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.
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.
Stereotypical Barbie (Margot Robbie) leaves the Barbie-run utopia of Barbie Land alongside Ken (Ryan Gosling) in search of self-discovery after realizing she might not be as perfect as she thought.
Director Greta Gerwig of Lady Bird and Little Women fame takes what could’ve been a tiringly formulaic fish-out-of-water toy-based film and makes it a clever and cheeky good time. For all its ridiculousness, there is an undeniable heart here and the cast seems to be having such a great time. Gosling in particular gets to show off his master skills as a comedic and physical performer and America Ferrera is an important character who’s inarguably the heart of the film. Aside from Robbie, Simu Liu, Kate McKinnon, Issa Rae, Kingsley Ben-Adir Alexandra Shipp, Emma Mackey and Will Ferrell are also as delightful as some of the performances are campy, though that’s definitely the point of the movie thematically. The bright colors and fun costume designs, as well as the spot-on soundtrack add to this film’s level of meta irreverence that’s only matched by The LEGO Movie, a movie that may draw comparisons, including the fact that Will Ferrell plays a character related to business in both.
While this may be the most self-aware movie of all time and it leans into that quite well, it also packs some delightful surprises in its humor and themes that definitely weren’t written particularly with kids in mind. It’s so in touch with its audience, who may be especially tweens and teens, but may also be a great watch for mothers. The movie explores the idea of Barbie as having been a representation of womanhood and shows with honesty the complexity of the human condition and women as flawed individuals who are expected to always be at their best but that isn’t quite life, and that’s the beauty of it. It also unpacks some of the ridiculousness of social constructs such as gender stereotypes and the patriarchy in a way that occasionally hits you on the head but adds nuance to this film about Barbie dolls. Best of all, the jokes are great and so passionately delivered by the actors that like I said, the fun they must have had on set feels contagious to the audiences watching.
Barbie may be obvious in its thematic delivery but also absurdly charming and witty, with an excellent message for young girls and an all-star cast that’s the best live-action movie about dolls we could’ve imagined.
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.
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.
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.
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.
Billy Batson and his foster siblings protect Philadelphia with the powers that give them the strength of the gods, but soon the daughters of Atlas arrive seeking revenge for the stealing of their family’s magic ages ago, and declare war on the Shazam family and the human world.
Shazam! remains one of the best films in DC’s current shared movie universe, and Fury of the Gods brings forward everything that worked about the first movie, while expanding on the family dynamic. It’s very entertaining to watch as all the siblings are now superpowered and how it affects their interactions and characters moving forward, as the siblings who weren’t Billy and Freddy were much more minor characters in the first film. The movie also retains the same sweet, heartwarming energy that makes the Shazam saga irreverent, touching and harmlessly entertaining. The action is more in line with Tom Holland’s Spider-Man films than something as world-ending and grim as Justice League — though sometimes the world as still at stake. Zachary Levi’s charisma and natural sense of humor shines again, though it’s way more interesting to see him on screen than Asher Angel. However, Billy is a formidable hero who’s selfless, kind, and even clumsy. However, Jack Dylan Grazer and Adam Brody shine equally as Freddy. Grace Caroline Culley also stands out as both the normal and superpowered Mary, as well as Rachel Zegler, who continues to take the world by storm after West Side Story. Though Helen Mirren is incredibly entertaining as a villain, Lucy Liu’s performance is occasionally eyebrow-raising and questionable.
The visual effects also have some moments that could have used polishing, including the creatures or large set pieces, but overall most of the sets fit the Sunday-cartoon-like vibe that Shazam has always been aiming for. Not to mention, the humor is easily as memorable as the first, though the themes aren’t so as much as Billy and Freddy’s bonding in the first movie. There’s also a few scenes with Djimon Honsou that are funny but the least interesting parts of the movie. However, Shazam!Fury of the Gods gives viewers everything they signed up for while making them laugh and smile at the screen.
Adonis Creed has been living out his wildest dreams, including being the reigning heavyweight boxing champion of the world, and a loving husband and father. When an old friend Dame returns from a long prison sentence, he brings back his and Adonis’ past with him, which will lead to the next big match of Creed’s career.
Though the Creed films were always follow-ups to the beloved Rocky franchise, they’ve made themselves feel fresh and modern while retaining the themes of hard work, underdogs, healthy masculinity, and family that make Rocky so iconic. Three films in, and what you’re watching still feels exciting and imbued with passion from behind the camera. Not to mention the director behind the camera is also its star, Michael B. Jordan. He delivers a strong debut as a filmmaker and brings out not only a strong visual energy to the boxing and training sequences, but the best out of the performances. Jordan and Thompson again work so well together and are two of the most charismatic, vigorous stars of this generation. The dynamic they have, now that their daughter is in the films too, brings another beautiful layer to their world that we’ve already been invested in thanks to the last two films. Jonathan Majors is a formidable screen partner to Jordan as Dame, a man ready to get back at the world for the unfortunate past he’s suffered and the life he feels he’s been robbed of. But similar to the Dragos in Creed II, Dame is empathetic and his longing for the championship Rocky and Creed have already felt isn’t as selfish as his attitude towards getting there.
Along with the excitement of seeing cool stars spar it out in the boxing ring is the complexity that the Creed films’ characters have and the scripts’ push to always have them growing and learning new things, as for every film to feel significant. Despite this, one story arc does feel slightly incomplete at the end and despite creative editing from Jordan, it does get aggressive in a few instances. Though it isn’t as wondrously directed as when Ryan Coogler was at the helm, it’s a film that gets better and better, with the dialogue just as exciting as the sports, but when the sports is there, it’s a blast thanks to the actors, direction, and always thrilling soundtrack that gives the film so much life.
Naomi Ackie stuns in this biopic about Whitney Houston, and the movie makes a strong case for why she was the greatest singing voice of her generation. It highlights Whitney’s accomplishments, shortcomings, and struggles with glamour, empathy and care, but the editing seems to occasionally bring Ackie’s performance down and while the characters and performances are strong, the script is so cliche it almost feels like it’s checking off boxes as it goes. The music biopic tropes are almost all there, whether it be the way the movie portrays the sudden rise to fame, abusive marriage, addiction, controlling father — it’s the Aretha Franklin biopic Respect but with a different soundtrack. The way the movie goes through these cliches feels almost like the way the parodical Walk Hard: The Dewey Cox story would’ve been written, and the editing often glosses past important story points and doesn’t let the beautiful musical sequences breathe and play out without frequent montage-like editing during the songs. Cinematograper Barry Ackroyd of the Bourne movies, The Hurt Locker, Captain Phillips, and Bombshell isn’t enjoying using a tripod too much and often shifts between handheld and still shots mid-scene which occasionally distracts.
In addition to Ackie’s breathtaking work, changing Houston’s mannerisms as she takes us from her teen years to the end of her life, Stanley Tucci is excellent as her manager Clive Davis, who in a nice change of pace from most biopics, isn’t the greedy asshole who takes advantage of the star, but a kind counselor and a devoted friend to Whitney. Ashton Sanders does a strong job as her husband Bobby Brown, as well as Tamara Tunie and Clarke Peters as her parents. Seeing Whitney’s process in creating her songs is also very satisfying, as well as her struggles with drugs and her music being called “not black enough” by critics of her music. Though it’s easier to follow than this year’s Elvis and has fun sequences for fans of Whitney’s music, with a star-making work from Naomi Ackie, but the script in the latter half could’ve been much stronger, as well as the runtime which drags later on and could’ve trimmed 10-20 minutes.
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