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Cherry review – taking the 'post' out of post-traumatic stress disorder

Tom Holland brings his A-game to the true story of an army veteran drawn into a life of heroin addiction and bank robbery

T he Russo brothers , Anthony and Joe, have become renowned for directing the epics of the Marvel Cinematic Universe; and now they take on the big, serious, operatically painful story of Cherry, about a US army medic played by Tom Holland who leaves the service in 2007 with PTSD after witnessing horrors in Iraq. He acquires an opioid addiction that blossoms into a full-scale smack habit, miserably shared with his young wife Emily (Ciara Bravo), and finally finds a new trade in robbing banks, like a zombie wired on desperation. The Russos produce and direct, and screenwriters Angela Russo-Otstot and Jessica Goldberg have adapted the bestselling autobiographical novel by the decorated war veteran and ex-convict Nico Walker about his own desolate experiences in Civvy Street, robbing banks to feed his habit.

Holland is a fierce, compact presence, his jaw muscles perennially working: he is a sweetly innocent young guy who falls for fellow college student Emily and one afternoon makes a fatally premature decision to tell her he loves her. Instead of hearing “I love you” back, Emily is scared by the gesture, pulls away from him and in angry despair at what turns out to be a temporary break-up Cherry irreversibly signs on the dotted line to join the army. Everything follows from that.

The movie is divided into self-consciously weighty and epic chapters, but really it splits into two parts, war and postwar: Cherry’s military career in Iraq, in which he is both brutalised and brutalising, and then the grim nightmare of his civilian life which makes it clear that the “post” in post-traumatic stress disorder is wrong. His is a life of continuing trauma, continuing stress and continuing disorder.

This is a vehement, heartfelt film that culminates in a colossally grandiose sequence with a full-scale overhead camera shot (the sort mocked in Team America: World Police) and Puccini blaring on the soundtrack. Holland certainly brings his A-game. At various times, he reminded me of Jake Gyllenhaal as the stoic grunt in Sam Mendes’s Jarhead and the smack addict Heath Ledger in Neil Armfield’s underrated heroin drama Candy . But Emily’s story is skated over and the film is rounded off a little too easily into a straightforward redemption story (its mood tacitly absorbing the happy ending of the publishing and movie deals) with no permanent price paid.

There is the bleakest kind of chaotic humour in the bank robberies themselves – and it’s a reminder that apart from the Avengers movies, the Russo brothers also directed episodes of the TV comedy Arrested Development. Jack Reynor has a great supporting role as the loathsome drug dealer nicknamed Pills’n’Coke, familiarly known as “Pills”, who becomes Cherry’s longterm supplier and even his sort-of friend, although friendships are impossible in the soulless world of drug addiction. Pills finds himself being roped into being a getaway driver and then bank robber himself alongside Cherry, with terrible consequences which show us just how much Pills is really esteemed by his new non-friends.

What is very interesting about the robberies here is that they show that in the moment-by-moment confrontation with the bank teller, there is a kind of negotiation, or bargaining. The teller might decide to offer a single wad of cash, but the gun-brandishing robber might angrily demand another wad before making a run for it – and all the time the clock is running down; the robber fears the police arriving and the teller fears being shot. It is a game of chicken in which the robber always loses in the end. Cherry is a fervent movie, corn-fed with drama and action, but maybe a little less than the sum of its parts.

Crime films
Tom Holland

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It's certainly stylish and it offers Tom Holland a welcome opportunity to branch out, but Cherry 's woes stem from a story that's too formulaic to bowl anyone over. Read critic reviews

Audience Says

You'll need to settle in for a long ride, but the Russos' unique visual style and great acting from Tom Holland and Ciara Bravo make Cherry a hard-hitting story about PTSD and addiction. Read audience reviews

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Cherry videos, cherry photos.

"Cherry" follows the wild journey of a disenfranchised young man from Ohio who meets the love of his life, only to risk losing her through a series of bad decisions and challenging life circumstances. Inspired by the best-selling novel of the same name, "Cherry" features Tom Holland in the title role as an unhinged character who drifts from dropping out of college to serving in Iraq as an Army medic and is only anchored by his one true love, Emily (Ciara Bravo). When Cherry returns home a war hero, he battles the demons of undiagnosed PTSD and spirals into drug addiction, surrounding himself with a menagerie of depraved misfits. Draining his finances, Cherry turns to bank robbing to fund his addiction, shattering his relationship with Emily along the way. Brought to the screen in bold, gritty fashion by visionary directors Anthony and Joe Russo, "Cherry" is a darkly humorous, unflinching coming-of-age story of a man on a universal quest for purpose and human connection.

Rating: R (Pervasive Language|Graphic Drug Abuse|Disturbing and Violent Images|Sexual Content)

Genre: Drama

Original Language: English

Director: Anthony Russo , Joe Russo

Producer: Jake Aust , Chris Castaldi , Jonathan Gray , Mike Larocca , John Parker , Matthew Rhodes , Anthony Russo , Joe Russo

Writer: Angela Russo-Otstot , Jessica Goldberg

Release Date (Theaters): Feb 26, 2021 limited

Release Date (Streaming): Mar 12, 2021

Runtime: 2h 20m

Distributor: Apple

Production Co: AGBO, Kasbah Films, The Hideaway Entertainment

Sound Mix: Dolby Digital

Aspect Ratio: Scope (2.35:1)

Cast & Crew

Tom Holland

Ciara Bravo

Jack Reynor

Michael Rispoli

Jeffrey Wahlberg

Forrest Goodluck

Michael Gandolfini

Kelli Berglund

Thomas Lennon

Father Whomever

Suhail Dabbach

Anthony Russo

Angela Russo-Otstot

Screenwriter

Jessica Goldberg

Chris Castaldi

Jonathan Gray

Mike Larocca

John Parker

Matthew Rhodes

Edward Cheng

Executive Producer

Kristy Maurer Grisham

Todd Makurath

Newton Thomas Sigel

Cinematographer

Film Editing

Henry Jackman

Original Music

Philip Ivey

Production Design

News & Interviews for Cherry

Tom Holland Wants to work for the Russos “For As Long As They’ll Have me”

Cherry First Reviews: Tom Holland Shines in Ambitious but Overstuffed Adaptation

Critic Reviews for Cherry

Audience reviews for cherry.

Joe and Anthony Russo (also known as "The Russo Brothers" on most of their projects together) have obviously made a name for themselves in the Marvel Cinematic Universe, directing four of their biggest films to date. Not only have they made a name for themselves in terms of audience appreciation and box office return, but also in the fact that every film they've worked on as directors has been praised, aside from maybe You, Me, and Dupree. I have been a big fan of their work since the series Community and have followed most of their producing work with films like 21 Bridges and Extraction. They've always been a duo to me that works really well together. For all of these reasons and more, I was looking forward to their first outing as directors outside of Marvel. Cherry is now streaming on Apple TV+ and here are my thoughts. After dropping out of school and falling in love with Emily (Ciara Bravo), a character by the name of Cherry (Tom Holland) chooses to join the army as a medic. After experiencing horrors in war, he is discharged. Suffering from extreme PTSD and trying to keep his life together with Emily, he turns to drugs. Eventually leading to bank robbings and dangerous situations, this film is really just the downward spiral of a person's life and whether or not they will make it out alive. The second half of this film had me feeling extremely uncomfortable, which is, I'm sure, was the exact intention. For that, I give the film major props, but it's also too unfocused as an overall movie most of the time. The first act of Cherry sets the stage in terms of the style, which didn't work for me right off the bat. Honestly, I'm all for narration and slow motion, but it felt like nearly every other shot was either in slow motion or was being overly explained by Tom Holland. This became a distraction for me. Yes, both of these do lessen as the film progresses and focuses more on the dramatic aspects of his life, but I didn't find myself as attached to this character as I wanted to be. I felt like I was being told everything instead of experiencing it. As I was watching Cherry, it became apparent that the directors seemed to think it was a very clever and stylistic choice to have a lot of slow-motion to accentuate certain moments, and although it worked sometimes, it began to feel redundant. The absolute biggest strength of this film, at least in my opinion, was Tom Holland. Ever since his appearance as a much younger actor in the film The Impossible, I knew he had talent that wasn't going away. Whether or not he chooses the best projects, he always gives scene-stealing performances in them. That description of him is absolutely in the forefront here as well. From his nearly innocent performance in the first act to finding and ruining his life in the second, I genuinely felt like I was watching someone spiral out of control. Holland sold the movie in many more ways than one in that regard. Overall, the impact of the story is very much there, but there were too many creative choices that didn't work for me here. Both Holland and Bravo's performances deserved a better screenplay, but they worked with what they were given. Joe and Anthony Russo are terrific filmmakers, but this one felt like they stepped out of their comfort zone in some strange ways. I never fully connected with the film, but I enjoyed the story. I can't quite recommend this film because this subject matter is dealt with in much better films and other than some good performances and a solid story, Cherry just didn't feel revised enough.

Style Over Substance Abuse - Film Review: Cherry ★★1/2 Some filmmakers start out small and dream of hitting the big time with a major studio contract. Once they've reached that pinnacle, which would no doubt have included great compromise and a whittling away of their authentic voices, some dream of scaling back and making a little indie. Take the Russo Brothers, Joe and Anthony, for example. This Cleveland duo started out their feature directing careers with such little seen low-budget works as Pieces and Welcome To Collinwood. They rose through the ranks and have now made the most successful box office film to date with Avengers: End Game. With what seems like a drive to return to their Ohio roots, they've made Cherry, based on Nico Walker's semi-autobiographical novel and adapted by their sister Angela Russo-Otstot and Jessica Goldberg. The trouble is, this 15 years spanning story of a young college dropout who reacts to getting dumped by his girlfriend by becoming an Army medic, returns home with severe PTSD, develops an addiction to opioids, and resorts to robbing banks to feed the beast, does not play out as an intimate little Sundance gem. It's as if the Russos told the studios, "We've made you ALL the money, so now let us use ALL of the toys to make something meaningful." Now don't get me wrong, Cherry is a stunning looking film. Every shot has boldness, life, and energy. The production design, the early aughts period detail, even the look of its Cleveland streets are all eye-popping. As a person who grew up near Cleveland, I can attest to its perfectly captured brown brick/grey skies aesthetic. Despite its epic, nearly 2 1/2 hour running time, it never drags. Tom Holland and his incredible costars shine. You could watch this film without sound and think it's the most cinematic, perfect movie you've ever seen. So what's the problem? It's all just too much. Playing like a "Greatest Hits" mashup of Goodfellas, Full Metal Jacket, Zero Dark Thirty, Trainspotting, and Dog Day Afternoon, to name a few, Cherry goes big, but doesn't go home. Using impressionism, surrealism, varying aspect ratios, voiceovers, bold chyron messaging, and every type of drone, dolly, and crane possible, we don't so much as get inside our main character's head as watch it explode all over the screen. It's certainly a valid approach, and it sets it apart from so many uninspired independent films of its ilk, but it results in holding its emotional resonance at a distance. You may chuckle when our unnamed lead character, nicknamed "Cherry", robs banks called Shitty One or Capitalist None, but it feels like showing off instead of making us really feel for the human beings at its center. At its core, this film wants to tackle the very serious subject of addiction, yet the style gets in the way. One of my favorite films on the topic, Sid And Nancy, had one flight of fancy in which the title characters kissed in an alley as garbage fell down on them from the sky, but kept things mostly real otherwise. Cherry is 141 minutes of garbage falling down from the sky. Again, that may sound harsh, but I don't blame the Russo Brothers for wanting to strut their stuff. They clearly have talent, and I'd love to see a film in which they learned to calm the fuck down. They certainly get great work from their cast. Tom Holland gives a heartbreaking, intimate performance filled with such vulnerability that you wish the camera would stop swooshing around him long enough for us to experience his great empathy better. Same goes for Ciara Bravo as his girlfriend who goes way down the rabbit hole of addiction with him. She starts out as your standard issue manic pixie dream girl only to erupt into palpable ferocity as things grow dire. Jack Raynor brings some much-needed comic relief as their preppy drug dealer known only as "Pills & Coke". The film keeps raising the question of whether or not Holland's character deserves to have friends, a partner, love. It's one we've seen before in films about addicts, yet this one stumbles badly in its final act, which amounts to a yadda-yadda montage during an incredibly important transition for our lead, only to dump him out the other side of it with an oddly tone-deaf, treacly final moment. They would have earned those final few seconds had we not been subjected to a decade-long chapter distilled into a few minutes of screen time. You'llwant to yell, "Run!" to someone onscreen instead of thinking, "Awwwwww".

