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Guardians of the Galaxy Vol. 3 (2023)
Heartfelt and Funny - The Guardians Still Rule the MCU!
Laugh-out-loud humor, relentless action, and emotional resonance are trademarks of the "Guardians of the Galaxy" films, but they are also staples of other entries in the MCU. So, after I saw "Guardians 3", I sat down to ponder why I love this trilogy so much - more than any other in the MCU. All these ingredients were evident in James Gunn's newest directorial effort, but a few key features were obvious to me this time around - silliness and idiosyncrasy.
That's what makes the "Guardians" trilogy so enjoyable and unique. The characters have wonderful chemistry. They are fun and quirky, and they reverberate with my funny bone and my heart strings with a wide gamut of different emotions.
Yes, it's true that "Guardians 3" is also probably the most touching of the three films. Often cruel, disturbing, and sad, the film focuses considerably on the origins of Rocket Raccoon and the brutal animal experimentation he endured. Yes, some scenes are hard to watch, but at the end of the day it's the loyalty, unity, and camaraderie of these superhero misfits that win me over.
There's plenty of laughter in "Guardian 3" stemming from the dynamics between the characters, whether it's poking fun at Drax's gentle-giant ineptness, Mantis' turn as the empathic, explore-your-feelings therapist type, or Gamora's new bitchy, stand-offish nature. The best performance in the film belongs to Chris Pratt as Quill/Star-Lord, who manages to maintain his usual cockiness but also turns to great vulnerability and tenderness as he struggles reconnect with the "new" Gamora and save his best friend...or second-best friend...you'll know what I mean when you watch the film.
Where "Guardians 3" gets a tad messy is in its fleshing out of many different characters including a goofy and confused Adam Warlock, played by Will Poulter, and an uber annoying megalomaniac in The High Evolutionary, played by Chukwudi Iwuji. The latter, even though a terrifying threat in the same vein as Thanos, must be hands-down the most irritating villain in the MCU. Both these characters, especially Warlock, are just sort of flat and trite in their development.
Volume 3's soundtrack is also quite eclectic and memorable. There are plenty of awesome songs from several decades including the 2000s integrated to match the mood or conflicts in the film. The finale's tune is quite appropriate (I will not mention the song title for spoilers' sake), but the most memorable is the Beatie Boys' "No Sleep Till Brooklyn'" as the Guardians team up to siege a ship full of aliens in the film's most jaw-dropping, gravity-defying, camera-loopin'-n-waltzin' around the characters, bullet-time-inspired action scene extravaganza - quite simply the best in the entire series.
There is plenty to get excited about and plenty to care about in "Guardians 3". There's a lot of talk about whether this movie has the potential to revitalize the MCU after "Endgame". Well, that's arguable, I suppose. At the end of the day, this is primarily a James Gunn movie in its sort of campy irreverence and oddities, and I am happy and grateful for that. I had a great time watching it!
Evil Dead Rise (2023)
A Fresh, Satisfying Spin on the Evil Dead Franchise!
The "Evil Dead" film series has been one of the most fun, gratifying, and strong horror anthologies. Often blending demonic and possession horror, zombie horror, body horror, gore, and comedy, the films (for the most part) are a prime example of multi-genre horror. We have Sam Raimi's original trilogy, and we have Fede Alvarez's 2013 reimagining. Now comes Lee Cronin's "Evil Dead Rise", which I think is better than the 2013 version and just as good as any of the Raimi films.
"Evil Dead Rise" takes the usual premise of a group of about five incompetent youth who find the Book of the Dead and resurrect evil spirits that possess them one by one. Then there's a lot of gruesome torture and mental manipulation usually involving having to hurt the people that you deeply love. Top this recipe off with extreme gore, cracking bones, severed limbs, evil, blood-curling laughter, the occasional cheesy one-liner, a chainsaw, and voila! You have an "Evil Dead" movie! It is no surprise that "Evil Dead Rise" contains all these tropes, but it does something rather brilliant that has never been done before. It alters the setting, it alters the root cause for the suspense, it alters the relationships between the characters, and it adds children to the mix. All work wonderfully in the movie's favor.
This time the setting is an apartment building in a city rather than a cabin in the middle of the woods. The action takes places mostly within one apartment (or at least one apartment floor), and there really is no easy escape for the characters. There is most definitely a heightened feeling of confinement and claustrophobia. Plus, they use specific locations in the apartment building (most memorably an elevator in a fashion that could have been cooked up by Kubrick and Hitchcock) as well props found within in a clever and satisfying manner to create wickedly grotesque imagery.
