February 10, 2023
FILM: NANA’S BOYS
DIRECTED BY: ASHTON PINA
STARRING: DAVID J. CORK, JARED WAYNE GLADLY
RATING: 2 ½ out of 4 stars
By Dan Pal
Even before the pandemic there were films that took place almost entirely in one room, such as Alfred Hitchcock’s Rope, and Richard Linklater’s Tape. More recently, Darren Aronofsky brought to the screen The Whale, based on the stage play of the same name. These films resulted from a belief that more audiences needed to be exposed to the material and the entrapment felt by the characters. Ashton Pina’s new film Nana’s Boys seems a bit more rooted in the realities of shooting during the pandemic combined with “talking it out” genre elements (found in Linklater’s Before trilogy and films such as Andew Haigh’s Weekend.) The film is somewhat successful at making a one setting story feel less suffocating for the audience but doesn’t add much that is new to the genre.
David J. Cork and Jared Wayne Gladly star as Amari and Q, a couple that has been together for an unspecified period of time. It is Amari’s 30th birthday and it becomes clear right from the first scene who these characters are and how they react to each other on this milestone day. Q is up first, running around, cleaning up, and beginning his day as a lawyer. Amari remains in bed not in much of a hurry to start his own day. Q believes in God. Amari roots himself in reality. These two contrasting characters signal some of the many differences between them: Q knows what he wants in life, Amari is trying to find a purpose. Q takes control while Amari sits seemingly bothered by the amount of power he’s given to Q. This power dynamic is further emphasized in a shot mirroring the famous one from The Graduate when young Ben (Dustin Hoffman) is framed under the seductive legs of the much older Mrs. Robinson (Anne Bancroft.)
Q proposes marriage and the couple begins discussing their relationship. The energy of the film shifts from a light memory game to more explosive arguments. It’s a tonal shift that sometimes feels a bit sudden and unearned. Even the music begins as light and jazzy but becomes more dramatic and a bit too intrusive as the narrative builds. It’s this lack of consistency that takes away from some of the natural progressions of the narrative the film could use.
Outside a tragic event takes place in Times Square and the city is placed under lockdown, forcing this examination to go even deeper as infidelities and HIV statuses are discussed. It’s curious that writer/director Ashton Pina didn’t choose the COVID pandemic as its source for this lockdown. Certainly we all can relate to being forced inside and exploring our lives from different perspectives. The issue outside feels a bit inauthentic here though as are the new reports the guys hear on the radio. Perhaps Pina didn’t want to date the film to the early 2020s, which does make some sense seeing as how many people don’t really want to relive this period.
Regardless, the situation changes the mood even more. It even changes the balance of power in the relationship. Q is losing his sense of control and filling up with anxiety. Amari’s purpose becomes a bit clearer to him. If you’re wondering how the Nana of the film’s title works into all of this, well, a phone call from her suggests her love of both men but it is also her philosophy that seems to be the theme of the film: “Man plans, God laughs.” Q’s own plans are now in jeopardy while Amari’s need for discovery benefits from the uncertain time.
Nana’s Boys is not a bad film and certainly touches on some familiar ideas. The film just doesn’t do much that is new. If you like some of the films mentioned above you might enjoy this or see it as a paler version of this often very introspective genre.
Nana’s Boys is available to rent on Amazon Prime.
FILM: NANA’S BOYS
DIRECTED BY: ASHTON PINA
STARRING: DAVID J. CORK, JARED WAYNE GLADLY
RATING: 2 ½ out of 4 stars
By Dan Pal
Even before the pandemic there were films that took place almost entirely in one room, such as Alfred Hitchcock’s Rope, and Richard Linklater’s Tape. More recently, Darren Aronofsky brought to the screen The Whale, based on the stage play of the same name. These films resulted from a belief that more audiences needed to be exposed to the material and the entrapment felt by the characters. Ashton Pina’s new film Nana’s Boys seems a bit more rooted in the realities of shooting during the pandemic combined with “talking it out” genre elements (found in Linklater’s Before trilogy and films such as Andew Haigh’s Weekend.) The film is somewhat successful at making a one setting story feel less suffocating for the audience but doesn’t add much that is new to the genre.
David J. Cork and Jared Wayne Gladly star as Amari and Q, a couple that has been together for an unspecified period of time. It is Amari’s 30th birthday and it becomes clear right from the first scene who these characters are and how they react to each other on this milestone day. Q is up first, running around, cleaning up, and beginning his day as a lawyer. Amari remains in bed not in much of a hurry to start his own day. Q believes in God. Amari roots himself in reality. These two contrasting characters signal some of the many differences between them: Q knows what he wants in life, Amari is trying to find a purpose. Q takes control while Amari sits seemingly bothered by the amount of power he’s given to Q. This power dynamic is further emphasized in a shot mirroring the famous one from The Graduate when young Ben (Dustin Hoffman) is framed under the seductive legs of the much older Mrs. Robinson (Anne Bancroft.)
Q proposes marriage and the couple begins discussing their relationship. The energy of the film shifts from a light memory game to more explosive arguments. It’s a tonal shift that sometimes feels a bit sudden and unearned. Even the music begins as light and jazzy but becomes more dramatic and a bit too intrusive as the narrative builds. It’s this lack of consistency that takes away from some of the natural progressions of the narrative the film could use.
Outside a tragic event takes place in Times Square and the city is placed under lockdown, forcing this examination to go even deeper as infidelities and HIV statuses are discussed. It’s curious that writer/director Ashton Pina didn’t choose the COVID pandemic as its source for this lockdown. Certainly we all can relate to being forced inside and exploring our lives from different perspectives. The issue outside feels a bit inauthentic here though as are the new reports the guys hear on the radio. Perhaps Pina didn’t want to date the film to the early 2020s, which does make some sense seeing as how many people don’t really want to relive this period.
Regardless, the situation changes the mood even more. It even changes the balance of power in the relationship. Q is losing his sense of control and filling up with anxiety. Amari’s purpose becomes a bit clearer to him. If you’re wondering how the Nana of the film’s title works into all of this, well, a phone call from her suggests her love of both men but it is also her philosophy that seems to be the theme of the film: “Man plans, God laughs.” Q’s own plans are now in jeopardy while Amari’s need for discovery benefits from the uncertain time.
Nana’s Boys is not a bad film and certainly touches on some familiar ideas. The film just doesn’t do much that is new. If you like some of the films mentioned above you might enjoy this or see it as a paler version of this often very introspective genre.
Nana’s Boys is available to rent on Amazon Prime.