Category Archives: Reviews

’Super/Man’ A True Hero’s Story


‘Super/Man: The Christopher Reeve Story’ is not just a documentary about a superhero; it’s a testament to human resilience and love, revealing that the true power lies in hope, not flight.

The documentary, directed by Ian Bonhôte and Peter Ettedgui, takes a nuanced and heartfelt approach to chronicling the life of Christopher Reeve, from his iconic rise as Superman to the near-fatal accident that left him paralyzed.

The film’s focus, however, is not just on Reeve the actor, but on Reeve the man: a loving father, husband, and advocate, who fought for spinal cord injury treatment until his death. The movie is as much a love letter to Reeve’s wife, Dana Reeve, as it is to the man himself, portraying her as a “super-heroic spouse” who stood by his side through unimaginable hardship.

What sets ‘Super/Man’ apart from other biographical documentaries is its balance of Reeve’s professional life with his deeply personal battles. The filmmakers masterfully weave in interviews with his family and close friends, including the late Robin Williams, who was like a brother to Reeve.

The film opens on the harrowing day of Reeve’s 1995 accident, immediately grounding us in the life-changing moment that reshaped not only his career but his entire existence. From there, the documentary alternates between Reeve’s pre-accident rise to stardom and the struggles he faced afterward, a dual narrative that underscores how his greatest role was not as a superhero on screen, but as a real-life fighter for hope and change .

One of the film’s strongest elements is its deep dive into Reeve’s relationships, particularly with his children and Dana. It is the children’s candid reflections on their father—how he was both larger-than-life and intensely human—that lend the film its emotional weight.

Will Reeve, his youngest son, recounts with heart-wrenching honesty the difficulty of growing up with a father who was both a hero and a man in deep physical pain. Through home videos and archival footage, we see Reeve’s struggle to reconcile his desire to return to a normal life with the physical limitations he faced.

At its core, ‘Super/Man’ is about love, not loss. It doesn’t shy from the darkness Reeve faced but focuses on how he and Dana transformed that pain into activism. The documentary reminds us that while Reeve is remembered for flying across the screen in a cape, his true legacy is the work he did from his wheelchair—advocating for those with disabilities, showing the world that paralysis could not diminish his spirit .

With its intimate interviews, stunning archival footage, and powerful storytelling, ‘Super/Man’ succeeds not just as a biographical piece, but as a universal story of resilience. As the credits roll, viewers are left not only mourning the loss of a great man but inspired by his enduring message: The greatest heroes don’t need to fly.

The true strength of this documentary is how it makes you believe, again, that Christopher Reeve could fly—even when grounded.

’Trap’ Feels Like One

M. Night Shyamalan’s Trap is yet another misfire in a career defined by diminishing returns.

What starts as a promising concept—a father caught in an FBI sting at a concert—quickly devolves into an incoherent mess that relies on contrived plot devices and cheap gimmicks to hold the audience’s attention.

Josh Hartnett’s performance as Cooper, a doting father and secret serial killer, is the film’s only redeeming quality. He does his best with a script that gives him almost nothing to work with.

But no matter how much nuance Hartnett brings, it’s impossible to save a character whose survival depends on absurd twists and laughable luck. Shyamalan doesn’t trust his audience or his characters enough to let them breathe, opting instead for increasingly ridiculous scenarios that stretch believability to the breaking point.

The film’s setting, a concert by a pop star with godlike status, is squandered by poor execution. The arena, which should be a claustrophobic nightmare, feels hollow and uninspired.

Worse, the casting of Shyamalan’s daughter, Saleka, as the concert’s megastar, feels like nepotism at its worst. Her performance is wooden and lacks the charisma needed to pull off the role, leaving her scenes flat and cringeworthy .

Shyamalan’s signature twist, expected by now, is delivered so early that it barely qualifies as one. Instead, the film limps along, with each new revelation feeling more absurd than the last. By the time the credits roll, you’re left wondering how such an interesting premise could go so wrong .

Ultimately, Trap is a film that’s trapped by its own mediocrity. Hartnett’s effort is wasted in a movie that is more interested in cheap tricks than delivering on the promise of its intriguing setup.

It’s a disposable thriller that will be forgotten as soon as the lights come up.

Deja Viewed: The Bad News Bears


The Bad News Bears isn’t just a sports movie—it’s a celebration of flawed, messy humanity.

It stands apart from the typical underdog narrative, refusing to wrap itself in the usual trappings of heartwarming victories and uplifting speeches.

Instead, this 1976 classic dives headfirst into the chaos of youth sports and delivers a brutally honest, often hilarious portrayal of childhood, competition, and the adults who are just as lost as the kids.

Walter Matthau’s portrayal of Morris Buttermaker is nothing short of iconic. He’s the antithesis of the inspirational sports coach—washed-up, alcoholic, and utterly uninterested in shaping young minds.

Buttermaker is here for the paycheck, not to mold future athletes. Matthau perfectly captures the essence of a man who’s been beaten down by life, yet still manages to find a reluctant sense of responsibility.

There’s no miraculous transformation in Buttermaker, but throughout the film, his gruff exterior cracks just enough to reveal a man who might actually care, even if he doesn’t know how to show it.

The kids on the Bears aren’t your typical movie underdogs either. They’re foul-mouthed, rebellious, and largely uninterested in the game they’ve been thrown into. Yet, that’s what makes them so relatable.

These are real kids, not sanitized Hollywood versions of childhood. Tatum O’Neal’s Amanda, the star pitcher, is a standout—tough, independent, and unapologetically herself. She’s not there to be anyone’s sidekick; she’s there to play, and she plays hard.

What truly sets The Bad News Bears apart is its refusal to deliver the kind of feel-good victory most sports movies rely on. The Bears don’t win the championship. In fact, they come up short in the final game, but that’s precisely the point.

The film isn’t about winning or losing; it’s about the experience, the effort, and the strange, dysfunctional sense of unity that develops within the team. The Bears don’t need a trophy to validate their journey, and neither do we.

The humor in The Bad News Bears is sharp and unapologetic. It doesn’t shy away from the harsh realities of youth sports or the flaws of its adult characters. It’s a movie that acknowledges the messiness of life without trying to sugarcoat it.

But even in its darkest, most cynical moments, the film manages to find glimmers of heart. The Bears learn something about themselves, and so does Buttermaker, but it’s never neat or predictable. They remain flawed, and that’s what makes them—and the film—so endearing.

At its core, The Bad News Bears is about more than baseball. It’s a film about the imperfections that define us and the value of showing up, even when the odds are against us. It’s about the small victories that come from simply being part of the game, whether you’re winning or not. The Bears don’t need to be champions to prove their worth, and in a world obsessed with winning, that’s a refreshing message.

The movie is not about winning; it’s about finding meaning in the chaos.