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Featured Review
The Super Mario Bros. Movie
4/7/23
Directed by Aaron Horvath and Michael Jelenic
Rating 6.4/10
The Super Mario Brothers movie is an eye-dazzling, nostalgic adventure that coasts on cultural notoriety to portray a simple and formulaic journey with middling results.
With the power of Mario and his entire universe, Nintendo and Illumination plays it safe, and frustratingly, it's an understandable move. The film isn't in the same league as animated features from the powerhouse animation studios of Pixar and Dreamworks in terms of storytelling and thematic heft, nor does the movie display the creativity one would have hoped for. However, what it does have is content to please gamers and make them want to play a Mario title as soon as they get home from the theater. This infectious feeling of wanting to return to an old or current Mario game after viewing the film is merely due to the film's iconic characters interacting in familiar locations and situations. Nintendo has tapped into a market with enormous potential that has just arrived at a cinematic level.
The voice acting from the entire cast, aside from Jack Black as Bowser, is average. None of the famous, vibrant characters fully come to life besides the menacing villain of the story.
The film's creativity and admirable execution lie in framing scenes in the position gamers are familiar with when playing the game. The side-scrolling jumping and acrobats through the streets of Brooklyn evoke smiles in audience members acquainted with the source material. The plot progresses towards notable devices from Mario's saga of adventure games that include the titular characters, such as Mario Kart, Super Mario Brothers, and Super Smash Brothers. As intended, these scenes are the film's main attraction, and the beats of the script lead a bright, colorful breadcrumb trail toward them.
There are no shocks, no laugh-out-loud moments (even in a theater full of kids), and the film is devoid of building something special off of its blockbuster material. The most eccentric character throughout the world of zany beings is Jack Black's iteration of Bowser, that is romantically obsessed and delusional over Princess Peach. The brief romantic ballads and confession of his admiration for her are scenes the film's creative team should've built upon, but they end up ephemeral.
It's a shame a film with such potential impact cannot capture audiences above the preteen age. While forced, the references work because of the beautiful animation and frenetic movements of notable characters in their natural (gaming) habitat.
There is much potential here, with plenty of characters not appearing and the film being an entryway into the block-jumping, rainbow-road-filled, expansive world. The locations appear in-depth and exhilarating, yet within the 90-minute runtime, there is no time to explore them. The calculated target audience may be pleased, and the box office numbers have the potential to be quite impressive, as expected. The Super Mario Brothers Movie is a no-frills leap into a mushroom kingdom that has the potential to follow the rainbow road to becoming a film series that all ages can enjoy.
Featured Review
Sinister
3/26/23
Directed by Scott Derrickson
Rating 7.8/10
Sinister tackles its own cliches and inane plot beats to display some of modern horror films' most unnerving and memorable sequences in a disturbing, digestible story that lingers beyond the credits.
The story of a struggling true crime author going through writer's block as he pushes his moral boundaries to limits, putting his family in danger along the way, may initially come across as something other than that original.
While Sinister's plot may appear cliché and repetitive, focusing on the central character and the desire to explore personal greed versus solving injustice creates a compelling story. The setting, characters, and villainous spirits keep the film grounded and contained within the realism of our world. Director Scott Derrickson purposefully gives us no visibility of the lives of Ellison's family, showing how his selfish focus is only on himself. The story of a writer battling greed and fame instead of actually bringing justice to those who have been left behind is familiar ground. The Ring and The Shining are stories that Sinister draws inspiration from, but what Sinister does differently is that its story is contained in a nonexpansive haunted house tale.
Ellison knowingly moves his family into the house that is the subject of his upcoming true crime book, unbeknownst to his wife or children. Soon after Ellison begins writing, he finds a box of old Super 8 films in their attic, all labeled with their own titles. As we begin to view the movies alongside Ellison, the camera operator for the films is at first a mystery. Finally, we learn that one missing child connects all the murders he is studying. In the aftermath of all these murders, one child is left missing, never to be found again. Viewers can now assume that each missing child operates the camera and commits their family's murder. Deepening the mystery and menacing aspects of the film is the introduction of the story's lead villain, Bughuul (Mr. Boogie). Bughuul is a Babylonian god who would slowly consume the soul of children, hence why he took one remaining child with him from each murder site. What stands out above all horror elements in this film is the execution of the found footage of the Super 8 films. The reels leave a haunting impact on viewers that modern horror films fail to conjure up and execute in such an unnerving fashion.
Mixing the sounds of underground metal music with creepy footage shot on super 8mm cameras creates an eerie atmosphere that presents the contrasting capabilities of old and new filmmaking. Derricksons's decision to combine the unnerving underground metal sounds with visual reels of aging and disturbing found footage represented a profound execution of the eras of horror cinema. Derrickson truly opens up a new avenue for found footage filmmaking in horror cinema. The ability to portray such horrifying footage through more aged modes of filmmaking shows the power of imaginative minds merging with old technology. The engagement and draw towards the brutality in the reels focuses Ellison's attention on these horrific 8mm films. The possibility of striking true crime writing gold from the appalling deaths that begin to disturb his psyche makes Ellison question his own goals in the true crime world.
Unfortunately, Derickson's script lacks proper characterization while providing frustrating horror cliches of characters acting in dumb downed versions of themselves to serve the lazily written story beats the best. In addition, there is an absence of describing the origin story of the film's villain and forsakes a more profound analysis of Ellison's moral struggle in his writing for idiotic conversations with a police officer that amount to nothing. Having to ignore the contrived plot details, such as Ellison's wife, Tracy, had no knowledge that the house they just moved into was a former murder site. Given Ellison's history of moving his family close to crime scenes and Tracy's inquisitiveness toward his motivations this time, not looking up the possibility of their new house being a former crime scene is shocking.
Yet, above all else, Sinister managed to invoke psychological fear, a seemingly obvious aspect of modern horror films that has mainly been absent from the genre in the 21st century. The 8mm reels of horrifying carnage intrigue the audience while pointing out the exploitative side of excessive violence and murder in the media. Humans can be drawn to unordinary violence, which only becomes more fascinating when the killer is unknown. Sinister masterfully intertwines modern horror sound and engaging cinematography with a different era of filmmaking technology to portray a haunting story. The film contains many elements the ideal modern horror film should have, including a fully confident use of sound, cinematography, and motivation for the lead character. The movie also puts new spins on old-fashioned twists, such as having audiences second guess which child of Ellison's will become possessed. Unfortunately, the flaws of Sinister's story and plot hold it back from becoming a modern horror classic and instead place it in the area of developing into a cult classic.
Featured Review
Beautiful Boy
3/9/23
Directed by Felix van Groeningen
Rating 7.3/0
Steve Carrell and Timothee Chalmet deliver heart-wrenching performances in an atypical take on addiction that relies on its leads to make up for the cluttered narrative.
What sets Beautiful Boy apart from other addiction films is the decision to base the movie on both memoirs the father and son wrote. This decision offers a unique perspective from each side of addiction, pushing the limits of what we think addiction is and what we believe we can do to counteract it.
The key theme of Beautiful Boy is the struggle of acceptance that many may be beyond saving. This belief isn't contradicted in the film, but instead, it is challenged. While David (Steve Carrell) gives up hope for Nic (Timothee Chalamet) at the film's end, the story provides an ending that pushes back against abandoning optimism. Initially, the decision by David to give up on Nic and accept that his death was predetermined the day he was addicted isn't unexpected since the story builds towards this troubling acceptance. However, the surprise at the ending Is that Nic survives an overdose, with a doctor claiming it to be a 'miracle.' After David painfully told Nic he could no longer help, he traveled to the hospital to see him. The audience, along with David, was expecting the incoming funeral scene for Nic. Yet, the message the film delivers with searing honesty is never to give up and that there is a light at the end of the tunnel.
The issue with that idealistic theme is that addicts don't have the resources a wealthy and accomplished writer has to support his son's rehab bills and constant distress. When the treatment center first tells David that patient rehab success can be 80%, it is a cash grab lie, the same lie the film pedals with its portrayal of wealth addiction. There is no less empathy for an addict, whether rich or poor, but the film mistakenly doesn't acknowledge the glaring fact that their message is flawed. Of course, rehab and striving for recovery is a journey filled with flaws, but the film fails to portray a realistic and relatable depiction for many addicts. The film omits large portions of Nic's lifestyle, only allowing us to see the cliches from addiction films (stealing from your family, denying your addiction, taking drugs) without nuanced moments from his perspective. The strength of the film more than often lies in David's experience.
David desperately attempts to understand how his son became an addict. He wrestles with the guilt of being Nic's father, and it is part of what drives him to save his son. David's everlasting love for Nic as a father is the primary reason for the hope that keeps him going to extreme lengths. After an aggressive conversation with his son, David, out of ideas, attempts to understand Nic's experience at the most relatable level. In a moment of desperation, he decides to take crystal meth to provide clarity and empathy toward his son's tormented existence. Carrell's performance as a caring, sympathetic, and rational father is the film's crowning achievement. The confrontations with Nic and David contain the film's emotional high points, where David struggles to understand how his son ended up as an addict. We hear nic describe his allure towards drugs at a young age and his pessimistic outlook on life, yet further exploration is never offered. The only hint we get is that the pressure of becoming a successful son and not disappointing his father partially drove Nic to addiction. Carrell's convincing expression and demeanor in tense sequences draw the most sympathy from the audience. We watch his hope dwindle against all his effort, and in a poignant scene, David and his wife attend a support group meeting for family members of drug addicts without knowing if Nic is alive or dead. The culmination of the hopelessness and heartbreak David, his wife, ex-wife, and other children have all gone through is illuminated in this scene.
