Tag Archives: movie reviews

04.24.24
by

Civil War

A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.

Alex Garland is often not one to shy away from dark images as they unfold, but there’s something particular about the violence in Civil War, as if you’re peeking at something you’re not supposed to, only it’s happening in your own yard. Garland seems to have something to say with the “action” here that’s proven itself in reality too much not to struck a chord when it’s depicted way — Americans being just a few disagreements (and arms) away from completely tearing each other apart. What began this second civil war in America is none of our concern, rather the ease at which we’ve turned on the very fabric of democracy. Bloodthirsty militias and anarchists seem too familiar a sight, though we’re following this dystopian war through a group of journalists. Kirsten Dunst gives a powerful performance, as she reveals the most about her character in the quietest of moments. Wagner Moura also gives the film a lot with his charismatic, knowledgeable, and authoritative presence among the protagonists. Cailee Spaeny is notably wonderful as the ambitious younger photographer on the journey who’s horrified responses to what unfolds in front of her are probably how we’d react to, let’s face it. Stephen McKinley Henderson is a fantastic presence as well who adds a lot with his wisdom and charm to each of Garland’s projects that he’s in.

Though Civil War is minimal on exposition as to the larger politics of this war — rather we get an idea of the state of the nation through smaller moments and remarks — the action is incredibly harrowing and graphic. The sounds of gunfire and combat roar through the speakers, and blood is a “loud” reality and consequence. It all plays out without the “cool” sort of filter many Hollywood action movies have, rather it’s an unfolding of sheer chaos and carnage through intentionally amassed manpower, in the way that Children of Men and Sicario throw you into uncontained, senseless warfare. Best of all, the climactic battle at the center of the third act is exhilarating and ends in the most Alex Garland rug-pulling way possible for a film with this subject matter. Fans of Garland’s daring and mature work be interested in the punch he packs here, but for anyone who’s simply looking for an action film — this one’s singular and profound but does not hold back, and when it’s untamed, it’s at its most engrossing.

04.19.24
by

The Ministry of Ungentlemanly Warfare

Guy Ritchie’s latest action film is loosely based on true, mostly encrypted stories, in which the British military recruits a small group of highly skilled soldiers to strike against German forces behind enemy lines during World War II.

Guy Ritchie seems to be racking out more movies than some of his fans will be able to keep track of, but among a slew with varying qualities, this one may end up being looked back at as one of his most entertaining films ever. Ritchie imbues the screen with an Inglorious Basterds-like irreverence to its Nazi-killing action. The WWII battles are swiftly edited and have action sequences that’ll make you cheer with glee at the bad guy body count and the different ways they get killed by the titular heroes. Henry Cavill leads the pack with a similar irreverence he gave Ritchie’s The Man From U.N.C.L.E., but with an even rougher edge to his badassery. The ensemble of Eiza Gonzalez, Alan Ritchson, Henry Golding, and Cary Elwes all give the film a liveliness that makes up for a lack of uniqueness to them, as well as a menacing Til Schweiger who maintains a strong presence. Unlike last year’s Operation Fortune, the film’s witty humor matches the extra wicked energy the director is known for, but it may lack character depth for some viewers. Most of the characters have little substance besides “recently incarcerated” or “they’re crazy”, but their outlandish personalities make up for that in the case of this film. The soundtrack choices aren’t always on-point, but the Western-inspired music usually adds to the film’s sharp direction. The film also doesn’t manage to always balance the different moving plots seamlessly, as Ritchie sometimes can’t help but indulge too much in his trademark banters which can sidetrack, but ultimately culminates in some strong tension in the third act. The Ministry of Ungentlemanly Warfare perhaps achieves what Matthew Vaughn’s The King’s Man failed to do — turn covert misfit spies into World War heroes and make the journey feel exciting and earned on the way. Ritchie is no stranger to the approach he set out to achieve here, but he manages to balance out his quirks with an excellent style, an interesting mission and cast of characters, and a rewarding catharsis when the action and comedy hit their peaks, as you might not want the fighting to stop out of sheer Ritchie delight.

04.14.24
by

Ghostbusters: Frozen Empire

The Ghostbusters have reestablished themselves as the heroes of New York City, but the city soon faces its greatest threat yet when an ancient artifact unlocks a destructive force.

Ghostbusters: Afterlife was a solid tribute to the heart of the original film. This sequel has all the ingredients with none of the direction. The cast still has that charming energy, particularly the Spenglers played by Carrie Coon, Finn Wolfhard, and McKenna Grace (with Paul Rudd stepping into the new stepdad role). Grace is the most interesting part of the film, but her role as the protagonist is watered down by an overabundance of characters. Dan Aykroyd, however, is very enjoyable in his role, as is Ernie Hudson, but the film tries to balance too many of these people, and the original cast ultimately was only there for fan service in a lesser way than the last film. Not to mention, Kumail Nanjiani is usually a standout in any film, but his character here is uninteresting, save for a few laughs. The action has some fun a bit of a retro vibe, with solid SFX editing as well, but the film’s runtime wanders through C-level subplots and the pacing lacks a consistent excitement. When we finally get to the villain, its yet another faceless ancient giant with apocalyptic intent, and the visual effects of the ghosts are also quite lacking. Ultimately, the film settles for a lot of the same, but its the sluggish pace that makes it a lot hollower and not as lively or meaningful as before. This may just be another instance of a beloved franchise going on for one too many films.

