo Genovese (and a team of four other writers) unleashed an international craze in 2016 with their wildly profitable and easily adaptable dramedy “Perfetti sconosciuti.”
Genovese’s feature — about a group of secretive friends (three couples and a single man) having dinner who test their trust in each other by agreeing to place their devices on the table and answering all text messages, phone calls, and other notifications out loud for everyone to hear — has been adapted in multiple nations around the world, from South Korea to Turkey, with Spanish auteur Alex de la Iglesia’s 2017 version being one of the more notable iterations.
Now, the phenomenon arrives in Latin America, guided by one of the region’s directors who is most up to the task of remaking a tale about upper-class relationships in decay: Manolo Caro.
Genovese’s feature — about a group of secretive friends (three couples and a single man) having dinner who test their trust in each other by agreeing to place their devices on the table and answering all text messages, phone calls, and other notifications out loud for everyone to hear — has been adapted in multiple nations around the world, from South Korea to Turkey, with Spanish auteur Alex de la Iglesia’s 2017 version being one of the more notable iterations.
Now, the phenomenon arrives in Latin America, guided by one of the region’s directors who is most up to the task of remaking a tale about upper-class relationships in decay: Manolo Caro.
- 1/9/2019
- by Carlos Aguilar
- The Wrap
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