Elvis provides a look into the life and career of the King of Rock and Roll and his relationship with his manager, Colonel Tom Parker. Austin Butler’s immersive performance stuns as he brings the singer back to life with so much energy and character, that you’d believe it was really him in every shot he’s in. The costume design is accurate to Elvis’ real wardrobe and overall gives the film a spectacular visual side to it. The musical sequences are by far the most entertaining, impressive, and even emotional aspects of the film. If that’s enough for you, this movie is worth a watch, but this movie is brought down by Baz Luhrmann’s pretentious style (director of Moulin Rouge!, Romeo + Juliet and The Great Gatsby). The editing is very flashy and fast in an attempt to immerse you into the vivid world of Elvis’ music and journey, but as a result, any sort of intimacy or room to breathe feels gone. Butler’s performance is terrific but the only times we get to interact with Elvis as a real person (and not just as the musical legend he was) are when the movie uses incredibly cliche beats we’ve seen in plenty of other music biopics like Walk the Line, Rocketman, Respect, Straight Outta Compton, and so on. Moments such as Elvis getting his love for music, dealing with loss, rising to stardom and creating his greatest hits feel lost in the prestige Baz feels so insistent on — it’s a tiring assault on the senses with some questionable decisions, like including music by Doja Cat in a scene that’s set in 1950s Memphis? Some of the CGI and green-screen also feel unrealistic and break the illusion of an old-fashioned look.
Tom Hanks is still my favorite movie actor, but his character in this movie is such an odd, one-note character and showing lots of the film from his perspective just makes us feel farther from Elvis’ humanity. The movie is also very long and gets too boring before it makes a real emotional point. What’s really interesting to see from a story perspective is how Elvis brought black music to white audiences and forced the system to reckon with the integration of cultures. Though this aspect is really eye-opening, it’s a shame that it isn’t focused on for the latter parts of the movie as well. The film decides to simply throw everything at you that you don’t get enough to appreciate the moments that are beautiful, or feel that you’re with Elvis for enough time because of the film’s montage-like editing fashion.
Though Austin Butler is a powerhouse and perfectly captures the stage presence and livelihood of Presley, and the musical sequences are exciting and breathtakingly brought to life, Elvis is brought down by its surface-level character writing as well as its poor and overwhelming editing. Luhrmann cares very much about making his movies a spectacle, but how much is too much? If you’re an Elvis fan, watch it at home, but if I ever end up watching Elvis again, you’ll probably find me skipping right away to the music scenes and that’s it.
In Steven Spielberg’s update to a classic, Tony and Maria fall in love despite being associated with rival gangs in New York, the Sharks and the Jets. It seemed like a daunting task to remake West Side Story, considering the status of the 1961 film as one of the greatest musicals — and films – of all time. However, Spielberg invigorates the movie with wonder and talent that makes this one of the rare remakes that rivals the quality of the original. The films are very similar yet this welcome reimagining hits all the right notes and assembles an amazing team in front of and behind the camera, filling the movie with passion and excitement. Ansel Elgort is great as Tony, and his standout moment is when he sings “Maria” — who is played beautifully by Rachel Zegler. Her film debut proves she’s a superstar and she embodies Maria perfectly, perhaps an even better singer and fit for the role than Natalie Wood in the original. Ariana DeBose is also lovely as Anita, and in a wonderful tribute, Rita Morena plays Valentina, a role with so much emotion and Moreno does substantial acting and singing even at 90! Mike Faist is also a great Riff here and has great screen time alongside Elgort. It seems like the key to making this movie work is Spielberg’s direction. You can tell someone who loves this story and material is taking charge here. The way he shoots on film, focuses on certain details and props for symbolism and foreshadowing, and the effort put into the costumes and production design are all simply dazzling. Leonard Bernstein’s booming legendary score gives the movie an old feel but the homage never brings the film down. Even as someone who has seen and loved the 1961 film, the story still made me emotional and watching scenes play out had me in awe. The numbers from “America” and “I Feel Pretty” to the powerful “Tonight” and the irreverent and fun “Gee Officer Krupke” are not just delightful to rediscover — but the production and singing are awe-inspiring and recapture what makes West Side Story resonate. The movie also casts Latinos as the Sharks and other Puerto Rican characters — believe it or not, Rita Moreno was the only Latina in a prominent role in the original film. The movie also highlights gentrification, racial tensions, the American dream, poverty, and other themes in a way that isn’t necessarily subtle or new — some themes are also even reflected in this year’s In the Heights — but still reflects what we see and must address now. The 156-minute runtime flies by and it didn’t feel nearly as long as it really is. For those of you who love the original, go rediscover a story with your loved ones with one of the greatest remakes I’ve ever seen and one of Spielberg’s best of his later career — and for those of you discovering West Side Story for the first time, be in for the greatest cinematic treat of 2021 so far.
