There's an interesting story here, one which numerous YouTube videos have covered, about a girl living in a suffocating home with high expectations who was clearly broken by the life she was forced to live. Instead, Netflix ops for the usual shock and awe, telling a fairly black and white story about a good girl living a life of lies who does everything to be a with a guy she couldn't be with. There's a lot of liberties taken with the story, to the point they don't even mention she has a brother. In the end, she's painted as this horrible monster when the story should have been focused on her home life, her relationship with her parents, and how this played into what happened. It feels dishonest, cold, and lacking. If you want to learn about this story, check YouTube and skip this doc.
Reviews
163 Reviews
What Jennifer Did
(2024)
Netflix Fails At Telling The Most Important Parts Of The Story
17 April 2024
Warning: Spoilers
Argylle
(2024)
A Fun, Old Fashioned Popcorn Flick
4 February 2024
Warning: Spoilers
No doubt, by now, people have seen the varied opinions on how this film ranges from good fun to absolutely abysmal. I'm in the first camp. I enjoyed this film from beginning to end. I wouldn't call it anything stellar, but I had a good time with it. The story is a bit messy and there's just one twist too many, but the action, acting, and script are enough to make up for it. Cavill's part is minor, probably to the disappointment of most and Bryce Dallas Howard, in the lead, ranged from engaging to cringe-inducing (namely when we see the shift in personality come along), but everyone besides is rock solid. Sam Rockwell in particular is worth watching alone as he brings nothing but fun and energy. Bryan Cranston hams it up as the main villain, doing what he does best, while Sam Jackson and Catherine O'Hare are delightful in the limited time they show up.
The action and comedy are also solid, with some minor quibbles about use of CGI. It's a consistently better film than can typically be expected for January usually being a movie dump month and I feel like this will be a crowd pleaser once they see it. Don't be off put by terrible reviews. I am sure there are those who will find it terrible. I'm baffled by how people are considering this so completely abysmal, but I found it to be anything but. It's one of those rare times I would say ignore the critics and see it yourself to make up your own mind.
The action and comedy are also solid, with some minor quibbles about use of CGI. It's a consistently better film than can typically be expected for January usually being a movie dump month and I feel like this will be a crowd pleaser once they see it. Don't be off put by terrible reviews. I am sure there are those who will find it terrible. I'm baffled by how people are considering this so completely abysmal, but I found it to be anything but. It's one of those rare times I would say ignore the critics and see it yourself to make up your own mind.
Lot To Say About The Movie, Not A Lot Of It Good
24 December 2023
Warning: Spoilers
Where to start. The film opens with a brief narration about the history of what's been happening, but ends up being mostly unnecessary because it relays information that could have easily been peppered into the movie. All of this info ultimately proves useless anyway because the story is a fairly generic and cliche Rebel-Versus-Empire story, via Star Wars. We're then briefly introduced to a moon village that is quickly targeted by a generic evil bad guy who does very evil bad guy things. This gives way to a nearly carbon copy of Severn Samurai on a galactic level, with the village deciding whether to cave to the evil empire or not, but eventually relenting to the same exact thing from that movie: finding a bunch of warriors to come back to train and protect the village. It is literally the exact same set up as that classic film.
From then on, the story is mostly recruiting the brave heroes for the task. Unfortunately, none of these characters get any decent development. Oh, there are hints there. Tarak is a noble "slave" who always fulfills his debts, is clearly very brave and heroic, but beyond that mostly just follows our lead, Kora, around being very noble and acting regal. Titus is a legendary general who they spend a third of the film trying to reach, only to find him, spend a brief scene with him and a very small speech before he completely abandons his drunken, self-imposed exile out of shame to join them on their mission. There's absolutely nothing whatsoever leading up to this complete change of character. It's some of the laziest and least developed character work I have seen in a long time. Everyone in this movie, save for the lead, is like this. By far, the character who suffers the worst is Ed Skrein's Atticus Noble, who is as generic a villain as could be developed. He goes around beating, killing, and smarming for what seems to be the sake of just being evil. We learn nothing about him and he feels like little more than a tool and motivation for our heroes. Kora, for her part, is decently developed, but far too much of it is relayed over dialogue. Everything we know about her comes from dialogue over action. I've never known Snyder to be big on character development, he commonly uses too much dialogue and not enough action to tell his character's stories, but even for him this is very sad.
The more visceral elements are much better off. When there is action, it's entertaining enough, though Snyder continues to rely too much on his trademark. The film does look very good and it's well designed, though Snyder doesn't demonstrate much originality. The creatures, costumes, settings, etc. Look great and are always interesting. The movie also leaves little time for getting bored as it moves so fast, it never feels like it's lagging or wasting time. I was even surprised it was over two hours because it doesn't feel like it. These things are minor though in the face of all that this film fails to achieve. There's plenty of groundwork here that could be great, but the pieces are so poorly developed rushed, they don't rise above mediocre and typically just wallow in poor. I have no idea what Part II has in store for us, but I can say I am glad this is on Netflix because if it was getting a major theatrical release, I very much doubt I'd be buying a ticket to it.
From then on, the story is mostly recruiting the brave heroes for the task. Unfortunately, none of these characters get any decent development. Oh, there are hints there. Tarak is a noble "slave" who always fulfills his debts, is clearly very brave and heroic, but beyond that mostly just follows our lead, Kora, around being very noble and acting regal. Titus is a legendary general who they spend a third of the film trying to reach, only to find him, spend a brief scene with him and a very small speech before he completely abandons his drunken, self-imposed exile out of shame to join them on their mission. There's absolutely nothing whatsoever leading up to this complete change of character. It's some of the laziest and least developed character work I have seen in a long time. Everyone in this movie, save for the lead, is like this. By far, the character who suffers the worst is Ed Skrein's Atticus Noble, who is as generic a villain as could be developed. He goes around beating, killing, and smarming for what seems to be the sake of just being evil. We learn nothing about him and he feels like little more than a tool and motivation for our heroes. Kora, for her part, is decently developed, but far too much of it is relayed over dialogue. Everything we know about her comes from dialogue over action. I've never known Snyder to be big on character development, he commonly uses too much dialogue and not enough action to tell his character's stories, but even for him this is very sad.
The more visceral elements are much better off. When there is action, it's entertaining enough, though Snyder continues to rely too much on his trademark. The film does look very good and it's well designed, though Snyder doesn't demonstrate much originality. The creatures, costumes, settings, etc. Look great and are always interesting. The movie also leaves little time for getting bored as it moves so fast, it never feels like it's lagging or wasting time. I was even surprised it was over two hours because it doesn't feel like it. These things are minor though in the face of all that this film fails to achieve. There's plenty of groundwork here that could be great, but the pieces are so poorly developed rushed, they don't rise above mediocre and typically just wallow in poor. I have no idea what Part II has in store for us, but I can say I am glad this is on Netflix because if it was getting a major theatrical release, I very much doubt I'd be buying a ticket to it.
Strays
(2023)
A Hilarious, Raunchy, Seemingly Fresh Hard R Comedy
17 August 2023
Warning: Spoilers
Although we may not have seen a comedy like this before, Strays feels like an obvious winning formula for a hard R comedy: create a movie from a dog's point of view, make it as raunchy as possible, shake well, and serve. Although this could have been a film that tries far too hard at being funny through cheap gags and the typical doggy misunderstandings, it works so well, it ends up being on of the best comedies of the years.
Will Ferrell voices Reggie, a small dog who has mistaken abuse at the hands of his owner (Will Forte) as love and eventually finds himself dumped hours away. He quickly befriends Jamie Foxx's Bug, as well as Isla Fisher's Maggie and Randall Park's Hunter, who help Reggie realize the truth and em...bark (sorry) on a quest of revenge. I'll save the what of the revenge as a surprise, unless you've seen the trailer, but the film doesn't waste any time in bringing the laughs. From the moment we see Reggie mistakenly exaggerate Will Forte's loser owner Doug as a loving guardian instead of the abusive jerk he is, the film keeps the comedy flying, mostly using a mix of doggy misunderstandings, raunchy humor, and the kinds of things we might spend time watching on YouTube. The film isn't afraid to wallow in the filth either, with penises and poop playing into the humor.
The voice cast is perfect, with Will's ability to play up childlike wonder, even in the midst of making threats, perfect for Reggie's naivety and lack of 'big dog' attitude. Foxx contrasts as a streetwise, no nonsense, stray pup who uses the F word maybe one too many times and is all about the filthiest stuff in life. Isla Fisher feels maybe underutilized the most, as much of her humor bounces off the bigger personalities there, while Randall Park feels like he may be channeling his Human Resources voice and personality work as the dorky, uptight Hunter. It is Will Forte though that steals the show with every scene he's in, though they are pretty much all relegated to the beginning and end. This is Forte as we commonly know him and it's never anything but laugh out loud hilarious, especially in the ending.
The R rating here is very much earned and anyone who thinks an excess of raunchy humor would be too much will probably find this overdone. I personally found that the number of times the F word was used was forced and excessive, but it didn't detract from the film. Behind Joy Ride, there hasn't been a film this year where I have laughed this hard.
Will Ferrell voices Reggie, a small dog who has mistaken abuse at the hands of his owner (Will Forte) as love and eventually finds himself dumped hours away. He quickly befriends Jamie Foxx's Bug, as well as Isla Fisher's Maggie and Randall Park's Hunter, who help Reggie realize the truth and em...bark (sorry) on a quest of revenge. I'll save the what of the revenge as a surprise, unless you've seen the trailer, but the film doesn't waste any time in bringing the laughs. From the moment we see Reggie mistakenly exaggerate Will Forte's loser owner Doug as a loving guardian instead of the abusive jerk he is, the film keeps the comedy flying, mostly using a mix of doggy misunderstandings, raunchy humor, and the kinds of things we might spend time watching on YouTube. The film isn't afraid to wallow in the filth either, with penises and poop playing into the humor.
The voice cast is perfect, with Will's ability to play up childlike wonder, even in the midst of making threats, perfect for Reggie's naivety and lack of 'big dog' attitude. Foxx contrasts as a streetwise, no nonsense, stray pup who uses the F word maybe one too many times and is all about the filthiest stuff in life. Isla Fisher feels maybe underutilized the most, as much of her humor bounces off the bigger personalities there, while Randall Park feels like he may be channeling his Human Resources voice and personality work as the dorky, uptight Hunter. It is Will Forte though that steals the show with every scene he's in, though they are pretty much all relegated to the beginning and end. This is Forte as we commonly know him and it's never anything but laugh out loud hilarious, especially in the ending.
