In Spider-Man: Homecoming, after the events of Civil War Peter Parker/Spider-Man (Tom Holland) idly passes his time in Queens thwarting robberies and various small time crimes as he waits for Tony Stark (Robert Downey Jr.) to give him a call welcoming him into the Avengers. While the call takes longer than Peter would like, he finds a new opportunity to prove himself when Adrian Toomes (Michael Keaton) turns to crime with the assistance of a cool flying vulture suit.
Tom Holland perfectly nails his role as Peter Parker/Spider-Man. He plays Peter as an insecure, friendly, nerdy, sarcastic (at times) high schooler who is still learning about his powers and himself. This film is classic high school Spidey all the way (my favorite version). He is often caught making it up as he goes along, he makes mistakes, and it feels good to see a hero who will stop fighting a villain to protect or save civilians. A good deal of the film is just Spidey on normal, slow days when he deals with smaller crimes (His time in high school is really the focus here, and his school feels real and lived in, and is populated by a beautifully diverse cast). This was refreshing, different and felt new. Holland is super charismatic, and he easily makes for the best Peter Parker/Spider-Man we're likely to get on the big screen.
Robert Downey Jr. continues to be an icon as Tony Stark, who gifts Peter with a brand new Stark tech suit and acts as a mentor to him for the few scenes he appears in (I counted 4). RDJ continues to be one fine actor, and he makes every one of his scenes count. Jon Favreau returns as Happy Hogan, who is tasked with being Peter's contact. Favreau is a lot of fun here, as Happy isn't all that pleased with his new role. Jennifer Connelly also appears as the voice in Spidey's suit for a few scenes, named Karen. She is very funny, cool, has a cute personality and shares good chemistry with Holland.
Jacob Batalon is great as Ned Leeds, Peter's best friend. He is very likable, and even gets a cool cheer-worthy moment. It's definitely believable that these two have known each other for a while and are best buds. Tony Revolori is actually perfect as Flash Thompson, school bully and all around jerk. In Homecoming, Flash still retains some of his trademark jock attributes (He's shown to be good at gym, and he drives an expensive car) but is also a member of the Decathlon team. Revolori pulls off the whole punchable face thing surprisingly well Zendaya is entertaining, cute and very funny as Michelle, one of Peter's reluctant buddies (She's more o the sides, but is still quite memorable. She is quietly observant of the goings-ons around her, and is whip-smart and always handy with a quick comeback or funny remark. Laura Harrier is very pretty and cute as Liz Allen, whom Peter crushes on from afar (Peter's pining for her is not as large a part of the film as you think it would be). Marisa Tomei is also perfect as Aunt May, she seems to understand Peter and is great pals with him (Their relationship is almost more like a friendship).
Michael Keaton turns on the slime and the scares as Adrian Toomes aka The Vulture. He is very intense and threatening, but has an empathetic backstory and motivation. He also looks very cool whenever he is in his Vulture get-up (even when it's just that cool jacket sans the flying contraption). Bokeem Woodbine and Michael Chernus are great as well as Herman Schultz aka The Shocker and Phineas Mason aka The Tinkerer respectively, goons who work for Toomes. Schultz acts as some muscle as he has a nice gadget that deals a heavy blow and Mason creates the nifty gadgets for Toomes. Donald Glover only has two scenes as Aaron Davis, a well-meaning small time criminal. He has limited screen time but is easily memorable, here's hoping that maybe he gets to return in the next film.
Spider-Man: Homecoming is the first Spider-Man film to be made with the assistance of Marvel, and boy does it show. This is a high quality movie, and it's clear everyone involved worked their butts off to ensure they got it right this time. The usual Marvel logo is underscored by a beautiful new take on the classic Spider-Man theme (by Michael Giacchino, who also did the score for the film). Appropriate, seeing as Homecoming is itself a modern update that takes the material back to its classic roots. Jon Watts directs, and the film feels almost like a John Hughes version of a super-hero movie. It's all very small scale, and the stakes are personal. It's nice to see a super-hero film where the fate of the world or universe isn't held in the balance. The film itself has some great, memorable scenes including one of the most definitive Spidey moments in any of the Spidey flicks (It gave me serious chills and had me tearing up). The only real negative is that Homecoming does mess with/change some pieces of Spidey lore in a way that may confuse or bother some fans.
The Spider-Man Homecoming 3D experience isn't all that satisfying. There are some shots and scenes that look good in 3D, but not all that much jumps out of the screen, and the added depth is decent at best. In 3D, the film can be murky, dark, and some of the action can be hard to make out. Spider-Man: Homecoming is definitely worth your time and money, but to maximize your experience I'd recommend seeing it in 2D instead.
Spider-Man: Homecoming is a big-budget superhero movie that feels like a heartfelt independent feature. It's a lot of fun and very funny. Perhaps most impressive is that it stays true to the character of Spider-Man, and gives us the best and most faithful iteration of that character yet (a lot of classic Spidey moments can be found here, including that definitive moment I mentioned above). Spider-Man: Homecoming is Marvel's welcome home celebration for Spider-Man. It's easily the best Spider-Man film we've gotten thus far. Spider-Man fans rejoice!
5 STARS
Thursday, July 6, 2017
Friday, June 30, 2017
BABY DRIVER IS MY JAM
Baby Driver follows "Baby" (Ansel Elgort), a kid in his 20s who plays getaway driver for local criminal "Doc" (Kevin Spacey). "Baby" is Mozart behind the wheel, and the secret behind his success are his non-stop iPod songs, which he curates for the different situations he finds himself in. When "Baby" fall for waitress Deborah (Lily James), everything changes. As his jobs get more and more dangerous, "Baby" decides it's time for him to leave the game. Naturally, "Doc" and the crew ( "Bats" played by Jamie Foxx, "Buddy" played by Jon Hamm, and "Darling" played by Eiza Gonzalez) of what was supposed to be "Baby's" last job aren't pleased.
Edgar Wright has been the master behind some beloved films of the modern day: Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. The World (I wasn't a huge fan of At World's End, but I will definitely say it wasn't weak). Now, we can add Baby Driver to that list. Baby Driver is a joyous ode to music and car chases that Wright first dreamt up twenty-two years ago. It was his being fired off Marvel's Ant-Man that inspired him to finally make the film. I'd say we're better off for it.
Wright crafts a new cinematic icon in Ansel Elgort's "Baby". As a kid, "Baby" was left with Tinnitus after a car crash that killed his parents. With a constant ringing in his ears, "Baby" turns to music to help him cope and soon it's fueling, moving and inspiring him. He has a clear love for music, as does the film itself (music plays a key role in the film). Elgort has had starring roles before (in Carrie and The Fault In Our Stars), but for my money I'd say this is the best he has ever been. He manages to convey a vulnerability, an earnestness and sincerity, and an irresistible youthful charm. Armed with his shades and trusty iPod, he just seems so darned cool. I'd like to think we can all relate to "Baby". Who hasn't jammed out to music while walking or driving (or wearing shades), and who hasn't felt "cool" while doing so?