Between 2014 and 2019, the Russo brothers directed four Marvel movies with a combined worldwide box-office of over six billion dollars, so for their first foray from the world of super heroes and magic space gems, the brothers had carte blanche to pick whatever project they desired and Cherry was it. Watching all 140 minutes of this true-life tale, you get the feeling it's less a story about loss and redemption and more an overly extended excuse for Joe and Anthony Russo to use every stylistic trick they've ever wanted to employ to make their own inferior Goodfellas (or Casino). Free of MCU oversight, these guys are practically going full Tony Scott or Darren Aronofsky with the multitude of their visuals tricks and gimmicks. We're talking different aspect ratios, color washes and spotlights, heightened fade outs, fourth wall breaks and freeze frames, chapter titles complete with prologue and epilogue, in-your-face subtitles, tracking shots, and even oblique angles such as a point of view from inside Tom Holland's inspected rectum. Cherry is aggressively flashy to compensate for how little substance there is with its story and humdrum characters. It's based on a true story about Nico Walker (Holland), an Iraq War veteran coming back to Ohio, getting hooked on drugs, and resorting to robbing banks The trauma of his war experiences leads him to seek help and the system fails him and pushes opioids on him, turning him into another addict among too many who is desperate to do anything for cash. On paper, that sounds like it would be interesting, and the shocking part is that for all these identifiable dramatic elements and stylistic flourishes, Cherry is kind of dull. Everything feels like it's kept at a surface-only level. Walker is just not that interesting even though interesting things happen to him. You would think it's about PTSD, the opioid crisis, economic anxiety, and while these elements are present they are not really explored with any sustained nuance or theme. The level of social commentary stops at Fight Club-level snarky sight gags, like the names of the banks being "The Bank" and "Shitty Bank." There's too much bloat with the plot and running time. By far the most interesting section of the movie was his descent into addiction and the criminal excursion, but Walker doesn't even exit the war until over an hour in. We did not need all the fluff before the war to properly set up this limited character. The real drama of the movie is post-war, and there's an hour of setup that could have been cleaved away. You leave this stuff in as "texture" if you're building something rich in atmosphere and character but I can only tell you what has happened to Walker externally. He's perfectly unremarkable. The movie is too shallow for its own possible ambitions, and it ultimately feels like cribbed notes and homages to other movies the Russos enjoyed, like Goodfellas or Requiem for a Dream or Boogie Nights. It only reminds you of other, better movies, and one I was reminded of was Roger Avary's Rules of Attraction. I appreciated the flash and style of that 2002 movie because it was about empty characters living empty lives striving for something they were incapable of, so the excessive and prioritized visual artifice worked. With Cherry, the visual trickery is distraction from the underwritten characters who the movie very much wants us to see favorably through their struggles. I enjoy Holland (Spider-Man: Far From Home) as an actor immensely but he is miscast here. He's too boyish and charming and genial to ably perform dark and gritty antiheroes. You sense he's eager to try these "darker roles" to prove himself but he doesn't need to. Ciaria Bravo (Wayne) plays the girlfriend/infatuation object/junkie partner and she looks so young that see feels like an unsupervised child onscreen. Maybe that works with her as a symbol of innocence. Cherry is a movie that left me indifferent and shrugging throughout all its excesses and meandering. It feels like a movie the Russos needed to get out of their system, one of creative indulgence charging into familiar territory when more restraint, nuance, and contemplation would have sufficed, and maybe their next movie will be more mature and fulfilling and worthy of 140 minutes. Nate's Grade: C

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Screen Rant

Cherry review: tom holland shines in familiar addiction drama.

Cherry is a fairly standard drama that hits the expected beats, but is still elevated by Holland's strong lead performance.

After teaming up for multiple Marvel Cinematic Universe installments, directors Joe and Anthony Russo reunite with star Tom Holland on Cherry , a project wildly different from their previous superhero epics. Based on the novel of the same name by Nico Walker, Cherry finds Holland shedding his boyish Peter Parker persona to play a war veteran suffering from undiagnosed PTSD and a crippling drug addiction. The material is certainly compelling, which is why distributor Apple TV+ was keen on putting together an awards campaign for the film. Those aspirations are understandable, but it doesn't quite get there. Cherry is a fairly standard drama that hits the expected beats, but is still elevated by Holland's strong lead performance.

In Cherry , Holland stars as the titular character, who is a directionless youth who joins the U.S. Army in search of a sense of purpose. Cherry serves overseas in the Iraq War as a medic, where he becomes emotionally scarred by the atrocities he witnesses in combat. Upon returning home, he struggles to adjust back to civilian life, sending him and his wife Emily (Ciara Bravo) down a dark path of drug addiction and financial ruin.

Related: Every Tom Holland Movie Ranked From Worst to Best

Cherry is broken down into multiple chapters to tell its story, each one sporting its own aesthetic to stand out. This ensures the film stays interesting from a visual perspective, as the Russos play around with aspect ratios, cinematography, and shot composition throughout the course of the runtime. The styles of the chapters help complement whatever emotional points the narrative is going for at the moment. For instance, early sequences of Cherry meeting and falling for Emily almost have a dream-like quality to them, while later scenes of drug abuse are cold and dark. It's a simple, yet effective, way of conveying the movie's key feelings and plot points. This directorial approach may not bring anything all that new to the table, but it still makes Cherry engaging to watch.

Likewise, the script by Angela Russo-Otstot and Jessica Goldberg gets the job done, though falls short of reaching another level. Primarily, the overarching story feels undercooked, as the screenplay frequently touches on the surface level of topics like the horrors of war and dangers of drug addiction, but doesn't fully explore any of them in a way that's particularly effective. At times, it feels like Cherry is merely retelling the broad strokes of its source material, taking viewers from one outrageous situation to the next (culminating with Cherry robbing banks to support his drug habits) to illustrate how crazy the story is. There is a deeper subtext present about how the U.S. fails its military members by not providing the support they need, but like the core narrative, that message ultimately feels simplified. This isn't to say anything in Cherry's story is bad, it just follows a very familiar trajectory to make its points.

What does help raise Cherry is Holland's performance, as the young actor demonstrates strong dramatic chops in what's a departure from other roles. Holland carries the film with a heartbreaking turn as a broken man and puts himself through the wringer. Cherry is a character that doesn't utilize Holland's trademark youthful exuberance, but his boyish appearance is still a benefit here, as it makes Cherry's downfall all the more devastating to watch. With Holland in the role, it feels like one is watching the loss of a young man's innocence and he's definitely capable of leading more films like this in the future. Elsewhere in the cast, Bravo has some nice moments as Emily, but the romance between her and Cherry feels half-baked as the emotional core. Other supporting actors like Jack Reynor as Pills & Coke and Forrest Goodluck as James Lightfoot serve to round out the ensemble, but aren't given much to work with. Cherry is Holland's show through and through.

As the Oscar precursors come in during this delayed awards season, Cherry has been absent from the nominations and it doesn't look like it will be a major contender. The film has some admirable qualities, and it's nice to see the Russos attempt this as an ambitious palate cleanser following the grand spectacle of Avengers: Endgame , but it never reaches the heights of the other titles in contention this year. Still, Cherry is worth watching for those interested in either the story or Holland's exceptional performance. It may not drive waves of new subscribers to Apple TV+, but those who already have the service or want to use a free trial could get something out of it.

Next: Watch the Official Cherry Trailer

Cherry opens in U.S. theaters on February 26 and starts streaming on Apple TV+ March 12. It runs 150 minutes and is rated R for graphic drug abuse, disturbing and violent images, pervasive language, and sexual content.

Let us know what you thought of the film in the comments!

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Drugs, gore, sex, swearing in gritty, unforgettable saga.

A Lot or a Little?

What you will—and won't—find in this movie.

This modern-day tragedy inspires empathy and compa

The love that "Cherry" and Emily share is aspirati

Bloody battlefield violence with heavy artillery a

Explicit sexual language. Scenes of a young couple

Extremely strong, profane language throughout, inc

Explicit and extensive drug use, including Xanax,

Positive Messages

This modern-day tragedy inspires empathy and compassion. Young audiences may take away that impulsive decisions about drug use or life choices can have terrible consequences.

Positive Role Models

The love that "Cherry" and Emily share is aspirational, but their immaturity and co-dependency lead them to make impetuous decisions that become their downfall. Lead character is a sensitive man who cries in moments that are touching, sad, unbearable. Minor characters reflect diversity in ethnicity and ability. Negative representations of the military. Main character has Post-Traumatic Stress Disorder.

Violence & Scariness

Bloody battlefield violence with heavy artillery and explosions. Graphic, gruesome images of wounded and dead soldiers. Physical attack. Guns waved around in various scenarios. Gunfire during a robbery. Brief implication of rape. Bruise infers child abuse.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Explicit sexual language. Scenes of a young couple engaging in sexual acts. Implied masturbation. Young woman frequently wears only bra and underwear. Passionate kissing. Sensual scenes show the side of a woman's nude body and a fraction of her areola. Crude talk. Young woman's underwear can be seen under her short skirt.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Extremely strong, profane language throughout, including "c--k," "c--t," "d--k," "goddamn," "idiot," "p---y," "s--t," "t-tties." Frequent use of "f--k." "Retard" used as insult a couple of times. Slur used to describe Iraqis.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Explicit and extensive drug use, including Xanax, Ecstasy, OxyContin, cocaine, heroin. A drug dealer called "Pills & Coke" is a supporting character. Frequent drinking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Cherry is an examination of America through the eyes of a sensitive soldier. Directed by Avengers alums Anthony and Joe Russo and starring Tom "Spider-Man" Holland and former Nickelodeon actor Ciaro Bravo , it will likely get teens' attention. The movie takes a critical view of the military, portraying its leaders as inept, missions as pointless, and war as a machine that uses people up and spits them out, leaving them with severe and permanent mental stress. The unnamed main character (whose nickname, "Cherry," is a sexual metaphor) is an Army medic who witnesses wartime violence and gory battle wounds, including charred dead bodies and a disemboweled soldier. These scenes are intended to help viewers fathom what frontline personnel experience, leaving them scarred, angry, and, in some cases, turning to drugs for relief. The drug use depicted here is extremely graphic (including heroin use) but not glamorized. The consequences for dependency are significant, and Cherry is so likable that his struggles are likely to help audiences empathize with those in his position. When he turns to robbing banks, guns are waved around and fired; rape and child abuse are both implied. The film is also a love story of Romeo and Juliet proportions: Cherry and his wife have a very deep connection. The movie's sensuality, including a masturbation scene, is all within the context of a loving, monogamous relationship, though a flashback with other characters includes crude "locker room" talk. There's also extreme profanity throughout the movie: Expect to hear "c--t," "f--k," and much more. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

Parents say (2)
Kids say (15)

Based on 2 parent reviews

It’s only for adults

I enjoyed this movie a lot, what's the story.

CHERRY takes place from 2003 to 2021. Cherry ( Tom Holland ) and Emily ( Ciaro Bravo ) meet in college and fall deeply in love. Through a couple of impetuous decisions, they alter the course of their lives. And later, returning from a tour of duty in Iraq as an Army medic, Cherry (a nickname; his actual name is never given) turns to drugs to relieve his PTSD. Desperate to pay off his drug debts, he turns to robbing banks.

Is It Any Good?

With this stylistically spectacular drama, the Russo brothers have made an unforgettable film that rebukes the U.S. military while empathizing with the plights of those who serve. Cherry 's cinematography is like a piece of modern art, with bold colors, creative execution, and filters that will make Instagram jealous. The main character's sardonic personality will connect with young audiences, as will the embrace of a type of masculinity that includes weeping at things beautiful, sad, and difficult. The movie's romantic tragedy dives somewhere between Shakespeare and O. Henry. Between the dialogue and Holland's emotive performance, the experience pops like cinematic street poetry.

Not too many mainstream films since the Vietnam era have been blatantly critical of the military experience. That's due in part to filmmakers looking to secure the U.S. military's cooperation. But it's also due to the influence of the type of patriotism that borders on propaganda in times of war -- which the United States has been involved in, in some form, for the last 20 years. Cherry covers this whole time frame, starting in 2003 and reflecting on a military operation that was well-equipped, overly arrogant, and underprepared for the toll it would take on soldiers' mental health. While creating empathy for those suffering from PTSD, the film also encourages compassion for those in the throes of drug dependency. In college, Cherry takes prescribed Xanax for anxiety. He also drinks and parties with friends, taking Esctasy. The film subtly indicates that had he not found early acceptance for his recreational pill popping then, his later dive into OxyContin -- which eventually leads him to heroin -- would perhaps not have been such an easy leap. This is a tragedy that carries no overt messages while still delivering a takeaway you won't forget: Your choices today matter tomorrow. In its thoughtful exploration of mature subjects like sex (within a loving relationship), drugs (with consequences), and violence (in war), Cherry is a film for young adults that's as responsible as it is impactful.

Talk to Your Kids About ...

Families can talk about how soldiers tend to be depicted in movies and on TV. When the military are shown performing heroically in battle, do viewers usually see them coming home and having a tough time? Where do their stories usually begin and end?

How does the violence in Cherry compare to what you might see in a superhero-type action movie? Which has more impact? Why?

Do you think substance abuse is glamorized in this film? How does it compare to other depictions of dependency in entertainment? Do you think film has the power to dissuade viewers from drug use?

How can this film be considered a tool for building empathy and compassion ? Why are those important life skills?

What does the movie have to say about making emotional, reactionary decisions? Have you ever made an impulsive decision? What was the outcome?

Movie Details

In theaters : February 26, 2021
On DVD or streaming : March 12, 2021
Cast : Tom Holland , Ciara Bravo , Jack Reynor
Directors : Anthony Russo , Joe Russo
Inclusion Information : Female actors
Studio : Apple TV+
Genre : Drama
Topics : Book Characters
Run time : 140 minutes
MPAA rating : R
MPAA explanation : graphic drug abuse, disturbing and violent images, pervasive language, and sexual content
Last updated : February 19, 2023

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Cherry (I) (2010)

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‘Cherry’ Review: Russo Brothers Follow ‘Endgame’ with Miscast Tom Holland as a Drug-Addicted Bank Robber

David ehrlich.

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It’s safe to assume that Nico Walker knew his life story could make for a good movie in the right hands. By the time he finished up his prison sentence in Ashland, Kentucky, he was waiting for the publication of the semi-autobiographical novel he’d written from jail about the wayward journey that had brought him there in the first place. The book was called “ Cherry ,” and the bestseller’s instant success would earn enough to afford its 33-year-old author — a former Iraq War Army medic, opioid addict, and mild-mannered bank robber in that order — a second chance to be all that he could be, even before directors Anthony and Joe Russo paid him $1 million dollars for the film rights and turned it into their first post-“ Avengers: Endgame ” production. Suffering through the Russo brothers ’ scuzzy, interminable, and misjudged adaptation of Walker’s life story, there’s no question who got the better end of that deal.

