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8/1/2019

Movie Review: Once Upon a Time.... In Hollywood

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Dat male gaze dough

Once Upon a Time... In Hollywood (2019): A faded television actor and his stunt double strive to achieve fame and success in the film industry during the final years of Hollywood's Golden Age in 1969 Los Angeles.

Quentin Tarantino is back! The 9th film from the so-called "Godfather of indie films" turns the self-indulgence and self-referential humor up to 11 while inexplicably doing everything he can to derail an otherwise enjoyable film. That's right, folks. The worst thing about Quentin Tarantino's latest film is.... Quentin Tarantino. But, despite Tarantino trying so hard to be the most Tarantino possible, the final product is still a somewhat enjoyable one, thanks entirely to its once-in-a-generation collaboration between two of modern Hollywood's most recognizable stars. Which makes all the Tarantino aspects of this film THAT MUCH MORE FRUSTRATING. 

Ok. Look. Before I trash Quentin Tarantino's distracting storytelling style, I should tell you: like every self-proclaimed film buff, I love Quentin Tarantino films. When his style works, it's iconic. I will never forget how I felt when Lt. Hicox held up three fingers the wrong way. Or when Pumpkin decided to hold up a random diner that's not-so-random. Or when any Christoph Waltz character did anything in a Tarantino film. When it works, it works! But when it doesn't, you'll find yourself bored out of your mind, wanting to SCREAM at the screen to move along. This film DRAGS. The Hateful Eight did too, but that film also heavily featured a Tarantino trait that is sorely lacking for most of Once Upon a Time….. tension. Without any sort of tension, Tarantino's overzealous style becomes glaringly distracting, and it does everything it can to derail an otherwise perfectly enjoyable film. Also, where TF are the women?? The male gaze is disturbingly obvious here. Let's not forget Tarantino was BFFs with Harvey Weinstein, and the legendary Uma Thurman had some things to say about his…. abusive directing style once the #MeToo movement was in full force. So, what does Tarantino do in his first post- #MeToo film? Have a female lead who's rich, dynamic, and interesting? Hahahaha NO. ABSOLUTELY NOT. MARGOT ROBBIE HAS NOTHING TO DO BUT BE CAUGHT IN SQUARELY IN THE MALE GAZE. About 2 hours in, when Sharon Tate (Robbie) FINALLY goes to a local movie theater to watch herself in one of her films, she had had basically one line of meaningless dialogue the entire film. (Yes, that one scene from the trailer is basically her only meaningful scene in the ENTIRE film) For the first TWO FREAKING HOURS, Tarantino spent more time uncomfortably checking her out with the camera than actually letting her speak. After SKIRTING by the #MeToo movement…. This ain't a great look, Quentin. Oh, and if you think any other woman will have a notable part to play in this film….. lol! Think again. Squeaky (Dakota Fanning) has ONE SCENE. She was probably on set for a single freaking day! Sure, the same goes for George, (Bruce Dern) but if only the old white dudes were ignored as much as the women. JAY SEBRING (Emile Hirsch) HAS AS MUCH DIALOGUE AS MARGOT ROBBIE. WHAT ARE YOU DOING, QUENTIN. Pussycat (Margaret Qualley) has one scene too, and it's there entirely to serve one of the male leads. And I haven't even mentioned the controversy surrounding Bruce Lee's character! Which is a major problem in and of itself. Seriously, this film flirts with being a #MAGA's wet dream, and the further I get away from it, the more frustrated I am by it. 

(Deep breath.) That said…. Maybe it's because Tarantino has unlimited budget and clout in Hollywood at this point, but damnit….this film is also so freaking charming. When you accept this film is essentially a buddy picture between two best friends who happen to be played by two of the biggest stars in the world, who have somehow never shared a silver screen before, in a nostalgia-driven 1960s fantasia Hollywood…. yes, you will have a good time. Leo and Brad are iconic! Leonardo DiCaprio, playing the lead Rick Dalton, in his first role since winning his Oscar no less, reminds us why he is one of the greatest living actors today. And his dynamic with the equally rich Cliff Booth (Brad Pitt) is palpable and (frustratingly) worth the cost of admission. Both Dalton and Booth are incredibly fleshed out and have a great relationship with each other and everyone around them as the events of the film drive them apart and bring them back together. And the nostalgic odes to classic Hollywood are intoxicating. How many directors would be able to revert the actual Sunset Blvd to its 1969 state? The attention-to-detail is incredible. Just give them the Oscar for Best Production Design right now. These tracking shots are so cool! And the music is so good! Tarantino's taste in music is impeccable once again! H!

This film is so polarizing! It's propped up squarely by its two iconic (white male) leads, while leaving its female star in the dust. The male gaze is so infuriating. Its director does everything he can to ruin the experience. And its ending..... is something. I wasn't a huge fan of the moment where Tarantino finally went full Tarantino at the hands of an acid-dipped cigarette. Your mileage will vary with this ending, but I will put it squarely in my rearview. As I will the rest of this film. Why oh WHY did we have to waste this iconic duo on Tarantino? Can we get a do-over, please? Hey, Damien Chazelle, you watching this?

The Critique: Despite having one of the most iconic collaborations of the 21st century as its leads, Once Upon a Time squanders any hope of greatness at the hands of its overzealous director. 

The Recommendation: Film buffs will rush out to see this if they haven't already, but the rest of you? Just rewatch Rocketman or something.

Rewatchability: Low

My Number: 4/10

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7/21/2019

3 Days in Cannes: Day 3

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Even though we stayed out long past midnight, we were up early once more with our final day in Cannes. The final day of our accreditation program coincided with the final day of the festival, which meant the primary venue was screening the "best of fest" films. This gave me the opportunity to see the film that won Best Actor, (Antonio Banderas, Pain and Glory) Best Actress (Emily Beecham, Little Joe) and the ultimate winner of the prestigious Palme d'Or. (Bong Joon-ho, Parasite) Quite an action-packed day that started bright and early at 8 AM!

Pain and Glory​

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Pain and Glory (2019): A film director reflects on the choices he's made in life as past and present come crashing down around him.

Pain & Glory is the latest film from famous Spanish director Pedro Almodóvar, and the fame shows. The film stars established Hollywood actors Antonio Banderas and Penélope Cruz. Banderas plays the famous Spanish director, Salvador Mallo, in his physical decline and simply follows him around a few weeks of his life, with the occasional flashback to his younger years. The film is excellent, but, whether it be because I saw it at 8 am on the last day in an utterly exhausted state or because the events that unfold aren't overly compelling, the film has failed to resonate with me after the end credits. I do want to give this film another chance: Almodóvar is a very famous director in Spain and excels at crafting intimate and charming character dramas. But here he seems to be appealing directly to the audience that would go to Cannes. The film shamelessly appeals to upper echelon movie insiders, with a lead who's yearning for his days as a director and plenty of film acting / directing references littered about. I personally enjoyed it, but at points it felt overly pretentious and may turn off ordinary (aka those not attending Cannes or another prestigious film festival) viewing audiences. That said, it's still a well-made film with a demanding performance from Antonio Banderas, and well worth Best Actor at the festival. It's no Marcello Fonte, (Dogman) but the recognition of an actor like Banderas portraying a famous figure in the film community certainly helps his case. Oh, and editing and use of flashbacks are excellent. As is Penélope Cruz. It's wonderful, just….. slightly pretentious.

My Number: 7.5/10

​Parasite

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Parasite (2019): All unemployed, Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident.

The latest from Joon Ho Bong (who’s previous works include Okja, The Host, Mother, and Snowpiercer, to name a few) won the Palme d’Or at this year’s festival, and after watching the film I can see why. This film has crowd-pleaser written all over it and is the tale of two halves: the movie starts as a raucous when a family ripped straight from It’s Always Sunny in Philadelphia integrates themselves, one by one, with an upper class Korean family. This sequence is complete with some wonderfully comedic bits, intentionally overdramatic montages, and an intentionally hilarious overserious tone. We were rolling on the floor laughing in the first half, but before you know it…. Bong Joon-ho has you by the neck and when the film gets real….. It turns the tension up to 11. The turn here is sudden and abrasive - in our room you could hear the audible gasps at this very specific and heart-stopping moment. From that moment on, this film turns into a gripping drama with a powerful message about the rigid class structures found throughout the world and what we’ll do to try and preserve our families through the insanity of it all. The second half is every bit as effective as the first, complete with a climax that will actually take your breath away. I cannot recommend this film enough: even for those intimidated by having to read subtitles, it’s worth a watch simply because of how sheerly entertaining the overall film is. You’ll laugh, you’ll cry, you’ll be on the edge of your seat, you'll be glued to the screen from start to finish. What more could you want in a film? This and Portrait of a Lady on Fire have stuck with me more than any other film out of Cannes 2019, and I suspect they will continue to resonate long into awards season. Remember this one, for it will assuredly be a heavy hitter for Best Foreign Film of 2019.

My Number: 10/10

The queue for Parasite was absolutely insane. And this was before it officially won the Palme d'Or.

Little Joe

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Little Joe (2019): Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. Against company policy, she takes one home as a gift for her teenage son, Joe.

Feel like watching a film about plants coming to kill us all? Then do I have the movie for you! The last film I saw at Cannes 2019 could not have been a more fitting one: a ridiculous but lovable British film starring Ben Whishaw and Emily Beecham. (Who won Best Actress at Cannes) Its premise is exactly why I was at the festival: a film like this may never see the light of day in Cincinnati - after all, who wants to watch a film about plants that infect your mind when you smell them - but the ride here is about as zany as you would respect. These plants (the Little Joe's, and yes I could not shake the, "You can trust a working Joe" out of my head…. Thanks, Alien.) turn you into a hilariously cheesy 1950s infomercial when you smell them, and make you even willing to kill for them because what else would you expect a plant to do? That said, the film is rooted in a good performance from its lead and some utterly hilarious dialogue between her and the people infected. (Though, I'm not entirely sure if this hilarity was intentional or not.) I think this film, like Wounds, is destined for cult status, despite not having the same unbelievable star power behind it. (Seriously, Armie Hammer / Dakota Johnson / Zazie Baetz. Why.) But this is a fun group watch, perfect for a night in with friends and checking out the most ridiculous thing you can find on Netflix. It does have something of a meaning behind it, however this meaning is largely lost at the hands of the fact that it is, you know, about plants. Trying to infect people's minds. Also, the score was COMPLETELY out of place. There's like this weird Oriental score that compliments the film, yet the film doesn't feel at all Asian outside of this so it just feels misused. Yay, cultural appropriation! It's worth a group watch on a Netflix + drinks kind of night, but that's it. You will be pretty miserable if you watch this by yourself. Fair warning. 

My Number: 4/10

And with that, our journey through the wonderful world of Cannes came to a depressing end. For 3 delirious days, we were at the pinnacle of the movie world: not watching the cultural conversation through the lens of social media, but actually at epicenter of it all. It was nothing short of incredible, and something which I look forward to repeating next year in my final year of eligibility for this program. Till next year, Cannes!
The intro that greeted us before every film during the festival. It's kind of cheesy, but it's undeniably iconic.

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7/13/2019

3 Days in Cannes: Day 2

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After sprawling out on a Mediterranean beach until the wee hours of the early morning drinking cheap wine with great company, our journey through Cannes continued with an early morning screening of the new Terrence Malick film, A Hidden Live. At least, it should have. The film gods had something else in store for my early morning screening. 

Chambre 212 (On a Magical Night)

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Chambre 212 (2019): After 20 years of marriage, Maria decides to leave. She moves to the room 212 of the hotel opposite her marital home. From there, Maria can scrutinize her apartment, her husband, her wedding. She wonders if she has made the right decision.

​So before I talk about this film, let me set the scene for you: I'm exhausted. It's before 8 AM, and I'm about to head into a 3 hour Terrence Malick film. I, like any rational human being, need coffee. So, I go to a cafe while my friend / Cannes roommate Ben waits in line for A Hidden Life. Unexpectedly, the organizers let those waiting for the Malick film in a full 45 minutes before the film was scheduled to begin. (Usually, the festival would be "on time" if it let people queuing into a film 15 minutes before it starts.) I miss my friend Ben by less than 60 seconds. Then, the theater filled up 5 people in front of me. I am shook. In my dejected state, with no Malick in my future, I search the Cannes program for a film to watch in its stead, and stumble upon Chambre 212. And I'm glad I did.

This lovely little French film comes from director Christophe Honoré, an established Frenchman most recognized for 2018's Sorry Angel, and, while I haven't seen that film, this one is incredibly funny and touching. A wonderful little date night film, Chambre 212 follows a married couple as they struggle through the strains of marriage after the husband discovers the wife has been cheating on him. The film takes place over a single night, with Christmas Carol-esque visions coming to both characters throughout the brisk 86 minute runtime. The story is a clever one, so despite each character coping with the trauma in their own way, the characters involved feel small and intimate. (Thanks to the fact that their stories often overlap.) There are some antics and hijinks, and physics are thrown completely out the window, (so expect nothing) as the film flies through its setpieces. It's one of those films that you thoroughly enjoy while it's playing, but the second it's done you forget about it because it's not saying much that's particularly resonating. But that's ok! It makes you feel good, while not also trying to be "important"! (Cough cough, GREEN BOOK) The film really lacks an overall cohesive message as the tone is somewhat inconsistent. And there's entirely too much drama between the visions each have, which is cute but adds little to the overall narrative. Which, coincidentally, sums up Chambre 212: very cute, but doing little to resonate as soon as it's over.

