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.

11.25.23
by

Saltburn

Oliver, a student at Oxford University, finds himself drawn into the world of charming and aristocratic classmate Felix, who invites him to his eccentric family’s sprawling estate for the summer, where lust, infatuation, and envy ensue.

Emerald Fennell’s new film may not be as socially relevant as Promising Young Woman, but it’s even more daring as it presents a world in which everything is just a little crazier than our own. The world of Saltburn is drenched in beautiful colors thanks to the remarkable cinematography, and Barry Keoghan gives a psychopathic performance — not his first of the sort, but it feels like everything his acting career has built up to. The production design subtly symbolizes Oliver’s journey in the film into becoming something he’s not, but soon you may believe he’s really shedding his skin and showing his true self. Jacob Elordi gives a charismatic performance that dominates the screen just as his character Felix is made to feel like he owns every room he enters. The chemistry between the two men treads the line between friendship, adoration, and unhealthy obsession. Rosamund Pike also gives a highlight performance as Felix’s mother, who’s caring yet eccentric and even stuck-up, and Archie Madekwe and Richard E. Grant round out the rest of this great cast.

Fennell has created a truly unique experience here that never quite tells you if it’s a college party film, a social satire, a psychosexual thriller, or something completely new. The depths Keoghan’s character goes to and the twists and turns you’ll embark on in this fever dream won’t be for everyone, but those who will welcome a film that surprises you, gets under your skin, and makes you not want to look away, Saltburn delivers on the unexpected fronts in a darkly flashy, twisted, and expertly directed and filmed movie.

11.20.23
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Killers of the Flower Moon

Martin Scorsese’s new film chronicles the Osage Nation’s discovery of oil on their land and surge to wealth in the 1920s, but dozens of Osage people were soon murdered one by one by white opportunists who sought to gain their fortune. Killers of the Flower Moon is a tragic historical Western epic that’s long but the director’s passion for the material shines through with expert storytelling that’s based on disturbing and sickening facts. The film’s beautiful and daring cinematography welcomes you into a rural world in Oklahoma that you probably didn’t learn about in history — that the Osage Native Americans were at one point some of the wealthiest people in the country, and their power in the oil industry. Even with countless films in which Scorsese has depicted cold brutal murders and tortures for power, there’s something to the way he frames the idea of violence here that’s even more gruesome — it’s an assault on an innocent people’s livelihood, a greedy and deceitful theft of power and order for personal gain. Not that his other films hadn’t explored this in the worlds of organized crime or religious persecution, but here it resonates for the terror and cultural genocide that the racial violence inflicts — much of which went without justice in reality.

Leonardo DiCaprio shows dedication to the role of Ernest Burkhart, his most morally murky character in years. Robert De Niro, meanwhile, is at his most pure evil, never holding back on the ruthlessness and false charm of his character. Lily Gladstone delivers one of the year’s most demanding and heart-shattering performances as Ernest’s Osage wife Mollie, who endures horrific losses and fears for her own existence as well as that of her entire people. Gladstone’s commitment and humanity takes the character to tragic depths and gives the film so much weight, and she should be a leading name in this year’s Best Actress discussion. Scorsese has clearly put so much care into bringing Osage culture and history to life, as well as trying to anger his viewers about the injustices that have been committed in American history. It shows the treacherous and predatory nature of its white antagonists who attempted to wipe out a people to usurp their oil empire, a greed that still marginalizes Indigenous people today. The 3-and-a-half-hour runtime could’ve probably trimmed around 20 minutes, but mostly earns it and helps the film feel like a story that spans years of corruption and destruction. Potentially one of Scorsese’s most emotionally disheartening and resonant works, it’ll make you want to learn even more about the legacy of the Osage killings and what the community is like today, and likely beg for Oscar nominations for the cast and crew of this masterful epic tale of widespread crime, betrayal, and evil that captures the American west for all its grandiose and horror.

11.18.23
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The Hunger Games: The Ballad of Songbirds and Snakes

The Hunger Games: The Ballad of Songbirds and Snakes is set 64 years before the first Hunger Games movie, around the time of the 10th Hunger Games where a young Coriolanus Snow is living in the Capitol, facing choices that will define his future and that of Panem as he mentors District 12 tribute Lucy Gray Baird to victory in the arena.