“Cherry” popped with readers and rubberneckers alike because of its blunt take on a multi-car pile-up of millennial crises. Neither Walker nor the semi-unnamed protagonist who served as his proxy were much interested in style points or seeming cool. The unvarnished writing so casually processed Holden Caulfield’s matter-of-fact heartache through Hemingway’s dead-eyed war stories, Hunter S. Thompson’s gonzo debasement, and Denis Johnson’s “here but for the grace of God go I” journeys to Hell and back that Walker could’ve plausibly denied any familiarity with their work.

But “Cherry” was still the torch-bearer of a proud tradition that it carried into the 21st century; an explosive account of a country that struggles to imagine how the suffering it causes for so many could be as self-evident as the success that it allows for a chosen few. The Russo brothers don’t bother with such subtlety. You’d have to go back to the glory days of solipsistically overcranked post-9/11 cinema like “Spun” and “Rules of Attraction” to find a movie so determined to hold your attention hostage with an unloaded gun of its own empty affectations. Period details are one of the few things that “Cherry” gets right about its story (behold Jack Reynor sporting two popped collar shirts on top of each other in his role as a preppy drug dealer named Pills and Coke), but the Russos’ aesthetic is far too stultifying and self-insistent to forgive their intricate approach to rendering the Bush era in the visual language of its time.

From fitting red chapter titles and fourth-wall breaking narration to gratuitous speed-ramping, trick mirrors, visualized dialogue (the words “COCK HOLSTER” billboard across the screen at one point), and splashes of selective color (à la the little girl’s coat in “Schindler’s List”), “Cherry” sometimes feels like more of a live-action comic book than any of the “Avengers” movies ever did. The decision to cast Spider-Man himself in the lead role doesn’t exactly diminish that sensation, in large part because fresh-faced Tom Holland — despite his admirable commitment to the bit — radiates so much friendly neighborhood sincerity that he can only wear his character’s indifference like it’s just another mask.

The film begins with its hard-luck hero looking into the camera lens and narrating a 2007 bank robbery in real-time before the action skips back a few years to walk us through how he got there, but it can’t even make the leap from PROLOGUE to PART ONE without falling into the uncanny valley between them. “I’ve got a lot of sadness in the face so I have to act crazy or people think I’m a pussy” Holland tells the audience as he strolls through “Capitalist One” or “Shitty Bank” (get it?) or whichever one of the “Fight Club”-fresh sight gags happens to be misfiring in the background. But Holland has the enthusiasm of a puppy dog who can’t even go hungry without wagging his tail about it.

That eagerness works in the actor’s favor when his character is trying to fight his way through the self-destructive masculine anxieties the movie throws his way, but it’s a ruinous mismatch with the apathetic tone of this material. “It’s not even that interesting,” he says about everything from robbing a bank to reporting for duty in Iraq. The falseness of his modesty is typical of a film steeped in the overaffected affectlessness of his delivery.

In fairness to the Russos and the all-too-real story they took it upon themselves to tell here, it may have been impossible to capture the kite-on-a-string youth of these unfortunate characters without skewing so young that “Cherry” started to feel like a high school production of “Death of a Salesman.” Yet Holland’s miscasting handcuffs the rest of the movie to a precociousness that was much easier to accept on the page. “The Long Dumb Road” actress Ciara Bravo plays Emily, the love interest next door who turns our hero’s life upside down at the Jesuit University they both attend (“I have a thing for weak guys,” she teases).

They make a fine couple, but Bravo’s ultra-young appearance strains belief as the characters age throughout the film. She isn’t done any favors by a script that reduces Emily’s childhood trauma to the length of a chintzy cut-away, and overstates her eventual melodramatic slide into opioid addiction that you have to stop yourself from laughing at the story’s most acute moment of sadness. Few movie scenes are more galling than the ones that render a common tragedy — say, someone getting hooked on OxyContin in a desperate bid to scare their partner out of the habit — in such ridiculous terms that an audience questions whether it could actually happen in real life.

In between those early college days and the expensive drug addict years that inspire our boy to start robbing banks, Cherry goes off to war and earns the only name he ever has. Don’t hold your breath for a satisfying explanation, as the Russos’ approach to the Iraq chapter — a half-hour chunk in an 140-minute endurance test — seems almost perversely determined to miss any sort of point. While the combat sequences allow the directors to flex their muscles in a way they never could when playing in the Marvel sandbox, they can’t help but overcompensate.

The second half of this movie could only work if we understood in visceral terms that Cherry’s nerves were so frayed by his experience as a medic that even robbing a bank wouldn’t quicken his heartbeat — he’d zip-tied enough Iraqi civilians and survived enough firefights that nothing about life back home could faze him — and yet when it comes to conveying that cold-blooded disconnect the Russos settle for all the wrong solutions. Their fear of cliché drives them straight towards kitsch, as voiceover-heavy sequences about our hero’s masturbation habits and isometric views of his (Army) unit sweeping through local houses are shot with a jarhead slickness that labors to illustrate Cherry’s gradual desensitization from the world around him, but only manages to induce our own.

The film never quite sells us on Cherry’s stony numbness, and things only get worse when his polite sociopathy collides with the PTSD he brings home from the war in a histrionic way that muddles them both. “I’m 23 years old,” he tells us at the start, “and I still don’t understand what it is that people do.” “Cherry” doesn’t have any decent answers for him; it can only smother him under the crushing weight of style over substance.

There are a few small pockets of air along the way (Michael Gandolfini is a lot of fun as Cherry’s oafish friend), but “Cherry” has no way of getting you to care about someone who hardly seems to care about himself. Its protagonist is like a Plinko chip getting bounced from one American disaster to the next and scrambling for any kind of agency he can find as he falls towards rock bottom. At the end of the day, his only available recourse is to sit down on the side of the road and decide that he just doesn’t want to be in this movie anymore. Don’t sweat it, Cherry.

“Cherry” will open in theaters on Friday, February 26 before being available to stream worldwide on Apple TV+ starting Friday, March 12.

As new movies open in theaters during the COVID-19 pandemic, IndieWire will continue to review them whenever possible. We encourage readers to follow the safety precautions provided by CDC and health authorities. Additionally, our coverage will provide alternative viewing options whenever they are available.

REVIEW: CHERRY sees Tom Holland’s dramatic take on an unbelievable story

Anthony and Joe Russo present their film based on the semi-autobiographical novel by Nico Walker.

There’s a lot to take in with Anthony and Joe Russo ‘s most recent flick, Cherry . Reunited with Tom Holland after Avengers: Infinity War and Avengers: Endgame comes a war story of a different sort. Based on a novel, which is semi-autobiographically based on the life of Nico Walker , an Iraq veteran-turned-drug-addict-turned-bank-robber, there’s a lot to unpack. Cherry , the novel, was inspired by a Buzzfeed profile of Walker from 2013 . An editor reached out to Walker, who was then serving his time in a Kentucky federal prison, and sent him books, eventually suggesting that he write a book .

Going into these types of films, I like to read the book that inspired the film after watching the movie. In a story as personal as Cherry , it felt extra important to see the read the source material. But does Cherry , the film, match up to the original story back in 2013? There are some scenes that have survived from the drafts of the novel to the creation of the screenplay for the film, some that have been edited away, and some that have been added.

The reality is, very little needed to be added to Cherry and the additional scenes, like the narrator’s undying loyalty to Emily ( Ciara Bravo ), adds a layer of melodrama that detracts from the film rather than add to it. Coming in at 141 minutes, the film can feel bloated at times. Granted, the Russos have a lot of ground to cover. Cherry touches on topics like toxic masculinity, verbal and mental abuse, combat trauma, severe ptsd, depression, disillusionment, the opioid crisis, and even nihilism.

But it’s all touched upon. Much like the novel, there is very little self examination when it comes to the narrator, at least none of it makes it on-screen. We are presented with issue after issue and are forced to self-diagnose. In this manner, the film emulates the novel. It shows you everything and you’re left to make your own conclusions. Rarely does the narrator tell you just how he feels, or why he does the things that he does? There are small hints to his disillusionment in the world around him, like when he talks to the faceless bank teller, robs banks called Bank Fucks America and Credit None, or sees Dr. Whomever for help with his PTS and is given a prescription for Oxycontin. And fittingly within the narrative, there is very little professional help given to him despite the fact that we, as the audience, know that he suffers from post-traumatic stress.

Divided into seven parts, a prologue and epilogue with five parts in between, the most dynamic part is undeniably Part Three, titled “Cherry”. After meeting the love of his life, Emily, the narrator enlists in the army in 2003. He passes basic training and he is thrown straight into the deep end during the most volatile and violent years of the occupation of Iraq, placed right in the “ Triangle of Death .” From humorous moments of camaraderie between the narrator and his fellow soldiers to crushingly brutal attacks leaving him putting the charred remains of his comrades into black bags, the Russos excel at displaying the horrors of war without glamorizing or exploiting it.

Even cutting out some of the more gruesome scenes from the novel, this is the strongest part of the film. It solidifies as a watershed moment in the narrator’s life. The essential soul of the character is not completely lost, there are moments of softness in the narrator that is played out expertly in Holland’s performance, both fragile and strong. He can embody both sides of the narrator, the smart-mouthed soldier mouthing off to a sergeant, and the empathetic medic who sincerely wants to help even when faced with opposition in the way.

After coming home, he faces severe disillusionment. Add that to the trauma he experienced in combat, and the insomnia and nightmares it leads to, and the narrator quickly develops an addiction problem. This is perhaps a more gradual process in the novel, where we learn that most of the soldiers are doing anything to get high even while deployed. The narrator soon goes from pills to Oxycontin and then finally to heroin. And how can he support this expensive habit? (In the novel, he and Emily spend nearly a thousand dollars a week at the height of their addiction.) He starts robbing banks.

While this is another strong part of the film, with the Russos capturing both the absurd moments of being embroiled in the drug underworld and also the disastrous addiction associated with being a dope fiend, this part of the film stretches on. It lacks the same tempo and rhythm as its earlier parts and that’s where it falters. Similarly, and this is perhaps a commentary also on the novel, but Walker makes it clear in his 2013 profile that much of his motivation for robbing banks was in the rush. In the article, Scott Johnson writes, “In that way, a bank robbery was a lot like the war: The worse things got, the easier it was somehow to cope.” Yes, the money was an added bonus, but it’s hardly the act of desperation the narrator claims.

And that’s perhaps the core of the problem with Cherry . It should have pulled both from Walker’s own real-life experiences and trimmed the fat off of some of the more melodramatic moments of the novel. It doubles down on the narrator’s romance with Emily — thankfully cutting out the rampant sexism evident in the novel — but combined with the unconvincing dialogue and a lack of chemistry, it drags the movie down and holds it back. We’re told to believe that this is a romance for the ages, one that overcomes all, but it often feels contrived. I didn’t know why these two people chose to remain with one another when their romance seemed to be the easiest habit to break.

But the best parts of the film are the ones that feel the most authentic, those pulled directly from Walker’s life and lacks any form of pretension. Holland dives into the role, we’ve already seen him shed the sunny Peter Parker he is famous for before, but this performance watches the actor give it his all. Mixing softness with desperation and repression, he doesn’t backdown from the challenge of taking on a character that cycles through very different phases of his own life. On top of the Russos’ perfectly capturing the frenzy and chaos of war, Henry Jackman offers a score that highlights the emotion and movement of a scene perfectly. From tenderness to violence, his score frames the scenes delicately.

The film ends with a tinge of hope and perhaps some optimism. After a grim and hopeless film, this is less fitting. In a story that leaned into the realities of so many dark episodes in the narrator’s life, perhaps this was the opportunity to inject a bit of levity. It’s not the strongest ending, but there are enough powerful parts in the film to keep Cherry afloat. While I think that the Russos could have benefitted from adapting more of Walker’s own real-life, Cherry is a valiant and bold effort in balancing a war story with an addiction story.

Cherry will premiere in select theaters today, on February 26, 2021 and globally on Apple TV+ on Friday, March 12, 2021.

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Cherry — film review.

A coming-of-age comedy that's far too quirky for its own good, Cherry is the sort of teen sex farce that is only more unbelievable for its not pandering to the tired conventions of its genre.

By THR Staff

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Containing barely a credible moment in its story of a hopelessly awkward college freshman who is apparently irresistible to women of all ages, the film is not likely to be seen by the adolescent male audiences whose fantasies it might inspire.

The central character is virginal 17-year-old Aaron ( Kyle Gallner ), who embarks on an engineering degree at the insistence of his overbearing mother (Stephanie Venditto) despite his artistic leanings. Settling in at an Ivy League university, he instantly attracts the attention of Linda (Laura Allen), a thirtysomething fellow student with an obviously freewheeling mentality.

Immediately smitten, he soon discovers she has a policeman boyfriend ( Esai Morales ), with whom she engages in hysterically loud lovemaking, and a troubled 14-year-old daughter (Brittany Robertson) who develops her own crush on him.

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February 25, 2021 By Jana Leave a Comment

Cherry – Film Review: Raw, vulnerable, and unhinged—a must-see movie about love, addiction, and mental health

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Cherry is both the best and worst 140 minutes you will spend watching a movie if you have ever loved someone with an addiction or want a glimpse into the window of the life of an addict. Make sure you have some tissues handy because there is a good chance you’re in for an ugly cry.

