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Reviews
Spencer (2021)
Kristen Stewart defies the odds in a cinematic fable.
It feels like yesterday when divisive reactions washed over the press and film community due to the casting of Kristen Stewart as one Princess Diana; now we bear witness to some of the most rapturous acclaim the American actress has received in her career. A bold new chapter for the former teen idol, or blatant Oscar bait? Audience and community reactions beg to differ, but the critics have it right. Pablo Larraín's Spencer comes from the most sincere breed of awards contender- one that stirs the soul in the most restrained yet unexpected ways.
The scene is December 1991. Diana, Princess of Wales, is simultaneously one of the most cherished, sought-after and widely criticized people in the mass media; we as an audience witness her grappling with the expectations of her family, her contentious husband Prince Charles, being apart of her childrens' lives and grappling with her personal demons.
It's been a long tradition for filmmakers to make quote-on quote "action movies with words" out of contained dramatic situations in a limited span of time, and Pablo's film here, fed by the immaculate writing of U. K. auteur Steven Knight, is another title to add to these movies. There's also shades of non-Good Will Hunting Gus Van Sant (Elephant and Paranoid Park) in how both directors make the most of their slow-burn stride.
The way the story unfolds is, quite simply, pages from a biography or fable brought to the silver screen in the best way. The filmmakers were even wise enough to address this film's fable makeup in the opening title cards, and with that out of the way we witness a blistering Psycho-Drama that leaves us in questioning as the credits roll; also go in knowing that no conventional biopic afternotes are to be found here. Yes, history buffs will either endorse or tear into the historical liberties taken here; but time and time again people like myself take the best of cinematic historical fiction for what they are- movies equivalent to stage plays that exist to make a point, whether that'd be something about history, our human subjects or moral principles.
Rarely has a film over the past few years, aside from exceptions like Uncut Gems, have captured anxiety as shrewdly as Spencer. A dinner scene within the first 30 minutes is a prime example as Diana must hold herself together in front of her spoiled, dysfunctional family. The notorious mass media blitz that followed Diana for much of her professional life is kept to a minimum here, which also aids to Pablo's indie workmanship, and provides a new lens to the everlasting documentation and fiction around Diana and her royal family. A scene showcasing fellow members watching paparazzi close in on Diana during a church Christmas session is particulary glowing in melancholy and intensity.
I didn't know until the closing credits that the impeccable score was composed by Johnny Greenwood. It's both awards-worthy and flexible in many tones- at times it evocates British royalty typically heard in these kinds of movies, but it can also be blistering in suspense and psychologically troubling, plus there's even Jazz overtones in several scenes. French cinematographer Claire Mathon worked throughout the 2000's in short film territory to break into bigger and better prospects; she finally earned her due with Portrait of a Lady on Fire and proves that she's not a one-hit wonder here in Spencer. Her variety of wide-angle shots and prolonged takes are a wonder to behold, plus there's a colorful, muted sheen that lends the film an earthly, dreamlike quality.
Kristen Stewart might continue to be a polarizing actress amongst evaluators of current cinema (the Twilight films certainly didn't aid her nor Robert Pattinson), but she has proven her dedication to the most prestigious affairs in art-house cinema over the past several years. With all eyes on her in a role that numerous contemporaries would stake for, Stewart is not only serviceable as Diana- she excels. She's simultaneously endearing, funny, shy, and can both show and tell her wide-ranging emotions. Her voice and makeup almost erase any trace of the public image of Kristen Stewart, except for one scene where she laughs alongside her companion Maggie, a royal dresser. We truly feel her yearning for a life beyond royalty, and the pain of being surveillanced 24/7 by the people she trusts most, not just the media circus.
While Stewart will likely clean house with accolades, the rest of the cast shouldn't be ignored- Timothy Spall and Jack Farthing are both ominous in presence as Alistar Gregory and Charles respectively. Jack's Charles is the best kind of unlikeable in just about every scene he's in. The other standout is aforementioned Maggie, played by Sally Hawkins. Mrs. Hawkins has been a U. K. cinema darling throughout the 2010's, and she earned her due in The Shape of Water. Despite her limited screentime here in Spencer, Diana's yearning for her and Maggie's bond when they're together is captivating.
There've been case studies of when a highly publicized actor or actress takes on a role of biblical proportions to re-establish their credit in tinseltown, only to set their career back several steps (not to mention the wrath of the Golden Raspberry Awards). Spencer and Kristen Stewart is not one of them because there's a harminous foundation of thought-out and sincere writing, respectable talent in front of and behind the camera that makes Stewart's contribution to Diana's legend an essential cog of a well-oiled machine. Spencer is Oscar-worthy, not Oscar-bait, of the highest order.
RATING: 4 out of 4 stars.
Antlers (2021)
Ambitious if somewhat conventional.
If there was any 21st century director whose work harkens back to the aesthetic of the New Hollywood movement, it's Scott Cooper. From Crazy Heart to Out of the Furnace, Black Mass and Hostiles- quality fluctuates on each prospect, but their craftsmanship and assembly line of awe-inspiring performances are undeniable, in addition to knowing that it's Cooper behind the lens is an elephant in the room for the right reasons. His trademark raw direction and human drama make him an alluring candidate for Horror; so after numerous delays and a teaser trailer dating back to 2019, we can feast on Antlers- an elevated terror event if there ever was one.
Shepherded by Guillermo Del Toro and based on TV showrunner Nick Antosca's short story The Quiet Boy; Antlers deals with siblings Julia, a school teacher, and Paul Meadows, town sheriff, as they attempt to save one of her students- Lucas Weaver- from an impending supernatural threat.
Surrounding this premise is the petrifying, barren landscape of an unnamed blue-collar town in Oregon, as it's constantly drenched in fog, clouds and forests with plenty of dead to spare. Scott Cooper has proven before how his immersiveness into a small town and rural atmosphere enhances his cinematic ventures, and this is one of his best yet. To think that Florian Hoffmeister, the DP behind Mortdecai and Johnny English Strikes Again, could make us care about how it looks, keep him on your radar.
Keri Russell made herself a pièce de résistance in The Americans, one of FX's most consistently mesmerizing serial dramas, and deserves to be just as successful in multiplexes. She has a physical and emotional range that could easily crossover to Horror, and her performance as Julia in Antlers proves that hypothesis correct. Jesse Plemons is much more reserved and doesn't get to truly compel as much as Russell, but still stands on his own and we care for him as he stands up for Jessica, Lucas and their town. Speaking of Lucas, Jeremy T. Thomas is a child actor who truly gave it his all as many others around his age have in a bevy of event Horror films in the past several years.
Antlers is no doubt a slow burn at times; its allure and thematics can recall many elevated Horror pictures from the likes of A24, etc. It however lacks the thematic depth of its promising premise, or even some of the finest Horror features in recent memory (ones directed by Ari Aster, Jordan Peele, Robert Eggers). In some ways we have more of a straight forward creature feature, but the writers sell you on the human drama and terror to maintain engagement. The climax and final act are major benefactors in ensuring that. I'm also usually not one to bemoan about specific character decisions in movies being bad because bad ones can be justified in certain cases (despite what online clickbaiters will lead you to believe), but one in particular during the second act was bizzare and cliched despite, again, suspense and atmosphere boasting the scene.