The R rating here is very much earned and anyone who thinks an excess of raunchy humor would be too much will probably find this overdone. I personally found that the number of times the F word was used was forced and excessive, but it didn't detract from the film. Behind Joy Ride, there hasn't been a film this year where I have laughed this hard.
A Fantastic Alternate Telling Of The TMNT Origin
2 August 2023
Warning: Spoilers
While I wasn't initially thrilled by the idea of yet another TMNT reboot, of sorts, I am always happy to see new Turtles (except when they're being delivered by Michael Bay). I would say I was doubly skeptical with the film giving us Turtles that were more like kids than the cool, party dudes we're used to. Yet, it not only works, but feels like the exact reboot of the TMNT we've needed. Indeed, this is probably the best cinematic take we've had since the original film. I loved everything about it, from the perfectly cast voice actors to the characterizations making them feel naturally like teenagers, to the animation, action, comedy, and even the villains. This was a wonderful, late summer surprise.
We're once again getting an origin story, with our favorite Turtles being young teenagers who have spent their life in the sewers of New York after exposure to the world outside proved to be dangerous and uninviting for mutants. Their father, the rat Splinter, has kept them safe there, but the Turtles are anxious to break out of their confines and see the world outside. When a new, villainous group of mutants poses a threat to the human race, the group see it as a chance to put their martial arts skills to good use and become heroes that the world would accept, even in their mutated state.
Mutant Mayhem is a fairly light hearted take on the Turtles, with the film frequently being funny and fun. Even the core story and the stakes it presents never feels too serious. Yet, the heart at the core of the story is highly relatable and easy to both digest and get behind. The teenagers want acceptance, a similar motivation to the mutant villains, and their action, dialogue, and story beats all feel natural. While the Turtles acting as teenagers might seem like an easy thing to screw up by having them act as adults might imagine them too, they instead genuinely feel like kids. It's surprisingly insightful and natural, and the TMNT are enjoyable to be with the entire film. Supporting them is April O'Neil, this time a fellow teenager with aspirations to be a reporter who also feels natural as a fellow outcast looking to find her own acceptance. It's a nice change to this character as well, as her own foibles are highly compatible with the Turtles.
The characters and story are supported by wonderful, imaginative animation and style. This takes a page out off Sony's animated Spider-Man movies, but it doesn't feel like a knock off. If Spider-Man felt like comic pages literally coming to life, this feels like comic book style art melded with CG animation. And while this might seem like it could detract from the action and animation, the opposite is true. The action is excellent and the animation is consistently interesting. It doesn't quite touch on the previous animated TMNT film, which for me is maybe the best animated TMNT production we've ever had, but it comes pretty damn close. As a total package though, I really couldn't ask for a better TMNT movie.
Some will be turned off by the changes to the lore, design, and characterizations, I am hard pressed to find anything I didn't like with the movie. It didn't quite hit the perfect 10 for me, but it does come very close.
We're once again getting an origin story, with our favorite Turtles being young teenagers who have spent their life in the sewers of New York after exposure to the world outside proved to be dangerous and uninviting for mutants. Their father, the rat Splinter, has kept them safe there, but the Turtles are anxious to break out of their confines and see the world outside. When a new, villainous group of mutants poses a threat to the human race, the group see it as a chance to put their martial arts skills to good use and become heroes that the world would accept, even in their mutated state.
Mutant Mayhem is a fairly light hearted take on the Turtles, with the film frequently being funny and fun. Even the core story and the stakes it presents never feels too serious. Yet, the heart at the core of the story is highly relatable and easy to both digest and get behind. The teenagers want acceptance, a similar motivation to the mutant villains, and their action, dialogue, and story beats all feel natural. While the Turtles acting as teenagers might seem like an easy thing to screw up by having them act as adults might imagine them too, they instead genuinely feel like kids. It's surprisingly insightful and natural, and the TMNT are enjoyable to be with the entire film. Supporting them is April O'Neil, this time a fellow teenager with aspirations to be a reporter who also feels natural as a fellow outcast looking to find her own acceptance. It's a nice change to this character as well, as her own foibles are highly compatible with the Turtles.
The characters and story are supported by wonderful, imaginative animation and style. This takes a page out off Sony's animated Spider-Man movies, but it doesn't feel like a knock off. If Spider-Man felt like comic pages literally coming to life, this feels like comic book style art melded with CG animation. And while this might seem like it could detract from the action and animation, the opposite is true. The action is excellent and the animation is consistently interesting. It doesn't quite touch on the previous animated TMNT film, which for me is maybe the best animated TMNT production we've ever had, but it comes pretty damn close. As a total package though, I really couldn't ask for a better TMNT movie.
Some will be turned off by the changes to the lore, design, and characterizations, I am hard pressed to find anything I didn't like with the movie. It didn't quite hit the perfect 10 for me, but it does come very close.
Joy Ride
(2023)
The Funniest Movie You Will See This Year
18 June 2023
Warning: Spoilers
The trailer did a good job of painting this as a fun, funny, good time at theater, but it didn't not divulge just how funny this is. At it's most basic, this is another road trip comedy, ala The Hangover or Bridesmaids, and as just a road trip comedy, it's hilarious. With the added cultural aspects and some deeper character development, this is a thoughtful examination of identity, cultural connection, personal history and growth. It's also fairly raunchy and let's it's ladies cut loose, providing a genuinely great mix of heartfelt moments and raw comedy.
Each of the leads occupies fairly typical character archetypes for this brand of comedy: Ashley Park plays the straight, professional Audrey who is off to China for a business trip, Sherry Cola plays best friend Lolo, the laid back, no shame, free spirited artist not afraid to show her nasty side. They are joined by Stephanie Tsu's celebrity actress Kat and the true breakout of the film, Sabrina Wu's Deadeye, the weird, socially awkward, but endearing and sympathetic cousin to Lolo, who manages to bring some of the biggest heart and laughs to the film. Every single cast member is fantastic and manages to bring their own emotional weight to the movie that makes you genuinely feel for them, while also providing laugh out loud moments. Of particular highlight is a scene involving a train and a drug mule, a meet up with a basketball team, and and attempt to board a private plane by posing as a Kpop group.
The laughs come frequent and hit hard. I expect the film to be a big hit in the same way Crazy, Rich Asians was, but as an occupier in the same kind of spots that made the aforementioned Hangover and Bridesmaids so big. You'll want to see more of these ladies in future films and this movie deserves to do incredibly well. This absolutely deserves to be a big hit and once word starts to spread, I expect it to do well. I would be surprised if there's a funnier film this year.
Each of the leads occupies fairly typical character archetypes for this brand of comedy: Ashley Park plays the straight, professional Audrey who is off to China for a business trip, Sherry Cola plays best friend Lolo, the laid back, no shame, free spirited artist not afraid to show her nasty side. They are joined by Stephanie Tsu's celebrity actress Kat and the true breakout of the film, Sabrina Wu's Deadeye, the weird, socially awkward, but endearing and sympathetic cousin to Lolo, who manages to bring some of the biggest heart and laughs to the film. Every single cast member is fantastic and manages to bring their own emotional weight to the movie that makes you genuinely feel for them, while also providing laugh out loud moments. Of particular highlight is a scene involving a train and a drug mule, a meet up with a basketball team, and and attempt to board a private plane by posing as a Kpop group.
The laughs come frequent and hit hard. I expect the film to be a big hit in the same way Crazy, Rich Asians was, but as an occupier in the same kind of spots that made the aforementioned Hangover and Bridesmaids so big. You'll want to see more of these ladies in future films and this movie deserves to do incredibly well. This absolutely deserves to be a big hit and once word starts to spread, I expect it to do well. I would be surprised if there's a funnier film this year.
A Little Too Familiar
6 June 2023
It isn't saying much, but this is probably one of only three decent Transformers films. Bumblebee proved to be a good sequel, or as good as a Transformers sequel can get, and Rise follows along. It's plot isn't as convoluted as a lot of the sequels and it has a decent mix of familiar elements. Anthony Ramos of In The Heights and Dominique Fishback, coming fresh off Swarm, are the only humans featured and they're about as good as is required. Ramos' Noah is sympathetic, has charm, and is endearing enough to carry the film. Fishback is good, but her role feels undercooked, as half her job seems to only exist to push the story along.
The Transformers are as good as we've known them to be, but at this point, there's very little magic to their being brought to life. Optimus Prime, typically the beating heart of the franchise, it dull here. We get the same thing we've gotten in practically every film and it's no longer interesting. When he's in action, he's great, but every other time it's the same nobility mixed with learning how to be a better Transformer. The highlights here are Mirage, who provides much of the comic relief and has great chemistry with Noah and Razorwing. Having Michelle Yeoh voice the character adds much to her and makes her endearing.
Overall, while this isn't terrible, it's practically the same as what we've seen before. There's a thing everyone is fighting over, a bunch of bad guys who act like bad guys, and a race to stop the end of the world. The fact they bring in fan favorites, The Maximals, feels almost inconsequential. Optimus Primal, a name that got a good chuckle out of my audience when iterated, feels like a carbon copy of the Optimus Prime we've come to know, except that he turns into a gorilla instead of a vehicle. The rest, save for Razor Wing, feel practically non-existent, except when they need to spring into action.
Speaking of action, it's good here, but much of it also feels like what we've seen before. There are plenty of chases and plenty of robots fighting. Noah gets a surprisingly meaty piece of the action in the climax which, admittedly, might be one of the best action sequences of the franchise. It's enough to keep people entertained, but those who have grown weary of this franchise won't find any renewed love for it here and will likely be bored of it by the end.
Fans will probably get a good kick out of this, but I expect everyone else to feel mostly either bored or serviced by this very typical, very by-the-numbers iteration. I suppose, at least, we can be thankful that it's not as bad as the sequels we got after the original film.
The Transformers are as good as we've known them to be, but at this point, there's very little magic to their being brought to life. Optimus Prime, typically the beating heart of the franchise, it dull here. We get the same thing we've gotten in practically every film and it's no longer interesting. When he's in action, he's great, but every other time it's the same nobility mixed with learning how to be a better Transformer. The highlights here are Mirage, who provides much of the comic relief and has great chemistry with Noah and Razorwing. Having Michelle Yeoh voice the character adds much to her and makes her endearing.
