shuawilmot Reviews

Jurassic World Dominion (2022)

No interesting characters, a lot of meaningless action

[3/10 · 8 January 2023]

All of the characters are static and uninteresting. There is no mystery as to where the plot is going or who is on what side of the central conflict. Everything is so predictable I started a sudoku during the third act. Dinosaurs are still cool though, I guess.

Old characters are brought back, including Dodgson... cool...? A lot of plot points and plot pointlesses are recycled from the other movies, which are the things that make this movie memorable, but not in a good way.

A pilot character is introduced, and she could be the only interesting character if they actually gave her more of a story and any sort of motive. She has this awful moment where she pulls off a luck maneuver and delivers the cliché, "I still got it," which doesn't really make sense because she is young and we have not been given any opportunity to think she does not in fact still got it.

The best part of the movie is Jeff Goldblum calling Dodgson a "rapacious rat-bast**d."

Bottle Rocket (1996)

Fun and quirky comedy

[8/10 · 30 May 2020]

Distinct, quirky, believable characters make this comedy very charming, light, and fun. The romantic side plot feels genuine and honestly compelling. In the short span of the film, all of the character develop, and you are happy for them even if the ending isn't what you would call happy.

Terms of Endearment (1983)

Fun and Honest

[7/10 · 5 January 2020]

A fun and honest film, Terms of Endearment spans many years, leading viewers to feel connected to (or even part of) the Greenway family. I have a degree in family science, so I'll say it again: fun and honest.

27 Guns (2018)

Incoherent propaganda, not art

[1/10 · 15 October 2019]

Written and directed by the daughter of one of the most brutal dictators presently plaguing the planet, this portrayal of her father, Yoweri Museveni, is straight-up propaganda. It wants you to believe Museveni is a liberator, that the suffering need a male warrior for a savior, and that guns and violence are to be celebrated.

In addition to the sloppy filmmaking, the content of this film is a disappointment.

It does not show how Museveni's NRA stole thousands upon thousands of cattle from his own people, forcing them into poverty, then celebrated him as East Africa's most lucrative dairy farmer.

It does not show how Museveni desecrated the nation's infrastructure, then pawned it off to Chinese corporations.

It does not show the brutality of Museveni's exploitation of child soldiers in his rise to power.

It does not show how Museveni seizes land and embezzles money for personal gain.

It does not show how foreign aid money is redirected to the wealthy rather than applied to communities.

It does not show reality.

It does not show truth.

In the Heat of the Night (1967)

A gripping murder mystery

[9/10 · 14 October 2019]

A Black man is passing through a backwards Mississippi town on the night of a murder. He is the initial suspect, but as a homicide officer himself, he quickly becomes more involved with the case than anyone in town would have expected... or wanted. A gripping murder mystery, for sure.

Joker (I) (2019)

Valid Point Irresponsibly Communicated

[3/10 · 6 October 2019]

Joker will be a keystone project in the careers of many of the crew; the score, cinematography, lighting design, costuming, and much more were all brilliantly done. Of course, Phoenix's performance exceeds remarkable. However, I take a lot of issue with the messages illustrated in the film.

The film opens with a news story about garbage accumulating in the city to the point of major health hazard. We later learn there has been a garbage strike, and it becomes more and more clear that Gotham's wealthy are to blame for the literal and societal filth that plagues the city. This is a valid point. Thomas Wayne is the city's villain. He looks down on the impoverished people of Gotham and says, "Accept me as your savior or take on the responsibility of making something of your lives." We have seen this abuse of privilege in actual American politics.

My issue arrises in how the villain is taken down. Arthur Fleck clearly struggles with serious mental health challenges, and the municipal government has clearly not prioritized providing him support, but the viewer is forced to empathize with his journey to becoming a psychotic killer and at no point does there seem to be an option for Arthur to make an effort to seek personal healing or more appropriate coping mechanisms. And so, Arthur accepts his mental illness as the core of his identity, becomes Joker, aimlessly starts a violent movement against the systematic violence of shoddy infrastructure, inspires the killing of the villain, and is exalted by his peers. This is a valid point irresponsibly communicated.