Antlers has led Scott Cooper to, yet again, fall into lukewarm reception like two of his past features have. Will it become a cult classic for Horror fans and even the most dedicated of critics? Who knows. But it was most certainly worth the investment and energy given its road to theaters. Watch it at nighttime too.
RATING: 3 out of 4 stars.
Eternals (2021)
Does it match the ambition of its title?
Opening up with a Blade Runner-esque text prologue, Chloé Zhao's benefaction to the (quite eternally at this point) Marvel Cinematic Universe immediately pulls us into a beachside action set piece that establishes our colorful cast of heroes. This prologue segways into Time by Pink Floyd, the second time time the band has been utilized in the Marvel canon; and while the usage of popular classics has grown to cringe-inducing levels in the past several years, this fits both thematically and somewhat ironically. You truly feel that Time passes throughout the story as we follow ten cosmic beings who must face their destiny in saving Earth from their dastardly counterparts that resemble the aliens from A Quiet Place.
It's suffice to say that the premise and first few minutes can immediately engage our audience even if the rest of the film isn't the sum of its parts. It's already apparent that Eternals may just be the most divisive MCU installment since Thor: The Dark World, but no need to worry: Eternals eclipses the latter in just about every sense. It isn't just that it brings sections of the universe full circle, it's that it utilizes Zhao's direction in its near three-hour runtime, and we can make even more sense of her overnight success from Nomadland. I was quite surprised by how much maturity has been brought to the universe, coming off the heels of Avengers: Endgame. In some ways this is a return to form to the early days of Iron Man when the creative forces that be were still trying to find their identity in the grand scheme of things, and Eternals on its own succeeded in many ways.
Zhao bridges the B-movie allure of many modern super efforts (especially in its costumes) with her prestigious background- and its crowning achievement to be sung in many reviews will be Ben Davis's cinematography. What many will tell you about some of the genre hall-of fame films is where they illuminate the brightest is their ability to make you forget you're watching a superhero film, whether it'd be in writing or aesthetics. Eternals most certainly wins in the latter with its naturalistic locations, sightful evocations of isolation, storm clouds, you name it. One can most certainly believe the press notes of her influence from Terrence Malick. The battle sequences and effects are as appealing as some of Marvel's best films, and in some cases even more brutal.
The Marvel Cinematic Universe may be diverse in characters and varying genres throughout the years; but none have transcended the supercapes genre like only a select few have. Sadly, even Eternals' geek roots are too obvious, and much of that comes from Marvel's usual brand of hit-and miss humor. It's understandable that in a generation of irony, many fans will want these movies breaded and buttered in self-deprecation and "I know I'm watching a blockbuster" mechanics; but here the results are uneven though thankfully not to Thor: The Dark World status eye-brow raising. One moment that comes close to that is during the climax and a decision with a character arc that partly amounts to a punchline.
Despite some tonal deficiencies, one issue that certain critics have brought up, the runtime, is thankfully not much to differ. Instead of a breakneck speed, Zhao's direction takes its time to make every one of us care about the Eternals. So much so that a character tragedy is carefully concealed and makes way for much needed third-act tension.
Like many other TV stars, Gemma Chan is one who had trouble translating her small-screen bed of roses to a silver one. Now she's played not one but two MCU characters (double-dipping in the comic book field is quite the trend amongst popular actors these days), and her turn as Sersi should be proof that she can lend herself to dramatic leads in the future. Her chemistry with Richard Madden's Ikaris is part of what makes them the ones who carry the cast on their shoulders; Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, Kumail Nanjiani are all engaging and funny to varying results. Let's also not forget seasoned actresses Salma Hayek and Angelina Jolie. The former makes the most of her limited screentime, and Mrs. Jolie is up there with our two leads as Thena. Fans will await for her return in a future installment.
Eternals is at least half a leap forward for its respective universe in terms of maturity; a giant one in aesthetic, craftsmanship and representation; and a lateral move for Chloé Zhao's career. In a world of apples and oranges, prestigious films and blockbusters, she's another example of that you can commit to both. And let's also lay to rest the rumors of Disney bribing critics; recent Rotten Tomatoes history has showcased Dumbo, The Rise of Skywalker and Eternals- I can name more.
RATING: 3 out of 4 stars.
Last Night in Soho (2021)
Edgar Wright's leap into Horror is a sight to behold.
It's indisputable fact that Hollywood and filmmakers from overseas release numerous movies built on original screenplays despite what certain people say otherwise. (Not everything in the 80's was original either). 2021 has treated us to a number of them that should be honored for many years, and some have been built at the hands of some of our finest auteurs. With that being said, Edgar Wright was a no-brainer for this Halloween season, and he stood and delivered with Last Night in Soho.
Countless English directors have crossed over into America, and especially in the last 20+ years. Mr. Wright's seamless contributions to farce with his Cornetto Trilogy and Scott Pilgrim vs. The World lended themselves to crossing over into Action with Baby Driver, so Psychological Horror is a natural evolution. When I say Psychological, better believe it. Last Night in Soho contains some supernatural thrills in conjunction with its main genre, but jump scares and gore are not omnipresent. No parlor tricks, no conventional aesthetics; it's an Edgar Wright coaster through and through. Even with the editing of Baby Driver champion Paul Machliss and seamless pace of 116 minutes, Wright's direction also ensures tonal unity.
Rising star Thomasin McKenzie makes for the essential template for Eloise Turner, an aspiring fashion designer who finds her fluctuating reality, in a city that threatens to swallow her, converging with her apartment's shady past and a famed 1960's entertainer. Scream queen and dramatic alum Anya-Taylor Joy is on her way to become one of the defining acts of this generation, and her presence as Sandie proves that further; like her breakthrough in Robert Eggers' The Witch, it borders on being a neo-silent film pastiche. Matt Smith, Diana Rigg and Terrence Stamp are effortlessly chilling; unknown star Michael Ajao summers in his onscreen chemistry as a classmate and love interest of Eloise.
Having a female perspective on the writing in Krysty Wilson-Cairns is a major service to Wright, given the subject matter and entering a new genre. While Wright's style doesn't always translate to proper terror, the mystery at the core of the plot earns its fruits. It's one that thematically lends itself to the 1960's as much as it's relevant today. That's part of what makes Last Night in Soho more than just another struggling artist story, more than potential box-office fodder (ie. Halloween Kills). It's a daring and sincere leap forward for one of our most favored pulp directors in recent history.
RATING: 3.5 out of 4 stars.
Dune: Part One (2021)
Denis Villeneuve truly brings the spice to this long-awaited adaptation.