My Number 7/10
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Some of my fellow accreditation members!

Il Traditore (The Traitor)

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Il Traditore (2019): The real life of Tommaso Buscetta the so called "boss of the two worlds", first mafia informant in Sicily 1980's.

Woof. Then there's this film from legendary Italian director Marco Bellocchino. A film which plays very differently for Italian audiences, but sadly for a lowly American such as myself…. It was 145 minutes of nothing. 145 minutes of frustrating inconsistency. The film finds its stride in the second act, as the main protagonist Tommaso Buscetta (Pierfrancesco Favino) faces a serious of high production budget court battles and actor Favino really hits his stride. However, there also a first and third act. And both of them are like a clusterbomb of incoherency. The first act in particular features some of the worst editing I've ever seen, (Bohemian Rhapsody ain't got nothing on this) with random characters being introduced and then killed moments later with no rhyme, reason, or explanation. Yes, I'm just as tired of films that hand fist dialogue to you as the next person, but there's still a line somewhere. A line this film flies by within the first 5 minutes. I'd love to see someone count up how many characters were introduced and killed in the first act because the answer may be over 9000. But, there are some engaging court scenes here in the remaining two acts. A bright spot in an otherwise dark cloud of a film, and for us American plebians who don't truly appreciate the character and trial scenes at hand, there won't be much here to keep you engaged. Solid pass.

My Number: 4/10

The Lighthouse​

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The Lighthouse (2019): The story of an aging lighthouse keeper named Old who lives in early 20th-century Maine.

So I really wanted to sit with this film, so I’m actually writing this review over a week later. The fact that this film has resonated with me as much as it has is yet another testament to how strong it really is!

The latest (and greatest) work from director Robert Eggers (who’s first work, The Witch, also garnered widespread critical acclaim) comes in the form of a crazy, mesmerizing, polarizing 35 mm film, in black & white, with a 1.19:1 movetone aspect ratio starring Robert Pattinson and Willem Dafoe. Because how else are you going to follow up a film about a 17th century New Englad folktale? The Lighthouse is a wild ride - a fascinating character study wrapped up in a psychological thriller - that needs to be seen to be believed. I really don’t want to talk about any of the inner workings of this film, because the less you know about it going in, the better it will be. I’ll just say there’s no doubt this will be a polarizing film - A24 snatched it up and is gearing it up for an awards season release, and I can see why. This film lives and dies off the performances of Thomas Wake (Willem Dafoe) and Ephraim Winslow. (Robert Pattinson) Their hilariously bipolar relationship is the foundation of this film. Dafoe sports one of the thickest sea-worthy accents you’ll ever hear, (further cementing him as one of the best character actors alive) while Pattinson’s near demonic presence can be felt regardless of whether he’s actually on screen or not. Both of these performances are a masterclass, and the events that unfold between them are not only memorable and iconic, (the freaking seagull, man) they vary wildly across the emotional spectrum. The strongest part of this film (and what will also be the most polarizing aspect of it) is its unpredictability - even as the credits roll the viewer will struggle to discern what was real and what was a figment of the mind. But it really is wildly refreshing to see a film of this ambiguity be made in the American cinema system, and it firmly establishes Robert Eggers as one of the most intellectual and cunning directors in Hollywood today.

My Number: 9.5/10

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Our group queuing for The Lighthouse. at the Director's Fortnight We waited nearly 3 hours to see this incredible film!

With two days under our belt, we once again celebrated by drinking cheap wine on one of Cannes's beautiful Mediterranean beaches. Not a bad way to wind down, right? On to the final day, which coincided with the final day of the festival itself.

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7/3/2019

3 Days in Cannes: Day 1

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The first real day of my adventure in Cannes began bright and early with a 9 AM screening at the venue's premier theater, the Grand Theatre Lumiere, for a screening of Xavier Dolan's latest work. We also had a chance to see a film at another venue, the Salle Debussy, which on the outside looks like a tent, but on the inside had some of the best seats in the entire festival. We also took advantage of our accreditation program and saw two films at the Les Arcades, including the best film I saw at the entire festival. Onward!

​Matthias & Maxime

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Matthias & Maxime (2019): A drama focusing on a group of friends in their late 20s.

My first In Competition screening at Cannes goes to visionary young filmmaker (and actor) Xavier Dolan's latest work. This is may first experience with Dolan, a young Canadian filmmaker known for his heartfelt, genuine, and emotionally moving stories. Matthias & Maxime had the potential to be another such entry, but it falls short focusing entirely too much time on its "Will they or won't they?" Premise. The story focuses on two men coming to grips with their sexuality with the impending departure of one of them, but most of the film centers around their individual struggles to come to grips with their sexuality, versus discovering it together. This approach, certainly from the eyes of a straight white filmmaker, is a frustrating one, despite the fact that the story told is fairly engaging. The strength of this film is in the bonds of its friendships, both with the title characters and the people around them. Everyone feels fleshed out and personal, despite some only having 3 or 4 lines of dialogue. But, the decision to delegate this premise to a "Will they or won't they?" story with two gay characters for the majority (don't worry: a film showcasing what happens when you move past this quickly is forthcoming) makes this film feel lazily familiar, despite its strengths.

My Number: 6/10
The view inside the Grand Theatre Lumiere. Easily a 2k capacity movie theater!

Nina Wu​ 

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Nina Wu (2019): Nina Wu, a girl who leaves small theatre company in the country for the big city in pursuit of her actress dream.

The first of several heartbreaking films today, Nina Wu is a Taiwanese film that follows its lead character through her struggle to make a film, promote said film, all while trying to rise above the horrific sexism and male dominance of the film industry. In 2019, it is a depressingly relevant film, with a lot of emotionally devastating moments at the expense of the protagonist. Ke-Xi Wu, who plays the film's title character, (and also co-wrote the screenplay) is exceptional. Easily the best performance I've seen at Cannes to this point, (I'm writing this review Friday AM, with about 5-6 films left to see) Ke-Xi Wu's performance is raw, enduring, pragmatic, and demanding…. And that's before you even consider the heartbreaking events that happen to her throughout the film. From the first moment, I was sucked in by this performance, a performance that will at least endure with me for the rest of the festival. (Of course, it has nothing on Armie Hammer in Wounds, but that goes without saying.) That said, I do believe director Midi Z was slightly too ambitious with the overall narrative, as there's a few too many points left unexplained and simply untenable at points. But, the further I've separated myself from this film, the less this ambition has bothered me. Third act issues aside, (that's where many of the zealousness occurs) this film is good, maybe even great, held together by a powerful performance and a wild ride. 

My Number: 7.5/10
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The view inside the Salle Debussy venue.

​Sorry We Missed You

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Sorry We Missed You (2019): A hard-up delivery driver and his wife struggle to get by in modern-day England.

I'm moving right along with these reviews. (Can you tell I found a cafe to catch up at?) It continues to be Friday AM, and to this point the latest film from Ken Loach is my number one film at the festival so far. Sorry We Missed You is an emotional trainwreck, a devastating look at a British blue collar family working 90 hour weeks while struggling to keep the apartment together. Its completely captivating from the first moment to its last and the only film that's elicited a solid ugly cry from yours truly. (Though that may be because I have a cold, dead heart.) Ken Loach's strength, similar to Xavier Dolan, is in the genuineness of his characters. And because Loach keeps his story deeply intimate, the emotion payoffs and heartbreaks are felt that much more. The acting is exceptional, with Ricky, (Kris Hitchen) Abbie, (Debbie Honeywood) Seb, (Rhys Stone) and Lisa (Katie Proctor) all excelling. They all benefit from a master auteur (Ken Loach has won multiple Palme d'Or's in his career, and may be hoisting another tomorrow) impeccable directing: every scene, every cut, every shot feels deliberate and intentional. The only complaint I had was some of the dialogue felt forced: there were a few moments of hand-fisting dialogue (seemingly) to ensure the viewer knew what was going on. But these errors were few and far between. This British film is well worth your team and my first must-see recommendation of the festival. Go see it when it comes to theaters later this year.

END OF FESTIVAL UPDATE
I wanted to add a quick blurb on this review, because while films like Portrait of a Lady on Fire, The Lighthouse, and Parasite have stuck with me long after the credits finished rolling, this film has not. That’s not to take away from the harrowing events depicted here at all. This is a marvelous film, but it’s also a surprisingly fleeting one.

My Number: 9/10
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The schedule at the Arcades, a program set up exclusively for those in the accreditation program

​Portrait of a Lady on Fire

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Portrait of a Lady on Fire (2019): On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

ALMOST not to be outdone by Sorry We Missed You is the film Matthias & Maxime should have been. A powerful queer drama that spends far more time focusing on its pragmatic characters discovering each other and their sexualities together than separately, all wrapped up in the best filmmaking I've seen at Cannes so far. The actual craft here is incredible: think Call Me By Your Name but with a vastly superior story. (Yes, I know.) The cinematography is second-to-none, with one scene in particular around a fire between our main protagonists standing out. (And also EASILY the best scene I've seen in a film since the beach sequence of Roma.) How the main characters interact with each other is wonderfully and masterfully represented visually by director/writer Céline Sciamma and her cinematographer, Claire Mathon. This film, starring women, filmed by women, with almost no male characters whatsoever, (I'm fairly certain there's exactly one line from a man the whole film, and it's a rather dunce-looking dude saying "Bonjour!") is cinematic briliance. While it spends some time on the "Will they or won't they?" Aspect, (about its only notable fault) once Marianne (Noémie Merlant) and Héloïse do begin their relationship Sciamma turns it up to 11 with a mesmerizing film. I also have to focus on Héloïse for a moment. There's a certain gravitas to her that is absolutely stunning. From her 🔥 costumes (well done, costume department) to her unwavering personality, she is probably the best written character I've seen at the festival so far. Marianne is great too, but Héloïse is straight 🔥. My second must-see recommendation from Cannes, I can certainly see why some are calling it the best film this festival has to offer. And if it were it not for the overlong "Will they or won't they?" Shenanigans, I'd probably agree with them.

END OF CANNES UPDATE
So, I must say, the further I've gotten away from this film, the more I have fallen in love. Yes, it spends a hair too long on the somewhat ordinary opening, but after that this film is a legend. It's resonated with me more than any other film at this festival, and is safely my number 1 film I saw at Cannes 2019.
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My Number: 10/10

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The view from the top of the Festival de Palais, the primary venue at Cannes

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6/29/2019

3 Days in Cannes: Prelude

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This year, I was fortunate enough to experience one of the oldest, most prestigious film festivals in the world in Cannes, France. I made the most of my trip, seeing 13 films both during my 3 day accreditation program, as well as the day before the accreditation began. This journal will chronicle the films I saw during those dizzying days, the highs and the lows, the good, the bad, and the downright bizarre. (But, for real.... Wounds, though.)

This entry chronicles the films I saw before my accreditation began. There is another film festival the runs simultaneous to Cannes, the Quinzaine, or Directors' Fortnight. We were fortunate enough to see a premier on our prelude day, as well as one of the craziest bad films you'll ever see. First on our journey, though, was a trip to the Olympia, (a cineplex in Cannes) to see the film that opened the festival.

The Dead Don't Die​

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The Dead Don't Die (2019): The peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.

Jim Jarmusch opened the Cannes film festival with something of thud, as his latest film, a zombie apocalypse film with a deadpan delivery style that is funny to a fault. While the film certainly has some wonderful moments, particularly between Cliff (Bill Murray) and Ronnie. (Adam Driver) If anything should be taken from this film, Hollywood needs to do a Hobbs & Shaw kind of team-up between these two, as their hilarious chemistry was about the only thing keeping this film together. The rest of this movie lacks anything resembling a heart, as it feels like a mishmosh of characters (played by recognizable yet random actors like Steve Buscemi, Selena Gomez, Danny Glover, Tilda Swinton, and Tom Waits) thrown together with little cohesion or comprehension. Some of the jokes land, but when they don’t you will sit aimlessly, wondering when the film is going to come to an unceremonious end.

My Number: 4/10

Wounds​

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Wounds (2019): Disturbing and mysterious things begin to happen to a bartender in New Orleans after he picks up a phone left behind at his bar.

My first thought after seeing this film was simple. "What the F did I just watch and why did I love it so much?" A film that would make Tommy Wiseau (The Room) proud, Wounds is from director Babak Anvari (who opened the film and clearly didn't know what was going on, either) and somehow stars Armie Hammer, Dakota Johnson, and Zazie Baetz. It has cult status written all over it, because this thing is absolutely ridiculous. Armie Hammer is screen chewing to no freaking end while Dakota Johnson is just sitting in the corner staring at a computer monitor for some unknown reason, (research!) and Zazie Baetz is just….. there. The film, similar to The Room, turns into an ironic comedy, and it turns out that's not a bad thing. The story is ridiculous, the acting is over-the-top, but I still had a total blast watching it. As I said: this film is destined for cult status if it rises above the noise on Netflix. It just might take a few years for people to recognize its unabashed greatness. Also, this is already becoming my most talked about film at this festival, despite its terribleness…. It's that good.

