Author Archives: filmtoppings

01.02.17
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Fences

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Denzel Washington directs this adaptation of a Tony award-winning play in which he and Viola Davis once starred in, and here they return in their roles as a working-class African-American father and his wife, who try to raise their family in the 1950’s. Here they deliver two of the year’s best performances with terrific chemistry and dialogue. Washington plays a complex character with a difficult past and a lot he must deal with in the present, who at first seems like a typical nice family man who cares about those close to him, but he’s also intimidating when he wants to be. Delivering such a strong performance like this can be especially hard when you’re on both sides of the camera, but he’s able to convey this character’s personality and wide range of emotions very well. As for Viola Davis, she hasn’t been this good in anything since The Help. She gives it he absolute best here in every sense, and capturing the on-screen feeling of her character, who’s different than the typical housewife you’ll see in this type of films, is a task she’s definitely fit for handling. Despite the performances, there isn’t much about Fences that everyone is guaranteed to love. Sitting through this film requires more patience than most dialogue-heavy movies, and not because it’s 140 minutes long, but because of the extended scenes that span from 15-20 minutes, with a limited amount of characters and are heavy with dialogue and information. While many audiences may enjoy this style, others may not exactly enjoy sitting through the film. I enjoyed watching Fences on the most part due to its powerful themes and especially the performances, but its not one of the films that is guaranteed to keep everyone interested throughout the movie’s runtime. Watching Fences feels more like experiencing a play than a movie, so how much you’ll like it depends greatly on your taste. Some will definitely be captivated by nearly every moment in the film, and some may not enjoy it as much. It’s worth watching for the acting and the intense rush of feelings that you’ll experience in every scene. The emotions that are brought in and conveyed in each scene of the movie were unpredictable and there were lots of moments where mere dialogue exchanges felt heart-pumping because of this. The script deals with the characters and their relationships very well, building up the feelings and feeding us information about the characters throughout every minute in the film, until there becomes a bit too much for the screenplay to need to handle. The small setting in which the entire film takes place makes the larger picture of where and when the movie takes place feel underdeveloped, but the way the actors bring the characters and how they interact with the setting definitely makes up for this.

Fences isn’t a must-watch for everyone due to its theater style of scenery and storytelling, but it brings some superb writing and terrific performances to the screen that you can be sure the Academy won’t ignore.

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12.19.16
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Rogue One: A Star Wars Story

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Set before the events of the original Star Wars, Rogue One follows Jyn Erso, whose past connects her to the Empire and the construction of the Death Star, as she joins a team of Rebels on a seemingly hopeless mission to steal the plans to the Death Star and stop the Empire from using it to take over the galaxy.

Rogue One is definitely the movie that all Star Wars fans, including myself, have been waiting to watch this year. I was excited to watch this movie like any fan would be, but I was slightly skeptical as this is Lucasfilm’s first Star Wars spin-off. I was mostly satisfied with what I got. By no means does it reach the heights of The Force Awakens, but my inner Star Wars fan had a blast watching Rogue One. The impressive action sequences, terrific cast, and gorgeous visual effects make this film a treat to watch on the big screen. The style feels somewhat different than what we’ve received in previous films of the saga, and the action doesn’t feel too similar or borrowed, either. There’s a different approach to the violence and buildup because of this movie’s efforts to feel like a grounded war film, which it succeeds at very well. The fight scenes which include the classic X-Wing vs. TIE Fighter battles, Stormtrooper-filled shootouts, and other nostalgic callbacks are all shot and directed very well by Godzilla director Gareth Edwards, whose ambition for this story and franchise mostly pays off. Felicity Jones plays a strong female lead with a great backstory and lots of reasons to root for her. She and costar Diego Luna both bring lots of fun to their characters and carried the film very well, although Luna’s Captain Cassian Andor could have used more development. Ben Mendelsohn stars as an antagonist who opposes Jones and brought a great new character to life through his interesting performance. The supporting cast, including Donnie Yen, Jiang Wen, Riz Ahmed, Mads Mikkelsen, and Alan Tudyk are all phenomenal, although some of the heroes we are rooting for aren’t fully realized and lacked some of the development that I wanted from them. You’ll definitely also recognize Forest Whitaker in an over-the-top but fun and key role in the film.