The film is peppered with fantastic supporting performances. Jamie Foxx is delightfully insane as the unpredictable psycho "Bats". He acts as our antagonist for most of the film. Jon Hamm is very likable as the nice guy of the group, "Buddy". He has a fantastic arc that sees Hamm get to really show off his acting chops. Eiza Gonzalez (from the From Dusk Till Dawn tv series) is drop dead sexy as his sweet girlfriend, "Darling". Flea is memorable as Eddie No-No's, a wacky member of an earlier job. Kevin Spacey is great as "Doc", the Fagin to Elgort's Oliver. Lily James is very pretty and cute as "Baby's" main squeeze, Deborah. I did like their romance, but I didn't feel fully invested in their whole running away together idea. CJ Jones makes a good impression as "Baby's" deaf adoptive guardian, who is worried about the criminal underworld "Baby" has gotten involved in. Everyone here is just about perfectly cast, and they all seem to be enjoying the hell out of their roles.
Baby Driver acts as a semi-musical. Just as music moves "Baby", so does music fuel the film. A good deal of the scenes in the film are semi-choreographed to songs, whether they be a car chase, "Doc" spelling out a plan for a heist, or "Baby" going to pick up coffee for the crew. These scenes almost resemble musical numbers in a way. The songs chosen are pretty great as well, and a soundtrack buy is an obvious recommendation. It's also worth noting that Wright has reported that the whole film was done practically, and there wasn't a single CG shot in the film. What a breath of fresh air!
The only negatives I could say about Baby Driver is that the plot is cliche'd and trope-y (but this seems to be done in an homage to classic old-fashioned Hollywood), and "Baby" eventually does something that had me somewhat re-think my opinion of him. Baby Driver is Edgar Wright having fun and enjoying himself, while still throwing himself into his work. Just as in Shaun of The Dead and Hot Fuzz, his love for whatever he's paying homage to (in this case, music and car chases) shines through and feels genuinely sincere. When Edgar Wright has fun, it's hard not to have fun with him. Indeed, this film is a genuine blast from beginning to end. Baby Driver is a joyous ode to music, car chases, and old-school Hollywood. It's guaranteed to make you boogie in your seat.
5 STARS
Edgar Wright has been the master behind some beloved films of the modern day: Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. The World (I wasn't a huge fan of At World's End, but I will definitely say it wasn't weak). Now, we can add Baby Driver to that list. Baby Driver is a joyous ode to music and car chases that Wright first dreamt up twenty-two years ago. It was his being fired off Marvel's Ant-Man that inspired him to finally make the film. I'd say we're better off for it.
Wright crafts a new cinematic icon in Ansel Elgort's "Baby". As a kid, "Baby" was left with Tinnitus after a car crash that killed his parents. With a constant ringing in his ears, "Baby" turns to music to help him cope and soon it's fueling, moving and inspiring him. He has a clear love for music, as does the film itself (music plays a key role in the film). Elgort has had starring roles before (in Carrie and The Fault In Our Stars), but for my money I'd say this is the best he has ever been. He manages to convey a vulnerability, an earnestness and sincerity, and an irresistible youthful charm. Armed with his shades and trusty iPod, he just seems so darned cool. I'd like to think we can all relate to "Baby". Who hasn't jammed out to music while walking or driving (or wearing shades), and who hasn't felt "cool" while doing so?
The film is peppered with fantastic supporting performances. Jamie Foxx is delightfully insane as the unpredictable psycho "Bats". He acts as our antagonist for most of the film. Jon Hamm is very likable as the nice guy of the group, "Buddy". He has a fantastic arc that sees Hamm get to really show off his acting chops. Eiza Gonzalez (from the From Dusk Till Dawn tv series) is drop dead sexy as his sweet girlfriend, "Darling". Flea is memorable as Eddie No-No's, a wacky member of an earlier job. Kevin Spacey is great as "Doc", the Fagin to Elgort's Oliver. Lily James is very pretty and cute as "Baby's" main squeeze, Deborah. I did like their romance, but I didn't feel fully invested in their whole running away together idea. CJ Jones makes a good impression as "Baby's" deaf adoptive guardian, who is worried about the criminal underworld "Baby" has gotten involved in. Everyone here is just about perfectly cast, and they all seem to be enjoying the hell out of their roles.
Baby Driver acts as a semi-musical. Just as music moves "Baby", so does music fuel the film. A good deal of the scenes in the film are semi-choreographed to songs, whether they be a car chase, "Doc" spelling out a plan for a heist, or "Baby" going to pick up coffee for the crew. These scenes almost resemble musical numbers in a way. The songs chosen are pretty great as well, and a soundtrack buy is an obvious recommendation. It's also worth noting that Wright has reported that the whole film was done practically, and there wasn't a single CG shot in the film. What a breath of fresh air!
The only negatives I could say about Baby Driver is that the plot is cliche'd and trope-y (but this seems to be done in an homage to classic old-fashioned Hollywood), and "Baby" eventually does something that had me somewhat re-think my opinion of him. Baby Driver is Edgar Wright having fun and enjoying himself, while still throwing himself into his work. Just as in Shaun of The Dead and Hot Fuzz, his love for whatever he's paying homage to (in this case, music and car chases) shines through and feels genuinely sincere. When Edgar Wright has fun, it's hard not to have fun with him. Indeed, this film is a genuine blast from beginning to end. Baby Driver is a joyous ode to music, car chases, and old-school Hollywood. It's guaranteed to make you boogie in your seat.
5 STARS
Friday, June 23, 2017
TRANSFORMERS: THE LAST KNIGHT IS DEFINITELY A TRANSFORMERS FILM
After the events of Transformers: Age of Extinction, Optimus Prime has left Earth to confront his makers. In the far reaches of space, he finds Quintessa, a god-like being who claims to be his sole creator. She convinces Optimus that if they are to save Cybertron (his home planet, now in ruins) he must help her destroy Earth. Back on Earth, Humanity is still at war with Transformers. The TRF (Transformers Reaction Force) has been formed to hunt and destroy all Transformers. What's worse, Autobots have been falling from the sky like crazy, which humanity has come to see as an invasion of sorts. Amid all this, a mysterious new character named Sir Edmund Burton (Anthony Hopkins) whisks Cade Yaeger (Mark Whalberg) away from his life of protecting Autobots from the TRF. Burton claims that Humanity and Earth's salvation lie in our past, and an ancient secret involving a powerful Arthurian artifact.
Transformers: The Last Knight is the fifth (and hopefully last, though I doubt it) installment in The Transformers franchise. I started out as a big fan of this property, but ten years later even I have to admit this whole this is getting tiring. How many times can one review a Transformers film before you run out of things to say? After all, these films are all so similar to each other and each offer nothing of real value except spectacle. That said, despite all my whining I must admit I did enjoy my time with this latest run in the series.