Finding the right words to describe Cherry is nearly impossible, but I’ll try. Here’s the quick summary: Tom Holland and Ciara Bravo are everything in Cherry, an epic odyssey of romance, war, drug addiction, and crime, where a young man named Cherry (Tom Holland) struggles to find his place in the world.

Cherry Film Review

Directed by Anthony and Joe Russo (yes, the Russo Brothers who directed Captain America: Winter Soldier , Captain America: Civil War , Avengers: Infinity War , Avengers: Endgame ) is a 6-chapter film that follows Cherry (Holland) and Emily (Bravo) from college into adulthood, through a 15-year journey. The directorial vision that the Russos brought to Cherry is vastly different than what you see in an action-packed superhero blockbuster, but thought-provoking and every bit as detail-oriented and profound.

Cherry. Apple TV.

The couple falls in love. Cherry enlists in the Army, goes through Basic Training, and does a tour in Iraq as an Army medic. As you might expect, Cherry has PTSD from his time in Iraq and turns to drug use to cope. Heroin—being the easiest drug to access at the time—is his coping mechanism of choice and Emily gets addicted, too. Eventually, he robs a bank to pay for their habit, and we follow the couple through their dark descent as they grapple with opioid addiction.

Ciara Bravo and Tom Holland. Apple TV.

Cherry is an adaptation of a novel

The film Cherry is adapted from the semiautobiographical novel of the same name by Nico Walker.

In Walker’s novel, Emily is only portrayed through the narrator’s eyes. In the film adaptation, Emily is much more of a three-dimensional character and integral to the plot. She has struggles of her own, which in my opinion, are problematic for Cherry, despite the fact that he sees her as a sanctuary from his own demons.

Tom Holland. Apple TV.

Holland and Bravo did the work

In order to prep for the roles both Holland and Bravo did months of prep and research to be as authentic as they could to the roles, as neither had struggles with sobriety.

In a Q&A I sat in on last month with Joe and Anthony Russo through Film Independent, they talked about some of what Holland and Bravo did for their roles. Holland really leaned into the role, including losing 30 pounds and gaining it back within a short period of time.

Ciara Bravo. Apple TV.

While filming in Cleveland, Bravo and Holland visited a rehab facility where they spoke to outpatients and employees for insight into the challenges of sobriety. Holland also worked with a recovering addict on set as a consultant to ensure the integrity of the addition and drug use of the story. They even used real needles in the drug scenes to make it look as authentic as possible.

And they are BRILLIANT. Both of them. While we all know Tom Holland as Spider-man in the MCU, he has depth and does other genres, as well. But this performance was perfection. Heartwrenching, raw, and so gritty. And Bravo sure has grown up and into her own since her “Big Time Rush” days.

Why Cherry is SO Important

To have a story that’s tackling topics like PTSD and severe addiction is raw, relevant, and honest. Not only is it rare, but it’s also needed. Mental health, addiction, stigma, and the relationship between them are very real. These are conversations we should be having and Cherry is bringing awareness to the problem.

As a society, we tend to put a huge stigma on addiction. But the fact of the matter is that it is an illness. Drug addiction is a substance abuse disorder , meaning it’s a disease that affects the brain.

Drug addiction, also called substance use disorder, is a disease that affects a person’s brain and behavior and leads to an inability to control the use of a legal or illegal drug or medication. Substances such as alcohol, marijuana, and nicotine also are considered drugs. When you’re addicted, you may continue using the drug despite the harm it causes. –Mayo Clinic

Why Cherry Works

It’s incredibly challenging to discuss tough topics in a way that makes them tolerable or enjoyable in a film. Cherry does an exceptional job at laying in some dark humor and light moments alongside some extremely dark and devastating material. Cherry tells the tough story of addition without glamorizing it, and that isn’t an easy task. Holland and Bravo give us a performance that is raw, vulnerable, and unhinged, and the Russos show us the trajectory of the couple’s lives, for better and for worse, through a series of different lenses, including the use of Holland breaking the fourth wall.

Cherry . Apple TV.

About Cherry

Cherry follows the wild journey of a disenfranchised young man from Ohio who meets the love of his life, only to risk losing her through a series of bad decisions and challenging life circumstances. Inspired by the best-selling novel of the same name, Cherry features Tom Holland in the title role as an unhinged character who drifts from dropping out of college to serving in Iraq as an Army medic and is only anchored by his one true love, Emily (Ciara Bravo). When Cherry returns home a war hero, he battles the demons of undiagnosed PTSD and spirals into drug addiction, surrounding himself with a menagerie of depraved misfits. Draining his finances, Cherry turns to bank robbing to fund his addiction, shattering his relationship with Emily along the way. Brought to the screen in bold, gritty fashion by visionary directors Anthony and Joe Russo, Cherry is a darkly humorous, unflinching coming-of-age story of a man on a universal quest for purpose and human connection.

Cherry will premiere in select theaters on February 26, 2021, and globally on Apple TV+ on Friday, March 12, 2021.

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There was great drama at Cannes last year when the Iranian director Abbas Kiarostami was allowed, at the last moment, to leave his country and attend the festival premiere of his new film, "Taste of Cherry." He received a standing ovation as he entered the theater, and another at the end of his film (although this time mixed with boos), and the jury eventually made the film co-winner of the Palme d'Or.

Back at the Hotel Splendid, standing in the lobby, I found myself in lively disagreement with two critics I respect, Jonathan Rosenbaum of the Chicago Reader and Dave Kehr of the New York Daily News. Both believed they had seen a masterpiece. I thought I had seen an emperor without any clothes.

A case can be made for the movie, but it would involve transforming the experience of viewing the film (which is excruciatingly boring) into something more interesting, a fable about life and death. Just as a bad novel can be made into a good movie, so can a boring movie be made into a fascinating movie review.

The story: A man in a Range Rover drives through the wastelands outside Tehran, crisscrossing a barren industrial landscape of construction sites and shanty towns, populated by young men looking for work. The driver picks up a young serviceman, asking him, at length, if he's looking for work: "If you've got money problems, I can help." Is this a homosexual pickup? Kiarostami deliberately allows us to draw that inference for a time, before gradually revealing the true nature of the job.

The man, Mr. Badii ( Homayon Ershadi ) wants to commit suicide. He has dug a hole in the ground. He plans to climb into it and take pills. He wants to pay the other man to come around at 6 a.m. and call down to him. "If I answer, pull me out. If I don't, throw in 20 shovels of earth to bury me." The serviceman runs away. Badhi resumes his employment quest, first asking a seminarian, who turns him down because suicide is forbidden by the Koran, and then an elderly taxidermist. The older man agrees because he needs money to help his son, but argues against suicide. He makes a speech on Mother Earth and her provisions, and asks Badhi, "Can you do without the taste of cherries?" That, is essentially, the story. (I will not reveal if Badhi gets his wish.) Kiarostami tells it in a monotone. Conversations are very long, elusive and enigmatic. Intentions are misunderstood. The car is seen driving for long periods in the wasteland, or parked overlooking desolation, while Badhi smokes a cigarette. Any two characters are rarely seen in the same shot, reportedly because Kiarostami shot the movie himself, first sitting in the driver's seat, then in the passenger's seat.

Defenders of the film, and there are many, speak of Kiarostami's willingness to accept silence, passivity, a slow pace, deliberation, inactivity. Viewers who have short attention spans will grow restless, we learn, but if we allow ourselves to accept Kiarostami's time sense, if we open ourselves to the existential dilemma of the main character, then we will sense the film's greatness.

But will we? I have abundant patience with long, slow films, if they engage me. I fondly recall "Taiga," the eight-hour documentary about the yurt-dwelling nomads of Outer Mongolia. I understand intellectually what Kiarostami is doing. I am not impatiently asking for action or incident. What I do feel, however, is that Kiarostami's style here is an affectation; the subject matter does not make it necessary, and is not benefited by it.

If we're to feel sympathy for Badhi, wouldn't it help to know more about him? To know, in fact, anything at all about him? What purpose does it serve to suggest at first he may be a homosexual? (Not what purpose for the audience--what purpose for Badhi himself? Surely he must be aware his intentions are being misinterpreted.) And why must we see Kiarostami's camera crew--a tiresome distancing strategy to remind us we are seeing a movie? If there is one thing "Taste of Cherry" does not need, it is such a reminder: The film is such a lifeless drone that we experience it only as a movie.

Yes, there is a humanistic feeling underlying the action. Yes, an Iranian director making a film on the forbidden subject of suicide must have courage. Yes, we applaud the stirrings of artistic independence in the strict Islamic republic. But is "Taste of Cherry" a worthwhile viewing experience? I say it is not.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film Credits

Taste of Cherry (1998)

Rated NR Adult Themes; No Objectionable Material

Homayon Ershadi as Mr. Badii

Abdolrahman Bagheri as Taxidermist

Afshin Khorshid as Soldier

Safar Ali as Bakhtiari Soldier

Mir Hossein Noori as Moradi Seminarian

Produced, Written, Directed and Edited by

Abbas Kiarostami

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Cherry Magic – Movie Review & Ending Explained

The Cherry Magic movie is the film sequel of the original Japanese BL series.

Cherry Magic! The Movie is the film sequel to the Japanese BL series Cherry Magic. This movie continues after the events of the original story. The protagonist is happily in love, although he can still read his boyfriend's mind when they touch. Despite their blissful relationship, a sudden job relocation means he must move away for a long time. Furthermore, coming out to their families weighs heavily on their minds.

The Cherry Magic movie isn't as enjoyable as its predecessor. The sequel lacks the vibrant energy, creativity, and humour that made the original series a classic. Nonetheless, I still appreciate seeing the characters spend time together and strengthen their relationship. Their romance develops enchantingly. This sweet and sincere story delivers well-meaning messages about love.

Cherry Magic Movie Summary

チェリまほ THE MOVIE

Movie Info:

Japan (2022)

1 hour and 45 minutes

Cherry Magic is a cute & sweet film.

Is Cherry Magic BL?

Yes, Cherry Magic is a BL movie.

Adachi is an office worker in his early thirties. After his 30th birthday, he gained the unexpected power to hear other people's thoughts if they touched him. Adachi used his ability to discover his well-respected colleague, Kurosawa, had a secret crush on him. Eventually, they responded to each other's feelings. Adachi and Kurosawa began dating, although they concealed the romance from their coworkers and families.

Adachi and Kurosawa are happily in love. At work, they exchange coy glances as they maintain their discreet workplace romance. Outside the office, the couple goes on many dates and spends time at each other's homes. Their relationship is going strong. Kurosawa also uses his boyfriend's ability to convey private messages only he can hear. For example, Kurosawa touches Adachi to express the romantic sentiments in his mind.

One day, Adachi's boss offers an exciting work opportunity. Due to his positive job performance, the company wants to transfer him to help with a new branch expansion. The new position includes a salary increase and a housing allowance. It's the first time Adachi has made significant progress in his career. However, the promotion comes with one caveat. He must relocate to another city for eight months.

Adachi must consider whether to accept the job offer. On the one hand, he looks forward to developing his career. His coworker Urabe thinks he should pursue this valuable opportunity. However, Adachi is reluctant to separate from Kurosawa for so long. He worries his boyfriend would be upset about long-distance dating. Yet, Adachi doesn't communicate these concerns with his boyfriend. Kurosawa is startled to hear the news from Urabe instead of his partner.

Adachi plans to decline the job offer. However, Kurosawa doesn't want his boyfriend to give up this career opportunity because of their relationship. Kurosawa is supportive and encourages Adachi to pursue his aspirations. Adachi suspects his boyfriend hides his genuine feelings beneath the facade. He wants to use his powers to hear what Kurosawa is thinking. Yet, Kurosawa flinches away and wants to keep his thoughts private. "Don't you believe what I just told you?" Kurosawa asks, sounding defensive. The couple must navigate this sensitive dilemma in their relationship.

Cherry Magic Movie Trailer

Cherry Magic Movie Cast

Eiji Akaso (赤楚衛二)

Adachi is an office employee with no dating experience. On his 30th birthday, he gained the sudden ability to hear people's thoughts upon touching them. Adachi used his powers to discover his coworker Kurosawa's secret crush on him. Adachi and Kurosawa have begun dating as they maintain a discreet workplace romance.

Eiji Akaso (赤楚衛二) is a Japanese actor. He is born on March 1, 1994. His first BL project is the 2020 BL drama, Cherry Magic. He also appeared in the 2022 movie sequel.

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Keita Machida (町田啓太)

Kurosawa is Adachi's coworker who works in the sales division. Kurosawa has a secret crush on his colleague. Yet, he hides his attraction until Adachi accidentally overhears his thoughts. Kurosawa is thrilled after they start dating. The couple spends much time together, hanging out at each other's homes.

Keita Machida

Keita Machida (町田啓太) is a Japanese actor. He is born on July 4, 1990. His first BL project is the 2020 BL drama, Cherry Magic. He also appeared in the 2022 movie sequel.

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Supporting Cast

Kodai Asaka (浅香航大)

Goto Yutaro (後藤優太朗)

Takuya Kusakawa (草川拓弥)

Ryo Sato (佐藤玲)

Suzunosuke Tanaka (鈴之助)

Kusumoto is portrayed by the Japanese actor Satoru Matsuo (松尾諭).

Adachi's mom

Ikue Sakakibara (榊原郁恵)

Adachi's dad

Toshiya Toyama (遠山俊也)

Kurosawa's mom

Yuki Matsushita (松下由樹)

Kurosawa's dad

Shingo Tsurumi (鶴見辰吾)

Cherry Magic Movie Review

Movie Review Score: 8.2

Cherry Magic is one of my favourite BL dramas, charming me with its unique premise, hilarious comedy, and endearing characters. The sequel is not as entertaining. It lacks several qualities that made the franchise successful, like bubbly enthusiasm and zany humour. This film includes mature storylines that are more subdued and less amusing. If I compare the two, Cherry Magic! The Movie hasn't captured the same spark as its predecessor. I miss the vibrant energy of the original series.

