Change Your Image
kikoydaba3
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againReviews
La La Land (2016)
A masterpiece in technical qualities, breaking new ground with its tragic story while simultaneously being a love letter to years past musicals
A masterpiece in editing, cinematography, sound design, composition, and production design La La Land is a timeless showcase from director Damien Chazelle at his best, breaking new ground with its tragic story while simultaneously being a love letter to years past musicals led by Emma Stone and Ryan Gosling.
The technical qualities of La La Land are superlative. Damien Chazelle expertly crafts the choreography with the editing and sound design. The song and dance numbers throughout the film, especially during the opening at the road interchange, are flawlessly directed. Employing long continuous shots do not distract from the singing and dance sequences. In terms of cinematography, shooting the movie on film rather than digital, and using the widescreen CinemaScope aspect ratio gives La La Land a classical look. Low-light photography in select scenes reflects each character's emotional state. The cinematography is contrasted by brightly lit scenes which further reflects the ambitious and high-minded themes of the movie. Every technical quality fits and transitions so perfectly and fluidly that it heightens the audience's connection to the characters. La La Land is such a beautiful looking movie, deserving of every technical award it receives, best experienced personally.
Emma Stone and Ryan Gosling are once again dynamite and electric as an on-screen couple from their previous roles in Crazy, Stupid, Love and Gangster Squad. Built on the back of their performances, La La Land could never succeed as a romance film without the two protagonist's chemistry. Instead of looking like speaking rehearsed lines, Stone and Gosling convey a sense of genuine love and likability as their characters undergo development.
Stone plays Mia Dolan, a barista aspiring to be an actress. Gosling plays Sebastian Wilder, a pianist with a passion for jazz. Their life and ambitions are intertwined in Los Angeles. Mia continues to audition for roles, without success. Sebastian somehow achieves stardom and financial stability when his former classmate Keith, played by John Legend, offered him to be the pianist of his jazz fusion band. The part requires him to be on tour for months or years, away from Mia. His commitment leads to a fight against Mia when she protested his acceptance of the role, which is against his musical philosophy. Earlier suffering an embarrassing performance due to low attendance, leading to the inability to pay back the theater, and Sebastian's absence, Mia breaks up with him, moving back to Boulder City to continue her studies and abandon acting altogether. Receiving a call for an audition, Sebastian travels to Boulder City to inform Mia who returns to Los Angeles. After the audition, both confess their love, but uncertain of the future. In the boldest move of the movie, 5 years are skipped. Mia is a successful actress and married to another actor, while Sebastian now owns a jazz club. Going out for a dinner with her husband, Mia inadvertently stumbles to Sebastian's jazz club, aptly named Seb, her original idea during their love life. Noticing Mia among the audience, Sebastian plays their song and a dream sequence occurs of what might have been. Before exiting the club, Sebastian and Mia share a smile as the movie ends.
La La Land speaks to everyone's burning desire for glory. However, do we achieve our dreams by ending our relationships with loved ones? Do we sacrifice people with whom we have an emotional attachment to achieve our ambitions? On the surface, the movie ended with both protagonists parting ways but closer inspection reveals that despite ultimately leading diverging lives, Mia and Sebastian retain their love and that it was anchored not by physical attraction but by mutual respect and the desire to see each other succeed. The overarching theme of La La Land, then, is not about the common physical attraction, but ideals of dreams and ambitions. Driven by a character-heavy emphasis, the movie allows the themes to resonate emotionally by the time the credits roll. Damien Chazelle delivers a musical masterpiece with modern sensibilities.
10/10
Suicide Squad (2016)
great cast and surprisingly fun, but generic and formulaic at best... ruined by studio meddling
Suicide Squad is a solid and enjoyable movie about superhero villains lead by a terrific cast, but whose overall story, incoherent theme, and mired production prevents it from becoming more than a typical summer blockbuster.
The movie's main strength is derived from its great cast chemistry. Viola Davis, Margot Robbie, and Will Smith as Amanda Waller, Harley Quinn, and Deadshot, respectively, are terrific, playing off one another perfectly. The strong cast makes the movie enjoyable.
In terms of writing, the movie shows the motivations of the characters to follow orders imposed by Amanda Waller, leader of the team. The audience is shown enough background and character origin to sympathize, but their motivations are not explored or challenged in a meaningful and resonant way. The story amounts to little because it lacks a coherent overarching theme that unites the characters. Harley Quinn has her romance subplot with joker, played by Jared Leto, where he rescues her from prison. Deadshot is a for-hire-assassin whose work conflicts with his daughter's relationship. Other supporting characters such as Colonel Rick Flag, Captain Boomerang, El Diablo, Killer Croc, Enchantress, and Katana are given proper motivations but they fall within the same assessment of failing to explore or challenge them. Colonel Rick Flag, in particular, has a good subplot that revolves around her lover Doctor June Moone who is simultaneously the villain of the film, Enchantress. Aside from having an incoherent theme, Enchantress is a weak villain, not physically, but motivationally and who is rather formulaic. The movie could have been stronger if Joker was the main villain. Joker is instead a bad parody with his awful tattoos, "damaged", punk, and gangster personality.
David Ayer's direction continues the Snyder influence on the DCEU, mixed with comedy and elements of Marvel's Guardian of the Galaxy. The editing is alright when it switches from present to past through recollection of character origins. The soundtrack is quite trippy and is one of the better parts of the movie.
Suicide squad had great potential which was squandered by studio interference. The sort-of sequel, to be directed by James Gunn, hopefully, is an improvement by giving the director more free-rein and creative leeway.
5/10
Knives Out (2019)
a whodunit for our times
Stellar performances from an ensemble cast with insane on-screen chemistry, great direction, and a whodunit for our times, Rian Johnson's Knives Out is one of 2019's best with some wholly relevant story about family and politics.
Boasting a talented cast, it goes without saying Knives Out wouldn't be a spectacular triumph if not for the three leads of Daniel Craig, Chris Evans, and Ana de Armas. Evans, playing Hugh "Ransom" Drysdale, is a ridiculous mixture of unlikable and smoothness. Craig, playing Benoit Blanc, is hilarious as a detective with a thick southern accent. Armas, playing Marta Cabrera, grounds the film through her warmhearted portrayal of Marta's honest, firm, and ultimately good character. The rest of the cast do not disappoint and give dynamite performances of the fewer screen time they receive which includes Christopher Plummer, and Jamie Lee Curtis, to name a few.
Central to Knives Out is the death of the family's patriarch, Harlan Thrombey, but the film is truly about a dysfunctional family and a satire about wealth and inheritance. Though Knives Out seemingly reveals Harlan's killer even before the finale, the writing uses the early reveal as a springboard for exploring the family dynamics between the Thrombeys and Marta, showing how each of the Thrombeys are inherently selfish despite their good front. When the will reading shockingly reveals that Harlan left his entire possessions to Marta, the Thrombeys immediately turn on her, except Ransom, and their true attitude is revealed by calling her names and making unfounded accusations of unduly influencing Harlan's will. This is exemplified by previous dialogues hinting that Marta is a mere afterthought to the family such as when individual Thrombeys claim they wanted her to be present at the funeral but were outvoted and not knowing her true country of origin. Through the whirlwind of losing not only an employer but a close friend and family by choice, Marta grows from a demure and devoted nurse to the strong and caring heir of Harlan's possessions.
