Fences is adapted from the play by August Wilson. In it, we follow Troy Maxson (Denzel Washington) and the lives of his family and friends as they all learn to take the crookeds with the straights. Denzel Washington is our lead and does one hell of a fine performance (maybe even performance of the year). He plays a deeply flawed man that still has quite a bit of goodness inside him. He's humorous, gruff, mean, kind, loving, strict, firm and stubborn. In short, he's a complex character that resembles a real human being. It's fun to watch Troy slide up and down the scale of Hero-Villain, ultimately falling somewhere firmly in-between. It's impressive that Denzel allows himself to be seen as an actual person. He's greying and has a belly, he's still handsome but in a very normal way.
Viola Davis is phenomenal as Rose, Troy's wife and the rock of Troy's family. She stands by her man through thick and thin, and has plenty of struggles throughout where her resolve and commitment is tested. It's so cool to see her take a character that could easily be portrayed as weak, and turn her into one of the best and strongest female characters in film in 2016. She shares a scene with Denzel/Troy that was deeply affecting and made her struggle super relatable (to the point where it may have brought me to tears). I'd say Rose was easily the strongest (and my favorite) character in the film. Viola Davis deserves to take home an Oscar for her performance here.
Stephen Henderson shines as Jim Bono, the good-natured long-term friend of Troy's who often finds himself in the middle of arguments between Troy and others. He takes a supporting role and makes it quite memorable, to the point where when he disappears for a significant portion I started to miss him. Mykelti Williamson (aka Bubba from Forrest Gump) completely disappears into his role as Gabriel, the mentally disabled, kind hearted brother to Troy. He has some interesting biblical beliefs regarding to what role he has to play in his life, and his sub-plot comes to fruition in a tear-inducing way at the end. Mykelti Williamson is another clear standout in the film, and I wouldn't be surprised if he were nominated for an Oscar this year.
If it weren't already obvious, I LOVED this film. It's superbly scripted (Easily one of the best scripts I've sampled this year), shot (by Charlotte Bruus Christensen), acted, and directed (by Denzel Washington himself. I'm surprised he's so good at coaxing such superb performances from every single member of his cast). It's a film that feels timeless. We are given small hints as to what time period it's set in (including clothes worn. The biggest clue is the date on a high school varsity jacket near the end), but for the most part this is a film that feels like it could take place in any era and still be just as relevant. The only problem I had with Fences, is that the last forty minutes or so drags on and on and on as it feels like it keeps prolonging the ending. However, even in these last forty minutes or so, there are still plenty of powerful moments.
It became clear to me by the end that Fences likely works better as a play than it does as a film (It's also shot and staged much the way a play would be), that said this is still one hell of a fine movie that treats viewers to a true Broadway theatrical experience. Fences affected me in ways I never expected it to. I was a blubbering mess by the time the end credits rolled, and for a person that doesn't cry easily, that's one of the highest compliments I can give a movie. I'd say Fences is well worth your time, just be prepared for a long third act.
4.5 STARS
Thursday, December 29, 2016
Thursday, December 22, 2016
LA LA LAND IS A SURE FIRE SMILE INDUCER
In La La Land, we follow Sebastian (Ryan Gosling) and Mia (Emma Stone) as they fall in love and try to follow their dreams in Los Angeles. Sebastian is a struggling jazz pianist who wants to open up his own jazz club someday. Mia is an aspiring actress who wants to make her way onto the silver screen. Together, they traverse the ins and outs of L.A., learning about themselves, who they are, and what it takes to make your dreams a reality along the way.
In case you couldn't tell, La La Land's plot, story, and even characters are ones we've seen before. So, Los Angeles isn't all stardust and bright lights, and making your dreams come true is a real struggle? Gosh, tell me something I don't know. Yes, this particular tale has been told a trillion times over. It's quite telling that I had to look up our two lead character's names before writing this review because I had forgotten them.
Luckily, there is a certain element of La La Land that is joyous, original, and memorable: The musical numbers. The music is by Justin Hurwitz, and the lyrics are done by Benj Paske and Justin Paul, who also made Edges and Dear Justin Hansen. The film starts out with a musical dance number set in the middle of backed up L.A. traffic, and immediately sets the tone of what we are about to see....or so it would seem. Yes, the musical numbers are simply fantastic, and the choreography (by Mandy Moore) and cinematography (by Linus Sandgren) are freaking great (My favorite number is Someone In The Crowd)! That said, as the film jogs on, the musical numbers seem to lessen. For a film that proudly bills itself as a musical, it's a confusing choice.
La La Land is directed by Damian Chizele. Once again, like Whiplash before (which I consider the better film of the two), he has made another film about music. He does a fine directing job, but I still consider Whiplash to be more impressive.
Ryan Gosling and Emma Stone share fantastic chemistry (as already evidenced in Stupid Crazy Love). I really bought their romance and was rooting for these two crazy dreamers to make it to the finish line together. Ryan Gosling in particular looks constantly dapper throughout the film (impressively so, I'd say). That said, their characters are ones similar to those we have seen before and aren't all that memorable. They are very likable, but they aren't the selling point of this film (the music is, duh).