Overall, while this isn't terrible, it's practically the same as what we've seen before. There's a thing everyone is fighting over, a bunch of bad guys who act like bad guys, and a race to stop the end of the world. The fact they bring in fan favorites, The Maximals, feels almost inconsequential. Optimus Primal, a name that got a good chuckle out of my audience when iterated, feels like a carbon copy of the Optimus Prime we've come to know, except that he turns into a gorilla instead of a vehicle. The rest, save for Razor Wing, feel practically non-existent, except when they need to spring into action.
Speaking of action, it's good here, but much of it also feels like what we've seen before. There are plenty of chases and plenty of robots fighting. Noah gets a surprisingly meaty piece of the action in the climax which, admittedly, might be one of the best action sequences of the franchise. It's enough to keep people entertained, but those who have grown weary of this franchise won't find any renewed love for it here and will likely be bored of it by the end.
Fans will probably get a good kick out of this, but I expect everyone else to feel mostly either bored or serviced by this very typical, very by-the-numbers iteration. I suppose, at least, we can be thankful that it's not as bad as the sequels we got after the original film.
It's Everything The First One Was And More
3 June 2023
Warning: Spoilers
Can't rave enough about this movie. Everything was excellent and I have nothing I can think of to complain about. It was a joy to be back, hanging out with Miles, Gwen, Peter, and the handful of new characters. The film takes it's time early on developing Gwen and Miles as they live their separate lives in their respective dimensions and deal with the frustrations and realities of being their own Spider persons. We're immediately given the emotional weight of Gwen's life, one that is very lonely and who has seemingly lost the only friend she had left after having to say goodbye to Miles. Miles is in a similar predicament, though he is less hung up on being alone and missing Gwen, and more so on having to balance school, his responsibilities to his parents, and his role as Spider-Man.
After spending some time with their respective lives, we get to the meat of the story, which involves new villain-of-the-week-becoming-major-villain The Spot, who is setting out to further disrupt the multiverse after Kingpin's plot in the first movie. Miguel O'Hara, aka Spider-Man 2099, comes into the picture as having established a hub of Spider characters from various dimensions who are attempting to fix the anomalies created by the collider's explosion from the first film. Miguel acts as a darker version of Spider-Man who has little tolerance for anyone treating their task with anything but the utmost seriousness.
The animation and art is once again excellent, this time giving us various designs for the different Spider characters, with Spider Punk and Crimson Spider being highlights. Everyone gets a chance to shine as a character, even when their part is small and the loads of easter eggs and references will delight fans while not feeling superfluous or there purely for fan service. Like No Way Home, this is a celebration of the Spider-Man franchise, but feeling like it's celebrating the entirety of the brand, covering everything from comics, animation, live action, and even the video games. There are quite a few pleasant surprises.
Some might be off put by the abrupt ending, especially if they have no idea this the first part of a two part film duoglogy, but having known this going in, I felt pretty comfortable with where it ended. It is a cliffhanger ending, so don't expect to feel like the story has an ending, but it creates an anticipation for the next movie and it's something I can wait patiently for as it comes early next year. Overall, the film, like the first one, demonstrates itself to be one of the year's best. I even expect this to possibly be my favorite film of 2023.
After spending some time with their respective lives, we get to the meat of the story, which involves new villain-of-the-week-becoming-major-villain The Spot, who is setting out to further disrupt the multiverse after Kingpin's plot in the first movie. Miguel O'Hara, aka Spider-Man 2099, comes into the picture as having established a hub of Spider characters from various dimensions who are attempting to fix the anomalies created by the collider's explosion from the first film. Miguel acts as a darker version of Spider-Man who has little tolerance for anyone treating their task with anything but the utmost seriousness.
The animation and art is once again excellent, this time giving us various designs for the different Spider characters, with Spider Punk and Crimson Spider being highlights. Everyone gets a chance to shine as a character, even when their part is small and the loads of easter eggs and references will delight fans while not feeling superfluous or there purely for fan service. Like No Way Home, this is a celebration of the Spider-Man franchise, but feeling like it's celebrating the entirety of the brand, covering everything from comics, animation, live action, and even the video games. There are quite a few pleasant surprises.
Some might be off put by the abrupt ending, especially if they have no idea this the first part of a two part film duoglogy, but having known this going in, I felt pretty comfortable with where it ended. It is a cliffhanger ending, so don't expect to feel like the story has an ending, but it creates an anticipation for the next movie and it's something I can wait patiently for as it comes early next year. Overall, the film, like the first one, demonstrates itself to be one of the year's best. I even expect this to possibly be my favorite film of 2023.
Fast X
(2023)
More Of The Same, For Better Or Worse
17 May 2023
Warning: Spoilers
I'm not going to convince anyone who isn't already on board with this that you should give your time to this next chapter. If you've already checked out, you have no reason to come back. For the rest of us, this is yet another "solid" chapter in this overlong franchise that is really stretching thin it's reason for existing. All of that said, I was still very entertained.
You know the drill. Dom and family are still at it, with Dom seemingly having put his world saving days behind him to raise his kid and be with wife Letty. Others are not laying so low as they've taken on yet another high stakes heist mission. Only, this time it's all part of mastermind. Dante, the son of Fast Five villain Hernan and is out for revenge. When the first big action sequence turns Dom and crew into world's most wanted, everyone finds themselves separated and on different quests to get out from under Dante.
The story is, of course, fairly nonsensical. Momoa is arguably the franchises best villain yet. He's flamboyant, fun, hardly ever serious, and steals every scene he's in. He's also on the level of a comic book villain, as he is shown to be as technologically capable as anyone we've seen from the franchise, has seemingly unlimited resources to hire as many mercenaries as he wants, and smart enough to stay five steps ahead of everyone. He's exactly the kind of unexplainable bad guy this franchise has delivered to gleeful excitement, but with the added bonus of being almost Joker-level unhinged.
Everyone else suffers a bit from being split up. These movies have always been at their best when the crew are together, but here, they're barely together at all. In fact, save for the beginning of the movie, I can't remember a time the team meets back up. It gives the film the issue of having too many characters and too much wasted time. We get the main cast members who are still with us, past villains who are now incomprehensibly joining Dom's family, and a handful of new characters who are a welcome addition but are probably too much of an addition. It's a case of trying to mimic Avengers Endgame's "this our last ride, so let's bring back everyone we can", while having a lot of it feel kind of useless or undercooked. The best example of this is Jason Statham, who returns briefly in what is little more than a cameo, before disappearing again.
The action, however, is as top notch and ridiculous as ever. Sadly, what is probably the best action scene is delivered first, the giant ball rolling through Rome spotted in the trailer. It's an exciting chase through the city that gives us everything we want. The film never really matches that level of balls to the wall, everything and the sink action, save for maybe the climactic chase. The ending will also prove pretty divisive, it's safe to say. Unfortunately, far too much time is spent on drama that has never been this franchises strong point. The movie could have stood to lose 20-30 minutes.
Fans will likely enjoy this, as it's better than F8 and F9, but doesn't quite reach the heights of 5-7.
You know the drill. Dom and family are still at it, with Dom seemingly having put his world saving days behind him to raise his kid and be with wife Letty. Others are not laying so low as they've taken on yet another high stakes heist mission. Only, this time it's all part of mastermind. Dante, the son of Fast Five villain Hernan and is out for revenge. When the first big action sequence turns Dom and crew into world's most wanted, everyone finds themselves separated and on different quests to get out from under Dante.
The story is, of course, fairly nonsensical. Momoa is arguably the franchises best villain yet. He's flamboyant, fun, hardly ever serious, and steals every scene he's in. He's also on the level of a comic book villain, as he is shown to be as technologically capable as anyone we've seen from the franchise, has seemingly unlimited resources to hire as many mercenaries as he wants, and smart enough to stay five steps ahead of everyone. He's exactly the kind of unexplainable bad guy this franchise has delivered to gleeful excitement, but with the added bonus of being almost Joker-level unhinged.
Everyone else suffers a bit from being split up. These movies have always been at their best when the crew are together, but here, they're barely together at all. In fact, save for the beginning of the movie, I can't remember a time the team meets back up. It gives the film the issue of having too many characters and too much wasted time. We get the main cast members who are still with us, past villains who are now incomprehensibly joining Dom's family, and a handful of new characters who are a welcome addition but are probably too much of an addition. It's a case of trying to mimic Avengers Endgame's "this our last ride, so let's bring back everyone we can", while having a lot of it feel kind of useless or undercooked. The best example of this is Jason Statham, who returns briefly in what is little more than a cameo, before disappearing again.
The action, however, is as top notch and ridiculous as ever. Sadly, what is probably the best action scene is delivered first, the giant ball rolling through Rome spotted in the trailer. It's an exciting chase through the city that gives us everything we want. The film never really matches that level of balls to the wall, everything and the sink action, save for maybe the climactic chase. The ending will also prove pretty divisive, it's safe to say. Unfortunately, far too much time is spent on drama that has never been this franchises strong point. The movie could have stood to lose 20-30 minutes.
Fans will likely enjoy this, as it's better than F8 and F9, but doesn't quite reach the heights of 5-7.
Renfield
(2023)
Performances, action, and comedy make up for what the film lacks.
13 April 2023
Renfield delivers almost essentially what it promises in the trailer, that is plenty of action, comedy, horror, and an over the top Nicholas Cage performance. If you expect more, then you may be walking away disappointed. Part of me really liked this movie. The highlight is Cage's performance and the visceral elements from this. The action is surprisingly well done, complimented by a surprisingly healthy dose of graphic gore. The comedy is mostly on point. Nicholas Hoult is a charming and endearing lead, while Awkwafina brings her comedic chops and even some swagger to the film as a cop Renfield befriends. The exploration of Dracula and Renfield's relationship is interesting in a psychology 101 sort of way.
The main issue the film has is, beyond it's purely entertaining elements, there's not much to it. The story about Renfield being co-dependent to the narcissistic Dracula is only allowed to go so far, while the film tries to pad things out with an uninteresting crime family subplot that feels tacked on, with it utilizing pretty much every cliche you can think of. Shohreh Aghdashloo, who seems forever typecast to play the matriarch stereotype, isn't given much to do here but chew scenery as a crime family head, while Ben Schwartz plays her somewhat bumbling, somewhat idiotic son with a lack of self-control. Where Ben is typically very funny, here he is hampered by a role that also doesn't do much to break it's cliched confines.