Although the Cherry Magic movie may not excite me as much, the story is still enchanting in many ways. The protagonists are sweethearts with genuine personalities . They make a wholesome couple who gets along adorably, goes on cute dates, and gives each other positive reinforcement. The original series shows them at the beginning of the courtship, while this film strengthens their relationship on a deeper level. It portrays Adachi and Kurosawa intimately. I'm grateful to see more of their day-to-day exchanges, solidifying their existing romance.

The original Cherry Magic is like a whimsical fantasy. Adachi gains a magical ability and meets his perfect prince charming. However, this movie goes in a different direction. The opening scene asks hypothetically, "What happens after the fairytale spell is broken?" Cherry Magic thrusts the protagonists into reality and shatters the illusion of an idyllic world. Adachi and Kurosawa face real-life issues that ordinary couples encounter, like career dilemmas or coming out to their families. Unlike the drama, the film's storylines are solemn, weightier, and remarkably realistic .

As much as I loved the Cherry Magic series, the surreal events didn't always feel believable. In contrast, this movie is more down-to-earth. It tones down the quirky scenarios to make room for authentic relationship drama. Adachi and Kurosawa experience hardships that test their bond, but they communicate honestly to overcome the challenges. The film highlights a healthy couple who cherish and respect each other. Cherry Magic handles each storyline sensibly, conveying well-meaning messages about love . A few sentimental moments resonate with me and warm my heart.

Admittedly, the conflicts feel sanitized. Any animosity gets resolved quickly, neatly, and predictably. Cherry Magic approaches the adult melodrama with kid gloves. It still resembles a blissful fairy tale more than gritty real life. In addition, the storylines aren't creative. The series has a unique premise that explores Adachi's telepathy, whereas this movie lacks innovative plots. Other BL dramas have depicted long-distance dating or coming-out journeys with more emotional complexity. Cherry Magic reiterates watered-down versions of familiar tropes and gets outshined.

The Cherry Magic movie has a happy ending, or at least it seems that way initially. The last scene plays around with the theme of illusion versus reality. The clever conclusion adds some ambiguity to the fairytale fantasy . Does Adachi sound disheartened or defiant in his final statement? It's up to your interpretation. Overall, I appreciate the thoughtful themes and positive sentiments in this gentle love story. Even though the film lacks some liveliness, it's still a worthy follow-up to a beloved BL franchise. I always welcome more Cherry Magic in my life!

Sensible story

The Cherry Magic movie contains well-meaning messages about love. However, I find the sequel less entertaining than the original. The film is missing the vibrant energy and quirky humour.

Healthy romance

The leads have a wholesome romance. They overcome their realistic problems, communicate honestly, and strengthen their bond. They finally kiss in the movie, but don't expect too much lol~

Charming acting

Both actors are as charming as the original drama. IMO, these are the defining roles of their careers. Regardless of their future projects, I'll always see them as Adachi and Kurosawa.

Happy ending

Cherry Magic! The Movie has a happy ending, although the final scene introduces some ambiguity. The film plays around with the intriguing theme of fairytale fantasy versus solemn reality.

Comfortable artistry

The movie comes with solid production values. The visuals feel warm and comfortable. Also, I like seeing the old locations again! Scenes in the office or Adachi's room make me nostalgic.

Cherry Magic! The Movie isn't as funny or imaginative as the original drama. Nonetheless, this sequel is charming. It portrays a sweet couple and reinforces sentimental messages about their love.

Cherry Magic Movie Analysis

Fairytale romance, physical intimacy, adachi's family, kurosawa's family.

Adachi and Kurosawa make a cute, wholesome couple.

In the opening scene, Adachi picks up a children's book called "The Wizard and the Prince". The allegorical title describes the two protagonists, likening them to fantasy archetypes. Adachi is the "wizard" who gains a magical power and falls in love with Kurosawa, the perfect "prince". This comparison works because the original Cherry Magic is like a modern fairy tale . It conveys an enchanting love story with wholesome characters. The series concludes with a happily-ever-after ending between Wizard Adachi and Prince Kurosawa.

The movie starts on a similar trajectory as the BL drama. The beginning contains many adorable scenes that depict an infatuated couple. One of my favourite moments is when Kurosawa holds Adachi's hand in the elevator and invites him to a date telepathically. So sweet! I react to their coy flirtations like Fujisaki, smiling knowingly from my desk. Teehee~ 😚 As the couple plans their upcoming dates and trips, the fairytale romance flourishes . Life is going idyllically for Adachi and Kurosawa, like nothing can disrupt their bliss.

The Cherry Magic movie lulls viewers into a false sense of comfort, making them feel at ease inside this perfect fantasy bubble. Then, the storyteller lifts the veil. Like any ordinary couple, Adachi and Kurosawa face various personal problems. Reality has infiltrated their storybook romance, forcing the wizard and the prince to confront hardships like work or family. As Adachi states ominously, the fairytale spell is broken . Cherry Magic! The Movie explores a solemn side to romantic fantasies, revealing that no relationship is as blissful as it seems.

Adachi and Kurosawa have an argument in the Cherry Magic movie.

Like a fairytale romance, Adachi and Kurosawa rarely argue about anything. Both are pacifists who like compromising instead of getting into conflicts . Yet, they sometimes compromise too much, putting other people's needs ahead of their own. Both are guilty of this habit, but Kurosawa is especially overeager to appease his boyfriend. He smiles, makes concessions, and acts selflessly for Adachi. This couple never quarrels because Kurosawa is happy to agree to whatever Adachi wants.

Adachi receives a job promotion, which involves relocating elsewhere for eight months. It's an exciting career opportunity, but he worries his boyfriend will be unhappy about the long-distance relationship . Adachi can predict his partner's reaction. On the surface, Kurosawa will say the right things and support Adachi unconditionally. "Whatever makes you happy will make me happy too," Kurosawa gives the perfect boyfriend response. Deep down, he bottles up his discontent. Kurosawa would never voice his honest concerns because he doesn't want to be a burden.

Adachi wonders if Kurosawa is hiding his feelings. He uses his mind-reading powers, but Kurosawa flinches away. "Don't you believe what I just told you?" Suddenly, their tensions go beyond a job offer. It has turned into an issue of trust. Kurosawa's question sounds like an accusation. Do you not trust the sincerity of my words!? Although it never escalates into an argument, Kurosawa becomes guarded. They don't touch each other in the elevator the next day. Kurosawa, who used to be an open book, wants to protect his thoughts for the first time in their relationship.

Adachi and Kurosawa switch to a long-distance relationship.

Adachi accepts the job offer and moves to another city for eight months. The physical distance bothers them for obvious reasons, but the more alarming issue is their emotional distance. Adachi and Kurosawa have drifted apart, not sharing their real feelings with each other. They hesitate over their text messages. The words on the screen look positive, but both characters seem tormented in real life. They haven't resolved their previous conflict, and the strain weighs on them mentally.

Kurosawa has resisted Adachi's mind-reading powers because they reveal his complicated feelings about the relocation. Kurosawa wants to support his boyfriend's career. Yet, he secretly wishes Adachi to stay by his side. Kurosawa partially lied to Adachi that night. Whatever makes you happy doesn't necessarily make me happy too. He feels guilty for these selfish desires , prioritizing his satisfaction over his partner's success. So, Kurosawa puts up a façade and pretends to be supportive. He doesn't want to be an emotional burden or influence Adachi negatively.

Adachi feels guilty too. Kurosawa touched a nerve after calling out his boyfriend's trust issues. Kurosawa spoke in such good faith, supporting him unconditionally. Yet, Adachi still doubted his sincerity. You think he's a liar. Also, Adachi used an underhanded way to access Kurosawa's thoughts and invade his privacy. His actions are similar to unlocking your boyfriend's phone to check his messages. Adachi's paranoia oversteps the mutual boundaries between couples. Kurosawa shows his partner so much courtesy and respect, but Adachi hasn't done the same.

Adachi and Kurosawa communicate their concerns to each other.

It took a health scare to bring the couple together . We can thank Rokkaku for spreading fake news around the office. "ADACHI GOT INTO AN ACCIDENT!!!" From how he phrased it, you'd expect the worst-case scenario. I assumed Adachi was in critical condition and hooked on life support. The *actual* version of events shows Adachi fainting near a truck. What happened to him is still bad, but it's not a severe crisis. Thankfully, Adachi is fine without sustaining any injuries.

This emotional incident prompted the protagonists to open up to each other , starting with Adachi's apology. Adachi regrets trying to read his boyfriend's thoughts. "I should've asked you to tell me how you felt, but in your own words." Likewise, Kurosawa admits to bottling up his feelings. It's a night of transparency for them both. They learn honest communication is the key to a healthy relationship. In the past, they resolved conflicts by compromising to appease their partner. Now, the couple realizes they should discuss their problems candidly and reach a conclusion together.

It's symbolic that Adachi loses his telepathy after this night. As the couple commits to being honest , no more secrets exist between them. Adachi doesn't need magic to read his boyfriend's mind anymore. Instead, Kurosawa is transparent and shares his genuine feelings. It doesn't matter if they may be unpleasant thoughts. Part of being a couple is trusting your partner can understand these concerns. In a fairy tale, the characters only think positively. In real life, our insecurities shape who we are. It's okay to share with your loved one when something upsets you.

Adachi is shocked when Kurosawa touches his leg.

I went into the Cherry Magic movie with zero expectations of physical intimacy . When Kurosawa touched Adachi's leg, that was the closest thing to bodily affection we'd get from this franchise. Otherwise, I knew the characters wouldn't share an on-screen kiss. (Sex was utterly out of the question, of course.) If they smooched, all the BL fans would discuss the moment on social media. Instead, the damning silence already confirmed my suspicions.

The lack of kissing was a minor annoyance during the series, but its omission bothered me more during this movie. Adachi and Kurosawa's kiss is a part of the story. It occurs at the film's climax, symbolizing their reaffirmed love. Yet, we see nothing. Technically, Adachi and Kurosawa kiss in the movie . However, the camera angles deliberately obstruct the view. I can't even include a screenshot because there's nothing to display. When the characters kiss in a love story and all you see is the back of their heads, it's inexcusable.

Here are the facts. Tsuge and Minato kissed in the series. Kurosawa's actor (Keita Machita) also kissed his female costars in other dramas. So, why do Adachi and Kurosawa never have an on-screen kiss, even when the plot demands it? Not every BL story needs physical affection, but there's a difference between *no kissing* and *omitting a kiss*. Omission implies shame, stigma, and indecency. A censored kiss goes against the love and pride that BL should endorse. Oh well . I hope that the Thai remake of Cherry Magic delivers what the Japanese version won't do.

Adachi and Kurosawa visit Adachi's family.

Eventually, Adachi returns to his old job posting. He also moves in with Kurosawa, sharing a cozy flat. As the couple shares precious time together, their fairytale romance appears to be back on track. However, something has been bothering Adachi. His family and the company were notified about his accident, "but not the one I care about the most." The problem with having a secret boyfriend is you can't include him as your emergency contact. Even Rokkaku learned about Adachi's injuries before Kurosawa did.

Until now, Cherry Magic hasn't addressed that Adachi and Kurosawa are in a same-sex relationship. Although we knew they hid their romance at the office, the story didn't explore their reasons. The series focused on the positive aspects of their attraction, never referencing homophobia. In contrast, the movie tackles this uncomfortable topic. Adachi states, "I have to be needed at work, so we wouldn't be separated when our company finds out about us." Adachi verbalizes the discrimination he may face as an openly gay man in the workplace . He said the quiet part aloud!

If Cherry Magic was a fairy tale, I'd like to think there wouldn't be any bigotry. Adachi and Kurosawa live happily ever after without the need to come out. Everyone just accepts their romance as the norm. Yet, the movie shatters this idyllic fantasy. The leads are in a harsh reality, tainted by close-minded judgment. Despite the potential hostility, Adachi tells his family about Kurosawa. No more hiding their relationship . "I need to let everyone know you're precious to me." Coming out is a testament to Adachi's love for Kurosawa, which outweighs other people's hatred.

Adachi's parents give positive reactions to their son's coming-out.

Coming-out stories work best when you're familiar with the characters involved. Knowing the history, personalities, and relationship dynamics add emotional weight to the scenes. Cherry Magic! The Movie lacks that personal touch. Adachi and Kurosawa's families are random people who appear in the movie's second half . The story never introduces them before, but suddenly it trots out the parents for this specific plot. I've seen more complex coming-out journeys in other LGBT+ films, and Cherry Magic gets outshined.

With that said, I appreciate the film's well-meaning messages. It handles the coming-out scenes with sincerity and sensitivity. Adachi's parents reacted well, considering they barely had time to process the shock. You can tell the mom wants to be supportive and understanding . At one point, Adachi asked for his family's opinion. His mom's immediate reply is, "That doesn't matter." Then, she added, "Of course it's okay." Her second response is the sign of someone who wants to emphasize her reassurance. If I heard that from my parents, I would be comforted.

It takes longer for Adachi's dad to express his support. Initially, he stayed quiet while his wife did the talking. Nonetheless, he shows his affirmation during the one-on-one chat. "Now I have someone to play chess with" is a friendly invitation, welcoming Kurosawa to their home in the long term. As positive as his family's responses may be, I'm glad Adachi can't read minds anymore . Telepathy would've made this nerve-wracking experience even more stressful. Can you imagine getting the play-by-play from your parents as you come out to them? No thanks!