My Number: 1/10, but that's a The Room kind of 1/10
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This just about sums up this film. I will never understand how these stars agreed to join this film

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Wounds director Babak Anvari tries to let us know what we're in for before the screening of his film

Les Particules

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Les Particules (2019): As winter sets in and P.A. sees the world shifting around him, he starts to observe strange phenomena in the environment. The changes are imperceptible at first, but gradually his whole world seems to be on the brink.

This is the first forray into fiction from documentary director Blaise Harrison. I open my thoughts with that because it shows. This film features a group of first time actors and at points they are definitely strained by the demands of the roles asked of them. The overall premise is wild: mix Minding the Gap with a science-fiction premise. The film is very scatterbrained and plays its unusual premise fast and loose, which certainly reduces the overall experience. That said, it's unorthodox and genuine, with every character feeling human and grounded. Even if it struggles to stay on topic at points, (and maybe this is simply the result of how few foreign films I've actually seen) its unusual visuals and storytelling style were enough to keep me entertained.

My Number: 3/10
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The cast of Les Particules answer questions after the film's premiere

Fortunately, the fun is just beginning. Now, we step into the big leagues with the first day of our journey.

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6/23/2019

Movie Review: Toy Story 4

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Great until the final moments

Toy Story 4 (2019): When a new toy called "Forky" joins Woody and the gang, a road trip alongside old and new friends reveals how big the world can be for a toy.

I've always had a strong connection with the Toy Story franchise. The first 2 were my most-viewed animated films in my childhood, and I was lucky enough to have Toy Story 3 release the summer I was heading off to college, adding even more emotional wallop to easily the greatest ending in any Pixar film. (I think that's a safe assumption even with my biases.) The ending of Toy Story 3 is one of the most emotional moments I've ever seen in a film, period. It is the definition of a perfect conclusion. So, when Toy Story 4 was announced, to say I was skeptical that it would be nothing more than a cynical Disney cash-grab is an understatement. But…. I was genuinely impressed with most of the end result. Up until the final 5 minutes, I'd even say it was a grand time. The story is simple, the animation is fantastic, the film features one of the best female leads I've ever seen in a Pixar film, and even cynical Joe, looking for reasons to say this film doesn't deserve to be in this near-and-dear franchise, couldn't find any in the first 90 minutes. But then, the ending happened.

Ok, positives first. The best thing this film has to offer, by a considerable margin, is Bo Peep. Initially the only female toy in this entire franchise, (ya, the first Toy Story doesn't even pass the Bechdel test) then completely MIA in Toy Story 3, Bo Peep makes a triumphant return in Toy Story 4. Her character is the strong, independent female lead that this franchise so desperately needed yet hasn't really seen to this point. (Jesse in Toy Story 2 is the closest thing, but even she had, and still does, for that matter, severe limitations with a surprising lack of personal identity, despite one of the most emotional montages in a Pixar film.) Bo Peep is not only intelligent, witty, and resourceful, she is the undisputed leader for much of the second and third act, covertly taking on the role of Woody for much of the film as he can merely follow her around. It's a beautiful character and story around her, while not being in-your-face about it. Love it. The new characters are also fun and engaging (even though we spend entirely too much time with them over the existing characters, something cynical Joe thinks was corporate-mandated to sell merchandise and appease the Supreme Mouse Overlord) with Key & Peele (Ducky & Bunny) leading the way and putting their unique and welcomed stamp on yet another major IP. Also, Keanu Reeves. 'Nuff said. The "villain" of this film, Gabby Gabby, (Christina Hendricks) is also dynamic and interesting. (Definitely more interesting than Lotso in Toy Story 3.) She fits into the overall world perfectly, with her motivations lining up with the likes of Woody and the rest of the core characters in an intriguing way, culminating with a great emotional moment that SHOULD HAVE been the finale of this film. But it wasn't.

Instead, the film goes on for another 5 minutes and finishes with one of the most abrupt, frustrating, about-face transformations for a significant character in this franchise that even the Game of Thrones writers would scoff at. (Seriously, the turn from Daenerys was less abrupt than this.) It's a depressingly cheap emotional string pull from screenwriter Andrew Staunton, eliciting an ugly cry simply to elicit an ugly cry, while also cheaply setting up a potential Toy Story 5. It single-handily brings down the entire film for me, and since it is the actual final moment it will be the one that sticks long after finishing this review. I've been struggling to think of a worse ending to a Pixar film than this, and for it to happen in my beloved Toy Story franchise makes it all the more frustrating. Also, the toys interact with their environment faaaaaaaaaaar more in this film than they did in previous installments, which drove me bonkers. The toys even talk to their human counterparts, which led to cheap laughs, sure, but also broke any semblance of immersion. (Yes, I get that this is a world where toys come alive, but with how much they interact with their environment in this film there's NO POSSIBLE WAY a human would not have realized that this was happening. Maybe it's setting up a human counterpart storyline in Toy Story 5, which I'm not looking forward to.) The later, though, is an admittedly minor complaint, especially when compared to this dumpster fire of an ending.

While the journey is a blast, the destination is as frustrating as it gets with its infuriating conclusion. It's hard for me to think of anything else, but I'll try to....Bo Peep is a boss, and I'll certainly give it that. Gabby Gabby is very interesting, and Forky is a lovely and surprising new character to this franchise. And Key & Peele are great! Just..... brace yourself for a trainwreck at the end.

The Critique: A fun new cast of characters join the beloved Pixar franchise and deliver a fun new installment, despite an infuriating ending.

The Recommendation: Definitely fun for the whole family, as you would expect from a Pixar film. 

Rewatchability: Moderate


My Number: 6.5/10 Almost Good

Image Credit
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https://m.media-amazon.com/images/M/MV5BNjQwYjM3MGUtZTk3NC00ODc0LTgwY2UtODA3MGMwNTNhMzZmXkEyXkFqcGdeQXVyNjg2NjQwMDQ@._V1_SX1777_CR0,0,1777,744_AL_.jpg

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6/15/2019

Movie Review: Rocketman

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The biopic Elton John deserves

Rocketman (2019): A musical fantasy about the fantastical human story of Elton John's breakthrough years.

…...and you can tell everybody, this is your review. It may seem quite simple but, now that it's starting..... this movie is freaking great. Regardless of whether you actually like Elton John or not, this film is the standard-bearer for what a musical biopic should be. Step aside, Bohemian Rhapsody. (Actually shoves BoRap off to the side to be forgotten forever.) There's a new queen in town.

This film works on so many levels, but it starts with actually getting Elton right. Taron Edgerton is phenomenal as Elton John. From his voice actually sounding like vintage Elton (you hear that, Rami? Yes, I'm gonna take pot shots at BoRap throughout this review because society won't actually let me forget it) to matching the mannerisms with incredible makeup to boot. The A-lister is absorbed by the mystique of the knight. And it helps that the story here is the story Elton deserves. Each scene embodies the definition of what Elton John stands for while actually being informative about his life and teaching us, the viewers, some lesser-known things about his life. Never did this film feel influenced by the man himself. Never did this film feel entirely too complimentary of its subject matter. Never did it feel revisionistic. (Betcha don't know what film I'm indirectly referring to!) It felt accurate and meticulous, moving gracefully from one flamboyant scene to the next, surrounding Elton's rockstar life with the music he actually released in those moments, using his songs to actually convey the emotion of individual scenes. Ah! It's so good! 

Oh ya, this film is a musical, and the music is wonderful regardless of your feelings towards Elton. The dance scenes are actually well-choreographed and shot, with only the editing rearing its ugly head at a few points. (Though, let's be real…. It's not the worst editing to come out of a musical biopic recently. Cough cough) Also, I do take slight issue with John Reid's (Richard Madden) near comedic villain character. For a film that feels as meticulous as this, Reid feels very out-of-place. I'm not sure how accurate that character was to his real life counterpart, but it sure beats creating an entirely fictitious character to turn down a certain rock band after a DESTINATION ALBUM RECORDING SESH. THAT DOESN'T EVEN MAKE SENSE, WHY WOULD YOU TURN DOWN THE END RESULT OF A MILLION DOLLAR RECORDING SESH? That eerily specific example doesn't refer to anything in particular, I swear! That said, Reid is made up for by Elton's partner-in-writing, Bernie Taupin. Portrayed wonderfully by the incredibly underrated Jamie Bell, Taupin helps to ground Elton throughout most of the film, almost turning into an "audience POV" character as Elton's worst impulses play out. All wrapped up in a dynamic and intriguing supporting character that is the embodiment of a true friend. Not someone we're supposed to laugh at because he wants to write a song about loving his truck. (Kristen Bell sums up my sentiments right about now.)

In short, Rocketman is wonderful, and soooooooooo much better than Bohemian Rhapsody it actually hurts. I hate that I've taken pot shots at BoRap as much as I have, but when one film becomes the highest grossing musical biopic in history and the other is struggling just to break $75mil at the domestic box office, it's hard not to constantly remind people that Rocketman is just that much better than BoRap. It encompasses Elton to a wonderful degree, complete with beautiful dance montages and amazing song choices from the knight scattered throughout. You'll laugh, you'll cry, you'll dance, you'll sing. What more could you possibly ask for? I hope you don't mind, I hope you don't mind, that I put down in words. How wonderful this film is, now that it's in the world.

The Critique: The story Elton John deserves, Rocketman is the best musical biopic I've seen in years, showcasing his life brilliantly with great musical numbers and an incredibly engaging story.

The Recommendation: An absolute must-see for everyone. I think that's my first must-see rec of 2019? 

Rewatchability: High

My Number: 9/10


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Image Credit
https://m.media-amazon.com/images/M/MV5BOTMxNDQ0NDgwMV5BMl5BanBnXkFtZTgwMzY1MDAxNzM@._V1_SY1000_CR0,0,1200,1000_AL_.jpg

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6/13/2019

Sundance Short Reviews

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The Sundance Short Film Tour is starting to make the rounds across the country, and I had the wonderful chance to see them early. For those unfamiliar, the collection is a small snippet of the shorts that play at the Sundance film festival every year, a showcase of the incredible diversity the festival sees year in and year out. Overall, they're definitely worth a viewing, despite the occasionally varied quality, if not simply to see facets of our country and our cultural consciousness you wouldn't have the chance to see otherwise. Here are my thoughts on each of the shorts as I watched them in order of programming.

EDITORS NOTE: These short films are coming to Cincinnati World Cinema's Garfield Theater June 21-30. I had the chance to see these films thanks to this organization, an organization which I also volunteer for.

Sometimes, I Think About Dying

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Starting off the list of shorts is a heartbreaking film from Stefanie Abel Horowitz. The 12 minute film grips you from the opening moment to the credits thanks to an incredibly genuine performance from its lead, Katy Wright-Mead. She is absolutely wonderful in the main role: timid, shy, reserved, but thanks to a great use of voiceover narration, thorough and dynamic. That said, it doesn't really feel like it's saying anything about it's subject matter - a quiet character who's obsessed with death. The short frustratingly cuts to black right before a moment of coping is able to take place, instead leaving us with a film that simply stars a character who thinks about death, despite simply knowing that's not healthy. I don't know, maybe that was the point, and the abrupt cut to black at the end was supposed to signify the beginning of this coping phase, but it frustrated me personally. That said, it's still a good short, with a great lead and some great editing / cinematography. (Mad kudos to how director Horowitz handles texts.... Sherlock would be proud.) 
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My Number: 7/10

Fast Horse

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I'm not sure what I'm supposed to take away from this one. A docushort about a Native American horse relay team, Fast Horse doesn't seem to know what it wants to say. Sure, there's some interesting cinematography, (particularly in the finale of the relay itself) but the short seems to be rather aimless, a Free Solo knock-off with a far less satisfying ending. (Seriously, the main jockey is built in the exact same mold as Alex Honnold.) There's really not much else to say about this one. Good cinematography, enjoyable (albeit not satisfying) finale, but no message, heart, character, or really any substance worth mentioning. Hard pass.

My Number: 3/10

UPDATE 6.13
I've mulled over this one in particular the last week or so, and the more I think about it, the more firm my low number becomes. There was an opportunity here to showcase the depressing struggles of the Native American population in our country, an opportunity this film let slip away in order to tell the story of this race team. Which is totally fine, but if you're going to go all-in on the race team, the final result needs to at least showcase some room for future improvement. We get none of that, and the result is exactly what I mentioned before. Sure, the filmmaking is very good, but it alone is not enough to make this short feel truly worthwhile. 

