Tag Archives: film

03.01.24
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Dune: Part Two

In the second part of Denis Villeneuve’s adaptation of the classic sci-fi novel, Paul Atreides seeks revenge against the Harkonnens, who slaughtered most of his House Atreides, and liberate the native Fremen of the planet Arrakis while joining them and learning their ways, all while the fate of the Imperium lays in the balance.

The first Dune from 2021 may have been one of the most stunning blockbusters in recent memory, but this extraordinary sequel puts everything in its predecessor — and almost any action movie I’ve ever seen — to shame. Picking up shortly after the first film, the drama is heightened, the world-building is bombastic, and the sound and visual experience is a one-of-a-kind theater trip. Visceral is such an overused term these days that it wouldn’t do Dune: Part Two justice; you feel how wide this universe spreads and the history of the different conflicts and races that inhabit it. And once you’re brought into this fictional world, you’ll never want to leave, as the nearly 3-hour runtime flies by and every plot development is fascinating. Beyond Villeneuve’s imagination, Greig Fraser’s cinematography is the real MVP here. The beauty within the uncertainty of the desert planet is captured in such a scope that it demands in IMAX viewing, and the different planets all contribute a symbolic and gorgeous aesthetic. Timothee Chalamet takes us on the next step of Paul’s journey: his desire to adapt and fight and his fear of allowing power and faith to corrupt him. He proves that he’s always been a movie star that’s here to stay, and Rebecca Ferguson’s Lady Jessica also takes really interesting directions that make you see her role in the story, and of her son’s, in a murkier way. Zendaya also becomes a lot of the heart here as Chani, one of the franchise’s most noble characters, and Josh Brolin is always terrific as Gurney, while Javier Bardem puts his soul into the role of Stilgar, whose faith drives him towards Paul and Jessica. Austin Butler may be the standout, however, as Feyd-Rautha, whose deranged and sadistic presence create a nail-biting character and a powerful young man who has fully embraced his disturbed nature.

Though Dune: Part Two ups the ante with its visuals and performances, its the powerful script and heightened emotional stakes that make this experience what it is. The film explores questions as to how faith and hope can be exploited, and if the urge for power truly corrupts whoever gets a taste of it. Though you may find yourself trying to guess which paths these characters will take, there’s also lots of unexpectedness and the film’s most intense moments took my breath away. You understand so deeply the dynamics of this galaxy and its cultures, and how much lays in the balance. The exhilarating scale and exciting, constantly developing pace only works because of the passion behind each character and story thread: passion to lead, rule, fight, love, honor, avenge, or secure a future. These moral greys form the dark and poetic drama that’s impeccably guided by frame-worthy shots and booming sound. Never have I felt so deeply that I didn’t want a film to end, as once you’re sucked into this marvelous world by Villeneuve, you’ll never want to go home. We’ve rarely seen emotion and grandiose like this in action movies so flawlessly convert to a magnetic cinematic experience. The Empire Strikes Back comparisons are worthy but also a little humbling; this reaches the bar that The Lord of the Rings: The Return of the King set for sci-fi/fantasy epics. It’s a show-stopping galactic saga that unleashes its ambition and magnitude onto you in a way that will entrance and thrill whoever buys a ticket. It’s a spectacle that sets the bar so high for whatever else is to come in blockbuster filmmaking, and like the unreal visuals and scale of Avatar: The Way of Water, needs to be seen on a massive screen, to be transported with other people, and watch a story unfold that you’ll never forget.

02.02.24
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Argylle

Elly Conway is the reclusive author of the Argylle spy novels . Soon, she realizes the plot of the new book she’s writing starts to mirror real-world events, as a global spy syndicate starts to come after her.

It’s always a blessing when Matthew Vaughn gives us a glimpse into his twisted mind with his witty and bombastic action scenes, and Argylle has a few of those, but it’s everything else that disappoints. Vaughn directs with a love for spy material and cartoonish entertainment mixed with modern, meta flare. The script, however, completely misses the mark and looks the commanding energy that his Kingsman had. Even Sam Rockwell, whose charm and goofiness often comes effortlessly, has to work with dialogue that falls flat and the attempts at humor don’t manage to illicit a response. Though Henry Cavill has some fun and Bryce Dallas Howard tries her best in the leading role, there’s more left to be desired in Ariana DeBose, John Cena, and Samuel L. Jackson’s screentime. Bryan Cranston’s villain may be the weakest link of the cast, as everything he’s given to do is annoyingly generic.

The movie’s downfall is also its ambition, which is often what lifts Vaughn up above the rest. The ludicrous twists are executed in a head-scratching way, and all the film’s rules or explorations of fiction vs reality are thrown to the side for more frustrating decisions that make its lead character less interesting. The pacing also suffers greatly in the film’s second half, the end of which sees us getting a few of those glorious scenes of carnage Vaughn’s known for, which still feel softened compared to what they could’ve been due to the PG-13 rating, but are delightfully exaggerated and have great soundtrack choices. By then, however, the journey to get there is simply exhausting and it may be too little, too late for many viewers.

