Tag: Navid Negahban

REVIEW: Aladdin [2019]

Jared Mobarak

Get your own jam. The Disney animated film that demands most skepticism when considering a live-action remake is Aladdin. No character besides the late Robin Williams‘ Genie has transcended its source to become larger than the Mickey brand itself and no actor could ever dream of filling his shoes with an impression guaranteeing unflattering comparisons. So give the studio credit for understanding “big” can only be combated by an equal or greater level of “bigness” such as the casting of Will Smith provides. He truly was the perfect choice from…

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REVIEW: 12 Strong [2018]

Jared Mobarak

There are no right choices here. War films generally come in two varieties: a gray introspective look at its emotional and psychological cost and black and white jingoistic propaganda. The former is generally acclaimed as award worthy while the latter is dumped during winter months so its target audience of NRA-loving Republicans in American flag tees has something to watch during a drama-heavy, liberally slanted awards season. (I jest.) This doesn’t, however, inherently mean one route is “better” despite valid arguments to the contrary. And for those who vehemently disagree,…

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REVIEW: Sand Castle [2017]

Jared Mobarak

“A war story can’t be true unless it’s got some shame attached to it” Similar to lead character PVT. Matt Ocre (Nicholas Hoult), screenwriter Chris Roessner joined the United States Army in July of 2001 to serve in the Reserves and earn college money. Two months later 9/11 changed everything. Suddenly he was thrust into a full-scale war in the Middle East and he needed to steel himself to that fact. He wasn’t in the Special Forces, Navy SEALs or Marines—he was just a soldier walking onto the frontlines like…

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REVIEW: Day One [2015]

Jared Mobarak

“This is my first job” It’s just too much: too manipulative, too familiar, and too convenient. The trouble with Henry Hughes‘ Day One all stems from one line when his American military unit’s new interpreter Feda (Layla Alizada) meets her predecessor Naz (Shari Vasseghi). They speak about being away from home and family in the context of their being wives—a legitimate concern with the Muslim religion holding a woman akin to property with which to serve her husband, but overly “feminine” as only a male writer could write (despite the…

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