Thankfully, the film is mostly entertaining and let's us spend most of our time with Cage doing what he does best and a very game Hoult, who once again surprises as something of an action hero. For those looking for something purely to be entertained, Renfield is a good way to kill an hour and a half.
The main issue the film has is, beyond it's purely entertaining elements, there's not much to it. The story about Renfield being co-dependent to the narcissistic Dracula is only allowed to go so far, while the film tries to pad things out with an uninteresting crime family subplot that feels tacked on, with it utilizing pretty much every cliche you can think of. Shohreh Aghdashloo, who seems forever typecast to play the matriarch stereotype, isn't given much to do here but chew scenery as a crime family head, while Ben Schwartz plays her somewhat bumbling, somewhat idiotic son with a lack of self-control. Where Ben is typically very funny, here he is hampered by a role that also doesn't do much to break it's cliched confines.
Thankfully, the film is mostly entertaining and let's us spend most of our time with Cage doing what he does best and a very game Hoult, who once again surprises as something of an action hero. For those looking for something purely to be entertained, Renfield is a good way to kill an hour and a half.
The Night Agent
(2023– )
Simultaneously Thrilling and Boneheaded
27 March 2023
I love a good action thriller and this does a decent job of providing good thrills. The action is pretty slick, the characters are at times intriguing and entertaining, and the conspiratorial story leaves you wanting to get to the core of the mystery. At the same time, there's some stuff that will leave you dumbfounded. Dialogue can be silly, decisions or things characters miss can be goofy, and I rolled my eyes several times. It can also be pretty predictable. There were times I knew when a character would die or who the bad guys were. Even red herrings are fairly predictable. I also wasn't a fan of the big reveal and the motivations behind the main bad guys. Even for a show like this, they didn't feel all that believable. Overall though, the show is entertaining. It's nothing all that special, but it's an entertaining watch.
A Blast From Start To Finish
20 March 2023
Warning: Spoilers
Dungeons & Dragons starts off on the right foot by giving us a brief glimpse of this world we've entered and showing us a couple of wonderous creatures, before we're introduced to our lead first supporting character. There's humorous rapport before Michelle Rodriguez' Holga beats the snot out of a troll (or some other such ugly fantasy creature). It's an opening scene that encapsulates the film we're about to see. Often very funny, of course adventurous, and with a spirit that simultaneously fits the world perfectly while also coming off as what you might expect from a game of D&D with a group of friends, this is a movie that is easily accessible to all audiences and is one of the most purely fun fantasy films we've seen in what seems like forever.
Chris Pine is Edgin, a bard and former warrior-of-sorts who has been imprisoned along with his friend and partner Holga for burglary, along with former, and currently free, teammates sorcerer Simon (Justice Smith) and rogue-turned-lord Forge (Hugh Grant). Promptly escaping from prison, Edgin sets off to find his daughter and reclaim a valued treasure, leading to a series of quests in which the group are joined by druid Doric (Sophia Lillis) and paladin Xenk (Regé-Jean Page). The cast in this is delightful and like any good party, they all compliment one another, with wit, sarcasm, and even Xenk's no nonsense attitude lending to a consistently funny and fun time. It leaves a feeling as if you're sitting around a table with your best friends, diving deep into a roleplay of these characters.
Along with this is some fantastic world building that seems to come before you can ask what the name of that city they said was. Seasoned players will no doubt catch all the references to the game, while others who are less familiar will still enjoy how thorough the film is at developing it's world. While it might seem intimidating, there's no long winded explanations of places and creatures. These are lived in worlds and the time isn't taken to explain the fantasy elements, which is a positive. What it makes room for is fun encounters with a variety of these creatures, places, and folks occupying them. There's also plenty of humor along the way and much of it comes from banter that has no problem feeling like a bit of an aside from what we usually expect of fantasy.
The special effects are well done and many of the creature designs are great, although these kinds of things are less impressive now as they might have been several years ago. With theaters so inundated with effects driven films, much of the effects work here feels like it acts as a support to the elements that truly shine. This film isn't going to blow anyone away, but it is a truly good time. It also pays a lot of respect to the game it's based on and the players who play it. If you've seen the trailer and thought of this as yet another, average, effects driven film, it's worth giving a chance.
Chris Pine is Edgin, a bard and former warrior-of-sorts who has been imprisoned along with his friend and partner Holga for burglary, along with former, and currently free, teammates sorcerer Simon (Justice Smith) and rogue-turned-lord Forge (Hugh Grant). Promptly escaping from prison, Edgin sets off to find his daughter and reclaim a valued treasure, leading to a series of quests in which the group are joined by druid Doric (Sophia Lillis) and paladin Xenk (Regé-Jean Page). The cast in this is delightful and like any good party, they all compliment one another, with wit, sarcasm, and even Xenk's no nonsense attitude lending to a consistently funny and fun time. It leaves a feeling as if you're sitting around a table with your best friends, diving deep into a roleplay of these characters.
Along with this is some fantastic world building that seems to come before you can ask what the name of that city they said was. Seasoned players will no doubt catch all the references to the game, while others who are less familiar will still enjoy how thorough the film is at developing it's world. While it might seem intimidating, there's no long winded explanations of places and creatures. These are lived in worlds and the time isn't taken to explain the fantasy elements, which is a positive. What it makes room for is fun encounters with a variety of these creatures, places, and folks occupying them. There's also plenty of humor along the way and much of it comes from banter that has no problem feeling like a bit of an aside from what we usually expect of fantasy.
The special effects are well done and many of the creature designs are great, although these kinds of things are less impressive now as they might have been several years ago. With theaters so inundated with effects driven films, much of the effects work here feels like it acts as a support to the elements that truly shine. This film isn't going to blow anyone away, but it is a truly good time. It also pays a lot of respect to the game it's based on and the players who play it. If you've seen the trailer and thought of this as yet another, average, effects driven film, it's worth giving a chance.
John Wick: Chapter 4
(2023)
Not Just The Best John Wick, But Possibly One Of The Best Action Movies Ever
17 March 2023
Warning: Spoilers
Ever since the original John Wick, the franchise has set a standard of what action in Hollywood should be. Thanks to Chad Stahelski and Keanu Reeve's knowledge of the technical aspects of shooting action, they've been able to deliver expertly choreographed, shot, and edited action films that are now the go to as examples of great action filmmaking. And so, the expectations for the fourth film were fairly high, especially as it became more apparent this was not only the culmination of everything before it, but a whopping 169 minutes long. Rest assured, however, that it delivers in spades. Everything we have come to know and love is here, but with an infusion of creativity like we haven't seen from the franchise yet.
John Wick is in a bad way as we open up. He's a man on a mission to get out from under the High Table with seemingly no end in sight. As he blazes a trail of bullets and corpses, those who have helped him or crossed his path find their own lives disrupted. With all hope lost, he soon finds the opportunity he's looking for when he discovers that he can put his life on the line for a chance to finally get out. The film brings with it a whole host of new characters, including Donnie Yen's Caine, Shamier Anderson's Tracker, Hiroyuki Senada's Shimazu, Rina Sawayama's (in a fantastic big screen debut) Akira, Scott Adkins' Killa, and of course Bill Skarsgard as new villain Marquis. It's a full cast, but everyone gets a chance to shine and could easily have their own films. Donnie Yen in particular demonstrates, once again, that he is a legend in this industry with several great fights of his own. But, of course, this is Keanu's film all the way and he gets to bring everything with him in the biggest film yet.
Covering four continents, we get fights on a massive set of stairs, fights in the middle of traffic, at one of the coolest looking hotels ever shown on screen, and so on. The fighting, of course, is exceptional, and it brings nunchakus, dogs, throwing stars, swords, guns, and so much more. It's everything a John Wick fan could want and, because these films are so technically proficient, you never feel like you're missing any of the action. Possibly the most creative choice is my favorite scene, one that combines a visually fantastic weapon with a shot choice that is unusual for action films of this nature, but the combination of these two pushes the scene into maybe one of action film's greatest scenes.
Admittedly, the story does leave a bit to be desired, but the minor complaints about these kinds of things pale in comparison to what we get. Hollywood has a new film to hold itself to and I have a feeling that (at least for me) action filmmaking will be judged by the standard this movie sets. It's such a blast, I already want to see it again.
John Wick is in a bad way as we open up. He's a man on a mission to get out from under the High Table with seemingly no end in sight. As he blazes a trail of bullets and corpses, those who have helped him or crossed his path find their own lives disrupted. With all hope lost, he soon finds the opportunity he's looking for when he discovers that he can put his life on the line for a chance to finally get out. The film brings with it a whole host of new characters, including Donnie Yen's Caine, Shamier Anderson's Tracker, Hiroyuki Senada's Shimazu, Rina Sawayama's (in a fantastic big screen debut) Akira, Scott Adkins' Killa, and of course Bill Skarsgard as new villain Marquis. It's a full cast, but everyone gets a chance to shine and could easily have their own films. Donnie Yen in particular demonstrates, once again, that he is a legend in this industry with several great fights of his own. But, of course, this is Keanu's film all the way and he gets to bring everything with him in the biggest film yet.
Covering four continents, we get fights on a massive set of stairs, fights in the middle of traffic, at one of the coolest looking hotels ever shown on screen, and so on. The fighting, of course, is exceptional, and it brings nunchakus, dogs, throwing stars, swords, guns, and so much more. It's everything a John Wick fan could want and, because these films are so technically proficient, you never feel like you're missing any of the action. Possibly the most creative choice is my favorite scene, one that combines a visually fantastic weapon with a shot choice that is unusual for action films of this nature, but the combination of these two pushes the scene into maybe one of action film's greatest scenes.
Admittedly, the story does leave a bit to be desired, but the minor complaints about these kinds of things pale in comparison to what we get. Hollywood has a new film to hold itself to and I have a feeling that (at least for me) action filmmaking will be judged by the standard this movie sets. It's such a blast, I already want to see it again.
Cocaine Bear
(2023)
You Get What You Came For And Not Much Else
23 February 2023
Warning: Spoilers
It's clear going into this that the movie was designed entirely with concept in mind. The idea pretty much runs the movie with the singular question: What would a black bear do high on a whole lot of cocaine? In real life, the bear was found dead from an overdose. In this movie, it goes on a near rampage, mangling and killing near everyone in it's path. What we get is a movie that's entertaining when it's focused on the bear and lagging when it's not. But overall, it's a pretty decent, mostly fun movie, if too forgettable.
