Monthly Archives: December 2023

12.24.23
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The Color Purple (2023)

The Color Purple is the second film adaptation of Alice Walker’s beloved novel, this one based on the Broadway musical adaptation as well, about a young woman named Celie who faces many hardships living in the South in the 1900s, but ultimately finds extraordinary strength and hope in the unbreakable bonds of sisterhood.

Though everyone in this new cinematic rendition The Color Purple is one of the best at what they do, the idea of making this a musical doesn’t always fit with the tone of all the rough things going on in the characters’ world, and the very clean cinematography removes the grit that Steven Spielberg’s version had that showed you the weight of the hardships and abuse Celie endured. Here, the most earned moments for Celie’s character aren’t necessarily her musical numbers but rather moments where Fantasia Barrino gets to shine just based on her interactions with other actors or set pieces that inform Celie’s character. Barrino is very strong in the role, but Taraji P. Henson runs away with the movie every time she shares a scene with her, or anyone for that matter. Henson portrays blues singer and “loose woman” Shug Avery with a power to her that commands every other character in both a loving and wise way, not to mention her show-stopping musical number in a tavern. Danielle Brooks is the other highlight as Sofia, whose characters shamelessness and courage shine through in both her songs and her incredible physical acting. Colman Domingo is simply incredible as Mister, inhabiting the character in not an inch less of meanness and disgust as Danny Glover did so brilliantly in the 1985 film, but also giving the abusive man a quietly human edge to him that Domingo finds even when the audience doesn’t want to see it. Corey Hawkins, Halle Bailey, and H.E.R. also give strong turns due to their potent screen presences and musical talents, and even Louis Gossett Jr. shows up for an excellent short appearance.

There’s no denying how amazing their singing and dancing is. However, it’s the songs themselves that don’t blend in with the material this story is telling. Save for a song or two, the lyrics aren’t quite memorable, either. This imagination of the story clearly works much better as a stage musical, where the audience can interact with the actors in real space as they sing and dance. For a film that gets cruelly serious at times, though the more uplifting song breaks don’t compliment the more hard-hitting scenes as much as the film would like to think, even though the actresses are always killing it. And although the costume design is award-worthy, the digital cinematography may have given it more of a music video edge that director Blitz Bazawule is used to, that could’ve benefitted from longer shots and a more period-like look. In short, come for the spectacular cast and a timeless story, but there’s no promising audiences won’t prefer the rougher and more dramatically coherent film that Spielberg led back in 1985 with Whoopi Goldberg and Oprah Winfrey.

12.23.23
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Aquaman and the Lost Kingdom

When Black Manta returns for revenge against Arthur Curry/Aquaman, who is now King of Atlantis, he must unite with his former enemy — his half-brother Orm — to prevent Manta from causing a global catastrophe.

The first Aquaman film isn’t a must watch for action or fantasy fans, but it’s a fun film that knows what it’s going for and how to build an engaging world and action set pieces on the screen. Save for a few cool effects and maybe one action scene that’s great, this soulless and uninspired sequel lacks all of that. The story is so convoluted and unengaging that it’s hard to imagine James Wan had any part in bringing it life. Jason Momoa is having a great time in the titular role, but everyone else seems like they’d rather be anywhere else, even the great Nicole Kidman. Aquaman and Orm’s brotherly dynamic isn’t as sweet as the film imagines it is, and it’s basically the same dynamic Thor and Loki had when the latter broke out from prison in Thor: The Dark World. However, Momoa gives off that endearing energy very well in his line delivery — maybe the only good thing this script has going for it. Yahya Abdul Mateen II as the main villain really excited me, but even he isn’t really used well, with his unfiltered rage being clouded by plot MacGuffins and silly side goals that the film should’ve done without, not to mention Randall Park who’s very well cast but his character isn’t executed that strongly, and Dolph Lundgren’s incredibly questionable and head-scratching performance.