Mark Whalberg is back as Cade Yaeger and doing his Mark Whalberg thing. He has sent his daughter Tessa away to college while he lies low from the government with his Autobot buddies. I like that, while Tessa doesn't appear in this one, The Last Knight still makes Cade's relationship with his daughter one of the key parts of the film. Anthony Hopkins seems to enjoy getting to play a cranky, foul-mouthed old man and I got some entertainment out of his performance. Laura Haddock is fine as Vivian Wembley, Yaeger's love interest who has ties to the past.
Josh Duhamel, Glenn Morshower and John Tuturro reprise their roles of William Lennox (Who now reluctantly heads the TRF along with Santiago Cabrera as Santos), General Morshower (Lennox's superior), and Seymour Simmons (Who has been hiding out in Cuba and assisting Sir Edmund Burton). It was cool to get to see Josh Duhamel go from playing a hero in the first film, to what is essentially our main human antagonist in this one. I also really enjoyed when Lennox and Morshower got to share a few scenes. Unfortunately, John Tuturro doesn't have much of a role to play and could have easily been excised without losing anything.
Peter Cullen is back again as Optimus Prime, and does his usual bang-up job (He is only in around 2 scenes in the first 2 acts and doesn't really appear until right before the climax). There is a reason his Optimus Prime has become an icon. Frank Welker FINALLY gets to voice Megatron (Here he makes a deal with TRF where he and his crew will help them track down Cade and crew). His first scene gave me chills. He is easily the best, definitive Megatron we've gotten on the big screen (Obviously, since he is the original voice of Megatron in the 80's animated series).
To this film's credit, The Last Knight does try to give us some new things while hearkening back to the legacy and tone of the first three films. I found it's take on Arthurian legend silly but interesting (definitely more interesting than anything the previous three sequels gave us), that said this aspect doesn't rear it's head until the 2nd act or so. Most of The Last Knight is Cade and crew being chased by the TRF. The Last Knight definitely has more good moments than the other sequels did. I found the opening action sequence, the fight between Bumblebee and Optimus, and the big climax to be the most impressive action scenes in the film.
Unfortunately, The Last Knight is still not a great film. At two hours and twenty-nine minutes, it's the shortest of the sequels (Transformers: Revenge of The Fallen ran at two hours and thirty minutes) but is still too long and feels overstuffed. There is too much going on, too many characters (Isabella Moner and Jerrod Carmichael could have been cut completely as they don't add much to the film) , too many plots and sub-plots. There is also a Transformer named Cogman (voiced by Jim Carter), who is an unhinged, sociopathic butler to Sir Edmund Burton. Cogman is just annoying, and is in the film too much (he winds up being one of the main Transformers). They also mess with the lore in a weird way. That said, this is basically what the fourth film should have been (and I LIKED the fourth film!).
Michael Bay shot 98% of The Last Knight on IMAX 3D cameras? Does it show? How does that affect the viewing experience? It feels like Bay shot every thing to fully engulf the audience. Lots and lots of stuff come flying into the theater (debris, swords, guns, fire, etc), and most of the shots of action are close-up, so the effect is that you are right in front of it. For most of the film, it felt like you were in the movie. It definitely showed that he filmed primarily with IMAX 3D cameras, and I'd say IMAX is the best way to see this film (It's what Bay clearly intended).
Transformers: The Last Knight does get a few extra points for trying to do something a little different, but overall it's still another Transformers movie. It's big, loud, dumb, action-filled, hollow, mind-numbing, and entertaining (exactly like every other one). There are definitely more good parts here than in the other sequels, but the bad parts are still pretty bad. I guess you could say I liked it (It's definitely the best of the sequels). That said, the only reason to see this one would be for the spectacle (or if you are a fan) or to sample some top notch, impressive visual effects. I'd say unless you are seeing it in IMAX 3D, wait for it on blu-ray.
3 STARS
I'm expecting there to be more Transformers films based on the way this one ends, hopefully Michael Bay will actually stick to his word for once and let some new blood have a go at this franchise.
Transformers: The Last Knight is the fifth (and hopefully last, though I doubt it) installment in The Transformers franchise. I started out as a big fan of this property, but ten years later even I have to admit this whole this is getting tiring. How many times can one review a Transformers film before you run out of things to say? After all, these films are all so similar to each other and each offer nothing of real value except spectacle. That said, despite all my whining I must admit I did enjoy my time with this latest run in the series.
Mark Whalberg is back as Cade Yaeger and doing his Mark Whalberg thing. He has sent his daughter Tessa away to college while he lies low from the government with his Autobot buddies. I like that, while Tessa doesn't appear in this one, The Last Knight still makes Cade's relationship with his daughter one of the key parts of the film. Anthony Hopkins seems to enjoy getting to play a cranky, foul-mouthed old man and I got some entertainment out of his performance. Laura Haddock is fine as Vivian Wembley, Yaeger's love interest who has ties to the past.
Josh Duhamel, Glenn Morshower and John Tuturro reprise their roles of William Lennox (Who now reluctantly heads the TRF along with Santiago Cabrera as Santos), General Morshower (Lennox's superior), and Seymour Simmons (Who has been hiding out in Cuba and assisting Sir Edmund Burton). It was cool to get to see Josh Duhamel go from playing a hero in the first film, to what is essentially our main human antagonist in this one. I also really enjoyed when Lennox and Morshower got to share a few scenes. Unfortunately, John Tuturro doesn't have much of a role to play and could have easily been excised without losing anything.
Peter Cullen is back again as Optimus Prime, and does his usual bang-up job (He is only in around 2 scenes in the first 2 acts and doesn't really appear until right before the climax). There is a reason his Optimus Prime has become an icon. Frank Welker FINALLY gets to voice Megatron (Here he makes a deal with TRF where he and his crew will help them track down Cade and crew). His first scene gave me chills. He is easily the best, definitive Megatron we've gotten on the big screen (Obviously, since he is the original voice of Megatron in the 80's animated series).
To this film's credit, The Last Knight does try to give us some new things while hearkening back to the legacy and tone of the first three films. I found it's take on Arthurian legend silly but interesting (definitely more interesting than anything the previous three sequels gave us), that said this aspect doesn't rear it's head until the 2nd act or so. Most of The Last Knight is Cade and crew being chased by the TRF. The Last Knight definitely has more good moments than the other sequels did. I found the opening action sequence, the fight between Bumblebee and Optimus, and the big climax to be the most impressive action scenes in the film.
Unfortunately, The Last Knight is still not a great film. At two hours and twenty-nine minutes, it's the shortest of the sequels (Transformers: Revenge of The Fallen ran at two hours and thirty minutes) but is still too long and feels overstuffed. There is too much going on, too many characters (Isabella Moner and Jerrod Carmichael could have been cut completely as they don't add much to the film) , too many plots and sub-plots. There is also a Transformer named Cogman (voiced by Jim Carter), who is an unhinged, sociopathic butler to Sir Edmund Burton. Cogman is just annoying, and is in the film too much (he winds up being one of the main Transformers). They also mess with the lore in a weird way. That said, this is basically what the fourth film should have been (and I LIKED the fourth film!).
