Tag Archives: recommendations

09.28.23
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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.

09.26.23
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Dumb Money

Dumb Money is the ultimate David vs. Goliath tale, based on the insane true story of everyday people who flipped the script on Wall Street and got rich by turning GameStop into the world’s hottest company.

A true story released only two years after the real events happened has the potential to be concerning, but Dumb Money takes a ridiculously fun approach to its outrageous story. In order to tell such an insane turn of events that actually happened, you need to match that with a style that doesn’t take itself too seriously, and the soundtrack and comedic tone of the film very much understand that. Similar to The Big Short, it also does a great job of making financial talk sound accessible and engaging. It also frames the Gamestop short squeeze as an underdog story, and ordinary people gathering knowledge about finance and investing as a positive incentive. Everyone is great, from Paul Dano who plays the film’s lead rebel and hero, to funnier roles like Seth Rogen and Sebastian Stan. America Ferrera gives the film a lot of spirit and Anthony Ramos, Myhal’la Herrold, Talia Ryder and Shailene Woodley are also very entertaining. However, Pete Davidson is sure to get the most audience reactions as hands-down the funniest and most memorable presence in the film. With a cast this awesome and a style this entertaining, it’s hard to find much that doesn’t work about what Dumb Money sets out to do — or a reason not to watch it in theaters.

09.21.23
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A Haunting in Venice

Hercule Poirot attends a seance at the suggestion of his friend, mystery novelist Ariadne Oliver, who wants to expose a medium as a fraud, but a murder occurs and Poirot must get to the bottom of what seems to be an impossible deadly truth.

Though Kenneth Branagh has seemed to find a formula that works in his slew of Agatha Christie-based films in which he directs himself as the iconic detective, he also wisely ditches the CGI-heavy look of the last two films for a more intimate setting within a darkly lit Venice palazzo one stormy Halloween night in 1947. Though the cast has more weak links this time, Jamie Dornan, Kyle Allen, Jude Hill, Michelle Yeoh and others deliver interesting performances, with Tina Fey being as cocky and entertaining as you’d expect her to be as a writer in the 1940s who’s friends with the Hercule Poirot. It embraces some of the visual and tonal aspects of gothic horror but cleverly doesn’t fully indulge in the genre and remains a solid Whodunit murder mystery, although the pacing still has its slow moments. As I said before, the less “obnoxious” or massively cinematic style helps it better establish a darker mood and a murder mystery that feels contained and believable, and delving just enough into the concept of spirits to feel unique compared to the last two, without throwing too many supernatural elements at you. In other words, it’s another delightful Poirot mystery that never quite surpasses the description of satisfactory, but still fun enough for a watch.

08.25.23
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Gran Turismo

Gran Turismo is based on the true story of racer Jann Mardenborough, who wins a series of Nissan-sponsored video game competitions through his gaming skills and becomes a real-life professional race car driver. Though the spectacle is strong with this film, the overall execution is muddled and mostly carried by David Harbour’s performance as Mardenborough’s trainer. Harbour is excellent as a hard but deeply encouraging mentor figure who develops a camaraderie of sorts with Jann, and the story of a gamer achieving the impossible and fulfilling his dreams becoming a real racer has some fun to it considering its a true story, but there’s also dragged out “sports underdog” cliches and a muddled execution. Blomkamp’s directing is fashionable but often jarring, with headache-inducing editing during the racing scenes that clearly look expensive but lack the adrenaline of Ford v Ferrari and Rush. Archie Madekwe is solid in the lead role, but the supporting cast doesn’t feel as interesting or human, with the exception of Harbour and a strong Djimon Honsou. The first two acts though are dragged out and the montage-style pacing feels frustrating and uninteresting, with weird video game-like edits that are supposed to feel meta but instead take you out of the scene.

Gran Turismo has enough references for fans of real-life racing, and racing scenes for fans of action and sports, and the third act is a fun and significant improvement over the first hour and a half of the film, but may not warrant a watch unless you’re strictly looking for sports and spectacle.

07.23.23
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Oppenheimer

Christopher Nolan’s new film tackles the story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb as part of the top-secret Manhattan Project during World War II. Aside from being the most immersive and devoted filmmaker of our time to the cinematic experience, Nolan is known for often trying to top himself with his ever-growing ambition, style and scale. Oppenheimer is his equivalent to Lawrence of Arabia or Amadeus, a three-hour historical epic that shifts time periods, perspectives, and color styles consistently. The cinematography is absolutely stunning, with the practical sets and effects sticking out, and the creative choices during the explosion scenes managing to awe and surprise. Ludwig Goransson’s arresting score may have topped even his work for the Black Panther films and Tenet, and the intricate editing is commendable. But one thing Nolan should also be appreciated for here is his writing, that packs a level of sophistication about history, human nature, science, and what it’s like to be a genius who may have the ability to unlock horrific powers. It’s a film that focuses on the new era the atomic bomb marked for the world, because of the destruction such immense power and its knowledge could cause in the hands and ego of mankind in power. Will such an invention cause scorched earth, or the end of the earth?