Suicide by Sunlight

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I'm very torn on this one. On the one hand, it's a bold / interesting premise that's executed fairly well. A world where vampires are widely known / accepted to the point that there's intriguing societal issues surrounding them, (similar to the issues facing our society today) but the main character, Valentina, isn't particularly alluring to boot the premise. The first half of this 17 minute short is spent almost in a "is she or isn't she a vampire" story, which feels like a total waste because when we finally do establish that she is, (something which you'll know by reading the actual first sentence of the synopsis on IMDB) the short abruptly flies through its most interesting bits, not even taking the time to establish that Valentina is even struggling at all to contain her bloodlust. (She's a vampire who works in a hospital, Only Lovers Left Alive taught us that there's plenty of ways for a vampire to sustain themselves in a flippin' hospital. A single scene of this not being enough would've gone a long way.) So, while this short does present some interesting ideas, it spends far too much time establishing the simple fact that Valentina is a vampire for it to reach its full potential. Sacrificing this first half and speeding through a lot in the second half is as criminal an oversight as it is a frustrating one.  But hey, at least the end credits song is great!
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My Number: 5.5/10

Muteum

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This one is extremely short, clocking in at just 4 minutes in length, but it's 4 minutes of adorableness. It's animated wonderfully and has a charming message about how one interacts / interprets art that's executed well in the brief runtime. Also, the art that's interacted with here is wonderful and hilarious. You'll definitely get a solid laugh out of it, and it serves as a nice change-of-pace from the  serious tone of the rest of the shorts to this point. 

My Number: 7/10

Crude Oil

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Buckle up, y'all. This one is WILD, and I loved it. This is a crazy short that has a lot to say about friendship and showcasing your talents wrapped up in two characters with mostly useless superpowers. It's shot in a very Arrested Development kind of way, highlighted by some comedic zoom-ins and totally ADHD editing, which hammers the unknown / unpredictability of growing up aspect of the short. There's a LOT going on in these 15 minutes, and while I think it will be rather divisive among the general public, something like this is exactly what I want to see in the Sundance batch. Crazy, zany, quirky, and unpredictable, but still bringing quite the wallop. Despite some so-so acting from the leads. Wasn't a huge fan of their performances. It felt like they, too, were going "Whaaaaaa?" when they were reading the script. But, still. It'll stick with you simply because it's so uncanny. Also, it is easily my favorite to this point.

My Number: 8/10

UPDATE 6.13
This film continues to resonate with me a week+ after watching it. It has such a relatable message encrusted in its zaniness, I can't shake the look into these girls' lives while also having (mostly) useless superhero powers. While it may be divisive, I think this short has the boldest filmmaking in the bunch. 


The Minors

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We're on a roll now. This short, from director Robert MacHoian, stars a real-life grandfather and his grandsons, showing a small portion of their everyday lives. The genuineness of this short is its selling point - MacHoian does a phenomenal job eliciting great performances from his cast of first-time actors; certainly not an easy thing to do with 3 of them are kids. It's a very simple, yet heartfelt story, as it merely captures a quick scene in their lives - band practice - but peel away the topmost layer of the short and there's a lot more going on. A grandfather yearning for a past life while enjoying spending time with his grandsons. Kids who are just discovering music and still approaching every moment as if they've never experienced it before. How music is a common language that transcends all barriers. All of which is conveyed in a very brisk 10 minute runtime. It's lovely, and far more approachable than Crude Oil. I have one short left to go, but this one is a surefire crowd-pleaser. 

My Number: 8/10

Brotherhood

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And Brotherhood provides the emotional wallop to bring us home. This devastating short film from Meryam Joobeur follows a family from a Middle Eastern country around Syria, confronted with the return of their son from Syria with a new wife. The elements at play here are ancient yet devastatingly current: a father who sees his son for the first time in over a year and cannot accept his traditional Muslim wife, and a son who returns seeking acceptance from his father. As the events of the short unfold, a picture is unveiled that leads to easily the most emotionally devastating climax in this entire collection. The performances are genuine and grounded, the cinematography is amazing, as director Meryam Joobeur makes great use of shooting on film throughout the 25 minute short, and it all leads to a simply incredible finale that will leave you speechless. This short alone is worth the cost of admission for the group, the definition of perfection in under 30 minutes. Don't miss it.

My Number: 10/10

Hope you enjoyed my takeaways from these shorts! Do yourself a favor and don't miss them if they are playing at a theater near you!

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Image Credits
https://static1.squarespace.com/static/51b3dc8ee4b051b96ceb10de/t/5bff15171ae6cfb7775d0efd/1543443741245/?format=2500w (Sundance Banner)
http://www.sundance.org/images/filmguide/2019/19914-2-1100.jpg (Sometimes, I Think About Dying)
​http://www.sundance.org/images/filmguide/2019/19918-1-1100.jpg (Fast Horse)
​http://www.sundance.org/images/filmguide/2019/19931-4-1100.jpg (Suicide by Sunlight)
http://www.sundance.org/images/filmguide/2019/19907-1-1100.jpg (Muteum)
​http://www.sundance.org/images/filmguide/2019/19912-4-1100.jpg (Crude Oil)
​http://www.sundance.org/images/filmguide/2019/19913-2-1100.jpg (The Minors
​http://www.sundance.org/images/filmguide/2019/19895-1-1100.jpg (Brotherhood)

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6/2/2019

Quick Reviews, Spring 2019: High Life, Pet Sematary, Extremely Wicked, Shockingly Evil and Vile, Detective Pikachu, Aladdin, Godzilla: King of the Monsters

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High Life

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High Life (2019): A father and his daughter struggle to survive in deep space where they live in isolation.

I don't know if any American studio other than A24, with the backing of a recognizable star in Robert Pattinson (thanks, Twilight - never forget) would've made a film as eclectic and outlandish as this. A film set almost entirely in space, with an intimate cast, and a wild premise set the stage for this very sci-fi-y sci-fi film. Robert Pattinson (Monte) shines in his passion project directed by Claire Denis that is one of those films that throws everything against the wall in an attempt to see what sticks. Obviously, in a film as whimsical as this, not every idea lands, but it's still refreshing to see a film go this insane in its premise. Unfortunately, the largest part of this film is also its weakest: the crew storyline is rather bland compared to Robert Pattison's deeply personal and genuine space struggle. But, depressingly, most of this film is spent focusing on a crew of strangers, with a criminal history, paired together in a confined area for years in space, with a predictable result. While it's admittedly refreshing to see a premise like “death row inmates given the chance to earn their freedom by embarking on a suicide space mission” executed in a film, it's nowhere near as compelling as Monte's struggle on the station for decades while trying to raise a daughter. However, those few moments we do see of Monte's are easily the best moments of the film, and tease an incredibly intriguing premise that could have been. In short, this is a unique film that leaves its original premise mostly on the curb for a stereotypical “last man standing” story, but still delivers some good visuals and hints of greatness throughout. Close, but no cigar.

My Number: 6/10

Pet Sematary

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Pet Sematary (2019): Dr. Louis Creed and his wife, Rachel, relocate from Boston to rural Maine with their two young children. The couple soon discover a mysterious burial ground hidden deep in the woods near their new home.

Why does this movie exist? The Stephen King relaunch train continues with this motionless, passionless, soulless reboot of the 1983 novel / 1989 film that has absolutely no reason for existence outside of some executive somewhere watched It make a bunch of money and thought, "Oh, we can do that too!!!" There's no heart in this film. Pet Sematary goes through all the stereotypical motions of a horror film, skirts around the only interesting thing in its premise, (the idea of letting go and moving on) all for the sake of having another cheesy jump scare. I haven't read the original novel, but I would assume it delved into the more interesting aspects of this premise, which was left on the cutting room floor here because look! Let's have another drawn out sequence leading to a jump scare! Yaaaaaa! This film isn't even worth it once it hits streaming services. 2017's It caught lightning in a bottle, and if this attempted reboot is any indication…. That lightning is not being replicated any time soon. Avoid like the plague.

My Number: 2.5/10

Extremely Wicked, Shockingly Evil and Vile

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Extremely Wicked, Shockingly Evil and Vile (2019): A courtroom frenzy ensues and sweeps 1970s America when a young single mother meets Ted Bundy.

They should've called this the Zac Efron show. He's the main reason this film exists. A passion project of Efron's made some waves at Sundance before being purchased by Netflix. However, a gripping performance from Efron falls on mostly deft ears as the rest of this film is subpar at best. Lily Collins is wonderful, but her character, Liz Kendall, is a rather poorly written character, despite Efron claiming that the story is (somehow) mostly about her. While there are a few great scenes between Kendall and Ted Bundy, (Efron) most notably the film's dramatic closing scene, most of the time I felt Bundy stole every aspect of the movie, much like how his real life persona dominated everything around him. It's frustrating to me to see a man as repulsive as Ted Bundy, an individual who brutally killed 30+ people, portrayed in such a positive light in 2019. While it's somewhat obvious to say, "There's no way Bundy would be portrayed like this if he was a black man," it's still genuinely frustrating to have scenes in this 2019 film where women are dreaming over Bundy, (one unfortunate character basically throws herself at Bundy later on in the film) with little more than a grim placeholder of the carnage he inflicted at film's end. In short…. Efron's great, his portrayal of Bundy is uncanny, but it falls short because of its uncomfortably positive portrayal of the convicted serial killer. But it's not bad, so if you like these sort of films you won't regret flipping it on as you chill.

My Number: 5/10

Pokemon Detective Pikachu

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Pokemon Detective Pikachu (2019): In a world where people collect Pokémon to do battle, a boy comes across an intelligent talking Pikachu who seeks to be a detective.

​This film is a decent, if flawed, proof-of-concept film. A live action Pokemon movie that's secretly a modern day film noir story, Pokemon: Detective Pikachu is ahead of its time on the tech, (give it another 5 years, people) but is still mildly charming and surprisingly engaging with its somewhat noir-y detective story and wonderful chemistry between Pikachu (Ryan Reynolds) and Tim Goodman. (Justice Smith) But I couldn't help but be distracted by the visuals at multiple points. Visuals which were…. Muddy, at points. There were a lot of "establishing shots" that showed off the Pokemon in the world, and idk why director Rob Letterman did that because those shots really showed the limits of this technology and how far we still have to go. That said, the film is still lovely, with an uplifting message and a fun little journey between its leads. Will it stick with you? No. I started forgetting about the film the second I left the theater. But is it a fun time? ………...yes? There are worse ways to spend your time, but I do think this film is destined to be a Netflix and chill kind of experience. Wait until then to go see it.

My Number: 6/10

Aladdin

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Aladdin (2019): A kind-hearted street urchin and a power-hungry Grand Vizier vie for a magic lamp that has the power to make their deepest wishes come true.

Do I have to talk about Aladdin? Because I really don't want to. The latest installment in Disney's live action remakes continues the trend of these films being soulless husks, existing for the sole reason to be cash grabs for the supreme mouse overlord.  I love Aladdin: as a kid it was one of my favorite Disney animated films. I can recall dozens of times singing along to wonderful songs like "Prince Ali," "Arabian Nights," and, of course, "Friend Like Me." But this live-action remake takes any sparks created by the original and throws it out them out the window in favor of..... Will Smith? Really? That's your replacement for one of the most iconic performances in Disney animated history? Will Smith? Look. Will Smith is a great actor. He's done great things before, and he'll do great things again. But the original Aladdin is propped up by the exemplary greatness of Robin Williams, in a voice role which proved to be one of the most influential (for better or worse) in the history of animated films, and Will Smith..... just..... can't..... do..... it. The film is sunk then and there, but it doesn't help that Aladdin (Mena Massoud) is annoyingly charismatic, the zaniness / flamboyantry of Jafar (Marwan Kenzari) is all but gone,  and the blatant sexism littered throughout the original Aladdin is still scattered about here. (No, giving Jasmine a new song where she says she's her own person does not automatically fix everything.) The new music is forgettable, the renditions of the original content is mediocre, (why oh WHY did you have Will Smith sing "Arabian Nights"??) and only once did I even feel like we got a chance to hear one of these actors actually flaunt their singing voice. (Well done in "Speechless (Part 2)," Naomi Scott.) TL;DR - this movie sucks, and is not worth your money. Go see Rocketman instead.

My Number: 3/10

Godzilla: King of the Monsters

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Godzilla: King of the Monsters (2019): The crypto-zoological agency Monarch faces off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah.

Ugh. Speaking of films that are soulless, cash-grabbing husks.... I present to you Godzilla: King of the Monsters. But, unlike Aladdin, I actually wanted to like this film. I really tried to - I even went so far as to watch this film in IMAX because who doesn't want to see a big budget Godzilla movie? I giggled like a kid in a candy store the first time we heard Godzilla roar back in 2014. Well, not when it's made like this. Much of this film is spent developing characters that you don't care about with hand-fisted dialogue being rammed down your throat, with a massive cast of A-listers that are either given nothing to do, (see: the token Chinese star, Ziya Zhang, or freaking Sally Hawkins) or simply don't care. (See: Vera Farmiga and Kyle Chandler) Why are we here? To see Godzilla beat up some monsters. Specifically, King Ghidorah. How often does this happen in this 131 minute film? Twice. Freaking. Twice. And both times it's in the dark, in the rain, and shot with uncomfortable close-ups because Legendary / Warner Brothers clearly didn't feel like spending money on the action sequences. Yes, this makes the film feel both cheap and meaningless, as much of the human dialogue is a complete waste of time. This film is the Pacific Rim: Uprising in Warner Brothers' MonsterVerse: a film called Godzilla where everyone all but forgets that Godzilla is supposed to be the focal point. Yes, the child in me did manage to have a bit of fun in the final battle between Godzilla and King Ghidorah, aka WHAT WE PAID TO SEE, but this brief ounce of enjoyment is not enough to offset the 90+ minutes of film that proceeded it, the wasted A-list cast, (seriously: how do you waste Millie Bobby Brown, Ken Watanabe, and O'Shea Jackson Jr.? HOW? Though I will say it's fun to see Twyin Lannister make his way to earth) and totally obnoxious force fed dialogue that we get all throughout this trainwreck. Stay away and wait for Godzilla vs. Kong next year. Please be good....