Michael Bay shot 98% of The Last Knight on IMAX 3D cameras? Does it show? How does that affect the viewing experience? It feels like Bay shot every thing to fully engulf the audience. Lots and lots of stuff come flying into the theater (debris, swords, guns, fire, etc), and most of the shots of action are close-up, so the effect is that you are right in front of it. For most of the film, it felt like you were in the movie. It definitely showed that he filmed primarily with IMAX 3D cameras, and I'd say IMAX is the best way to see this film (It's what Bay clearly intended).
Transformers: The Last Knight does get a few extra points for trying to do something a little different, but overall it's still another Transformers movie. It's big, loud, dumb, action-filled, hollow, mind-numbing, and entertaining (exactly like every other one). There are definitely more good parts here than in the other sequels, but the bad parts are still pretty bad. I guess you could say I liked it (It's definitely the best of the sequels). That said, the only reason to see this one would be for the spectacle (or if you are a fan) or to sample some top notch, impressive visual effects. I'd say unless you are seeing it in IMAX 3D, wait for it on blu-ray.
3 STARS
I'm expecting there to be more Transformers films based on the way this one ends, hopefully Michael Bay will actually stick to his word for once and let some new blood have a go at this franchise.
Thursday, May 18, 2017
Alien: Covenant
Alien Covenant is the sequel to Prometheus and another one of the (soon to be many) Alien prequels. In Covenant, we follow the crew of The Covenant, a Weyland-Yutani vessel who's mission is to colonize a distant planet. The crew consists of various couples, who's jobs are to assist with the mission. On the way to the planet, The Covenant pick up a distress signal that seems to be human in nature. The signal hails from a nearby planet that appears to be not much different from Earth. The Covenant crew land to seek out the source of the signal and explore the planet to deem if it is a good fit for colonization. It isn't long before hell opens up and a whole slew of Neomorphs and Xenomorphs attack.
Alien: Covenant is a somewhat successful merge of Prometheus, Alien and Aliens. The focus here is clearly on action/horror (and the action/horror scenes work pretty well, although the film does seem to disregard some of the Alien lore), but there is still a good deal of meandering about and doing nothing (mainly in the first act). There are many people on board the Covenant, and while each is given some character we never spend enough time with any one of them to really feel like we know them. To the cast's credit, I did buy them as a team and everyone worked well off of each other. The main players include Billy Crudup as Oram, the new captain of the Covenant who has some strong religious leanings and has some hang-ups about the rest of the crew. Katherine Waterston plays Daniels, a Ripley-esque character who I quickly grew to like. Danny McBride plays Tennessee, the pilot with an attitude. Michael Fassbender does double duty as Walter, a more advanced android who's job is to assist and protect the crew of the Covenant, and David, back again with some secrets up his sleeve. Waterston, Fassbender and McBride impressed the most.
The design of the planet, the Neomorphs, and the classic Xenomorph are all pretty great. I wasn't crazy about how all of the sfx seemed to be done using CGI, but at least everything looked good. Unlike Prometheus, Covenant is one made purely for Alien fans. There are many references to Alien (from MU-TH-ER, to musical stings lifted directly from Alien, to fragments of lines, etc.), and I enjoyed getting to uncover these not-so-hidden easter eggs.
The plot here is fairly simple (follow the crew of the Covenant on an exploratory mission gone wrong), the film is predictable at points, and I liked that we actually get answers here (something Prometheus was sorely lacking). It honestly feels like there was supposed to be another film or two before we got to this point, but because everyone hated Prometheus Scott rushed the timeline and dumbed things down. Alien: Covenant is a big budget action/horror/sci-fi blockbuster (which has very little sci-fi and world building). In the end, I'd say it's more of a mixed bag. There is plenty that is great, but also a good deal that tastes a little funny. I do have some problems with the film (Wasn't a great, epic film. Wanted more blood, more horror, more practical effects. Wanted to be invested in our leads more. Ending was a little disappointing. Honestly, part of me wants to say I liked Prometheus more.) but despite this, Alien: Covenant is still a decent Alien film.
3 STARS
Monday, March 20, 2017
THE BELKO EXPERIMENT PASSES THE TEST
Belko Industries is a company based in Bogota, Colombia that specializes in hiring Americans to work in foreign areas/companies. On what appears to be a normal day, the employees arrive to work at Belko only to notice significantly upped security measures, and all the local Colombian workers being sent home. Once inside the building, things resume as they usually would until a booming voice comes on over the intercom, instructing the workers to kill any two of their co-workers. It's all treated as a mean-spirited prank until the building goes on lockdown, impenetrable shutters slide over all the windows and doors, and people's heads start exploding. As the voice continues to deliver deadly instructions, it quickly becomes kill-or-be-killed as a battle for survival ensues.
Belko has a fantastic cast. Although the characters aren't completely fleshed out, I still found them believable and was surprised that some of the deaths really hurt. The best characters/actors were John C. Mcginley as Wendell Dukes (a creepy office flirt turned psycho), Michael Rooker as Bud (a kind, calm and intelligent maintenance man ), Tony Goldwyn as COO Barry Norris (He starts out as a nice guy but essentially turns into Carl from Ghost), John Gallagher Jr. as Michael Milch (The "Good Guy" who insists that the circumstances do not alter what is right and what is wrong), James Earl as Evan (a kind security guard), and Adria Arjona as Leandra (A kind-hearted but rational romantic interest who is involved in a frowned upon relationship with Mike).
The Belko Experiment is penned by James Gunn, and some of his sensibilities shine through though I'll say in general this isn't all that strong of a script. It's directed by Greg McLean, who also directed Wolf Creek, and his tendency towards a dark tone is evident. The film is pretty fun, but also super-dark, very tense, darkly comic at times, brutal, gory and downright cynical. You may find yourself grasping the arms of your seat throughout as you can never fully tell exactly when the next person is going to bite the bullet (or axe, or tape-dispenser, etc). The message is ever present, though it is somewhat small and the big picture/point of the whole experiment is never really revealed.
The real draw of The Belko Experiment is the chaos, violence, and getting to watch how individuals or groups of people can react differently to the same tense situation. It's like a midnight movie that wants to have a message, but flounders when it comes to the particulars. You'll find yourself cheering at times, but feel bad for doing so because of the realization that you may be just as bad as some of the people on screen. Graded like a test, I would give Belko a C+.
3.5 STARS
Belko has a fantastic cast. Although the characters aren't completely fleshed out, I still found them believable and was surprised that some of the deaths really hurt. The best characters/actors were John C. Mcginley as Wendell Dukes (a creepy office flirt turned psycho), Michael Rooker as Bud (a kind, calm and intelligent maintenance man ), Tony Goldwyn as COO Barry Norris (He starts out as a nice guy but essentially turns into Carl from Ghost), John Gallagher Jr. as Michael Milch (The "Good Guy" who insists that the circumstances do not alter what is right and what is wrong), James Earl as Evan (a kind security guard), and Adria Arjona as Leandra (A kind-hearted but rational romantic interest who is involved in a frowned upon relationship with Mike).
