Clint Eastwood directs this new crime film inspired by a true story, and plays a 90-year-old man who becomes a drug mule for the Mexican cartel.
As an actor and director, Clint Eastwood has been influencing generations of cinema for over half a decade, and he’s still staying strong in his career, having released 2 movies this year, and also starring in the leading role in this one. His performance is the standout of the film, as expected from him, and he carries the film with the force he always brings to the screen, making a complex character who isn’t always likable but you are interested to watch him throughout the events of the film anyway. Eastwood’s direction is also top-notch and reminds us why he’s one of the master filmmakers of our time. The overall plot is sometimes well written but also gets slow and repetitive at times, and at the end, a bit predictable. Like I said, Eastwood’s role really is great, but other known cast members such as Bradley Cooper, Laurence Fishburne, and Michael Peña should have been given more to do in the film. The movie tackles some relevant issues like the stereotypes of certain races, but it only does so briefly and not very subtly when it is addressed. It’s got some good themes by the end as well as some good tension that Eastwood crafts well, like two men on opposite sides of the law sitting next to each other in a restaurant, which is intriguing when both talk as they don’t know who the other is. However, it often falls into familiar crime drama tropes and under-uses some of its best aspects. The Mule can be enjoyed for what it is and Eastwood brings the energy he always does to the film, but it doesn’t quite go above what one would expect from an average true crime drama, even though Eastwood’s directing touch is there and those who have been following his career should definitely check it out. But in the end it isn’t as memorable as other films he’s starred and directed in recent years like Million Dollar Baby and Gran Torino.
Arthur Curry, known to the mortal world as the Aquaman, goes to Atlantis to claim his birthright of the throne and prevent his half-brother Orm from waging war against the surface.
Visually stunning with its immense use of CGI for its gorgeous setting of Atlantis, Aquaman stands out from the rest of the DC Extended Universe because of its engaging action and splendid visuals brought very well to the screen by James Wan. His action scenes feel inventive and the style feels very ambitious. The way he immerses you into this vast underwater kingdom looks great and the VFX are very appealing to the eye, with the exception of one desert scene which did not look authentic. James Wan experiments with long takes and creates very fun set pieces including a submarine battle, a fight on the streets of Sicily, and a giant underwater battle the size of the third act of a Star Wars movie. The sets and costumes blend in with the visuals to create a lively mood that feels huge in scale and does not hold back on feeling like an epic, crafting some of the best DC fights and settings yet. Unlike Batman v Superman and Justice League, this installment actually has a thoughtful emotional arc for its characters, including its lead, even thought not all the performances hit home. Nicole Kidman is always fantastic, so it’s no surprise that she’s the highlight of the cast as Arthur’s mother, and Willem Dafoe is also great as an Atlantean who trains Arthur as a young boy and allies with him throughout the movie. Other than that, none of the performances were noteworthy enough to remember their characters as unique comic-book characters. Despite Arthur and Orm’s strong motivations, Patrick Wilson’s acting isn’t strong enough to really hate his villain and even though Jason Momoa has some humor as well as heart, he doesn’t deliver a complex character that embrace the audience as human beings, like actors such as Chadwick Boseman and Chris Hemsworth have done in the past. As for Amber Heard, she isn’t boring to watch on screen but she really is just a female sidekick/badass that helps Arthur on his journey, and there’s an unnecessary romance between them thrown in at one point too. There’s also a character named Black Manta who feels like a justifiably fueled character but ends up being unneeded to the rest of the film and only there to throw punches in a great action scene set in Sicily.
Aquaman has a lot of great things going for it, but it ultimately feels like a bit much. There’s a lot of aspects about this film that could’ve worked but don’t get the focus they need — a mature tale of Aquaman learning what being a hero means, a duel between two brothers longing for their mother’s love and the worthiness of the throne, a Raiders of the Lost Ark-style adventure across the globe in search for an ancient artifact. So much is explored that had potential but it feels like the film only needed one or two of these elements to work as it did. James Wan experiences with different shots and editing techniques, and some hit home while others do not, and some of the dialogue needed improvement. The overall writing for these conflicts is solid but ultimately this family rivalry between Arthur and Orm doesn’t feel as potent as Black Panther and Killmonger’s relationship earlier this year. Aquaman at times wants to be more than it is, and it ultimately won’t spark any conversations like a few lines try to or hit that mark where you’ll embrace all these characters as family like you would in a Marvel movie, but Aquaman ultimately does its job, which is to entertain, and thankfully feels more coherent than DC’s past failures like Batman v Superman and Suicide Squad. Entertaining and stylish action let this feel like a standalone film and not just a studio exploitation, and it went above my expectations by making an immersive and exceptional world in Atlantis and building on the mythology of the DC universe. Ultimately, those with high hopes for Aquaman or average action moviegoers will find themselves cheering for the titular hero by the end.
Based on a true friendship between Tony Lip, a working-class Italian-American bouncer, and Don Shirley, an African-American classical pianist. In the 1960’s, Lip becomes Shirley’s driver on a concert tour through the American South.
We have received a lot of movies in recent years that focus on race and segregation through true stories, and it’s nice to have one on a very small scale that only focuses on a friendship between two people but still carries its point across as effectively. Viggo Mortensen stands out as Tony Lip, a somewhat selfish character who has a heart but also acts however he ants and isn’t afraid to use violence on whoever he deems needs to learn a lesson. Mahershala Ali is also great, as he clearly spent lots of training to learn how to become such a great pianist like his character, but his role is also sophisticated and caring despite facing racism in such a time in the Deep South. The chemistry between the two makes the film so interesting; Mortensen’s character has a narrow view of those outside of his poor Italian neighborhood in New York but learns to become good friends with those he never though he’d meet and become a friendlier person. The contrast between the two is also excellent — not just between race but also between social class — Tony Lip has a more uncultured manner, also having grown up in a poor neighborhood, while Don Shirley is a very elegant and honest man, and this contrast makes scenes like the two sharing a bucket of fried chicken come off as very entertaining. Shirley is a character who seems like he’s in a higher class and given more opportunity to perform than other black artists at this time due to segregation, but even though he never sees himself as any lesser than the white audiences he performs to, he feels that he’s treated as “just another black man” to the moment he steps off stage, as he explains in a powerful monologue that’s definitely the best scene in the film. This breaking of stereotype, a wealthy black man teaching a poor white man life lessons like kindness (and he even helps him write poetic letters to his wife), but maintaining of realism makes the film even more thought-provoking, and the dynamic between the two main characters while delivering themes about interactions between race and social class in the ’60s makes the film a worthy watch, that I’m sure won’t be ignored in awards categories like Picture and Actor.