The gore and body horror are not the main source for the suspense and anxiety, much like they are in the previous entries. Don't get me wrong. There's a lot of that happening here. But this movie relies very much on the use of space, lighting (or lack thereof), camera movement, dialogue, and time (mostly through slow buildups) to ramp up the terror. And in fact, this movie also presents some of the most nail-biting and creative body horror scenes in any of the versions.
Perhaps what is most unique about "Evil Dead Rise" is that this time we are presented with a story of a woman, her three kids, and her estranged sister. Not only are the stakes higher because the characters are related by blood, but there is also more cause to be agitated and fearful when parents and their children are turning against each other and sawing or eating each other up. Here lies the true terror of the film. Director Cronin really plays on the conflict between parents turning against their children and vice versa, and I would even go as far as to say that he was inspired by stories like James Cameron's "Aliens" where the main character must protect a young child.
Surprisingly, the acting is also some of the best in the series, especially the genuinely creepy and agonizing turn by Alyssa Sutherland as Ellie, who acts crazed and possessed throughout most of the running time as the mother. "Evil Dead Rise" is formulaic and flat in its approach to story and character depth, but it is a fresh and edgy entry in the series that I think horror fans will enjoy and revere as one of the best horror films of 2023.
Beau Is Afraid (2023)
Fantasy Blurs with Reality in Unique Meta Horror
My only venture into the bizarre, fantastical world of Franz Kafka has been through his novel "The Metamorphosis", which is typically taught in high school English classes. Still, it's a novel that stuck with me because of its deep metaphors and psychological and existential implications. So, when I heard that Ari Aster's new film "Beau is Afraid" had been described as Kafkaesque and unlike any film ever made, I knew I had to run to the theatre to watch it, not only in anticipation to witness the next horror masterwork from the creator of "Hereditary" and "Midsommar", but to support a film that perhaps will not receive the love of mass audiences.
"Beau is Afraid" features a nervous, broken, and dysfunctional Joaquin Phoenix as Beau, and the film is truly unlike anything I have ever seen. It's a dream and nightmare, but mostly a nightmare. It breaks all conventional norms of storytelling seen on film. It feels like a film that belongs in an alternate reality. The only way I can make sense of it is to see the film as a series of non-linear events - many of which seem exaggerated or hyperbolized, weirdly illusory and unreal, or perhaps like an acid trip - happening inside the mind of Beau. The experience becomes like an invasion of a person's private thoughts - often lacking cohesion or sense yet saying something deeply personal and life-affirming - both tragic and beautiful.
If you treat the narrative as stream of consciousness, then the film works a series of peculiar puzzles that you can begin to weave together. Without giving too much away, sometimes Beau imagines the world as a theatre performance on a stage in the middle of a forest, or a world made entirely out of eye-popping animation, a crowd of crazed low-lifes stampeding the streets, or most memorably, a person stuck in a creepy attic with a ginormous "appendage"- I am being vague on purpose because it is truly inconceivable, funny, and strange - and yet I found myself always finding a deeper meaning, such as Aster commenting on sexual repression or a father complex.
As a viewer, I found it best to treat the movie as a series of images that made me feel or think about something. The one common thread throughout is that they all seem to connect to Beau's mental state - often defined by extreme anxiety, depression, or distress that extends back to repressed or traumatic childhood memories. And I think this is the heart of the film and what Aster is exploring - how childhood traumas have long-lasting effects that can significantly alter and negatively impact your everyday life as an adult.
The film also feels Kubrickian in its framing, which often involves long or wide-angle shots, or shots restricted to tight or restricted environments that augments the feeling of isolation and separation of the main character. To say that Beau struggles with ordinary, everyday social skills and self-care skills is an understatement, and Phoenix's anguished, panicked, and frantic performance most certainly carries the film's 3-hour running time. The way in which Beau sees or imagines people makes humanity seem very depraved and cruel. The images are often perverse, disturbing, and surreal, but there's always something to think or speculate about.
This is quite different from Aster's previous works; it is not your traditional horror experience, but a more cerebral and meta horror. I expect some people will be turned off by the film - maybe they'll be bored or see it as self-indulgent and pretentious. You would think that 3 hours of non-linear surrealism would be a killjoy, but I was, for the most part, riveted, intrigued, and flabbergasted.
Renfield (2023)
Campy, Bloody Fun That's Thin on Plot
"Renfield", directed by Chris McKay, is a kickass, pulpy, fun action flick and better than I expected. It's weakness is that it's not as cerebral as it should be, considering that the plot revolves around mental instability and attempts to poke fun at it.
Tone-wise, it has traces of "John Wick", "Van Helsing", and "Big Trouble in Little China" with its martial arts-inspired relentless action blood-fest and its tinges of campiness and audacious absurdity. I did not expect the movie to be this outlandishly gory and intense, and the combination of doom and dread with lampoon spookiness works well.