Although Rogue One‘s visual appeal and high enjoyment level make this a must for all fans of the series, it fell slightly below my expectations. Like I said before, not many of the characters are fully developed and although they’re all awesome to watch on screen, some of the writing for their backstories and motivations were missing. The opening act is too rushed and passes by a lot, with editing that could have been stretched out a little longer and scenes that could have been made more memorable and meaningful. The film just kept getting better as the run-time went on, though, with the themes soon becoming more powerful and relevant and the style becoming more distinct than the previous films. The final act of the film is when I was really convinced that this was the Star Wars film we deserved – the last 45 minutes alone are worth the ticket price, perfectly setting up the original movies and giving us a great touch of what we love from ’70’s and ’80’s sci-fi. Rogue One also features tons of memorable cameos from our favorite characters from 1977 and onward, which is guaranteed to be nostalgic for all audiences. With its surprisingly thoughtful and interesting themes that younger viewers will enjoy as well, and a spirit that brings us back to the golden age of sci-fi cinema, Rogue One will not disappoint Star Wars fans looking for a serviceable spin-off with a satisfying plot, cast ensemble, and jaw-dropping nostalgia.

Packed with great action and visual effects, as well as a strong cast and themes, Rogue One is the prequel all Star Wars fans have wanted since 1999. It’s not as great as I think it could have been, as some characters are underdeveloped and the editing and pacing could have been more effective in the first act, but overall, Rogue One is a must-see for all fans of the saga and one of the most entertaining action films this year.

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12.18.16
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La La Land

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A jazz pianist and an aspiring actress, both pursuing success in the city of Los Angeles, fall in love, but the dreams they worked so hard to achieve threaten to break them apart.

From the brilliant mind behind Whiplash comes by far the most entertaining, heartfelt, vividly smart, and well-shot film of the year. Damien Chazelle has reached the heights of his previous film with a musical that pays homage to the golden age of Hollywood musicals yet comes up with something so original and relevant to our generation. La La Land is one of the most passionate and ambitious projects this year, and embraces its themes and emotions about pursuing your dreams in every moment of its run-time. From the beautifully shot musical numbers to the terrific leading performances from Ryan Gosling and Emma Stone, there’s nothing to this film that can be missed. The marvelous cinematography that almost never cuts in between scenes, the cheerful and praiseworthy music, and the incredible set pieces help make this film a wonderful visual experience as well, and there’s no doubt that it’ll get awarded for all the technical categories that it so beautifully masters. Gosling and Stone have excellent chemistry on screen,  and they were perfectly cast in their roles which they portray with tons of strength, character, and charisma. There is some excellent use of imagery and symbolism throughout that isn’t hard to notice. Every shot in this movie is something new, filmed like no other movie before in recent years. I did not think Chazelle would be able to reach the heights of Whiplash with his next film, but he was able to do it in the best way, and his career definitely won’t stop here. La La Land uses its incredible sets, camerawork, music, and acting talents to build a wonderful and extraordinary experience, and although tough, it’s ultimately settling in the most beautiful way.

La La Land is truly a special movie that tops nearly every movie I’ve seen this year with its emotional and visual brilliance, with a superb cast and unforgettable music. There’s no way you won’t love this movie if you go see it, so I highly recommend you watch it on the big screen, because you won’t regret it.

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12.11.16
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Nocturnal Animals

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Susan (Amy Adams) is an art gallery owner who receives a book manuscript from her ex-husband Edward (Jake Gyllenhaal). As she reads, she is drawn into the fictional life of Tony Hastings (also played by Gyllenhaal), a math professor whose family vacation turns violent.