After a fun and bloody opening, the film spends a good chunk of it's time introducing us to our main characters. It's a mixed bag: Keri Russel and Oshea Jackson probably get the least interesting characters, but do a decent job with the thin parts. Ray Liotta shows up mostly for the third act and it's great to see him in what is one of his last major roles. Alden Ehrenreich Does a decent job as the sympathetic son of Ray Liotta's kingpin. The highlights were the kids and especially Margo Martindale in short role as a forest ranger.
Of course, the highlight here is the bear. The bear on cocaine is played up for campy laughs and gory horror, and fans of both will be very pleased. I'd even go so far as to call this, in part, a slasher as it plays it up like one at many points. And whenever the bear is on screen, it's an entertaining ride with lots of bloody bits and missing limbs. Of particular highlight is the ambulance scene teased in the trailer. Unfortunately, when the bear isn't on screen, the film lags. It feels almost like the characters and story exist to pad out time and lead into the bear tearing it up. Fortunately, what is fun outweighs what isn't.
This is the kind of movie that, later down the line, will likely have the kind of cult status we get from a lot of 80's and 90's movies. I don't expect it to be particularly memorable after it's time in the theater, but those who love it will love it and those who don't will likely forget it after watching it. But the film does give you exactly what you came to see.
After a fun and bloody opening, the film spends a good chunk of it's time introducing us to our main characters. It's a mixed bag: Keri Russel and Oshea Jackson probably get the least interesting characters, but do a decent job with the thin parts. Ray Liotta shows up mostly for the third act and it's great to see him in what is one of his last major roles. Alden Ehrenreich Does a decent job as the sympathetic son of Ray Liotta's kingpin. The highlights were the kids and especially Margo Martindale in short role as a forest ranger.
Of course, the highlight here is the bear. The bear on cocaine is played up for campy laughs and gory horror, and fans of both will be very pleased. I'd even go so far as to call this, in part, a slasher as it plays it up like one at many points. And whenever the bear is on screen, it's an entertaining ride with lots of bloody bits and missing limbs. Of particular highlight is the ambulance scene teased in the trailer. Unfortunately, when the bear isn't on screen, the film lags. It feels almost like the characters and story exist to pad out time and lead into the bear tearing it up. Fortunately, what is fun outweighs what isn't.
This is the kind of movie that, later down the line, will likely have the kind of cult status we get from a lot of 80's and 90's movies. I don't expect it to be particularly memorable after it's time in the theater, but those who love it will love it and those who don't will likely forget it after watching it. But the film does give you exactly what you came to see.
Knock at the Cabin
(2023)
A Great Concept Too Padded Out For Time
2 February 2023
Warning: Spoilers
Knock on the Cabin is a pretty straight forward film that is what it advertises itself to be. Four strangers show up at the cabin of a family of three and propose that one member must be sacrificed by another, willingly, in order to prevent the apocalypse. It's an intriguing concept and there's a lot that could be done with it. Unfortunately, Shyamalan doesn't make it all that interesting. The cast is wonderful, especially Dave Bautista, who once again proves that he has become a fine, charismatic actor.
Unfortunately, the concept proves to be the most exciting thing about the movie. There's a lot of dialogue and drama here, but none of it feels all that anticipatory. It's typical musings about belief and and apocalyptic forewarnings. One thing that Shyamalan does succeed in is creating tension in spurts, using cinematography and editing that has come to define a lot of his movies. But these come in waves and it's almost always very tame. I will also say that, after a brief look at the book and how the story unfolds, it feels like Shyamalan went safe with this movie. It's neither all that shocking, nor scary. There are also a bunch of useless flashbacks that feel forced and added in to pad the film out.
At the very least, there are a handful of exciting scenes that almost feel like they go hand in hand with the very seldom parts of The Happening that were actually enjoyable. I gave the film the stars I did for Shyamalan creating some legitimate tension, the acting, and the intriguing story. Unfortunately, this isn't a movie I really have much of a desire to see again. The ending is pretty predictable, which is kind of sad considering it's Shyamalan, and a lot of what happens just isn't all that interesting or surprising. That said, this is probably his best film since Split, for whatever that's worth.
Unfortunately, the concept proves to be the most exciting thing about the movie. There's a lot of dialogue and drama here, but none of it feels all that anticipatory. It's typical musings about belief and and apocalyptic forewarnings. One thing that Shyamalan does succeed in is creating tension in spurts, using cinematography and editing that has come to define a lot of his movies. But these come in waves and it's almost always very tame. I will also say that, after a brief look at the book and how the story unfolds, it feels like Shyamalan went safe with this movie. It's neither all that shocking, nor scary. There are also a bunch of useless flashbacks that feel forced and added in to pad the film out.
At the very least, there are a handful of exciting scenes that almost feel like they go hand in hand with the very seldom parts of The Happening that were actually enjoyable. I gave the film the stars I did for Shyamalan creating some legitimate tension, the acting, and the intriguing story. Unfortunately, this isn't a movie I really have much of a desire to see again. The ending is pretty predictable, which is kind of sad considering it's Shyamalan, and a lot of what happens just isn't all that interesting or surprising. That said, this is probably his best film since Split, for whatever that's worth.
Broker
(2022)
A wonderful family film about finding a way to cope with sorrow
15 January 2023
Warning: Spoilers
Broker is a film that is, all at once, a dramatic crime drama and a flighty, easy going road trip following people forced by life onto a crooked path. It might be a little too low energy and actionless for some, but by the end, it feels like a wonderful drama about a group of people burdened by life who have managed to come together for something of a greater purpose, even if that purpose goes against social standards.
The wonderful Song Kang-ho, of critically hailed Parasite, is the consistently upbeat lead who connects unwanted babies to parents unable to have children for payment. When the mother of his latest acquired child returns, he, the woman, and his partner hit the road to find a good home for the child. In the mix are a couple of criminals, the cops trying to end their operation, and another orphaned boy wanting to join in the journey. The inclusion of cops and criminal elements gives the film some urgency, as it create a crime drama angle that adds energy to it. Despite this, it's still a slow moving affair mostly focused on the drama surrounding our four main characters, all of whom connect to abandonment in some way. It creates a variety of stories to tell and lends an ear to those who slip through the cracks of society, from women who give birth too young to those unwanted children who wait year after year for a new family.
It's supported by wonderful and, at times, powerful acting and a story that is easy to connect with. Again, this is a slow moving story that, at times, feels light on the dramatic side. But the emotion that comes with the story and where it all leads, with us able to realize how each of these individuals connects to it and their own stories or loss and heartache, is worthwhile. It's thought provoking, bringing out of the shadows people we so often don't even give a thought to. This film is here to remind us of those lost and buried by a society that all too often looks the other way.
The wonderful Song Kang-ho, of critically hailed Parasite, is the consistently upbeat lead who connects unwanted babies to parents unable to have children for payment. When the mother of his latest acquired child returns, he, the woman, and his partner hit the road to find a good home for the child. In the mix are a couple of criminals, the cops trying to end their operation, and another orphaned boy wanting to join in the journey. The inclusion of cops and criminal elements gives the film some urgency, as it create a crime drama angle that adds energy to it. Despite this, it's still a slow moving affair mostly focused on the drama surrounding our four main characters, all of whom connect to abandonment in some way. It creates a variety of stories to tell and lends an ear to those who slip through the cracks of society, from women who give birth too young to those unwanted children who wait year after year for a new family.
It's supported by wonderful and, at times, powerful acting and a story that is easy to connect with. Again, this is a slow moving story that, at times, feels light on the dramatic side. But the emotion that comes with the story and where it all leads, with us able to realize how each of these individuals connects to it and their own stories or loss and heartache, is worthwhile. It's thought provoking, bringing out of the shadows people we so often don't even give a thought to. This film is here to remind us of those lost and buried by a society that all too often looks the other way.
Plane
(2023)
Incredibly average in every single way
12 January 2023
Warning: Spoilers
Gerard Butler has had a bit of a tough go since 300 made him a household name. That movie remains his most iconic, with him seeming to flounder a bit around a whole bunch of action roles and some against type films that fared even worse. Here, we see him once again in action mode and it's sad to see that it's yet another disposable action flick in which he gets to play the hero in a subpar action film.
Save for the adrenaline pumping climactic action scene, everything here is just so dull an average. The story is as straight forward as it gets, essentially playing out in two parts, first with the plane crash on an island, and then with rebels taking the passengers hostage. It's all just enough to allow Butler to be the hero over and over again. Mike Colter shows up as a prisoner who assists Butler, but he mostly acts as a second gun, killing lots of bad guys. It's the kind of movie that, back in the 90's and early 00's, would have been DTV on a Blockbuster shelf somewhere, ignored by all but a handful of people in favor of a bigger, better blockbuster.
Fans of Butler, people bored with what's out, and anyone looking to waste time on a weekend might find some enjoyment out of this, but I suspect most will just find it almost completely forgettable. And with a handful of other great films still in theater, there are certainly better options.
Save for the adrenaline pumping climactic action scene, everything here is just so dull an average. The story is as straight forward as it gets, essentially playing out in two parts, first with the plane crash on an island, and then with rebels taking the passengers hostage. It's all just enough to allow Butler to be the hero over and over again. Mike Colter shows up as a prisoner who assists Butler, but he mostly acts as a second gun, killing lots of bad guys. It's the kind of movie that, back in the 90's and early 00's, would have been DTV on a Blockbuster shelf somewhere, ignored by all but a handful of people in favor of a bigger, better blockbuster.
Fans of Butler, people bored with what's out, and anyone looking to waste time on a weekend might find some enjoyment out of this, but I suspect most will just find it almost completely forgettable. And with a handful of other great films still in theater, there are certainly better options.
The Whale
(2022)
A Devestating, Emotionally Draining Film With Award Worthy Performances
26 December 2022
Warning: Spoilers
Going in, I knew two things: The Whale would probably make me shed some tears and that Brendan Fraser's performance was hailed as Oscar worthy. Both turned out to be true. This is a devastating movie that turns even the simplest of tasks into heart break. It's easy to call this emotionally manipulative and I could understand the feeling.
