Hacksaw Ridge bears the burden of its director. And that’s too bad because above the violence, there is valor. And muddled within the religion overtones, there is a good story to be told. But by the time Doss (Garfield) is symbolically lowered from the ridge as if he was on the cross, enough was enough.

Yet, the sequence where Doss delivers the men to safety, one after another, is some of the most powerful imagery in the cinema. This film exemplifies the duality of a Gibson offering. At some point, the sincerity and heroism of the film just becomes lost in messages.

The folksy take on life in 1940s Virginia is somewhat unbearable but Garfield spins this character into credibility with conviction and the slightest self-deprecation. We believe that someone is this faith driven because of his portrayal. And because it is tossed in our faces. Also, Vaughn crosses over into war drama but remains somewhat in character, donating some much needed comic relief.

This is a bold film, especially when it pilfers scenes from Saving Private Ryan. We appreciate the story but conscientiously object to awarding Film Clas elite status. Hacksaw Ridge reports with 2.9 napkins out of 5.

In Hidden Figures, we find the most inspiring story of aspiring women. But the narrative becomes slightly grounded with mission control drama and corny emphatic moments which evoke a feelgood rather than a fervent and profound cinematic atmosphere.

The character of these ladies in a time of gender and racial bias is heroic. Vaughn (Spencer), Johnson (Henson) and Jackson (Monae) spend the upward trajectory of the film finding their way around obstacles and offensive norms to have their voices heard and intelligence appreciated. Vaughn draws our biggest applause, marching up to the starched white shirts of the computing future with flair, confidence and instinct.

What goes up must come down and the descent of this film unfolds with an uncharacteristic public plea from Johnson, who we know did not seek publicity, just fairness and equality. This singular moment awakened Harrison (Costner) to the systemic biases tripping up NASA in the space race, really? And the typecast of Jim Parsons was irrelevant as he simply left the impression of a poor manager of people.

A gallant story alone cannot propel you to the final frontier of the Film Clas elite. Hidden Figures is a go for 3.32 napkins out of 5.

Silence is Marty Scorsese’s 28 year spiritual project. Thankfully he took study breaks during this venture to make good movies. But, hey, the scenery is really stunning.

It’s not terribly boring as we become invested in character and story. It’s not too long because we love being at the movies. However, this film, referencing Shusaku Endo’s 1966 novel of the same same, funnels us to its extremely flawed conclusive half featuring annoying repetition and a gimmicky finish. It could nearly be considered dark humor but comedy rarely exists in religious tales, unless considering Monty Python’s parody. However, the resolute abandonment of the film’s title introduces mockery and this is clearly not the intention.

It is fair to say our two missionaries, Fathers Garupe (Driver) and Rodrigues (Garfield), do well with their physical and emotional roles. It was Rodrigues’ unbreakable faith that gave us the little faith we had in the film. It is also important to note the wry mannerisms and expressions of The Inquisitor (Ogata).

And scene. Scorsese and his impassioned endeavor conclude in mediocrity, more or less. Although it is a spectacle, Silence is not golden and converts only 2.1 napkins out of 5 in its favor.