Maribel Madrigal, a member of the magical Madrigal family in Colombia, is the only Madrigal without powers, but soon discovers she’s the family’s only hope of saving their magic.
Encanto once again shows off the unlimited abilities of Disney’s animation team, already having a great year with Raya and the Last Dragon and Luca, as well as Lin-Manuel Miranda who has been everywhere this year, including In the Heights and Tick, Tick… Boom! One of the stars from the former, Stephanie Beatriz, delivers the (voice) performance of a lifetime as Mirabel, a role that feels written for her and she fits it beautifully. Her singing range is also wonderful and Mirabel is incredibly heartfelt as a protagonist. There’s one song in particular called “Waiting on a Miracle” in which her vocals, character arc and the emotion of the entire film especially hit hard. But the catchiness doesn’t stop there — although “The Family Madrigal” and “We Don’t Talk About Bruno” won’t reach the heights of other recent hits like “You’re Welcome” (Moana) or “Remember Me” (Coco), they’re still fun and the musical themes bring so much to the film. With that though, there are a few songs that aren’t as memorable. The animation is Disney’s most colorful yet, and it’s surreal to see them outdo themselves more than once this year but the shots of the Colombian scenery as well as the magic created in their home, an “Encanto”, is so beautiful it’ll invoke emotion just journeying through it. The story revolves around Maribel trying to fit in and find herself when the family’s dynamic is built on each one’s abilities and how they can contribute physically — but each of them is more than that under the surface. With this we also get a number of interesting examinations of Maribel’s connections with her parents, sisters, and Abuela. There are occasions, however, where the pace drags and you wonder where the story is going, but once you get there, it gets fun once again. The movie also continues Disney’s recent trend of ditching traditional villains for complex characters whose decisions conflict but are more complicated than that. While I wouldn’t put this in the same discussion as Coco, Moana or Zootopia, it’s a heartwarming and vibrant family film with strong cultural representation and themes and a lovely protagonist and animation style.
Elsa sets out to discover the origin of her powers and save Arendelle, with the help of her sister Anna, as well as Kristoff, Olaf, and Sven.
The first Frozen was a phenomenon when it was released six years ago; audiences loved it because of the inspirational and empowering story about sisterhood, family, and independence. Unfortunately, I can’t quite tell you what the second film is really about, even days after I’ve seen it. Frozen 2 has no stakes, resonant themes, memorable songs, or character changes throughout the story. Kristen Bell and Idina Menzel are still impressive and the connection between Anna and Elsa is strong, but although they take up the most screen-time, the film in its core isn’t really about them — more so about their deceased parents and some ancient war they took part in. The forest storyline also gets very complicated and uninteresting with a completely wasted performance from Sterling K. Brown. At least Evan Rachel Wood’s voice is a standout in the opening scene. The animation also isn’t as resonant as it was in the first film or Zootopia, Moana, and all of Disney’s most recent animated works. The plot feels very inconsequential and most the characters barely have an arc, so there aren’t any inspiring messages that shine through. There’s also a plot twist that anyone who has seen a single Disney film can see coming. I normally go to animated films in the theaters because I want a film that appeals equally to all generations. Yet unfortunately, this has none of the depth or intelligence the first film had, and is strictly for the pleasure of youngsters. I didn’t even laugh more than once.
Frozen 2 could’ve been a meaningful sequel, but rather it feels more like the unnecessary direct-to-DVD sequels like Aladdin: The Return of Jafar and Mulan II, films I like to pretend never existed because of their disposable and impossible-to-remember-plots. Good cast and animation can’t make up for a muddled story without much reward for the 6-year wait.
In England in 1987, a teenager from a Pakistani family named Javed aspires to be a writer but feels learns to live his life, understand his family and find his own voice through the music of American rock star Bruce Springsteen.
