Benjamin-M-Weilert Reviews

The Boy and the Heron (2023)

A visual masterpiece that was a little hard to follow at times.

[7/10 · 2 May 2024]

Studio Ghibli films-specifically the ones directed by Hayao Miyazaki-are immensely beautiful and imaginative. The distinct visual style in movies like Castle in the Sky (1986), Princess Mononoke (1997), and Spirited Away (2001) is nothing but consistent. In the latest (and perhaps last) film by Miyazaki, The Boy and the Heron (2023) still maintains the beautiful 2D animation that everyone loves from this studio. The one trick with these films is that sometimes I feel the plot is a little lost in translation from Japanese to American audiences. This isn't anyone's fault, but it left me feeling a little lost.

While I understood the major coming-of-age themes present in The Boy and the Heron, there were so many fantastical elements in it that I felt I may have missed something from one scene to the next. Perhaps I was too tired to give this movie the adequate attention it deserved, but there were many times where I'd blink and suddenly the movie had moved on to a different location or subplot with little warning or foreshadowing. It was a little hard to follow because of this, and maybe if I saw it again I'd give this a better rating.

Overall, though, The Boy and the Heron is a visual achievement. In an age where most films are 3D CGI, this one at least looks like it's put together with high-quality hand-drawn animation. Everything was so colorful and expressive, whether it was the titular Heron or the army of parakeets. It's a little saddening that we won't get these creative fantasy visuals from Miyazaki anymore, but at least he went out on the top of his game in this department.

A visual masterpiece that was a little hard to follow at times, I give The Boy and the Heron 3.5 stars out of 5.

Indiana Jones and the Dial of Destiny (2023)

The worst Indiana Jones movie ever made.

[3/10 · 2 May 2024]

If you want proof that Hollywood won't let a good franchise die, look no further than Indiana Jones and the Dial of Destiny (2023). The original 1980s trilogy stands pretty well by itself, but the first reboot, Indiana Jones and the Kingdom of the Crystal Skull (2008) was so odd that it took almost another 20 years for the franchise to try anything else. Dial of Destiny merely exacerbates the problem of trying to resurrect this franchise by not transitioning off Harrison Ford (like it tried to do in Crystal Skull) but instead doubling down on de-aging technology and nostalgia.

There's a huge section in the first part of this movie that was so CGI heavy, I could have sworn I was watching a video game cut scene for 30 minutes. De-aging Harrison Ford still has the same issues that all other de-aging techniques seem to have (mainly, a kind of "uncanny valley"). None of the other characters were interesting or engaging, and that includes the ones brought on for short cameos to move the plot forward. I was falling asleep by the dramatic climax, and I don't think it was entirely because I was sleep deprived.

What's perhaps most frustrating with Dial of Destiny is that they could have actually made a decent film. Even within the first three films, the two where the artifact being sought after was a religious relic were the better ones. That they could have had a Lance of Longinus movie instead of the unbelievable Dial of Destiny further reinforces that nobody who made this film knows what makes a good Indiana Jones film. I sincerely hope this is the last we'll see of this franchise, because this movie was an insult to everything that came before it.

The worst Indiana Jones movie ever made, I give Indiana Jones and the Dial of Destiny 1.5 stars out of 5.

Godzilla Minus One (2023)

The best Godzilla film I've ever seen.

[10/10 · 2 May 2024]

While the original Godzilla franchise has been around for 70 years, I must admit that I've only ever seen the American versions of this Japanese monster. This includes the travesty that was Godzilla (1998), as well as the much better Monsterverse iterations like Godzilla (2012). Having never seen a Godzilla film in its original Japanese context, I was curious to try Godzilla Minus One (2023) for my first foray into the "official" Godzilla franchise. What I found here was better than I could have ever imagined-and for multiple reasons.

Coming from decades-old movies that used people in rubber suits fighting among miniatures, Godzilla Minus One uses just enough special effects to make the scale of the monster believable. However, this version of Godzilla still looks a bit like the version that had a guy inside a rubber suit. Plot-wise, there are a few great sequences that make this an incredibly solid movie. From the boat chase inspired by Jaws (1975) to Godzilla's trademark destruction of a major city to the quite intelligent plan to take down the nuclear monster, there is never a dull moment in this film. Underpinning it all is the human element, which is as uplifting as it is (at times) heartbreaking.

Contextually, Godzilla has always been about the nuclear fear that came from the dropping of the atomic bombs on Japan. In this "prequel" to the core Godzilla franchise, Godzilla Minus One follows Koichi (Ryunosuke Kamiki)-a former kamikaze pilot-after his country was defeated during World War II. Not only did the appearance of Godzilla come at a devastating time for Japan, but it gave them a chance to fight and reclaim their damaged national honor. Ultimately, this film was perhaps the best place for me to come in and experience a true Godzilla movie.

The best Godzilla film I've ever seen, I give Godzilla Minus One 5.0 stars out of 5.