The film is almost entirely focused on Charlie, a man so obese he can't stand without the support of a walker, his breathing is labored, and he can't even laugh without nearly having a heart attack. We are seeing a man very clearly at the end of his life who has eaten himself to death. As we learn more about him and supporting characters, it's easy to see how this happened to him as it has so many others who have become negligibly obese. He has tragedy in his past, has made mistakes that haunt him, and it's clear that he probably doesn't even really want to live anymore. What makes it more devastating is that he's a genuinely good guy who sees a lot of good in the world and loves people.
The almost suffocating tragedy of the film makes it come across as something so dour, so purposefully written with overwhelming sadness that you can't help but feel that it's meant to pull at the heartstrings and tears of it's audience. But it's also very reflective and considerate. Fraser's Charlie is not unrealistic or a caricature. He feels genuinely human and it's easy to relate to him. This is primarily due to the fact that he's not crafted as a monster or a depressive. He's portrayed as someone who laughs, smiles, takes joy in aspects of life, who regrets, but most of all, loves. It's clear that it is love that put him on the road that is killing him and it is love that ultimately keeps him on this road, despite pleas to go to the hospital and save himself from his one friend, his caretaker played in what is almost as good a job as Fraser by Hong Chau. She has my vote for a best supporting actress nom.
The film takes place entirely in one location and Aronofsky makes the most of it, whether it's the dramatic scenes wonderfully acted or the focus on things with deeper meaning to the Charlie. Even the lighting has wonderfully dramatic variation, from moody darkness to bright, hopeful light. This singular location requires much of it's audience, a tolerance for the kind of pain we see on screen. As mentioned, everything that might typically be taken for granted, that we might not notice, gets a spotlight here. Whether it's watching Charlie gut wrenchingly continue to devour what is killing him, like two large pizzas and a bucket of fried chicken, or watching him struggle to get into bed, it all feels like an invisible timer ticking down. It feels like every aspect of the location, every movement within, every sound, is done with purpose.
Supporting performances beyond Chau, though limited, are also fantastic, namely Sadie Sink as Charlie's daughter. Her cruelty and anger are played up here, and it's easy to dismiss her as almost villainous, but she's also relatable. She no doubt does and says things that might anger us, but it's also easy to recognize where it comes from and what's driven her to become this person, and to also see who she really is underneath. Sadie, coming fresh off her head turning performance in season 4 of Stranger Things, once again shows just how powerful of an actress she can be and how, if given the chance, she will become a star in her own right. She manages to balance out the emotional range of her character, making it look easy and if her character doesn't break your heart as much as watching Charlie has, I don't know that you can consider yourself human.
The Whale may be a movie that is too tough for people to get through. It's rarely ever joyful and moments of levity, if the exist, are brief. This is a story about a man who has missed a chance to pull back from the cliff he's brought himself too and we're on a journey of, essentially, watching him try to fulfill his final desires for those few people in his life that he loves. He's clearly a good man people want to save, but who we all realize that it would take a miracle to bring him back. I certainly cried a few times and never once felt manipulated to do so. If anything, this is a movie worth seeing for what is arguably Brendan Fraser's best performance ever.
The film is almost entirely focused on Charlie, a man so obese he can't stand without the support of a walker, his breathing is labored, and he can't even laugh without nearly having a heart attack. We are seeing a man very clearly at the end of his life who has eaten himself to death. As we learn more about him and supporting characters, it's easy to see how this happened to him as it has so many others who have become negligibly obese. He has tragedy in his past, has made mistakes that haunt him, and it's clear that he probably doesn't even really want to live anymore. What makes it more devastating is that he's a genuinely good guy who sees a lot of good in the world and loves people.
The almost suffocating tragedy of the film makes it come across as something so dour, so purposefully written with overwhelming sadness that you can't help but feel that it's meant to pull at the heartstrings and tears of it's audience. But it's also very reflective and considerate. Fraser's Charlie is not unrealistic or a caricature. He feels genuinely human and it's easy to relate to him. This is primarily due to the fact that he's not crafted as a monster or a depressive. He's portrayed as someone who laughs, smiles, takes joy in aspects of life, who regrets, but most of all, loves. It's clear that it is love that put him on the road that is killing him and it is love that ultimately keeps him on this road, despite pleas to go to the hospital and save himself from his one friend, his caretaker played in what is almost as good a job as Fraser by Hong Chau. She has my vote for a best supporting actress nom.
The film takes place entirely in one location and Aronofsky makes the most of it, whether it's the dramatic scenes wonderfully acted or the focus on things with deeper meaning to the Charlie. Even the lighting has wonderfully dramatic variation, from moody darkness to bright, hopeful light. This singular location requires much of it's audience, a tolerance for the kind of pain we see on screen. As mentioned, everything that might typically be taken for granted, that we might not notice, gets a spotlight here. Whether it's watching Charlie gut wrenchingly continue to devour what is killing him, like two large pizzas and a bucket of fried chicken, or watching him struggle to get into bed, it all feels like an invisible timer ticking down. It feels like every aspect of the location, every movement within, every sound, is done with purpose.
Supporting performances beyond Chau, though limited, are also fantastic, namely Sadie Sink as Charlie's daughter. Her cruelty and anger are played up here, and it's easy to dismiss her as almost villainous, but she's also relatable. She no doubt does and says things that might anger us, but it's also easy to recognize where it comes from and what's driven her to become this person, and to also see who she really is underneath. Sadie, coming fresh off her head turning performance in season 4 of Stranger Things, once again shows just how powerful of an actress she can be and how, if given the chance, she will become a star in her own right. She manages to balance out the emotional range of her character, making it look easy and if her character doesn't break your heart as much as watching Charlie has, I don't know that you can consider yourself human.
The Whale may be a movie that is too tough for people to get through. It's rarely ever joyful and moments of levity, if the exist, are brief. This is a story about a man who has missed a chance to pull back from the cliff he's brought himself too and we're on a journey of, essentially, watching him try to fulfill his final desires for those few people in his life that he loves. He's clearly a good man people want to save, but who we all realize that it would take a miracle to bring him back. I certainly cried a few times and never once felt manipulated to do so. If anything, this is a movie worth seeing for what is arguably Brendan Fraser's best performance ever.
Avatar: The Way of Water
(2022)
Beautiful, but lacking sequel demonstrates Cameron for another subpar movie
15 December 2022
Warning: Spoilers
For all that the original Avatar was hailed as a technological wonder, it was also lacking in many ways. It's characters were mostly uninteresting, it's story was criminally basic, and it had so many conveniences in it's plot, you could almost call them holes. But it still went on to make billions of dollars and become the highest grossing film of all time, a record that hasn't been beaten since it arrived in 2009. So, even 14 years later, with all the time to craft something much, much better, Cameron has rested on his laurels, let the money do the talking, and demonstrated that he's fine with, once again, delivering a film basic in plot, basic in character, emotionally weightless, incredibly good looking movie. There are some thrills to be had, but Cameron delivers a mostly mid-tier sci-fi flick with a very glossy sheen of paint.
We're back in Pandora, Jake Sully is fully Na'vi with wife Neytiri and four children, including an adoptee born of Sigourney Weavers character from the previous film. It's been a decade since humanity packed up and left Pandora, but the film doesn't waste much time settling into familiar territory. Humans return to Pandora, with first film villain Quaritch in tow. "But I thought he died in the first film?" I hear you ask. Fear not, the film has managed to come up with a plot convenience to bring back the only entertaining character from the first movie to once again be the primary villain. Before long, Quaritch is after Sully, Sully and family flee home for a chain of islands settled by a sea tribe, lots of pretty water and creatures put on a show, and we get yet another bombastic action finale.
I won't really bother to try and convince you that the film isn't the cinematic event of the century. If you thought the first film was the best thing ever, you'll likely enjoy this one quite the same. If you weren't taken in by the first, you'll find this as rote and played out as that was. This is a better film though. Far less conveniences and inane plot points are used and it at least makes an attempt at a bigger emotional connection, even if it falls mostly flat due to half hearted, cliched character development. Brave, older brother? Check. Black sheep? Check. Special child like no one else? Check. Youngest and cutest who constantly needs protection? Check. Even the most original addition, a young human boy named Spider, is mostly relegated to a nuisance the writers couldn't quite figure out what to do with. Neytiri is wasted here with little to do but bounce between caricature roles that shine a light mostly on Sully. Oh, and what about this lead? Once again, Sam Worthington demonstrates that there could have been better choices of lead. Where we should see an emotionally charged role in that of a father trying to protect his family, we instead get a range that barely registers as emotional. Even Stephen Lang feels like he has less to chew on, now as a Na'vi that makes him far less entertaining, even if he does have a more interesting part.
The film does look beautiful though, possibly some of the best effects I've ever seen put to film. Pandora is even more of a visual splendor under water, with incredibly detail to it's ecosystem. If Cameron didn't spend so much time trying to bewilder and make our eyes pop out of our skull with it, I'd say it's worth the price of admission, but by the time we got to the sixth scene of Na'vi swimming around and gazing in wonder at it, I was starting to find myself over it. A lot of the time that could be spent developing the family dynamic beyond mentions and Sully yelling at his kids, is instead devoted to Cameron's pretty graphics. One moment in particular was devastatingly unemotional and, although I kept expecting something more from our lead, it never came, muting the emotion that should be there. But the film certainly delivers on it's technological promises, something that once again shows in the action packed climax. This, I'd say, is very likely worth the price of admission. If there's one thing it can never be argued, it's that Cameron knows how to do action. He's arguably still one of the best at delivering it on screen and Way of Water shows he's still a master. This is every bit as good as the first film.
If I had to put a summary to it, I'd say Way of Water is worth at least seeing once in theater for the spectacle. It feels more like a combination of one of Cameron's sea documentaries slapped together with an in-theater ride, with the film part tacked on. I have no doubt most people will enjoy this, and many will even site it as one of the years best, a monumental achievement of film. For me, it simply wasn't enough. Not enough character development, not enough of a story, not enough originality. Simply not enough of what generally makes a top tier film top tier. I'd quite honestly rather see Cameron return to the franchises that put him on the map than see him continue to undercook this franchise he has so painstakingly put his time into developing the tech for. My only hope is that, since he is adamant about continuing to churn these out, he puts more effort into giving us characters and a story that don't feel redundant and feel like they actually matter.