Knives Out isn't the traditional whodunit were the identity of the murderer is clear only in the end. Multiple faints, clues, and surprises makes Knives Out unique in the genre by seemingly throwing out the central mystery, when in actuality each scene is made for characters to grow. The journey, and the not the end, is basically the film's overarching thought. The complexity of the script requires repeat viewings because the hefty themes and minute character is buried underneath the murder mystery. When the ending reveals that Harlan caused his own death, though instigated by Ransom, that moment gives better clarity to the family dynamics explored by the film. People feel entitled to inheritance and will do anything to claim them.
Rian Johnson is at home in Knives Out. Everything about the direction is firing on all cylinders. The film shifts from recollection to plot progression seamlessly. Not a second is wasted or feel dragging. Setting the film in a mansion evoking old money adds visual representation to the themes. The cinematography and music are also topnotch.
Not only is Ana de Armas insanely beautiful, but talented as well. Hoping to see her in bigger and better roles. Lastly, give us more of Daniel Craig southern accent roles!
10/10
Dora and the Lost City of Gold (2019)
hit and miss humor, isabela merced is dynamite, average direction
Dora and the Lost City of Gold is targeted for the young audience, but it doesn't exempt the movie from an honest assessment of its quality.
Story-wise, Dora has a good first half but crumbles in the second half. The story is humorously clever and engaging when the focus is on Dora's oddness in the first half. During the treasure adventure in the second half, Dora's story and character growth losses focus and take a backseat to plot progression. Isabela Merced is dynamite, though. Her screen presence carries the film in its weaker moments and what makes Dora such a fascinating character. When the humor is focused on her character's personality, it works, but when the side characters are the ones making jokes, it comes off as forced owing to their lazy characterization. Despite the middling script, Dora is ridiculously over the top and cheeky and the reason it is watchable. The best touches of humor came during the trap door and animated-dream state scenes of Dora and gang.
Overall, the artistic qualities are average. The direction is quite uninspired and sloppy. The CGI is obvious and distracting, especially to Boots. The cinematography is also poor.
What is undeniable, though, is the movie's charm. Had the writing been given more clarity and vision Dora, would be much better.
5/10
Maleficent (2014)
great - themes, writing, jolie and fanning; okay - direction and overused CGI
Maleficent is richly thematic, reinventing the character for a modern setting with a heartwarming message about motherly love, guilt, and feminism. The film starts rather slow but grows to be more than a simple fantasy story about a well-meaning fairy gone rogue to a good one again. Aside from a few shoddy moments from Sharlto Copley as King Stefan, the acting is superb, led by Angelina Jolie as the titular character, who outshines everything in the movie including the overused and often obvious CGI. Aurora, played by Elle Fanning and the innocent child of the King, provides the emotional base through which she and Maleficent grow as characters. Fanning is a great companion aside Jolie, portraying the innocence and complexity faced by Aurora as she becomes aware of her world and the curse residing within her. The weakness of Maleficent is its sloppy direction and tone. Nevertheless, Maleficent is carried by the empowering themes it explored and the standout acting from the actors.
7/10
John Wick: Chapter 3 - Parabellum (2019)
technically the best of the John Wick films but it is also the worst in terms of story and character development
John Wick: Chapter 3 - Parabellum is technically the best of the John Wick films but it is also the worst in terms of story and character development. John Wick's story and motives take a backseat to the world-building and competing motives of the supporting characters. Parabellum is more about the High Table than John Wick's struggle. Overall, Parabellum is a stepdown from both its predecessors, thus making it the weakest of the trilogy so far.
Parabellum has many strengths that overcome its weak writing mainly Ian McShane as Winston, Mark Dacascos as Zero, and the requisite all-out action scenes. Halle Berry as Sofia and Lance Reddick as Charon contribute as well. The subplot revolving the internal struggle of the High Table made for some really good character moments mostly through Ian McShane and Laurence Fishburne. The finale's twist is the film's biggest shock.
Chapter 2 gave a bigger scope to the John Wick world; Parabellum extends it further. Chapters 1 and 2 are hard to top, yet somehow, director Chas Stahelski has perfected his craft with Parabellum. The museum, Kasbah, and room of mirror fights are gloriously choreographed coupled with fantastic direction. Zero is also the best John Wick villain by far. The action scenes drown the drama though and feel gratuitous. John Wick starts on the run but by the end of the film, after Winston's seeming betrayal, seeming because an ulterior motive to temporarily keep the peace against the High Table is possible, we see him eager to directly confront his enemies.
On a side note, Parabellum seems more like an extension to Chapter 2 than as a separate film itself. The ending firmly establishes John Wick's turnaround from avoiding his previous life to facing them, hopefully in a satisfying and definitive conclusion in the sequel.
6/10
Scary Stories to Tell in the Dark (2019)
an exercise of legit scary moments, punctuated by half-baked character development
Scary Stories to Tell in the Dark is just an exercise of legit scary moments, punctuated by half-baked character development. Somehow, the movie has more mystery and character depth to the supernatural antagonist, Sarah Bellows, than its lead characters. Coupled by the unnecessary and unexplored political undertones of the late 60s, the script fails to present proper parallels to the lead characters of Stella, Ramon, Auggie, and Chuck to the antagonist Sarah and the political undertones. The writing leaves so much to be desired. The characters are mere caricatures. Zoe Colletti, who plays Stella, is a standout though among the cast. The movie is saved only by the horror which is built up throughout the movie as the mystery of the book, and legend unfolds. The scarecrow, red room and prison scenes, and the finale are all legitimately terrifying. Nothing else of note to praise.
4/10
Rise of the Planet of the Apes (2011)
a successful reboot that firmly establishes the mythos of the Apes' franchise in an updated and modern setting
Led by Andy Serkis as the talking ape Caesar and James Franco as Dr. Will, Rise of the Planet of the Apes is a successful reboot that firmly establishes the mythos of the Apes' franchise in an updated and modern setting. Despite the short running time, the character development is strong enough to present proper motivations and a moving story. Caesar grows from a household pet to a strong leader. He seeks acceptance in humanity's world, but upon realizing the cruelty to which his fellow apes are subjected, Caesar uses his intellect to free his people and leads them on a separate and self-made destiny. Caesar's character overall growth is coming to terms with him being part human in terms of intellect and part ape in terms of physical appearance. The writing does justice to the character by presenting it organically. Andy Serkis' tortured performance demonstrates yet again why he is king of motion capture acting.