Cillian Murphy gives a performance that may end up defining his image as a celebrity and actor. The transformation is unreal and his eyes give so much to Oppenheimer’s mannerisms and attitudes towards the scenery. The film has an Avengers-sized supporting cast of named actors, some even being Oscar winners who only show up for a scene or two. Among the standouts are Matt Damon, Emily Blunt, Florence Pugh, Josh Hartnett, Jason Clarke, Jack Quaid, and Benny Safdie — and some A-listers who aren’t even in the trailer so I won’t reveal them in case you don’t already know — but Robert Downey Jr. gives a career standout of a turn and really manages to own all his scenes while giving sides of him we hadn’t seen before. Though there is an incredible amount of story and dialogue that’s given to you at a quick pace, and it feels like this for the whole 3 hours, I also respect that the film sees its audience as intelligent and eager to learn such information. It has something for buffs of history, Nolan, or simply visual grandeur. It’s Nolan’s most stylistically challenging yet mature achievement and one of his best written films as well, but not just that, it may be one of the best directed movies I’ve ever seen. It’s a monumental study of an era in the world and the man behind that name, shown through Nolan’s beautiful eye for the gorgeous, yet unimaginable (in this case), possibilities of human endeavors.

07.21.23
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Past Lives

Nora and Hae Sung, two deeply connected childhood friends, are wrested apart after Nora’s family emigrates from South Korea. Twenty years later, they are reunited for one fateful week as they confront notions of love and destiny.

Though stories about “what if” romances are not alien for audiences, director Celine Song introduces herself to the mainstream with a magnificent film that’s beautifully told through her gentle eye and script. The style is filled with meditative melancholy, exploring the beauty of fate and what does and doesn’t come out of it, and that happiness and destiny can also mean loss and regret — this is heavily indicated through Greta Lee, who’s lovely performance inhabits lots of emotions but with great restraint in her profoundly kind and poignant expression of the character. Teo Yoo is also excellent as Hae Sung, and John Magaro is delightful as Nora’s husband who deals with this interesting situation for him with patience, understanding, and goodness.

The beautiful wide shots that linger on the characters express the energy they feel within the space they inhabit, and the calming score is simply unforgettable. Within moments of the film, the simplistic yet intimate style pulls you into the love, pain, and reflection these characters experience. It’s one of the most enchanting, touching movies about love and connection I’ve ever seen, deserving a mention in the same breath as Her and Before Sunrise. Yet this one may not just make you reflect on romance, but about those special people in your life who may come in and out but change your life forever. It’s one of those films that digs to the deepest points of your heart and never leaves and may leave you as filled up as heartbroken, and may end up being a defining film for 2023.

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.

04.10.23
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Air

Air tells the true underdog story behind a stamp in worldwide culture — shoe salesman Sonny Vaccaro, and how he led Nike’s pursuit of the greatest athlete in the history of basketball, Michael Jordan. We know how the story will end, but seeing the risks and passion of the characters is what makes the experience of watching Air pay off. The film is led by an all-star cast of Matt Damon, Ben Affleck, Jason Bateman, and Viola Davis, who are all great — as well as Chris Messina who delivers a fantastic supporting performance as Jordan’s agent. Damon takes the spirit of a many who dared to think against the company’s norm and risk everything to aim extremely high in his belief that one athlete and one shoe can make the world better for all the sports fans, shoe-wearers and dreamers out there. That heart absolutely is felt with the audience, with the knowledge that Michael Jordan has in fact become one of the most inspirational figures in the world to people of all ages, genders and backgrounds. Not only that, but the writing and directing make the business side of the rise of Air Jordan interesting, when the courtside aspect of the sport is absent. Also absent is Jordan as a character in the movie, which may distract for some, but the movie doesn’t outright suffer because of it. Davis is also excellent, showing a mother that gives everything to advocate for her son, and stands for the pure belief that her son will in fact change the world of basketball forever.

The turning of a pivotal moment in the NBA into a high-stakes, big dream from humble beginnings, that changed an industry forever, definitely reminds of the recent HBO series Winning Time: The Rise of The Lakers Dynasty, which would make a great companion piece to watch with Air. The 80s feel and soundtrack that director Ben Affleck gives the movie provides a feeling of the greatness that is right around the corner, that these dreamers at Nike are just about to achieve, and the rush of whether or not their hard work and putting everything on the line will convert to success and dreams into reality. Fans of Damon and Affleck, sports films, feel-good movies, and dramas should go to the big screen for this one that turns a business deal about a shoe into the fight of a generation that changed the world and raised the bar for what humans and dreamers can do.

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.