We're back in Pandora, Jake Sully is fully Na'vi with wife Neytiri and four children, including an adoptee born of Sigourney Weavers character from the previous film. It's been a decade since humanity packed up and left Pandora, but the film doesn't waste much time settling into familiar territory. Humans return to Pandora, with first film villain Quaritch in tow. "But I thought he died in the first film?" I hear you ask. Fear not, the film has managed to come up with a plot convenience to bring back the only entertaining character from the first movie to once again be the primary villain. Before long, Quaritch is after Sully, Sully and family flee home for a chain of islands settled by a sea tribe, lots of pretty water and creatures put on a show, and we get yet another bombastic action finale.
I won't really bother to try and convince you that the film isn't the cinematic event of the century. If you thought the first film was the best thing ever, you'll likely enjoy this one quite the same. If you weren't taken in by the first, you'll find this as rote and played out as that was. This is a better film though. Far less conveniences and inane plot points are used and it at least makes an attempt at a bigger emotional connection, even if it falls mostly flat due to half hearted, cliched character development. Brave, older brother? Check. Black sheep? Check. Special child like no one else? Check. Youngest and cutest who constantly needs protection? Check. Even the most original addition, a young human boy named Spider, is mostly relegated to a nuisance the writers couldn't quite figure out what to do with. Neytiri is wasted here with little to do but bounce between caricature roles that shine a light mostly on Sully. Oh, and what about this lead? Once again, Sam Worthington demonstrates that there could have been better choices of lead. Where we should see an emotionally charged role in that of a father trying to protect his family, we instead get a range that barely registers as emotional. Even Stephen Lang feels like he has less to chew on, now as a Na'vi that makes him far less entertaining, even if he does have a more interesting part.
The film does look beautiful though, possibly some of the best effects I've ever seen put to film. Pandora is even more of a visual splendor under water, with incredibly detail to it's ecosystem. If Cameron didn't spend so much time trying to bewilder and make our eyes pop out of our skull with it, I'd say it's worth the price of admission, but by the time we got to the sixth scene of Na'vi swimming around and gazing in wonder at it, I was starting to find myself over it. A lot of the time that could be spent developing the family dynamic beyond mentions and Sully yelling at his kids, is instead devoted to Cameron's pretty graphics. One moment in particular was devastatingly unemotional and, although I kept expecting something more from our lead, it never came, muting the emotion that should be there. But the film certainly delivers on it's technological promises, something that once again shows in the action packed climax. This, I'd say, is very likely worth the price of admission. If there's one thing it can never be argued, it's that Cameron knows how to do action. He's arguably still one of the best at delivering it on screen and Way of Water shows he's still a master. This is every bit as good as the first film.
If I had to put a summary to it, I'd say Way of Water is worth at least seeing once in theater for the spectacle. It feels more like a combination of one of Cameron's sea documentaries slapped together with an in-theater ride, with the film part tacked on. I have no doubt most people will enjoy this, and many will even site it as one of the years best, a monumental achievement of film. For me, it simply wasn't enough. Not enough character development, not enough of a story, not enough originality. Simply not enough of what generally makes a top tier film top tier. I'd quite honestly rather see Cameron return to the franchises that put him on the map than see him continue to undercook this franchise he has so painstakingly put his time into developing the tech for. My only hope is that, since he is adamant about continuing to churn these out, he puts more effort into giving us characters and a story that don't feel redundant and feel like they actually matter.
Bodies Bodies Bodies
(2022)
A Lot Less Clever Than It Thinks It Is
17 August 2022
Warning: Spoilers
Part of me wants to rate this well for how good it is at touching on a lot of what Gen Z is today. A lot of me wants to give this a thumbs down for how completely unlikable the characters are, how overplayed the point is, and how predictable and dumb the whole movie ends up being.
I give it points for it's grounded approach. It advertises itself as a slasher, but it really ends up mostly being a deconstruction of these characters. Nothing over the top or typically slasher. Unfortunately, everyone here is a cliche. Mousy, quiet girl in the back. Recovering drug addict, the promiscuous one, the artist, the smart and serious one, the unapologetically obnoxious one. It's Gen Z paint by numbers. For their worth, the actors do a good job. They really channel the 'everything is a crises' vibe well. Unfortunately, in doing so, they're all pretty annoying. Even the most likable character ends up being disappointing.
The singular location is put to good use, but the movie goes through the rolodex of cliches to keep everyone there. Big storm, no working phones, power's gone. I can't tell if this part was In tribute to the genre or just lazy writing. And if you're expecting this to fulfill a slasher checklist, you can pull kills off the list. Like I said, this is grounded. Just about everything is tame and/or a post-kill discovery. Anyone going in for slasher thrills will be pretty disappointed.
Deciding whether you want to watch this movie or not essentially comes down to one question: how much do you really want to hang out with a bunch of partying gen z cliches?
I give it points for it's grounded approach. It advertises itself as a slasher, but it really ends up mostly being a deconstruction of these characters. Nothing over the top or typically slasher. Unfortunately, everyone here is a cliche. Mousy, quiet girl in the back. Recovering drug addict, the promiscuous one, the artist, the smart and serious one, the unapologetically obnoxious one. It's Gen Z paint by numbers. For their worth, the actors do a good job. They really channel the 'everything is a crises' vibe well. Unfortunately, in doing so, they're all pretty annoying. Even the most likable character ends up being disappointing.
The singular location is put to good use, but the movie goes through the rolodex of cliches to keep everyone there. Big storm, no working phones, power's gone. I can't tell if this part was In tribute to the genre or just lazy writing. And if you're expecting this to fulfill a slasher checklist, you can pull kills off the list. Like I said, this is grounded. Just about everything is tame and/or a post-kill discovery. Anyone going in for slasher thrills will be pretty disappointed.
Deciding whether you want to watch this movie or not essentially comes down to one question: how much do you really want to hang out with a bunch of partying gen z cliches?
Nope
(2022)
Another Excellent, Original, Fresh Film From New Auteur Jordan Peele
21 July 2022
Warning: Spoilers
Peele once again proves that he is out to defy expectations and tell stories in a way we haven't seen them. Having already covered methodical, psychological horror and slasher/invasion style, Peele turns his attention towards the sky and our fascination with UFO's and aliens. You may have had some expectations based on the trailer, but put those aside. This is a Peele movie. You know it's not going to be what it seems. Every indication of this is demonstrated from the very opening when we get a bit of a non-sequitur involving some brutal animal horror. Don't worry, it's all related.
After slowly ramping things up and giving us some scenes of dread and creating an inquisitive atmosphere, things kick into gear and the film doesn't let up until the very end. It has all the hallmarks of classic UFO pictures, but turns those on their heads by mixing genres. We get a little bit of western here, while also throwing in some creature feature bits. Everything mixes well to create something that feels fresh and new. The leads are all fantastic, with Keke Palmer and Daniel Kaluuya each bringing a different kind of energy that bounce well off each other. Surrounded by an excellent cast, there's as much fun and humor to be had as there is tension. This is also easily the most fun and most watchable film there is, with the themes baked into the action and excitement. The last 30-40 minutes are some of the most exciting of any film in recent months and should keep you on the edge of your seat for the duration.
If Nope proves anything, it's that Peele's ambition and storytelling are becoming ever grander. The scope here dwarfs previous efforts. From this, who knows, me may very well see something grand and blockbuster-ish from Peel in a few years.
After slowly ramping things up and giving us some scenes of dread and creating an inquisitive atmosphere, things kick into gear and the film doesn't let up until the very end. It has all the hallmarks of classic UFO pictures, but turns those on their heads by mixing genres. We get a little bit of western here, while also throwing in some creature feature bits. Everything mixes well to create something that feels fresh and new. The leads are all fantastic, with Keke Palmer and Daniel Kaluuya each bringing a different kind of energy that bounce well off each other. Surrounded by an excellent cast, there's as much fun and humor to be had as there is tension. This is also easily the most fun and most watchable film there is, with the themes baked into the action and excitement. The last 30-40 minutes are some of the most exciting of any film in recent months and should keep you on the edge of your seat for the duration.
If Nope proves anything, it's that Peele's ambition and storytelling are becoming ever grander. The scope here dwarfs previous efforts. From this, who knows, me may very well see something grand and blockbuster-ish from Peel in a few years.
Ms. Marvel
(2022)
Marvel Origin Story With A Cultural Flair
6 July 2022
I have enjoyed the series from the get go. I enjoy teenage drama stuff and this stacks up with Spider-Man, featuring a kid who actually seems like a kid. But the series has become more fascinating as it's gone on. The cultural aspect of it, something that Marvel has only touched on in a few projects up to this point, is really interesting. Marvel uses the backdrop of actual history and culture to support it's story. I find it all very interesting. This is coupled with excellent effects and uses of Kamala's power.
While all of this is excellent, there's also a number of things that fall victim to typical Marvel cliches. The villains aren't very interesting and rank as some of the most dull we've seen. Several story elements feel very MCU paint by numbers. They feel like an after thought and the way the core elements are laid out in expository form by a throw away character come across as hackneyed and lazy. These are the kind of development issues the MCU has struggled with in several other projects and it's clear that they are simply trying to get them out of the way to tell a story about something with more emotional impact.
Luckily, while there are some lazy elements here, the strengths outweigh these. Iman Vellani has infectious energy and watching her is a joy. It's all reminiscent of Peter Parker's origin and I have absolutely no complaints about that. The show also has a wonderful use of imagination in several instances, with unique choices of cinematography, blending of illustrations meant to represent Kamala's imagination, and a wonderful use of color that feels all too often missing from MCU project.
Your like for this series will depend on how much interest you have in the culture this story is told through, how much you enjoy coming of age stories, and what exactly you look for in a Marvel show. This has some action, but more often than not, this is a story about a girl and her identity, trying to connect with her culture, and make the connection between her newfound power, it's legacy, and where she stands in it all.
While all of this is excellent, there's also a number of things that fall victim to typical Marvel cliches. The villains aren't very interesting and rank as some of the most dull we've seen. Several story elements feel very MCU paint by numbers. They feel like an after thought and the way the core elements are laid out in expository form by a throw away character come across as hackneyed and lazy. These are the kind of development issues the MCU has struggled with in several other projects and it's clear that they are simply trying to get them out of the way to tell a story about something with more emotional impact.