While Rise is ultimately about Caesar, the human co-lead, Dr. Will, is equally important to the story. Will is Caesar's owner, living with a father who suffers from Alzheimer's. His character aims betterment by curing his father and raising Caesar. Unintentionally, his goals are what would separate Caesar from him. Through Will, much of the story and inner politics is anchored. Behind all the character work is a thematic backdrop on the ethics of biomedical engineering, corporate greed, and animal cruelty. David Oyelowo and Tom Felton are effective villains representing the corporate greed and animal cruelty themes of the movie. Rise is filled more with character interactions than action scenes but of the few of them, all are heart-pounding and in line with the characters' journey. The climax is a clear demonstration that apes were equal to humans, battling the security forces without firearms and coming out victorious.
Serkis' performance wouldn't have been done right without excellent CGI. If Caesar was all CGI, the emotional connection to the character wouldn't be so firm and ingrained to the audience. The direction from Rupert Wyatt is also really impressive. The technical aspects are on point. Rise only really needed to be much longer and drawn out. The sequels have done this, which is why they are better but does not negate how good of a movie Rise still is.
8/10
John Wick: Chapter 2 (2017)
bigger action, scope, slightly improved story, and more Keanu Reeves badassery
Building on its predecessor, John Wick: Chapter 2 expands the mythos of its titular protagonist with bigger action, scope, slightly improved story, and more Keanu Reeves badassery.
Chapter 2 follows John Wick in the wake of the consequences in the original's story. The Russian Mafia Wick battled is but a member of a large group of a connected mob, with their own rules and code. Wick is once again forcibly drawn back to his previous profession when he is tasked by an influential mob boss to kill his sister.
Like the original, themes of brotherhood, loyalty, greed, and power are explored. Many of the hinted aspects of the criminal underworld Wick is a part of is expanded. A larger group called High Table makes decisions every mob and bosses follow. The High Table is composed of mob bosses themselves.
Wick is drawn to the task because he swore a blood oath, an unbreakable pact that must be honored. The mob boss, Santino D'Antonio, is driven by greed and greater power because his sister, Gianna D'Antonio, is a member of the High Table and he is not. Gianna commits suicide when confronted by Wick to end her life in her own terms. Before Gianna could kill herself, she poses Wick a dilemma that by killing her, a woman, wouldn't he remember the memory of his deceased wife. Wick proceeds anyway, but not before she committed suicide. Upon completing the task, to deflect any suspicion, Santino has Wick assassinated, with a hefty bounty, to no avail. Failing to assassinate Wick, Santino becomes the prey. The chase lands both Wick and Santino at New York Continental Grounds which prohibits "business" within hotel grounds. Wick violates the oath and kills Santino, rendering him excommunicado not just in Continental but the entire criminal enterprise. The bounty on his head is doubled and becomes international, but not before Winston gave him a 1-hour head start of distance. The killing of Santino signifies Wick's full return into his old profession but as a lone wolf.
Compared to its predecessor, Chapter 2 has a slight improvement in character development, but not enough to be considered emotionally fulfilling. There is a jarring tonal shift between the film's two halves wherein the first is mainly about Wick's loss and the assassination job while the second half is him on the run. The world-building is really impressive, presenting how big the criminal enterprise Wick lives in. The fight scenes are spectacular. One standout, in particular, is the hall of mirrors fight, which is inspired by Sam Mendes' Skyfall. The amount of car crashes Wick survives in this particular film shows what a legend he is. His reputation as an assassin extends beyond New York. Keanu Reeves is great once again showing some real acting chops by performing different languages, both verbal and sign. The direction is sleeker. Somehow, Chad Stahelski manages to improve Chapter 2 in spectacle and direction while remaining faithful to the original.
John Wick: Chapter 2 is a very good follow-up but one where the sequel may improve upon with better writing.
7/10
John Wick (2014)
101 minutes of Keanu Reeves laying out henchmen after henchmen in a revenge thriller
John Wick stacks the body count in a wickedly fun revenge thriller starring Keanu Reeves about a retired assassin drawn back to a previous life of murder and violence after a vicious break-in and theft led by a Russian mobster's son. Despite a thin script, 101 minutes of gratuitous violence ultimately pays off due to sheer spectacle, some stylish direction, and incredible action set pieces.
Keanu Reeves has never been known as an actor with a wide range but instead limited to certain roles that show little emotion. As a character, John Wick is perfectly suited for Reeves. Characterized as an unassuming quiet, grieving widower, Wick is actually a no-nonsense former assassin in retirement after finding love. Coupled with director Chad Stahelski, a veteran stuntman and coordinator, and Reeves' history of playing badass male leads, this is the film to take Keanu Reeves back to previous career highs not seen since The Matrix trilogy and which would go on to launch a successful and critically well-received franchise. Reeves owns the role of Wick. The casting couldn't be more perfect.
Primarily, John Wick is centered on loss and revenge. Wick is out for blood against the people who took away everything important in his life. As an exploration of the aforementioned themes, the film only goes skin-deep, failing to dig deeper into the character's persona and background. Majority of Wick's history is shown through flashbacks and subtle dialogue. While the script leaves a lot to be desired, the character interactions aren't preachy, grounding the film on an emotional and human level. More importantly, Wick does not really grow as a character. He's not placed in a situation that questions his motives allowing room for him to grow.
The film takes its themes seriously, but perhaps intentionally, it's also a satire on the futility and value of masculinity. Characters within the film present this dual approach of tackling a subject matter common in Hollywood cinema. Iosef Tarasov, played by Alfie Allen, embraces hypermasculinity with his arrogant, selfish and entitled personality being the son of Russian Mobster Viggo Tarasov, played by Michael Nyqvist. John Wick is the exact opposite with a laid back attitude. Iosef initiates the plot of the film when he and his group conducted a vicious burglary that beat Wick, ransacked his home, killed his dog left behind by his deceased wife, and stole his treasured car. Unknowingly to him, Wick formerly works for his father and is nicknamed "Baba Yaga", Russian for "Boogeyman." As Wick hunts down Iosef, the opposite occurs between the characters as Iosef's toxic hypermasculinity is exposed as fraudulent when faced with an actual credible threat. Wick finds again the machismo he once discarded.
Themes of loyalty, word of honor and brotherhood are also present. Marcus, played by Willem Dafoe, is Wick's mentor and friend. Hired by Viggo to kill Wick, he broke the contract when another assassin, Ms. Perkins, comes in and vies for the prize, probably also out of mutual respect. He is tortured then murdered when Viggo learns of his betrayal. Ms. Perkins is killed for breaking The Continental's policy of no "business" transaction within hotel grounds. Lastly, Viggo is killed by Wick by protecting his son. In the criminal underworld, death is the ultimate fate.
John Wick's strengths are its direction and fight scenes. For lovers of neo-noir, Spaghetti Westerns and Hong Kong martial arts cinema, Chad Stahelski has great command, specifically in the cinematography department, in paying homages to his film's influences bringing a unique testosterone-charged modern twist of the genres. The score is also great from Tyler Bates, containing a mix of techno and rock music.