Blinded by the Light is an urgently needed breath of fresh air from all the big franchise films studios tend to release, so the fact that Warner Bros. picked this film out from Sundance to distribute in a wide release really means a lot. Without much exaggeration or many large Hollywood names, Blinded by the Light has a slightly familiar formula but remains a grounded, touching human story that’s inspiring in just about every way. If I had to describe it in some way, it feels like Yesterday meets Sing Street meets Bend it Like Beckham. It ‘s not only entertaining, funny, and uplifting, but also takes themes such as racial tensions and applies it to a creative and fascinating premise, elevated by a strong cast all around, that doesn’t include many known actors although I’m sure they all will be one day with the talent they deliver here — the one face some viewers may recognize is Captain America‘s Haley Atwell does have a memorable supporting role. But this movie isn’t about seeing the big stars, or the big visual effects, or Oscar worthy acting. This is a film you go to not just to enjoy but to also learn about the importance of passion, dreams, dedication and hard work, but also about family, love, and the bonds that make us who we are. While most these kinds of movies are about following your dreams even when everyone is doubting you or bringing you down, this movie emphasizes pursuing your passion but above that embracing your family and the ones closest to you even when it seems like they’re bringing you down. The great takeaway is that power of dreams, passion, and talent don’t mean the same without familial bonds and togetherness. The movie is also able to add some strong themes about the hardships especially faced by minorities, when the “American dream” seems even more out of reach for this poor immigrant family facing racism, which also connects to today’s time with Islamophobia being a prominent topic in the news. This adds a whole extra layer to the film and makes the themes about dreams and finding your voice even more meaningful. But don’t worry — there’s also lots of humor, musical numbers, and overall positive themes that allow us to have fun while also reflecting on the impact of pop culture on the individual the way Yesterday did. Although it’s currently not shining at the box office, I feel like this is the kind of film that will grow on people over the years and more people will come to watch and love it later on, even if the blockbuster-filled climate of modern cinema prevents audiences from choosing to see it on the big screen. But it’s universal themes will certainly reach out to audiences of all ages and backgrounds — whether or not you’re a fan of The Boss.
Disney has been dominating the decade with Marvel, Star Wars, animation (both Pixar and their titular studio), but their series that has divided people the most is their live-action remakes of animated classics. So people were most excited but also nervous when it came to the photoreal-but-actually-still-animated remake of their defining animated feature from the 20th century, The Lion King. First off, on a visual standpoint, this movie is an achievement. It follows the same reign of The Jungle Book in recreating iconic characters and setting to look as real as possible, and it really delivers. All the animals and sets look like an actual picture, even though not a single frame was actually there. It’s amazing to see how far visuals have gone these days, and Disney has been headliner these last few years in consistently breaking the boundaries of what can be done with a computer, whether it’s the amazing action in Avengers and Star Wars films or breathtaking animation in films like Toy Story and Incredibles — but the feats of the CGI completely pay off here in making the illusion unnoticable and making it feel like a more immersive journey. The film is perfectly casted with Donald Glover shining and making something of his own out of Simba’s role here, and it helps that he’s experienced in both acting and singing. Also huge standouts are Timon and Pumbaa, who are scene-stealing and Seth Rogen’s voice espeically fit for Pumbaa. Also worth pointing out is John Oliver who is hysterical as Zazu. However, for some characters, like Scar for example, it’s sometimes hard not to make comparisons to superior versions, like Jeremy Irons who was perfect in the 1994 version. Perhaps neither he nor James Earl Jones needed recasting (the latter of which was thankfully able to return as Mufasa). Speaking of roles from the original, Rafiki’s role was unfortuantely reduced this time around so he feels like less of a mentor to Simba and barely even has dialogue.