After so long of Science-Fiction being a niche prospect, 1968's 2001: A Space Odyssey could've been another one of those types to be shelved in cinephile archives and comic-con conventions. Instead it paved the way for more to come like 1977's Star Wars, Blade Runner, Ex Machina, etc. Even before all of them was a peculiar novel by Frank Herbert. Once considered unfilmable, the closest we had was child's play tampered by studio interference (though it had a worthy director in one David Lynch). What better ambassador to achieve the impossible this 21st century than Denis Villeneuve, who resurrected another 80's Sci-Fi property into the mainstream?
With the award-winning aid of writers Jon Spaihts and Eric Roth, Villeneuve's scope translated the first half of the novel with ease. It manages to not fall victim to what some Part 1/Part 2 adaptations have in the past- Actually be a complete story of its own. Sure it does lean a lot into exposition and character development, but they're the best kind. It's also sharpened by the best world-building of Villeneuve's filmography in visuals, organic dialogue and oppressive scope. Hans Zimmer's score feels like a natural progression from his all-encompassing filmography of the 2010's; electric synth-waves and earth-shattering vibrations juxtaposed to world beats and Gregorian chants.
Dune might have one of the biggest feats for an ensemble cast in a long time, and they're all worth the rave. When people look back at which actors exemplified the hottest talent of the Timothee Chalamet's Paul Atreides has echoes of his 1984 counterpart Kyle MacLachlan, but brings his own spin on the shy warrior. Jason Momoa brings his charisma and sense of humor to Duncan Idaho, Paul's brother. Oscar Issac and Rebecca Ferguson as Paul's parents bring chilling warmth and anxiety alongside Paul. Stellan Skarsgard's villainous Vladimir Harkonnen is one of several stunning evocations of 1979's Apocalypse Now sprinkled throughout. Josh Brolin is a worthy successor to Patrick Stewart as Gurney Halleck; Dave Bautista and Zendaya are also specialized in their smaller roles, though don't get too excited as they're kept to a minimum.
Denis' prospect here fulfills his promise to strike the right balance between being blockbuster game and being true to his art-house roots, and the packed theater I was in was great proof of that. Here's to hoping that a Part 2 and what streaming series that may come will complete the cycle in making Frank Herberts' legacy as canonized as the most legendary of book adaptations- The Lord of the Rings, Harry Potter, etc. Once thought of as unattainable, now only halfway there.
RATING: 3.5 out of 4 stars.
The Last Duel (2021)
Ridley Scott's return to the Middle Ages- crossed with Rashomon.
It was only a matter of time before Sir Ridley Scott, one who's traveled the world and seven seas with his cinematic art and genre crossing, returned to the Historical Epic in Medieval times. The Last Duel makes complete sense as a spiritual successor to his 2005 landmark Kingdom of Heaven, and thank luck for 2021 because it couldn't have come sooner.
Kingdom of Heaven was his Crusades Epic that attempted to make sense of turn-of the century issues, political and religious. Here with The Last Duel, it's moral and social as 13th century aristocrat Marguerite de Carrouges (Marguerite de Carrouges) must gain justice for horrible deeds committed against her by Jacques Le Gris (Adam Driver). Scott enchants the audience and dares them to take a side with any of the three leads via utilization of the Rashomon effect, a cinematic technique etched into history by the legendary Akira Kurosawa in his own turn-of the decade motion picture (released in 1950).
The Middle Ages have never looked so sweeter and sour through the lens of Scott and cinematographer Dariusz Wolski. The lack of sun combined with the seemingly everlasting winters and falls, muddy environments, fire, darkly lit interiors, battle sequences and especially the duels are all honed in with old-fashioned practical sets and wizardry. Several of the performances are also old-fashioned; I was never entirely sure what accent Matt Damon and Ben Affleck were employing with Jean de Carrouges and Count Pierre d'Alençon respectively, but they add to the characters more than they distract. The actors are recognizable in the best way, and can be taken with the most dire straits throughout the film. Affleck's Pierre d'Alençon borders on camp at times, but one can be sure it was likely intentional. 50s and 60s genre epic filmmaking has found ways to seep back into our modern times, and the old-fashioned filmmaking and performances combined with modern social commentary makes for the best of both worlds. Adam Driver is as sizzling as ever in his performance, both in dialogue and onscreen emotion. Young actress Jodie Comer has been making a name for herself on the big and small screen; she shall continue to do so in cinema with her award-worthy performance as Marguerite under the reign.
Sir Ridley Scott has had and probably will continue to stumble and fall with his projects, but when he achieves something immaculate, it must be embraced on the most articulate theater screen possible. The Last Duel is an engaging, merciless and bold fable for our times.
RATING: 3.5 out of 4 stars.
No Time to Die (2021)
No Time to Die sends Daniel Craig's James Bond off triumphantly, shaken and stirred.
The people who started a little website called Daniel Craig Not Bond. Com must've had a ball of tears when the little actor from that could captivated the world with his brutally honest portrayal of a freshly pruned agent 007 in Casino Royale. There were the most startling peaks and valleys in getting him to where he is today- a star on the Hollywood walk, and a once-in a lifetime finale to a franchise that never saw true sunsets until now.
If there's a hero that the world needs to inspire us through, say it with me now, these challenging times and after the so-called "worst year ever", it's everyone's favorite template of all the secret agents. All the more fitting is that No Time to Die didn't make it to cinemas until now due to other unforeseen circumstances, including the bowing out of Academy Award winner Danny Boyle. The 6 year long boulevard of broken dreams makes this film all the more bittersweet and triumphant.
No Time to Die brings the tonal cycle of the old guard and Craig's grounded prior efforts together in suiting harmony, even more so than Spectre which noticeably struggled with its balancing act. We see the most possibly grounded versions of gadgets and villain technology in this universe, plus there's a virus of nanobots that eliminate people by touching them- Talk about being prophetic. There's humor, mad scientists, even more defying stunts and another exceptional villain base of operations. The writing team is one to behold, including being next in line of a trend of bringing comedy meisters into serious franchise efforts- here it's Phoebe Waller-Bridge. The humor that likely came from here was organic and never reached Spectre's most unflattering jokes nor the tone-deafness of some of the Marvel movies or It: Chapter Two. Rabid fans who were expecting (and probably wanting) the writers to reverse the franchise into pandering or softer in polarizing times will be proven wrong as they maintain a lot of Bond's integrity and inner hurt while naturally progressing his arc. (And no, Lashana Lynch's Nomi does not become "the new James Bond").
If Craig's portrayal in Spectre was that of a quiet, Noir man who didn't say much due to grieving after the death of Judi Dench's M, we see Bond even more vocal here. He's at his most classic and witty, but also mature and vulnerable, and as always- at his wit's end. About the vulnerability; he even comes near crying and even does towards the end (though not to the point of balling). Look out for a tension-filled scene between him and Rami Malek's Lyutsifer Safin, as the world and personal matters are at stake. This was completely earned after years of seeing him so restrained yet willing himself to queen and country at any moment, and should be a truly everlasting moment in his canon.
Cary Joji Fukunaga of True Detective fame was a shoo-in for the throne of Sam Mendes, and here he earns his cinematic stripes. In conjunction is Linus Sandgren's cinematography- lush colors and harsh blues mixed naturally with grittiness, real locations and sets that can almost remind one of Michael Mann. The brisk direction also makes for a near-three hour runtime that surprisingly doesn't toil.