This adaptation of Suzanne Collins’ excellent prequel to her acclaimed series of novels has the best cinematography of the franchise, and stunning production design. The Hunger Games films have always boasted incredible world-building, making the intricate politics and history of Panem spread far beyond the screen, and introducing the audience to a wide world of characters within it. However, the film sometimes lacks soul when it needs it most, especially in its first act. Tom Blyth gives an interesting performance of a young man as his narcissism and consumption for power begins to consume him whole. Though Rachel Zegler’s singing voice and presence gives Lucy Gray heart, her character lacks the consistency and potency she’s meant to have, not to mention an off-putting Southern accent. The chemistry between Zegler and Blyth feels weak, though it should’ve been a key component in the film. Jason Schwartzman gives a great comedic performance as Lucky Flickerman, the announcer of the Games, and Josh Andres Rivera gives the most empathetic performance as Sejanus. Hunter Schafer also steals the screen as Snow’s cousin Tigris, but doesn’t have nearly as many scenes as she deserved. Although Viola Davis’ character is supposed to be repulsive, her voice and lines are weirdly over-the-top.

The sequences we see inside of the Hunger Games are absolutely amazing, and more visually exciting than anything we saw in the arena of the original 2012 film. The dynamic shots and lighting create a scenery that’s both grand and sadistic. The post-war dynamics between the Capitol and Districts hits hard with the viewing of the Games, the dialogue itself is lacking and character decisions seem sometimes unearned. What is well-earned is this idea of a Hunger Games prequel set at this era so soon after a civil war and its sickening aftermath, and hitting home themes about human nature, but it should likely be viewed in the context of the films that were released before it — films that may have had better characterization despite this one’s admirable ambitions and aesthetic.

11.17.23
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Next Goal Wins

Next Goal Wins is the true story of American soccer coach Thomas Rongen, who travels to the American Samoa to help transform their team from the world’s worst team into stars. Taika Waititi’s irreverent flare not only gives the film plenty of laughs but an endearing underdog spirit that also highlights Samoan culture unlike lots of popular media. The casting of Michael Fassbender, an actor known primarily for dramatic roles, as a comedic lead does the film wonders. The way he portrays frustration and confusion with the incompetence around him is enjoyable, until the character begins to accept his journey into finding community around him, which becomes quite touching. Kaimana is also a standout as the character Jaiyah, an incredibly memorable and impactful character, not to mention fun supporting performances from Will Arnett and Elisabeth Moss.

The film’s comedic style is incredibly laugh-out-loud and makes you laugh in every way from situational humor to extreme physical comedy — the way Waititi does it best. Sure, underdog sports movies aren’t new to us, but the special cultural touch and loving characters make this a film that’s entertaining with every moment it has to offer. It’s short but incredibly sweet and wears its heart on its sleeve from the opening to the end credits that show you the real story the film is based on.

11.16.23
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Priscilla

When teenage Priscilla Beaulieu meets Elvis Presley, the man who is already a meteoric rock-and-roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, a vulnerable best friend.

Sofia Coppola’s strong directional choices, including the timely visuals and songs, shine through in Priscilla. Cailee Spaeny’s star-making performance shows Priscilla as a young woman who feels like the luckiest girl on Earth as she’s the one adored by the world’s most desirable and larger-than-life musicians and celebrities. She feels like she’s a princess, like she’s in Barbieland — except she soon learns that she’s seen as more of an accessory in Elvis’ “dollhouse” than the star. The movie doesn’t gloss past the couple’s age difference, nor does it forgive Elvis’ reckless habits and the consequences of fame on personal privacy and autonomy. Priscilla is depicted as a woman who always longed for independence but is never truly able to stand on her own two feet in her pursuit of adoration from the man she loves. Jacob Elordi also steals the scene as Elvis, perhaps not as pitch-perfect as Austin Butler’s transformation last year in Baz Luhrmann’s Elvis, but he still brings a lot to the role.

The costumes and production value create a very lavish look that shows the glamorous life Priscilla was attracted to and lived alongside Elvis, but within that a sense of loneliness as she struggles with sharing him — her Elvis — with the rest of the world, and the celebrity and husband versions of the man become hard to separate in their relationship. Though the second half does begin to feel structurally repetitive and doesn’t draw you in as much as the first half, the film knows exactly when to end in a moment that brings the best out of Spaeny’s performance. Priscilla is a personal look into the lives of legends that’s boasted by its aesthetic style and Spaeny’s naivety and gravitas she brings to the titular role.

11.12.23
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The Marvels

Carol Danvers gets her powers entangled with those of Kamala Khan and Monica Rambeau, forcing them to work together to save the universe.