Nicolas Cage has a field day with the role of Dracula and you get sucked in to his bravura performance, which stretches between snickering, tongue-in-cheek sarcasm and maniacal wickedness. His performance, as well as the set designs, are most certainly inspired by the classic Bella Lugosi and Christopher Lee adaptations of the Count. It'll be lots of fun for horror classic fans to see the callbacks throughout.
Nicholas Hoult is well cast as Dracula's subdued, troubled, and therapy-ridden servant. He does well at playing self-deprecating and traumatized. Awkwafina and Ben Schwartz steal a lot of their scenes and are surprisingly funny and engaging as police hero and gang villain, respectively.
Don't expect much in the way of storyline or character depth; the film is pretty straightforward and predictable story-wise, but there is still plenty to revel in and likable characters to connect with and laugh at. Awkwafina, and especially Cage, are the main attraction here.
Air (2023)
A Gripping Biopic About an Underdog and a Historic Shoe Deal
Ben Affleck directs the evocative true story "Air" like the good old-fashioned dramas of yesteryear - those crowd-pleasing, emotionally resonant stories where you root and cheer for the underdog and are deeply invested in the journey of the heroic, central characters. Who knew that a movie about a tennis shoe deal, albeit historic, could be so poignant and triumphant? Its success definitely begins with a brilliant script (filled with memorable, heartfelt monologues) by newcomer Alex Convery, who was clearly invested in telling a story about a believer and a risk-taker as well as the origins of the Air Jordan shoeline.
Matt Damon plays Sonny Vaccaro, a Nike marketing executive who is trying to beat out Converse and Adidas in signing a deal with the legendary basketball player Michael Jordan. It's amazing how much Vaccaro believed in Jordan and how much he put on the line for him, even long before he was a world famous NBA player. The movie's most winning and deeply affecting scenes involve Vaccaro's rhetoric in trying to convince Jordan's parents (Deloris and James) to sign a deal with Nike. Watching Viola Davis as Deloris react to Damon is worth the price of admission alone.
Interestingly, and perhaps to its benefit, the movie never shows us Michael Jordan's face. In my eyes, this choice keeps him as a mythic figure while also focusing entirely on and highlighting his parents' influence plus the characters involved within Nike's company. Affleck as Nike's CEO Phil Knight and Jason Bateman as Bob Strasser, Nike's director of marketing, also deliver the goods in solid supporting roles.
The movie is tautly paced, never boring, seamlessly and bouncily edited, and kept alive by showing 80s lifestyle fads and time period staples from commercials to classic hit songs. This is, thus far, one of best movies of 2023.
John Wick: Chapter 4 (2023)
One of the most beautiful and hyperkinetic action films ever!
"John Wick: Chapter 4" is one of the most captivating, exciting, eye-popping, hyperkinetic, and beautiful action films ever made. Director Chad Stahelski has done the unthinkable; he has outdone himself in this fourth entry by taking a two hour and forty-nine-minute runtime (the longest in the series) and making it feel an hour shorter. This is a combat magnum opus, a relentless sensory experience, gorgeously hyperviolent, and easily the best in the series.
Baba Yaga is, once again, fighting to defeat the High Table while also facing a devilish and powerful new adversary (a disquieting and deviously memorable performance by Bill Skarsgärd as Marquis) in death-defying, blood-spurting, neon-blasting, stunts-to-spare, well-groomed, high-fashion style. Yes, the plot is rather simple, straightforward, and lacking in in-depth character background, but that hasn't been the strength of any of the Wick films anyway.
The masterful elements at play in "Chapter 4" begin with its colorful, even extravagant, and likeable supporting characters including Laurence Fishburne as the crafty Bowery, Clancy Brown as the cryptic Harbinger, Donnie Yen - electrifying as the blind, yet intuitive Caine - and most terrifically, Shamier Anderson as Tracker - a shady spy-like character that gives an indelible performance that ranges from brutal toughness to vulnerable subjugation.
Add heart-pounding sound effects and a pulsating musical score, striking nighttime, dark and gritty noir-inspired cinematography, and masterful fighting choreography that frames Wick in different cities with sumptuous vistas across the globe (the locales are outstanding from Sacré Coeur, to Arc de Triomphe, to the Louvre, to the Eiffel Tower in France to the opening scene in Aqaba, Jordan plus Berlin and Tokyo) and you end up with what feels like the most edgy, revolutionary, and most James Bond-esque entry yet.
