12.17.23
by

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
by

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
by

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
by

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
by

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
by

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
by

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
by

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
by

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.