Luckily, while there are some lazy elements here, the strengths outweigh these. Iman Vellani has infectious energy and watching her is a joy. It's all reminiscent of Peter Parker's origin and I have absolutely no complaints about that. The show also has a wonderful use of imagination in several instances, with unique choices of cinematography, blending of illustrations meant to represent Kamala's imagination, and a wonderful use of color that feels all too often missing from MCU project.
Your like for this series will depend on how much interest you have in the culture this story is told through, how much you enjoy coming of age stories, and what exactly you look for in a Marvel show. This has some action, but more often than not, this is a story about a girl and her identity, trying to connect with her culture, and make the connection between her newfound power, it's legacy, and where she stands in it all.
Interceptor
(2022)
A Cheesy, Hilarious Riff of 80's/90's Era Action Films
6 June 2022
Warning: Spoilers
Someone is a fan of the Segal films of yesteryear because this fits right in with all those action packed, one liner vomiting movies we're used to seeing from Van Damme, Arnold, Segal, etc. Elsa Pataky is game as the typical action hero, giving us cheesy lines and kicking ass. The movie attempts to play into more modern sensibilities, with her character having suffered sexual assault by a high ranking officer, but it feels like a forced attempt at making #MeToo apart of the film. Opposite her is the disgruntled. Alexander Kessel, a dull villainous traitor who checks off the "I Hate What America Has Become" boxes, only trying to flip the script by making him come off as having more liberal sensibilities (he hates all the racism, misogyny, etc.), but he ends up coming off fairly whiny and annoying. Gary Busey's Commander Krill he is not.
There's a handful of side characters, but they're pretty much cliches, including the military slime ball, the family man, the tough woman bad guy, etc. The action is decent but nothing special. Pataky does make a case for being a decent action hero with the right material, but even she's better than this material. Heck, her Fast and Furious appearances gave her better material to work with. The film wouldn't be so bad if it weren't for all the pontificating by it's lead villain and all the time spent on cheesy dialogue. This also feels way past the time it emulates. In the 90's, this might have been a movie people could get excited about, but in 2022, this is a cheeseball fest not worth the hour forty of it's run time.
There's a handful of side characters, but they're pretty much cliches, including the military slime ball, the family man, the tough woman bad guy, etc. The action is decent but nothing special. Pataky does make a case for being a decent action hero with the right material, but even she's better than this material. Heck, her Fast and Furious appearances gave her better material to work with. The film wouldn't be so bad if it weren't for all the pontificating by it's lead villain and all the time spent on cheesy dialogue. This also feels way past the time it emulates. In the 90's, this might have been a movie people could get excited about, but in 2022, this is a cheeseball fest not worth the hour forty of it's run time.
Top Gun: Maverick
(2022)
An Epic Blockbuster Even Better Than The Original
24 May 2022
Warning: Spoilers
Top Gun has been an 80's staple since it first released and remains a classic action film to this day. Even so, it's hard to believe they would come back to it over 30 years later. When it was first announced that this would be happening, bringing back a now nearly 60 year old Tom Cruise as character Maverick, I was highly skeptical. Shouldn't Maverick be retired by now? The trailers for the film didn't do much to sway my opinion. Then the positive reviews came in and I was still skeptical.
Having seen the film, I was completely wrong. This is easily one of the years most entertaining films yet. With the completely dependable Tom Cruise not missing a beat, easily stepping back into the shoes of Maverick, and high flying, practical action that will...ahem...take your breath away, this 36-years-later sequel surprised the hell out of me.
The film's overall structure is pretty similar to the original film, with lots of training at Top Gun followed by a tough mission. We meet the near dozen characters whose top tier pilots will be taking on the mission. The biggest difference here, put out early on in the film, are that the stakes are immediately raised. This is no longer just following the pilots as they train, leading into a military career. The nearly impossible mission these pilots are to be sent on is laid on the table right away. We know what's to come. There's also an emotional elements established outright, with Maverick still filled with guilt over the loss of his friend and ROI from the first film, Goose. This is compounded by Maverick having a soured relationship with Goose's son, Rooster, played by Miles Teller. We also get some familiar character types here, the most notable being Hangman, who is the pilot that most comes across as how Maverick was in the first film.
The film's emotional and more visceral stakes are well established and keep the film feeling like more than just another retread of the original film, but even if you don't feel a strong connection to those aspects, you'll likely still find yourself entertained. There's no shortage of action here and it's all superb. Cruise wanted this done with practical effects and it really translates into an adrenaline pumping, well shot, exciting time. The aerial action is outstanding, shot well and trumping anything we saw in the original film. It all leads up to what is arguably one of the most exciting aviation scenes ever produced for screen.
As someone who doesn't necessarily call myself a huge fan of the original film, I wasn't expecting this to be something I would like as much as I did. I figured the film would lean hard into the nostalgia and give us a little bit of action, but I should have trusted Tom more. His high standards show here and director Joseph Kosinski, who's body of work (including previous Tom Cruise collaboration Oblivion) would never suggest he would deliver something of this caliber, has certainly left a mark demonstrating his action filmmaking capability. This is a movie likely to go down as THE blockbuster of the summer, even amidst major releases like Jurassic World: Dominion, Thor, and Bullet Train. Film goers looking for an exciting, action packed good time in the theater need look no further.
Having seen the film, I was completely wrong. This is easily one of the years most entertaining films yet. With the completely dependable Tom Cruise not missing a beat, easily stepping back into the shoes of Maverick, and high flying, practical action that will...ahem...take your breath away, this 36-years-later sequel surprised the hell out of me.
The film's overall structure is pretty similar to the original film, with lots of training at Top Gun followed by a tough mission. We meet the near dozen characters whose top tier pilots will be taking on the mission. The biggest difference here, put out early on in the film, are that the stakes are immediately raised. This is no longer just following the pilots as they train, leading into a military career. The nearly impossible mission these pilots are to be sent on is laid on the table right away. We know what's to come. There's also an emotional elements established outright, with Maverick still filled with guilt over the loss of his friend and ROI from the first film, Goose. This is compounded by Maverick having a soured relationship with Goose's son, Rooster, played by Miles Teller. We also get some familiar character types here, the most notable being Hangman, who is the pilot that most comes across as how Maverick was in the first film.
The film's emotional and more visceral stakes are well established and keep the film feeling like more than just another retread of the original film, but even if you don't feel a strong connection to those aspects, you'll likely still find yourself entertained. There's no shortage of action here and it's all superb. Cruise wanted this done with practical effects and it really translates into an adrenaline pumping, well shot, exciting time. The aerial action is outstanding, shot well and trumping anything we saw in the original film. It all leads up to what is arguably one of the most exciting aviation scenes ever produced for screen.
As someone who doesn't necessarily call myself a huge fan of the original film, I wasn't expecting this to be something I would like as much as I did. I figured the film would lean hard into the nostalgia and give us a little bit of action, but I should have trusted Tom more. His high standards show here and director Joseph Kosinski, who's body of work (including previous Tom Cruise collaboration Oblivion) would never suggest he would deliver something of this caliber, has certainly left a mark demonstrating his action filmmaking capability. This is a movie likely to go down as THE blockbuster of the summer, even amidst major releases like Jurassic World: Dominion, Thor, and Bullet Train. Film goers looking for an exciting, action packed good time in the theater need look no further.
X
(II) (2022)
A Fun, Classically Styled Slasher
18 March 2022
Paying homage to the slashers of yesteryear is nothing new, but Ti West's new movie X makes it feel fresh. He does this by primarily bringing attention to the sex parts of the genre and exploring what sex means. This is, after all, in part about a crew of people attempting to make a porno. But the sex angle goes beyond just cheap titillation. It is at the heart of the film, and West seems to be most interested in what the experience means, whether it's for love, a way to recapture youth, or getting the most out of life while one is still capable of experiencing the act.
Beyond all this, though, is a fun, classically styled slasher that is equal parts titillation and slasher mayhem. Some may find the amount of nudity and sex, and heck the subject matter itself, distasteful, but for slasher fans, this will remind you of much of the early years of the genre. A lot has been made about how this is so heavily inspired by Texas Chainsaw Massacre and it's easy to see why. The majority of the film revolves around the singular location, an old farm seemingly in the middle of nowhere, Texas, ripe for plenty of slasher fun. Ti doesn't skimp on the red stuff either. While nothing gets too outlandishly creative, we do get some brutal kills with often gory results.
It helps that characters are written well and likable. Despite the sleazy material they're attempting to create, they don't feel shallow or sleazy themselves. They believe in their work and the reasons for making it. While it may have been nice to get a little more depth out of them, they clearly have history and there are things hinted at that never get much development, they're at least a decent crowd of folks who are fun to be around. As for the villains, they're not quite as out there or mysterious as the trailer would lead you to believe. In fact, they're pretty grounded, but never the less creepy and tension is maintained consistently once the violence starts.
If you know what the film's about, you have a pretty good idea of what to expect. It does take some unusual turns, but for me that only added to just how much the film stood on it's own. It certainly feels like a fresh entry into the slasher genre, something the genre needs. Ti West continues to make a name for himself as someone to watch out for. Have fun with this sexy, bloody good time.
Beyond all this, though, is a fun, classically styled slasher that is equal parts titillation and slasher mayhem. Some may find the amount of nudity and sex, and heck the subject matter itself, distasteful, but for slasher fans, this will remind you of much of the early years of the genre. A lot has been made about how this is so heavily inspired by Texas Chainsaw Massacre and it's easy to see why. The majority of the film revolves around the singular location, an old farm seemingly in the middle of nowhere, Texas, ripe for plenty of slasher fun. Ti doesn't skimp on the red stuff either. While nothing gets too outlandishly creative, we do get some brutal kills with often gory results.
It helps that characters are written well and likable. Despite the sleazy material they're attempting to create, they don't feel shallow or sleazy themselves. They believe in their work and the reasons for making it. While it may have been nice to get a little more depth out of them, they clearly have history and there are things hinted at that never get much development, they're at least a decent crowd of folks who are fun to be around. As for the villains, they're not quite as out there or mysterious as the trailer would lead you to believe. In fact, they're pretty grounded, but never the less creepy and tension is maintained consistently once the violence starts.
If you know what the film's about, you have a pretty good idea of what to expect. It does take some unusual turns, but for me that only added to just how much the film stood on it's own. It certainly feels like a fresh entry into the slasher genre, something the genre needs. Ti West continues to make a name for himself as someone to watch out for. Have fun with this sexy, bloody good time.
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