The elaborate and visceral set designs are "Chapter 4's" crowning achievement; lavish and rich with detail, they put Wick in elegant and high-tech rooms, ornate buildings, rousing nightclubs, and most memorably, a long flight of stairs and heavily trafficked streets where gut-wrenching, head-popping fighting sequences ensue. It's a WICKedly wild ride from beginning to end that left me breathless, gasping, and exclaiming "wow!" in wonderment.
Ant-Man and the Wasp: Quantumania (2023)
An unimaginative and familiar trip to the Quantum Realm
"Ant-Man and the Wasp: Quantumania" is directed to a rather disappointing, unimaginative, and uncreative "seen-it-all-before" formula by Peyton Reed, who also helmed the first two installments in the Ant-Man series. It's not a terrible movie, and I'm sure many viewers will be entertained and wowed by the world building inside the Quantum Realm. But I was sadly underwhelmed as I was hoping for a different type of realm: one that is truly unique, different, out-of-this-world, and even hard to grasp and understand. Instead, I felt it was a rather dimly-lit, messy place that could still exist within the constructs of our understanding of physics and the world we inhabit. In other words, this didn't feel like a different dimension. It didn't feel otherworldly. And there are missed opportunities to build and make our visit to the Quantum Realm a weird, magical, and truly trippy awe-inspiring ride.
To add to its detriments, this movie feels like a copy of "Star Wars" meets "Strange World". There are some attempts at trying to create cool, new alien creatures as semi-interesting, yet minuscule supporting characters. However, these are definitely not developed enough to establish a meaningful connection, nor are they inventive enough to really inspire wonder. There are scenes throughout that are startlingly similar to several of the "Start Wars" films, but I won't mention specifics to keep this as spoiler-free as possible.
At the end of the day, I felt distant from the story. I did not care about the characters as much as I did in the first two installments, and the plot of a rebellion and a ruthless dictator-like villain also feels rehashed and very "Star Wars". The attempt to build some emotional resonance with the Scott Lang and Cassie Lang characters, via the father-daughter conflict, as well as the involvement of Hope Van Dyne as the Wasp, feels underveloped and underutilized - almost like they just put their familial conflicts on the back burner as the movie progressed.
The movie eventually becomes what feels like a misplaced war movie against Kang the Conqueror. Jonathan Majors as Kang is one of the saving graces of this movie because his performance is commanding, intimidating, and full of personality. The scenes that stand out the most belong to him, as well as Michelle Pfeiffer, who is strong and captivating as Janet Van Dyne.
As the first entry in the 5th age of Marvel, I was not impressed and rather bored. I hope the MCU strives to find ways to make better written stories that are more inventive and memorable. And let's amp up those special effects because they're getting sloppy. Also, let's bring back Michael Pena's funny and spunky Luis character, who is sorely missed.
Knock at the Cabin (2023)
Thought-provoking, suspenseful morality fable with superior acting suspends disbelief
If you are not on board with suspension of disbelief or unimaginable scenarios being plausible, then you should probably skip "Knock at the Cabin." I was personally enraptured by an eerily quiet opening sequence followed by 90 minutes of relentless sweat-inducing, emotionally ridden, taut suspense as we are thrown into a terrifying home invasion thriller, a spooky end-of-times jeremiad with biblical connotations, and a story of the strength of family bonds, personal sacrifice, and questioning one's beliefs. Throughout the film, I was puzzled by what was unfolding, and even though the finale bears little enlightenment, and the M. Night Shyamalan plot twist is sorely lacking, the film kept me riveted and gave me a few thought-provoking ideas to ponder - particularly the contentions between ideologies based on religion and the occult versus rationality and empirical science.
This is certainly not Shyamalan's best nor is it his worst. The film is worth a watch, primarily because the acting is top tier, and the thrills and shocks are nonstop. Every actor playing a home invader, especially Dave Bautista, is surprisingly convincing in their desperate plights. I especially appreciated how they casted Bautista to play a second-grade teacher as it allowed him to portray a softer and vulnerable side while still maintaining an intimidating, towering presence. But the heart of the film lies with the performances by Jonathan Groff and Ban Aldridge playing a persuasive loving gay couple and dads to little Kristen Cui, endearing as Wen. The clever placement of flashbacks to show us bits of their relationship's evolution builds to compelling emotional resonance. Their desperation and anguish plus their wavering convictions make up the anchor that keeps the narrative engaging.
Much like in his superior "Signs", Shyamalan expertly keeps the action restricted to a few limited environments to increase tension, and our only knowledge of what is transpiring in the outside world is slowly revealed through TV news reports. The slow and deliberate tracking and crabbing shots, the medium closeups of the characters' monologues - compounded with the way information is hidden and slowly disclosed - heightens the anxiety and any conspiracies the viewer contemplates.