Many great conversations could come from this film. For one, we can consider that Joker's life parallels that of many superheroes; after a personal tragedy, superheroes employ retributive violence to "solve" society's problems, and they are then exalted by their peers. Even Bruce Wayne, who could invest his billions in wide-scale systematic change, ultimately chooses to instead dress as a bat and beat up the poor, disturbed people of Gotham. Additionally, the end scene of Joker calls into question our culture's over-valuing of happiness. We often hear the phrase, "I just want you to be happy," but for Arthur, the first time he experiences happiness is when he remorselessly murders. Is the means justified by the end? Should we care about peoples' happiness more than their deeper wellbeing? So, there is a lot of potential for people to wrestle with the dissonance this film creates. However, I am aware that, sadly, the average film viewer is not a responsible consumer and will not have important debrief after watching this film. Even more concerning, the film is emotionally escalating and does not send a responsible message to those who don't search deeper than art's surface. I think there is legitimate concern that Joker could incite a real-world movement, or at least a violent outburst here and there from unhealthy patrons.

West Side Story (1961)

A Classic American Musical

[6/10 · 18 April 2019]

This 20th century musical rendition of Romeo and Juliet is a phenomenal tale with timeless songs and iconic choreography, but I honestly prefer seeing it live.

Braveheart (1995)

An epic

[7/10 · 16 April 2019]

I'm not keen on glorifying a violent revolution, but the beautiful imagery, compelling score, and host of genuinely complex characters make this film compelling and memorable. In the beginning we are told "it's our wits that make us men," and by the end we learn that being a man takes courage and integrity as well. You know, bravery and heart. Braveheart.

Annie Hall (1977)

Witty, honest, and endearing

[9/10 · 16 April 2019]

Annie Hall is my absolute favorite romantic comedy. It's the rom-com for intellectuals-especially the intellectuals who are sick of intellectuals. Quirky, frank, and entertainingly stylized, Woody Allen's writing is top notch wit.

Dances with Wolves (1990)

The Trail of a True Human Being beautifully displayed

[9/10 · 15 April 2019]

With a strong cast, memorable costuming, and beautifully shot sequences, the viewer is veritably taken back in time to the lost world of the frontier. Cross-cultural empathy leads John Dunbar down "the Trail of a True Human Being" as he comes to admire a lifestyle that is about harmony, not profit or politics.

The Apartment (1960)

Captivating, beginning to end

[9/10 · 8 April 2019]

Considering the subject matter, it's unfortunate how much I relate to this movie, but I also think it is in some way universally relatable. The mark of a good film. Everyone engages in some level of self-destructive behaviors, throwing away their worth to feel loved, receive a promotion, or escape from something more painful than the pain they cause themselves, right? Anyway, it's an interesting and novel story with impressively clever in-jokes and Jack Lemmon as a very well-played lead.

Ordinary People (1980)

Stop Pretending Everything is Just Fine

[9/10 · 4 April 2019]

If you or a loved one has experienced trauma, or if someone you are close to pretends that everything is just fine when it really isn't, this is a movie for you. The authenticity really sucked me in, and I find myself wanted to recommend it to so many people. The film lacks diversity, but it focuses on achieving other things and does so quite well.

Spider-Man: Into the Spider-Verse (2018)

Phenomenal in every way

[10/10 · 1 April 2019]

Everything about this film is very well done, and I am so excited that kids can grow up watching such an amazing, empowering superhero movie with positive messages. The artwork throughout is stunning, and so many different styles are tied together seamlessly, many of them paying respectful homage to Spider-Man's original medium. The plot, voice acting, soundtrack, and humor are also spot-on.

