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Title: The Fabelmans

Year: 2022

Genre: Drama |

Runtime:  151 min

Director: Steven Spielberg

Starring:  Michelle Williams, Paul Dano, Gabriel LaBelle

7.7/10

Loosely based on Spielberg’s childhood growing up in post-World War II era Arizona, from age seven to eighteen, a young man named Sammy Fabelman discovers a shattering family secret and explores how the power of movies helps us see the truth about each other and ourselves.

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AN UNBALANCED COMING-OF-AGE STORY

WITH NO REAL CONCLUSION

As much as The Fabelmans is the semi-autobiographical feature about director Steven Spielberg’s young life as a filmmaker follows Sam, it also follows the life of his mother Mitzi, who knows about the big secret of the family.

The story is really thrilling and exciting; it is filled with both drama and comedy and it comes under the skin of the character in a profound way. Few films that Spielberg has produced or directed had achieved this emotional effect. As much as it is a love letter, a memoir in the picture, it also illustrates a family life filled with conflicts and dreams. As much as this is a telling of the young days, it also shows the falling-apart course of the family.

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It’s technically mesmerizing, as much of Spielberg’s films are, as it is in a personal portrait of an aspiring filmmaker. Michelle Williams makes a great performance. The lead, Gabriel LaBella, has a nice impact on the film as well. His anti-Semitic bullying at school is understandable, but the depth is just the surface, and feels almost forced because the bullying is not something new. 

Judd Hirsch, who makes a short stop in the film, makes a fun impression. Paul Dano as Burt Fabelman, who is neglecting his family and disrespecting his wife, wishes… He doesn’t get deep into the role and feels much like a side character. A character that often the rest of the family yells at.  What’s astonishing is how relatable the story is with the character and the story.

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The main problem is that feels like a fairy tale with the good essence of the third act, losing its momentum. It only shows a third part of Spielberg’s life. It only feels only the surface. It’s a slow-burn film that doesn’t behold any action or drama moment, but it stays afterward emotionally and story-wise.

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