The cluttered presentation of the narrative certainty does the film no favors regarding emotional impact. The jumping around from different years in the family's life provides insight but lacks the clarity to stick to the landing for many moments. With muddled editing and neglect for setting up story beats, Beautiful Boy remains a harrowing, engrossing depiction of addiction that falls short of its noble goals.
Featured Review
Ant-Man & The Wasp: Quantumania
2/17/23
Directed by Peyton Reed
Rating: 6.1/10
Ant-Man and the Wasp: Quantumania is a visual treat that fails to convey a compelling story, and its frustratingly contrived plot derails an outstanding performance by Jonathan Majors as the MCU's new villain, Kang The Conqueror.
I left the theater irritated with Marvel's decision to use the third Ant-Man film as an advertisement for Kang the Conqueror while they neglected the idea of having a convincing story to support their money-hungry stomachs. Not only does Peyton Reed fail to portray Kang's wickedness, but Jeff Loveness insists on having no ramifications within his script for Ant-Man or his supporting cast. The blame may not be on Loveness but more on Kevin Fiege for maintaining the stagnant condition of Marvel's current storytelling. It's not a great sign for the future of the MCU when Kang's title as conqueror has viewers scratching their heads at how he even earned that name from what was depicted in Ant-Man and the Wasp: Quantumania.
Even ignoring the forced and idiotic way Scott, Cassie, Hope, Janet, and Hank mistakingly enter the Quantum Realm, the movie is filled with painfully orchestrated plot devices. Janet insists on repeating that she can't speak about the horrors of her experience down in the Quantum realm enough times that I hoped nobody would ever ask her again. It was a manufactured point to avoid obvious story details in the script in order to fill the runtime up as generically as possible until we arrived at the only intriguing aspect of the film, Kang The Conqueror (Jonathan Majors).
Majors has a marvelous yet brief performance of a variant of Kang (He Who Remains) in the thrilling marvel show Loki. The expectations for Kang in this journey were to elevate the character to more extraordinary, menacing heights in the MCU. Unfortunately, while Majors' acting and dialogue delivery are spot on for the incoming multiverse threat he is, his abilities are completely muted for the sake of the plot.
We witness flashbacks of Kang destroying whole cities, planets, and timelines. Then, when the time comes for a fight with Ant-Man, he's suddenly not aggressive for the plot's sake and is outmatched in hand-to-hand combat by Scott Lang. After a lackluster phase 4, having the prominent villain of the future to be portrayed this pathetically is an efficient way to deter Marvel fans from the theater.
Having the false sense of hope that there would be some demise to illustrate the threat of Kang was beyond a disappointment. It's fools gold to believe that Marvel would have the guts to end Paul Rudd's tenure as Ant-Man. Apparently, killing off one of the four side heroes was asking for too much as well.
Suppose one argues that there will be variants of Kang who possess far greater powers than Kang the Conqueror. Why waste an entire film building up his fearsome capabilities while neglecting to piece together any semblance of a story? Even though Marvel is pumping out quantity over quality as we've hit phase 5, there shouldn't be such poorly constructed introductions at such an early stage for Kang. The first forty-five minutes of the film are only hinting and foreshadowing of Kang's powers. When we finally have him clash with Ant-Man, there is an intriguing dialogue between the two. After that sequence, Jonathan Majors acts his best through poorly written scenes. The outlier is a flashback scene where Janet is shown stranded with Kang, helping him fix his ship. When Janet finally discovers the truth about who Kang truly is, the menacing terror that he is capable of is executed flawlessly. In Janet's moment of realization and Majors' calm yet sinister responses, the film shows promise.
Unfortunately, Marvel is not yet committed to Kang's role as the avengers' new adversary. Still, I hope they decide to depict him how fans expect a follow up to Thanos should be shown. After all, Kang was the villain pulling all the strings in four phases of the MCU.
Besides the mindless plot, there are shocking moments of choppy editing, poorly executed comedy, and missed opportunities. If Kevin Feige had given Peyton Reed the green light to make Ant-Man 3 alike Captain America Civil War, which gave attention to the titular character's main adversary, Iron Man, the overall product would've been more appropriate for the MCU. Splitting the film between Scott Lang and Kang while ignoring much of the side characters would've benefited the future of the MCU since this movie failed even to depict a worthwhile story with a considerable focus on the supporting cast.
The value in Ant-Man & The Wasp Quantamania is in the imagery, zaniness, and at times immersive quantum realm. Unfortunately, the film wastes time attempting to emotionally invest us in side characters who receive plenty of screen time and leave no impact. The only side characters that were memorable were the whacky comedic reliefs. Additionally, Rudd's charm and Majors' feature film debut as Kang were avenues that needed to be passionately explored by Reed and Loveness. Marvel's earlier success was partly due to Downey Jr. and Evans' charismatic performances. If Marvel Studios wants to recreate their past success while relying on the same formula causing Marvel fatigue, they should lean into its leading role's characterizations, especially the villains.
Sadly the third outing of Rudd's Ant-Man for Marvel once again shows the studio's repetitive unwillingness to take narrative risks. Each film that comes and goes in the recent string of the MCU reduces the intrigue of a franchise with wondrous possibilities. The promising Ant-Man & The Wasp: Quantamania is a lackluster adventure by a currently muddled movie universe that needs to rethink its storytelling strategies and purpose for its lead figures.
Featured Review
The Vanishing (1988)
2/14/23
Directed by George Sluzier
Rating: 7.9/10
The Vanishing captures the true essence and mindset of a sadistic killer while portraying the everlasting psychological impact a person goes through for attempting to face evil incarnate head on.
In The Vanishing, the psychological torture employed by a murderer is presented as authentic as possible.
A young couple, Rex and Saskia, are on a road trip, seemingly falling deeply in love with one another while foreshadowing hints (Saskia's dreams) suggest something sinister ahead. There is a terrifying and brilliant authenticity to what director George Sluzier decides to show the audience and what he leaves up to interpretation. Saskia runs inside a convenience store at a gas station they stop by, and the camera moves back to Rex. When Rex realizes Saskia has not returned, we are not clued into what could've possibly happened to her, creating a haunting moment of realism. There is an artistic choice never to show the kidnapping of Saskia, which builds the mystery to an even higher point of tension.
The film abruptly changes the focus of the story to the kidnapper himself, Raymond. The film dosent pay any mind to Saskia as a victim because she is just another number to him. We witness this serial killer's habits, training, and disturbing characteristics. We witness him adopt fake personalities, use chloroform, and utilize hidden houses, all while holding down the appearance of being a traditional family man. After the audience learns Raymond's sinister methods, there is a time jump going three years ahead, leaving Saskia as nothing more than an unexplainable disappearance in the past.
Three years later, we now see Rex still searching for Saskia, obsessing over what could've happened to her. Unfortunately, his fixation with finding Saskia destroys the current relationship he developed with a new girlfriend and leaves him single once again, desperately searching for closure. Rex's journey turns from seeking justice to desperately wanting closure which helps complete his convincing character arc. Sometimes justice and revenge become elusive while knowing the truth is all we can receive.
Raymond's strange and gripping methods make The Vanishing stand out from other serial killers in cinema. For example, Raymond sends an anonymous letter to Rex, telling him to meet at a specific Cafe in France, yet Raymond only watches from afar in his apartment. At the same time, Rex sits at the cafe several times, never visited by Raymond. It's painful to watch Raymond enjoy the sadistic psychological torture he's putting Rex through, and it is a part of what makes Raymond an ominous but haunting killer.
After Rex makes a public television appearance begging Raymond to come out of hiding to tell him the truth about what happened to Saskia, Raymond finally responds. Rex and Raymond meet, and the discussion between the two illuminates the immoral outlook on life that Raymond lives by. After Raymond's daughter looked up to him as a hero for saving a girl from drowning, he took a backward view of humanity.
Raymond tells Rex:
"My daughter was bursting with pride. But I thought that her admiration wasn't worth anything unless I could prove myself absolutely incapable of doing anything evil. And as black cannot exist without white, I logically conceived the most horrible deed that I could envision right at that moment. But I want you to know, for me, killing is not the worst thing."
The final line of that dialogue, when Raymond says killing isn't the worst thing, only makes his character even more menacing. The unconscionable manner of his belief system shows how well-executed the script and direction of the Vanishing are. As Raymond and Rex continue to drive and talk, Raymond offers to show Rex what happened to Siskia as long as Rex suffers the same fate she did. A puzzled and conflicted Rex grapples with his obsession and gives into Raymond's sadistic baiting. Finally, he drinks a drugged cup of coffee that Raymond insists upon.
In one of the most spine-chilling demises of a horror film protagonist, Rex is buried alive in a box, screaming helplessly, finally understanding Saskia's fate. There is no resolution for Rex, nor does the story attempt a contrived plotline to help him escape. He accepted his fate to be the same as Saskia's.
The film concludes with showing Raymond with his family and a newspaper turning up to show that Rex is now missing. Not only is it an audacious decision to end the film with the serial killer continuing his inhumane treatment of society, but the limited amount of violence shown in the film while being able to evoke fear in audiences is a pure cinematic achievement in horror.
Raymond's speeches and principles are about testing his ability to hold himself from doing something truly evil, and by his actions, he has failed to restrain himself. For him to say killing is not the worst thing, he could be referencing burying alive Saskia and then eventually Rex as it is an even more torturous means to an end. Either way, Raymond is beyond believing killing is the worst thing he could do, and he has set himself down a path of no return, typical for a serial killer to be unable to resist their impulses.