The sequel has lots of potentials that the first has failed to tackle. Put a heavier emphasis on character development, not just lip-service dialogue. Here's to hoping it exceeds the first.
6/10
Dark City (1998)
A masterpiece in visual storytelling
A masterpiece in production design, cinematography, and score, Dark City is a throwback to early 20th century period, tribute to film noir and German Expressionistic films such as Metropolis. Unapologetically bleak but with an undercurrent of hope and love, the film is a deep dive into themes of reality, memories, and perception. What the film lacks in action, it has in spades of character study. The sense of time and space are further manipulated to present a grand scale in a once small and contained story centering on an amnesiac man running from shadowy figures.
The story follows John Murdoch as he awakens in a bathtub, suffering from amnesia. With only faint memories of his past, Murdoch is chased by groups of men called "Strangers", upon the call of Dr. Daniel Schreber, who seeks the "tuning" ability he possesses. Emma Murdoch is his wife, whom he has no recollection. Aside from the Strangers, Inspector Frank Bumstead is hot on his trail because Murdoch is accused of murder, one of which is a dead woman found inside the apartment he woke up. The pursuit ensues unwrapping mysteries behind the Strangers, Murdoch's fabricated past and the city's façade. The Strangers are a group of extraterrestrials near extinction who seek the meaning of humanity's individuality as a means to save their race. Every people living in the city is an unwitting subject, Murdoch included. All memories of the past are fabrications made by the Strangers meant to cloak changes. The city is the apparatus in which this giant experiment unfolds. During midnight the city physically changes, literally. Buildings and roads are rearranged and new memories are inserted to erase every truthful past and recollection. The city, in reality, is a massive space habitat protected by force fields, at the core of which is a machine that powers the city's machinations and is the Strangers home.
What is reality? Is the world a façade? Is reality ultimately a subjective viewpoint? What drives our perception of reality? How do our memories shape our present self? Dark City answers these philosophical questions satisfyingly and in a cathartic fashion.
Reality in Dark City can be viewed from multiple perspectives. The city is real from the Strangers' standpoint since they are its builders. Having control is tangible power, and is real because it alters the city's true state. For Murdoch, reality begins confusingly due to amnesia but the ending with Anna, Emma's new identity, is his true reality. Emma is the wife he never had, except as implanted memories, but this is where he builds his reality. The city can be further considered a façade or not depending on the perspective. The Strangers built a façade world where the occupants consider it real.
Now, is reality ultimately a subjective viewpoint? In the film's context, reality is indeed subjective. On a personal level, we create our own reality through our identities and experiences. The physical world is a reality different from the mental reality each individual possesses. It is a stimulant which our physical bodies are subjected. Some reactions are natural like pain, but emotions may vary from person to person, thus each may conclude differently from the same source. Murdoch, as the central character, finds resolution when after defeating the Strangers he altered reality to his will by changing the city into the memories which were implanted. Emma, now Anna with new memories, is his only reality because everything is mere creation and the only person whom he feels an emotion and love towards is her. Ultimately, as the driving force of the film his resolution is the thread that binds the themes together.
The acting is also great. Rufus Sewell, William Hurt, and Kiefer Sutherland are good in their roles, but Jennifer Connelly is the best performer, embodying the pain of not knowing any true past.
21 years since Dark City's release the visuals remain something to behold. The artistic qualities need to be experienced first-hand because words are not enough to do justice its beauty. A masterpiece in art direction and cinematography.
10/10
Ma (2019)
a cautionary tale about childhood trauma, bullying, and racism, though meddling in execution and unable to tap its full potential
Carried by the nuanced craziness of Octavia Spencer as Sue Ann Ellington, Ma is a cautionary tale about childhood trauma, bullying, and racism, though meddling in execution and unable to tap its full potential.
Sue Ann is a middle-aged black woman who parties with high school kids. The story gradually bares her motives as a bullied teenager humiliated by her peers. Unable to experience social happiness during her younger years, the high school kids she befriends are her outlet for that repressed childhood memory. Ultimately, Sue Ann seeks revenge against her peers through their children, the high school kids she parties with, when her past was uncovered. Sue Ann's revenge is most especially directed to Ben Hawkins, played by Luke Evans, her high school crush. Ma juggles themes of bullying and racism together in a satisfying revenge thriller.
The same positive review can't be said to the high school kids and Sue Ann's peers who are bland and weak characters. Ma's untapped potential is due to failure in giving proper characterization to the supporting characters. Octavia Spencer carries the film single-handedly.
Aside from the film's writing, the direction is quite average except for some creepy scenes such as Sue Ann torturing the high school kids and forcing her daughter to take unnecessary medications.
Overall, Ma is good but not contemplative enough to fully appreciate its subject matter.
6/10
Batman v Superman: Dawn of Justice (2016)
Snyder's true vision is an epic slow-burn thriller that pits two incompatible philosophies of fear and hope against a backdrop of plausible real-world political dynamics
Zack Snyder is an incredibly divisive filmmaker, having outputs such as 300 and Watchmen. The idea that his films are an acquired taste is very much true. Watchmen, a film adaption of the graphic novel of the same name, continues to be debated for its unnecessary length and lack of emotional drama, unlike its source which is universally considered one of the greatest works in the medium. Visually, Snyder is lauded for his stylized action and violence but criticized for poor narrative. Expectations of Batman and Superman meeting for the first time in cinema are stupidly difficult to realize, but mostly the two heroes are expected to be friendly and cordial, not cutthroat. Studio interference also led to negative receptions of the incoherent theatrical cut. Ben Affleck as a grizzled batman caused further controversy because it gives less room for future Batman stories and his characterization as a jaded crime fighter, breaking his famous no-kill rule. Man of Steel is just as divisive as his other films. Nevertheless, Batman v Superman: Dawn of Justice Ultimate Edition, Snyder's true vision, is an epic slow-burn thriller that pits two incompatible philosophies of fear and hope against a backdrop of plausible real-world political dynamics. The Ultimate Edition is what Warner Bros. should have released and Watchmen been.
Batman v Superman stars Ben Affleck as Batman, a 20-year crime-fighting veteran who realizes his decades work in Gotham hangs in the balance when Superman, an alien with literal superpowers, becomes the figure of hope and peace, putting his immense physical abilities for humanity's greater good. Superman, played by Henry Cavill, lives normally in his true self as Clark Kent, a Daily Planet news reporter. Two years after his destructive battle with fellow Kryptonian General Zod in Metropolis, Superman has to grapple with a skeptical public divided between people who view him as an ordinary man who does good acts and those that treat him as a rogue figure, unbounded by law.
The plot follows alternatively between both characters including Lex Luthor and Lois Lane. Batman is secretly doing detective work to locate a hidden figure who plans to bring a dirty bomb to Gotham. Following an ambush in a war-torn part of Africa, Superman finds himself at controversy when he is wrongly accused of the resulting deaths. Lois Lane, Clark Kent's partner, has to uncover the truth behind the ambush. Lex Luthor, a wealthy industrialist, openly influences Sen. June Finch to allow access inside the crashed Kryptonian ship and importation of a xenomaterial, capable of weakening Kryptonian physiology. The two main characters view each other on opposite lenses. Batman sees Superman as a threat who must be eliminated, while Superman views Batman as a lawless vigilante who decides unilaterally who lives or dies. Batman is the embodiment of fear, while Superman is the personification of hope.