Nocturnal Animals isn’t the ordinary film you’d go to the movies to watch – I knew this from the moment the film started. It’s not simply a thriller, or a drama, either. It’s hard to fit Nocturnal Animals into one genre of film – that’s why it does so well on its own. Gyllenhaal outdoes his work in this year’s Demolition as both the author of the fictional novel of which the film’s themes revolve around, as well as the novel’s protagonist, and what shocked me is that he was able to deliver two completely different performances in one film. Michael Shannon is also scene-stealing as a detective who will go far distances to see justice done, or even do it himself. Adams also delivers a strong emotional connection with the audience as we dig deeper into her character’s past and feelings, and Aaron Taylor-Johnson is unrecognizable and frightening in a role like nothing he’s played before. The cinematography is breathtaking, and the sound editing is gripping and realistic. From the film’s first act, my heart was pumping and I was always on the edge of my seat. Every scene demonstrated the cast and crew’s marvelous talents, and always brought some new feeling or reaction into the film, and in a great way. This is easily one of the most thrilling and unpredictable films of this year. The way the director combines different story-lines and beautiful visuals to create an extraordinary story is haunting but also memorable. The film may sometimes by tough to watch for some viewers, but I found myself constantly intrigued and never pulled out of the film. The ending is also something I did not see coming, leaving me still thinking about how everything so cleverly connects, with the movie’s writing, performances, visuals, and excellent execution adding up to pure cinematic brilliance.

Although I can’t say everyone will enjoy watching Nocturnal Animals, I personally found it to be an intriguing and masterfully done piece of cinema, with strong emotions that are conveyed indirectly and brilliantly to the audience, with strong imagery and fantastic acting that I think most moviegoers may appreciate and love like I did.

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11.25.16
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Moana

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In Disney’s latest animated musical, Moana, the teenage daughter of a village chief, sets out to save her island and her people, with the help of a troublesome but fearless demigod named Maui.

We all know from previous experience you’ve got to rush to the theaters whenever Disney releases an animated movie – and this one’s definitely worth it. Moana is not a princess movie – even Moana herself denies that she’s one. There are story elements and character arcs that will remind you of Aladdin, Frozen, and more, but Moana is as distant from the “Disney princess” genre as it gets. Auli’i Cravalho, 16-year old Hawaiian native and newcomer to showbiz, voices our lead and brings tons of heart and independence to her character. Moana isn’t looking for a prince to save her – she knows only she can embark on this journey to save her island. Disney wouldn’t have thought to create a heroine like that 10 years ago, and I’m glad we live in a world where our next generation will be getting films like these. Cravalho not only delivers her character’s courageous soul, but also a few memorable musical numbers with a voice that I’m sure will get her somewhere soon. You know who else can sing? Dwayne “The Rock” Johnson, who sings my favorite and arguably the catchiest song in the movie, and he also delivers a phenomenal voice performance as the self-absorbed demigod who reluctantly joins Moana’s adventure. Disney hired the right person to write Moana‘s songs in Hamilton creator Lin-Manuel Miranda. Although there is less singing than in Tangled and Frozen, and you probably won’t catch your children singing the songs from this film like they did with “Do You Want to Build a Snowman?” and “Let it Go” a few years ago, the songs here were much better written and a lot more enjoyable for me.

Should Moana enter the race to the Best Animated Feature Oscar alongside Finding Dory and Zootopia?  Well, I’d say that it absolutely should. Who thought that Disney could release two computer-animated movies in the same year without the Pixar trademark and they’d both be so successful? The animation is stunning, and the ocean and the creatures living in it, from sea turtles to stingrays, look gorgeous thanks to the hard work put into the movie’s visual appeal. The uniqueness and entertainment of Moana is why you should definitely see this one on the big screen. The movie’s humor is mostly aimed for younger audiences, but it still had me laughing hard throughout. Although some plot elements at one point feel too familiar from other Disney films, as well as the message about how every individual is important and can make a difference, it’s the way it’s executed that makes it all fit perfectly in the end, and will be sure to leave a huge smile on your face.

Disney has done it again with Moana, an extraordinary, heartfelt, and wonderfully executed musical adventure that the whole family is sure to love. A beautifully looking tribute to Polynesian culture and mythology, this is one entertaining journey that you should not skip watching on the big screen. Stay tuned after the credits for an extra gag, and make sure to be there on time for a fantastic short film before the feature.

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11.20.16
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Fantastic Beasts and Where to Find Them

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In the next film in J.K. Rowling’s Harry Potter universe, set 70 years earlier in New York City, Fantastic Beasts and Where to Find Them follows writer Newt Scamander as he must recapture the creatures that have escaped from has magical suitcase, and prevent war between wizards and humans at the same time.