The Vanishing is a remarkable and horrifying film due to its in-depth exploration of dread and psychological horror that forsakes violence in favor of haunting realism. The devastation leaves a more damaging footprint than other films in the horror genre because it subverts our expectations of a serial killer saga. We don't see him murder, torture, and kidnap people throughout the film, which is why The Vanishing is the rare film that expands a genres possibilities. George Sluzier's execution depicts a daring descent into madness that horror cinema rarely implements or even dares to traverse.
Featured Review
All Quiet on the Western Front
2/19/23
Directed by Edward Berger
Rating: 7.9/10
All Quiet on the Western Front uses haunting history, immersive set pieces, and engaging cinematography to produce a captivating anti-war film that makes intense pathos on the monstrosities of war.
The weakest part of All Quiet on the Western Front is its beginning portion, set before the ensemble cast of young men is shipped off to a horrifying war, unbeknownst to them. Since the audience isn't given a proper background of who the young men are before they enter this war, their characterization and connection with the viewers become minimized. Due to this being a remake of a classic film, the alterations could've been much more worthwhile to the final product if director Edward Berger had focused on the progression of morality for individuals affected by the war. Who were these men? Part of the point is that their identity is just a number, as shown at the beginning of the film, but there would still be a more robust connection if they had backgrounds the audiences were aware of.
The attention to detail in reusing dead soldiers' clothes, the desperate measures taken for sustenance, and the realistic war scenes all propel the film's goal of lasting impact. The film drags a bit with a confused sense of pace, where our characters are left to wander aimlessly, albeit there are moments of solace within the community the soldiers create.
While the narrative subtly prepares us for the oncoming slaughter of young men who are oblivious to the war, they are going into and are absorbed by the infectious patriotism spreading across Germany. Peter Jackson's They Shall Not Grow Old offered audiences a rare visual feat of documentary filmmaking about WWl. It portrayed the mistaken urgency of British citizens towards the war, just as All Quiet on the Western Front posed the same frustrations for Germans. In the near future, we may see a string of films building upon the horrors of WWl from different perspectives.
Instead of using the remake to expand upon the political accords and difficulties with resolving the war, time spent on characterization would've rewarded the audience all the more. For example, the meetings with high-level politicians are needless to further the story of the soldiers. Instead, simple rejections of commands would've sufficed, such as General Friedrichs's refusal to surrender would've been a convincing moment of egotistical war general gone power hungry if left to stand on its own at the finale of the story.
From a technical standpoint, trench warfare and action scenes are of the highest quality in modern war cinema, propelling viewers as close to the atrocities of war as possible. As a result, the actual carnage of WWl finally feels accurately displayed by a film that doesn't hold back from portraying the barbarity of this war. Rather than using a gimmicky narrative like Sam Mendes' 1917 does, All Quiet on the Western Front strings together a tale of devastation and regret.
The shift from optimism to immediate dread is sudden as Paul and his friends soon realize the horror that has been hidden from them. The knowledge and execution of historical warfare are haunting, especially during the sequences that reveal the slaughtering by poisonous gas and the opening scene, where we only get a daunting peak at what's to come. The guilt and remorse of murder are given special attention in a film where people become slain in mass. Then, during a battle sequence where the German forces are being driven back by flamethrowers and tanks, Paul becomes cornered like never before. Being pushed into a desperate situation where fight or flight takes over like never early, Paul's understanding of his function in this war becomes agonizing. After witnessing the murder of his close friend, even after they surrendered, Paul scurries into a hole to hide, only to find himself having to execute an enemy soldier to keep his position hidden. In this moment of violence lies the most potent moment of the film. Soldiers followed orders throughout the battle, stitching their wounds physically and mentally. It isn't until the moment that Paul stabs and covers the mouth of the enemy soldier while begging for his forgiveness that the humane qualities of man flicker. This heartbreaking scene serves as a reminder of our ability to become numb enough to humankind, which can lead to our demise.
The heartbreaking deaths of the leading characters, Paul, Kat, and Tjaden, represent the inevitability of war's lasting impact, death in many forms. Tjaden's death comes from the inability to accept reintegrating into society as a disabled, different man. The difficulty of reentering society with PTSD or being disabled from war is a standard war film trope that remains a disturbing reminder of the vanity of warfare. Kat's death was shadowed by an impending doom where luck was running out.
Paul's death remains the most notable due to the circumstances that put him back on the battlefield. Unable to reckon with defeat and the lessons taught by his family and society, General Friedrichs launches one last assault before the set time of ceasefire at 11 a.m. Those unfamiliar with this story most likely felt the foreshadowing as the film wants us to know the irreparable carnage that awaits Paul. A long history of arrogance and hubris-driven violence stemmed from years of misconceptions about resolving wars. History is the guidebook that tells this film's harsh, repeated lesson that society misses or ignores. All Quiet on the Western Front implores audiences to sympathize and pay attention to the importance of the film's theme. While All Quiet on the Western Front doesn't carry its harrowing subject matter to the level of a triumphant feature, the grueling journey the film takes us through is necessary and builds a cogent case for being a critical cinematic piece for posterity.
Featured Review
Tar
1/8/23
Directed by Todd Fields
Rating: 7/10
Todd Fields orchestrates a gripping character study that explores the timely subject of cancel culture through the eyes of a memorable and complex performance from Cate Blanchett as the titular character, Tar. Immediately into the film, we are introduced to the power and influence Lydia Tar has in the music world, even learning that she is an EGOT in a long take interview sequence. The drawn-out sequences in the film address the problematic issues within cancel culture. The character of Lydia Tar is written with discernable attention to detail and passion that we waver between rooting for her success and eventually feeling justice for her downfall. Part of the strength of Tar is rooted in the main character's appeal to the audience and how one's perspective can shape whether they believe Tar is an ingenious composer who has a profound outlook on life or if she is a power-hungry woman who represents the immoral, despicable side of success.
The characterization of Tar guides the film's narrative as we are initially inspired by Tar's devotion and tremendous reception from the music community. Her commitment to her work leads to heated exchanges where her advanced vernacular brings realism to the film, and her complicated relationships display troublesome yet subtle flaws. The unfolding of Tar's personal life mirrors the timely cancel culture movement, presenting a praised celebrity who appears as an upstanding citizen but behind the curtains has caused tremendous harm. Fields' perspective is unique because we can witness Tar's downfall while still absorbing her greatness through rehearsal scenes, impassioned discussions, and her protective mothering for her child.
In perhaps the most memorable sequence in the film, Tar is lecturing one of her classes at Juilliard. A student states how uncomfortable they feel idolizing a man like Johann Sebastian Bach. Tar is hellbent on looking past the unscrupulous and inhumane treatment of ingenious composers, musicians, and artists of the past. Tar encourages her students to look past their egregious actions in history. This discussion in Julliard provides the audience with Tar's opinions on looking past the unethical history of profound artists. The questioning of morals leads Tar to pose an engaging question. Can an artist still be respected and revered given their troubled history? Do we ignore an artist's greatness due to the constructs of their socio-political background? Can we use empathy to try and forgive those in situations where we expect ourselves to make better decisions than those before we did? Is it fair to judge an individual by their society's trappings and how that altered their mark on history? Many thought-provoking questions are explored through how Tar navigates her life, while some are left in the muddled attempt to portray Tar's mental deterioration.
Todd Fields' script beautifully intertwines the idea of respecting an artist's work even if they become immoral. Because this idea reflects the same journey we see Tar go through, the irony of Tar's situation in the film's conclusion is perfectly calculated for the story. Fields proposes intriguing social questions without stringing together a connecting web that supports the frenetic editing of sequence, leaving the narrative feeling hollow.
Within the first act of the film, we learn about a former student of Tar's named Krista, who experienced mental trauma while being a student and pupil of hers. Tar dismisses Krista's troubled mind to her assistant, who is visibly upset upon hearing and reading past emails from Krista to Tar. This inciting action is the first instance of Tar's inability to acknowledge and accept the damage that her power has caused her to lose her humanity. Tar vehemently denies any grooming or abuse allegations related to Krista. Meanwhile, Tar is preparing for the Berlin orchestra while also managing to keep her marriage afloat and care for her adopted daughter. Tar's rigorous schedule begins to feel like a fever dream to the audience as we flash in and out of different sequences without a moment to breathe. The film struggles to weave us through her busy life in a nonsensible manner, making it difficult for audiences to digest the themes Fields composing along the way. The editing throughout the film is jarring to a diminishing effect that only serves its purpose to portray the stress-filled world Tar has created around herself. Beyond providing a feeling of tension, the quick cuts contrasted with the long sequences display scenes that have questionable reasons for even making the final cut of the film.
Once it is revealed that Krista committed suicide due to her destructive relationship with Tar, the world seems to crumble around her. Tar appears to be grooming a new orchestra member named Olga, and her self-sabotage cycle operates for us to see finally. Tar's affection toward Olga puts a noticeable strain on her marriage to her wife, Sharon. However, Tar has no shame in flirting or inserting Olga into opportunities in front of the entire orchestra. The arrogance and ego-fueled blindness become clear once we see Tar's habits as an influential figure who abuses her position.
There is a jaw-dropping massage parlor sequence filled with painful irony and realization when Tar's career is ruined in society and is forced to restart her career in the Philippines. Tar asks a hotel manager where to get a massage, and she is given the address to a brothel without her knowledge. As Tar arrives and gazes upon the women seated in an arrangement eerily reminiscent of an orchestra, she breaks down as the realization of her grooming swarms her mind.