The Belko Experiment is penned by James Gunn, and some of his sensibilities shine through though I'll say in general this isn't all that strong of a script. It's directed by Greg McLean, who also directed Wolf Creek, and his tendency towards a dark tone is evident. The film is pretty fun, but also super-dark, very tense, darkly comic at times, brutal, gory and downright cynical. You may find yourself grasping the arms of your seat throughout as you can never fully tell exactly when the next person is going to bite the bullet (or axe, or tape-dispenser, etc). The message is ever present, though it is somewhat small and the big picture/point of the whole experiment is never really revealed.
The real draw of The Belko Experiment is the chaos, violence, and getting to watch how individuals or groups of people can react differently to the same tense situation. It's like a midnight movie that wants to have a message, but flounders when it comes to the particulars. You'll find yourself cheering at times, but feel bad for doing so because of the realization that you may be just as bad as some of the people on screen. Graded like a test, I would give Belko a C+.
3.5 STARS
Thursday, February 16, 2017
SMALLS TAKES THE CURE AND FINDS THAT IT IS WONDERFUL HERE
A Cure for Wellness stars Dane DeHaan as Lockhart; a young, ambitious executive for an investment firm. When the CEO of the corporation fails to return from the Swiss "wellness spa" he has been staying at, Lockhart is sent to bring him back. Due to unfortunate circumstances, Lockhart himself is involuntarily checked into the spa, where he begins to undergo "treatment". It isn't long before he realizes all is not right, and begins his own investigation into the spa's past, and into what exactly the "cure" is.
DeHaan has finally found another vehicle to show off his superb acting talents. His Lockhart is essentially a yuppie type, somewhat similar to that of Patrick Bateman in American Psycho minus the mental illness. He starts out as an unlikable guy who is ruthless, unfeeling, and motivated by upward mobility. What he experiences throughout the film slowly begins to change his character, and softens him a bit. DeHaan sells his role as an unconventional and almost ineffectual hero just about perfectly. This is easily the best role he has had to date (Yes, even better than his character in Chronicle).
Mia Goth is eerily beautiful as Hanna, a young patient whom Lockhart befriends and may hold the key to everything. She appears sporadically throughout the film until her role is beefed up near the end. DeHaan and Goth play off of each other pretty well, and they share some nice chemistry. Jason Isaacs is very creepy and unsettling as the head of the spa, Dr. Volmer. His wellness spa seems to be focused on using water as a way to help cure what ails people. His intentions are always shady, and he has a definite sinister edge. Celia Imrie is memorable as one of the patients at the spa who has a penchant for crossword puzzles and is interested in the hidden history of the center as well. Lockhart and her form a small friendship throughout the course of the film. Ivo Nandi is also memorable as Enrico, the friendly driver who shows up at odd intervals to assist Lockhart.
For the first third of the film, A Cure for Wellness seems to be a tirade against Capitalism until it slowly morphs into something else completely. It's fun to follow Lockhart as he attempts to solve the mysteries that lie at the core of the wellness spa (in this respect, the film almost feels similar to Shutter Island). A Cure for Wellness could be classified as part noir, part thriller and part horror film (art house horror to be exact). A lot of disturbing things go down in the film, and it can get surprisingly brutal at times. Lockhart is really put through the wringer in increasingly nasty ways.
Directed by Gore Verbinski and shot by Bojan Bazelli (both of whom brought us The Ring), it should come as no surprise that A Cure for Wellness feels like The Ring in many different ways. It's an eerie, unsettling and thoroughly creepy flick. The atmosphere is rich and seeping with tension and the cinematography is consistently haunting and gorgeous. Just about every frame is a work of art. The story and the twisting path it takes us on is very satisfying as well.
I will admit that this film is fairly lengthy. A Cure For Wellness runs at two hours and thirty minutes. It's a slow, thoughtful film. This never bothered me as I enjoyed getting lost in the gorgeous, intricate world built here. That said, I can easily see how some may deem the film just too darn long. It is definitely very ambitious and self-indulgent, but the third act does provide a satisfying (and bonkers) pay off. An accurate one word summary of the film would be "Grand".
A Cure for Wellness is a different kind of horror film. It's drenched in atmosphere, filled with a thick tension, and manages to be surprisingly brutal and disturbing at times. It is undoubtedly one of the more bizarre, disturbing, ambitious, ballsy, unique and beautifully realized studio horror films to come out in the modern day (The fact that a film like this can still be made in the studio system today almost gives one hope). It's certainly not made for mass audiences, but I think it will find it's crowd given time. A Cure For Wellness is a memorable film that will haunt your thoughts long after the end credits have rolled.
5 STARS
Tuesday, February 7, 2017
THE BEST FILMS OF 2016
As we all know, 2016 was a pretty tough year. Luckily, the year in film had some real winners. Let's put aside all the negatives, and try looking at the positives...at least, as far as movies go. here is my top 20 films of 2016.
But first, some honorable mentions:
Nocturnal Animals
Zootopia
Popstar: Never Stop Never Stopping
Finding Dory
Captain America: Civil War
Doctor Strange
Indignation
The Jungle Book
Don't Breathe
The Invitation
And now, my top 20
20. Moana- A beautiful film about growing up, finding yourself, and the importance of your heritage. It's not just an empowerment tale for young girls, as there are things that everyone could find relevant or touching. With a fantastic voice cast and memorable tunes (some of which are by Lin Manuel-Miranda), I would qualify Moana as the best animated film of 2016, and one that would be well worth checking out. No other animated film this year gave me chills all over like this one did.
19. The Purge: Election Year- Another year, another outing for the successful Purge franchise. While this three-quel isn't quite as good as Anarchy was, there is still plenty to enjoy here. If not it's overtly political message, than maybe how incredibly timely and relevant it feels to what's happening in our society today. This film manages to have it's cake and eat it too, telling a strong anti-violence message through use of gratuitous violence.
18. The Witch- A slow-moving, and disturbing flick. It can be a challenging watch due to the hard-to-comprehend old english and it's snail's pace, but the last act rewards patient viewers with one hell of an explosive finale. Tackling themes of religion, stubborn pride, and sexual repression, The Witch was the first great horror film of 2016.
17. Lamb- An unconventional love story between a 45 year old man and 11 year old girl. Oona Lawrence and Ross Partridge (who also directs the film and writes the screenplay) are more than game for the heavy material they are handed. Partridge's produces a multi-faceted, complex portrayal of a broken man stuck in a very bad period of his life, and Oona Lawrence puts on what may be the single best performance I've seen from a young actor. She is easily his equal, and goes toe-to-toe with him (acting-wise) for the whole film. Both characters are unhappy with the lives they are living, and are only happy when with each other. The film is constantly challenging and uncomfortable in it's portrayal of a forbidden romance (don't worry, there is no kissing or sexual encounters between our two leads. The most they do is hug and dance), but this makes the film surprisingly stronger. Lamb certainly won't be to everyone's tastes, but if you want to see two of the best performances this year then Lamb is worth a rental or purchase.