Argylle is a massive disappointment in which a singular director brings his trademarks to the screen yet again, only this time without the laugh-out-loud glee or the clever script that usually support his vision. Its ambition unfortunately exceeds its grasp, and its inconsistent and convoluted execution make this invitation to take the world a little less seriously with Matthew Vaughn a sadly unrewarding one.

12.24.23
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The Color Purple (2023)

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

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

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

12.09.23
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Poor Things

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

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

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

12.04.23
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Napoleon

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

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

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.

07.12.23
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Mission: Impossible – Dead Reckoning Part One

Ethan Hunt and his IMF (Impossible Missions Force) team must track down a dangerous weapon before it falls into the wrong hands.

Mission: Impossible is a franchise that has my utmost respect for how much it aspires to keep daring and topping what came before. Each of the last four installments have delivered unforgettable action scenes and helped redefine the franchise, so Dead Reckoning does… just that. And seven movies in, it’s still got a phenomenal amount of excitement to go along with the loud, immersive action. Tom Cruise commits to the massive action set pieces in a way that’s audacious, commendable, and likable. With the various locations, vehicles, weapons, and lighting styles, Christopher McQuarrie has proven himself to be a top-tier action director of the 21st century with this and the last two installments. Not to mention it doesn’t just look cool, but also nail-biting as I felt my body in suspense throughout a lot of the film.

Cruise also isn’t the only winning part of the cast — Simon Pegg and Ving Rhames’ lovable IMF members continue to be expanded on and serve the movie’s mood, Rebecca Ferguson proves again that she’s the best of the franchise’s female badasses (though I’d have liked to see her given more to do than she had here), and Hayley Atwell is a charming and fun addition to the cast. Vanessa Kirby, Shea Whigham, and Pom Klementieff are also giving it their all in memorable roles, and Esai Morales is a simply fantastic villain. His layered voice compliments his chilling appearance and dialogue — I only wish his motivations were expanded on a little more.

Similar to Fallout, the visual style feels gritty, like almost anything could happen, though it also effectively embraces the fun and humor even more. But like its predecessor, the writing is so complex it may take rewatches to understand every objective, alliance, motivation, and MacGuffin the script presents. However, it’s rewarding to see this franchise keep aiming for higher while never losing what’s made the last few installments into epic must-watches. I also loved the way the film modernizes the saga in that it explores technology and its dangers in a way that hopefully enough people out there take note of. There’s only a few minor narrative points I would’ve polished, like an emotional moment for Ethan that should have embraced the darkness of what Ethan was feeling more, but it’s not like the movie isn’t already 163 minutes long — but don’t worry, it flies by. Mission: Impossible – Dead Reckoning Part One isn’t just a must-watch in theaters, it made me feel lucky to have caught such a marvelous action movie on the big screen. Tom Cruise continues to show us, well, the impossible, in countless ways, but that and the stunning thrills, fun, scale, cast and directions the story and filmmaking take make it worth every second of its length, and shows the action spy genre at some of its finest ever.

05.05.23
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Guardians of the Galaxy Vol. 3

Years after defeating Thanos alongside the Avengers, the Guardians embark on an uncertain adventure to save one of their own from a monumental threat, meeting old and new friends and foes along the way.

It’s been almost a decade since James Gunn’s first Guardians changed the game for superhero movies — and so many copycats or inspirations have come to the mainstream since, or attempted to. But the camaraderie of the titular team has not gotten old, even if it’s their sixth overall appearance in the MCU, and likely their last. The goofy quirks of Gunn’s humor, poking fun at the mistfit-like attitudes of the characters, or his way of giving the outcasts a traumatic backstory and a chance to grow, breathe life and soul into nearly every frame of Vol. 3. It’s not necessarily the best of the three, but it is the most visually dynamic, with engaging settings and interesting close-ups or moving shots during the actions. Chris Pratt and Dave Bautista continue to deliver in the roles that have come to define their career and help shape their A-lister status, but it’s Karen Gillan and especially Pom Klementieff who get to really grow and steal the screen from them. Rocket is also given a heavy storyline that is as tear-jerking as it is revelatory for his character. Though Chukwudi Iwuji’s villain is very over-the-top, he’s also entertaining and works for the film’s purpose. However, the inclusion of Gamora’s alternate version from an Endgame timeline feels like the storyline that didn’t add too much to the film, and her original incarnation’s death in Infinity War still feels best left untouched as it hangs weirdly over her appearance here. Here, her character is more to serve Peter Quill’s arc or simply an excuse to have the awesome Zoë Saldaña around. However, Will Poulter’s presence is Adam Warlock suffer here despite the movie’s already long (yet breezy and earned) 150-minute runtime — though he’s built up as a threat to interact with the Guardians and make his own decisions, he’s left as a very basic side character who cracks a few jokes. The character deserved an awful lot better than he got, especially due to the great work Poulter does do with what he’s given, it’s just a shame his and Ayesha’s story set up from the post-credits scene of Vol. 2 gets the bare minimum payoff. In addition, a notable standout is Oscar nominee Maria Bakalova as the voice of Cosmo the Spacedog, a very entertaining critter who gets her deserved limelight.