The visuals of Atlantis still look cool but the corners of this fantastical world that are explored this time don’t look very interesting once you leave the kingdom of Atlantis itself, which is pretty early on. Besides one action scene that takes place in the first act in Atlantis’ big city you saw in the first film, the action’s choreography misses the mark and the attempts to raise the stakes by adding plot devices and tying them into climate change are too tacked on. There’s also plenty of dialogue and soundtrack choices that are simply irritating and generic. Through the end, Aquaman and the Lost Kingdom doesn’t seem interested in redeeming itself and settles for the less exciting decisions each time. It’s a disappointment considering how enjoyable and cheeky that first movie is, and does nothing to warrant a watch even for fans of that first movie’s energy and characters, or action movie fans in general besides some empty spectacle without the delight.

12.19.23
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The Zone of Interest

The Zone of Interest is not quite like any film-watching experience you’ve had before it, telling its story through the perspective of the commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, as they strive to build a dream life for their family in a house and garden next to the camp. The film doesn’t focus on the horrors that family name caused, but rather the “ordinary” life they set out to lead — all as the unspeakable was unfolding on the other side of the wall. Jonathan Glazer creates an experience that feels like being sucked out of your seat and thrown into a time capsule. The cinematography is some of the best I’ve ever seen, especially with a film in which what you don’t see is the true thematic weight of the film.

Christian Friedel and Sandra Huller lead the film but are captured almost entirely through wide shots, as to not quite allow you to get close to these historical figures of evil and rather portray them in their seemingly cold and mundane lives. The sound editing is faint yet visceral, and sickening as a result. This is a film where the smallest of details are what create the true big picture — perhaps the echoing of a scream in the background that is never addressed by the characters as they go about the scene, or something small a character finds in the frame that he then hides from his children. This is how Glazer brings about the attitudes of people believing they deserve the best through hard work and a picturesque lifestyle, all while their lives are entangled in systems of evil. In addition, the metaphorical framing of objects in the house or stories and poems told create the most chilling of images in the most seemingly “innocent”. Mica Levi’s musical score isn’t ever-present in the film, but when it’s there, it sums up the film’s dark tone with an almost hellish omen of sin and sorrow. Though we’ve seen disturbing films about the evils of the Holocaust such as Schindler’s List and The Pianist, what this film dares to do is show the delusional ignorance of a wicked, bigoted people that was completely normalized to genocide. It’s a difficult yet haunting and essential watch that’s not only sadly relevant, but expertly told through the conjunction of sound, cinematography, and editing through Glazer’s singular vision.

12.17.23
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Wonka

Ever wondered about the origins of Roald Dahl’s iconic chocolate factory owner that’s been famously portrayed by Gene Wilder and Johnny Depp? Well, neither did I, but Timothee Chalamet absolutely gives a performance that lives up to those standards in an unnecessary yet whimsical family film. Though the story is as frustratingly familiar as it is cute, Paul King’s direction and a few musical numbers are the saving grace here. King brings the charm that made Paddington resonate with viewers and brings a wondrous British comedy element to the film, along with an optimistic and adventurous tone. Though only a few songs demand revisits, the musical numbers give the film a lively energy that would’ve felt contrived without them. Chalamet throws himself into the physical comedy of the character and also sings very well, and Calah Lane is a great breakout as a young orphan named Noodle who Wonka befriends. Olivia Colman is also delightfully wicked, and Jim Carter and Natasha Rothwell stand out as Wonka’s outcast friends. Keegan-Michael Key’s performance may not reach the heights of his more streamline comedic turns, and Hugh Grant’s turn as an Oompa Loompa is ruined by distracting CGI — the role was obviously there for the studio just to gloat about having the iconic race of mini-people in the film.