Adachi and Kurosawa talk before meeting the parents.

Kurosawa's mom is less welcoming . Initially, she didn't want to meet her son's boyfriend. The dad tells Kurosawa as he's ironing clothes, a clever piece of symbolism. When ironing, you want to smooth something and make it perfect for presentation. It reflects how Kurosawa feels bothered by the rift between him and his parents. Unlike Adachi's family, not everyone has understanding in-laws. Kurosawa wants the meeting to go smoothly, but ironing out the creases will take work.

Kurosawa is troubled by his mother's homophobia. In typical Kurosawa fashion, he keeps these concerns to himself. He doesn't want to upset his partner with the declined invitation. Yet, Adachi's intuition senses something is wrong. Interestingly, Adachi can analyze Kurosawa even without telepathy. The old Kurosawa may not have opened up. He'd continue pretending everything was fine. However, Kurosawa learned his lesson from the previous storyline and trusted Adachi to shoulder his burden. Both characters now communicate with each other to solve their problems.

Kurosawa wants to talk to his parents individually, but Adachi insists on coming with him. "Don't carry the pain alone." It's a powerful statement of solidarity. Falling in love is easy when you're surrounded by fairytale bliss. Finding a partner who motivates you during hardships is the real test of your romance . Later, Kurosawa claims he doesn't care if his parents disown him. Making this grave statement shows he considered the worst scenario extensively. Yet, Adachi continues to be a pillar of strength. He encourages his boyfriend to prioritize harmony over resentment.

Kurosawa's mom is homophobic and disapproves of her son's relationship.

Kurosawa's mom describes her son's relationship as a "regret" . It's an emotional word that contains many negative sentiments. Regret implies you've made a mistake. What you're doing with my son is wrong . Not only that, but regret carries a myriad of destructive feelings. Kurosawa's mom associates Adachi's love with shame, sorrow, and suffering. Also, regret is something that can haunt you for a long time. A lingering regret means you may agonize for a lifetime. Your unhappiness lasts forever.

Imagine meeting your mother-in-law for the first time, and she immediately condemns your existence . Hello Mr. Adachi, you're the biggest regret in my son's life. How offensive! What gives her the right to talk to anyone like this just because they're gay!? Despite being insulted, Adachi handles the unwarranted confrontation with class and humility. He only has one argument. Adachi loves Kurosawa. And they'll continue loving each other to prove there are no regrets. In fact, Kurosawa's mom will be the one to regret doubting their love.

Eventually, Kurosawa's mom changes her stance. I don't know how bigoted minds work, but something Adachi said must've clicked with this homophobe. Suddenly, she's all smiles and acting hospitable. Anyway… Kurosawa's dad is far more enlightened and states, "The more happy people there are, the merrier. I believe your lives are yours to live." Oh my god, perfect response. 10/10. Can the ignorant mother take a page from her progressive husband? You can tell Kurosawa got all his good genes from his dad , not his mom.

Kurosawa proposes to Adachi in Cherry Magic! The Movie.

Adachi and Kurosawa have defeated the final boss, taming the homophobic beast . To be honest, they don't need parental approval to live happily. However, this family support provides immense relief, like lifting a mental burden. Coming out also confirms how much they want to be together. If there's one lesson you gain from coming out, it strengthens your conviction. A gay couple wouldn't endure this stressful ordeal unless they're determined to be with each other.

After the family visits, Adachi and Kurosawa stroll along the beach. Kurosawa takes out a ring. It's a simple ring with no fancy embellishments. "When you said you love me, you made my heart skip a beat," Kurosawa tells his partner. As they exchange rings wordlessly , a soft melody plays in the background. Kurosawa mouths something to Adachi, but we can't hear what he says. He leans closer and whispers into Adachi's ear. Once again, the movie deliberately excludes the audio. We only see Adachi nod his head in response. He has agreed to whatever Kurosawa told him.

The audience can deduce the subtext. This scene is a proposal, and Kurosawa has asked Adachi to marry him . However, Cherry Magic makes a curious choice to omit the actual words. We see Kurosawa whisper unintelligibly, like an intimate secret between two lovers. The film wants to avoid labelling this proposal. Calling it a "marriage" sounds disingenuous since these men can't legally wed in Japan. Calling it anything else seems less romantic, dampening the moment. The story chooses to remain ambiguous. It focuses on the celebration of love instead of the vocabulary.

Adachi smiles as he accepts Kurosawa's marriage proposal.

Adachi was blessed with a magical gift at the start of Cherry Magic. He can read people's minds and learn their inner desires, including Kurosawa's secret crush on him. This superpower has turned an ordinary guy like Adachi into an extraordinary wizard. Although Adachi uses his ability responsibly, he often relies on it to navigate his romantic relationship. He likes hearing Kurosawa's thoughts , which are sweet, giddy, and wholesome. Adachi can understand Kurosawa better, bringing them closer together.

Yet, Adachi's power gets him into trouble during the movie. It has made him question his boyfriend's sincerity. You say that you support me, but do you really mean it? His telepathy turns into a verification tool. As Kurosawa becomes more guarded around him, Adachi corrects his methods. Instead of probing his boyfriend's thoughts, Adachi asks questions, starts dialogues, and communicates openly with him . He uses an organic way to relate to Kurosawa instead of exploiting his magical ability. It leads to a healthier relationship that is established on mutual trust.

Adachi loses his telepathy midway through the film. Yet, he remains in sync with Kurosawa. Adachi has sharpened his intuition, allowing him to decipher Kurosawa's feelings. He senses when his boyfriend is delighted, distressed, or doubtful. Likewise, Adachi becomes more sincere. He speaks from the heart to win over Kurosawa's mom instead of finding the right words to appease her. Without realizing it, Adachi has gained a new power called empathy . He can connect to other people's emotions and understand their thoughts, even without the need for magic.

Kurosawa was the picture of perfection when Cherry Magic began. Adachi admired his handsome, accomplished, and beloved coworker, who displayed a winning personality. Even his thoughts are impossibly wholesome. Once they started dating, Kurosawa was also the perfect boyfriend. He doted on Adachi and supported his every endeavour. Kurosawa appeared like a modern prince, the type of fantasy man that stepped out of a storybook. He seemed flawless .

Kurosawa comes across as perfect because he's adept at masking the blemishes in his life . He has a habit of bottling up his unhappy thoughts, undesirable emotions, and unresolved tensions. When his boyfriend must relocate for work, Kurosawa pretends to be the supportive partner. Secretly, he feels tormented. When his mother doesn't want to meet his boyfriend, Kurosawa distances Adachi from the conflict. Kurosawa's impeccable fairytale persona is just an illusion. In reality, he suffers from doubts and distress like everyone else.

Adachi encourages Kurosawa to open up about his imperfections . Adachi doesn't just want the idyllic fantasy from his partner. He can also accept the harsh reality, no matter how painful. Kurosawa learns to share his vulnerable moments, allowing Adachi to shoulder his emotional burdens. Their relationship strengthens because Kurosawa communicates more, even if it sometimes involves negative experiences. This prince doesn't have to fight his battles alone. He has a loyal wizard supporting him, and they can face every hardship together as a formidable team.

Cherry Magic Movie Ending Explained

Happy ending.

The Cherry Magic movie has a happy ending where Adachi and Kurosawa get married . After coming out to their families, Kurosawa proposes to his boyfriend on the beach. Adachi accepts with a tender smile. Kurosawa is prepared for this occasion, and the two lovers exchange rings. They fit perfectly on each other's fingers. Later, Kurosawa giggles that he secretly took his fiancé's measurements while sleeping. Adachi laughs, "That's so you."

The next scene jumps forward to their wedding day . Adachi and Kurosawa, dressed in their cream-white wedding suits, stand before the chapel doors. They glance at each other and join hands. Then, the doors swing open for the couple to march forward with bright smiles. It's a joyous occasion with everyone in attendance, including their friends, coworkers, and families. Tsuge, Minato, Rokkaku, Fujisaki, and Urabe throw confetti in the air. Meanwhile, their parents clap happily as the newlyweds march down the stairs. Kurosawa's mom is overjoyed and looks genuinely happy for them.

Suddenly, the ceremony ends. The movie transitions to the opening scene, where Adachi stands before the bookstore. He reads a storybook titled "The Wizard and the Prince," which features two male characters getting married. Adachi closes the book and joins Kurosawa on an outdoor date. The couple walks down a long road, holding hands in public. However, they don't wear their wedding rings . Adachi narrates, "In fairytales, the spell is broken and people live happily ever after. I'd simply become an ordinary guy. Or so I thought. But I guess I was wrong."

Ending Explained

Adachi reads a storybook called The Wizard and The Prince.

If you're an optimist, it's easy to pretend the Cherry Magic movie has a feel-good ending . After all, the story portrays an idyllic wedding day for the protagonists, celebrating their love jubilantly. Aww, look at their suits, the confetti, and the storybook illustrations! The optics are so dreamy. The final scene is subtle enough that it won't shatter the fairytale fantasy unless you look for the cracks. You can leave the film believing Adachi and Kurosawa are a happily married couple.

Sadly, their matrimonial bliss is an illusion. The last scene introduces a twist, adding ambiguity to the previous events. It implies the wedding may be a figment of Adachi's imagination , spurred by the book he read. Before the film ends, he stops daydreaming and returns to reality. The leads don't live in a BL utopia with princes, wizards, or equal rights. Instead, they're a gay couple in Japan, which doesn't recognize same-sex unions. Adachi and Kurosawa can never marry. Their proposal, wedding, and marriage are make-believe according to the law.

Cherry Magic maintains the fantasy and never explicitly states the characters haven't married. However, it leaves subtle hints. Adachi's narration speaks cryptically about the absence of "happily ever after" in his love story. If you look closely, the leads don't wear wedding rings. Also, the movie relies on the audience's skepticism. Some viewers see the glass as half-empty and will question the validity of this fictional marriage. Do you have the optimism to believe in this fairytale romance? Or are you sensitive to the harsh reality that gay couples can't get married in Japan ?

Fantasy vs Reality

Cherry Magic! The Movie aired in April 2022. Yuu Toyota , the story's creator, stated some of the profits will go to Marriage For All Japan , an organization dedicated to marriage equality in the country . Subsequently, the Japanese government still bans gay couples from getting married. To this day, Taiwan remains the only country in Asia to legalize same-sex marriage. In contrast, Japanese activists must continue the long journey to achieve an inclusive society.

I state these facts to describe the reality of Adachi and Kurosawa's world. The Cherry Magic series may have started as a whimsical fantasy, but this movie shatters the illusion. As Adachi describes it, the fairytale spell is broken. Adachi isn't a wizard, and Kurosawa isn't a prince. Instead, they're just two regular guys in a loving relationship. They're committed to spending the rest of their lives together. Yet, they don't receive the same spousal rights as heterosexual couples. Adachi can't become an ordinary guy after falling in love. Society tells him that his status isn't equal to everyone else.

Life is not a fairy tale. There's no magic, no prince charming, and no fantasy wedding. The happily married gay couple exists in storybooks, requiring imagination to believe they're real. Sure, we can pretend Adachi and Kurosawa tied the knot in a parallel world. Cherry Magic maintains the enchanting romance and doesn't confront viewers with explicit unhappiness. However, there's a grim reality behind the cozy illusion . The protagonists face inequality, discrimination, and an invalid marriage. Once you stop fantasizing, the movie's ending feels a lot more solemn.

Adachi and Kurosawa hold hands in the Cherry Magic movie ending.

The last scene in the Cherry Magic movie is thoughtfully crafted despite the simplicity . It begins with Adachi and Kurosawa on an outdoor date, walking side by side. Eventually, they hold hands. It's the first time they've displayed public affection. Their past intimate moments were in private settings. As your eyes focus on their hands, you may notice they don't wear their wedding rings. The movie leaves the interpretation open regarding the validity of their marriage.

The camera focuses on their backs, encouraging viewers to see from the characters' perspectives. The film asks us to relate to this couple. How would you feel about holding your same-sex partner's hand in this situation? Many people are around them, and a few spectators glance in their direction. The movie reveals Adachi and Kurosawa's faces. Both wear neutral expressions without smiling, talking, or looking at each other. If we can read their minds, what are they thinking right now? Are they tense, nonchalant, or simply trying to maintain their composure?

In the final shot, Adachi and Kurosawa trek down a long road. Initially, they go in the opposite direction as the other pedestrians. Later, everyone walks in the same way as them. The visual representation hints at the couple's promising future. They may stand out initially, going against a heteronormative society. As the foot traffic changes, it symbolizes the tide of opinion. Over time, there's growing acceptance by the public. The movie also highlights how Adachi and Kurosawa continue on this emotional path together. These lovers will support each other on a lifelong journey .

Cherry Magic Series

Cherry magic.

Drama Review

Cherry Magic! The Movie is the sequel to the 2020 Japanese drama Cherry Magic. The original story is a 12-episode series that started on October 9, 2020 and ended on December 25, 2020. It became an international hit. Cherry Magic was extremely well-received among BL fans and catapulted the two actors' careers.

You should watch the original Cherry Magic series before the movie. The story is about a quirky workplace romance between two office colleagues. Adachi is a 30-year-old employee with no romantic experience. One day, he gains a magical ability and can hear people's thoughts whenever they touch him. Adachi discovers his seemingly perfect coworker, Kurosawa, harbours a secret crush on him. Each episode is funny, sweet, and imaginative. I highly recommend Cherry Magic to any BL fan. Although the movie sequel isn't as vibrant, it's still a decent follow-up for the beloved franchise.