My Number: 3.5/10 

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5/20/2019

Movie Review: John Wick: Chapter 3 - Parabellum

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More of the same, and I ain't complaining one bit

John Wick: Chapter 3 - Parabellum (2019): Super-assassin John Wick is on the run after killing a member of the international assassin's guild, and with a $14 million price tag on his head - he is the target of hit men and women everywhere.

The latest installment in the unexpectedly solid John Wick franchise is exactly what you'd expect: more of the same. Now, is more of the same a good or a bad thing? Did you like the first two John Wick films? Then it's safe to say you'll like this one. Did you either not care / not watch either of the previous two films? This probably isn't the place to start. That said, I fall squarely into the former category, and, as you would expect…. I had a ball of a time here.

At its core, John Wick is a phenomenally choreographed action movie with some breathtaking visuals. This franchise is the pillar for what a modern action film should look like, second only to the Mission: Impossible franchise for best action movie franchise in Hollywood today. (Sorry James Bond / Fast and Furious.) At its core is its heart-stopping fight sequences. These sequences showcase the very best of what Hollywood can do in 2019, with cinematography that actually allows you to see the action unfold. Who knew doing something as simple as shooting your action sequences with as few cuts as possible and giving us wideshots so we can see everything would make such a huge difference, but that's why someone like me (who couldn't care less about the John Wick lore at this point) keeps coming back to this franchise. In a post-Bourne Identity world, where so much of what's considered "action films" is inhibited by Marvel doing whatever they feel like with whatever budget they want, few franchises pay this close attention to detail while making every cent of their production budget count.

That said, the budget of this film clearly went to the stunts / action sequences, because the lore continues to be completely uninteresting to me. Sadly, much of the second act of this film investigates said lore of this franchise, and for people like myself who don't care it was veeeeeery boring. On a surface level the lore is interesting, but it contorts itself to service the protagonist John Wick at every turn, which makes it ridiculous, unbelievable, and boring. Also, Keanu Reeves's portrayal of John Wick has lost the pisaz it once had, an unfortunate result of the fact that there's now 3 of these films. Long gone are the iconic lines of previous installments.  

However, that's a rather marginal complaint for the film and franchise as a whole, after all you come for the breathtaking action sequences and tolerate the lore as a tradeoff. Because of how much time this film spends on its lore, I don't think Parabellum will do a good job bringing in new fans, (start with John Wick: Chapter 2 if you're new to the franchise) but for those who are already dug in, Parabellum delivers exactly what you're looking for: mesmerizing action scenes with an increasingly mediocre story to compliment it.

The Critique: Pulse-pounding action sequences continue in blissful fashion in the latest installment of the John Wick franchise.

The Recommendation: This franchise continues to be an absolute must-watch for anyone who considers themselves a fan of action movies. Don't miss it


My Number: 8/10. And that's a testament to how phenomenal the action here really is.

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5/19/2019

Movie Review: Booksmart

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A hilarious and raunchy modern buddy comedy

Booksmart (2019): On the eve of their high school graduation, two academic superstars and best friends realize they should have worked less and played more. Determined not to fall short of their peers, the girls try to cram four years of fun into one night.

Booksmart is 2019’s Blockers and I love it. A raunchy, over-the-top buddy comedy that's actually about something and makes you feel things (even in your cold, cold heart) by film's end. We've had a surprisingly decent run of American comedies between surprise hits like Blockers, Game Night, and soon-to-be (currently just Sundance darling) Booksmart. I am actually starting to have hope that directors like Kay Cannon (director / savior of Blockers) and newcommer Olivia Wilde (Booksmart, directorial debut) may actually be able to bring the genre back from the hopeless abyss it's been in for the last decade or so. That statement may be a bit too optimistic, but after being this uplifted by an American comedy, (again! For the second time in a year at least!) I'm ready to say anything. Let's keep it going, Hollywood!

At this film's core is a wonderful, genuine, and charming relationship between its two main characters, Molly (Beanie Feldstein) and Amy. (Kaitlyn Dever) Seeing two well-written, strong, intricate high school female characters lead a film like this is totally invigorating. Every time they're paired on screen together, Booksmart shines brightly. There's a palpable chemistry between them - a gravity that pulls all other forces in this film to their undying, unyielding presence. From the opening scene featuring the hilarious monologue in the trailer, you can't help but root for each of these girls as they realize there's more to life than just schoolwork. Straight up: this is one of the best buddy comedies I've ever seen. An honest, personal, convoluted relationship between two women is so refreshing to watch. This film is well worth a watch with your best friend just for some quality bonding time alone. Just.... be prepared for the raunchiness because there's a lot of it. But I know I found myself laughing more times than I could count. I had a blast watching this film.  

That said, these two aren't on screen together the entire time, and when they're not together the film power recedes slightly. I still enjoyed it, but some of the storylines felt rushed, messy, and too conveniently placed given the overall chaotic tone of the film. There's some time around the start of the third act where Amy and Molly spend about 15 minutes apart, and I found myself getting kind of bored during those moments. Amy has a romantic subplot that, while fresh in its originality, resolves itself in a rather cliché way while the duo goes through a very overused "events separate them but they get back together because of X" trope you see in a lot of modern American comedies. (Like, all of them.) Formulaic, is the word to use here. The film gets formulaic in its third act. But, formulaic isn't necessarily a bad thing. If it ain't broke, don't fix it, right? I just wish a film with this much originality (depressingly) didn't have such a formulaic final act.

Booksmart was a hit at Sundance, and I can see why - it's a trailblazing film, despite some of its faults, from a beloved indie actress making her anticipated directorial debut. Olivia Wilde's mumblecore roots can be felt throughout the film, (I'm sure there will even be some comparisons to Drinking Buddies) and it is wildly refreshing to see a premise we hardly ever have the chance to see put forth in a modern American comedy. It's opinionated, it's raunchy, it's ridiculous, and it's uplifting. It's exactly what we need in a modern American comedy in 2019.

My Number: 8/10 Great.

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5/7/2019

Movie Review: Widows

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2018's most underappreciated film

Widows (2018): Set in contemporary Chicago, amid a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.

This review is from the archives of Enter the Movies, also known as getting lost in my Google docs folder until now.

You want a suspenseful heist film that grips you from the first pulse-pounding moment and never lets go until the credits roll? May I present to you: Widows. The latest work from director/writer Steve McQueen, (who's last work, 12 Years a Slave, only won him Best Picture so it's not like there's a high bar or anything) Widows, for me at least, has come out of nowhere and become one of my favorite films of the year. Featuring a phenomenal cast, unpredictable story, and masterfully executed filmmaking, it just might be the best heist film I have ever seen.

There's not much this film does wrong, but there is one slight hiccup in the character Amanda. (Carrie Coon) In a film that takes the time to develop its large cast, this glaringly underdeveloped character stands out even more. Despite being one of the namesakes of the movie, (she is one of the four women who loses her husband at the beginning of the film) she becomes nothing more than a plot device as time goes on. I'm guessing there was a scene or two with Amanda that was cut for one reason or another, (the movie is 129 minutes long, so time was probably one of them) but it is a real shame. Especially since the other three core characters are developed so freaking well.

This is, by far, the strongest point of Widows. The characters of Veronica, (Viola Davis) Linda, (Michelle Rodriguez) and Alice (Elizabeth Debicki) each experience unique and fleshed out arcs. Each cope with the loss of their husbands in different ways and each way is equally compelling. The three also have phenomenal chemistry together, and if Viola Davis could lead every movie ever made, I'd have absolutely no issue with that. The rest of the cast here is equally phenomenal, and all bring something unique to the table. Jamaal and Jatemme Manning (Bryan Tyree Henry and Daniel Kaluuya, respectively) are starkly contrasted by Jack and Tom Mulligan (Colin Farrell and Robert Duvall, respectively) in their race for the 9th Ward of Chicago. All four of these characters receive plenty of opportunities to shine, and shine they do. Daniel Kaluuya in particular provides some of the most memorable sequences in the film. (Including a sequence that did make my favorite movie moments of the year.) The contrasts between how these politicians run their races, and how they go about trying to achieve their ambitious goals, is one of the best parts of this incredible script from Gillian Flynn (of Gone Girl acclaim) and McQueen.

Which brings us to the filmmaking. Steve McQueen's footprint is all over this film. The cinematography is where it's most notable: there are a mess of unorthodox shots here that are rich and full of insight into the world these character's live in. One of the best shots of the entire film focuses on Jack Mulligan's car as it transitions from the poor section of the 9th Ward to the rich section, where Mulligan's house resides. Cinematographer Sean Bobbit, a long-time collaborator with McQueen, is at the top of his game here. There's also some terrific editing here courtesy of Joe Walker. He does an amazing job building up suspense with his cuts, while also providing a great deal of fluidity throughout the film. There is a boatload of meandering character development in Widows, and yet thanks to the editing the pacing never slows down from start to finish.

In short, Widows is amazing, and would have been higher on my top 10 list (it was number 9) were it not for the treatment of one of its core characters. That aside, this is a phenomenally executed piece of filmmaking dressed up as an engaging heist film, and if you need to find me I'll be on my soapbox screaming to the heavens that this was EASILY the most underappreciated film of 2018. Whatever you do, do not miss Widows!

The Verdict: One of 2018’s best films, Widows is a masterfully executed heist film with interesting characters, great filmmaking, and an unpredictable story.

The Recommendation: An absolute must-see for all!

Rewatchability: High

The Verdict: 9.5/10 Damn Near Perfect

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4/29/2019

Movie Review: Avengers: Endgame

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A triumphant conclusion

Avengers: Endgame (2019): After the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to undo Thanos' actions and restore order to the universe.

What a way to go out. The conclusion of the Marvel's ambitious 11 year plan that began with 2008’s Iron Man can be described with a multitude of glowing superlatives: triumphant, dramatic, nostalgic, emotional, and most of all: entertaining. It's hard not to overlook how captivating it is to watch a film with a billion dollar budget unfold in front of your engrossed eyes. For all its faults, Endgame is still the final result of the most (seemingly) unattainable project in cinema history, and for every time my cynical side came out watching the same rules established in this wildly flawed universe be broken over and over because, “plot,” (remember when it took 5 people just to hold one Infinity Stone?) I found myself internally screaming with glee. One thing's for sure: Marvel saved the best for last.

Ok so as I jump into what I liked and disliked, know I'll do the best I can to avoid spoilers. But, let's be real: if you truly don't want anything spoiled for you, stop reading now and come back after you've seen the film. It is worthwhile joining the other billion people that will watch this film in the theater, so do yourself a favor and do that and come back. Get it? Got it? Good. So. By FAR my biggest complaint of this film is what the Russo brothers did to its once-great villain. The previously complex Thanos is reduced to little more than a psychotic madman: a villain who simply wants to watch the world burn because he feels like it. Had we not already experienced Infinity War, Thanos would've been just as forgettable as the many one-dimensional Marvel villains that preceded him, simply more overpowering. Like, hilariously OP. Additionally, since I'm cynical and leading with this film's faults, the film does drag in its first act. This film is a HARD 3 hours, and if you're not a die-hard Marvel fan that's watched every film and knows every line, you may find yourself rather bored early on. As the film tugs on your nostalgic strings, it will leave those behind that haven't taken the time to watch the other 22 films in the giant MCU.
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That said, there's no denying that if you have been with this bloated franchise since the beginning, you're gonna love every second of this. Cynical Joe was in the backseat during this film's wild and unparalleled final act. While it takes a gratuitous amount of time to reach this film's pulse-pounding climax, when it arrives the payoff is 10+ years in the making. We may never see an action sequence like this ever again. The embodiment of unforgettable filmmaking, it's a sequence that's overarching and bloated yet somehow managed to be emotional and poignant. It is the single best action sequence this franchise has to offer by a considerable margin and one I'll be revisiting for years to come. Additionally, the solid writing from Stephen McFeely and Christopher Markus gives each of the franchise's original characters a worthwhile and engaging character arc while simultaneously tapping into our nostalgia for the MCU during this film's (admittedly) clever second act. While it is too long, I, as someone who's seen every Marvel film and knows far more about this franchise than I care to admit, was never bored. However, I do think the first half of this film (and especially the first act) will not stand up well to rewatches, as I'll almost certainly be fast forwarding though it before long.

In conclusion, there's not much that can top the gravitas of Endgame's finale, and directors/architects Anthony / Joe Russo's gratifying decisions far outweigh the frustrating ones throughout the 3+ hour runtime. Marvel wraps up its epic 10+ year plan with a completely satisfying conclusion, despite leaving a couple victims along the way. If you're invested, bring the tissues and prepare yourself: we're in the end game now. 

The Critique: one of the wildest climaxes we'll ever see in cinema caps off the MCU in dramatic fashion, despite its mangling of certain characters along the way. 