Ultimately, this is a morality fable with horror elements, and it's not so much about what is happening, but the difficult choices the characters make amidst chaos and uncertainty. I enjoyed the ride, even though it savors slightly of anticlimax.
M3GAN (2022)
It's smart, edgy, fun, yet familiar
M3gan is a surprisingly chilling, effective thriller (especially for a January post-award season flick) on the dangers of artificial intelligence in relation to child's toy that is reminiscent of many scary movies starring child actors, but particularly thrillers like "Child's Play", "The Terminator", and "Westworld". Some of the beats seem all-too-familiar, and others are refreshingly updated to portray a society in a not-so-distant future. That said, the film ultimately works and shines best when it comments thoughtfully through its script on parenting and grief, particularly the way children deal with trauma and loss. The best scenes involve Violet McGraw as young Cady with Allison Williams as Gemma, her new caretaker. Both characters are layered and complex, even if their transformations are somewhat choppy and predictable. The last component to brag about is the portrayal of M3gan, the A. I. doll, who through a combination of animatronics, puppetry, computer-generated effects, and real child actor, Amie Donald, is made to look astonishingly real and therefore makes the experience of watching her that much more unsettling. It's not a completely original work, but it's nonetheless smart, edgy, and presents a heck of a fun finale.
Aftersun (2022)
Childhood memories can haunt us forever - a tender film
Critics and audiences have been raving about a little indie film currently on Amazon Prime called "Aftersun". The film thrives on its subtleties and ambiguities, and I think this may turn away some viewers. However, these are the special elements that give the film its edge - you are not given all the answers, but you are given enough visual storytelling to form your own judgments about an incredibly intimate and organic story of a woman reminiscing about a vacation she took with her father in Turkey when she was a young girl. The moments of tenderness, honesty, and vulnerability between Calum, played with a raw and anguished sensibility by Paul Mescal, and his teenage daughter Sophie (a very natural, curious, and wise performance by Frankie Corio) make this a true touching charmer.
Shot to look much like a shaky home video with hints of French New Wave influences, the scenes unfold quite seamlessly to make the viewers join adult Sophie in her journey of watching old video footage to deconstruct the memories of that shared experience she had with her dad. It's not so much about what Sophie discovers upon revisiting these evocations, but about what we, as the viewer, can infer or conclude based on these recollections. And these are largely based on dissections of quiet, symbolic moments interspersed throughout. Both beautiful and haunting.
Ready or Not (2019)
Stylish, Outlandish, Yet Highly Improbable!
"Ready or Not" is directed by Matt Bettinelli-Olpin and Tyler Gillett and tells the story of a newlywed bride who is forced to participate in a gruesome game of hide and seek by her outlandish and bizarre in-laws on her wedding night. To reveal anything else about this serpentine plot would ruin the twisted fun. The film works best as a devilish black comedy and the standout, by far, is the gutsy and engrossing performance by Samara Weaving playing Grace (the bride). Can't wait to see what else she does in other films. With doses of Shirley Jackson's "The Lottery" and Richard Connell's "The Most Dangerous Game", the film is taut with horrific imagery, suspense, and laugh-out-loud, tongue-in-cheek satire about how people follow traditions blindly and how marriage redefines familial boundaries. Although the script suffers because some characters make highly improbable, odd, nonsensical choices, the film's payoff is hellishly enjoyable.
The Peanut Butter Falcon (2019)
A Lyrical, Bittersweet Journey of Self-Discovery!
If Mark Twain and John Steinbeck wrote a modern lyrical love letter to the American landscape, the misunderstood and outcast, and the strong bonds and healing power of friendship, they would have penned "The Peanut Butter Falcon." Down Syndrome patient Zak (played by Zack Gottsagen) runs away from his care center with a dream of becoming a professional wrestler and stumbles upon solemn nomad Tyler (Shia LeBeouf) who helps him trek towards his dream. Gottsagen and LeBeouf have great chemistry and their bittersweet journey is filled with heartfelt moments of growth, self-discovery, and reflective moments of healing in what is undoubtedly the feel-good movie of the year. Dakota Johnson adds charm as Zak's caretaker to turn a story about a dynamic duo into a magnetic trio.
It's an entertaining and thrilling ride that is filled with tension and bliss highlighted by great wide angle shots, bewitching cinematography, and quirky, unforgettable characters.
Ford v Ferrari (2019)
Intense, Complex Ethical Dilemmas, and Friendship!