The film’s corrupt, mustache-twirling trio of businessmen villains are also entertaining and so unapologetically cheeky that one of them even vomits at the sound of the word “poor”, but for all its funny and charming moments and the outstanding costumes and production design, there’s also some unconvincing computer-generated set pieces and some overblown humor that may only be aimed for younger audiences. There’s also some plot elements that may feel too much like other kids’ films, even Paddington or another recent origin story Cruella bear lots of similarities in the story. As a film that’s right for the entire family and may even be good for rewatches for children in the holiday season, Wonka delivers, but it may be too silly for older audiences despite its endearing appeal and cast.

12.15.23
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American Fiction

Thelonious “Monk” Ellison, a writer frustrated with his struggles to gain fame and publish a book, is fed up with the establishment profiting from black trauma in entertainment, so he writes a book under a pen name that purposely feeds off the black stereotypes and exploitations he resents. Ironically, his book soon becomes a hit and propels him to the heart of hypocrisy and the madness he claims to disdain.

First-time director Cord Jefferson has created a laugh-out-loud satire that mirrors the world of entertainment we live in, but also balances the family drama elements strongly. Jeffrey Wright gives a career-best performance in a project that feels like it’s finally utilizing and exercising the beloved character actor’s talents to their full extent. Wright leans into the script’s “straight comedy” elements of Monk adopting an alias and putting up with his frustrations with the industry, but he also gives the film a lot of emotional gravitas that’s needed to feel for Monk as a human being. Sterling K. Brown is hysterical as Monk’s goofier younger brother who steals the scene just by being there and acting so out there, while Issa Rae and Erika Alexander also give strong supporting performances, not to mention the entertaining dynamic between Monk and his agent played by John Ortiz.

The film cleverly takes a meta approach to modern-day media consumption and the idea that the public will eat up any story about minority communities as long as they bathe in trauma and suffering. Jefferson’s script takes on the popularity of films like Boyz n the Hood, Precious, and many others in the idea that limiting black voices to black pain or pitiful stereotypes may make the culture overlook stories from black artists that don’t delve into such melodrama. The film jabs at the fact that for years, many black roles were slaves, gang member, or citizens of poor neighbors, and that there’s so much more to black characters and stories — and especially the idea of “woke” whites taking offense or defining the societal norms on behalf of minorities on such matters. There’s plenty of food for thought in the clever approach the film takes to its satire, but also laughs that sometimes come at you at a lighting speed, and nuanced characters who aren’t defined by their race, as Jefferson proves, all while showing frustration at the way things are. It’s as great of an audacious comedy as it is a character drama that offers a unique satirical voice with memorable performances from Wright and Brown.

12.09.23
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Poor Things

Bella Baxter is a young woman brought back from the dead by the brilliant and unorthodox scientist Dr. Godwin Baxter. Under Baxter’s protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn, a slick and debauched lawyer, on a whirlwind adventure across the continents.

Trigger warnings are a no-brainer with Yorgos Lanthimos, as his films are often filled with sadistic, violent, and hypersexualized power games where nobody is quite a pleasant person. These tropes as well as Lanthimos’ trademark cringe humor are just the baseline to describing Poor Things, a sickening yet grandiose movie that transcends categorization. It’s hysterical but not quite a comedy; it’s poetic but not quite a drama. Emma Stone gives a performance so demanding and so audacious yet it never breaks the illusion of being acting. You completely buy her character in the context of the story and are taken aback by her character’s abnormal physicality and wonder with being alive. Mark Ruffalo is also throwing himself into this role that could’ve easily fallen into unbelievability, but he perfectly balances an exaggerated, almost theatrical edge to his role with a vile, pitiful nature to it. Willem Dafoe plays a scientist under heaps of makeup whose motives may provide an emotional anchor to Stone’s character but also unpeels itself to be uncomfortably pathetic due to his background, and Ramy Youssef also does a great job here.