The musical numbers are still very fun, espeically the classic “Hakuna Matata”, and the “Lion Sleeps Tonight” gag is extended and made even funnier. The shame is that they shortened the Scar’s menacing anthem “Be Prepared” to be much slower but as a result feels more like a whispered spoken word poem than a song. The Lion King is stuck in a loophole in terms of delivering for fans because people want a remake to somehow reinvent the story but at the same time poeple get angry as soon as something major is changed. Unfortuantely, some of the changes made in this remake are for the worse, and other than that, a lot of sequences in the film or a shot-for-shot copy-paste of what we’ve already seen. A lot of the dialogue is the same as well, and I just wish they had added some more story to what we already know because the fact that we recognize every scene and line so well will eventually make things boring. On the bright side, it manages to retain some of the soul that reminds us why we love the original so much (themes like confronting your past or lines from Mufasa about the truth of being a wise king). The problem is that once these characters are animated to look photorealistic, they can no longer exaggerate emotions like the original iterations do — Scar is no longer a charismatic Shakespearean character, and every character just looks like an animal talking. This movie has incredible visual technology that deserves plenty of praise for Jon Favreau, maybe next time he could have used it to make original content rather than remaking known stories, or just added a little more that we haven’t seen before to do something new with the story.
The Lion King is a visual marvel and filled with nostaliga, but it’s greatest strength and weakness is that it’s almost exactly the same as the original. If the original Lion King was so perfect, why change anything? But why do we want to see the same movie over again? That’s the problem that this new remake finds itself in which is why despite being nice to look at, the script is beat for beat the same, which is why the only way this movie can really be appreciated is in 3D and on the biggest movie screen you can find. Does it offer much new? Not really, or even at all to be honest. But in terms of recommendation for the theaters I have to say go for the visuals and for the story which still stays strong, but the emotional expressions that came through the original versions of the characters (which didn’t need to feel photoreal and therefore could be exaggerated for animals) is exactly what will make the original Lion King forever superior.
Jack Malik is a struggling singer-songwriter in a tiny English seaside town whose dreams of fame are rapidly fading, until a freak bus accident during a mysterious global blackout, after which Jack wakes up to discover that nobody except him can remember The Beatles. Soon Jack makes a life-altering decision that sends him to fame as he starts taking credit for the band’s forgotten songs.
Yesterday is a movie with a fantastically original premise, compared to the same recycled formulas in a lot of genres. Though it does sometimes get stuck in mediocre rom-com tropes, like a cheesy romance in the second act that doesn’t know where it’s going until the very end, this movie takes advantage of its genius idea and makes for a fun, humorous, and interesting two hours. Himesh Patel is not only fun and charming but also sings really well and was well-cast — he hasn’t been in much before but may soon make a name for himself after his starring role here — and also entertaining are Lily James as his best friend, and Ed Sheeran as himself — the singer who helps Jack skyrocket to stardom. However, one character I found to be annoying was his manager played by Kate McKinnon, whose comedic turns I usually enjoy on Saturday Night Live, but here her character was simply irritating and unlikable. It’s no surprise the music is so enjoyable — they chose the best band to make this movie about, and as a huge Beatles fan myself, it’s great to hear them all through the film, and luckily they cast a great actor who can sing as well. There’s also plenty of humorous moments I didn’t expect and the jokes almost always land. Like I said, the second half does lose a little bit of steam but once you see where it all ends up, you get to take in some of the themes the movie is going for. There’s also another sweet theme about how the most iconic of pop culture is what touches people’s hearts and should be kept alive. As one character says, “A world without the Beatles is a world infinitely worse.” So I have to applaud director Danny Boyle and writer Richard Curits for creating one of the most original films of the year that sometimes doesn’t avoid genre tropes but the fresh plotline makes for some truly great moments, and there’s also plenty of excellent musical moments as well. When everything that’s out has to do with killer toys, superheroes, and animated animals, why not try something new for a change and support this one-of-a-kind film I bet you won’t regret seeing in theaters.
Rocketman is an epic musical fantasy about the incredible human story of Elton John’s breakthrough years. Taron Egerton proves that he was perfectly cast as the titular role. His singing voice is so fitting and perfectly delivers on these classic Elton songs which are not only integrated into the film through his concert performances but also by musical and dance sequences where Elton’s lines connect to the situations in certain scenes. Egerton also delivers on showing how the leading character felt pride, love, anger, and rejection at certain points in his career. Also great is Jamie Bell as Elton’s best friend, and Bryce Dallas Howard who was an odd choice to play Elton’s mother but still does a solid job. Dexter Fletcher was the one and only person who should’ve directed this film and he brings so much style to the film that makes it easy to enjoy. The sets, cinematography, and editing add to an already interesting script with an artsy feel that heightens the audience’s connection to the protagonist and will make you want to sing and dance along to some of your favorite Elton John songs. What the film does so well is depicting both the highs and lows of Elton’s career and also spends a lot of time addressing and depicting his sexuality, so expect some strong sexual content as well. We see Elton display talent and receive fame, but we also see him deal with rejection from those closest to him, as well as suffering from addiction resulting from a downward emotional spiral. Yet by the end, Rocketman will feel like a rewarding time at the movies with great music, acting, and story that those who love his music will very much enjoy.