Seven Brides for Seven Brothers (1954)

Great musical trappings on an otherwise troublesome plot.

[6/10 · 3 April 2024]

Seven Brides for Seven Brothers (1954) is one of those musicals during the golden age of musicals that I was aware of but had only seen bits and pieces of. I found a DVD of it a while back and finally got around to watching it. As far as musicals go, it's colorful and has a few good songs that are sung well by the cast. Unfortunately, the content is dated and is almost cringeworthy by today's standards.

I will give some leniency that this film represents an era that was not entirely enlightened when it came to women. The Wild West was about survival as much as it was about the loneliness that came with it. While I'm sure there were more men than women out in these regions, it doesn't excuse how these seven brothers went about obtaining their wives. That they'd even consider the plight of the Sabine women (which they pronounce "Sobbin'") as an appropriate plan to get wives speaks volumes about the media literacy of these characters.

At first, I thought Seven Brides for Seven Brothers would be more about bringing the feminine touch to this rowdy group of guys. Even if Adam (Howard Keel) wooed Milly (Jane Powell) correctly-albeit incredibly fast-forcing her to get the rest of the brothers into marriageable shape felt sexist. And while I enjoyed the amazing choreography in scenes like the barn-raising (and the resulting brawl), I just can't get past the fact that this movie condones kidnapping women like that. Perhaps if the brothers had presented themselves as better alternatives to the townsfolk as potential suitors, then they wouldn't have had to resort to this tactic. As it stands, the Stockholm Syndrome solution doesn't sit right today.

Great musical trappings on an otherwise troublesome plot, I give Seven Brides for Seven Brothers 3.0 stars out of 5.

Creed III (2023)

An uninspired plot with a few bright spots about mentoring our children.

[6/10 · 3 April 2024]

It's a little weird to me that each time the Rocky franchise gets further into its sequels, it ceases to understand what made the original work so well. People don't want to see someone living in opulence (or owning a robot butler) confronting the ghosts from their past. Instead, they want to see the underdog go the distance to show what they're made of. And while Creed III (2023) mostly falls into this trap, it has a few moments about fatherhood that shine through.

After Creed (2015) and Creed II (2018) pulled out the biggest connections to the Rocky franchise with Rocky Balboa and Ivan Drago, respectively, I wasn't sure where this franchise would go from there. It didn't feel narratively strong to look backward at Adonis' (Michael B. Jordan) past with Damian (Jonathan Majors) since any generic boxing film could have used those story beats. Sure, it makes it more personal and gives the Creed spinoffs more of their own identity away from the Rocky franchise. However, I don't particularly care to root for someone successful like Adonis, because then he's not really overcoming anything.

The one credit I'll give this film for going down the "confronting your past" plotline was the chance for minor characters to shine. Tessa Thompson as Bianca has been a great part of these movies, and the addition of Mila Davis-Kent as Adonis and Bianca's daughter is really what solidified what this movie was trying to say. Learning from our past as parents to help mold our children-especially the children who are heading down the paths and mistakes we've made-is a fantastic lesson for anyone who wants to be a role model for the younger generations.

An uninspired plot with a few bright spots about mentoring our children, I give Creed III 3.0 stars out of 5.

Renfield (2023)

A modern Dracula take crossed with workers' talk therapy.

[8/10 · 23 March 2024]

Sometimes, a movie comes along that has a fun concept and delivers on it. Renfield (2023) asks, "What if Dracula's servant realizes his boss is toxic?" With all the modern progress that's been made in worker's rights, this ridiculous combination is just hilarious enough to work. There's a lot of lore surrounding Dracula, so a story that's set in the present time plays the contrasts for laughs. That this movie is even canonically connected to Dracula (1931) makes it feel like a heartfelt sequel to its almost 100-year-old predecessor.

The two actors who make this movie work are none other than Nicholas Cage (Dracula) and Nicholas Hoult (Renfield). Cage basically (and almost literally) gnaws on the scenery as he's allowed to ham it up as the iconic monster. Hoult has shown he has great acting talent in recent movies like The Favourite (2018) and The Menu (2022). Renfield shows he knows how to play a straight role in such a way that makes Renfield's genuine nature a funny character arc of growing independence. There are other standard comedy actors here as well, including Ben Schwartz and Awkwafina, but they're nothing to write home about.

As an R-rated Dracula movie, Renfield leans heavily into the violence that comes with vampires and vampire-powered individuals. This gore might be over the top at times, but I think the campy nature of it leans into the comedy (like a 80s action flick). Even if the plot feels a little thin, it at least delivers on its premise of Dracula's familiar realizing his employer is narcissistic and toxic to him as an individual. As long as you're looking for a fun film to turn your mind off to, then this certainly fits the bill.

A modern Dracula take crossed with workers' talk therapy, I give Renfield 4.0 stars out of 5.

Napoleon (2023)

A disappointing and generic history lesson about an odd Frenchman.