How about that cast- Returning agents Ben Whishaw as Q and Naomie Harris's Moneypenny are as swell as ever due to their ability to be believable in the most dire straits and moments of relief. Jeffrey Wright's Felix Leiter and Ralph Fiennes' M also receive closure in the most unexpected ways; this includes a particularly tense exchange between Commander Bond and M. Newcomer Lashana Lynch delivers as Bond's successor (and even his counterpart) Nomi. Two of the biggest creedences that should be awarded, that side of Craig, are Léa Seydoux as Madeleine Swann and Malek's Safin. With her establishment and small arc in Spectre out of the way, she truly brings it home emotionally. Safin, like Christoph Waltz's Blofeld in our prior excursion, has only limited screen time, but when he's on screen he's simultaneously unstoppable, eldritch and understated.
No Time to Die finds a midway breach between the more human than human Post-9/11 outings of post Nolan's Batman and the blockbuster excess of old-fashioned 007 and our modern times. It's everything one could hope for in a Bond swan song, much like The Dark Knight Rises did for Batman or Wolverine's Logan. It's cinematic catharsis, plain and simple.
RATING: 4 out of 4 stars.
The Many Saints of Newark (2021)
The cast and direction excels for a disappointing prequel.
David Chase has made an astronomical career for himself off of one show- The Sopranos. The beloved HBO series was one to put its own spin on the tone of Martin Scorsese's mob movies from the 70's-90's and usher in what is now considered the golden age of TV and streaming. May James Gandolfini rest in peace for he created one of the most beloved villain protagonists of this generation. With that in mind, a movie was bound to happen, and rightfully so. The problem though is that it became striken with a moderate case of prequelitis- this affected the likes of Star Wars: The Phantom Menace and Rise of the Planet of the Apes.
Give credit where credit is due- David Chase stuck to his ground and has likely obtained what he wanted; he doesn't owe the fans one singular product. Aiding him is the direction of Sopranos veteran Alan Taylor, who makes the aesthetic of the series translate to cinema and the desaturated color palette all the watchable. The 1970's nostalgia will be easy to digest and is mostly organic. The cast of characters, much like the series, are colorful and stand out in spite of varying screentimes. The Sopranos' evocation of Scorsese's Goodfellas comes full circle here in that its lead Ray Liotta plays not one, but two roles as twin brothers Hollywood and Sally Moltisanti. He excels, as well as our headliner Alessandro Nivola in the role of Tony Soprano's uncle. Leslie Odom Jr, Jon Bernthal and Corey Stoll were also delightful to see on screen; not to mention Vera Farmiga as Tony Soprano's overbearing, toxic mother Livia. Michael Gandolfini had quite the shoes to fill coming into his father's throne as a young Tony, and setting aside the possibility of a sequel he was mesmerizing and you await whenever he'd come back on screen.
The Many Saints of Newark can leave one in a conundrum because it's one of the more engaging films to come out of the gangster movie revival of the 2010's/2020's (especially compared to somnolent fests like Black Mass), yet it also fizzles out in the third act and a lot of the events that transpire beforehand don't have much impact due to a lack of clear direction. Multiple storylines can be a compelling thing in cinema, and they're utilized here to convey the environment that makes Tony who he comes to be in the series. For people who haven't watched the series or were mislead by the marketing to believe this is Tony Soprano's Godfather Part II, disappointment is unavoidable. I'm an advocate for Cinemascore, and the C+ that audiences gave this film isn't out of line despite what disgruntled fans and critics might say.
For the most superfans of Sopranos fans or Sunday HBO viewers, The Many Saints of Newark should compel you and leave you wanting more. For those who weren't pre-initiated like myself or are in need of a more punctuated screenplay, this wasn't worth all the rave.
RATING: 2.5 out of 4 stars.
Jungle Cruise (2021)
Disney delivers a mostly swinging comeback during pandemic times.
Jungle Cruise is a delightfully fun adventure film that finds a compelling, if uneven, swing between old-fashioned adventure cinema and the modern blockbuster mechanics of films like Jumanji: Welcome to the Jungle or the post-Pirates of the Caribbean crusades from Disney. Dwayne Johnson is as charming as ever, and assisting him are the company of Emily Blunt and Jack Whitehall. Blunt has been apparently finding her path in Hollywood with well-crafted popcorn entertainment and more thoughtful films like A Quiet Place; I certainly hope she continues to go down this path of success.
By the way, if Metallica was going to license 'Nothing Else Matters' to any composer to cover it for a Disney picture, Jungle Cruise definitely makes the most sense.
Grade- 3/4 stars.
Free Guy (2021)
A deliciously original romp for gamers and non-gamers alike.
Free Guy is a delightfully original, hilarious and even thoughtful plunge into the world of online gaming. The sardonic writing of Matt Lieberman and Zak Penn also ensures that the limited locations of the film feel gargantuan in scope in addition to the clever direction of Shawn Levy; the film even takes some unexpected turns if you don't judge movies by their trailers.
If you're one to voice the talents behind the numerous original screenplays that are turned into movies every year, both mainstream and obscure, this will be a must-see while it's still in theaters and when it comes for streaming.
Rating: 3.5 out of 4 stars.
Old (2021)
A unique but not fully cooked summer thriller.
M. Night Shyamalan might be only a few directors in history who've simultaneously received as much acclaim as mockery. The next in his lineup of thrillers that eerily evoke The Twilight Zone- Old, based on the 2010 French graphic novel, is engaging right off the bat and has a wholely unique concept- a simultaneous evocation of the passage of time and horrors of old age with a Thriller concept of escaping an island before time runs out. The charasmatic Gael García Bernal has been around for a long time, and he delivers as Guy Cappa, the husband to Vicky Krieps's Prisca, the parents to children age up to young adults before their own eyes in the span of hours. The rest of the cast shine emotionally and even to our horror at times despite spurts of clunky or nearly inaudible dialogue. Old turns silly at times and doesn't quite deliver on its promising concept, nor its influence from Australian New Wave classics like Walkabout, Picnic at Hanging Rock and Jaws. Shyamalan does halfway succeed with his trademark twist ending here despite it being rushed.
The critics and audiences seem to agree on Old being either decent, mediocre or even terrible; I'm in the first camp however. If you want a unique experience to break the monotony of being at home and see obscure graphic novels being brought onto screen, check this out though stay reserved.
Grade- 2.5 out of 4 stars.
Stillwater (2021)
Todd McCarthy's successor to Spotlight has arrived.
Many people, particularly cinephiles and indie filmmakers, push this conjecture that Hollywood doesn't release original movies anymore when they clearly do every year. Stillwater is one of them- a bold, subversive film that's not only timely but also emotionally riveting. The performances, direction and production value make this a worthy follow-up to Todd McCarthy's 2015 hit Spotlight. Matt Damon is as fantastic as ever along with the rest of the cast. The film immerses the viewer into the everyday lives and culture of both working class Americans and in France, and without being patronizing to either side. One of the best of 2021.