While Tar serves as a harmonious film for Cate Blanchett to showcase her riveting performance, Tar suffers from an inability to connect the sum of its off-beat parts cohesively.
Featured Review
Avatar 2: The Way of Water
1/14/23
Directed by James Cameron
Rating: 6.5/10
James Cameron's Avatar 2: The Way of Water is a visually impressive marvel that skimps on the essential film element of telling a compelling story. After over a decade-long wait, Cameron has brought viewers back to the planet of Pandora in a frustrating familiar form. The recycled villain from the first Avatar is given a rebooted look and a chance at revenge on Jake Sully (Sam Worthington), his wife Neytiri (Zoe Saldana), and their growing family finds themselves on the run from Miles Quaritch (Stephen Lang), along with the Resources Development Administration.
A fresh paint job on the new villain is the initial nail in the coffin that Cameron stages as the film develops. After we learn of Quaritch's revenge plot in his new Avatar body, Sully and his family abandon the tribe from the first film to maintain the safety of his children. Sully and his family travel to a new tribe that inhabits the land and water. Sully and his family must learn the new skills, abilities, and thought processes required to fit into this new tribe. The story goes through the painful coming-of-age woes that Sully's kids must abide by to become members of the tribe. A considerable amount of time is dedicated to revisiting every cliché found in a teenage drama seen on television, just in a visually impressive Avatar form. If Cameron intended to show the universal experience humans share with the Na'vi, he achieved that feat with no creativity injected into his story. Meanwhile, Quaritch searches for Sully while he learns he has a human son whom Sully raised. This discovery sets the stage for a predictable father-son conflict that controls the narrative until the end credits.
The atrocious dialogue that mirrors the Fast and furious franchise cannot be ignored as Cameron aims to revolve the film's theme around Sully's family instead of the environmental preservation messaging that was more present in the first Avatar. The narrative may take a back seat for mass audiences intrigued to view Cameron's technical achievements, setting a new bar for special effects and motion capture. The narrative is devoid of any uniqueness and is plagued by plot holes that sink the value of Cameron's cinematic watery world. Whether it's frustrating, contrived action sequences or beats within the story that grows tiresome rather quickly, the return to Pandora is sabotaged by a lack of attention to telling a compelling story. The disappearance of the entire water tribe during the final battle sequence, the recycled villain arc, and the paradoxical main character arc are examples of the notorious mistakes within Cameron’s script.
The bloated length of three hours and ten minutes falls victim to Cameron insisting on showing off his blue, transportive world to diminishing returns. The argument can be made that most stories are being repeated in cinema, especially in Hollywood. While there is a partial truth to that statement, if a familiar story is being approached, relying on visual effects and ignoring the power of a compelling story will lead to a film that feels unsure of its own messaging.
Upon the film's conclusion, Cameron's message remains muddled and left behind. There is a confusing mixture between the strength of family and the endangering of others that Sully. The film struggles to settle on a clear message, and its contrived plot makes Sully's decision-making dumb-downed to a level convenient for Cameron's painfully predictable story. Nevertheless, Avatar 2 hits the standard beats his first film already covered, and even in his first film, he was retreading cinematic plots that have already been explored in various ways.
It is difficult to ignore the tremendous box office success that Avatar 2 has achieved thus far and the chance of it becoming the highest-grossing film of all time. In modern Hollywood, where the landscape is dominated by Marvel superhero films and other franchises that have devoted fans, Cameron's Avatar universe offers a simple but visually dazzling experience for most age groups. The world of Pandora creates enough of a fresh paint job that it separates itself from franchises that audiences have grown tiresome from. The release of similar blockbusters each year allows Avatar to flourish independently. Although the end result doesn't offer anything profound in terms of storytelling, the jaw-dropping box office numbers can be attributed to the reasons above. Cameron has elevated his status as an epic director who carefully and precisely executes his projects with signature flair. There will be no issue with the box-office success of Cameron's Avatar 2, yet with the power and reputation he has built for himself; one can only hope that he gives attention to all aspects of his Avatar universe moving forward to avoid drowning the franchise into a pool of clichés alike The Fast and Furious franchise.
Featured Review
The Banshees of Inisherin
12/13/22
Directed by Martin McDonagh
Rating: 8.3/10
Writer-director Martin McDonagh explores a 30-year-old friendship on the brink of collapse as a gloomy metaphor for the Irish civil war. The analogy highlights the striking comparisons between the story's central issue in The Banshees of Inisherin and The Irish Civil War's history.
McDonough reunites Brendan Gleeson and Collin Farrell for another dramedy. But instead, this time around, it is heavily focused on male friendships, life aspirations, and despair, leading to a thought-provoking conclusion. The movie revolves around an allegory that points toward the Irish war for independence while exploring the difficulties of that war through a diminishing friendship.
Padraic (Colin Farrell) and (Colm) Brendan Gleeson seemingly have a close, long-term friendship that revolves around the limited activities possible on the Irish island of Inisherin. The film quickly throws us into the inciting action where Padraic wishes not to speak or spend time with him anymore. This decision is almost comical as preparing a setup for a prank. Soon after, we realize this is no joking matter but why? Why would a person destroy a lifelong friendship?
As the complicated layers start to peel back for Colm, we realize his despair, fear of death, and perceived importance of the legacy he leaves behind. Unfortunately for Padraic, he is somewhat in harm's way, but Colm even tells him that he didn't do anything wrong to end their friendship. Nevertheless, the troubled company causes a peculiar and thought-provoking mystery as to why?
Colm is a musician hooked on finishing a musical piece and continuing to expand his career through teaching and developing his playing. On the other hand, Colm described Padraic as "dull" directly to his face, which planted a seed of growing frustration in Padraic. Padraic is shown as a simple creature of habit who enjoys drinking, chatting, and spending time with his donkey, who lives on his property along with other animals. Padraic is portrayed negatively and antagonistically once Colm essentially breaks up with him. The breaking of their friendship brings out the worst in both men, who were hiding deep within them and would've probably never come out if Colm hadn't decided to alter their friendship this seriously. He threatens Padraic that if he continues talking to Colm, he will cut off his fingers every occurrence. It seems like an empty threat, but with Gleeson's convincing performance, it is still left up in the air, causing anxiety and intrigue about where this story is headed.
The deep exploration into Padraic's psyche as he is described as one of the world's "good guys," but once his relationship with Colm crumbles, Padraics morals turn sideways. Was his life as a "good guy" a matter of environment? Was it heavily and delicately depending on a friendship? Padraic is driven to a dark psychological state where he turns violent due to Colm cutting off his fingers and keeping true to his threat.
Colm seemingly is going through a mid-life crisis filled with despair and fear of his lost legacy. His ego is heightened as he attempts to act intellectually superior towards Padraic in public, claiming Mozart was from the wrong center as Padraic's sister calls out his arrogance in public and corrects Colm. Colm's attempts to assert his superiority stem from fear and his desire to separate himself from Padraic further.
Padraic's descent into madness raises questions about how much of his attitude relied on his structures of friendship. He seems to do a 180 regarding his morals, while Colm remains pretentious, filled with despair and lashing out at Padraic when his frustration is wholly misplaced.
The Banshees of Insherin is a character-driven film that relies on reactive moments from brilliant leads fueled by anger, fear, and frustration. It is shocking and quite insightful for Mcdonuagh to explore how fragile and dependent male relationships can be, especially in older males, while exploring the consequences of a friendship spiraling out of control.
From a craftsmanship standpoint, the well-constructed cinematography benefits from the beautiful scenery on location in Ireland for the film. The desolate and wide open grass ranges highlight the alienation one may feel while living on an island that is closed off from the rest of their home country. The Banshees of Inisherin portrays a depressing end to a friendship in an unusual circumstance, where one man suddenly decides to cut all ties with another. The peculiar nature in which the conflict arises gives The Banshees of Inisherin its vehicle to explore its themes with nuance and originality.
In a perfect way to finish the allegory, Colm and Padraic's relationship ends in a passive-aggressive treaty where both sides, especially Padraic, tell Colm their quarrel isn't over, showing the tension remains after a treaty is signed at the end of a war. This conversation takes place on the beach, where both characters look across the ocean at the mainland, where gunshots can still be heard, as they could at the film's beginning.
Featured Review
The Whale
12/20/22
Directed by Darren Aronofsky
Rating: 8.6/10
The Whale’s persevering story gets to grips with many challenging themes while using a unique script to create an overwhelming sense of empathy towards its central character, played by a career-best performance by Brendan Fraser, who acts his heart out to make viewers sob at his earnest portrayal throughout the film.
Fraser is causing painful laughter in nearly every scene, drawing empathy or tugging at our heartstrings as his portrayal comes across with searing honesty. Fraser’s performance is one of the few instances where a role fits so well for an actor's sensibilities and skill that you think nobody else could’ve pulled it off with the sincerity and care it needed. It’s not surprising to learn that director Darren Aronofksy said he’d wanted to make this film for 10 years but couldn’t get the casting right until he found Fraser. It’s tough to imagine another actor filling the shoes of Charlie as Fraser so convincingly does. While many roles seem very fitting and popular claims say nobody else could play the role, it ends up usually being hyperbole, but in the case of Brendan Fraser in The Whale, he fits the role swimmingly.