16. The Nice Guys- Shane Black returns with a genre flick after his fairly unpopular Iron Man 3 (I loved it, but what you gonna do?). Russel Crowe and Ryan Gosling star as an unlikely detective duo trying to uncover and automobile conspiracy in the 1970's. The film is super fun, and Gosling and Crowe make for a fine comedic duo. Nice Guys is a little uneven, and we dont wind up caring all that much about the case they are trying to solve, but the atmosphere, setting, characters, and comedy are all fantastic. Nice Guys winds up feeling a little too much like Kiss Kiss Bang Bang (a film that I would say I liked better than this one), but overall if you are a fan of period pieces, genre flicks, Shane Black, or films that are just plain fun, then Nice Guys is a can't miss (It's worth a watch alone for the party scene).
15. The Lobster- A fascinating and bizarre look at society and dating's place in it. It often feels like a modern day fable. Colin Farrell is fantastic as the sad sack, lonely heart at the center of the story. The film is very dark, depressing, and not really all that fun of a watch. That said, I loved it's themes, messages, and comments on society and dating. I'd qualify it as a super-dark, quirky comedy. If you like intelligent Indies, then The Lobster would be worth a watch.
14. Rogue One- This is the Star Wars film I've been wanting to see. It returns us back to the timeline of the original three films (An New Hope, Empire, and Jedi), and I've gotta say it's good to be home. We get AT-ATs, The Death Star, classic Rebellion outfits, Darth Vader, Tie-Fighters, X-Wings and more! The first act is a little slow, but the last 40 minutes or so is action-packed, nostalgic fun. Plus, the film ends just about perfectly (in my opinion, at least). Rogue One is more of a Star Wars film for adults (Definitely not for kids). It's dark, violent, a little mean, but still fun and a bit goofy. One of the biggest surprises of 2016, Rogue One easily makes it onto this list.
13. Manchester By The Sea- Talk about your depressing films. I'd compare this one to Requiem For A Dream, both are different kinds of films that still manage to leave a hole in your heart. The script (by Kenneth Lonergan, who also directs), perfectly captures the feel of real life conversations. It's a film that is surprisingly easy to watch, despite it's heavy, depressing subject material. Casey Affleck and Lucas Hedges are superb and make for a fine duo in the film. I left this one feeling a little dead inside, but this is a film that tries to stay true to real life and unfortunately, there aren't always happy endings or satisfying answers in the real world.
12. Fences- Denzel Washington treats audiences to a true Broadway theatrical experience, bloated run-time and all. Denzel is perfect as Troy Maxson, a man who is constantly sliding up and down the scale of hero-villain. Viola Davis puts on one of the best female performances I've seen in quite some time as Rose, his long-time struggling but still faithful wife. Mykelti Williamson (aka Bubba from Forrest Gump) is unrecognizable as Troy's mentally handicapped brother who believes it is his job to blow his trumpet to wake up St. Peter so he can open the pearly gates when it is time. The film acts as fully engaging family drama, and it has one of the best scripts of 2016. This was the film that had me tearing up the most in 2016. I was surprised at how touched and moved I was by the whole thing.
11. Tickled- That's right, a documentary made it into my best of 2016 list. In Tickled, we follow David Farrier, a gay journalist who decides to investigate the world of competitive tickling (yes, this is a real thing) and in doing so uncovers a disturbing, weird and bizarre world lurking just underneath ours. This film that starts out as a fin, silly, weird fluff piece winds up becoming something chilling, scary, and deeply disturbing. A riveting documentary that actually ends on a satisfying notes and delivers answers I wasn't sure it would be able to provide. A must-see.
10. Swiss Army Man- A film about finding the beauty in life and in death. Daniel Radcliffe is superb as Manny, a magical farting corpse that saves Paul Dano's Hank from suicide and ultimately teaches him some valuable life lessons. The film is definitely silly, weird and strange but still beautiful, inspiring and uplifting nonetheless.
9. Fantastic Beasts and Where To Find Them- At a time when we all needed an escape, this film provided it to us while still commenting on modern societal issues. Fantastic Beasts provided us with memorable characters, plenty of whimsy, and a dark undercurrent. The film has plenty to say about hatred, fear, love, and acceptance (all relevant and important themes to today's age). Fantastic Beasts managed to whisk audiences into a new but familiar magical world while still leaving us plenty to reflect on. I'd say it was easily the most magical film of 2016 (I saw it three times in theaters, and loved it each time).
8. Sing Street- A story of a boy, his band, and the girl that inspired him. Directed and written by John Carney, is it any surprise the the film and the songs found within are as great as they are? Ferdia Walsh-Peelo (as Conor, our lead), Jack Reynor (as Brendan, Conor's older brother. This is easily Reynor's best role to date), and Lucy Boynton (as Raphina, Conor's crush. She's absolutely gorgeous despite some atrocious 80's hair-dos) are all fantastic. It's great fun to watch the formation of the band, the creation of the various songs, Conor and Raphina's budding romance, and Conor's slow maturation into a man (It's surprising how much I bought him as a leading man by the end of the film). Sing Street is not just an 80's period piece, it also acts as a musical of sorts (complete with an awesome 50's musical sequence). Sing Street is a great, feel-good pick-me-up.
7. Hell or High Water- One hell of a film. I heard a lot of people raving about this film, I never expected to join their ranks. This film was great. An old-fashioned Robin Hood/Bank Heist film about the poor stealing from the rich to give to....themselves. Chris Pine and Ben Foster star as brothers who set out to rob all the branches of the bank that intends to foreclose on their ranch, paying them off with the stolen goods. Jeff Bridges co-stars as a sympathetic but stalwart version of Johnny-law, and Gil Birmingham does a fantastic job as his friend and partner. This film has what I consider to be the best script of 2016. The film itself is pretty funny, and action-packed (plenty of bank robbery scenes for us to enjoy), and lost of fun. This is still one of the best guy films I've seen in recent years.
6. Hidden Figures- An important film that also manages to be fun and cool. It sheds light on little known historical figures and their stories. Taraji P. Henson and Kevin Costner are the standouts here. I was surprised by how much I enjoyed this film. A fun and informative flick for families that people of all ages and races can sit and enjoy together.
5. Deadpool- The best super-person film of 2016. I can't say super-hero because, let's face it, Deadpool is no hero. He is a trash talking, sarcastic mercenary who is only ever on his own side. I never expected to get a faithful Deadpool flick, but here we are. The film is the closest we've gotten to a completely faithful adaptation of the comics. I literally felt like I was reading a Deadpool comic while watching this movie. It's fun, it's insane, it's hilarious, and it's naughty. Deadpool is no doubt the most fun I had in a theater all of 2016.