Grade- 4/4 stars.
A Quiet Place Part II (2020)
Sizzling in tantalizing silence and emotion.
John Krasinski's masterful 'A Quiet Place' from 2018, while being one of the numerous original films to come out of Hollywood every year, seems like it's too good to be true. A comedic actor who had been making his transition into more dramatic and action territory made and starred, alongside his wife, in his directorial debut that made for an incendiary and riveting Horror picture with minimal dialogue that'd then sweep up plaudits of critical acclaim, award nominations including wins from the AFI and National Board of Review, plus importantly- the respect of audiences (and it was produced by Michael Bay of all people). Now after a brutal start of the decade for cinema, Krasinski's follow-up is deservedly being seen in the biggest screen possible because it's a richly spare and satisfying sequel.
'Part II' hits several of the hallmarks of the best type of sequel- more world-building, new characters, character growth and not forgetting what made its predecessor so novel. Krasinski's direction is as good as ever, and it isn't merely the juxtaposition of silence, visual storytelling, spare score, cinematography; there's also the hair-raising editing that combines several aligning scenes and moments in separate locations together like the tracks of a Pink Floyd album. You'll be more than glad to see the returning cast of the Abbot family come into their own again, and especially the daughter Regan played by Millicent Simmonds. She was pivotal in 'Part I', but in many ways this is her film- not only in her interactions with the family, but also newcomer Emmett. Cillian Murphy's turn here as the grizzled loner is a perfect successor to Krasinski's Lee from 'Part I', plus his arc of being an unlikely surrogate father to Regan and finding salvation along the way is immaculate.
There are hints in the trailer that there's a new location involving some survivors, which in-film makes for a compelling albeit temporary development. If any one flaw were to be pinpointed, it's that we get a merely 5 minutes or so with this section before the climax. Some viewers might be jarred by the aging of Regan and her brother Marcus (rising young star Noah Jupe), but this is minor once you get in the swing of events and care about these characters. If you can handle the recastings of Rachel Dawes in 'The Dark Knight' and Rhode in the Marvel Universe despite them looking starkly different from those who came before (which don't bother me either), than aging children isn't a pushback.
If any original film these past several years deserved a sequel, 'A Quiet Place' was a shoo-in. 'The Nice Guys 2' seems like a pipe dream at this point, but 'Part II' here is a wish granted from the fountain. It might not quite have that first-time magic of 'Part I', but its ingenuity and forward-momentum plot shouldn't be taken for granted, especially in 2021.
Grade- 3.5 out of 4 stars.
Spiral: From the Book of Saw (2021)
A somewhat refreshing but disjointed affair.
The 2000s were a strange decade for Horror, and while there was no shortage of quality outings, standouts included increasingly preposterous sagas like Saw and Paranormal Activity. The little home-grown movies that could each grew into those Horror parodies you see in children's cartoons. The most unlikely of superstars, Chris Rock, has now collaborated with Lionsgate and director Darren Lynn Bousman to jumpstart Saw with a revival that has some back to basics thrown in. 'Spiral' is trying to be for this franchise like 'New Nightmare' was for A Nightmare on Elm Street in the 90s- and it halfway succeeds. It may just be on par with the original installment in terms of creativity and thematic links to David Fincher's 'Seven', and there's certainly no contest between this and the Red Bull fueled froth that came in between- but it's also ham-fisted to a fault.
It should be no surprise nowadays when a comedic actor or creator reinvents themselves with Horror or Drama (Jordan Peele, Craig Mazin with 'Chernobyl'), so Rock delivers as Det. Zeke Banks with sincerity. With his manifesto from years back comes a slew of humor that appeals to a more diverse audience. Samuel L. Jackson as Zeke's father/retired police chief is entertaining and scene-chewing as always. He's however not in this film as much as you might be led to believe, giving more room for Rock to steal the show.
Its injections of comedic relief are cringey at times, but certainly a cut above the worst moments in 'It: Chapter Two' and some of the Marvel installments. The direction and production values are also at times noteworthy; with the sepia-toned, heat wave induced big city and its urban atmosphere help breathe new life.
However the direction also comes a good amount of the typical Saw schtick- high-pitched jump scares and gimmicky editing. Many trailers aren't as bad as a number of cinephiles make them out to be, but here's an exception. The first trailer show a level of nuance in maneuvering suspense much better than the final product: because much of the dialogue is clunky, shouty and almost incapable of understatement- save for the final twist that pays off many of the themes and imagery set up throughout. They also mirror our more socially conscious country, and the roles of good and bad cops (guess what the dead pigs that Jigsaw used to use is brought back as symbolism for). It's a very 2020 Horror film and probably not as clever as it could be, but the final twist and elements in between may just as well be the next best thing for this dinosaur franchise.
Grade- 2.5 out of 4 stars.
Star Wars: Episode II - Attack of the Clones (2002)
OLDER MOVIE REVIEW: Attack of the Clones. A better prequel than many say, it is.
Despite the notion that any deliberation around 'Star Wars has the ability to start World War III, I highly doubt that this take will be the most incendiary yet. Thanks to a good friend of mine, I've been sharing a Disney+ account to see some of the hottest content on there that pertains to me. Before I dive into 'The Mandalorian' and eventually the everlong 'Clone Wars' series, I'll be rewatching some of the feature films to cement my ranking of the 'Skywalker Saga' (my top 4 and bottom 2-3 are rigged in place). So why not start off with a bang and say that I've come back around to reliking 'Attack of the Clones'? Although 'Revenge of the Sith' and to some extent the whole prequel trilogy hold a place of nostalgia for many, the only one that I believe touches the sky is of course, 'Revenge of the Sith'. 'The Phantom Menace', while not awful, remains a tedious watch due to its slog handling of the political storylines, a bulk of its plot being an uninteresting slow burn that merely provides some building blocks for the future episodes. 'Episode II' thankfully provides a lot of payoff as its own contained chapter before 'Episode III', and it's far more engaging and interesting despite being clumsy at times.
I've always loved the idea of the franchise utilizing different genres (including a 'Star Wars' Horror novel that I need to read), and George Lucas's plot here channels many elements of Noir and the 'James Bond' canon- Obi-Wan's investigation into Senator Amidala's assassin, Jango Fett, evocates 'Dr. No' plus of course there's 007 Hall of Fame champion Christopher Lee in the role of Count Dooku. There's also Coruscant that resembles portions of 'Blade Runner's' Los Angeles, and the stunning world of Kamino with its black, rainy atmosphere. It's effectively used as a backdrop for us seeing the assembly of the clone army which would soon become a vital key to the downfall of the Jedi. There's a low-key tension filled scene as Obi-Wan questions Jango Fett in his and his son's small quarters about his involvement in the clone army that's also interesting to see. Ironically enough, Jango is given more to do and charisma than his more renowned son had in either 'Episodes V' nor 'IV'- oops. Temuera Morrison gives a subtle performance that has also aided him in getting to portray Boba in 'The Mandalorian'.