It is a shame that reviews and viewers perceive this film as fat-phobic or hateful. The fact that the Whale tells a story about many characters dealing with trauma and guilt that leads them towards having callous attitudes does not mean the film is fatphobic, no matter the cruelness some characters have towards Fraser about his weight. There has been a polarizing response to Fraser wearing a fat suit and the treatment of his character in the film. There has also been negative criticism about how The Whale reflects society’s already troubled perception of overweight people. The portrayal of Hunter's script, combined with Aronofsky's direction, depicts a humane understanding of how Charlie arrived at the point in his life where we view him. The loss, trauma, and guilt that led him to this saddening lifestyle are all a part of what humanizes Charlie. The Whale successfully breaks down negative stereotypes and offers a convincing yet upsetting character-driven story.
Auteur director Darren Aronofsky is restrained more than ever in The Whale regarding cinematography and editing choices. Perhaps he intended to keep much of the spirit of Hunter’s play on screen. This leaves The Whale as a film that leans heavily into Samuel Hunter’s script and Fraser’s towering performance. Although some of Aronofsky’s signature style is absent, his bold risk-taking is still apparent in scenes that are borderline repulsive and upsetting for audiences to sit through, yet they support the story of Charlie. The honesty within The Whale leaves room for comedy and tragedy as Charlie is a highly self-aware character with the self-awareness to crack self-deprecating jokes about his appearance. He even says to his friend about himself, “Who would want me to be part of their life?” It’s a brutally honest quote devoid of melodrama and sensationalism because it’s the protagonist's self-truth about their self-perception without any added emotional flair. Charlie’s acceptance of his eventual death and choice of not seeking help due to medical debt and the trappings of modern healthcare places him in a dark mindset that he can grind through. This harrowing acceptance that creeps in pushes him towards attempting to rekindle his family relationships before his time is up.
Instead of hiding behind the sensitive nature of the topic, The Whale aims for brutal honesty not only from Charlie but from its narrative goal. The Whale creates empathy while offering an unflinching look into a life filled with regret, trauma, and the struggles of obesity. Hunter’s script has several aims in its sights, such as religion, fatphobia, family turmoil, same-sex relationships, forgiveness, and complex societal norms.
The Whale delivers its message towards most of these themes with value and conviction. The film rarely gets lost in its ambitious goals, but when it steers off course, it is usually because the focus is not on Charlie. The issue of family turmoil is explored through Charlie’s relationship with his estranged daughter Ellie (Sadie Sink), whom he has not seen in eight years since he left his wife Mary (Samantha Morton) to marry another man. Charlie hopes to connect with Ellie as his life is crumbling. He insists and pleads with her to write anything for him, her thoughts and feelings, as he desperately wants to learn more about her. Charlie can’t help but feel guilty about Ellie’s current struggles with the academic and social aspects of high school. Mary even exclaims that their daughter is evil, to which Charlie laughs back in response, “she’s not evil”. It’s an endearing response as it shows Charlie is not remotely close to giving up on Ellie and knows deep down that she means well.
Fraser’s ability to remain optimistic and motivated to finally “do something right in his life,” as he puts it, is a dramatic tug at the heartstrings towards the end of the film. He yearns to leave his relationship with his daughter and her well-being in a well-intentioned place, where he hopes she realizes how much Charlie supports her.
His optimism sticks with viewers, highlighted by his aspirational quote, “Do you ever get the feeling that people are incapable of not caring? People are amazing.” The ability to overcome trauma and set things right is Charlie’s goal, and his outlook on life leaves him with a feeling of solace throughout all the pain and adversity he faces. Prepare to be won over by Fraser’s efforts in a demanding role to pull off while being absorbed into the emotionally charged narrative that will leave you filled with a unique poignant feeling while offering a glimpse of hope not seen in a story of this magnitude.
Triangle of Sadness
1/6/23
Directed by Ruben Ostlund
Rating: 6.8/10
Triangle of Sadness presents a darkly satirical what if – what if a group of affluent, self-absorbed people went aboard a luxurious cruise that went through the tragedy of the titanic, leaving a few survivors to find a beach to act out an alternate lord of flies situation that critiqued gender roles and classism.
Palme d’Or winning writer-director Ruben Ostlund tackles an amalgam that comprises social inequality, personal worth, communism, socialism, and gender roles, cynicism to the effect of sinking his film with too much to say without enough substance. His calculated attempts to point nasty fingers at the exuberant rich are funny the first time. He also allows his film to fall into a pretentious level of filmmaking with absurd long takes that drive nothing forward regarding plot or character development.
The film starts with a witty scene of male models posing back and forth between Balenciaga and H & M attitudes. We meet who is seemingly the main character Carl who is a male model and is in a relationship with an influencer named Yaya. The dynamic between Carl and Yaya sets off a promising focus for the film as we explore their relationship before they arrive on the yacht. Ostlund uses Carl and Yaya to discuss the problematic social norms and murky expectations of gender roles. Carl is an insecure male model who makes less than his influencer girlfriend, whom he accuses of using for control. Their arguments highlight timely, debatable topics within a male-female relationship. For example, Yaya tells Carl that the next dinner they’d have, she will pay for the bill, yet when it arrives at the table, she subtly suggests he pay for dinner, which enrages him. Later in the night, she admits to being manipulative and wanting control over him. The signs of this being a toxic but entertaining relationship seemed to be the film's anchor.
Once Carl and Yaya board the yacht, we are introduced to the workers and their female boss Paula while exploring other wealthy figures on the ship. Once the film reaches the chapter on the yacht, scenes extend beyond their welcome, and the plot floats around, waiting for the expected inciting action of chaos. The yacht slowly rocks dangerously back and forth, suggesting the incoming wreckage. At the same time, the alcoholic captain Thomas Smith (Woody Harrelson) finally shows his face at the captain's dinner, welcoming all the guests. Smith’s distaste is demonstrated by his unpleasant interactions with the guest and his decision to have a cheeseburger with french fries instead of the luxurious, expansive dinner prepared for guests full of rare, posh seafood. As soon as we meet Captain Smith, we can tell from his casting as Woody Harrelson and his separation from the wealthy habits that Ostlund wants the middle class to be looking through the eyes of captain Smith. His perspective and repulsion of the gloating wealthy elites align with most of the film's viewers.
Ostlund jumps onto the middle-class train of damning those who breathe and cherish capitalism while standing up as their champion through his script, injecting his thoughts into the ship captain Smith, who spews out political quotes against a Russian communist while the boat is sinking. The metaphor, way too on the nose, does maintain shock value and flair but wears thin quickly. Unfortunately, Ostlund’s script has as much subtlety as the entire sequence of the yacht sinking. Ostlund goes beyond satirical comedy and aims for savagery as the camera rocks with the boat while we see continuous vomiting from the moneyed passengers. As the disgust becomes gratuitous and the contrived plot floats along, one might wonder for a minute if the ship's intention all along was just to sink the filthy rich into the ocean for good.
Ostlund’s script seems hell-bent on hitting every single socially critiqued beat he desires without convincing story development. Throughout his brilliance in his earlier film The Square, Ostlund must’ve convinced himself that every one-liner he sets up would knock the audience out of the park where it disgusts them or leaves no mark. The script abandons Carl and Yaya until the third act arrives.
By the third and final act, Ostlund explores his “beauty as currency” theme with the few who survived on the island. Only one group member has survival skills and becomes a worker on the boat named Abigail. Abigail, who has neither the wealth nor attractiveness of the guests, quickly asserts her power and dominance over the entire group. It’s easy to see the role reversal coming as Abigail assumes the role of captain while using her authority to sexually please herself, commanding Carl to sleep with her. At the same time, in return, he and his girlfriend receive extra food. Ostlund is telling us the morally rotten side of human nature: no matter who has control, they will abuse their power. He does pose the insightful question, is the desire for control automatically abusive no matter who is in charge, or is it dependent on the individual? Is society to blame for the trappings of abuse of power, or can noble individuals break that mold? The flipping of positions presents another on-the-nose point from Ostlund, and he meanders around with the concept, stretching out a final act into a tiresome slog.
It’s as if Ostlund storyboarded a scarce amount of scenes to vociferate his thoughts on inequality, capitalism, and humanity without attaching them to a completed feature. The moments within the first two acts of sharp, witty criticisms remind viewers of Ostlund’s ability to craft insightful satire. Unfortunately, those sequences are short-lived in a promising first and second act that can’t sustain itself because of the uncertainty of where the story should aim.
There is a clear divide between the film's reception, with it winning the Palme d’Or with a 7-minute standing ovation while receiving overall mixed reception, Triangle of Sadness won’t satisfy the average viewer, but it will have its supporters, whether its middle-class viewers happy to watch Ostlund’s takedown of the rich or fans of his signature satirical, dark humor. Overall, Ostlund’s film presents a scattershot attack on the numerous themes of classism, wealth inequality, human nature, and gender roles that become hit or miss until they overwhelm the film while ultimately drowning any possible satisfaction for the disappointing conclusion.
Featured Review
Glass Onion
9/15/22
Directed by Rian Johnson
Rating: 6.9/10
Rian Johnson returns in his detective form to deliver an exciting albeit sub-par entry into the whodunnit genre that serves as an actors showcase while struggling to serve up a convincing story that feels all too contrived.
This time around, Benoit Blanc (Daniel Craig) maintains the wittiness and admiration that made his character a star in Knives Out while showcasing his accent that blends the American south with the French in a hilarious character quirk.