Ben Affleck nails the grumpy attitude of the character in the comic book miniseries The Dark Knight Returns, including the physicality. Unlike previous versions, this Batman is a hulking behemoth who prefers to overpower foes instead of using agility. Similar to the Burton films, Batman is willing to kill and does so in significant numbers. Taking liberties and deviations can often lead to poor characterization, but not in this. His willingness to kill is given proper motivation, thus as executed in the story Batman's characterization works. Henry Cavill is much improved from his first outing as Superman in Man of Steel. None of the forced emotions and bad delivery of lines such as "You're a monster Zod..." Cavill convincingly plays the inner conflict of doing good, while getting flacked. Differentiating himself from Christopher Reeve, this Superman doesn't have the traditional boy scout persona commonly found in the comics and is more contemplative, even brooding. In the theatrical cut, Cavill looks bad because a majority of the 30-min deleted scenes were his as Clark Kent doing investigative journalistic work about Batman's recent violent outings. Reinserting those scenes in the Ultimate Edition gives the character more humanity, thus better overall acting. Amy Adams, like Cavill, is given more material in the Ultimate Edition. The biggest and most criticized acting decision is of Jesse Eisenberg's Lex Luthor. Fans expect Luthor to be gentlemanly and smooth, not manic. Eisenberg is another casualty of the theatrical cut that makes his performance and role look bad. Luthor has additional scenes in the Ultimate Edition that give him proper motivation, unlike in the theatrical cut where he comes off truly insane. The additional 30-minutes gives everyone more breathing room that enhances the acting.
As a political thriller, Batman v Superman digs deep into deconstructing the characters to their basics. Driven by the death of his parents, Bruce Wayne crusades as Batman to fight crime, a motivation consistently referenced throughout the film. 20 years as Batman, accompanied by the death of Robin, drags Bruce Wayne to mental lows, losing his humanity and empathy, further motivated by a sense of hopelessness and failure. Events unfold that reveals his detective work was a ruse to locate Kryptonite, a xenomineral capable of killing Superman. Unlike Bruce Wayne, Clark Kent does not have the same family tragedy and still has his mother to lean on. A figure with god-like powers, Superman ushers in political debates as to the necessity of his existence and whether he should be confined to government-sanctioned actions. Someone with such powers will court controversy, regardless of intentions. Superman is also shown to be more human and grounded than Batman. Lex Luthor manipulates both characters' inherent antagonism by blowing up Capitol Hill, abducting Martha Kent, building hatred for Superman through affected Wayne employees and importing Kryptonite which he intended for Batman to use against Superman. After an epic match, and before he could kill Superman, Batman finds his lost humanity when Superman says his mother's name, the same name of Batman's mother Martha Wayne. Two formerly opposite characters cast their differences to fight a common threat. Batman v Superman also introduces Wonder Woman, played by Gal Gadot, and the concept of metahumans.
Superhero films are big on spectacle and action. Snyder delivers the best fighting sequences in the genre. The Batman and Superman fight is brutal. Superman isn't depowered to make him a fair adversary. Batman is a tank, taking on armed goons singlehandedly. Wonder Woman is electric, taking center stage in the final fight against Doomsday. Doomsday is a Frankenstein monster with nearly limitless powers. The presentation of each hero and villain does justice to the characters. Batman v Superman is criticized for its bleak and dour tone, but for the film's subject material it is the appropriate direction. Even if the colors are greatly saturated, the film remains a beauty to look at. The cinematography, visual effects, production design, and score are all fantastic. Snyder is at the top of his artistic career.
A genuine critic that can be leveled against this film is it undoes Superman's death by implying he may be alive. Building all that drama only to discard the payoff is not a good cliffhanger. Elements of his boy scout persona should have been presented in the beginning and then gradually becoming more emotionally distant. Superman is the beacon of hope and comics' greatest superhero, and despite the film's strengths narratively this version feels a bit distant. Overall, the film is still widely epic. Warner Bros. should be ashamed of butchering a great, elseworlds tale.
9/10
Joker (2019)
the most unique comic book movie ever
As a big Batman fan, the idea of making an origin movie about his greatest foe without the hero can be easily dismissed, let alone from a man who has directed some divisive films. Mental illness is also a thorny societal issue slowly being recognized and governments everywhere are tackling. It comes to no surprise that an adaption about Joker's origin will cause controversy, possibly stirring wannabe lunatics into action, and because we see the character as evil incarnate, bereft of humanity. Seeing the film however, the truth couldn't be more different. Todd Phillips and Joaquin Phoenix deliver a tragic and haunting portrayal of Joker's descent into madness, liberally borrowing from classics such as Taxi Driver and The King of Comedy and taking its cue from acclaimed graphic novels such as Batman: The Killing Joke and Batman: The Dark Knight Returns, while retaining core aspects of the character without glorifying his actions into a hero. Joker is without a shadow of a doubt the most unique comic book movie ever.
Arthur Fleck, played by Joaquin Phoenix, is a lonely single man who lives together with his mother. Working as a party clown, he dreams of becoming a popular television comedian in the vein of his idol Murray Franklin, played by Robert De Niro. Consecutive misfortunes and tragedy, however, spiral his already broken life toward anarchy not because of a single character that prevents his personal growth, but society's ill and self-serving agenda. Phoenix is widely considered among the greatest living actors with acclaimed performances in Gladiator, Her and The Master, to name a few. Heath Ledger casts a huge shadow on the role, winning a posthumous Academy Award. Phoenix's Joker is an instant classic alongside Travis Bickle, Ledger's Joker, Alex DeLarge and other cinematic greats. The physical transformation to portray an impoverished man is immersive, drawing the viewer to Arthur on a visceral level. Few actors are willing to undergo drastic body changes from film to film, one of them being Christian Bale, the Batman of Christopher Nolan's trilogy. Before killing Randall, Arthur was doing body contortions similar to Pennywise the Clown in It, unaided by digital effects, all done by sheer physicality. The film is littered with imagery of Arthur's condition. Aside from the physicality, the laugh and mannerisms depict psychopathic narcissistic tendencies that is staple of the character for decades. Phoenix is truly terrifying at times. The best part about Arthur's characterization is how it retained the essence of Joker from the comics. Joker, in the modern age, is an unreliable narrator with multiple origins. Many scenes are actually make-believe imaginations of Arthur, such as the relationship with his neighbor Sophie and being interviewed live as an audience in Murray's talk show. In fact, the film as a whole is ambiguous, leaving open for interpretation if any of the events occurred at all in reality. What makes Joker a timeless character is ambiguity. The writing and acting perfectly captures that characterization.