With meticulous attention to detail, "Ford V Ferrari" captures the 1960s at its most vivid glory as auto designer Carroll Shelby (played by Matt Damon) and British race car driver Ken Miles (played by Christian Bale) take on greedy car companies, competitive racing, and their own pride and egos. A memorable, heart-pounding musical score and boisterous sound effects coupled with frenetic editing, electrifying action sequences, and strikingly beautiful cinematography, the film, directed by James Mangold ("Logan") is a speedy rock concert of a true story. As if these were not enough of a rollicking joy to watch, the film's epicenter are the masterful performances and undeniable chemistry between Damon and Bale. Although slow paced at times, the film contains equal doses of intense racing scenes shot in gorgeous wide angles and complex ethical dilemmas and human strife reminiscent of the brilliant baseball movie "Moneyball".
At its core, "Ford V Ferrari" is about the relationships that give us meaning, the passions that feed us, and honest friendship.
Jojo Rabbit (2019)
Funny, Spoofy, and Heartbreaking Satire During WWII
Taika Waititi plays Hitler like a tall tale character in "Jojo Rabbit", a film that satirizes a coming of age story during the Nazi regime in World War II. Laugh-out-loud funny, endearing, and heartbreaking, Waititi (director of the great vampire parody "What We Do in the Shadows" and the first episode of "The Mandalorian") has directed the feel good movie of the year, a shattering morality tale, a hilarious well-written spoof, and a powerful tale of innocence and tolerance. Roman Griffin Davis gives a gripping debut and one of the best child performances as Jojo and Scarlett Johansson is tender and rousing in an Oscar-worthy performance as his mother Rosie. At times the film might feel like it's trying to explore too many ideas, but this is a rare movie that manages to effectively create a comedy about Nazisms and the blindness of following mislead conformity.
A Beautiful Day in the Neighborhood (2019)
The Must-See Tearjerker of the Year!
There is a moment of thunderous silence in "A Beautiful Day in the Neighborhood" when Fred Rogers (Tom Hanks) asks troubled journalist Lloyd Vogel (Matthew Rhys) to quietly reflect on the people in his life who have made an impact on the development of his character. It is possibly the most transformative and powerful scene of the year as Hanks intently gazes at the camera, breaks the fourth wall, and invites audience members to do the same reflection. The feeling of catharsis is palpable throughout the entire theatre. And that is when you realize director Marielle Heller has made a movie not about the life of Rogers, but one that through a hypnotic spell, urges viewers to become good people.
Never cheesy, warm-heartedly drenching, and magnificently acted, the film spotlights the real-life friendship between Rogers and journalist Tom Junod. And even though it might gloss over the tremendous difficulty people have while working through grief and anger, it is so thought-provoking and Hanks is so mesmeric (mirroring Rogers' every mannerism) that it is the must-see tearjerker of the year.
Color Out of Space (2019)
Cosmic, Surreal, Grotesque Horror is Worth a Watch!
There isn't a horror author quite like H. P. Lovecraft. Gothic, surreal, freakish, grotesque, and demented, director Richard Stanley adapts "Color Out Of Space" to the screen in the psychedelic and outlandish fashion Lovecraft would approve. Nicolas Cage leads a strong cast playing the head of a family who faces cataclysmal consequences when a meteorite crash-lands near their home. Wisps and tendrils of an array of cosmic neon colors encroach the house and an ominous threat begins to tear this family apart.
With tinges of absurd, black comedy, unnerving suspense, and monstrous abnormalities, this is the adult version of "Stranger Things". The movie's script may be cringe-inducing at times and the plot may be too bizarre and obscure for some, but the film serves as an allegory for the deterioration of the family unit in ways that are both familiar and unforeseen.
Archive (2020)
A rare, small-scale gripping sci-fi sleeper!
"Archive", directed by Gavin Rothery, is that rare, small sci-fi sleeper in the vein of "Ex-Machina", "Moon", and "Looper" that deals more with matters of the heart, existential philosophies, and scientific debates concerning artificial intelligence in lieu of mind-bending special effects and stunts. It is a gripping, chilling story with character complexity, an eerie musical score, and a simple, yet suspenseful approach to creating a believable futuristic setting of robots in the midst of heartbreak. It is "Ghost in the Shell" meets "Ghost".
Theo James as George is reserved yet believable in his god-like complex, but Stacey Martin as Jules is striking showing more nuanced range of emotions. Death and love are the epicenter of a story that can sometimes suffer from insufficient character background and somewhat muddled pacing, but this is a film that is surely engrossing, thought-provoking, and has a hell of a twist ending.