The best way to make a good Captain Marvel sequel is to bring in the other superpowered women in her world — her “niece” who hasn’t seen her in years, and Jersey City teen who’s Carol’s biggest fan. Right away, Nia DaCosta’s directorial energy shines in the pace and editing, but what truly strengthens the experience is the chemistry between Brie Larson, Teyonah Parris, and Iman Vellani. The three blend together naturally, particularly Larson and Vellani, with Larson’s loving presence shining through as does Vellani’s excitement over seeing her hero in the flesh. Though Carol and Monica get to have some heart-to-heart, it doesn’t feel like Rambeau’s character gets more interestingly developed than in WandaVision. The villain Dar-Benn is one of the film’s greatest faults — though Zawe Ashton is strongly cast and the character’s motives are clearly established, her actions don’t feel menacing or personal enough to warrant the audience’s hatred of her as a villain.

Despite mostly strong visuals, the action scenes (besides a great opening one) feel like more derivative versions of other action scenes in the MCU except for the “switching places” aspect, and the latter ones feel in fact messy and rushed. The film also isn’t too concerned with making its emotional themes stick, and most of the heart rests in the natural talent the three stars already bring and the love they share for each other in the story, but Kamala Khan’s family makes for great supporting characters and comedic reliefs, as well as the adorable Flerken cat Goose. The rules and devices that come into play, feel either incoherent or underdeveloped within the flow of the story, resulting in the film sometimes feeling like a less realized version of a great movie. That said, there’s heart, energy, and fun in this film, and even some delightful musical moments, although DaCosta’s passion isn’t felt as much when some other of its critical ideas feel standard and undercooked.

10.28.23
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The Holdovers

A cranky history teacher at a remote prep school is forced to remain on campus over the holidays with a troubled student who has no place to go.

Directed by Alexander Payne, who won Oscars for writing Sideways and The Descendants, The Holdovers is destined to be an instant classic. It’s my new favorite Payne movie, and shows Paul Giamatti as an expert actor in both the comedic and dramatic fronts, yet a very different performance from his Sideways role. He plays a resentful yet timid and lonesome soul who finds an unexpected companion over the Christmas break. Da’Vine Joy Randolph should be a frontrunner to get nominated for Best Supporting Actress as a woman dealing with unthinkable grief but still attempting to be a voice of warmth and reason for those around here. Dominic Sessa delivers a sensational and heartbreaking and breakout performance as a savage teenager devoid of his parents’ love, who is the center of the film along with Giamatti’s character. Payne’s direction is his most magnificent, delivering the 1970s sets and soundtrack with a feeling of grandiose. He digs deep into these broken misfits who have lovable souls underneath their pain, characters we’d often be quick to judge but soon would stand up through thick and thin as audience members. It has something for everyone, whether you want to laugh and feel connected, or a little poignant emotion too. Comedy and drama fans, this is one of the best of the year, and a highlight for both Payne and Giamatti’s careers as artists.

09.28.23
by

The Creator

In a future where humans have gone to war with artificial intelligence, Joshua, an ex-special forces agent, is recruited to hunt down and kill the “Creator”, who has developed a mysterious weapon with the power to end the war.

Seven years after the release of his last film Rogue One: A Star Wars Story, Gareth Edwards arrives with what feels like a visionary action film that feels parts Blade Runner and Avatar. The visual effects come together seamlessly to create a world that’s set in the distant future but might not be so far-fetched considering attitudes on AI in these times. The humans, robots, and hybrids all blend together in the frame and the robots’ movements look so smooth you’d believe they look exactly like that as they interact with other items in the screen. Not to mention the pitch-perfect cinematography from Greig Fraser and Oren Soffer that creates a mood that’s stunning yet violent, in-camera yet out of this world. John David Washington makes becoming one of the generation’s coolest action stars look effortless, and Allison Janney is surprisingly great, as well as the always delightful and nuanced work of Ken Watanabe. Madeline Yuna Voyles delivers a great breakout as a powerful AI child, though her relationship with Washington’s character doesn’t really click until later on, and even then feels a little derivative.

Though structurally you will occasionally encounter familiarity, the film takes a unique approach to the conflict between humans and artificial life, and visually it’s like nothing out there right now. Though the plot turns may be predictable for many viewers, it has a flare and liveliness to the action that not many other action movies this year had. More importantly, it feels even more special today as it’s one of the only theatrical action/sci-fi blockbusters of this scale without any source material/IP that’s been released in the last few years, and that’s worth commending and supporting. But whenever this had been released or viewed, Gareth Edwards’ inspired direction solidifies him as someone who’s in love with the worlds his movies imagine as much as the stories they tell on the page, and The Creator would make you want to invest in anything he puts his stamp on next.