Ewan McGregor has often been cited as one of the best parts of the prequels, and he's as good as ever here in and in 'Episode III'. He greatly displays sharp wisdom, and a vulnerability like when he's trying to get Anakin to control his feelings after Padme is nearly killed during the climax. To be fair though, him scolding Anakin for accidentally losing his lightsaber is rubbish. Natalie Portman gets to shine more as Padmé than in 'Episode I' despite being shortchanged by some of her dialogue.
As for the elephant in the room- Hayden Christensen, who's been made out to be for this trilogy to 'The Godfather III's' Sofia Coppola: He's out of tune in many parts, unable to convey Anakin's awkward nature into something tangible; but Hayden nonetheless gives a strong effort and shines in certain scenes. One of the emotional highpoints of this picture is the death of Anakin's mother Shmi, it's heartbreaking and excellently timed; plus George was able to restrain and make the dialogue work. Hayden's time as Space Hitler in Training improved a lot in 'Episode III', and he's almost excellent in that as well (the Razzies awarding him Worst Supporting Actor for III was uncalled for and major overkill). There's no way to predict what performance Lucas would've gotten out of the actors considered for Anakin, so Hayden has received a deserved break from certain fans in recent years (although the thought of Paul Walker playing him is pretty exciting). The other performances are either serviceable to solid; like Ian McDiarmid, Samuel L. Jackson, Frank Oz and especially Christopher Lee as Dooku, who makes for a noteworthy adversary.
Lucas's fluctuating writing skills are exposed in certain sequences (though nowhere near as abominable as the almost cult like hatedom for the trilogy has made them out to be)- Anakin's plan to catch Padme's attempted assassin on Coruscant is dense (her resting in a bedroom with loose glass that Obi-Wan jumps through), Anakin being the only one left with Padmé on Naboo free to lollygag in open areas and fields for assassins to drop by. I buy why Padmé returns Anakin's feelings, but their affair on her home planet is awkward and plays like bad fanfiction (his speech to her by the firepit comes out musically, like a rejected Taylor Swift single). To be fair though; if I had to protect Natalie Portman on a far-away planet, my feelings would make me behave irrationally (tee-hee). One unwarranted complaint is over Padme marrying Anakin despite everything that went down- the warning signs of future bad husbands can be overlooked early on, same with Anakin. Plus it's clearly established that the Tusken Raiders who tortured his mother are savages, Padmé empathized with his pain and massacre of the tribe (it might've been more powerful though if he didn't tell her about them). Their relationship works on some level, and no fans- it's not meant to be a flawless showmanship of relationship dynamics.
Overall though; all of the other finely tuned qualities and Lucas's direction here make up for the shortcomings. The notion that there's "overuse of CGI" is exaggerated to some extent, because there's a number of practical effects and sets in all three movies; plus tech wizardry makes absolute sense for this movie's extensive worlds and set pieces. The story makes for a chapter that avoids middle-installment/setup syndrome (while 'Episode I' has prequelitus, which many have been victim to- even 2011's 'Rise of the Planet of the Apes', I'm not sorry). If you already have your mind made up about 'Attack of the Clones' being squalor or even the worst of the entire franchise, there's no need to even read this further. But for others who don't exactly despise it or have transferred their disdain for it over to the sequel trilogy, it'd definitely be worth giving a second chance (enough years have gratefully passed by that most of my memory of the popular but interminable RedLetterMedia's reviews of the prequels have washed away, giving away to more maturity for myself that I can think for myself and post controversial takes).
Grade- 3 out of 4 stars.
Wildlife (2018)
I was glad to see this has been ported into the Criterion Collection.
My third best film of 2018 and Paul Dano's directorial debut is a pensive session on the breakdown on the family unit in the 1960s (or what was thought of it). Young star Ed Oxenbould is captivating in his sobering role as Joe Bronson, the son of parents Jeannette and Jerry who are on the brink of meltdown. Between family and Jerry's desire to fight wildfires for the greater good at the salary of $1 an hour, between loyalty and Jeannette's eventual adultery- 'Wildlife' has so much to say about the human condition but refrains from cliche or showing the obvious.
The production team including Diego García go above and beyond in terms of cinematography, composition and editing to engage rather than impress; especially with the lustrous landscape that recalls the likes of 'Red Desert' and 'Brokeback Mountain'. Definitely check this out if you haven't.
Grade- A+. 4 out of 4 stars.
Freaky (2020)
Vince Vaughn carries this freakingly middling Slasher Comedy.
For those who enjoyed Jack Black getting to role-play as a hilariously sassy teenage girl stuck in a man's body in Jumanji: Welcome to the Jungle, you'll get to see the same schtick here in Freaky- Vince Vaughn's soul is swapped with an outcast teenage girl. He's more hilarious than the film has the right to be, but also frightening as the Blissfield Butcher. Kathryn Newton in her two roles also have considerable effect, switching from the typical outcast student girl next door to the hot serial killer next door. Of course it's essentially Freaky Friday the 13th, but it also harkens to Face/Off (of which I now want to see an official Horror equivalent to).
In brass tacs, this is a one-and-done effort built mostly of spare parts and every high school screenplay cliche in the book. Early on in the film, every student and teacher has that Netflix syndrome where they talk 30-60 overly clever words a minute. There's the jagoff jocks that turn into wannabe murderers, snarky mean girls, a stereotypical gay token sidekick. Add in a sibling rivalry (the sister is a police officer which is cool), a dead family member and alcoholic parent that serves some pretense for an arc that weaves in and out; but nothing of major impact comes of it and especially with the somewhat abrupt ending.
Freaky can serve as a nice pitstop for those wanting to visit the theater, but if you're looking for another true quality picture worth the cash and travel- that will have to wait.
Grade- C+. 2.5 out of 4 stars.
The Invisible Man (2020)
The Invisible Man- Creeps up on you and stays unlike many of its kind.
Elisabeth Moss, the "Queen of peak TV", has had herself a consistent line of roles in well-received film and on the small screen. Deservedly so, and she continues that for Leigh Whannel's The Invisible Man- An ambitious Psychological Horror that deserves to be ranked among the recent likes of Hereditary, Midsommar and A Quiet Place. Its cinematography, editing and lack of reliance of jump scares are remarkable; Aldis Hodge, Michael Dorman are terrific in terms of cast along with Oliver Jackson-Cohen's antagonist is chillingly real even though he ramps up in science-fiction abilities (or does he?).
Under the guise of being a winter scare-coaster, it's more so a timely testament on the terror of domestic violence and the need for women to be believed and saved in the most dire of circumstances. Elevated Horror has been given a lot of proper due this past half-decade, and I'd be more than happy to see this dignitary installment receive a follow-up of some sort.
Grade- A/3.5 out of 4 stars.
Tenet (2020)
Nolan's new time-travel (but not) thriller is style over substance, but impossible to repel.