My only gripe about Rocketman is that despite its 2-hour runtime, I think a few aspects could have used a little more screentime, like how audiences were affected by his music or how those around him reacted to his addiction, which we could have seen a bit more of. Other than that, Rocketman is entertaining and emotional yet uplifting and very well-directed and acted.
A modern rendition of the beloved story of a thief who meets a beautiful young princess, finds a lamp and befriends a Genie, and must fight against the evil royal advisor Jafar.
There is no real reason as to why Disney’s new wave of live-action remakes is needed, other than for the studio to gather more money, but some have even shown potential and paid off like The Jungle Book and Beauty and the Beast. We’ve also recently gotten Dumbo and will soon have a CGI Lion King. However, Aladdin was the one I was most skeptical about because of how close to my heart the original was and how many times I’ve viewed it. There’s so many aspects that can’t be changed or replaced, especially not Robin Williams’ Genie. This live-action rendition finds some highs and lows but ultimately never justifies its existence, but then again, I wasn’t really expecting it to. Aladdin plays it mostly by the books but even when it tries to reinvent itself, it often fails. The musical numbers don’t have much energy into them with weary long takes that don’t feel engaging, and attempts to “modernize” some of the songs with the addition of a drum backdrop was not a good call. We didn’t ask it to beat the original, but we certainly didn’t ask for an autotuned Will Smith singing “Arabian Nights” or a credits version of “Friend Like Me” that includes DJ Khaled. I know, I don’t believe it either. The cast finds some faults to but also brings the film its greatest strengths. Mena Massoud feels like the perfect embodiment of how a live-action Aladdin should look and sound. Naomi Scott is fantastic as Jasmine, who not only has a powerful arc as she seeks to bring Agrabah the true leadership it deserves and speak out against those who silence her and say she is better “seen than heard”, but the actress also has a gorgeous look and singing voice that make her one of the best parts of the film. Will Smith is also one of the most entertaining parts as the Genie. Does he live up to the performance of the role by Robin Williams? No, nobody ever can and it’s too much to ask from someone to do so. However, Smith still captures the fun spirit the Genie has and embraces every moment he has on screen, even though the horrid CGI on his blue form takes some getting used to. My main problem with the cast is definitely Jafar. Growing up, Jafar was one of my favorite Disney villains because of his menacing and thundering presence and how intimidating he felt. Jafar’s execution in this remake is rather weak and annoying, with his monotonous delivery making him feel extremely generic and unlikable. Other great actors cast in the film are Nasim Pedrad, Navid Neghaban, and Billy Magnussen, but they all have to do weird voices throughout the whole film. Pedrad’s new character is a highlight but her unnecessary “elegant” accent slightly bothered me, Neghaban was a good choice for the Sultan by doesn’t have the hilarity and over-the-top personality the Sultan is known for having, and Magnussen had no reason to be in the film and his terrible German accent makes you dislike his new and unnecessary character — he was definitely better off doing other projects.