The soundtrack in the last two films was dominant and diverse, practically its own character within the film and a driving force for Quill’s arc. The soundtrack in this movie definitely hits less hard and may have a few too similar songs, but it’s made up for with a few amazing needle drops that set the tone and immerse you in the moment. Most of all, the character’s dynamics are all so beautiful and the building of the action is the backbone of the film, rooted in the bond of this team that has strengthened and matured over a few films. Even if the first film is a beast that’s only rivaled by a few other Marvel movies for the title of the studio’s best film, Guardians of the Galaxy Vol. 3 has undeniable charm and is also one of the most emotional MCU films across all the phases. It’s one of their better post-Endgame works and a great big-screen watch for the visuals, heart, and cast of characters.

04.04.23
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Dungeons & Dragons: Honor Among Thieves

A charming thief and a band of unlikely adventurers embark on an epic quest to retrieve a lost relic, but things go dangerously awry when they run afoul of the wrong people.

With the medieval action/fantasy epic genre being worn out to death in recent years, and a franchise with a less than notable track record, Dungeons & Dragons: Honor Among Thieves is the year’s most pleasant surprise so far. Sure, the conflict and world-building tread the line of “just enough” and the exposition isn’t that engaging, but Jonathan Goldstein and John Francis Daley imbue the film with a well-meaning, heartfelt energy that provides unexpected laughs and charm. Unlike a lot of bland fantasy action films from recent years like King Arthur: Legend of the Sword, Warcraft or the countless Hercules reboots, the characters in this movie feel like they have actual souls and empathetic reasons for the audience to root for them, not just in the quest but in their personal journeys. Chris Pine reminds the audience why his charisma works so naturally for a leading man, even though his character is occasionally greedy and a misfit. Michelle Rodriguez also delivers a more hardcore but lovable character than Letty from the Fast and Furious saga, and Justice Smith also delivers a sorcerer learning to gain his confidence well. Rege-Jean Page and Sophia Lillis both play standouts as very well-realized characters that may one day deserve a cool spinoff. Hugh Grant is also a silly yet fun villain, though his character’s presence and writing do the bare minimum for an antagonist to face off against the main team, and with an actor less capable than Grant, the role would’ve needed much more to sustain the audience’s attention.

Though some of the visual effects and green-screen are obvious, the movie isn’t trying to remind too much of the Lord of the Rings films, but rather create a jolly and comedic journey that perfectly fits the imagination, playfulness and vast possibilities of the Dungeons & Dragons brand. The action and excitement are enough to make up for conflict and rules that seem cliche, not to mention editing, direction and humor that make this not a must-watch, but better than it had any right to be, and will make the audience have a smile on their face and want to spend even more time with these characters than they ever thought they would.

03.28.23
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John Wick: Chapter 4

John Wick uncovers a path to defeating The High Table. But before he can earn his freedom, Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes.

Ever since John Wick offered a fresh and influential voice to the action movie landscape, the sequels have been attempting to top the scale, world-building, and insanity of the action from before. To say John Wick: Chapter 4 delivers on the promise of being the largest and most outrageous in the franchise would be an understatement. The fights are the longest, most intricately choreographed and most beautifully shot this series has been, and Keanu Reeves and the stunt team give mind-blowing work. Though for some, the movie’s obsession with topping itself may result in caricature, but it’s everything that fans of this franchise have signed up and waited for through 4 films, and then some. In addition to Reeves’ incredible commitment, Donnie Yen is one of the best characters this franchise has seen, bringing his martial-arts reputation to the series, not to mention Shamier Anderson, who’s incredibly an entertaining and likable character, as well as the excellent Hiroyuki Sanada who has great scenes with Keanu. Fans of the franchise already know to expect Ian McShane and Laurence Fishburne, not to mention this is one of the last appearances of the late Lance Reddick who was always a gem as the Continental concierge Charon. Bill Skarsgard’s character is intentionally hatable, but occasionally gets too much on the audience’s nerves to even be a fun villain.

Though these films are known way less for story beats and more for the “gun fu”, Chapter 4 culminates the titular character’s arc from the four films with more going on with him than in the last film, though the second act is 10 or so minutes too long, particularly a scene with Scott Adkins and the buildup to it. Set pieces from a Continental Hotel in Osaka to the Arc de Triomphe in Paris are nail-biting and stunning to watch, though the soundtrack is frustratingly repetitive and maybe too aggressive during the action — perhaps less dubstep would’ve been just fine — which I didn’t find to be an issue in the previous films. However, this is still a big-screen treat and an iconic action franchise coming to a grand, thrilling, and satisfying conclusion, rewarding viewers who have been tuning in through John’s creative kills and all the rules of the hitman underground world.