Hidden Figures (Theodore Melfi)

[TGM]

HIDDEN FIGURES

Director: Theodore Melfi

imdb

[Mal]

Predictably good. But I hated... [

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Kevin Costner literally hammering away at segregation by knocking down a sign. WOOF

]
Nevertheless, this is a movie that anyone can see and families can enjoy. It checks some of the boxes you'd expect for a period drama, but I think the trio of lead actresses most definitely elevate the film.

[Stay Puft]

Yup, it's pretty heavy handed. A typical, and typically mediocre (or perhaps slightly above average) film "based on real events." It's a great story, however, and the actresses definitely elevate the whole thing. Also, it was fun seeing Moonlight cast members pop up again here. Janelle Monáe has really impressed this year. I've always been a fan of her music, and now I can't wait to see her in more movies.

[Peng]

Very mild yay. Disappointingly generic execution that still can't quite overwhelm what's so good about it: the inherently fascinating story, the context of space race and Cold War intertwining with racial discrimination both personal and institutional, and the three leads. Not in love with the outburst scene with Henson, which both takes me out of the film (an anachronistic moment in its speech details and the actual aftereffect) and just strikes a wrong note out of the film's tone for me (not dissimilar to Ruffalo's Oscar-ready speech in Spotlight interrupting that film's low-key tone). Otherwise though, the three's charisma in of themselves and with each other are so strong that moments of triumphant joy throughout are still satisfying. 6.5/10

Sidenote: Janelle Monae's and Glen Powell's screen presences are off the chart. Too bad they share only one scene.

[TGM]

I'd agree that the outburst is the low point of the movie. Took me out as well, and allI could think was, "Look at me! I'm acting".

[number8]

This started really rough for me. I was getting ready to endorse the movie on the basis of its educational worth but not necessarily its craft*. You're all highlighting the crowbar scene, but I was already slumping down in my seat in the first scene of the movie, because the dialogue is just way too cute to resonate. They talk like present day commentators looking back in hindsight, rather than people experiencing the moment. When Mary Jackson was driving and yelled "We're three black women chasing a white police.... in 1961 Virginia!" I seriously got Drunk History vibes.

The portrayal of John Glenn cracks me up. He's a great man and all, but it's pretty hilarious how they just made him Steve Rogers in this. Glenn Powell's direction seems to be, "Okay, in this scene, you're trying to end racial prejudice with really powerful flirting"--for every scene.

* I ended up being charmed by the whole thing quite significantly, thanks to the extremely effective casting, but I still say this is the movie's primary raison d'etre. I went to a theater in a residential neighborhood and half the people in my showing were actually kids (mostly girls, too), and they were very obviously into this story. That's cool, man.

[Dukefrukem]

When Mary Jackson was driving and yelled "We're three black women chasing a white police.... in 1961 Virginia!" I seriously got Drunk History vibes.

This x10000000000.

It recovered nicely, as the safe, Oscar bait, feel good, audience already knows the climax and result, movie of the year... but this was my immediate reaction 10 minutes in.

[Spinal]

I'd agree that the outburst is the low point of the movie. Took me out as well, and allI could think was, "Look at me! I'm acting".

Completely agree with this. It was so disheartening, as they had already made the point so well in regards to how Katherine was placed at a severe disadvantage through a racist policy.

[Peng]

The other two's pushbacks are not toned up to feel this shrill. I don't mind that the freakout happens, but both the direction and the performance take it to a level that takes me and obviously some others out of the film.

[TGM]

The other two's pushbacks are not toned up to feel this shrill. I don't mind that the freakout happens, but both the direction and the performance take it to a level that takes me and obviously some others out of the film.

Agreed with this. I don't think the freakout should be removed necessarily, but it was terribly executed, and needed to be re-done in a way that felt more natural and genuine if it was to be included.

[DavidSeven]

Exactly what you expect it to be, which isn't necessarily an outright bad thing. It's easy to watch and avoids any major missteps. However, it's hard to imagine why anyone would rally around this film as one of the best of the year. Reasonably competent but feels like something that would feel more at home on TV. Very little here to get overly excited about.

[Rico]

Decent little film. Not best picture nomination good, but good nonetheless. The racism stuff came off a little too heavy handed. I know it is a big part of the story, but you're not covering any new territory there.

[Grouchy]

They talk like present day commentators looking back in hindsight, rather than people experiencing the moment. When Mary Jackson was driving and yelled "We're three black women chasing a white police.... in 1961 Virginia!" I seriously got Drunk History vibes.

Exactly how I felt.

The movie might be well-intentioned, but it's crap. Another example of its very poor writing is the inconsistent racism of the Costner and Dunst characters. They're presented as racists in their introductory scenes, and then they change overtime because... Why, exactly? Because black women are good at their job? They are both intelligent people working at NASA, surely they had realized that before.