Joker is by a wide margin Todd Phillip's magnum opus. The direction is simply stunning. The cinematography and production design evoke a 70s or early 80s vibe visually. From the dirty streets and references to popular culture in those decades, the audience is drawn to that world while putting a modern spin about today's views on mental illness. At times, the score sounds like one composed by Hans Zimmer, but it is not. Hildur Guðnadóttir pays homage to the Nolan trilogy with her score, but in a unique way solely for Joker's world. Coupled with Phoenix's acting, the score can be heart-pounding or heart-stopping. Something jarring about the music are placements of songs that would have been better replaced by the score alone. Overall, they do not negatively affect much the film as a whole. Depicting Joker's ambiguity and unreliable narrator would not be possible without masterful editing. The film is perfectly paced that builds to a rousing and violent conclusion. There are moments of levity, such as Gary failing to open the door because of his short stature, but the biggest moments come when Arthur begins murdering people out of revenge. Without proper pacing, the film would just have been another "excessive" show of violence without drama.
On a thematic level, the social commentary feels a bit lacking. For a film reviewed by a significant portion of the critics as excessively violent, Joker is a bit safe and tame. Surely, many other films have exceeded Joker's violence. The film is about class struggle as it is about mental illness. Gotham is a boiling pot of inequality, where the poor are relegated to shabby apartments and the rich in spacious mansions. This is exemplified by Thomas Wayne, who promises that his business acumen can elevate the city's economy as mayor. Thomas Wayne comes off very condescending and detach from the actual living conditions of his fellow citizens, although an argument could be made that is because of Arthur's view on him, not necessarily Thomas Wayne's true personality. Murray Franklin, played by Robert De Niro, is also another rich person with selfish agenda when during his talk show a video of Arthur doing stand-up comedy was played to the ridicule of his audience. Arthur is not motivated by high-minded ideals, but by revenge, thus distorting how we perceive some of the characters are. While the film excellently constructs Gotham's divided class structure, the social commentary is lacking because the supporting characters are weak and are there simply for Arthur to despise after contributing to his eventual downfall. Unlike its inspiration, Taxi Driver, which has outstanding supporting characters such as Iris, Betsy and Sport where the themes are given weight, Joker has none, although they are played decently by their actors, especially Robert De Niro. Murray's exchange with Arthur during the finale is spectacular. De Niro, a screen legend himself, holds his own against another legend at his best.
Do not miss Joker in theaters!
9/10
It Chapter Two (2019)
closes the story of the Losers Club satisfyingly, although the execution is often sloppy and messy
Sometimes good, sometimes not, often engaging, often not, It Chapter Two closes the story of the Losers Club satisfyingly, although the execution is often sloppy and messy.
It Chapter Two follows the Losers Club, bound by blood pact, as they seek to destroy It once and for all. Returning to Derry, they are made to confront a vengeful evil while relieving past fears and traumas that did not go away in adulthood. As an ensemble, the cast have balanced roles without one dominating the presence, unlike the original where Bill's guilt is emphasized. However, because of different character arcs, the thematic message becomes muddied. The character arcs deal with the same fears, guilt and repressed feelings from the original, although additional perspectives were added.
Mike is underused and should have been the emotional center, notwithstanding the need to definitely close a chapter in the ensemble's life centered around Derry and It, and by also being the character that remained in Derry. The reveal he withheld information from the group that the American natives died fighting It felt shoehorned and his reasoning contrived. Bill's guilt is explored deeper when it is revealed his reluctance to join his younger brother Georgie was intentional and not because of sickness. Richie is revealed to be a closet gay who developed feelings for Eddie since. Homosexuality is a theme hammered violently in the opening scene when a gay couple was brutally attacked after which followed It's first reappearance, although the film doesn't overtly project a pro-LGBT stance. Stan's suicide does not help the Losers Club and the letters sent by him explaining his reason is unnecessary. Beverly continues to experience sexual and family abuse through her husband, but this is glossed over and her prominence as the lone female is not as strong from the original. Ben remains insecure with his feelings with Beverly. Their resolution is lovely, as Beverly realizes Ben wrote the poem she kept safe.
Overall the film is convoluted and has a repetitive story, although the latter can be forgiven because childhood trauma don't necessarily go away in adulthood. While the film has multitudes of messages, it gets bogged down because it does too many things at once. Despite its epic length, the conclusion is well earned because the characters have fully grown from their trauma. Although the pacing can be slow, especially during the first hour, the narrative hastens when the ensemble begins the quest to find totems of their pasts and It's appearance becomes more frequent.
Speaking of It, Bill Skarsgard is absolutely fantastic and the film's true highlight. The scene were he gave It emotional range during the baseball game is phenomenal. Skarsgard is terrifying, although the CGI feels overdone during the final battle. Part of his awesome performance is embodying the non-human personality which director Andy Muschietti characterized It to differentiate him from Tim Curry. The rest of the cast is good and no one in particular is bad. Bill Hader steals the show by balancing comedy with inner sadness. A lacking element here present from the original is Derry's creepiness. Almost every citizen in Derry from the original had sinister, hidden motives or bad intentions making the Losers Club stood out. Compared to the original Chapter Two looks more beautiful direction wise. The cinematography and production designed are improved, despite portraying the same setting. Many of the visual and practical effects are great. The horror is strong and score is more engaging.
It Chapter Two has many qualities riding for it but also weaknesses from the script, ultimately coming up short to the original.
6.5/10
The Grey (2011)
relentless, harrowing and visceral survivalist film of a man in existential crisis
Joe Carnahan delivers a relentless, harrowing and visceral survivalist film of a man in existential crisis. Carried by great visuals, compelling character development and moving performance by Liam Neeson, in one his best since Schindler's List, The Grey blends visual story telling and drama about a duel between man versus nature, religious contemplation and self-redemption.
Set in Alaska, The Grey follows John Ottway and his band of airplane crash survivors as they flee to safety in the middle of nowhere. Hounded by wolves, the survivors are boxed in as each of them are killed one by one. Their journey fleshes out the moral and philosophical debate presented by the film. At its heart, though, is Ottway's loss of his wife, tying two previously mentioned themes together in this central conflict. The supporting characters further provide perspective that Ottway does not view. Machismo in the face of certain death becomes utterly useless. Some dialogue overtly present an atheistic leaning, but is balanced by characters with deep faith. Ultimately, these are lesser in importance to Ottway and his thoughts. The character growth is done organically that meshes with the moral and philosophical themes. His deceased wife is the sole reason why he continues to live despite a previous suicide attempt and mother nature's relentless attacks. With regards to the ending and controversies in its interpretation, it is the logical conclusion to his arc because what the group thought was they were moving farther away from the wolves' dens, but truly they were moving towards it. Facing down the alpha wolf is Ottway confronting the memory of his wife and final decision about continuing to live.
From a technical standpoint, the cinematography is what makes the film great because it complements the mood and characters. Despite the criticism that actual wolves don't actually behave the way the do as presented, it makes for fantastic cinema. The wolves are vicious and portrayed as allegory to nature and death.