Cherry Magic Thailand

Series Review

Cherry Magic Thailand is a Thai remake of the Japanese drama. It has a total of twelve episodes and can be finished in ten hours. This series has a premise similar to the original. It adds new storylines, changes several ideas, and expands on the secondary characters. The Thai remake includes the plots from both the original Japanese drama and the movie sequel.

Cherry Magic Thailand offers a unique twist on the tale. It has a dazzling romance with a daring portrayal of physical affection and LGBTQ+ themes. The writing is less graceful in the Thai version. A few plots and secondary characters diminish my enjoyment. Nonetheless, I adore the lead couple so much. Achi and Karan have the cutest romance, outshining even Adachi and Kurosawa. The Thai series also benefits from its longer length. It can explore the characters and themes more extensively than the original drama and movie. Nonetheless, I love both versions of Cherry Magic.

Movie Review: In Alex Garland’s potent ‘Civil War,’ journalists are America’s last hope

This image released by A24 shows Kirsten Dunst in a scene from “Civil War.” (A24 via AP)

This image released by A24 shows Kirsten Dunst in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows a scene from “Civil War.” (A24 via AP)

This image released by A24 shows a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Cailee Spaeny, left, and Kirsten Dunst in a scene from “Civil War.” (A24 via AP)

This image released by A24 shows Wagner Moura in a scene from “Civil War.” (A24 via AP)

This image released by A24 shows Wagner Moura, left, and Kirsten Dunst in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Cailee Spaeny, left, and Wagner Moura in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Cailee Spaeny in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Nick Offerman in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows Stephen McKinley Henderson in a scene from “Civil War.” (Murray Close/A24 via AP)

This image released by A24 shows promotional art for “Civil War.” (A24 via AP)

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The United States is crumbling in Alex Garland’s sharp new film “ Civil War, ” a bellowing and haunting big screen experience. The country has been at war with itself for years by the time we’re invited in, through the gaze of a few journalists documenting the chaos on the front lines and chasing an impossible interview with the president.

Garland, the writer-director of films like “Annihilation” and “Ex Machina,” as well as the series “Devs,” always seems to have an eye on the ugliest sides of humanity and our capacity for self-destruction. His themes are profound and his exploration of them sincere in films that are imbued with strange and haunting images that rattle around in your subconscious for far too long. Whatever you think of “ Men ,” his most divisive film to date, it’s unlikely anyone will forget Rory Kinnear giving birth to himself.

In “Civil War,” starring Kirsten Dunst as a veteran war photographer named Lee, Garland is challenging his audience once again by not making the film about what everyone thinks it will, or should, be about. Yes, it’s a politically divided country. Yes, the President (Nick Offerman) is a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. Yes, there is one terrifying character played by Jesse Plemons who has some pretty hard lines about who is and isn’t a real American.

FILE - Jeff Skoll arrives at the Los Angeles premiere of "An Inconvenient Sequel: Truth to Power" at the Arclight Hollywood, July 25, 2017, in Los Angeles. Participant, the activist film and television studio that has financed Oscar winners like “Spotlight” and socially conscious documentaries like “Food, Inc,” and “Waiting For Superman” is closing its doors after 20 years. Billionaire Skoll told his staff of 100 in a memo shared with The Associated Press on Tuesday, April 16, 2024, that they were winding down company operations. (Photo by Willy Sanjuan/Invision/AP, File)

But that trailer that had everyone talking is not the story. Garland is not so dull or narratively conservative to make the film about red and blue ideologies. All we really know is that the so-called Western Forces of Texas and California have seceded from the country and are closing in to overthrow the government. We don’t know what they want or why, or what the other side wants or why and you start to realize that many of the characters don’t seem to really know, or care, either.

This choice might be frustrating to some audiences, but it’s also the only one that makes sense in a film focused on the kinds of journalists who put themselves in harm’s way to tell the story of violent conflicts and unrest. As Lee explains to Cailee Spaeny’s Jessie, a young, aspiring photographer who has elbowed her way onto their dangerous journey to Washington, questions are not for her to ask: She takes truthful, impartial pictures so that everyone else can.

“Civil War” a film that is more about war reporters than anything else — the trauma of the beat, the vital importance of bearing witness and the moral and ethical dilemmas of impartiality. Dunst’s Lee is having a bit of an existential crisis, having shot so many horrors and feeling as though she hasn’t made any difference — violence and death are still everywhere. She’s also a pro: Hardened and committed to the story and the image. Her colleague Joel (Wagner Moura) is more of an adrenaline junkie, chasing the gunfire and drinking himself into a stupor every night. There’s Jessie (Spaeny), the wide-eyed but ambitious newbie who is in over her head, and the aging editor Sammy (the great Stephen McKinley Henderson), wise and buttoned up in Brooks Brothers and suspenders, who can’t imagine a life outside of news even as his body is failing him. All are self-motivated and none of them have a life outside of the job, which might be a criticism for some movie characters but not here (trigger warning for any journo audiences out there).

The group must drive an indirect route to get from New York to Washington as safely as possible, through Pittsburgh and West Virginia. The roads and towns are set-dressed a little bit, but anyone who knows the area will recognize familiar sights of dead malls, creaky off-brand gas stations on two lane roads, boarded up shops and overgrown parking lots that all work to provide an unsettlingly effective backdrop for the bleak world of “Civil War.”

Dunst and Spaeny are both exceedingly good in their roles, effectively embodying the veteran and the novice — a well-written, nuanced and evolving dynamic that should inspire post-credits debates and discussion (among other topics).

Dread permeates every frame, whether it’s a quiet moment of smart conversation, a white-knuckle standoff or a deafening shootout on 17th street. And as with all Garland films it comes with a great, thoughtful soundtrack and a Sonoya Mizuno cameo.

Smart, compelling and challenging blockbusters don’t come along that often, though this past year has had a relative embarrassment of riches with the likes of “Dune: Part Two” and “Oppenheimer.” “Civil War” should be part of that conversation too. It’s a full body theatrical experience that deserves a chance.

“Civil War,” an A24 release in theaters Friday, is rated R by the Motion Picture Association for “strong, violent content, bloody/disturbing images and language throughout.” Running time: 119 minutes. Three stars out of four.

'Civil War' review: Terrifying dystopian thriller depicts an America in flames

Kirsten dunst leads cast in alex garland's apocalyptic nightmare..

America is at war with itself in "Civil War," a deeply unsettling action thriller that takes a hard look at our current national divide and presents a bone-chilling worst case scenario vision.

But writer-director Alex Garland isn't playing favorites or drawing lines between red and blue. The filmmaker, whose works have grown more challenging and inflammatory with each subsequent outing, leaves traditional politics at a distance and focuses on the chaos of a war-torn state. The result is a breathless, disturbing and terrifying ride into a nightmare America, all the more frightening since it unfolds in a world that doesn't seem too far removed from our own.

Garland, whose previous outings dealt with the threats of A.I. ("Ex Machina"), the destruction of the environment ("Annihilation") and, well, the problematic nature of the male species ("Men"), tells this story through a group of journalists, led by veteran war photographer Lee (Kirsten Dunst) and her colleague Joel (Wagner Moura). They're in New York and plan to head to Washington, D.C., a trip that should take a few hours, but will take them a couple of days because of the tumultuous state of the country.

America has broken into all-out conflict, and we're given the particulars in small doses. Texas and California have seceded from the union, the "Florida Alliance" is presenting an oppositional force, and there are references to an "Antifa massacre," air strikes against U.S. citizens and the disbandment of the FBI.

The Western Forces, which have their own two-star flag, are looking to topple the government, and have descended upon Washington, D.C., where they intend to kidnap and potentially kill the President (Nick Offerman), who is in his third term in office and is only seen in fleeting glimpses. Lee and Joel intend to make it to D.C. to interview the President before the White House is overthrown.

They don't make the trip alone. They're joined by Sammy (Stephen McKinley Henderson), a veteran journalist, and Jessie ("Priscilla's" Cailee Spaeny), a young photographer who looks up to Lee. They're extra baggage, and the trip will already be difficult enough without them, but a frustrated Lee agrees to go along with the plan.

On the road — they're forced to travel 850 miles through western Pennsylvania, down through West Virginia and up through Charlottesville — they encounter abandoned highways, burning forests and a downed helicopter in a JCPenney parking lot. Gun-toting civilians have taken over rural towns. The U.S. dollar is dead, and Canadian currency is treated like gold. Gas is only sold to those with a permit, and the price is up to the whims of those selling it. Dissenters of those in power are tortured, strung up and hung from highway overpasses. Lawlessness reigns.

In short, it's anarchy, an us vs. them with no clear us or them. At one abandoned drive through Christmas display, their press vehicle is riddled with gunshots, and they encounter two parties locked in a firefight. "No one is giving us orders," one of the men explains. "Someone's trying to kill us, we're trying to kill them."

Within this state of division, Lee takes on Jessie as her pupil, and the group of four form a sort of makeshift family. They camp in tent cities, quietly mourning what's left of America, just as Garland does.

While the East Coast burns, there are pockets of the country where everything is seemingly honky dory. Lee and Jessie both remark that their parents, who reside in Colorado and Missouri, respectively, are living their lives with their heads buried in the sand, pretending nothing is happening. And they pass through one small town where everything appears to be normal — they encounter a disinterested clerk at a tiny clothing boutique who basically says she doesn't follow the news — but even there, the streets are overseen by men with guns.

Dunst and Spaeny, as the grizzled veteran and the young cub reporter, are superb in their roles, dialing into the mentor-mentee dynamics of their relationship, and Dunst is especially hardened by her character's experiences. An uncredited Jesse Plemons pops up in an intensely upsetting scene that highlights the core of racism in the conflict at hand, asking the group at gunpoint, "what kind of American are you?" (Plemons, who is one of our best wild card actors, is able to play sweet, aloof and menacingly evil all with equal conviction; he's a master chameleon, and you're never quite sure what you're going to get out of him as an actor, which is what makes him such a combustible presence.)

Garland keeps tensions high while building toward a riveting white knuckle finale, staging "Civil War" as an action movie with a sickened conscience. His movie is designed not to please but to provoke, and it captures a world turned upside down with the same remove as a war photographer's camera. What it depicts is up to the viewer to interpret for themselves: While the result isn't pretty, it's impossible to look away.

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'Civil War'

Rated R: for strong violent content, bloody/disturbing images, and language throughout

Running time: 109 minutes

In theaters

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‘fallout’ is amazing, though these five video game tv shows reviewed better.

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The reception for Amazon Prime Video’s Fallout series has been stellar, racking up high critic scores and a ton of praise on social media. It’s a faithful adaptation of the world of the games while charting its own course, and is shaping up to be a big hit for Amazon with a likely season 2 on the way.

I’ve heard a lot of talk of some believing it’s the best video game adaptation ever made. Or at least better than one show perhaps, The Last of Us, HBO’s high profile, Emmy-winning adaptation of the Naughty Dog series. That’s subjective, of course (I tend to possibly agree? They’re great in different ways though). But I wanted to address this “video game curse” thing and remind everyone as great as Fallout is, there are actually four other game-based TV series in the modern era that have reviewed better. Here’s the list, along with some other shows that reviewed worse for context.

Arcane – 100% critics, 96% audience
Cyberpunk: Edgerunners – 100% critics, 95% audience
The Last of Us – 96% critics, 89% audience
Castlevania Nocturne – 96% critics, 45% audience
Castlevania – 94% critics, 89% audience
Fallout – 93% critics, 86% audience
Dragon Age Absolution – 92% critics, 52% audience
Dragon’s Dogma – 83% critics, 92% audience
Halo – 80% critics, 61% audience
Twisted Metal – 67% critics, 94% audience
Resident Evil – 53% critics, 26% audience

It’s quite a range on that list, but as you can see, most modern video game adaptations, animated or live-action, have reviewed decently well with few exceptions. Even the second-lowest reviewed show on the list, Twisted Metal, was well-liked by fans and has gotten a second season.

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As for the top five, Arcane and Cyberpunk: Edgerunners are two of the only perfect 100% series to even exist on Netflix, especially with audience scores that are also that high (oh, and Ella Purnell from Fallout? She voiced Jynx in Arcane). The Last of Us is certainly the highest profile live action hit on this list, which is why it’s drawing these comparisons. I’d argue the original Castlevania animated series started this entire new era. And while I don’t dislike its Nocturne followup, I certainly don’t think it’s better than the original. Or Fallout. Or Twisted Metal. Fallout, interestingly, would be in seventh place on this list by audience score, which I find surprising.

Despite “fifth” place I am deeply impressed with Fallout because unlike The Last of Us, which is a good, but very grounded apocalyptic story, Fallout had to pull off action comedy on an entirely new level without source material to draw on, and it’s easy to see how maybe that could have hit with gamers but not general audiences. Instead, it seems to have hit with everyone. I look forward to a season 2 announcement in short order.

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Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy .

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Civil War ditches present politics in favor of gripping action and emotion

Ex Machina director Alex Garland wanted to tell a timeless human story, not an agenda-driven, partisan one

A blonde woman in a “Press” bulletproof vest stands in the White House in Civil War

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A version of this review ran in March 2024 in conjunction with the movie’s original coverage embargo. It has been updated and republished for the theatrical release.

In an era of divisive, high-stakes U.S. politics, it isn’t surprising to see so many people online responding to the entire concept of Alex Garland’s Civil War as if it’s inherently toxic. Set on and around the front lines of a near-future America broken into separatist factions, Garland’s latest (after the fairly baffling fable-esque Men ) looks like a timely but opportunistic provocation, a movie that can’t help but feel either exploitative or far too close to home in a country whose name, the United States, sounds more ironic and laughable with every passing year.