The Recommendation: …….lol

Rewatchability: gonna break this down
First Act - Moderately Low
Second Act - Moderately High
Final Act - so high it's ridiculous

My Number: 8/10 Great.


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4/25/2019

Quick Reviews, Winter 2019: Velvet Buzzsaw, High Flying Bird, Gloria Bell, Dumbo, Shazam!

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Velvet Buzzsaw

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Velvet Buzzsaw (2019): A supernatural force sets out to exact revenge against art profiteers attempting to exploit a series of paintings by an unknown artist.

There's something to be said about throwing everything and the kitchen sink against the wall and seeing what sticks. But, somewhere among the weeds, there's a line. Velvet Buzzsaw blooooows through any semblance of unspoken line and creates a wildly incoherent yet awkwardly enjoyable horror flick from writer/director Dan Gilroy. (Who last teamed up with star Jake Gyllenhaal in the criminally underappreciated Nightcrawler.) This movie is just that: wild. I can't help but respect Netflix for allowing a premise this absurd and executed in such an unorthodox manner to even be made. Maybe some will say this film is ahead of its time. Buuuuuuut I'm not one of them. Is it a statement about the hilariously elitist art world? Is it a film about a critic struggling with his own acceptance and place in the very world he critics? An artist struggling with staying inventive while keeping his alcoholism at bay? A gallery owner's desperate attempts to stay relevant while fighting a vendetta with a competitor? WHO THE F CARES BECAUSE THESE PAINTINGS KILL PEOPLE. If you go in looking for a mindless popcorn flick disguised as a pseudo-horror movie, you probably won't be disappointed. But that's about the only thing you should be looking for when you add Velvet Buzzsaw to your Netflix queue.

​My Number: (A wild) 5/10

High Flying Bird

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High Flying Bird (2019): A sports agent pitches a rookie basketball client on an intriguing and controversial business opportunity during a lockout.

​Steven Soderbergh does it again! The director of Ocean's Eleven returns to the roots of his Sex, Lies, and Videotape debut with a stirring character drama wrapped up in the 2011 NBA lockout, shot entirely on iPhones because why not? If it worked in Unsane it'll work here, right? Well Soderbergh and his team have been perfecting this low budget iPhone shooting method and it continues to get better, even if it is admittedly distracting at times. But the writing is the foundation here. The script is great, painting a compelling picture of lead character Ray Burke, (André Holland) and a terrific leading cast help make this film as engaging as it is interesting. While the cinematography is distracting at times, the Netflix factor plays in well here, thanks to the fact that you'll be watching this on a smaller screen. No doubt watching this on a big screen would be a detriment to the experience. Also, I love Zazie Baetz. She's wonderful and really needs to be in everything. TL;DR - if you like basketball or really any movies about sports and the behind-the-scenes business maneuvers that take place in that realm, move High Flying Bird to the top of your Netflix queue.

My Number: 7/10

Gloria Bell

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Gloria Bell (2019): A free-spirited woman in her 50s seeks out love at L.A. dance clubs.

Gloria Bell is not a flashy film. But it accomplishes exactly what it sets out to do. A charming little rom-com that's a vehicle for Julianne Moore to remind us all that she's absolutely lovely. Director Sebastian Lelio (director of A Fantastic Woman and ironically is remaking is own film here for American audiences) hits every single note you want to see hit in an indie film that takes absolutely zero risks throughout its 104 minute runtime. Gloria is a strong female lead, and she's played by the always wonderful Julianne Moore. But….. I'm struggling to figure out why this film exists. As I mentioned before, director Sebastián Lelio is remaking his own 2013 film Gloria, so I'm a little confused why this remake is coming so quickly afterwards. And from the same person. And, throughout the 102 minute runtime, this question was never really answered. Yes, it's lovely. Yes, it's great to see a rom-com with a middle aged woman as its lead, but there doesn't seem to be much rhyme or reason to why this film exists beyond that. It's a nice date night film to watch on Netflix from the comfort of your own home, but that's about it.

My Number: 6/10

Dumbo

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Dumbo (2019): A young elephant, whose oversized ears enable him to fly, helps save a struggling circus, but when the circus plans a new venture, Dumbo and his friends discover dark secrets beneath its shiny veneer.

So I've largely avoided these live action Disney remakes, and after making an exception for Tim Burton's Dumbo…. I can see why. This soulless film is a grim reminder that the once prestigious filmmaker left his talent back in the 90s. Dumbo tells the classic Disney story with little additional substance, and I found myself struggling to grapple with the very question of its existence. The entire cast was #InItForThePaycheck, with the notable exception of Collin Farrell, who actually can't help but be good in everything he's in. The film fumbles its way from one poorly-lit scene to the next, with its many Tim Burton-isms unwelcomed at best and downright disruptive at worst. I also had the displeasure of watching this film in 3D and was painstakingly reminded why it's a TERRIBLE way to watch a film. The additional depth of field does little to offset the headaches created by the 3D glasses and effects as your eyes have to squint at times just to try and understand what's on screen. I think the 3D also affected the lighting as the film seemed to be unnecessarily dark. Could've just been bad lighting, but I don't know for sure. Either way, the only thing that saved this for me was the company I watched the film with. And thank God for that, because otherwise I don't think I would've made it through. Avoid like the plague!

My Number: 3/10

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Shazam! (2019): We all have a superhero inside us, it just takes a bit of magic to bring it out. In Billy Batson's case, by shouting out one word - SHAZAM. - this streetwise fourteen-year-old foster kid can turn into the grown-up superhero Shazam.

So, here's a surprising thing I noticed about halfway through Shazam!: I was having a good time. DC has been on an under-the-radar (and shockingly) solid run with its standalone films recently, and Shazam! (mostly) keeps that trend going. Its villain is hilariously forgettable outside of the fact that it's Mark Strong being Mark Strong, and the arc for the main character is a bit fluffy with an overly convenient resolution, but its lighthearted nature and genuinely funny jokes make it feel more like a decent comedy with fighting than an action flick. While I'll still go for Aquaman or Wonder Woman if I had to pick a recent DC standalone film, I still found myself having a good time with this one. Maybe it's partially because I had absolutely zero expectations for this film. Heck, I was bracing for the worst, actually. But Zachary Levi's playful, entertaining performance as the title hero really kept me in this throughout the runtime. Which was needed because this villain was HILARIOUSLY awful: a single moment in the character's life meant to justify his entire cornerstone for being. It's not good, and Mark Strong phones it in with his stereotypical British villain portrayal. I did enjoy the foster home aspect and the rest of the family's relationship to Billy Baston, which felt a little Shoplifters-esque to me, (now the cornerstone for any family-oriented film) but the film plays out almost exactly how you'd expect it to. And by the end you still find yourself watching two god-like beings battle each other to a pulp, just in the air instead of with a ridiculous amount of CGI-lightning. But.... there are definitely worse ways to spend your time at the movies right now.

My Number: 6/10

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3/24/2019

Movie Review: Us

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Crazy, outlandish, masterful horror

Us (2019): A family's serenity turns to chaos when a group of doppelgängers begins to terrorize them.​

This movie is WILD. Us is an insane step inside Jordan Peele's crazy mind. While Get Out was the film Jordan Peele (apparently) made so that we would all accept him as a legitimate filmmaker, Us is the end result of a studio giving the man that made Get Out a blank check to do whatever he wants. And I LOVE it. It has resonated with me far longer than the average studio film, with a chaotic story, amazing filmmaking and a TERRIFIC performance from Lupita N'Yongo.

That said, there are a few things that are harder-to-swallow. Jordan Peele's mind is a bit of an insatiable one. There are several moments in this film that feel entirely too self-indulgent. As if Peele is saying, “Hey! Really made you think there, didn't I?” Nowhere is this felt more than the forced twist ending. While it was unexpected, it felt somewhat unnecessary and rather forced. I think I may ultimately be in the minority on this one, but I felt like this twist ending was there primarily just to have a twist ending. To give us, the viewers, something to talk about as we exited the theater. It painfully detracted from an otherwise brilliant screenplay.

And yes, the rest of this film's screenplay is brilliant, in its unabashed outlandishness. While Jordan Peele wrote a much more safe and systemic (and still brilliant) screenplay in Get Out, his sequel feels more like the film he wanted to make. There's a lot of passion behind this script, both behind the camera and in front of it. The film's core characters are great, led by Lupita N'yongo, SOMEHOW in her first led role after her groundbreaking, Oscar-winning performance in 12 Years a Slave. Only took her 4 years, right? N'yongo CARRIES this film with two polarizing yet mesmerizing performances. It breaches all acting norms: a performance that's both subtle and over-the-top, all dependent on the individual scene. The year is still very young, but this may be one of the best I see throughout all of 2019. Her performance is so powerful that it's kind of easy to forget that both Winston Duke and Elisabeth Moss are fantastic as well. They will likely be mostly overlooked ion what is certainly Lupita N'yongo's (second) career-defining performance. 

And it's all surrounded by some truly amazing filmmaking from Jordan Peele. The master auteur puts on a clinic in crafting meaningfully suspenseful sequences that are equally scary and resonating. This film, while weirder than Get Out, is also more terrifying, delivering some breathtaking jump scares that are not just in the film for the sole purpose of scaring you. If you're not a fan of the horror genre, be forewarned: this film is legitimately scary. It'll resonate with you too: I saw the film Thursday and I'm still dissecting individual scenes. This film is every bit as captivating as its spiritual successor was, well worth the watch as it stretches across genres with a crazy, supernatural story and wonderful filmmaking. It proves that Get Out  was not just "lightning in a bottle" and firmly establishes Jordan Peele as one of the greatest masters of suspense Hollywood has ever seen. Make it a date night and check out the latest from the wild mind of Jordan Peele. You'll thank me later.

My Number: 8/10


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3/11/2019

Raw Thoughts: Captain Marvel

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A mildly fun time that doesn't offer much else

Captain Marvel (2019): Carol Danvers becomes one of the universe's most powerful heroes when Earth is caught in the middle of a galactic war between two alien races.

Captain Marvel is a charming film. It has some witty dialogue, a few surprisingly intimate moments (for a Marvel film) and decent action sequences. But, the incredible one-two punch of Thor: Ragnarok and Black Panther, two films which brought powerful new voices to the overbearing Marvel formula, feel like an eternity ago following a string of bloated (Avengers: Infinity War) and hopelessly mediocre films. (Ant-Man and the Wasp) The eye-rolling self referential humor is in full force throughout this origin story, and a rather disappointing villain (after Killmonger and even Thanos himself) left me yearning for so much more as the third phase of Marvel's plan for global domination comes to a somewhat uneventful close.

That seemingly damning intro aside, Captain Marvel is.... fine. The film's title character (Brie Larson) leads Marvel's first female-led superhero movie, and Larson brings her wonderful brand of quick-witisisms, and eyebrow-raising charm we've come to know and love in full force. This film basically answers the question, “What would happen if Envy Adams became a superhero?" and I'm so happy it does. I had lofty expectations for one of my favorite actresses in the business, and she didn't disappoint, even if I know she's capable of a lot more. (See: Larson's truly unforgettable performance in Room) Nick Fury (Samuel L. Jackson) is himself, but I'm more amazed by the magic of movies with his character: the 70 year old actor looks like he's roughly 40 in this film, and it's rather disconcerting. Uuuuuuuntil he runs. Or fights. Or does anything requiring strenuous physical exertion. But that's besides the point! Fortunately directors Anna Boden and Ryan Fleck don't do much in this regard, so Fury mostly just has a sly remark to offer every now and again, and strikes a friendship with a CUTE kitty, Goose. That cat is the real MVP of this film. Not gonna lie.

The filmmaking here is also pretty good. There are a few shockingly intimate moments in the second act, and there's even some silence during these emotional peaks! As someone who's been frustrated by the sheer noise for the sake of noise in seemingly every Marvel movie, the intimate moments scattered throughout were a WELCOME change-of-pace, even if the audience I saw this film with were visibly bored during them. (I think about 7 people got up to go to the bathroom during one such intimate moment - learn to recognize great filmmaking, people!) The emotionally intimate moments are a staple of directors Anna Boden and Ryan Fleck, (1co-directors of It's a Funny Story and Sugar) and really allow them to flesh out the characters and emotional foundations of this story. Seriously, so many Marvel movies blaze past this so we can have another action scene, so it is very welcome here.

That said, the faults of this film start with its villain. We have squarely returned to the realm of the forgettable in Marvel's villain problem. You see the “twist” with the character coming from a mile away, and the villain basically has 15 minutes to make an impression on screen, with very little to do to make a lasting impression. No thanks. While the villain is topically tied to a great statement on our current administration's fear mongering with immigrants, the character itself is extremely forgettable.

End of the day, Captain Marvel is fun and charming, as most Marvel films are, but outside of it being the first female-led Marvel film, there's not a whole lot to differentiate it from the other 22(ish) Marvel films that preceded it. Maybe history with prove me wrong, but this time I'm feeling pretty confident that my opinion of this film, groundbreaking or not, will stand the test of time. (Unlike Black Panther, a film I enjoyed early on but only saw the true gravitas long after its initial release) See it because of its societal importance, and the fact that Brie Larson is wonderful, but don't expect much other than an ok fun time.