Right off the bat, Johnson plays his game with constant pop culture references and cameos while introducing us to the ensemble. Johnson provides clever and engaging character descriptions using their initial environment as descriptors. It's a witty and swift method of letting us know their character tropes while providing us with the inciting action of the invitation. Each member of the acting ensemble has received a game device that serves as an invitation from tech billionaire Miles Bron (Edward Norton), who seems like an amalgam of Silicon Valley personalities chiefly controlled by a personable version of Elon Musk. Johnson's social critique and targets become apparent as he uses dialogue to address greed in the era of social media and the herd mentality. Each ensemble member (Kate Hudson, Dave Bautista, Leslie Odom Jr.) is dependent on Bron's influence and wealth. They bend to his wishes, whether it be a weekend on his private island to play a murder mystery game or to shape their careers how he sees fit for his business.
Johnson's narrative hints attempt to sway the audience's psyches away from the obvious killer. Yet, those actions prove worthless in the end as he tries to play games with the audience while the killer is in plain sight, and there's nothing he does to convince us otherwise, and by the end, the mystery has been solved within the first 30 minutes. The audience's attention remains on Bron as the leading suspect, and Johnson constructs an elaborate revenge plot that derails the momentum he crafts at the start of the film. Johnson decides to save the ultimate reveal midway through the film and bases the mystery on a fact that happened off-screen and in the past.
The foundation of the mysterious reveal relies on Andi (Janelle Monae) having a twin sister Helen who is avenging her sister Andi whom Bron murdered, to hide his lies about Alpha. Alpha is the company that is primarily Andi's brainchild, and Bron sought to oust her from this company once she disagreed with his direction for his dangerous chemical, Klear. However, Bron is convinced by the possibilities of Klear, his alternative-based hydrogen fuel, to revolutionize energy even without proper testing.
Helen's story and orchestration of her revenge plot are shown in a lengthy flashback where she reaches out to Blanc for help. The twin reveal has been the go-to plot crutch for many films, including A Simple Favor and The Prestige. The difference between these two films and Glass Onion is that the pair respected and built a strong story on the eventual reveal of a twin, while Johnson uses it as a booster seat to find a jumping-off point to continue his story. Within the flashback, the ensemble cast perjures themselves as they all defend Bron to receive the benefits of his power and influence as the lone CEO of the company he and Andi built. Once the audience is dragged through the exposition sequence of how Helen arrived at this point, greed and loyalty are put to the test.
Helen confronts Bron and places morality in the hands of the rest of the guests to decide if they should sell out Bron or remain loyal to him. In a fit of rage, Andi starts destroying Bron's glass sculptures and eventually throws a piece of Klear into a fire to show the damaging effects of this dangerous drug to all. This chemical reaction causes the Mona Lisa Bron displayed in his mansion to melt, showing society's overdependence on possessions and the price of loyalty. The fact that none of the guests sway to Andi's side until Klear destroys the Mona Lisa is disheartening and doesn't put any of their motives as honest, only selfish. The fact that the crew does not do a complete ethical 180 does keep the integrity of the characterizations Johnson has drawn up for the story intact. If there were a genuine shift in integrity and values at the end of this film for characters willing to sell out their friend for everything, the story's value would plummet. Understanding the narrative in this manner isn’t giving Johnson false praise for something he didn't intend. Johnson intended to portray this group of friends as those who drift wherever the momentum and self-serving options lie, alike his thematic messaging.
Throughout all the twists and turns, beautiful scenery, and engaging acting, Johnson's script still ends up being less than the sum of its flashy parts. There is fun to be had in the film's self-awareness and mockery of its outlandish, arrogant characters. During his inspection, Johnson aims his magnifying glass over morality, greed, and the harmful attempt at dominion by wealthy moguls. However, if anything deserves the blame for this sophomore slump in Johnson's whodunnit universe, it's the faulty yet integral part of his mystery, the contrived and grand reveal. The ensemble of eye-grabbing actors, roller coaster trickery, and comedic dialogue fail to prevent Glass Onion from being an intact mystery and instead leaves shards of glass in a fatally flawed mystery from the get-go.
Featured Review
Everything Everywhere All at Once
6/4/22
Directed by The Daniels
Rating: 8/10
What happens when you combine a unique vision with the inventiveness of the Matrix and the absurdist, nihilistic storytelling from Rick and Morty? You get Everything Everywhere All at Once
What separates Everything Everywhere All at Once from other multiverse films is a resonating and sometimes overly sentimental message at its core. Pile on top of that a near two and a half hours of dazzling imagery that provokes laughter, thought, sadness, and existential questioning. The film has been labeled as a genre-mashing extravaganza. Still, more concisely, this is a fantasy movie filled to the brim with originality, tropes from other genres, and inspirational storytelling from films that came before it.
The layers of story and themes in Everything Everywhere all at once are perhaps its own worst enemy. It attempts to tackle the nihilistic viewpoints of a younger, current generation while offering a journey of acceptance for the boomer generation of their lifestyle and coming to terms with the generations before and after them within a family and social context.
Yet, the most outstanding story arc is set for the mother of the Wang family, Evelyn (Michelle Yeoh), who struggles to manage and understand the decisions that led to her current life. The story sets in as a fantastical awakening akin to The Matrix, where Evelyn is told she is prophesied to save the multiverse from a growing evil, her daughter from another multiverse. This journey through the multiverse has a more meaningful lesson than just stylistic flair. The use of it can be seen in several different ways, perhaps as a metaphor for a midlife crisis or a lesson learned in a fantastical world - similar to Spike Jonze’s Where The Wild Things Are.
The special moments in this film are when the emotion rings through the screen when merely a pair of stale rocks discuss existential questions of life through text on the screen that amounts to a touching mother-daughter moment. The style of The Daniel’s director duo brings a signature style that offers timely themes and occasionally gets lost in the silliness of their creation. Michelle Yeoh injects Evelyn and the story with needed pathos, giving the audience a character to root for.
The film’s issue of overwhelming the viewer with action sacrifices the story's impact. Scenes that would’ve been better off with moments of storytelling are instead filled with sequences of squeezing out surrealistic ideas beyond their limits (Hot Dog Finger World). But several wasted scenes fill the screen with visionary and imaginative thrills.
Whether it’s the top-of-the-line martial arts choreography, the gripping cinematography, or the playful sound design, Everything Everywhere All at once is a technical achievement, serving up the best a near indie studio such as A24 can produce. The quality of This film surpasses high-budgeted films of recent memory, which highlights the creativity and inventiveness of the film.
The vast audience reach of the film will speak unique lessons to the different generations that view the film. Giving separate generations their piece to take away from the film speaks to the strength and insightful perspective Everything Everywhere All at Once offers. The frenetic energy may turn off mainstream viewers, but it would be a disservice to give up on the artistry alone in Everything Everywhere all at once. It’s essential for independent filmmaking to achieve these heights because it pushes the bar higher for expectations for smaller studios while giving massive ones a run for their money and creativity.
While Everything Everywhere All At Once's a unique comedic exploration of themes can feel superficial at times, the film still creatively hits several marks on point.
Underneath the perverted jokes, generational themes, and multiverse plot devices, the core of this marvelous story is addressing the cynical, nihilistic perspectives that dominate our confusing and overwhelming world while learning to see the joy in our life choices.
Evelyn (Michelle Yeoh’s) character has become spiteful while growing to resent her family for the mundane and disappointing life she lives at the beginning of this film. She’s on the brink of a divorce and is close to losing a relationship with her daughter because she cannot appreciate or find another perspective on the life she painfully grinds through. It can be a widely resonant character for many who watch the film feeling lost in their way. What helps the film stick to its turbulent landing is the lesson at the end of the long and winding road.
Evelyn has to discover the importance of the other people in her world that give her life meaning and significance. Fighting the nihilistic perspective of her Gen Z daughter in the film requires an introspective look at herself, finding an alternative viewpoint to see the beauty and love in the world around us. How does an older generation try to explain and address Gen z and younger generations' meaningless outlook on life? The solution to that in Everything Everywhere all at once is first to accept who you are and break through the societal constructs that have derailed your life. Secondly, Evelyn explains to her daughter that in this “meaningless” world, beauty is all around us, the reason we assume the world is meaningless is because she is approaching it through only one lens, her own. Evelyn fights against the dooming idea of her daughter's pessimism through the view of her husband, Waymond (Ke Huy Quan). He pleads to Evelyn to use compassion and empathy over violence to reach her daughter and her followers. This approach allows Evelyn to connect with her daughter, building to this moment of realization -
The relationships in our lives continue to evolve our meaning in this confusing and overstimulating world. Evelyn assures her daughter that in all the multiverse versions of herself, she wants to be with her in the life she built for herself and her family. This growth as a person touches her daughter and the multiverse villain version of her daughter “Joni Tupaki.” Evelyn's choice to overcome the cultural plagues that haunt her from her father, overcoming her regrets of life-altering decisions, and acknowledging the insecurity as a mother lead her to breathe through to her daughter. This realization is witnessed through a conversation at the end of the film that Evelyn has with the IRS worker Deirdre (Jamie Lee Curtis). Deirdre tells Evelyn that Waymond explained the struggling situation of their lives to her. This moment of empathy convinced Deirdre to give them more time to file their taxes and save their family-owned business. This allows Evelyn, at the film's resolution, to see Waymond in a new light, seeing the kindness and steadiness he brings to her life. This was happening all along, but it required Evelyn to go through her journey into the multiverse to witness the expansive possibilities of her life and come to terms with her existence.