[5/10 · 23 March 2024]

On paper, this movie had a lot going for it. Ridley Scott, partnering with Joaquin Phoenix again after the wildly successful Gladiator (2000) felt like this was a surefire entertaining film. Instead, the few scenes of military action were the only things that made this movie worth watching. Usually, when I watch a biopic about a famous individual like Napoleon Bonaparte, I'd expect something eyebrow raising that I didn't know before. Napoleon is not that kind of film, as it is filled with history that I already knew, and I don't consider myself a scholar of Napoleon.

A lot of biopics tend to either show the genius of their titular character or cast light on their odd behavior (despite their angelic public persona). Napoleon has moments of both, each of which undercuts the effectiveness of the other. I can't take his military success seriously when he has such peculiar bedroom habits, and I find his weird behaviors inconsistent with the occasional moments of strategic genius. That he was successful at all seems a tremendous stroke of luck. Ultimately, Napoleon is not a likable character, which makes watching him for over 2.5 hours a tedious endeavor.

Napoleon seemed to drive home that Ridley Scott is a talented director if he has great source material. Unique screenplays and adaptations like Alien (1979), Blade Runner (1982), Gladiator (2000), Matchstick Men (2003), or The Martian (2015) remain as iconic high marks of his filmography. But with every standout movie, there's a Robin Hood (2010), Exodus: Gods and Kings (2014), or Napoleon that pulls from mostly known public domain stories. Next time, I think I might use this guide to determine whether I'll use his name recognition before watching one of his movies.

A disappointing and generic history lesson about an odd Frenchman, I give Napoleon 2.5 stars out of 5.

Leap! (2016)

An OK animated film filled with lots of generic tropes.

[6/10 · 23 March 2024]

In searching for movies to watch with my daughter, I figured Leap! (2016) was a good fit since she is actively interested in dance/ballet. She seemed to enjoy it, but I wasn't entirely impressed. I'm willing to give animated films a try when they aren't from big studios with lots of gravitas, but this one felt just generic enough as to be almost indistinguishable from the swath of cheap direct-to-streaming fare that clogs these services. I will grant that the animation looks pretty good for 2016, but visuals aren't the only thing that makes these kinds of movies tick.

The story in Leap! Is mostly your generic "follow your dreams" fare that most movies directed at kids have done before. Common tropes of persevering and working hard are here, as usual, but with the slightly more troubling trope of lying to catch a break. Sure, gatekeeping isn't a great way to discover new talent, but when the success of an underdog is pinned on a few moments of dishonesty, it spoils the eventual success they receive-not to mention the almost required third act reveal that the main character has been deceiving everyone until now.

What's frustrating here is there was potential for a better movie here, but it's held back by the cheap laughs that kids will give it. Victor's (Nat Wolff) plotline felt almost forgotten for most of the film until it suddenly comes into play at the end. If he was more involved with Félicie (Elle Fanning) training to be a ballerina, it would have been less frustrating than him being pulled away through ridiculous means every time when the two of them get close. Still, if you're looking for something to pass the time with your kids, Leap! Can easily fit the bill.

An OK animated film filled with lots of generic tropes, I give Leap! 3.0 stars out of 5.

Elemental (2023)

A visual treat that explores themes of immigration and following our dreams.

[9/10 · 23 March 2024]

I initially wasn't too sold on the concept of Elemental (2023). The idea that elements live together in a city felt a bit too close to Zootopia (2016) to be truly original. However, Pixar (generally) has a good handle on stories, and I eventually gave this one a shot. I was surprised to find not only an approachable love story-which is rare for Pixar-but a touching look at expectations from immigrant parents and what it's like to integrate into a society that isn't made for you. As always, the visuals were striking, and the emotions were heartfelt.

While the movie poked fun at certain human-based design decisions for the city (like when both main characters easily pass through a chain-link fence), the overall concept felt thought out enough to truly invoke the ethnic boroughs that many cities have for immigrants of similar ethnic backgrounds. Choosing the fire people to be the "odd element out" was a smart move since air, earth, and water usually work well together and are negatively affected by (or negatively affect) fire. That sense of not belonging in a new space just based on who you are struck home.

With the latest string of Pixar films focusing on parent-child relationships, Elemental feels a bit more grown up than dealing with a missing parent (Onward (2020)) or handling the changes that come with puberty (Turning Red (2022)). Even Luca (2021) seemed more focused on younger children leaving the nest instead of independent adult children who want to pursue their own dreams. That's probably why Elemental successfully managed to bring romance into a production company that has focused on non-romantic stories for over 20 years.

A visual treat that explores themes of immigration and following our dreams, I give Elemental 4.5 stars out of 5.

The Shining (1980)

Horror the likes of which only Stanley Kubrick could deliver.