My Number: 6/10 Above Average


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2/19/2019

Foreign Film Quick Reviews: The Guilty, Cold War, Burning, Dogman, Capernaum

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The Guilty

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The Guilty (2018): A police officer assigned alarm dispatch duty enters a race against time when he answers an emergency call from a kidnapped woman.

​I'm writing this review a solid 3+ months after I actually saw the film, but it's truly resonated with me in the months that have followed, and combined with the fact that it's on the shortlist for Best Foreign Film nominees at the Oscars (even though it ultimately wasn't nominated) I decided to briefly talk about it. What a debut feature from first-time filmmaker Gustav Möller. (Who I met in Palm Springs last month. Not to brag or anything...) The Guilty is boldly original and so effing tense despite its simple, intimate set and premise. The entire film takes place in two rooms, similar to A24's suspenseful thriller Locke (which is also amazing and is available to watch on Netflix RIGHT NOW) but turned up to 11. At least Locke had a few establishing shots to ease the feeling of tight spaces. Here, Gustav Möller makes the intentional decision to never have an establishing shot or any shot whatsoever outside of these two rooms. The result is a tense, never-ending feeling of claustrophobia that helps to ratchet up the tension even more. By not having any shots outside of these two rooms, your imagination goes to work on what is happening in the phone calls being shown. It's extraordinary that this style works, particularly in the hands of a novice filmmaker. Though it doesn't work all the time..... the few moments where the film stops to let you take a breath could've really used an exterior shot versus a slightly awkward gradual push-in on Asger Holm's (Jakob Cedergren) face. Even though it is a nice, chiseled face. (Stares off into the distance) Anywho, if you're looking for an absurdly tense, edge-of-your-seat thriller featuring a good-looking dude you get to look at for 85 minutes, this is the film for you. Cannot wait to see what Gustav Möller does next!

​My Number: 8/10

Cold War

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Cold War (2018): A passionate love story between two people of different backgrounds and temperaments, who are fatefully mismatched and yet condemned to each other.

​OH. MY. GOD. This movie is spell-binding. An intoxicating Polish love epic set in the backdrop of the Cold War, in breathtaking B&W, from director Pawel Pawlikowski. The story is loosely based on Pawlikowski's parents and shares a surprising amount of similarities with Alfonso 
Cuarón's Roma. What's amazing is there are bits and pieces here that actually do surpass Roma. Cold War's story is similar, but it's told in a far more intimate (and thus less distracting at times) way. That said....the ending of Roma is simply masterful, whereas the ending of Cold War is rather abrupt and unfulfilling. As in it basically just ends without warning. Which almost makes the rest of the film feel rather unimportant and without purpose. Almost. Because, rushed ending aside, this film is a mesmerizing masterpiece. Zula is a hypnotic character, and masterfully portrayed by Joanna Kulig. Her presence is felt regardless of whether she's on screen or not, but when she is she steals the show with a level of grandeur that is haaaaaard to come by in cinema. Along side her is Wiktor. (played by Tomasz Kot a man cast straight out of a Chanel commercial) He's good, (something of a Paul Sparks lite for American cinema-goers) but pales in comparison to the sheer force of will that is Zula. The suave of this movie is indelible, and the black & white helps to hammer the beautiful, romantic aesthetic home. I wish my life were half as charismatic as either Zula's or Wiktor's. Their chemistry is so natural and tenable, and the ways their lives intertwine is fascinating to watch unfold. Were it not for the abrupt ending, this would easily receive a perfect score. Either way, it's worth seeing, and should be on Amazon Prime in the very near future. (March 22, to be exact.) Do NOT miss it!

My Number: 9.5/10

Burning

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Burning (2018): ​Jong-su bumps into a girl who used to live in the same neighborhood as him, who asks him to look after her cat while on a trip to Africa. When back, she introduces Ben, a mysterious guy she met there, who confesses his secret hobby.

Burning is a rare film that intentionally raises more questions than it answers. Its tension is contrived from its ambiguity, which resonated with me long after the end credits rolled. The core cast, Jong-su, (Ah-in Yoo) Ben, (Steven Yeun) and Shin Hae-mi (first-time actress Jong-seo Jun) are wonderful together, even if Hae-mi's character doesn't have a whole lot to do. Steven Yeun, though, steals the show. His performance as the mysterious, Gatsby-like Ben is felt regardless of whether he's on screen or not, similar to the character Zula in Cold War. His performance has a certain enigmatic vitality to it: the story focuses on Jong-su yet you never stop feeling Ben's persona and influence. The awkward Jong-su is totally absorbed by Ben's charisma, and it leads to one of the better conclusions I've seen this year. Unfortunately, there are points where this dynamic works against the film: there were times that scenes lingered a bit too long and we focused a bit too much time on (intentionally) less interesting Jong-su. However, the fact that I wanted to see Ben on screen more goes to show just how terrific a performance that is. The unrivaled loser here, as hinted before, is Hae-mi. She has very little to do outside of "be the girl caught in the middle," and she is not treated particularly well by director/writer Lee Chang-Dong. For a film that is supposed to be about a love triangle between a woman and two guys, hardly any time is spent fleshing out the woman in the middle. End of the day, the film is still very worth seeing thanks to the terrific performance of Steven Yeun, and will almost certainly help propel him into the mainstream of Hollywood in the very near future, if he's not there already. 

My Number: 7/10

Dogman

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Dogman (2018): Marcello, a small and gentle dog groomer, finds himself involved in a dangerous relationship of subjugation with Simone, a former violent boxer who terrorizes the entire neighborhood.

Geez! Speaking of terrific performances, let's talk about Marcello (Marcello Fonte) in Dogman! Another performance raking in the film festival awards for Best Actor, Marcello is essentially Jong-su from Burning, but with the awkward inability to figure out how to, you know, do life things, dialed up to eleven. His ineptitude is conveyed so well in a performance that is anything but suave and charismatic. It's the polar opposite, actually. And yet, I found myself rooting for this person who could probably best be described as "a dunce." I found myself wanting to yell at the screen in angst as Marcello affiliated with a man who's essentially the devil incarnate in Simon. (Edoardo Pesce) Whenever Marcello tries to be assertive, he is immediately beaten down by the terrifying giant and villain of this film. It's absolutely harrowing, and even though you know the inevitable conclusion that it's barreling towards, it's still captivating and will have you on the edge of your seat. GOSH! Marcello! Why did you think Simon would ever apologize to you??? UGH. It is a frustrating as it is gratifying to watch the events of this film unfold, and to play with such wildly different emotions goes to show not just the skill of actor Marcello Fonte, but the skill of director/writer Matte Garrone. If you're looking for an edge-of-your-seat game of cat and mouse, look no further. But, fair warning, the final 10 minutes are rather.....unorthodox for American moviegoers. (And linger about 5 minutes too long.) But it's still a great and captivating film showcasing a classic, if unorthodox, struggle between good and evil.

​My Number: 8/10

Capernaum

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Capernaum (2018): While serving a five-year sentence for a violent crime, a 12-year-old boy sues his parents for neglect.

This film is devastating. You have been warned: it will drive a sledgehammer through your very core. It's been a solid 30 minutes since I stepped out of the theater as I write this and I'm still shaking and picking up my scattered emotional pieces. Director Nadine Labaki crafts a devastatingly vivid portrait of a 12-year old child, Zain, as he struggles to simply survive in Lebanon. The actor who plays Zain, Zain Al Rafeea, himself a Syrian refugee, carries most of this film. Many of these scenes feature just him and other people younger than him, yet he plays the part like a seasoned vet. Which is incredible since he's, you know, 12. He's relatable, grounded, and genuine. It's a stunning casting choice from Nadine Labaki and honestly one of the better overall performances of 2018. Other films have died at the hands of asking their child actors to do too much, but Zain Al Rafeea was up to the challenge. And is propped up by a strong and powerful screenplay, too. Be prepared to ROCK the ugly cry, because you will be doing that a lot. I wasn't a huge fan of the filmmaking, though. There's a lot of hand cam / shaky cam used here, and y'all know how I feel about that. But the filmmaking is nowhere near enough of a detriment to bring down the overall experience. This gets a strong recommendation from me, an eye-opening, devastating film from a country featuring refugees certain people (who sadly have entirely too much power right now) have shuddered to think about and have actively campaigned against. Seriously: don't miss it. I will buy your ticket to see it or rent it for you.

My Number: 8.5/10​

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2/15/2019

Quick Reviews: The Wife, Leave No Trace, The Meg, At Eternity's Gate, Overlord, Mary Queen of Scots

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The Wife

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The Wife (2018): A wife questions her life choices as she travels to Stockholm with her husband, where he is slated to receive the Nobel Prize for Literature.

The Wife is something of a slow burn. The movie takes almost half of its (brief) 100 minute runtime to get to the the meat and potatoes of its story, but when it gets there Glenn Close and Jonathan Pryce shine brightly. Their relationship as Joan and Joe Castleman reveals a mess of deep layers and dynamics as the second half of this film grips you tightly and leads you down a very unpredictable and enticing path. I found myself on the edge of my seat in suspense at the electric final act of the film, also where Glenn Close acts the crap out of this role. However, that does not change the fact that the first half is a very slow burn with some scenes feeling like they lacked a real sense of purpose. And the character Nathanial Bone (Christian Slater) is a rather shallow one who's more of a plot device and (unfortunately) a crutch on the story than a central character partially responsible for the unwinding. There are also some flashbacks to young Joe / Joan that don't go anywhere save a few lines of payoff in the second half. But all of this does not take away from the fact that the second half is really good! The drama is tense, the editing flows well, and Glenn Close is freaking Glenn Close and kiiiiiiiiills it. The overarching story is fantastic: it is absurdly relevant in 2019, and honestly exactly the kind of story Glenn Close deserves right now after such a storied career. If only the backstories for Joan, Joe, David, and Nathanial were a bit more interesting.

​My Number: 6.5/10

Leave No Trace

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Leave No Trace (2018): A father and his thirteen year-old daughter are living an ideal existence in a vast urban park in Portland, Oregon, when a small mistake derails their lives forever.

A deliberate, methodical trek, Leave No Trace is one of those films that moves very slowly but every scene lays the bread crumbs for one of the most emotional moments in all of cinema in 2018. This payoff will run a freight train right through your emotions, and I found myself full-on balling. Thank the Lord I was watching this by myself, because I couldn't even rock the ugly cry at this film's climax. That said, it doesn't change the fact that most of the 99 minutes of this film are VERY slow. I mean, slow burn is putting it mildly: even I found myself a tad bored at points. But I found solace in the craft. Director Debra Granik does a phenomenal job paying meticulous attention to detail in every scene. This is my first film from the American filmmaker, (who's most known for kick starting Jennifer Lawrence's career back in 2010's Winter's Bone) but she is about as methodical a filmmaker as I've ever seen, which is saying something since most of her films have something to do with nature. Her characters are also incredibly human, and phenomenally cast: Ben Foster is basically playing himself as Will, and Thomas McKenzie also feels incredibly natural as Will's daughter, Tom. They're VERY down-to-earth and simple, but they do bring a sense of purpose to the characters. All of this plays into the incredible moment between them at film's end. I'd strongly recommend watching it for the incredible ending, but do be ready for the long, meticulous journey to get there.

My Number: 8/10

The Meg

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The Meg (2018): After escaping an attack by what he claims was a 70-foot shark, Jonas Taylor must confront his fears to save those trapped in a sunken submersible.

So I love mindless popcorn flicks that don't take themselves too seriously. But, there's a very important caveat in there, because I DESPISE films that are supposed to be mindless popcorn flicks that do think they're a big and "important" blockbuster. Well, guess which category The Meg falls into? This film is WAY too self-serious given its absurd subject matter. Rather than try and avoid feeling like "Jaws for the 21st century," which also suffers from being too serious for its own but in 1975 was groundbreaking for what it was, (for better or worse) The Meg leans into that mantra and thinks it's as important and groundbreaking as the Steven Spielberg, uh, classic. This movie is Jaws, but minus the marvel of a giant animatronic shark and great filmmaking. In other words, it sucks. Ya I beat around that bush a little too long. This movie sucks. The film's first act revolves around a drawn out and TOTALLY ABSURD rescue mission in an aquatic world that is below the Mariana Trench, (because, you know, that is a totally plausible venue to stage a rescue mission) then leads into a ridiculous "one man tries to take down a freaking megalodon with a harpoon gun, (Dak may as well take on the empire by himself) before we FINALLY get to what we paid to see: a giant killer shark take on some of the most populated beaches in the world. 90 minutes in. To this 113 minute dumpster fire. Seriously? You do nothing but advertise the "giant shark in populated waters" premise but don't give it to us until LITERALLY the last 20 minutes of the film? Ya, this sucks. But, I do have to give it credit where credit's due. This film, like many major Hollywood summer blockbusters nowadays, shamelessly appeals to the Chinese government so it can be released in what's becoming Hollywood's largest audience outside the US, (China) but UNLIKE most of these blockbusters, actually features a Chinese family storyline, (as opposed to one token Chinese character played by a big Chinese star) complete with native Chinese dialogue with English subtitles. You look at something like Transformers, and you don't see anything outside of a token Chinese character and blatant and ridiculous Chinese product placement. Which is still the norm for most blockbusters. So, I can respect The Meg for going above and beyond there. Unfortunately, that's about the only thing I can respect from this crapshoot. Watch the final 20 minutes one day on YouTube when you've had a few drinks, but don't even bother with the rest of it. Sharknado 5 is a more enjoyable watch than this. 