Aladdin’s real main selling point is nostalgia, as for all of these remakes. Kids will find themselves bopping their heads to tunes like “Friend Like Me” or being enamored by the beloved anthem “A Whole New World”, but when this classic animated adventure was converted to the live-action treatment, it feels like a lot of the wonder was lost. Aladdin and Jasmine’s chemistry, is still there, as well as the friendship between the Genie and the titular character, but what feels loss is the character’s iconic journey from a street thief who steals for himself but also just cares for the other poor people around him, to a selfless, courageous hero who will fight for his love and the kingdom. His arc just doesn’t feel as effective and the movie doesn’t leave us thinking about the films’ themes and emotions like the original did for me all those years. It’s not like all animated stories can perfectly stay effective in all mediums, but Aladdin does definitely suffer from being too close but also changing too much of the wrong things. However, one thing that does land is the humor. There are some fun humorous moments that I did not expect, especially a scene involving a dance. There’s definitely some pacing issues that this remake faces, though. Since the original is 90 minutes but this remake is 130, there feels like a lot of unnecessary filler added to the third act which just makes it tiring and it drags on and doesn’t find much of a point until the climax. The visual look isn’t very impressive either. The cinematography looks so bland, sometimes almost as if someone went to the desert and started shooting on their iPhone. But even the production design isn’t very convincing and it all clearly looks shot on a film set. The movie also fails to capture the vastness of Agrabah that was so intriguing in the first film. Here, everything feels a lot smaller and less striking to the eye, as well as poor CGI for the Genie as well as a few action sequences which aren’t enticing at all. There’s even a character in the final battle who looks like all the DC Extended Universe villains combined, and believe me, that’s not a good thing. Making Iago look like a real parrot takes away all the humorous and cartoonish feel that’s made him a classic role, same with Raja, who’s just a tiger rather than a trusty sidekick for Jasmine. Guy Ritchie’s new Aladdin doesn’t necessarily ruin the film that inspired it, but it certainly doesn’t honor the beauty of the glamour and the story that’s taken us all by awe like something like, say, the new Broadway musical adaptation.
Aladdin clearly didn’t need to be made, but kids will still enjoy a remake that’s, not really different from the original and in the end is just an inferior rendition of a magnificent gem that came before. Despite some entertaining moments but mostly frustrating changes and updates, there isn’t too much to take away except lovable songs you already know, and a strong, fresher arc for Jasmine as well as a standout delivery from Will Smith.
Decades after her original visit, the magical nanny returns to help the Banks siblings and Michael’s children through a difficult time in their lives.
Mary Poppins Returns maintains a similar formula for a new generation, but some of what it maintains from the first film works and doesn’t work for a modern film. First off, Emily Blunt is fantastic in the titular role. I wasn’t sure if any actress could maintain that same spirit and charm Julie Andrews brought to the character 50 years ago, but Blunt did it perfectly and follows large footsteps yet makes the role feel like her own. Lin-Manuel Miranda was also well-cast in a role clearly meant as an homage to that of Bert (played by Dick van Dyke, who actually cameos here in his other role from the original as the banker), and the two leads get plenty of time to show off their singing skills that we’ve already known of. Also entertaining in her minor role is Meryl Streep who cameos in a comedic and funny scene as Mary Poppins’ eccentric cousin. However, a lot of what this movie goes for just feels inferior to the first film, like traditionally animated scenes and unconvincing visual effects that don’t really fit for a 2018 movie when animation has advanced so far, even in the last couple years alone. It felt like something new and groundbreaking in the ’60s but here it does not feel realistic or refreshing. The musical numbers are also forgettable in comparison, and don’t have that sing-along quality that classics like “Chim Chim Cher-ee” or “Supercalifragilisticexpialidocious” have, which are probably the first things that come into your head when you think of Mary Poppins. However, I did love the musical number called “Trip a Little Light Fantastic” which was not only memorable but it also payed tribute to “Step in Time”, my favorite part from the original movie. There are also times when these songs go on for too long and forget to come back to the plot, but the musical score is definitely great and carries the film very s strongly. However, another gripe is that the child characters are at times annoying, like a character named Georgie who continuously makes frustratingly dim-witted decisions and messes everything up for the other kids. Though the climax is definitely entertaining and has some heartfelt conclusions to the character arcs and is a fun race against time, the first half especially feels painfully mediocre and feels very much like a kids/family movie, unlike other recent family films like How to Train Your Dragon: The Hidden World or Spider-Man: Into the Spider-Verse which have merit that adults can connect to just as much as kids. The movie at times relies heavily on nostalgia, which sometimes works but at other times doesn’t feel necessary. The original Mary Poppins stuck with us for so long because it used the ability of imagination and the impossible to help the characters find the beauty in life — this movie does the exact same thing, in the exact same way, so if you’ve seen the first one you won’t be as impressed. The best you’ll get out of many parts is that Disney really knows who to hire to design their costumes and sets. It’s really only in the last 30 minutes that the film really redeems itself and meets its goal. Kids will definitely enjoy the concepts and musical numbers, but there isn’t too many new things for adults to discover about Mary Poppins Returns that wasn’t already established by the terrific classic that is Mary Poppins.
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