Be Water (2020)
Inspirational and Heart-Wrenching Documentary
The Bruce Lee documentary "Be Water", directed by Bao Nguyen, is a must-see inspirational and heart-wrenching watch. The film slightly touches upon the art of gung fu and other martial arts, but most of all, "Be Water" spotlights the cultural and historical implications surrounding, influencing, and affecting Lee and everyone who was a part of his life. It is the struggle of bridging American and Chinese cultures, Hollywood's underrepresentation of minorities, the social and racial injustice engulfing the 50s and 60s, and philosophical explorations that make "Be Water" an engrossing and fascinating watch. It is a portrayal of a man who lived life on his own terms, with confidence, his head held high and proud, without the slightest apology or shame for being who he was. Perhaps what is best about the documentary is the archival footage of some of the most intimate and private moments in Lee's life carefully interwoven in vignettes with voice over interviews and a riveting, piercing musical score. Don't miss it on ESPN+ or YouTube!
The Devil All the Time (2020)
Tense, disturbing & grueling film experience
"The Devil All the Time" is a grueling, unpleasant, and disturbing film experience. It is, above all else, a movie about placing trust in the wrong hands, people's inherent evil, and man's manipulation of their relationship with God to justify their vices. That being said, it is also quite thought-provoking, extremely well-acted, a layered character study centering around the damaging, traumatic effects of religious fanaticism and fervor.
Director Antonio Campos creates a distinctly uneasy and grim atmosphere with its sadistic, violent, and demoralizing characters and Deep South backwoods setting that makes small town living a hellish environment where its citizens are blinded by an extremist churchgoing, God-adoring culture. People get away with murder in this movie and the tension is suspended and palpable throughout because of the juxtaposition of prayer and sin.
Arvin Russell is the film's main character and is played by Michael Banks Repeta and later as an adult by Tom Holland. Both commit masterfully to their roles, but Holland is arresting portraying a tortured soul that while seeking vengeance, desperately desires redemption and closure for his past demons. Robert Pattinson and Harry Melling are also memorably frightening as frenzied, hypocritical preachers.
The film will not be for everyone as it is a slow burn. The middle act feels a bit muddled, which may cause the viewer to feel lost, but the third act strongly closes the film, settles its characters' arcs, and has a satisfying conclusion strengthened by a fairy-tale-like voice over narration. Overall, it is a well-crafted thriller of psychopaths, predators, and prey that kept me absorbed yet disheartened at the ugly side of humanity.
Run (2020)
Simple, Taut, Effective Thriller
In a year where movie theater releases have been delayed again and again due to the coronavirus, a taut and tense sleeper thriller like "Run" is a welcome sight. This is the type of movie that makes me miss the communal theater experience because audiences would have gasped, screamed, applauded, and all-around reacted to it in a lively manner. The premise is simple: a sickly, wheelchair-bound teenage daughter (Kiera Allen) begins to suspect her nurturing mother (Sarah Paulson) is keeping dark secrets from her, but to what degree or reason? The film's techniques are all top-notch including relentless pacing, clever and compact Hitchcockian editing and camera work, and a piercing score. Both actresses deliver outstanding performances that help elevate the anxiety and tension that does not let up for the hour and thirty-minute runtime. With touches of "Misery" and "What Ever Happened to Baby Jane?", this is simple yet effective, tightly-packed chiller with an ending that is oh so satisfying.
Palm Springs (2020)
Zanier, Raunchier Groundhog Day!
"Palm Springs" is a zanier and raunchier version of "Groundhog Day" with remnants of "Primer" and "50 First Dates". It's also, in its pacing and inventiveness, more exciting to watch. Nyles and Sarah, played by Andy Sandberg and Cristin Milioti respectively, go through a trippy, warped time loop experience that has both characters questioning the purpose and meaning of life, redefining true love, and learning to be genuine. Watching their strong and layered performances through their journeys of self-growth is the highlight of the movie. One cannot help but liken the shifts in tone and time loop conflicts to the pandemic experience of 2020, which makes it timely and relatable. There are many poignant moments, as well as fast-paced jokes that land in "Palm Springs", but the movie does feel like a story we've seen before with romantic comedy tropes that have been revisited for years. Still, the movie feels breezy, funny, and inventive in its execution of dark humor and sci-fi elevating it to one of the most enjoyable comedies of the year.
Fresh (2022)
A Shocking, Tense, Disgusting Thrill-Ride!
The dating world can be tough and unpredictable, especially when one does not take the time to consider someone's true nature or intentions - what lies beneath the attractive exterior. Such is the inciting incident of the new torture thriller "Fresh", starring Daisy Edgar-Jones as Noa and Marvel favorite Sebastian Stan as Steve.