​My Number: 3/10

At Eternity's Gate

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At Eternity's Gate (2018): A look at the life of painter Vincent van Gogh during the time he lived in Arles and Auvers-sur-Oise, France.

Every so often a movie comes along that is so daring and bold in its filmmaking that I actually cannot get into it. At Eternity's Gate is one of those films, and I can't help but love it nonetheless. My first experience with director/writer Julian Schnabel was certainly a memorable one, as the aesthetics of this movie are some of the most distinguishable I've ever seen, particularly in the cinematography department. Shots are incredibly tight and claustrophobic, the movie is shot almost entirely with hand cams, (and shaky came is used quite a bit) and the editing is unpredictable and coarse. All meant to convey the brash, violent, unpredictable nature of Vincent van Gogh's final tumultuous days. Unfortunately, regulars of this blog know that I frequently complain about many of the aspects I just mentioned, so as you can probably guess...... I was not a huge fan of them. However, I did still appreciate the boldness of the filmmakers (kudos to director Julian Schnabel) to have as much of a creative style as they did. Many modern American films look and feel the exact same, so to see a film go as against the visual norm as At Eternity's Gate was invigorating. Even if it wasn't my thing. Unfortunately, because the aesthetic drew so much attention to itself, I failed to appreciate much of the rest of the film. Willem Dafoe is good, but his nomination for Best Actor definitely comes on the hands of a weak year for the category. But I am happy to have had a chance to see something like this because The Academy deemed it worthy of inclusion in the nominees. But...... I do think Ryan Gosling's performance in First Man was better. That's just like, my opinion, man. 

​My Number: 5/10 (Wildly average)

Overlord

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Overlord (2018): A small group of American soldiers find horror behind enemy lines on the eve of D-Day.

Ok, so a lot of times I feel like I'm constantly complimenting a film for making its characters feel human and genuine, whether that be the result of good acting, good writing, or a combination of the two. Well, if you ever wondered what it looks like when you have poorly written, poorly executed characters that feel like robots..... look no further than Overlord. This film takes an amazing premise - freaking Nazi zombies - and totally butchers it thanks to some of the most robotic, stereotypical characters I've ever seen. That and the fact that there's hardly any actual Nazi zombies in it. Also important. But, nothing against the actors here. I loved John Magaro in The Big Short, for example. But here he plays Tibbet, a totally ridiculous and cardboard cutout New Yorker soldier-type with a poorly executed story arc the film spends entirely too much time focusing on. Boyce (Jovan Adepo) is just the Tom Hanks in Saving Private Ryan character. No creativity whatsoever. Look, I get it: just turn the brain off and enjoy the Nazi zombies? Ok! ........where are the Nazi zombies? There's hardly any until the second half of the film, and even then most of the time is spent just fighting regular Nazis, and if I wanted a film about killing Nazis I would simply watch Inglorious Basterds again. There's really only like two Nazi zombies in this whole film, and neither follow any of the standard zombie rules. One is also created in a way that made me actually laugh at the screen, and not in a good way. I guess at least the zombies look pretty good? I mean, grasping at straws here but they do look good. Makeup crew certainly did its job. But there's no good story to fall back on, the characters are generic AF, and there's no actual Nazi zombies until long after the halfway point, and even they are pretty ridiculous. Sorry, but it's a no from me. 

My Number: 3/10

Mary Queen of Scots

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Mary Queen of Scots (2018): Mary Stuart's attempt to overthrow her cousin Elizabeth I, Queen of England, finds her condemned to years of imprisonment before facing execution.

Mary Queen of Scots is the classic film that can be summed up in two words: it's fine. It's an overbearing “important” and shamelessly “for your consideration” Oscar-bait film, but it's well acted, has great makeup and costumes, (both somewhat worthy of Oscar nominations - it's no easy feat to make Margot Robbie ugly, after all) but It's soooooo heavy-handed. A completely overbearing score sets the tone for you, the viewer, to understand the gravitas of this film and why the Academy should give it 10+ Oscar nominations. Clearly, Focus Features is trying to fill the void created by The Weinstein Company, but…. is that really the standard you want to grasp for? The “Queen vs. Queen” marketing campaign set forth in the advertising was completely overblown, as most of this film surrounds Queen Mary, (Saiorse Ronan, who, unlike Margot Robbie, doesn't age at a day over the film's 25+ year timeline - someone get me her beauty expert's contact info!) with Queen Elizabeth (Margot Robbie) being mostly delegated to a supporting role until the film's admittedly effective climax. But, of course, how can putting Saiorse Ronan and Margot Robbie on screen together not be great? Especially after building it up for 90+ minutes. In short, Mary Queen of Scots is….. fine. Need I say more?

My number: 5/10

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2/12/2019

Raw Thoughts: If Beale Street Could Talk

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For the beauty of the craft

If Beale Street Could Talk (2018): A woman in Harlem embraces her pregnancy while she and her family struggle to prove her fiancé innocent of a crime.

Barry Jenkins is a master filmmaker. Plain and simple. He can take any story, no matter how crass, and craft it into a mesmerizing work of art. That's what If Beale Street Could Talk is: an overbearing (and at times slightly insensitive) story composed by one of the true masters of the craft in Hollywood today. We are truly blessed to be in the presence of Barry Jenkins, who, unlike someone like Adam McKay, proved that his breakout film was no fluke.

The calling card of this film is the filmmaking itself. Director Barry Jenkins displays an extraordinary ability to make any scene captivating, regardless of circumstance. Barry Jenkins brought back most of his crew from Moonlight and excelled in the cinematography, editing, and score: all three are very close to the best I've seen in 2018, with the later being the best I've seen BAR NONE. Nicholas Britell follows up his amazing score for Moonlight with an equally captivating and memorable score. But this time, it also packs an emotional wallop that brought me to tears at several points. That's right: the SCORE of this film made me emotional. It's that good. Barry Jenkins personal cinematographer, James Laxton, crafts an incredible work of art with the camera lenses. Shots feel beautifully intimate while carrying an undeniable gravitas to them thanks to the intentionally out-of-focus backgrounds. Various scenes have a beautiful rhythm to them thanks to the constant and subtle camera movement. I honestly cannot believe Laxton was snubbed a Best Cinematography nomination. Performance-wise, Regina King leads the way, (and received a deserving Oscar nomination) but this is certainly an ensemble film. People like Bryan Tyree Henry, Diego Luna, Finn Wittrock, and Pedro Pascal only have a scene or two, but all of them do the best with what they are given. Especially Bryan Tyree Henry. Oh my GOD he's so good. He gets literally one scene, but his performance is unforgettable. When Sharon Rivers (King) finally gets her moment, though, she doesn't let it go to waste.

That said, I've been beating around the bush of the somewhat major fault of this film, and now we gotta talk about it. The story here is…..mediocre. It's overbearing and it hasn't aged particularly well. There are some voiceovers scattered throughout that do nothing but act as a crutch and overexplain things to the viewer, and the subject matter of this story feels a bit inopportune given the #MeToo era we currently live in. Barry Jenkins does a fairly good job at walking the tightrope between two very real problems, (and I, being the straight white man that I am, certainly don't claim to have any firsthand knowledge of either) but there were a few moments where I found myself a little uncomfortable at the approach. The voiceovers are the bigger culprit, though it doesn't detract too much from the overall film, because even as we see an overbearing voiceover, we're still looking at some gorgeous craft. But, sadly….. this story is no Moonlight. Nor does it even deserve to be used in the same sentence. 

In summary, the craft of this film was exquisite to watch, but it does surround a screenplay that is both crass and oppressive. Barry Jenkins makes this film great with his technical mastery, but the film is held back by it's subject material. Oh, and it's main characters. I haven't mentioned them at all to this point because Tish and Fonny are a tad forgettable The chemistry between them is…..uninspired. But when the craft is so intoxicating to look at, it's hard to care. This will be a phenomenal movie to watch in film class down the road, because this is exactly how movies should be made. 

My number: 8/10 Great.


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2/10/2019

Movie Review: Roma

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An intimate family epic

Roma (2018): A year in the life of a middle-class family's maid in Mexico City in the early 1970s.

Every so often, a glorious film comes along that completely reinvigorates my love of cinema. In 2017 it was Phantom Thread. This year it was films like The Favourite and Eighth Grade. Now, you can add Roma to the list. Director Alfonso Cuarón returns for his 8th feature film, set almost entirely in Mexico City in the early 70s. The acclaimed director also wrote the screenplay, produced the film, edited the film, and shot the film. In short, Roma is Alfonso Cuarón's baby, and it is undoubtedly his best work yet. (Which is high praise given his previous film, Gravity, was my number 1 film of 2013.) The film has a simple, intimate, yet emotionally powerful story surrounding the housekeeper Cleo (played by first time actress and star-in-the-making Yalitza Aparicio) and her relationship to the family she cares for as her life unfolds over the course of a year. That's it. Far cry from the technical achievement that was Cuarón's previous film. And yet, this film feels every bit as epic as Gravity did with the extra emotional kick that comes with a truly great story. If you haven't figured it out yet, Roma is well worth your time, and easily the best film Netflix has distributed to date. By a significant margin.

Let's start with the most obvious thing we can see: the acting. The entire cast, outside of Sofía (Marina de Tavira) are first time actors. (Furthering the mythos of Alfonso Cuarón) Cleo is the center of the story, and the intimate, human, genuine performance Yalitza Aparicio gives portraying this character is one of the best of the year. She effortlessly displays an immense range of emotions, and the genuineness of these emotions were increased thanks to the bold decision of Cuarón to hold back key plot details from her until they actually happened. (Yes, including the unforgettable emotional climax of the film.) Actually, that's a good moment to mention the fact that Cuarón was very secretive about the script. The entire film was shot sequentially, (which is actually fairly unusual in filmmaking) with the director often not even giving the actors the script for an individual scene until the day that scene was to be shot. (Something which director Hirokaza Kore-eda also did shooting Shoplifters, to achieve a similar effect.) While this does sometimes hurt the film more than it helps it, particularly in the opening few scenes, it's still mesmerizing to see this cast have as much chemistry with each other as they do with such an incredible level of authenticity.
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Yalitza Aparicio and Marco Graf in Roma
But the calling card, of course, is the sheer scale of Cuarón's vision. This film is a triumphant family epic if there ever was one. The production design, sound editing, sound mixing, and cinematography are all the best I saw/heard in 2018. Cuarón captures so many nuanced details in every frame: so many extras, creatures, and natural occurrences unfold to a dizzying extent in his grand (and I mean GRAND) one-shots. It will take your breath away, and needs to be adored on the largest screen possible. I know that's a bit of a cliché in movie reviews, but it's deserved for Roma. There was not another film that dropped in 2018 that will sweep you off your feet more. And it's all held together by some of the most amazing cinematography I've ever seen. Alfonso Cuarón certainly made Chivo (cinematographer Emmanuel Lubezki - originally slated to shoot Roma before scheduling conflicts arose and Cuarón's cinematographer on films like Gravity and Children of Men) proud with the stunning 65mm black and white aesthetic of the film. The camera is always a calm but confident presence, with a lot of slow, poignant pans from left to right and vice versa being the signature of Cuarón's style. With the two best-looking films of 2018 almost certainly being Roma and Pawel Pawlikowksi's Cold War, also shot in black and white, I think the great film critic Roger Ebert may have been right when he said color handicaps film. (That's a great article he once wrote, by the way. You should read it.)

And that doesn't even mention the sound design. The sound is another reason why you need to see this on a big screen. (At least watch it with surround sound.) The sound mixing is possibly the best I have ever heard, with a mesmeric attention to detail taken by Skip Lievsay, Alfonso Cuarón, and company. You are immersed with the sounds of Mexico City, with the sound making the camera feel like you are right in the middle of each scene. From shopkeepers to mariachi bands to something as nuanced as food being made behind you because the camera is facing the bar and the food is behind you, there is never a moment missed within the sound mixing.

This film is a masterpiece. It'll capture you within the first few moments and not let you go until the final plane soars overhead. It is a flawless epic that is beautiful in both its emotional intimacy and ambitious scale. You'll laugh, you'll cry, and do everything in between. A film like this is exactly why I love the movies, and it gives me the mental drive I need to sit through lesser works. It's also a wonderful foray into the world of foreign film: if you've always been intimidated at the idea of having to read the dialogue unfolding in front of you, (I know I was for a long time) this is a fantastic place to start. And, with it on Netflix right now, there's every reason for you to make tonight a movie night.

The Critique: an emotional powerhouse told on a grandiose scale, Alfonso Cuarón's triumphant masterpiece is a wonderful reminder of why I am hopelessly in love with the world of cinema.

The Recommendation: An absolute must-see for all.

Rewatchability: High

The Verdict: 10/10 Perfect.



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​I believe you've gotta have fun with everything you do. Otherwise, what's the point?

​Also, say anything bad about Greta Gerwig or 
Timothée Chalamet and I will fight you with some very strong emotions.
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