It’s not hard to expect another Harry Potter film to be released after the series “concluded” with such success, but what I didn’t expect was mediocrity below what director David Yates has brought to the saga before. It’s not the lacking of the presence of Hogwarts and all our favorite characters from the previous films, but of the magic that made them all so memorable. Fantastic Beasts rushes into the adventure way too quickly and early on in the film, rather than taking it’s time to introduce you to everything that’s going on. Bear in mind, Warner Bros., you have five films in this series, not just one. By the time the movie stops to actually explain things, everything is different for our characters from when the film starts. The exposition isn’t given in the correct places and sometimes not at all. And there isn’t very much you need to know about Harry Potter to understand whatever’s happening – Hogwarts is merely mentioned once, in case you thought you’d be reminded of the saga as much as you’d be of The Lord of the Rings when you saw the Hobbit movies. Easily the most fast-paced movie I’ve seen this year, there is too much exposition and too many events happening one after another that it felt like the movie couldn’t have a larger budget and couldn’t be a minute longer. This movie would have been a lot better if its length was stretched out to three hours instead of being crammed down into two.

Yates directs some exciting and visually appealing action sequences that managed to keep me entertained, and the sets of 1920’s New York look great as well. Newt and the rest of the protagonists are well-written and likable enough for me to see them followed in four future films, but Oscar winner Eddie Redmayne in the leading role and Dan Fogler as Newt’s Muggle friend are the only actors in the film that didn’t look like they’d rather be anywhere else. Even acclaimed actors like Colin Farrell and Carmen Ejogo hardly bring any life to their characters. The villains are incredibly flat and uninteresting, and I found myself getting slightly pulled out of the story whenever something was going on with them. The movie relies too much on an overuse of CGI (not all of which is as good as I hoped) to keep the audience engaged, as well as bits of humor here and there that didn’t always make me laugh. There are some plot points that would be interesting to see explored more broadly in future films, including appearances from a few familiar actors, one of which you’ll definitely recognize and will catch you by surprise. Otherwise, there’s not much to look forward to in the future of this series, although Yates hasn’t completely blown his opportunity of making a good spin-off series just yet.

You may want to give Fantastic Beasts and Where to Find Them a watch in theaters if you enjoy fantasy movies, but there’s not much to find here otherwise that will require you to rush to the theaters and buy a ticket. Besides some entertaining action and great leading characters, Fantastic Beasts is an overabundance of exposition and CGI that’s disappointing for whoever’s expecting it to be as great as its predecessors in Rowling’s  universe of magic.

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11.12.16
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Arrival

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When Earth is thrown into turmoil after 12 mysterious spacecrafts land in different locations around the planet, a linguistics professor (Amy Adams) is recruited by the military to assist in translating the aliens’ communications.

I did not think it would be Denis Villeneuve, the mastermind behind Prisoners and Sicario, to create the most clever, gorgeous, and poignant film of the year, and one of my favorite sci-fi films of the decade, right up there with Christopher Nolan’s masterpieces Inception and Interstellar. Although I can’t say I didn’t love Villeneuve’s previous works, I simply did not believe that Arrival would transcend the quality his other films by that much, creating a spectacle through its magnificent themes about love, life, and death. What the trailers show you is a science fiction thriller that pulls inspiration from alien encounter classics such as some of Spielberg’s first works in the sci-fi genre, but what I got was something far deeper. Arrival‘s brilliant form of storytelling and gut-punching emotion, as well as some gorgeous cinematography and Jóhann Jóhannsson’s awe-inspiring music, which Villeneuve uses so perfectly, is what easily makes it the best film I’ve seen all year. Amy Adams delivers a career-defining performance that I sure hope lands her an Oscar nomination, because of how much emotion and sensibility she brought to her character. Although we’ve seen films in which one character knows how to communicate with the extra-terrestrials beings while the rest refuse to trust them, the writing makes it feel so extraordinary and fresh to the genre.

Not only was I taken aback by every shot in the film, and by every one of Villeneuve’s perfected use of imagery and symbolism, but the themes and emotions explored in the film hit me hard. Not to mention the final 20 minutes of the film, which are like nothing I’ve ever seen. The film evolves into a complex psychological drama, and the ending, which changes the entire way you look at the film, left me breathless. I still can’t stop thinking about the film since I watched it. See the film to find out what I mean. Denis Villeneuve has become one of the greatest film directors working right now, with his beautiful visual storytelling and imagery, and being able to create such amazing scenery with a budget less than $50 million. I applaud him for being able to create a complex and thoughtful film that’s comparable to the works of Christopher Nolan and even M. Night Shyamalan. Please help this movie at the box office and go see it in theaters, because it’s definitely worth it and better than anything else playing right now.