Featured Review
Doctor Strange in the Multiverse of Madness
5/6/22
Directed by Sam Raimi
Rating: 6.6/10
Sam Raimi's return to superhero films and entrance into the Marvel Cinematic Universe represents a unique talent being bogged down by the constraints of Marvel's disappointing decision never to allow this film to descend into enjoyable madness.
The Marvel Cinematic Universe is undoubtedly at a turning point regarding storytelling, genre, and its lack of desire to take risks. Doctor Strange in the Multiverse of Madness is a stylish, flashy trip into Doctor Strange's corner of the MCU that negates the momentum and creativity started in his original film, Doctor Strange.
Whereas many thought this film could be the genre-bending experiment that would open new doors for the MCU, it instead frustratingly plays it safe, giving audiences a conclusion they've seen numerous times before. In this case, the scene-stealing Scarlet Witch's (Elizabeth Olsen) story finishes with a lackadaisical and monotonous resolution that Marvel has been beating audiences to death with.
It's never a positive sign for a Marvel film when a cameo scene steals the show and ends up being the most engrossing scene of the entire movie. In a film that is supposed to bring us into this new expansive multiversal concept, we hardly witness anything unique or intriguing in any multiverse we visit. Apart from a shocking cameo sequence, this story fails to offer anything new to this universe. One revelation that has become fully realized from this film is that shocking cameo scenes during these films are now the expected norm for marvel fans. Scarlet Witch becomes the antagonist in this story, making any other superhero appear inferior in ways we haven't seen before in the MCU, as she murders heroes who were set up as almighty beings for her benefit to showcase her powers. These beings included the cameos of Professor Charles Xavier and Reed Richards from the Fantastic Four. These mighty characters are neutralized just as Stephen Strange is, all to serve the purpose of the Scarlet Witch being shown as untouchable. Marvel has always had issues confirming the abilities and sheer power of heroes on screen, making it a manipulative tool to shift around to support their stories. With Doctor Strange in the Multiverse of Madness, these issues damage the film and raise questions moving forward about what matters in the MCU.
Doctor Strange in The Multiverse of Madness introduces a new character, America Chavez, a young girl who can transport through multiverses, although it happens without her control. She becomes Stephen Strange's responsibility to protect and mentor throughout this journey. Hardly anything is developed from this relationship until the film's finale, where poor dialogue and storytelling come into the mix. Strange's words and encouragement motivate America Chavzes to do something she's never done before, control her powers. This insulting settling in the script makes the relationships in this film flawed and shallow.
Raimi's style and genre strengths are witnessed in sequences that bring a welcoming attempt to bring horror into the MCU. There are flashes of this horror delight and references to Raimi's filmography that only serve as positive moments in a film that wastes its promising premise. As soon as a noticeable Raimi sequence unfolds and suggests newfound directorial freedom in the marvel formula, the controlling individuals of the MCU slap the wrists of Raimi's creativity and force the film to take a step back into mediocrity. The painful, campy Raimi-inspired dialogue wears thin all too quickly as the film never devolves into the madness its dialogue warrants.
The film tries to tackle Strange's difficult love life, America Chavez's inner struggle, Scarlet Witch's collapse, and an intriguing new step for the MCU with the introduction into the multiverse. Still, it is unable to bring any of them justice.
Overall, Raimi's journey into Doctor Strange and Marvel's corporate storytelling prove that Marvel has a difficult road ahead. As the multiverse has been unleashed, the degree of verisimilitude is becoming compromised due to unrealized world-building and flawed storytelling that becomes all too obvious in the multiverse of madness.
Featured Review
The Power of The Dog
12/12/21
Directed by Jane Campion
Rating 8.5/10
Jane Campion’s The Power of the Dog is a thought-provoking, tension-filled drama that carefully explores intriguing questions about masculinity, grief, and jealousy in a modern Western background to harrowing results.
While the ensemble cast nails their positions in this power play story, in this western, Benedict Cumberbatch’s performance as the resentful and unnerving ranch owner Phil Burbank drives the narrative forward in Campions’ grueling ride of a screenplay. Cumberbatch will have audiences cringing and widening their eyes as he fights for everything he lives for, which turns him into a cunning villain.
This is perhaps the most psychological a western has gotten since The Assassination of Jesse James by the forward Robert Ford from director Andrew Dominik. Not only is jealousy a significant theme but grief and love drive these damaged characters, specifically Kodi Smit McPhee's character Peter Gordon, who is a bullied and grief-stricken son who is dealing with the loss of his father while trying to maintain and care for his alcoholic mother who both fall victim to Cumberbatch’s devious tactics.
The driving motivation for this story is, in fact, love. The love George Burbank (Jesse Plemons) develops for Rose Gordon (Kirsten Dunst) is what sets the whole story in motion. Phil considers this an immediate betrayal and foolish move by his brother George. On the other hand, Phil’s love is much more subtle and complicated as it unravels throughout the film as Campion lets us chip away at his fragile masculinity. The reward we get as an audience is fairly viewing all of these characters in a manner that we can understand and empathize with their situation, drawing us into this distressing story. The film is filled with subtle actions that demand our attention to fully absorb its intentions.
The meaning of the Power of the Dog can be interpreted in a few ways, many may lean towards the actions of young Peter Gordon, but I found the most insightful one was the power of Cumberbatch’s character, Phil Burbank. Throughout this film, he acts as a dog, soaking himself in mud and misbehaving, causing pain to the rest of the ensemble. The power he gained his entire life collapses everything he hoped to achieve and live up to.
Phil is a man stuck in the past. His covetous remarks and actions always referred to a more extraordinary man before him who showed him his ways. George lives in the present and defends his love for Rose against Phil’s mocking pleas that he leaves her.
The Power of the Dog went down paths I didn’t intend to follow, making it all the more interesting as I saw these characters develop. Jonny Greenwood’s haunting and beautiful score accentuates the quiet moments of tension while providing a beautiful Segway through emotional acts.
Campion's direction evokes strong emotions while dealing with several captivating themes of love, grief, and jealousy to profound results. Those more inclined to the pacing of modern action films such as the Marvel Cinematic Universe will have to buckle up with other viewers and absorb the, at times, slow-moving but ultimately rewarding psychological Western.
Featured Review
The Lighthouse
1/20/21
Directed by Robert Eggers
Rating 9/10
Ambiguity in screenwriting can come across as lazy or gripping. In Ridley Scott’s flawed yet mesmerizing sci-fi epic Prometheus, the screenplay develops more questions than it can answer, leaving the audience unsatisfied and feeling deceived. In Robert Eggers's The Lighthouse, ambiguity almost hits its tipping point as interpretation becomes key when chaos unfolds upon the 1.19:1 aspect ratio in a black and white format that transports viewers into a mindbending modern horror film that shows the perfect level of ambiguity in cinema. When I come across a film as special and complex as The Lighthouse, it demands more from audiences to understand its meaning.
It can be categorized as a psychological thriller, I believe it best to call it a horror film. The Light House splashes us into a story focused on two lighthouse keepers, played by Willem Dafoe and Robert Pattinson who begin to turn on one another while developing a twisted relationship that may leave some struggling to understand what this film is truly about. It becomes quite clear both characters are hiding something, for Pattison, his words about his identity are misleading and lack validity, while Dafoe hides his secret in the glaring lighthouse that haunts Pattison throughout the film as he attempts to uncover what’s inside the enchanting structure.
As Dafoe and Pattinson continue to one-up each other in a growing mystery fueled by tension, animalistic clues, and perfectly timed comedic farts, this film will require your undivided attention. One may say Eggers draws this story's background from greek mythology, others will question the validity of the two characters' identities. Over the 109 minutes of storytelling, references are made to homoeroticism, the work of Carl Jung's psychoanalysis and Greek mythology, with Eggers letting you choose what you believe motivates the characters.
The reason Eggers's ambiguity works in his film is because of the effect the story has upon the ending. It can possibly validate each method, and every conclusion you’ve made could be true. For some, this may come easily, others will find themselves lost at the start within Dafoe’s outlandish sailor accent and somewhat cryptic dialogue.
It’s rare to view a film where the cinematographer (Jarin Blaschke) captures each shot with intention and drives us deeper into the character's livelihoods. Blaschke was nominated for the Academy Award for Best Cinematography while winning the independent spirit award for best cinematography. His framing showcases the dedicated set, performances, and direction that deserves recognition for its modern fit in black and white. It presents haunting, grim, and lasting images that seem to be influenced by German expressionism. German expressionism was a period of filmmaking in Germany that began towards the end of World War l and peaked after the war. The film movement favored showing inner emotion and visual shadowing instead of straightforward storytelling. Mood, visual distortions, and exaggerated imagery were strong concepts within German expressionism and are found within The Lighthouse.
A majority of Hollywood cinema storytelling contains scripts that spoon-feed viewers the details of the plot, wrapping it all up into a satisfying yet shallow blanket of a journey, but in Eggers's nightmare, we choose our own way out. This film will not be pleasing to the average filmgoer, it’s gruesome and disturbing final act makes you question every single word spoken on screen.
It has been a long time since I became this glued and invested to the screen, as I was dying to see what Dafoe’s character truly saw in the Light House. But once you begin to combine what you’ve just witnessed, you realize that what both light house keepers see in the light is unimportant to the audience. Eggers's script is filled with sailor dialogue that Dafoe seemingly mastered while Pattison attempts to hold his own on screen in a film that challenges masculinity. Both give great performances, but Dafoe steals the show, leaving us with a haunting reminder that the most effective antagonist in a modern horror film can be a disturbed light housekeeper. Is the story an allegory for Greek mythology and the story of Prometheus' punishment against the rules of the gods? Perhaps others will view it on the level of a Freudian tale of sexual exploration. Whichever sub-text viewers wish to believe, Eggers provides enough pieces within the narrative to support it, even when the story seems to spin out of control to merely provide a shock factor at times.