A black comedy, a satire on class and opulence, and a disquieting and alarmingly grotesque horror survival film, "Fresh" is the type of small budget spine-chiller in the vein of "Hard Candy" and "Hush" where the suspense builds slowly, shocking revelations are meticulously injected, and the story plays on some of the most primal human fears - that of cannibalism, psychopathy, physical and mental torture, distrust, and death.
Hitchcockian to be sure, the film is gripping with its nail-biting pacing, credible and harrowing portrayals of human predators and preys, and a truly disturbing and gross concept that can actually happen. Edgar-Jones is astoundingly vulnerable as a deeply wounded and agonized woman and Stan has a field day in a devilishly wicked turn as her lover/tormentor.
A scary film that truly makes your stomach churn and leaves you disquieted for some time after.
X (2022)
Must Watch This Horror Homage!
Everyone who is a horror aficionado should watch Ti West's "X", a creepy, suspenseful, near-flawless tribute to classic 1970s slasher films, with a dash of porn-culture hype, religious fanaticism, and unexpected character depth.
Perhaps what is most surprising about the film is its deeply strange, yet interesting antagonists - an old, disheveled, mentally deranged, and physically grotesque couple. They are given a history where clear character motivations can be seen in the form of isolation and neglect, unfulfilled desires, and sexual depravity, which elevates the plot to a disturbing and spine-chilling homage. There is something wily, satirical, and humorous about the way director West approaches not only these villains, but also its perverted porn actors - all who fall into familiar, silly horror tropes, but seem to be having so much fun fulfilling these roles.
And lastly, the film is extremely well shot switching between retro graininess, low-lit long shots, and gruesome, gotcha close-ups. Well-worth a watch for its clever reimagining of films like "The Texas Chainsaw Massacre" and "The Last House on the Left".
The Offer (2022)
Tone-Confused, Well-Acted "Making" of The Godfather
The miniseries "The Offer" explores the behind-the-scenes making of the 1972 timeless classic "The Godfather" in a messy, zany, and serious manner. Yes, the tones are confused and some of the scenes make you wonder whether every single far-fetched incident really happened. Still, I have a lot of fun watching this well-acted, upbeat show, if only imagining that these mafia-associated occurrences happened in an alternate universe. The period drama is written mostly by Michael Tolkin, with a little aid from Leslie Greif, and is based on the experiences of the "The Godfather" producer Albert Ruddy.
Ruddy, played by a serious, yet playful Miles Teller, is the main character of the show. Each episode follows Ruddy on a new escapade or obstacle that gets in the way of him making this movie - whether it's money, the Italian American crime syndicate disguised as a civil rights activist group, creative differences, or deceit. The show gets muddled and monotonous when it focuses on the characters' personal intimate relationships or the involvement of crime boss Joe Colombo (played by Giovanni Ribisi with a little too much of an exaggerated gangster personality) as these scenes are unnecessarily drawn out to tedious melodrama. Where the show shines and should focus more on are the scenes with Dan Fogler playing director Francis Ford Coppola and his interactions with the creative cast and crew of the movie. Seeing Justin Chambers as Brando and Anthony Ippolito as Pacino as well as the other actors who play actors in the movie is a real treat. The show also pays careful attention to its time period details and locales elevating the nostalgia.
While watching the show, I couldn't help but research whether what I was watching was true. In an interview with writer Michael Tolkin regarding his talks with Albert Ruddy, it is revealed that many of the improbable events in the show happen out of order or context or are merely an amalgam of the actual events. If you are a cinephile, the story is a fun, enjoyable watch - even if it lacks humor and heart - in the sense that you are getting a semi-autobiographical reimagining of the making of one of the greatest films of all time, but do not look here if you are hoping for the actual truth of what transpired.
Spiderhead (2022)
Lacks Humor, Cleverness, and Suspense!
From director Joseph Kosinski and actor Miles Teller of "Top Gun: Maverick" fame comes a new Netflix science fiction suspenser: "Spiderhead". It presents quite the thought-provoking premise where criminals choose to participate in a psychological experiment involving the manipulation, alteration, and control of human behaviors in lieu of serving a prison sentence. It is quite the original idea to be sure, and I was very much invested throughout the first 30 minutes until there was an evident lack of wit and a plot that feels redundant and circular.
The movie takes a long time to get to the point and the revelations aren't that stimulating or shocking, but rather expected. Most plot points involving the evolution of the characters are predictable and cringy. Sure, the film delivers the goods from Chris Hemsworth playing a sort of mad scientist and sadist, and Teller is gripping and entertaining as usual, but the themes of mental manipulation, societal control, and genuine feelings and emotions versus those that are falsely created by drug enhancement feel like they are presented in an all-too-familiar way. I'd rather watch "Limitless". The excitement and suspense die by the second half of the movie and the ending is a bunch of ho-hum.