Arrival is a masterful and impeccable work of art. With a strong leading performance and a fantastic screenplay and narrative, Denis Villeneueve brings a piece of science fiction that’s not to be forgotten to the big screen, and what’s easily the greatest and most watchable film of the year.

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11.05.16
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Doctor Strange

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An arrogant yet skilled former neurosurgeon embarks on a journey of healing only to be drawn into the world of the mystic arts.

Has Marvel or any superhero film ever created something as visually spectacular as Doctor Strange? The answer is no. Doctor Strange is immersive, breathtaking, and more visually impressive than almost any film this year, nearly on par with Disney’s The Jungle Book. As our hero, Stephen Strange, explores vast dimensions in our universe, we are presented some marvelous effects, like nothing I thought I’d ever see in a superhero movie. From a visual standpoint, this movie is so different than what you’d usually expect from a Marvel movie, as buildings change their physical form and sorcerers travel from one continent to another in the blink of an eye. The visual concepts in this movie even feel like nods to dimensional sci-fi films such as The Matrix, Inception, and Interstellar. Doctor Strange introduces the world of magic into the Marvel universe, expanding limitations of what to expect in future films. As well as tie-ins with previous films, Doctor Strange is interesting to watch as its own story, as our protagonist goes from selfish and conceited to protective and selfless. Speaking of Dr. Strange himself, Benedict Cumberbatch does a phenomenal job playing him, witty and fun as the cocky and brilliant surgeon who reminded me so much of the actor’s titular role in Sherlock. He brings so much life and personality to the role and I think he was cast perfectly to play him. Chiwetel Ejiofor’s character definitely has one of the more complex character arcs in the MCU, and his performance is quite interesting as well. Rachel McAdams plays a less formulaic female character who felt more like an actual person than a typical superhero female lead, as the marketing hinted she would be. Another remarkable cast member was Benedict Wong as a no-nonsense but I expected Tilda Swinton’s role to be one of the most interesting characters in the film, but instead she’s hardly given anything to do, and her connection to the main villain was borrowed and cliched. The villain is unfortunately not as memorable and well-developed as I hoped he would be, and his writing and plot are the weakest part of the film. Some of the plot points feel too predictable and borrowed to be acknowledged, but the story is overall intriguing and the visual payoff is beautiful. It’s definitely worth paying for to watch in 3D. Also, there are two post-credit scenes that tease what Marvel will bring next, that you should definitely stay for.

Doctor Strange is an epic, mind-blowing adventure that isn’t like anything Marvel has brought to us before. The story has some minor problems, but the visual quality alone makes this movie worth seeing and enjoying on the big screen.

Doctor Strange, wearing his traditional costume, coming out from a flowing energetic portal, and around him the world and New York turning around itself with the film's cast names above him and the film's title, credits and billing are underneath.

10.30.16
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The Accountant

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An autistic but brilliant young boy grows up to be a skilled accountant – whose clients work for some of the world’s most dangerous criminal organizations.

Out of the two films Ben Affleck has starred in this year, I’d only look forward to a sequel to one of them, and that’s this one. The Accountant is one of not very many movies to come out this year that keeps you on the edge of your seat without constantly featuring loud gunshots, screeching cars, and a large body count, although there’s a mix of all of that in the film’s touch of action sequences. Affleck is spot-on as a protagonist who’s personality is quite complicated due to his condition – friendly to some but dangerous to others. His character’s complexity is what makes him so fascinating and sympathetic. Affleck is incredibly committed and mentally balanced in the way he portrays his character, leading to his character to feel very real and deep in the way he was developed. I can definitely say his role in this film is up there among his other excellent work this decade in The Town, Argo, and Gone Girl. Anna Kendrick, J.K. Simmons, and Jon Bernthal lead a decent yet interesting ensemble of supporting characters and all play their parts remarkably well. There’s a lot to their characters that you don’t know by only watching the trailers, which is something that helps keep the thrills going throughout. There’s a compelling aspect of the film in the way it examines its characters, revealing things to you one by one, and even though it one point it gets about too complicated and you wish it just wasn’t, there’s a gripping aspect to every big character in the film, even themes that are similar to those in director Gavin O’Connor’s previous films. Speaking of O’Connor, he directs the film very well, notably the film’s action sequences, with excellent sound editing and choreography, making it feel less like a Hollywood-style action scene and more like a scene featuring action that advances the plot. Even though there aren’t many throughout the movie, I like that it was constructed as if it were an action movie, although it’s hard to put it under the action genre, I’d rather say it’s a drama thriller with some mystery thrown in there, too.