There's a ballfield of opinions on director Christopher Nolan, one of the most honored working today and especially for his unapologetic ambitions and unconventional storytelling: Those that think everything up to Inception is the end of the line in terms of quality, those that believe everything up to The Dark Knight Rises is it, those that love everything he does regardless of how good it is, those that only appreciate his individual films or early prospects, those that think he's overrated to terrible, so and so forth. I've been prodigiously impressed by most of his films to date, even his lower efforts Insomnia and Following that are still prestinely made. Tenet falls into the latter category right between those two just mentioned; style over substance, maddening, but you can't take your eyes off of it.
The Protagonist, played by John David Washington of recent Blackkklansman fame, is the mirror of the audience in this journey of preventing a nuclear holocaust and navigating through a wave of international espionage to do so. With the territory comes the fact that his backstory isn't elaborated on as much; he doesn't have time to reflect on his life or past memories, but the mission and his strive to do good keeps us engaged. John's performance is strong for what he has to work with, body-language driven but also witty and shrewdly tuned. He of course doesn't hold a candle to most of Nolan's other heroes- Interstellar's Joseph Coop and by extension his wonderful daughter Murph, Inception's Dom Cobb, Bruce Wayne/Batman and even Leonard Shelby. Robert Pattinson is irresistible as Protagonist's partner Neil, determined as all hell but also funny. Nolan's regular acting confidante Michael Caine has a small but important role, his most notable scene is imbedded with some British humor (contrary to the IndieWire review that labeled this film "humorless"; seriously, would you use that in a criticism of a Scorsese or Malick movie?). Kenneth Branaugh gives it his all as the antagonist Andrei Sator, whose sinister presence and bits of backstory are thankfully given time to shine. Like our hero though, he doesn't shine as much to Nolan's other excellent villains who have much more character, and his motives are somewhat unintelligible. The best performance is Elizabeth Debicki's Kat, who in some ways being the deuteragonist is an emotionally resonant balance to John David Washington. She needs to be rescued at times, but nonetheless has plenty to do and contributes in battling the main threat to the preservation of humanity. Himesh Patel, Dimple Kapadia and Aaron Taylor-Johnson also have notable presences, though nothing too much comes of them except for Aaron's towards the end.
With Nolan breaking his tradition of usual cinematic reference points for this film, instead this plays somewhat like a Christopher Nolan's Greatest Hits Collection, as somewhat suggested by the second theatrical trailer. There's dating back to the timeline breaking mechanics of Memento, good vs evil in an elaborate and constantly shifting world like in The Dark Knight Trilogy (and another terrifically staged plane crash sequence to add), and of course Inception. This is visually astonishing and dense; if repeat viewings become your gig with this, then I bet there will be many things to gaze at in the time inversion sequences. It makes for some breathtaking action and fighting set-pieces, the sound design adds to how hard the punches are felt and the practicality; including an astonishing battlefield sequence. The score by Ludwig Goransson continues Nolan's usual streak with his composers, (The Dark Knight Rises, Inception and Interstellar being the best for my money).
If you thought that some of his other films like Inception were too complicated, then you'll probably not enjoy this, which makes everything else that came before for Nolan seem like a day at the office. I don't know yet how it will shape in his filmography, but this is by far one that's probably the hardest to grasp. I never had an issue understanding his films nor their sound, even with the enhancements from IMAX technology, but Tenet is the exception to that because a good amount of the dialogue and scenes were hard to follow with the pouncing score and sound design. I hope that he'll improve on this in his next project if he decides to continue this hail mary experiment.
Given the current state of the theater business and how much our culture is shifting, a good getaway to the movies is just what many have been wishing for. Tenet might not be the one we deserve, but the one that's needed. Perplexing and worthy of his slate despite being a lesser outing.
Grade- B/3 out of 4 stars.
This Film Is Not Yet Rated (2006)
OLDER MOVIE REVIEW- This Film is Not Yet Rated is still a compelling documentation on the MPAA.
Though released in 2005 during the height of the Michael Moore documentary era, This Film is Not Yet Rated still strikes a chord for being a funny and chilling expose on the Motion Picture Association of America and their unbalanced ratings system. Their bias for LGTB sexuality and female pleasure earning many films an NC-17 vs the most violent of action pictures earning PG-13 or R remains a fact to this day. Some concellations have been made in the 2010's for more leniency towards LGTB films like Love, Simon earning a PG-13, and Blue Valentine being appealed for an R despite a graphic sex scene; many things discussed in this film are still crucial and entertaining as seen today.
Grade- A-
Superman Returns (2006)
The best Superman adventure brought to the silver screen.
Having been a lifelong fan of certain superheroes from DC and Marvel, my history started with various Batman related cartoons and Tim Burton's 1989 film, which was responsible for catapulting the caped crusader into the mainstream on his 50th anniversary. Sadly though Burton's films and some of the recent DCEU ventures have left me cold over time, especially with the endless controversies, etc. Certain films have not though, including two that I have defended to the tooth- The Dark Knight Rises, the last installment of Christopher Nolan's Trilogy that garnered backlash mostly within the fan community (which was for lack of a better word unearned), and Bryan Singer's Superman Returns- the spiritual successor to Richard Donner's beloved first two films that despite receiving positive reviews from critics (including the future endorsement of one Quentin Tarantino) and even being ranked at 496 on Empire's then "The 500 Greatest Movies of All Time" list, was savaged by the fanbase including less than stellar statements from geek idol Kevin Smith (not always to be trusted in my opinion). I loved this film from a few years after its release, and having recently rewatched it we're here to ask the question- Does it deserve the hate? A colossal no.
Somewhat like what George Miller would do with Mad Max: Fury Road in 2015, Returns incorporates elements of Donner's first two films into its backstory and a somewhat anachronistic but contemporary setting. It's an equivalent to a What-If story- What if Superman was a nomad? He comes back to an Earth that has moved on without him, especially Metropolis. Martha Kent has thankfully survived long enough to witness his return, he gets his job back at The Daily Planet and returns in the cape in the nick of time to save a crashing airplane. Matters start to turn better but they can't save Superman's feelings of isolation from humanity and his former love Lois Lane. We're given a heart wrenching tale of Clark Kent struggling to find the balance between his desire for a sense of belonging while protecting the world from itself and of course his nemesis Lex Luthor.
Aside from Superman's heroics and tying in with Luthor's plan to create a new continental monopoly, the emotional character arcs take center stage including Clark Kent/Superman's relationship with Lois Lane. Lois grows to eventually not hate Superman anymore after him taking back his place in the world and trying to own up to his mistakes, and it's played with a sincerity that dumbfounded viewers who weren't used to seeing such a change in the status quo. I love the dynamic that he builds with Mrs. Lane, her fiance Richard White and Jason, who's discovered to be Clark's biological son. Richard's love for Lois and Jason plus kindness to Clark, then eventually Superman saving them from Lex Luthor's sinking yacht and them working together in the climax redeem himself in the eyes of Lois, especially after he almost loses his life to an island embedded with kryptonite. They become somewhat like a ragtag family, which is visually demonstrated by Jason's drawing of Superman flying with the three of them towards the end of the picture. The scenes with them including those at The Daily Planet with them are played with such a warmth that makes you forget that you're watching a comic book film.