[8/10 · 18 January 2024]

The Shining Year: 1980 Rating: R Length: 146 minutes / 2.43 hours

Stanley Kubrick is one of those directors who can make a great movie in any genre. From science fiction like 2001: A Space Odyssey (1968) to political satire in Dr. Strangelove (1964) to historic epics in Spartacus (1960), it's no wonder that he could excel in horror with The Shining (1980). The descent into madness in an isolated mountain hotel was done with such expert craft that this film stands as a pinnacle of the genre even today. It might not be an exact representation of the Stephen King novel, but it works well for the big screen.

Kubrick succeeds in the emotions of unease here through clever application of cinematography and sound design. The audience gets the full experience. We're along for the ride down at Danny's (Danny Lloyd) level. We feel small and insignificant in the vast open spaces of the hotel and its nearby hedge maze. The building insanity in Jack Torrance's (Jack Nicholson) mind is perfectly captured in the discordant sounds that crescendo during a long zoom in on his awkwardly smiling face. Everything together makes this an unnerving slow burn of horror.

And while the somewhat lengthy running time gives room for this gradual descent to madness, there are a few parts that seem only to exist to shock the viewer. I know horror is supposed to have those moments that make you cringe. But when they don't seem to add anything to the narrative, then what purpose do they have? For what it's worth, Jack Nicholson is what truly makes this film great. His range from serious to insane is on full display here and it looked like he could lean into some overacting that didn't seem cheesy.

Horror the likes of which only Stanley Kubrick could deliver, I give The Shining 4.0 stars out of 5.

Tangled (2010)

An animated film that's deeper and more real than most give it credit for.

[10/10 · 18 January 2024]

Tangled (2010) is one of those movies that hit me at a vulnerable time in my life. Shortly after I bought it on Blu-Ray, I ended up watching it at least once for ten days straight. I had the soundtrack memorized and I still cry at the pivotal scenes. I danced to the lantern song at my wedding as the first dance with my wife. Clearly, I'm going to give this movie full marks here, but even over a decade later, I think it holds up.

After college, I moved out of my home state and was finally living on my own. Even with a good job and a handful of new friends, I related to Rapunzel's (Mandy Moore) first song of the movie: When Does My Life Begin? There were societal expectations that I didn't feel like I met, so seeing Flynn Rider (Zachary Levi) grow to accept non-toxic masculine traits-thanks in part to a musical tavern full of roughnecks-helped encourage me to keep going on the path I was on.

Some people argue about which Disney villain was the most evil, and I argue it is 100% Mother Gothel (Donna Murphy). Using manipulation and gaslighting to keep what she has obtained through ill-gotten means, Gothel is a terrifying look into people who exist in the real world. The emotional abuse Rapunzel suffered might initially seem fun, but Tangled goes all in to show what it looks like to break free from this kind of imprisonment. While many movies feature self-sacrifice, Tangled does it in the best way. Don't take it at its Disney cartoony facade, Tangled is a deep and life-affirming film that everyone should watch.

An animated film that's deeper and more real than most give it credit for, I give Tangled 5.0 stars out of 5.

Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)

A fresh visual and narrative take on Teenage Mutant Ninja Turtles that emphasizes the teenager-ness of the characters.

[9/10 · 10 January 2024]

I don't have a lot of nostalgia for Teenage Mutant Ninja Turtles. Sure, I played the arcade game quite a few times and saw some episodes of the original TV show-it just wasn't one of those franchises that stuck with me through the years. With this in mind, what made me watch Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)? Honestly, I'm intrigued by the new wave of stylized animated films, and this movie fits the bill. I'm glad I gave it a chance.

Of the four words that make up this franchise, the one I felt was never accurately represented was the first one: Teenage. Most of the iterations of these four mutated reptiles I've seen focus on the "Ninja" part of their background. Here, these characters truly feel like teenagers, and the choice to make them closer to 13 than 19 was a refreshing take on the franchise. Even with each turtle keeping their foundational characteristics (i.e., Leonardo is the leader, Donatello is the tech guru, etc.), they still found room to grow into those roles in this semi-origin story.

Visually, the style takes a little getting used to. It works well in some fantastic action sequences but gets almost too "sketchy" in a few spots that had my eyes straining to figure out what I was looking at. At the very least, I'm glad that they took a risk to give it a different style so it would stand out. I think there's a winning combination here with its distinctive visuals coupled with fresh stories that resonate with people who are deeply affected by the nostalgia of the franchise. It feels new but grounded in what made it popular.

A fresh visual and narrative take on Teenage Mutant Ninja Turtles that emphasizes the teenager-ness of the characters, I give Teenage Mutant Ninja Turtles: Mutant Mayhem 4.5 stars out of 5.

Ocean's Eleven (2001)

A star-studded and entertaining heist film.

[8/10 · 10 January 2024]

While I usually agree with people who say that remakes are worse than the originals, Ocean's Eleven (2001) is an exception. Not only did it bring the same amount of star power that made the original stand out, but it had a heist that was much more entertaining and compelling than its predecessor. Having re-watched it recently, I found it still stands up over 20 years later, even if it's starting to show its early-2000 edges. I still think it's a classic that works because of its complexity and scale.