The Lighthouse is a demanding descent into madness. It demands questioning, it sparks us to unravel what these men sought and why. It was beyond refreshing to witness this idiosyncratic piece of filmmaking that will please hardcore movie buffs and those in search of a thought-provoking film that lingers in our thoughts.
Featured Review
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Bacurau
Bacurau starts as a calm, somber film that slowly builds with tension fueled by grief and sociopolitical issues.
As the story unravels Bacarua finds itself in the peculiar genre of Weird Western. A genre that blends the western with components of horror, sci-fi, and fantasy. In the case of Bacurau, there is a more sinister, violent twist to this story as corruption and societal status play key in the themes. Directors Filho and Dornelles bring attention to sociopolitical themes of violence and corruption in modern Brazil while doing a great job of connecting us to a larger ensemble of characters who all feel part of the supporting cast of the main character of the town of Bacurau.
On the outside, this plot depicts a community that is dealing with grief, corruption, and death coming together to fight sadistic hunters who are trying to tear Bacarua apart from the inside out. This all builds in Bacarua until chaos erupts in the town.
Taking a deeper dive into the subtextual elements of the film, we see remnants of more traditionally violent films in a familiar plot where the rich hunt the poor in sadistic amusement but that usually proposes the question…why are these people doing this? The film decides to sparsely answer that question by letting us into the minds of the sadistic hunters as mentally disturbed individuals who seek hunting as a way of release. This seemingly allows Bacurau to fall into this comparable category of films that depict the hunting of lower-class individuals by merciless members of the higher class.
Ultimately we understand the greater evil at work which leans heavily into the sociopolitical themes of Brazil and the vision the directors wanted the audience to see.
It’s a powerful message they portray through violence but the pure, natural individuals must be dosed with psychotropics to even participate in defending themselves from these evil villains. This may be the most integral symbol in the film and what it represents, the purity of the inhabitants of Bacurau. The mind-bending effects of the psychotropics give the citizens their only moral way of fighting back. Part of the disturbing message that Bacurau tells us is that fighting back means getting your hands as dirty as your opposers in some cases.
It’s a message from the lower class, rooted in the strength of community, loyalty, and history that they will not be taken advantage of or degraded by anyone.
As the story unfolded the message became quite clear and our endpoint was becoming glaringly obvious which hurt the initial mystery and thrill of the film. The narrative struggles to find a clear balance of whether to focus on the traditional heroes or villains of the film, leaving some of the more interesting characters to rot, even quite literally.
It leaves viewers with a grim message of the final words of the main villain being cried out "This is only the beginning." This dialogue cries out to viewers as a message and calls for arms against the corrupt institutions that allow the events in this film to have even taken place. The carnage, destruction, and violence in Bacurau started with injustice while showing a tough road ahead for communities in our world that are comparable to Bacurau.
The Best Order To Watch The Star Wars Film Series
The Reasoning for the non-chonrological order listed is due to the power of the skywalker story the viewer would absorb by going in this order. One would start the Saga beginning with the story of Luke Skywalker in A New Hope through The Empire Strikes Back. Once learning the origins of the skywalker family, viewing The Phantom Menace, Attack of the Clones, and The Revenge of The Sith sets up the Skywalker family story for an enthralling and even more riveting climax seen in The Return of the Jedi.
1. Star Wars Episode IV: A New Hope
2. Star Wars Episode V: The Empire Strikes Back
3. Star Wars Episode I: The Phantom Menace
4. Star Wars Episode II: Attack of the Clones
5. Star Wars Episode III: Revenge of the Sith
6. Star Wars Episode VI: Return of the Jedi
7. Rogue One: A Star Wars Story
8. Star Wars Episode VII: The Force Awakens
9. Star Wars Episode VIII: The Last Jedi
10. Star Wars Episode IX: The Rise of Skywalker
11. Solo: A Star Wars Story
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Why Rocketman soared and Bohemian Rhapsody couldn't Break Free
Elton John and Freddie Mercury are ideal candidates for music Biopic films. They are eccentric, fascinating, and incredibly talented individuals with harrowing stories. Adapting their lives into a feature film would be challenging yet rewarding for audiences. The most outstanding component of these films is the lead actors, Taron Egerton and Rami Malek, who embody the main focus of both films.
Malek, best known for the television series Mr. Robot garnered critical acclaim and received numerous awards, including the Academy Award for Best Actor. Egerton gained considerable fame starring in the action film franchise Kingsman. For his performance as Elton John, Egerton received the less prestigious Golden Globe award for best actor in a Musical or Comedy compared to Malek’s Oscar-winning performance. While many would agree, Malek deserved the prize; his performance mirrored cosplay more than an in-depth portrayal of the legendary deceased artist.
Bohemian Rhapsody became the more successful film in terms of box office, crossing the 900 million mark, while Rocketman got by with 105 million in the box office. These numbers vary greatly and suggest a better marketing strategy by 20th-Century Fox. These numbers reflect the R rating Rocketman man received, further showing the honest portrayal and story of Elton john’s life without censoring adult content for younger audiences.
Overall critical reception favored Rocketman, while the mixed reception of Bohemian Rhapsody made it one of the few films with considerably negative ratings to become nominated for the Academy Award for best picture.
What is arguably most striking about Bohemian Rhapsody is its hesitancy to explore Freddie mercury’s adolescence or sexuality in an honest light while Rocketman tackles Elton’s life struggles head-on. The most in-depth information we see from Freddie’s life before Queen is his days working at an airport, but of course, Bohemian Rhapsody won’t allow us to understand who Freddie was before he became Freddie.
Rocketman highlights the importance of Elton John’s childhood. How his troubled family life shaped him into the mega-star he became. We learn his inner struggle to admit to his disapproving parents that he’s gay and its implications on his health. Rocketman became the first primary studio production to feature a gay sex scene in cinema history.
Another struggle of Bohemian Rhapsody is its insistence on rushing us toward the finish line without allowing viewers to digest the story properly. In return, we receive one-dimensional characters in the form of Queen band members Brian May, Roger Taylor, and John Deacon. Mercury’s parents are left as the cliché disapproving father and the mother who supports her son's endeavors. By the film's end, we receive a completely falsified scene of Mercury introducing them to his boyfriend shortly before they watch their son with teary eyes performing at Live Aid. Given the clichéd insistence over and over again of how integral family is, we only scratch the surface of Freddie’s family or his interactions with Queen.
Perhaps the biggest crime between these two films is the Academy Award given to Bohemian Rhapsody for Best Film Editing. Between the unnecessary and gratuitous cuts in pivotal scenes, cliché beats, and cartoonish effects, the editing detracts from the film's momentum. Bohemian Rhapsody editor John Ottman acknowledged the editing faults in the movie, claiming it was due to the two different styles used by directors Bryan Singer and Dexter Fletcher, who shot scenes in different types. Singer stayed on as director near the end of principal photography for the production. Attention should be drawn to the fact that Dexter Fletcher directed Rocketman and took over for Bryan Singer on Bohemian Rhapsody, leaving one feeling ambivalent about the cause of the end product.
The dialogue bashes us over the head with the claim that Queen is a bunch of misfits playing together who don’t belong together. Yet, the film fails to demonstrate what made this band; instead we receive cliché moments of famous riffs inserted to tickle the mind, trying to distract us from the lack of substance the characters provide.
Bohemian Rhapsody settles for altering events and Queen’s timeline to force an awkward and stumbling resolution for Freddie Mercury. The scripts handling Freddie Mercury’s battle with HIV as a vehicle to reunite a damaged and flawed fantasy remake of Queen’s history. Both films shuffle and place their lead characters' timelines to fit where the narrative demands, but Rocketman can understand the power of addressing Elton's adversity.
The most gripping and poignant moments in the film are when we receive in-depth moments into Freddie’s relationships, particularly his painful one with Mary Austin. The friction that develops in their relationship is the driving force for Freddie’s humanity and redemption to be preserved.
The most revered sequence in Bohemian Rhapsody is the 1985 Live Aid performance, and rightfully so. The entire film speeds towards this finish line just in time to dazzle the audience, attempting to convince them that the journey was worth the destination. If only the journey earned such a glorious finish, would this film have done the honor Freddie Mercury deserved?
Were left with constant moments of classic Queen songs that are reduced to ear candy when Freddie miraculously begins to play the notes of Bohemian Rhapsody, following it up with the audience-provoking line “it has potential,” or the painfully clichéd tiff between band members that leads John Deacon to bust out the affecting another one bites the dust riff. These scenes come off as satire, more of a director’s spoof of Queen.
A common criticism of biopics is the “by the numbers” or “formula-driven” storytelling they entail. Bohemian Rhapsody suffers from this, and Rocketman does its best to “break free” from conventions by staying true to an unconventional life. Queen left behind a unique and distinctive legacy that we only get glimpses of instead of the uncompromising story Freddie lived.
I am not advocating that Bohemian Rhapsody is poorly made but rather that its flaws are outstanding enough to warrant and enlighten viewers about the success it could have been when referencing Rocketman. This leads one to think about what could have been accomplished with Sasha Baron Cohen staying on to play Freddie Mercury before he left due to creative control.
Elton John's particular involvement in the production and execution of Rocketman lead to an imaginative, profound product. A motivated lead actor working alongside Freddie Mercury warrants a similar result.