All of the characters are given a purpose and are played terrifically well. Before Scott Pilgrim vs. the World and two major hero roles on The CW; Brandon Routh was an unknown TV actor who after attempts to win the role won over Bryan Singer with his impressive audition that evoked former Superman actor Christopher Reeve, in addition to his humble Midwestern roots and all that good stuff. He more than excels in the role; being able to pull off quiet, brooding, vulnerable but with the sense of genuinity and warmth that you'd expect the Man of Steel to have (that became lost with the character in the recent DCEU in favor of almost all mad and cold). Superman performs a number of heroic feats with precision and shows his love for the common people, one of my favorites is when he uses his super-breath to blow out a burning house before smiling and waving to a cameraman. Kate Bosworth, though glaringly youthful, pulls off an inspired take on Lois Lane; drawing influence from Katharine Hepburn and Julia Roberts's portrayal of Erin Brockovich. Also on Superman's group of allies include James Marsden as Richard White, Frank langella as Perry White, Eva Marie Saint as Martha Kent and Sam Huntington's Jimmy Olsen are also played wonderfully. Kevin Spacey strikes a balance between the old fashioned Lex Luthor while being more striking and calculating. I also loved Parker Posey's Kitty Kowalski, Lex's disillusioned girlfriend who plays like a character out of a 50's gangster movie, but also melancholy and tender.
The film is visually stunning and the action is riveting, being used in a more quality over quantity way; contrary to the past complaints of film fans or in the words of former Warner Bros. President Alan F. Horn, who claimed that Superman Returns "should have done $500 million worldwide. We should have had perhaps a little more action to satisfy the young male crowd.". Nope to that. Also overlooked is John Ottman's soundtrack which aside from reinforcing John Williams' timeless orchestras also packs a wallop of its own. There's an enchanting melancholy score played in scenes like Clark and Lois's flight together, giving it the feel of a fairy tale. It also shines through on Superman regaining his power from the sun during the climax; one of the most inspirational moments in the genre, definitely up there with the heroes truly assembling in Avengers: Endgame and Bruce's escape from The Pit in The Dark Knight Rises.
Superman Returns still continues to inspire me as a lover of the title hero, and my appreciation for it just grows on each viewing. It's the best Superman adventure that's made to the silver screen yet.
Grade- A+
The Breakfast Club (1985)
One of the best coming-of age films ever made.
Truly great films about youth, and especially high school, are a commodity. It's rare that I'm deeply impressed by one nowadays ("Lady Bird" and "Eighth Grade" being notable exceptions for the 2010's), so I decided to go back to Generation Z's favorite decade and finally see "The Breakfast Club" for myself. What a truly remarkable time capsule this is.
Hilarious and deeply moving, but also naturally acted and plotted without giving into overbearing sentimentality or too many of the silly trappings of the genre. For my money my viewing of this was definitely the opposite of the saying "Don't believe the hype."
Grade- A+
Watchmen (2019)
Move over The CW, this is the TV adaptation that DC Comics deserves.
There was an argument to be made that Alan Moore's beloved graphic novel (both in type and literal graphic violence) "Watchmen" should've been adapted into a TV series. Although I admire Zack Snyder's more straightforward adaptation of it back in 2009, writer Damon Lindeolf (Lost, Prometheus, The Leftovers) takes a different approach with the true TV adaptation.
This is a sequel in the vein of "Blade Runner 2049" with some dashes of "Twin Peaks", very much it's own story but building up to something more encompassing for what came before (the Oklahoma setting adds on a ton of atmosphere as well, and breaks away from the typical New York setting in many TV dramas).
Regina King delivers one of her potential career bests as crimefighter Angela Abar. Alongside her are a slew of striking performances from Tim Blake Nelson as Looking Glass, a sophisticated southern crimefighter, plus Louis Gosset Jr., Jean Smart and Jeremy Irons as new and old characters. There are plenty of throwbacks and easter eggs for DC fans to munch on as well. The themes are fascinating to watch unfold as they tie in with the novel and are culturally relevant today.
Some hurdles are present in the later episodes; the pacing can drag at times and CGI in certain scenes is hokey and lacks grittiness (especially compared to the 2009 film). These are smaller issues though in contrast to everything else on display that helps to follow up an almost impossible legacy to satisfy. As this will most likely be a one season and done deal, this is as good as it might get.
Grade- A-
Escape from New York (1981)
An 80's cult classic in the action genre?
I'm going to break away from my usual style of reviewing for this film, because I've been feeling the urge to get my thoughts out.
I watched this for the first time on Netflix when I was 11 years old, and I absolutely adored it. I watched it again a few years ago and my stance on it changed (which is still my opinion today). What is the appeal of this? It has a neat concept, Kurt Russel is chilling as Snake Plisken (who served as one of the inspirations for Solid Snake, my favorite video game protagonist) and it has a subtle and dark atmosphere.
This film falls short however in being a compelling action film, the opening scenes are slow but not in an interesting way, there's not much in the way of riveting action (even by 80's standards) and the characters are hollow (aside from Snake). My opinion could change, but as of this review it's a flat and boring film that's protected by 80's nostalgia (similar to "Top Gun").
Grade- C-
Alien³ (1992)
Not as bad as I was expecting for a maligned threequel.
I was originally hesitant to view director David Finchers' "Alien 3" due to varying opinions, a rotten consensus on film critic website Rotten Tomatoes and it being common knowledge the deaths of Hicks and Newt, beloved supporting characters from its' predecessor "Aliens". Having recently watched "Aliens", I sat down and decided to give this threequel a chance.
The first five to ten minutes are haunting and are assisted by a score from Elliot Goldenthal, though this sequence is contrived by a gaping plot hole for this scene which also hurts the ending of "Aliens" (did Ripley check the Sulaco ship for an alien egg?). I'm not usually one to gripe about plot holes, as usually the internal logic of a film or reasonable explanations can prove otherwise; but this was unexplainable.
Once we get past that, this is an overall decent film. The prison planet of Fiorina "Fury" 161 is creative and and lends a gothic atmosphere, unique to the universe of Alien. There are some great moments including a sad but well-crafted funeral scene for Hicks and Newt, some likable characters such as prison doctor Jonathan Clemens, spiritual leader Leonard Dillion (some of his ethics are questionable at best) and Robert Morse who serves Ripley in the climax. Some of the other prisoners are unlikable, but they work in feeding into the moral ambiguity and bleak atmosphere (that would be further capitalized on David's later work to great results). Some of the kills in this film are good but nothing too special, two on par with "Alien".
The creativity and second half of the film dries up and feels familiar with the original. The ending does however pack a wallop in Ripley's sacrifice to prevent the impending birth of the new Alien Queen, and it nicely ties in with Weyland Yutani being the corporate shadow villain of the first two films.
Having subdued expectations for this installment helped with my viewing experience, and I admire David Fincher for pulling through what could've been an even worse film (especially given the studio meddling and butting heads throughout production). "Alien 3" is what I feel is the "Batman v Superman" of the series, neither the atrocity nor underrated gem that it's been claimed to be by many. You can take it or leave it.
Grade- B-