Poor Things may owe some of its inspiration to classic monster movies, but really isn’t like anything audiences have seen before. The production design creates an eye-popping, fantastical version of the Victorian Era and a world with a completely fresh aesthetic, as well as dynamic cinematography with color, B&W, and even a few fish-eye lens shots to invoke Bella’s warped worldview. Bella’s curiosity is devoid of prejudice and preconceived notions on the world’s structures, and she finds herself appalled by those around her trying to control her, and fascinated by anything she gets to choose to do. The humor is ridiculously honest and ballsy, and therefore, not for everyone — not to mention the exaggeratedly comic sex scenes and the uncompromising and even disgusting violence. Its audacity will certainly find its pleasurers, especially those who already love the director’s filmography. This bold tour de force isn’t for the faint of heart and may leave you at a loss for words. The writing and execution are exhilarating in the best way; the more disturbing and out-of-this world it gets, the less you’ll feel you want to look away. You’ll simply want to witness the bizarre yet fascinating unfold in front of you when it’s through Yorgos’ eye and so irresistibly played by Stone as this woman with the literal brain of an infant in her head, eager to experience being alive for all its peculiarities..

12.04.23
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Napoleon

Two decades after receiving his first Oscar nomination for Ridley Scott’s Gladiator, Joaquin Phoenix reteams with the legendary director for another epic action film about one of history’s most famous (and infamous) generals. Scott delivers on the promise of a Napoleon epic filled with spectacle. The action sequences are clearly committed and the best of Scott’s approach. The grandiose definitely comes through particularly in two famous battles; the violence does get a laughably gratuitous in certain occasions, though. Phoenix’s central performance captures Napoleon’s larger-than-life presence without romanticizing his historical grandeur, showing his ruthlessness and narcissism having led to countless deaths through his wars and invasions. His performance makes his screentime interesting, but sometimes the political dynamics drag and other scenes fall into unintentional camp or lifelessness when the battlefield isn’t the centerpiece. His relationship with Empress Josephine (Vanessa Kirby) is an interesting but also generic storytelling catalyst as well. The music and editing feel particularly poor in the film’s execution and rather unfitting. Though it’s cool to see the 158-minute film cover Napoleon’s entire life and rise to power, it also robs the film of any intimate tension that a film like The Last Duel benefitted from. Sometimes it feels like empty spectacle, and the muted color palette may distract in the wider shots, too.

Still, Napoleon benefits from its production value and immense storytelling among a historical icon’s rise and fall, and seeing a 2.5-hour Ridley Scott Napoleon epic may be all we really needed and were asking for. With the engaging action and lead performance that carry some of the film, it delivers on those fronts. However, it isn’t a must on the big screen and may still deliver the same entertainment when you watch it at home, as the grandiose on its own may be the saving grace for those who end up liking it.

12.01.23
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Wish

In the Kingdom of Rosas, King Magnifico safeguards the people’s wishes with the promise to grant them one day. But when young Asha wishes upon a star for her community to have better, what she didn’t expect was for the star to answer back.

Disney experiments with the 2D coloring of 3D characters that films like the Spider-Verse have popularized, which can’t seem to make up for the film’s derivative story. Though the animation is vivid in colorful in the scenes that are night-set or creatively lit, most of the scenes set during the day feel like they lack lighting or any sort of flare besides the gimmick. Ariana DeBose’s performance is full of joy and her singing is spectacular, though that shouldn’t come as a surprise. The character of Asha has nothing to really distinguish herself from other Disney heroines like Rapunzel and Mirabel, and the concept of her wishes and motives feel rather underdeveloped. Chris Pine does great as well, but his villain’s descent from charismatic leader to power-hungry wizard feels unearned. None of the supporting characters are quite memorable, and a few of the songs do stand out, including “This Wish”, “At All Costs”, and “This is the Thanks I Get”. But both the middle and end portions, particularly the talking animals and forgettable action, greatly suffer from this lack of an interesting ensemble and heart that made the characters in Frozen, Moana or Encanto resonate. It’s certainly enough to keep the children entertained and singing along, but is also too generic to earn a place among the ranks of other films from the studio that have solidified themselves in Disney’s legacy.