It's impressive how there are so many big names in this movie, yet they all have their room to shine. There's a reason many of them are still making great movies today, and their talent is on full display here. And perhaps the collective charisma of this all-star cast makes the heist they pull off so thrilling. Sure, I already knew how they were going to do it, but I still noticed details I hadn't picked up on in all my previous viewings. The stakes were definitely higher than the 1960 version, that's for sure.

For all the "cool" and "suave" mannerisms and dialogue, I can see how it would appeal to a younger version of myself. Even if Danny (George Clooney) wanted to show Tess (Julia Roberts) the true nature of her new love (Andy Garcia), he did it in a way that feels more arrogant than I remembered-and the scene where he interrupts their dinner proves my point, I think. The high-contrast and saturated look of this film feels like it fits stylistically with the early-2000s-which unfortunately hasn't gotten much better since then. Overall, though, Ocean's Eleven is a fun remake that was strong enough to merit two sequels.

A star-studded and entertaining heist film, I give Ocean's Eleven 4.0 stars out of 5.

Us (II) (2019)

An odd concept with no real explanation.

[5/10 · 4 January 2024]

I've been reluctant to jump on the Jordan Peele bandwagon. This has mostly been because I rarely watch horror films. What initially won me over was the social commentary Get Out (2017) provided. NOPE (2022) was an interesting take on alien films that spoke to the inherently violent nature of animals. With these two movies in mind, I finally filled in the gap and watched Us (2019). Unfortunately, my lack of desire to watch this film when it came out seems to have been justified as I ask, "What was the point?"

I don't want to spoil too much, but the twist was pretty easy to spot quite early on. Once the premise became clear, the movie seemed to be an excuse to just have the characters fight each other to the death-sometimes in the bloodiest way possible. Even the ending didn't seem to be anything profound unless I'm missing something deeper that was lost through the ridiculous concept that this movie tries to sell. That there's no explanation for anything other than "this exists, isn't that weird?" really doesn't help.

One of the best elements of Peele's other films was the suspense and build-up. While there was some suspense in Us, there wasn't a lot of it once the violence started. This is probably due to the lack of understandable motive that I already discussed above. I still think Jordan Peele's movies have some merit, but after watching Us, I think they're a bit hit-or-miss right now. My reluctance to see everything he puts out might still be less now that I've seen everything he's put out, but I'll also keep some of that skepticism until I see what others think first.

An odd concept with no real explanation, I give Us 2.5 stars out of 5.

The Creator (2023)

A somewhat derivative "original" sci-fi film.

[7/10 · 4 January 2024]

Knowing how rare new science fiction movies are, I was interested to see what The Creator (2023) would say about artificial intelligence. Even if we're currently seeing a rise in generative AI tools, the AI in The Creator are more like the replicants in Blade Runner (1982). And while Gareth Edwards hasn't had a lot of movies under his belt, he's proven that he can handle big franchises like Godzilla (2014) and Star Wars (with Rogue One (2016)). Unfortunately, this "original" film feels highly derivative of these previous movies in his filmography.

Plot-wise, much of The Creator cribs from Rogue One. The big orbiting doomsday device that looms as a threat over key battle sequences gives off big Death Star vibes. That there's a MacGuffin that's supposed to save the world/universe which causes the main character to undergo great sacrifice is yet another parallel that's hard to ignore. Granted, many consider Rogue One to be a great film, so another military sci-fi that copies a lot of elements from it is bound to be great as well. I agree that there were some interesting technology concepts explored in The Creator, but the premise didn't click for me.

Maybe the bigger issue I have with this film is how it tells us things we already know. Since it's set in a future version of our world, it just reinforces the fact that the United States can be an imposing military force in Asia for no other reason than to maintain a global domination of military might. As the Vietnam War showed us, the locals who are being targeted by the U. S. military-industrial complex have enough grit and tools to stand up to the oppression of the American military. Overall, its message seems weak despite its impressive visuals.

A somewhat derivative "original" sci-fi film, I give The Creator 3.5 stars out of 5.

Annihilation (I) (2018)

A psychological horror that asks what it means to be human

[8/10 · 29 December 2023]

While I've never quite been fully on board with the works of Alex Garland, I recognize there's something about his movies that makes me want to see them, eventually. I appreciated his approach to Artificial Intelligence in Ex Machina (2014), but it took a while for me to get around to his next work, Annihilation (2018). His style of science fiction borders on horror, but more importantly, it emphasizes one philosophical question in particular. What makes us human? Instead of exploring the Turing Test as he did in Ex Machina, Annihilation focuses on the larger scale of the universe to answer this question.

Even if it takes a while to establish all the exposition, Annihilation does its best work in unraveling the mystery surrounding the return of Kane (Oscar Isaac). Most of this is done once the main character, Lena (Natalie Portman) arrives in the anomaly and can explore the bizarre alien effects on our world. The suspense that builds in step with the horror is well done and the Christopher Nolan-esque ending still had me scratching my head and trying to piece together what I had seen into a comprehensible answer.