4. Green Room- An intensely depressing film about a couple of kids who try to do the right thing and are severely punished for it. When down on their luck punk band The Ain't Rights book a gig at a neo-nazi bar, they stumble upon a murder scene.Their attempt to call for help is cut off by management and they're forced into the bar's green room. Out-gunned and outnumbered, they soon realize that they may have to fight their way out. This was to be Anton Yelchin's last great film, as we tragically lost the talented young actor earlier in 2016. He stars here alongside Imogen Poots, who previously played his girlfriend in Fright Night. To no surprise their chemistry is strong, and they superbly play off of each other as a strained friendship forms between them throughout the course of the film. Green Room is a depressing, tense, brutal, and thrilling as hell horror film that manages to shock and entertain while subtly delivering a few chuckles. Green Room is hands-down the best horror film of 2016.
3. Moonlight- A film for men about growing up and how masculinity can play a key role in the process. It's pretty tragic and moving. The film is hauntingly shot (by James Laxton) and scored (by Nicholas Britell). Everything comes together to tell the story of a young boy's journey into manhood. Haunting, hypnotic, complex, intensely intimate. and quite memorable. Moonlight is quite unlike anything else I've seen in 2016.
2. Arrival- So much more than just an alien invasion film. It's shocking that Arrival comes out at exactly the perfect time (There is no way they could have planned this). The film has so many messages that are pertinent to today and what's going on right now. It comments on hatred, fear, and the need for unity and acceptance, while still sneaking in messages about love, loss, and the true nature of time. Both times I saw this, I left the theater feeling brand-new and ready to go out and face the next 4-8 years. Arrival is the most inspiring, touching and uplifting film of 2016. It's what we all need right now.
1. Silence- Martin Scorsese's 20 year in the making passion project tackles some heavy religious material, mainly dealing with a crisis of faith. Andrew Garfield puts on the best performance of his career thus far as Father Rodriguez, a Jesuit priest who experiences his own crisis of faith when sent to Japan to find his lost mentor. Garfield struggles as he watches others suffer for him. His dedication to his faith is ultimately tested through cruel psychological torture. The film is expertly crafted with some religious undertones. That said, it never talks down to its audience or provides any easy answers. Silence is a challenging watch that is filled with scenes of brutal torture. It's The Passion of The Christ if it was made by a master director. I left deeply shaken and touched by what I'd seen, and the film still haunts my thoughts as I write this article. It is the best film of 2016, and the best modern work of Scorsese.
But first, some honorable mentions:
Nocturnal Animals
Zootopia
Popstar: Never Stop Never Stopping
Finding Dory
Captain America: Civil War
Doctor Strange
Indignation
The Jungle Book
Don't Breathe
The Invitation
And now, my top 20
20. Moana- A beautiful film about growing up, finding yourself, and the importance of your heritage. It's not just an empowerment tale for young girls, as there are things that everyone could find relevant or touching. With a fantastic voice cast and memorable tunes (some of which are by Lin Manuel-Miranda), I would qualify Moana as the best animated film of 2016, and one that would be well worth checking out. No other animated film this year gave me chills all over like this one did.
19. The Purge: Election Year- Another year, another outing for the successful Purge franchise. While this three-quel isn't quite as good as Anarchy was, there is still plenty to enjoy here. If not it's overtly political message, than maybe how incredibly timely and relevant it feels to what's happening in our society today. This film manages to have it's cake and eat it too, telling a strong anti-violence message through use of gratuitous violence.
18. The Witch- A slow-moving, and disturbing flick. It can be a challenging watch due to the hard-to-comprehend old english and it's snail's pace, but the last act rewards patient viewers with one hell of an explosive finale. Tackling themes of religion, stubborn pride, and sexual repression, The Witch was the first great horror film of 2016.
17. Lamb- An unconventional love story between a 45 year old man and 11 year old girl. Oona Lawrence and Ross Partridge (who also directs the film and writes the screenplay) are more than game for the heavy material they are handed. Partridge's produces a multi-faceted, complex portrayal of a broken man stuck in a very bad period of his life, and Oona Lawrence puts on what may be the single best performance I've seen from a young actor. She is easily his equal, and goes toe-to-toe with him (acting-wise) for the whole film. Both characters are unhappy with the lives they are living, and are only happy when with each other. The film is constantly challenging and uncomfortable in it's portrayal of a forbidden romance (don't worry, there is no kissing or sexual encounters between our two leads. The most they do is hug and dance), but this makes the film surprisingly stronger. Lamb certainly won't be to everyone's tastes, but if you want to see two of the best performances this year then Lamb is worth a rental or purchase.
16. The Nice Guys- Shane Black returns with a genre flick after his fairly unpopular Iron Man 3 (I loved it, but what you gonna do?). Russel Crowe and Ryan Gosling star as an unlikely detective duo trying to uncover and automobile conspiracy in the 1970's. The film is super fun, and Gosling and Crowe make for a fine comedic duo. Nice Guys is a little uneven, and we dont wind up caring all that much about the case they are trying to solve, but the atmosphere, setting, characters, and comedy are all fantastic. Nice Guys winds up feeling a little too much like Kiss Kiss Bang Bang (a film that I would say I liked better than this one), but overall if you are a fan of period pieces, genre flicks, Shane Black, or films that are just plain fun, then Nice Guys is a can't miss (It's worth a watch alone for the party scene).
15. The Lobster- A fascinating and bizarre look at society and dating's place in it. It often feels like a modern day fable. Colin Farrell is fantastic as the sad sack, lonely heart at the center of the story. The film is very dark, depressing, and not really all that fun of a watch. That said, I loved it's themes, messages, and comments on society and dating. I'd qualify it as a super-dark, quirky comedy. If you like intelligent Indies, then The Lobster would be worth a watch.
14. Rogue One- This is the Star Wars film I've been wanting to see. It returns us back to the timeline of the original three films (An New Hope, Empire, and Jedi), and I've gotta say it's good to be home. We get AT-ATs, The Death Star, classic Rebellion outfits, Darth Vader, Tie-Fighters, X-Wings and more! The first act is a little slow, but the last 40 minutes or so is action-packed, nostalgic fun. Plus, the film ends just about perfectly (in my opinion, at least). Rogue One is more of a Star Wars film for adults (Definitely not for kids). It's dark, violent, a little mean, but still fun and a bit goofy. One of the biggest surprises of 2016, Rogue One easily makes it onto this list.
13. Manchester By The Sea- Talk about your depressing films. I'd compare this one to Requiem For A Dream, both are different kinds of films that still manage to leave a hole in your heart. The script (by Kenneth Lonergan, who also directs), perfectly captures the feel of real life conversations. It's a film that is surprisingly easy to watch, despite it's heavy, depressing subject material. Casey Affleck and Lucas Hedges are superb and make for a fine duo in the film. I left this one feeling a little dead inside, but this is a film that tries to stay true to real life and unfortunately, there aren't always happy endings or satisfying answers in the real world.