Argo (2012)

Very cool movie made very irresponsibly

[5/10 · 27 March 2019]

While watching this movie, a friend said to me, "This plotline would be too unbelievable if it was not based on a true story." That is the incredible thing about Argo. Beyond that, I have some issues with its whitewashing of a Latino American hero, its unfair depictions of Iranians, its noncommittal portrayal of the CIA, and so many other things...

Marty (1955)

Very good for its time

[6/10 · 27 March 2019]

The value of this film is in the authentic grappling with genuine social, domestic, and familial strife. However, some of the messages of the film such as sexism and lamenting singleness have not aged well (because they were never good to begin with).

Hamlet (1948)

It's Hamlet on film; what you would expect

[5/10 · 8 March 2019]

Other than the implicit benefits of film (such as replay, pause, and rewind) not much is gained from adapting this classic to film. The exception being the scene between Hamlet, his mother, and the ghost, as that is the only scene with creative cinematography. The acting was likely great for its time, but the style employed is antiquated. It is a solid portrayal of Hamlet, but not much is particularly memorable.

Gentleman's Agreement (1947)

Powerful, well-written, and still relevant

[9/10 · 8 March 2019]

A writer moves to the Big Apple and feigns being Jewish to gain a better perspective on Anti-Semitism. The lessons about micro aggressions, advocacy, and the effects of discrimination are compelling to this day.

All the King's Men (1949)

Relevant tale of power

[8/10 · 7 March 2019]

Capital is decent motivator for progress, but a far better motivator for regress. This story of corruption in politics is still as relevant as ever.

Rain Man (1988)

Beautiful Redemption

[8/10 · 5 March 2019]

Rain Man is a quirky film about the redemption of a California businessman getting to know his autistic older brother for the first time. I appreciate that money and comfort are pitted against meaningful connection--and connection has the upper-hand. Dustin Hoffman nails the role, if you haven't already heard.

American Beauty (1999)

Very good film

[8/10 · 5 March 2019]

The message that White suburbia is really messed up (and that pretending it isn't only makes it more so) comes through loud and clear.

Crash (I) (2004)

Quick and engaging

[9/10 · 4 March 2019]

Overall, crash is an empathy-provoking experience with a stellar ensemble. Many characters' stories are beautifully interwoven, culminating in a third-act transformation for almost all of them. Crash receives a lot of criticism for being "on-the-nose" and "self-defeating" (among many other concerns) but I honestly think it's great. The editing looks amateur, yes, but the acting and storytelling are very engaging. To those who argue it is supposed to be about "stereotypes are bad" and then proceeds to contradict itself, I would say it is more nuanced than that. Something more like, "we all stereotype whether we realize it or not, and we may find ourselves falling into stereotypes, but we should always check our assumptions." So Also, I think (also hope) it is meant to be impressionistic, not realistic. View it as such and many of the issues people have dissolve.

The Woman in the Fifth (2011)

Not concrete

[6/10 · 6 February 2019]

Watch this with a group and have a great discussion on questions like: What happened in that movie? What was that about? How much of the content was symbolic and how much of it was actually concrete?

Or watch it alone and become miserably confused.

Roma (2018)

This is Art

[7/10 · 5 February 2019]

This feature carries social and historical relevance through an emotional year in the life of Cleo, a servant in 1970's Mexico City. The cinematography is impressive and the story provokes empathy left and right. Though it isn't notably entertaining or uplifting, one should be able to appreciate how genuinely artistic the film is, and how well "real life" is captured. The director has earned deserved praise, especially considering the high volume of extras in many of the long takes (not to mention he also wrote and produced the film).

The Babadook (2014)

Grief and Terror

[9/10 · 6 March 2017]

A brilliant depiction of what it is like to live in a home ravaged by grief. The innovative cinematography forces discomfort upon the viewer, who will surely be terrified if not taking solace in the idea that Mr. Babadook is the filmmaker's metaphor, not a corporeal entity. Just remember, the more you deny, the stronger he gets.