The Grey is a surprising output from Joe Carnahan and is his best film, to date.
9/10
Rango (2011)
a worthwhile satirical take on the western genre
Gorgeous photo-realistic animation, brilliant voice cast, quality humor and solid drama, Rango is a rewarding adaption from the western genre that respects its root while taking risks few animated films go.
Rango is an ordinary pet who stumbles onto Dirt, a western town slowly dying from lack of water. With a knack for acting, he pretends to be a tough-talking drifter, utterly convincing that the townsfolk instantly believe his front. Through sheer luck, he manages to defeat a longtime enemy of the town, a hawk. After an unexpected victory, Rango become Dirt's sheriff, in charge of protecting the safety and well-being of his constituents. Turn of events during his authority uncover a sinister plot that lies at the heart of the town's hardships.
Aside from incredible technical qualities such as the score by multiple Academy winner Hans Zimmer and animation looking like real life (the lighting in particular deserves rave praise), Rango succeeds because it treats its characters well by giving them relatable motivations instead of resorting to mindless slapstick comedy. Johnny Depp, playing the titular character, is a nobody who pretends to be a hero and becomes a true hero. The fact that he pretends to be someone he is not presents an angle of guilt to the character, but this does not get explored deeply during his stay at Dirt. The weakness of the film is really in this aspect. Most of Rango's character development occurs in the beginning and finale. However, the supporting characters are great.
Beans, a resident of Dirt, drives the plot because of her refusal to sell her land to Mayor Tortoise John and discovery of a potential conspiracy to intentionally worsen the resident's living condition. The script did not make her a hapless female character, but a very strong one with convictions and principles. Tortoise John represents greed at its fullest, by cutting Dirt's water supply and killing anyone when necessary, even those who aid him in maintaining power, all in the name of unequal progress. Rattlesnake Jake is a paid outlaw who terrifies Dirt's residents under Tortoise John, but like Beans has principles, however wild they may be, when Tortoise John intended to kill him after nearly accomplishing his master plan. He is the catalyst for Rango to eventually find his true self by becoming the sheriff he was placed. Despite clocking less than 2-hours, Rango is also an epic drama involving characters outside of Dirt that makes the film a worthwhile satirical take on the western genre.
Rango is obscenely good, perfectly made for both adults and children.
8.5/10
Ready or Not (2019)
a flawed attempt in satirizing wealth and tradition
Occasionally interesting, griping and visually dark in concert with the thematic subject, Ready or Not is a flawed attempt in satirizing wealth and tradition in a family setting.
Grace Le Domas, played by Samara Weaving, is newly wed with Alex (Mark O'Brien), a member of a wealthy family who secretly practices satanic rituals. When a person is married to a Le Domas, the family initiates its new member by undergoing a game of card drawing. Whatever game comes out of the box, the new member and family does. Grace unfortunately draws hide-and-seek, which ultimately results in death for the new member. Ready or Not follows Grace as she aims to survive until dawn.
The film's strength lies on the unapologetically dark, shadowy and moody visuals. Most of the scenes are shot with minimal lighting, presenting a setting of horror steeped in old money. However, the narrative has serious issues because while Grace is a strong character, her development as the film progresses shows little depth. The supporting characters are stronger because the events peel off layers that motivate them to be part of the Le Domas. Daniel, played by Adam Brody, the brother of Alex experiences the most progression because of his successful betrayal of family tradition. Ready or Not therefore suffers as a whole because the themes should enhance the main character. Instead, we see Grace most of the time running without providing an additional layer to her character.
Ready or Not is a unique approach in the dark comedy genre without becoming derivative.
6/10
Paddington 2 (2017)
every bit as personal, quirky, colorful and funny as its predecessor but overall weaker due to script issues
Paddington 2 is every bit as personal, quirky, colorful and funny as its predecessor. However, the side characters, their motivations, including the villain are weaker.
Continuing from a thematic standpoint from its predecessor, Paddington has injected a positive communal spirit as he settles with the Brown's. The story follows Paddington as he comically works his way to buy aunt Lucy a London pop-up book as a present for her birthday when he accidentally becomes the prime suspect in a robbery and subsequently imprisoned.
Exploring themes of prison drama and loneliness, the film is an emotionally satisfying conclusion to Paddington and his bear family, albeit faulty in execution. The Brown's efforts to prove Paddington's innocence drags the pacing and doesn't add any layers to the characters or film. The prison drama aspect is not deeply explored, although characters introduced through Paddinton's time inside are funny and good, most especially by Knuckles McGinty played by Brendan Gleeson. Hugh Grant plays the villain Phoenix Buchanan who is a former theater actor reduced to making advertisements for dog food. In terms of performance, Hugh Grant is just as good as Nicole Kidman but is not as strong thematically because his character does not share a special connection to Paddington like Kidman's.
Paul King's direction remains spectacular. Both Paddington films are Wes Anderson films for children. The final confrontation on the running train is something big budget blockbusters would envy. Paddington 2 is a great sequel, but one that does not reach the heights of its predecessor.
Inside Out (2015)
Inside Out is one of those Pixar outputs geared for adults with its deep message about personal growth
With an innovative story telling, Inside Out is a unique Pixar output that elevates the genre by witty exploration of human psychology. Although the film is about a kid who goes through the commotions of losing home and living in another place, Inside Out is one of those Pixar outputs geared for adults with its deep message about personal growth. Human emotions are not simple happiness, sadness, fear, disgust or anger but a combination of each.
Led by Amy Poehler as Joy, the voice cast perfectly embodies the emotion they represent. Inside Out starts by establishing Riley living in an ideal home. The story takes her from Minnesota to San Francisco, providing an abrupt change of environment. Losing her friends and the place she calls home, Riley's world slowly crumbles as a feeling of loss overcomes her. Despite her best attempts Joy is also overcome by Sadness, played by Phyllis Smith, who unbestknown to them is the emotion Riley needs. As both confront at headquarters an accident occurs that transports them to long term memory, leaving behind Fear, Anger and Disgust, emotions that would only exacerbate Riley.
Their journey back to headquarters takes them through Riley's memories, subconscious, abstract thought, dreams and imagination, presenting a landscape of rapid growth for the character. Simultaneously, pillars or islands of Riley's life fall one by one intensifying the emotion's journey.
An idea by Anger to walk away and return to Minnesota nearly lost the character in her sorrow, when in the last moment Sadness was able to prevent Riley from leaving San Francisco. Returning home she breaks down as all core memories are relived, turning to sad memories instead of happy memories. The ending is cathartic as a new core memory with characteristics of happiness and sadness rebuilds a pillar or island of Riley's family. Inside Out never failed to explore an aspect of the character, doing so comically but in a mature way. The trippy visuals and melodic score are also excellent, balancing the story with appropriate artistic qualities.
Inside Out is easily one of Pixar's finest films and one of the greatest work of animation by default.