12. Fences- Denzel Washington treats audiences to a true Broadway theatrical experience, bloated run-time and all. Denzel is perfect as Troy Maxson, a man who is constantly sliding up and down the scale of hero-villain. Viola Davis puts on one of the best female performances I've seen in quite some time as Rose, his long-time struggling but still faithful wife. Mykelti Williamson (aka Bubba from Forrest Gump) is unrecognizable as Troy's mentally handicapped brother who believes it is his job to blow his trumpet to wake up St. Peter so he can open the pearly gates when it is time. The film acts as fully engaging family drama, and it has one of the best scripts of 2016. This was the film that had me tearing up the most in 2016. I was surprised at how touched and moved I was by the whole thing.
11. Tickled- That's right, a documentary made it into my best of 2016 list. In Tickled, we follow David Farrier, a gay journalist who decides to investigate the world of competitive tickling (yes, this is a real thing) and in doing so uncovers a disturbing, weird and bizarre world lurking just underneath ours. This film that starts out as a fin, silly, weird fluff piece winds up becoming something chilling, scary, and deeply disturbing. A riveting documentary that actually ends on a satisfying notes and delivers answers I wasn't sure it would be able to provide. A must-see.
10. Swiss Army Man- A film about finding the beauty in life and in death. Daniel Radcliffe is superb as Manny, a magical farting corpse that saves Paul Dano's Hank from suicide and ultimately teaches him some valuable life lessons. The film is definitely silly, weird and strange but still beautiful, inspiring and uplifting nonetheless.
9. Fantastic Beasts and Where To Find Them- At a time when we all needed an escape, this film provided it to us while still commenting on modern societal issues. Fantastic Beasts provided us with memorable characters, plenty of whimsy, and a dark undercurrent. The film has plenty to say about hatred, fear, love, and acceptance (all relevant and important themes to today's age). Fantastic Beasts managed to whisk audiences into a new but familiar magical world while still leaving us plenty to reflect on. I'd say it was easily the most magical film of 2016 (I saw it three times in theaters, and loved it each time).
8. Sing Street- A story of a boy, his band, and the girl that inspired him. Directed and written by John Carney, is it any surprise the the film and the songs found within are as great as they are? Ferdia Walsh-Peelo (as Conor, our lead), Jack Reynor (as Brendan, Conor's older brother. This is easily Reynor's best role to date), and Lucy Boynton (as Raphina, Conor's crush. She's absolutely gorgeous despite some atrocious 80's hair-dos) are all fantastic. It's great fun to watch the formation of the band, the creation of the various songs, Conor and Raphina's budding romance, and Conor's slow maturation into a man (It's surprising how much I bought him as a leading man by the end of the film). Sing Street is not just an 80's period piece, it also acts as a musical of sorts (complete with an awesome 50's musical sequence). Sing Street is a great, feel-good pick-me-up.
7. Hell or High Water- One hell of a film. I heard a lot of people raving about this film, I never expected to join their ranks. This film was great. An old-fashioned Robin Hood/Bank Heist film about the poor stealing from the rich to give to....themselves. Chris Pine and Ben Foster star as brothers who set out to rob all the branches of the bank that intends to foreclose on their ranch, paying them off with the stolen goods. Jeff Bridges co-stars as a sympathetic but stalwart version of Johnny-law, and Gil Birmingham does a fantastic job as his friend and partner. This film has what I consider to be the best script of 2016. The film itself is pretty funny, and action-packed (plenty of bank robbery scenes for us to enjoy), and lost of fun. This is still one of the best guy films I've seen in recent years.
6. Hidden Figures- An important film that also manages to be fun and cool. It sheds light on little known historical figures and their stories. Taraji P. Henson and Kevin Costner are the standouts here. I was surprised by how much I enjoyed this film. A fun and informative flick for families that people of all ages and races can sit and enjoy together.
5. Deadpool- The best super-person film of 2016. I can't say super-hero because, let's face it, Deadpool is no hero. He is a trash talking, sarcastic mercenary who is only ever on his own side. I never expected to get a faithful Deadpool flick, but here we are. The film is the closest we've gotten to a completely faithful adaptation of the comics. I literally felt like I was reading a Deadpool comic while watching this movie. It's fun, it's insane, it's hilarious, and it's naughty. Deadpool is no doubt the most fun I had in a theater all of 2016.
4. Green Room- An intensely depressing film about a couple of kids who try to do the right thing and are severely punished for it. When down on their luck punk band The Ain't Rights book a gig at a neo-nazi bar, they stumble upon a murder scene.Their attempt to call for help is cut off by management and they're forced into the bar's green room. Out-gunned and outnumbered, they soon realize that they may have to fight their way out. This was to be Anton Yelchin's last great film, as we tragically lost the talented young actor earlier in 2016. He stars here alongside Imogen Poots, who previously played his girlfriend in Fright Night. To no surprise their chemistry is strong, and they superbly play off of each other as a strained friendship forms between them throughout the course of the film. Green Room is a depressing, tense, brutal, and thrilling as hell horror film that manages to shock and entertain while subtly delivering a few chuckles. Green Room is hands-down the best horror film of 2016.
3. Moonlight- A film for men about growing up and how masculinity can play a key role in the process. It's pretty tragic and moving. The film is hauntingly shot (by James Laxton) and scored (by Nicholas Britell). Everything comes together to tell the story of a young boy's journey into manhood. Haunting, hypnotic, complex, intensely intimate. and quite memorable. Moonlight is quite unlike anything else I've seen in 2016.
2. Arrival- So much more than just an alien invasion film. It's shocking that Arrival comes out at exactly the perfect time (There is no way they could have planned this). The film has so many messages that are pertinent to today and what's going on right now. It comments on hatred, fear, and the need for unity and acceptance, while still sneaking in messages about love, loss, and the true nature of time. Both times I saw this, I left the theater feeling brand-new and ready to go out and face the next 4-8 years. Arrival is the most inspiring, touching and uplifting film of 2016. It's what we all need right now.
1. Silence- Martin Scorsese's 20 year in the making passion project tackles some heavy religious material, mainly dealing with a crisis of faith. Andrew Garfield puts on the best performance of his career thus far as Father Rodriguez, a Jesuit priest who experiences his own crisis of faith when sent to Japan to find his lost mentor. Garfield struggles as he watches others suffer for him. His dedication to his faith is ultimately tested through cruel psychological torture. The film is expertly crafted with some religious undertones. That said, it never talks down to its audience or provides any easy answers. Silence is a challenging watch that is filled with scenes of brutal torture. It's The Passion of The Christ if it was made by a master director. I left deeply shaken and touched by what I'd seen, and the film still haunts my thoughts as I write this article. It is the best film of 2016, and the best modern work of Scorsese.
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