Perhaps the closest parallel I have for this movie is Denis Villeneuve's Enemy (2013). Some things define who we are, but how do we know if we're the real us if there's someone else who looks like us and moves like us? Is it just our personality that defines who we are as humans, or is there something deeper that others can't mirror? How do we handle being replaced by an entity that surpasses us on several levels? While most of the answers to these questions are not directly stated in Annihilation, Alex Garland succeeds in fusing horror, science fiction, and philosophy into an entertaining package.

A psychological horror that asks what it means to be human, I give Annihilation 4.0 stars out of 5.

Castle in the Sky (1986)

An animated steampunk treat the likes of which only Miyazaki could deliver.

[8/10 · 21 December 2023]

Having only seen a handful of Hayao Miyazaki films, I finally got around to some of his earlier works. Castle in the Sky (1986) might not seem special by today's standards, but in the era when it was released, I'm sure it was quite a bold statement. As a steampunk-styled adventure, there's a lot in this movie that has since been copied and adapted into other works (case in point, my younger brother noticed that it's almost an identical plot to Mega Man Legends which came out a decade later).

As Miyazaki's third film, Castle in the Sky sees many of his established visual styles and themes (like flying girls) that he has used in many of his following projects. Even with a relatively simple plot, the gorgeous animated visuals are always a major draw for Miyazaki movies like this. There's a charm that's hard to describe, but it's there in the heart of this film. That it still seems polished by the standards of today's 2D animated films is a testament to the attention to detail that this filmmaker infuses into everything he touches.

My only problem with Castle in the Sky is its pacing. There's a significant amount of action early in the film which kept me riveted. However, as the plot continued and explanations became perhaps slightly more convoluted, things slowed down enough that I had trouble staying awake for the ending. It was still an enjoyable watch, but I think I may need to do another rewatch in the future when I'm better equipped (read: well rested). At the very least, this is one of those films I hope to share with my children someday, as it is imaginative and full of lessons that would serve them well.

An animated steampunk treat the likes of which only Miyazaki could deliver, I give Castle in the Sky 4.0 stars out of 5.

The Patriot (2000)

A Roland Emmerich action movie set in a historical time period.

[7/10 · 21 December 2023]

Over the years, I've seen most of The Patriot (2000). Having now purposely sat through the entire thing (and the Extended Cut, no less), I can see parts of its appeal. Now, I'm not going to watch a Roland Emmerich movie for any kind of historical accuracy. That Emmerich set The Patriot during the Revolutionary War is merely a backdrop for over-the-top action sequences. Some of its political statements are cringeworthy now, but there's an amount of entertainment here that is hard to ignore. And that's what this movie is: entertainment.

The star power in The Patriot is hard to ignore. Mel Gibson, Heath Ledger, Jason Isaacs, Chris Cooper, and Tom Wilkinson all deliver outstanding performances. In particular, the "win at all costs" Colonel William Tavington (Jason Isaacs) was a great motivator and foil for Benjamin Martin (Mel Gibson) to avenge the losses he endured during the film. This subplot comes off as ridiculous in a historical film but works well for an action film. Fortunately, there are moments of humor to offset the brutal violence that runs throughout.

However, with a film made with the hindsight of future historic events, there are several scenes that mostly just made me roll my eyes. While I'm sure there were individuals from the south who shared sentiments that were more in line with their northern countrymen, the whole "we solved racism!" segments are so corny as to detract from the movie as a whole. But again, there are a ton of tropes that would not be forgiven for a purely historical film but can mostly be shrugged off in the context of this action movie.

A Roland Emmerich action movie set in a historical time period, I give The Patriot 3.5 stars out of 5.

White Noise (I) (2022)

A nonsense movie that had brief moments that made sense.

[4/10 · 28 October 2023]

It's funny how I've always heard Noah Baumbach's name in discussions revolving around directors I appreciate. Usually, when the conversation of scripts comes up with directors like Wes Anderson or Greta Gerwig, Baumbach gets a mention. While I couldn't name a film of his that I had seen, his name was recognizable enough that I felt I had to give White Noise (2022) a try. After wishing I had those 2+ hours back, I realized I had seen one of his movies, Marriage Story (2019), which I also didn't particularly care for. Now I know.

Granted, White Noise has some interesting bits. However, it never sticks with them long enough to fully conclude them. Instead, it flits from idea to idea, mostly making no sense at all (hence the title of the film, I suppose). There's a lot of talking in this movie, but most of it feels so random that I wonder if the screenplay was written by one of Shakespeare's monkeys who was having a particularly good day. If the movie is trying to say something, it is literally lost in the noise of the movie itself.

After peeking at Baumbach's filmography, I think I'll stick to films that he co-wrote. Something about this and Marriage Story makes me think collaboration is a better path-or at least one that's more focused. And maybe there's something deeply profound that I was supposed to pick out of this movie and I just didn't get it. If so, fine. I'll enjoy the small portions that made sense and just move on to another movie that doesn't seem cobbled together from disparate ideas. I still think getting the "white noise" point across could have been handled better.