The Accountant plays out as if it’s an episode of Daredevil, crossed with the Jason Bourne franchise and with a little bit of Rain Man in there as well. It’s somewhat a vigilante thriller but at the same time, it’s a deep character drama that features an autistic protagonist. I really liked the mix of the two genres. Although this movie is far from perfect, I can’t say critics have been praising it enough with its underwhelming reviews. I feel like most critics were let down by their expectations rather by their films, as the trailer advertised the film as one thing and instead it was something much bigger. The Accountant turned out to be very different than I expected, and I was alright with that. It gets over-complicated at one point and some of the plot points and the tone aren’t balanced like they should be. However, I was still very entertained by The Accountant, and I appreciate the cast and directing. You may be let down if you’re looking for just an action movie or just a drama, as this movie is a mix of many great things, but I’d recommend this film for movie-goers looking for a great movie to keep them on the edge of their seat.

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10.16.16
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The Magnificent Seven (2016)

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The past few years have been packed with remakes and reboots of all sorts of classics, and not many of them have turned out to be very original. The Magnificent Seven, unfortunately, is lacking of the originality I expected from a similar yet distinct remake. This film feels a lot more like a re-imagination than a remake, as the only thing kept from the original is the concept. In The Magnificent Seven, a group of seven men (as the title suggests) are hired by a woman to avenge her husband’s death, so they set out against a corrupt industrialist and his ruthless army. Denzel Washington, Chris Pratt, and Ethan Hawke lead the cast as mercenaries fighting for righteousness. Having seen the original Magnificent Seven starring Yul Brynner, I can say I am satisfied in terms of a remake like this one. The directing is mostly on-point, with impressive cinematography and entertaining action. The score from the late James Horner, who was tragically killed last year in a plane crash, is a great one for his last. My main problem with the film is that despite the film’s efforts to take its concept to a new place, new isn’t the right word to describe this film. Everything feels to familiar and tacked on. The story feels cliched but it also loses itself in the third act. One thing I noticed was how over-the-top everything was, from the dialogue to the story to the performances. The dialogue is too obvious and the humor unsuccessful, and none of the jokes seem to hit their mark. Denzel Washington doesn’t get much to work with besides a handful of guns loaded with bullets. Chris Pratt delivers an underwhelming performance as a constantly joking character who seems to be the most over-the-top of the cast, as well as Vincent D’Onofrio and Ethan Hawke who make jokes out of their performances. Some of the characters could have been more interesting, if only they had more development. One thing that isn’t surprising, as a film released in the 21st century, is that everything is too over-dramatized and it doesn’t flow as well as it did in the ’60s when it was directed by John Sturges. The final battle is an epic shootout between armies of heroes and villains but ultimately drags for too long. I’ve come to love the Western genre more every time I watch a Western film. Get a good story and script, and you can even make a perfect one today (see True Grit, Django Unchained, and The Hateful Eight). However, it’s difficult to work with one that lacks originality and reliability on anything but lengthy action sequences. Perhaps this film would have been better if it wasn’t limited to a strong PG-13 rating, and was written by someone more reliable in the world of Hollywood (yes, I’m thinking about Tarantino, even though he wouldn’t ever sign up for something even twice as original as this).

The Magnificent Seven is a fun Western action film directed solidly by Antoine Fuqua, but not much more. It tends to slow down, the attempts at comedy always miss, and everything feels way too over-the-top and out of place. I wouldn’t recommend this one for a watch in theaters, but I can’t say I didn’t enjoy it for most of its runtime, despite its major problems.

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