And yet Garland says that America’s present widespread divisions aren’t really what Civil War is about . The movie is about as apolitical as a story set during a modern American civil war can be. It’s a character piece with a lot more to say about the state of modern journalism and the people behind it than about the state of the nation.

It’s almost perverse how little Civil War reveals about the sides in its central conflict, or the causes or crises that led to war. (Viewers who show up expecting an action movie that confirms their own political biases and demonizes their opponents are going to leave especially confused about what they just watched.) This isn’t a story about the causes or strategies of post-united America: It’s a personal story about the hows and whys of war journalism — and how the field changes for someone covering a war in their homeland, instead of on foreign turf.

Lee Miller (Kirsten Dunst) is a veteran war photographer, a celebrated, awarded, deeply jaded woman who’s made a career out of pretending to be bulletproof in arenas where the bullets are flying — or at least being bulletproof long enough to capture memorable, telling images of what bullets do to other people’s bodies and psyches. Her latest assignment: She and her longtime work partner Joel (Wagner Moura) have been promised an interview with the president (Nick Offerman), who is now in his third term in office and coming off more than a year of public silence.

It’s a dream opportunity for a war correspondent — a chance to make history, and maybe more importantly, to make sense of the man whose choices seem to have been key in pushing the country over the line and into war. But securing the interview will require traveling more than 800 miles to Washington DC, through active war zones, and past hostile barricades erected by state militias or other heavily armed local forces. Tagging along on this potentially lethal road trip is Jessie ( Priscilla star Cailee Spaeny), a green but ambitious 23-year-old photographer who Lee obviously thinks is likely to get herself killed along the way — or get the whole traveling party killed.

The tension between Lee and Jessie forms the center of Civil War , far more than the tension between any particular political perspectives does. They’re potential mentor and her potential replacement, the past and future of their chosen career, allies but competitors, chasing the same things within a small profession known equally for its rivalries and its interpublication commiseration. That gives the film plenty of low-key, sublimated tension, which gets more air than the actual country-wide conflict the two women are navigating. For all that the movie is coming in a time when pundits keep warning about the potential for an actual new American civil war , Garland’s Civil War barely tips its hand about the specifics of the conflicts.

There’s plenty there for viewers who want to read between the lines, about which states are in revolt (California, Texas, and Florida all get passing mentions as separatist states) and about the soldiers — mostly Southern and many rural — who get significant screen time. (Jesse Plemons surfaces as yet another in his long line of terrifying men with clear potential for violence, and a dangerously blank affect that keeps people from knowing when that violence is coming.) But Lee’s angry exhaustion and Jessie’s fear and excitement over learning more about the profession from someone she respects are the real heart of the story.

All of which makes Civil War a movie more about why war correspondents are drawn to the profession than about any particular perspective on present American politics. And it’s a terrific, immersive meditation on war journalism. Lee and her colleagues are presented as half thrill-seeker adrenaline monkeys, half dutiful documentarians determined to bring back a record of events that other people aren’t recording. They’re doing important work, the movie suggests, but they have to be more than a little reckless both to choose the profession and to return to the battlefield over and over.

Lee never gives any big speeches about the difference between covering war in Afghanistan and in Charlottesville, but it’s clear she’s fraying under the pressure of watching her own country in such a rattled and ragged state, with hardened soldiers on both sides demonizing other Americans the way Americans have demonized entire foreign nations. Jessie, for her part, seems impervious to the weight of that reality, but still far less inured to cruelty and to combat. The two women push powerfully at each other, with a clear, beautifully drawn, yet unspoken sense that when Lee looks at Jessie, she sees her own younger, dumber, softer self, and when Jessie looks at Lee, she sees her own future as a famous, capable, confident journalist.

All of this character work is built into a series of intense, immersive action sequences, as Lee’s group repeatedly risks death, trying to negotiate their way across battle lines or embed themselves with soldiers during pitched combat. The finale sequence, a run-and-gun combat through city streets and tight building interiors, is a gripping thrill ride that Garland directs with the immediacy of a war documentary.

The entire film is paced and planned with that dynamic involved. It’s a particularly gorgeous drama, shot with a loving warmth that reflects its point of view, through the eyes of two photographers used to conceiving of everything around them in terms of vivid, compelling images. A late-film sequence shot as the group drives through a forest fire is especially beautiful, but the movie in general seems designed to impress viewers on a visual level. By mid-film, it becomes clear that Lee shoots with a digital camera, while Jessie shoots on old-school film, and that for both of them, that choice is important and symbolic.

In the same way, Garland’s shot choices and the movie’s vivid color keep reminding the audience that this is a movie about not just documenting moments, but capturing them well enough to mesmerize an audience. In some ways, Civil War comes across as nostalgic for an earlier era of journalism and photography. The collapse of the internet seems to have reset the news to a point where print journalism dominates over TV or social media, and no one seems to be getting their news online. It’s the most prominent retro aspect of a story that’s otherwise reflecting a potential future.

What the movie isn’t about is taking sides in any particular present political conflict. That may surprise and disappoint the people drawn to Civil War because they think they know what it’s about. But it’s also a relief. It’s hard for message movies about present politics to not turn into clumsy polemics. It’s hard for any document of history to accurately document it as it’s happening. That’s the job of journalists like Jessie and Lee — people willing to risk their lives to bring back reports from places most people wouldn’t dare go.

And while it does feel opportunistic to frame their story specifically within a new American civil war — whether a given viewer sees that narrative choice as timely and edgy, or cynical attention-grabbing — the setting still feels far less important than the vivid, emotional, richly complicated drama around two people, a veteran and a newbie, each pursuing the same dangerous job in their own unique way. Civil War seems like the kind of movie people will mostly talk about for all the wrong reasons, and without seeing it first. It isn’t what those people will think it is. It’s something better, more timely, and more thrilling — a thoroughly engaging war drama that’s more about people than about politics.

Civil War debuts in theaters on April 12.

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Cherry Movie Review: Tom Holland Delivers His Greatest Performance Yet
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CHERRY
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Movie Review

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'Cherry' Review Thread : r/movies
SanderSo47. ADMIN MOD. 'Cherry' Review Thread. Rotten Tomatoes: 35% (79 reviews) with 5.20 in average rating. Critics consensus: It's certainly stylish and it offers Tom Holland a welcome opportunity to branch out, but Cherry's woes stem from a story that's too formulaic to bowl anyone over. Metacritic: 46/100 (29 critics)
Official Discussion
But after returning from the war with PTSD, his life spirals into drugs and crime as he struggles to find his place in the world. Director: Anthony Russo, Joe Russo. Writers: Angela Russo-Otstot (screenplay by), Jessica Goldberg (screenplay by) Cast: Tom Holland as Cherry. Ciara Bravo as Emily.
Is Cherry worth a watch? : r/movies
The cinematography in the movie is great the shooting the editing etc, (of course The Russo Brothers never fail to give you that), as in character's performance it's also a good movie, but as a story it's not gonna be the best movie you will watch this year it's kinda dull with no twist or anything like that it's just a story about the messy life of a young guy.
'Cherry': Film Review : r/movies
The goal of /r/Movies is to provide an inclusive place for discussions and news about films with major releases. Submissions should be for the purpose of informing or initiating a discussion, not just to entertain readers.
Cherry review
Cherry is a fervent movie, corn-fed with drama and action, but maybe a little less than the sum of its parts. Cherry is released on 12 March on Apple TV+. Explore more on these topics
Cherry (2021 film)
Cherry is a 2021 American crime drama film directed by Anthony and Joe Russo from a screenplay by Angela Russo-Otstot and Jessica Goldberg, based on the 2018 novel of the same name by Nico Walker.It stars Tom Holland as the titular character, alongside Ciara Bravo, Jack Reynor, and Jeff Wahlberg.The film follows the life of Cherry, from a college student to a PTSD-afflicted veteran who robs ...
Cherry
"Cherry" follows the wild journey of a disenfranchised young man from Ohio who meets the love of his life, only to risk losing her through a series of bad decisions and challenging life circumstances.
Cherry movie review & film summary (2021)
He meets Emily ( Ciara Bravo) while taking classes at a community college. There are scenes showing his various dead-end jobs, his horrible high school girlfriend, a long night he was tasked with making sure a mobster-type guy didn't drink too much, the ups and downs of the relationship with Emily. It's a lot.
Cherry Review (2021) Movie Review
Cherry is a fairly standard drama that hits the expected beats, but is still elevated by Holland's strong lead performance. In Cherry, Holland stars as the titular character, who is a directionless youth who joins the U.S. Army in search of a sense of purpose. Cherry serves overseas in the Iraq War as a medic, where he becomes emotionally ...
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By David Rooney. February 25, 2021 9:00am. Ciara Bravo and Tom Holland in 'Cherry' Courtesy of Apple TV+. "Sometimes I feel like I've already seen everything that's gonna happen. And it's ...
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Cherry is ultimately a punishing 145 minute voyage through the nine circles of Hell. Walking into a bank and blasting gunshots on his latest armed robbery, Cherry reflects upon the various stages in his life that brought him to that place, from his early years wooing the girl of his dreams, to his life-changing decision to join the Army, and ...
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Parents need to know that Cherry is an examination of America through the eyes of a sensitive soldier. Directed by Avengers alums Anthony and Joe Russo and starring Tom "Spider-Man" Holland and former Nickelodeon actor Ciaro Bravo, it will likely get teens' attention.The movie takes a critical view of the military, portraying its leaders as inept, missions as pointless, and war as a machine ...
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The movie is not a comedy but there are many funny parts, as reflective of real life. Aaron gets very distracted from his school work, falls behind, gets some bad grades, and after an auto accident his parents show up. He is in danger of losing everything he has worked for.
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Cherry touches on topics like toxic masculinity, verbal and mental abuse, combat trauma, severe ptsd, depression, disillusionment, the opioid crisis, and even nihilism. Credit: Apple TV+. But it's all touched upon. Much like the novel, there is very little self examination when it comes to the narrator, at least none of it makes it on-screen.
'Cherry' movie review: Tom Holland shines in ...
Directors: Anthony and Joe Russo; Cast: Tom Holland, Ciara Bravo, Jack Reynor, Michael Rispoli, Jeff Wahlberg, Thomas Lennon, Pooch Hall; Storyline: A traumatised soldier drifts to drugs, crime ...
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Cherry — Film Review. A coming-of-age comedy that's far too quirky for its own good, Cherry is the sort of teen sex farce that is only more unbelievable for its not pandering to the tired ...
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Cherry Film Review. Directed by Anthony and Joe Russo (yes, the Russo Brothers who directed Captain America: Winter Soldier, Captain America: Civil War, Avengers: Infinity War, Avengers: Endgame) is a 6-chapter film that follows Cherry (Holland) and Emily (Bravo) from college into adulthood, through a 15-year journey.The directorial vision that the Russos brought to Cherry is vastly different ...
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That, is essentially, the story. (I will not reveal if Badhi gets his wish.) Kiarostami tells it in a monotone. Conversations are very long, elusive and enigmatic. Intentions are misunderstood. The car is seen driving for long periods in the wasteland, or parked overlooking desolation, while Badhi smokes a cigarette.
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This movie opened me up completely to the prospect of a movie that is from a completely objective perspective and without a definite plot resolution when it ends. Of course, the first movie that let me explore such an objective narrative was Evil Does Not Exist directed by Ryusuke Hamaguchi. Even when I reached out to one of the leads Ayaka ...
Anatomy of a Fall Movie Review : r/amazonprime
Even when I reached out to one of the leads Ayaka Shibutani she said that the movie is open to translation by the audience (paraphrasing). World cinema has so much to offer the global cinephile! The Plot of Anatomy of a Fall. The movie opens with Sandra talking to Zoé Solidor, an academic played by Camille Rutherford interviewing Sandra as a ...
Cherry Magic! The Movie
Movie Length 1 hour and 45 minutes. Cherry Magic! The Movie is a Japanese movie that released on April 8, 2022. It is a long film, which you can complete in around 105 minutes. Riko Sakaguchi (坂口理子) is the movie director. Cherry Magic is a movie adaptation. The original story is a Japanese manga by Yuu Toyota (豊田悠).
Luca Guadagnino's 'Challengers' Review Thread : r/movies
Rotten Tomatoes: 96% (from 56 reviews) with 8.50 in average rating Metacritic: 88/100 (26 critics) As with other movies, the scores are set to change as time passes. Meanwhile, I'll post some short reviews on the movie. It's structured like this: quote first, source second. Beware, some contain spoilers.
'Civil War' review: A haunting portrait of a crumbling United States
The United States is crumbling in Alex Garland's sharp new film " Civil War, " a bellowing and haunting big screen experience. The country has been at war with itself for years by the time we're invited in, through the gaze of a few journalists documenting the chaos on the front lines and chasing an impossible interview with the president.
'Civil War' review: Terrifying thriller depicts an America in flames
America is at war with itself in "Civil War," a deeply unsettling action thriller that takes a hard look at our current national divide and presents a bone-chilling worst case scenario vision. But ...
'Fallout' Is Amazing, Though These Five Video Game TV ...
Fallout. Amazon. The reception for Amazon Prime Video's Fallout series has been stellar, racking up high critic scores and a ton of praise on social media. It's a faithful adaptation of the ...
Civil War folds a tremendous human drama into its thin, vague politics
Tasha Robinson leads Polygon's movie coverage. She's covered film, TV, books, and more for 20 years, including at The A.V. Club, The Dissolve, and The Verge. A version of this review ran in ...

Cherry review – taking the 'post' out of post-traumatic stress disorder

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