A nonsense movie that had brief moments that made sense, I give White Noise 2.0 stars out of 5.

Disenchanted (2022)

A partly uninspired sequel to a fantastic self-aware princess story.

[4/10 · 28 October 2023]

It's interesting how the "direct-to-video" sequel has changed now that streaming is the ubiquitous delivery method. Movies that studios still want to capitalize on but don't want to spend money on putting in theaters. Disney has taken this route with many of its animated films in the 1990s, releasing multiple sequels to beloved classics. Even The Disney Channel used to be a place for them to put cheap movies. Now, with Disney+, we see movies like Disenchanted (2022) filling the space that used to be occupied by VHS releases. It's unfortunate because these sequels could be much better than they are.

I loved the self-aware nature of Enchanted (2007). That Disenchanted held most of the same cast was encouraging, but clearly not the magic needed to recreate the energy of the original. The parody (and adherence to) traditional Disney princess stories in Enchanted made it a fun tongue-in-cheek film to watch. This sequel felt too adherent to the formula to make fun of it. Sure, it plays off the "evil stepmother" trope, which was entertaining for a bit. The songs and music felt uninspired and forgettable. Nothing clicked in this movie, and its "direct-to-video" status on Disney+ is well-earned.

The real problem with Disenchanted is how it had better potential. The "fish out of water" trope from Enchanted worked to highlight how ridiculous the Disney princess lifestyle was. Instead of bringing magic to the real world for the sequel, Disenchanted should have flipped the script and had the real world interacting with-and butting heads with-the fantasy world (akin to how WandaVision did it). To have real-world people react to how different the princess fantasy realm was to their normal life would have been much more entertaining. As it stands, Disenchanted was a disappointing mess for someone who loved the original.

A partly uninspired sequel to a fantastic self-aware princess story, I give Disenchanted 2.0 stars out of 5.

The Whale (2022)

Deeply moving and superbly directed.

[10/10 · 27 October 2023]

Darren Aronofsky is the kind of director who makes movies that have moments that are hard to watch but you must see at least once. With his style established in such films as Pi (1998) and Requiem for a Dream (2000), he has continued with this over the decades with varying levels of intensity. The Whale (2022) is the latest film to conform to Aronofsky's early directorial oeuvre. It's a simple film-which happens when adapting a stage play-but with heart-wrenching depth. That it works so well in an on-screen format is a testament to Aronofsky's talents.

Brendan Fraser's performance of Charlie carries this film. There's not a lot of representation of morbidly obese people, but Fraser makes it seem realistic. Granted, Aronofsky also makes it gross quite a few times, but that's to be expected. That Charlie seems to always be in the frame, as if Aronofsky gravitationally locked the camera to him in the small space of his apartment, speaks to the genius of the directing. Each of the minor characters orbiting Charlie also have rich and complex lives, which merely adds depth to how they interact with a man who is literally eating himself to death.

Perhaps the reason I feel this film is so superb is how connected I was to the characters. After all, with the limited setting of a stage play, the strength of the narrative comes from who the people are. Everyone here has flaws, but they're realistic enough to become invested in the twists and reveals as they happen. By the end, I just had to sit quietly so I could process everything I had just witnessed. It's a heavily emotional film and-much like Aronofsky's other movies-I still suggest everyone see it at least once.

Deeply moving and superbly directed, I give The Whale 5.0 stars out of 5.

Air (I) (2023)

A star-studded look at a risky Nike decision.

[8/10 · 20 October 2023]

As a child of the 90s, I never gave much thought to Nike shoes. They were always this popular brand that-in my child-like brain-would make me run faster and jump higher. I had no idea that the singular reason they were so ubiquitous in my childhood came down to one incredibly risky decision to bet the entire company's future on a single athlete. That this athlete was Michael Jordan is what made this deal as historic as it was. Air (2023) does a great job of giving the audience a look behind that fateful curtain.

It's fascinating to me how a third-tier company like Nike used to be below shoe producers like Adidas and Converse. I also had no idea these other companies had the foreign commitment to excellence (Adidas) or star power (Converse) to place them above a company mostly known for jogging activewear. Despite these obvious choices, Air really tells the story of advocacy. Sonny Vaccaro (Matt Damon) had a gambling addiction, but his experience with big payoffs made him see Jordan's potential. Of course, nobody saw Michael Jordan's potential more than his mother, Deloris (Viola Davis).

There's a lot to recommend Air. It hits that "sports underdog" trope in an interesting way. The plot buildup was riveting-especially when the team came up against problems (like shoe design standards). The weird problem I have with this movie has to do with its all-star cast. These actors have proven to be excellent in their craft in other films. Here, though, it feels a bit distracting to have all these big names together because I don't see them as the characters they're playing. Instead, I just see Ben Affleck and Jason Bateman having a conversation with Matt Damon. I see Viola Davis being Viola Davis. Still, despite this odd qualm, I still think Air is a good watch.