10/10
The Mask (1994)
a comedic classic for its irreverent humor and surprisingly awesome visuals
Despite a poorly constructed story, The Mask remains a comedic classic for its irreverent humor and surprisingly awesome visuals. Jim Carrey's perfect slapstick comedy cannot save a paper thin narrative and characterization. Cameron Diaz, in her first film appearance, stands alongside Carrey albeit being overshadowed, cementing herself as a sex symbol with a juicy performance. The motivations of the characters are not properly fleshed out for a satisfying conclusion. Having a weak antagonist also does not help.
The Mask can't be called a waste because the comedy is stupidly great, especially the police dancing sequence and Looney Tunes references, making the film essentially a live-action derivative of the iconic cartoon characters. However, as a satisfying film with great characters and story it drops the ball.
5/10
Paddington (2014)
an adaption from children's story but is made for all ages with its cheeky humor and family drama
Paddington is an adaption from children's story but is made for all ages with its cheeky humor and family drama. The charm, politeness and likeability of the main character is undeniable, separating it on another class from similar family films. Paddington embraces its themes, humor and drama taking them up to a higher level while remaining grounded emotionally.
The main attraction of Paddington lies in its characters. Paddington, voiced by Ben Wishaw, is a catalyst for good to the people around him. The story is about a cub who seeks home in a far away land. Coming from a distant place different from all people, an undercurrent of immigration and xenophobia is present, the former is more prominent while the latter is more subtle. Paddington seeks home promised to his family by an English geographer. Arriving in London, he follows tradition by wearing a tie that indicates he is a homeless child. Initially, people only pass by until the Brown family. The Browns are a dysfunctional middle class family with Henry as their patriarch. Taking Paddington to their home, he is given only a night to stay and find his true home. His quest to find home repairs the Brown and uplifts the communal spirit around his foster home. In particular, Paddington's optimism is felt through the growth of Henry and his family. Millicent, the daughter of the geographer, played by Nicole Kidman, is a good foil to Paddington who seeks to clear her family's name by displaying him in a museum. Realizing his presence has caused enough trouble for the Browns Paddington leaves their house searching for the English geographer Montgomery Clyde on his own. Millicent nearly captures Paddington upon realizing that Clyde is long dead. After a brief battle the Browns adopt Paddington as family, closing his quest in search for home.
On a technical level Paul King evokes influence from Wes Anderson with quirky characters, beautiful art direction, score and a strong sense of matching colors. The CGI blends also blends seamlessly with the setting to the point of looking life-like. Paddington, in particular, never stood out as cartoonish.
Paddington is one of the better feel-good movies in recent years.
9/10
Split (2016)
a thrilling film about a psychopathic killer and childhood trauma
Impressive performances from James McAvoy and Anya Taylor-Joy carry Split in a thrilling film about a psychopathic killer and childhood trauma.
Split revolves around two main characters, Kevin and Casey, who suffer from childhood trauma which the film explores. Kevin developed his multiple personalities to cope from abuse by his mother and loss of father. He abducts three young women which includes Marcia and Claire. The film gradually reveals that the multiple personalities are distinct and fight for each others turn on "the light". The narrative is further driven by a yet not shown 24th personality, named the Beast, who commanded the other personalities to abduct the women as his food. Casey being abducted is designed for her to grow from the trauma caused by the sexual abuse by her uncle which is revealed through flashback scenes. Another subplot is Dr. Fletcher's, played by Betty Buckley, attempt to heal Kevin.
The arc or Dr. Fletcher trying to heal Kevin bogged down the pacing which should have been strictly focused on Kevin and Casey. Scenes with an adult Casey and her uncle implying continued abuse should have been presented, not just on her childhood experiences. A clear resolution to both Kevin and Casey is not fully grasped because their trauma is different. Kevin is shown to be abused, but is not shown specifically how. For Casey, her ending should have been a proper breakup with her uncle signifying character growth. The camera work is impressive in some shots but not all. Angles are good but not the lighting which takes away some of the claustrophobic feel of the film.
Nevertheless, McAvoy and Taylor-Joy are spectacular and carry the film on acting alone. McAvoy's personality switching is fluid and shows his ability to be a chameleon. Taylor-Joy is able to portray a layered performance simultaneously dealing with sexual abuse and the possibility of reoccurring in another form.
7/10
Orphan (2009)
great premise, legit scary moments but is a misfire in execution as it tailspins to cliches
Orphan has a great premise, legit scary moments but is a misfire in execution as it tailspins to cliches in the second half. The film is an exploration about loss of a child and how it drives the mother, in this case Kate, played by Vera Farmiga, and her attempts to grow from that trauma by adopting a child. It starts off great, but never coheres. Her trauma is never fully resolved as it becomes subservient to the narrative in building Esther, the film's antagonist. Tropes such as horror character from eastern Europe and mistrusting husband are present. The acting is good in many cases. Farmiga aptly portrays a grieving mother. Isabelle Fuhrman is exceptional playing an mentally disabled antisocial serial killer pretending to be kid, who in reality is an adult. Overall, Orphan is good but nothing special.
6/10
No Country for Old Men (2007)
an instant western classic about drugs, greed, death and hopelessness
No Country for Old Men is an instant western classic about drugs, greed, death and hopelessness. Led by an all-time great performance from Javier Bardem playing a macabre character in Anton Chigurh, the film is a heart pounding non-stop manhunt packing enough emotional wallop while successfully exploring its themes.
Set near the US-Mexico Border, the film can be considered as a cautionary tale about the War on Drugs which has raged for decades. Motivated by greed Llewelyn Moss, played by Josh Brolin, takes off after finding a bag of cash on a site of failed transaction resulting to massacre. Unbeknown to him, placed inside is a tracker. Anton Chigurh hunts down Llewelyn Moss for the money. As the hunt progresses, snippets of dialogue and character interactions show that Chigurh is not evil, but merely a servant of death or death itself. Guided by a twisted philosophy, Chigurh kills because of fate and destiny. Moss sends away his wife and mother-in-law as the hunt becomes not merely about the money but also personal. Other characters appear to further provide insight and growth such as Woody Harrelson, who warns Moss that facing Chigurh is a death sentence. No character is as important to carry the film on an emotional level as Sheriff Ed Tom Bell, played Tommy Lee Jones. Embodying the hopelessness pervasive throughout the film, Sheriff Ed is an active participant in the manhunt aiming to prevent it. Despite his efforts, people die. Anyone who faces Chigurh dies. His scenes throughout the manhunt are beautiful, sad and introspective. Already an old man near retirement during the course of the film, the ending where he is retired perfectly captures the essence of his arc losing all hope living in world where death is unstoppable.
While No Country is an excellent play about its themes, it lacks a true emotional anchor that carries the movie. Llewelyn Moss and Sheriff Tom aren't particularly engaging characters that captures the viewer's empathy.
The Coen Brothers also bring technical qualities that complement the story. Wide and barren shots to portray a sense of epic scope, an almost non-existent score to build tension naturally and violence fitting for the antagonist.
No Country for Old Men is a must see not only for its antagonist but as a whole.
9/10