04.05.24
by

Monkey Man

An anonymous young man unleashes a campaign of vengeance against the corrupt leaders who murdered his mother and in turn, soon finds himself empowering the poor and victimized of Mumbai.

Monkey Man is proof that no matter how overdone a simple revenge story is, it can always feel fun if the right filmmaker elevates it through energy and style. And Dev Patel’s directorial debut proves that he’s capable of making not just a fun action film, but one with lively world-building and interesting characters. The action is bloody and jaw-dropping, with rewarding long takes and soundtrack choices that elevate the fights. But most importantly, when the action isn’t there for a long time, I always found myself engaged in the story. Similar to John Wick, it also doesn’t romanticize its hero, rather just empowers him to do the wrong things for the right reasons, justifying his ends rather than his means, which gives the film even more of a ruthless edge. The long takes may feel dizzying for a moment, but soon work in the film’s favor to create some exhilarating carnage. The incorporation of Indian culture and mythology, as well as MMA in the film also give the film plenty of life. Patel’s performance is committed and shows once again how much he can command an audience when he’s front and center, and his direction gives the film a vibrant yet patient style. Unlike the majority of the year’s action films so far, it treats its audience like intelligent adults. Monkey Man‘s greatness isn’t just through the expert fight choreography, but also through strong character and mythos development. Other action films this year so far like Road House and Argylle were simply missing that nuance and restraint with its heroes and villains that makes this film one in which we don’t feel talked down on, no “fake-out deaths” or “exposition dumps”, but rather a stylish build to the excitement that lets you breathe, yet still takes action movie fans on a thrilling ride that ends on a satisfying high note.

03.29.24
by

Godzilla x Kong: The New Empire

Two ancient titans, Godzilla and Kong, clash in an epic battle as humans unravel their intertwined origins and connection to Skull Island’s mysteries.

We’ve heard of way too many franchises overstaying their welcome lately, but it’s been a while since a film of this scale has failed so spectacularly to answer the question of why it was made. Godzilla vs Kong culminated the MonsterVerse in a battle between two famous characters we’d never seen on-screen before. This is the exact same movie, but without any of what made parts of that movie tolerable. Story, logic, and sense are all but myths in this movie that never quite finds the answer as to what that punch or special offering is that the last film didn’t have. Godzilla and King of the Monsters had massive visual scale, making the human damage and stakes feel wide and consequential, and as a result, the monsters felt huge. Kong: Skull Island had a fun pace and was a visually striking survival action film on an island. But now, the look feels so artificial, the stakes are unclear and boring, and the progression of the story, characters, and locations are exhausting. The visual effects are unconvincing and as a result don’t give you that large, adventurous feel, and the actors feel like they’re wandering through a Warner Bros. studio, struggling to keep this thing together. Rebecca Hall is a great actor to lead a film where the CGI extravaganza comes first, but even her character feels like she has no idea how to make sense of her dialogue. Dan Stevens delivers a fun Crocodile Dundee-esque performance as a Titan veterinarian, and Brian Tyree Henry is the only truly entertaining part of the film as a conspiracy theorist-turned-world-saver after the events of the last film. Not even Godzilla seems able to find himself a place in this film, as his progression throughout the film is probably the lamest thing that can happen to a titular character in a monster movie of this size.

Films like Godzilla x Kong: The New Empire are either made or broken by the visual and cinematic experience, and how they make use of being a grand adventure with enjoyment and spectacle, but what we’re left with is a film with neither of those things. The exposition and plot threads are bland and inconsistent with the franchise, the villains are incredibly underwhelming, and worst of all, it does nothing to differentiate itself from the previous installment. Perhaps bringing back Adam Wingard to direct was the film’s first and greatest mistake, as the stylistic approach of the last film simply wasn’t sufficient for a sequel. What worked when the MonsterVerse began was that these are gigantic events, disaster/monster movies where unbelievable Kaiju rampage the Earth, the stakes and conflicts are to be taken seriously, and the principles of the humans and their relations with the Titans guided the script and the fate of the world. Now, they’re no different than the Transformers movies, where creatures created by computers move across the screen like athletes and are treated like Marvel superheroes with devices and powers, as the structures around them go down like Legos. The worst part about a franchise like this is when it can’t excite; when it’s never been clearer that the best and coolest stuff has already come in past films, and when it’s repeating itself like the only reason it truly has to exist is every blockbuster saga’s greatest curse: studio box office ambitions.

03.01.24
by

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
by

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.

12.09.23
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.

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.