A star-studded look at a risky Nike decision, I give Air 4.0 stars out of 5.

Mission: Impossible - Dead Reckoning Part One (2023)

Another exciting half-entry in the Mission: Impossible franchise.

[8/10 · 19 October 2023]

When it comes to the Mission: Impossible movies, you know what you're going to get. Tense countdowns. Action set-pieces. Tom Cruise running. Even though the Impossible Mission Force (IMF) has overcome many obstacles in the past, there's always a question of whether this latest mission will be too much for them. With Mission: Impossible-Dead Reckoning (Part 1) (2023), the threat is so large that this movie only covers half of it. As long as you're OK with not having a conclusion to the full plot, this movie is fun and full of action.

With Artificial Intelligence (AI) being a current hot topic, using it as the antagonist of this film felt like it fit right into the cultural zeitgeist. Not that AI has been a new villain by any means (as 2001: A Space Odyssey (1968) has shown). Considering the (fictional) power of this AI, the Maguffin of the two-piece key to control it was a great way to drive the plot and the action. The ebb and flow of the double and triple crosses provided just enough twists to make the friends and foes always in a state of limbo.

Of course, a Mission: Impossible movie is always going to be a Mission: Impossible movie. I've enjoyed them for many years for all the reasons stated above. However, if it's not your thing, then you'll probably be bored with the same old car chases, just in different foreign locales. At the very least, the female lead (Hayley Atwell) for this film was an excellent addition to the team, as it came with some weighty decisions on her part. I'm definitely interested to see how they conclude this two-part movie when Mission: Impossible-Dead Reckoning (Part 2) comes out next year.

Another exciting half-entry in the Mission: Impossible franchise, I give Mission: Impossible-Dead Reckoning (Part 1) 4.0 stars out of 5.

RRR (2022)

A magnificent hyper-action movie from India.

[10/10 · 17 October 2023]

While I have watched some of the "classics" of Indian cinema, I haven't kept up to date on this brand of foreign cinema. Nothing stood out enough for me to seek it out and watch it. That was until a friend of mine suggested I watch RRR (2022). He described it as the most "anime-style live-action movie" he'd ever seen. This intrigued me, so I watched it. He wasn't wrong. It oozes machismo while also telling a compelling story about fighting against British occupation. And just to make sure that you know it's an Indian film, there's a great song and dance sequence that won an Oscar for Best Original Song.

RRR reads a bit more like an American action film, especially in how ridiculous it is. Of course, that's part of the reason I really love this movie. Sure, there's a lot of violence, but the creative ways that it's used made me laugh out loud at least a few times. Even despite its 3-hour runtime, there are enough action set-pieces scattered throughout to make its pacing fast enough to never lose interest. That these action sequences seem to one-up themselves just adds to the enjoyment.

Movies are made from many parts working together, and RRR has all of them working on all cylinders. Acting, directing, cinematography, sound, and music are all superb, thus creating a superb product. Even the CGI animals (which are a little jarring at first) are a great addition in a few pivotal scenes. My only disappointment comes not from the film itself, but that I can't own it outright. That I have to have Netflix to watch this film at all is a disservice to the masterpiece that everyone should watch.

A magnificent hyper-action movie from India, I give RRR 5.0 stars out of 5.

The Sea Beast (2022)

A somewhat derivative but gorgeously animated adventure.

[7/10 · 17 October 2023]

It's weird how there's been such a shift in CG animated films that something like The Sea Beast (2022) feels like they made it years ago. The realism in CGI has reached a point where movies from studios that aren't Disney, Pixar, or DreamWorks look gorgeous. Since there's been a leveling of what animated films can look like, the plot has become more important to these kinds of films. Unfortunately, while The Sea Beast looks great, its plot feels derivative of How to Train Your Dragon (2010), just with pirate-like characters instead of Vikings.

That there aren't a ton of sea-faring stories out there, let alone animated ones, makes The Sea Beast a unique setting. With so many fantasy worlds set in medieval Europe, basing one off the slightly more modern sailing age feels fresh. I'm a little surprised that there weren't more inventive uses of the technology of that era, since the monsters were much more sizable than the ones from the real-world timeframe. Even the "new technology" that made the hunters obsolete just felt like a standard ship with some increased firepower.

Aside from the main character (voiced by Karl Urban), most of the characters in The Sea Beast didn't feel particularly memorable. I appreciated some of the hinted backstories for the characters without diving deep into flashbacks, but that should be standard world-building for any fantasy world like this. I'm not wild about plots that make advancements in technology (which might save lives in hazardous situations) out as villains. However, the only reason it's really acceptable here is due to the other cliché plot about nature only being dangerous when it's threatened by humans. Still, if you can ignore some of these things, The Sea Beast is a fun adventure.

A somewhat derivative but gorgeously animated adventure, I give The Sea Beast 3.5 stars out of 5.