La La Land is a film that tries to mash together both fantastical elements and realistic elements, with middling results. The tone and pacing are all over the place, there are parts that fly by and parts that seem to drag on for quite a bit. The ending also is nice, but I felt didn't fit super well. Ultimately, I appreciate what the film was trying to do but still feel it was best when focusing on the fantastical. That's why I say the best part of this film is the first act, which is where most of the musical numbers lie.
I've never seen a film reach out and stroke that Oscar statue so hard and fast. Yes, La La Land is indeed Oscar bait, and I wouldn't be surprised if it won best picture (though I feel that's a title the film doesn't deserve. Hollywood loves nothing more than glorifying itself, after all). Looking at just the story, plot, characters and pacing I'd say La La Land isn't all that great of a film. It's the musical numbers that make this one watchable and fun. La La Land is an ode to old school Hollywood musicals (It even opes with a large "Filmed in CinemaScope" logo), life in L.A., and all those crazy dreamers out there. The musical numbers are so fun, creative, imaginative, and unique that it kind of hurts when the rest of the film can't quite match up. That said, La La Land is still a cute little film that is sure to bring a smile to your face (despite some downer moments).
3.5 Stars
In case you couldn't tell, La La Land's plot, story, and even characters are ones we've seen before. So, Los Angeles isn't all stardust and bright lights, and making your dreams come true is a real struggle? Gosh, tell me something I don't know. Yes, this particular tale has been told a trillion times over. It's quite telling that I had to look up our two lead character's names before writing this review because I had forgotten them.
Luckily, there is a certain element of La La Land that is joyous, original, and memorable: The musical numbers. The music is by Justin Hurwitz, and the lyrics are done by Benj Paske and Justin Paul, who also made Edges and Dear Justin Hansen. The film starts out with a musical dance number set in the middle of backed up L.A. traffic, and immediately sets the tone of what we are about to see....or so it would seem. Yes, the musical numbers are simply fantastic, and the choreography (by Mandy Moore) and cinematography (by Linus Sandgren) are freaking great (My favorite number is Someone In The Crowd)! That said, as the film jogs on, the musical numbers seem to lessen. For a film that proudly bills itself as a musical, it's a confusing choice.
La La Land is directed by Damian Chizele. Once again, like Whiplash before (which I consider the better film of the two), he has made another film about music. He does a fine directing job, but I still consider Whiplash to be more impressive.
Ryan Gosling and Emma Stone share fantastic chemistry (as already evidenced in Stupid Crazy Love). I really bought their romance and was rooting for these two crazy dreamers to make it to the finish line together. Ryan Gosling in particular looks constantly dapper throughout the film (impressively so, I'd say). That said, their characters are ones similar to those we have seen before and aren't all that memorable. They are very likable, but they aren't the selling point of this film (the music is, duh).
La La Land is a film that tries to mash together both fantastical elements and realistic elements, with middling results. The tone and pacing are all over the place, there are parts that fly by and parts that seem to drag on for quite a bit. The ending also is nice, but I felt didn't fit super well. Ultimately, I appreciate what the film was trying to do but still feel it was best when focusing on the fantastical. That's why I say the best part of this film is the first act, which is where most of the musical numbers lie.
I've never seen a film reach out and stroke that Oscar statue so hard and fast. Yes, La La Land is indeed Oscar bait, and I wouldn't be surprised if it won best picture (though I feel that's a title the film doesn't deserve. Hollywood loves nothing more than glorifying itself, after all). Looking at just the story, plot, characters and pacing I'd say La La Land isn't all that great of a film. It's the musical numbers that make this one watchable and fun. La La Land is an ode to old school Hollywood musicals (It even opes with a large "Filmed in CinemaScope" logo), life in L.A., and all those crazy dreamers out there. The musical numbers are so fun, creative, imaginative, and unique that it kind of hurts when the rest of the film can't quite match up. That said, La La Land is still a cute little film that is sure to bring a smile to your face (despite some downer moments).
3.5 Stars
Thursday, December 15, 2016
ROGUE ONE IS AN EARLY CHRISTMAS PRESENT FOR ANY FAN OF THE ORIGINAL TRILOGY
In Rogue One, we get to watch the events described in the opening crawl for Episode 4 play out. A spy entrenched deep inside the Empire is able to send a message to The Rebel Alliance, warning of a super weapon capable of destroying entire planets. Imprisoned rebel Jyn Erso (Felicity Jones) is freed by Cassian Andor (Diego Luna), a member of The Rebel Alliance, and is roped into a scheme to steal the plans for The Death Star. They are joined by repurposed Imperial droid K-2SO (Alan Tudyk), blind guardian Chirrut Imwe (Donnie Yen), his bodyguard Baze Malbus (Wen Jiang), and Imperial Pilot turned good guy Bodhi Rook (Riz Ahmed). The mastermind behind The Death Star, Orson Krennic (Ben Mendelsohn), has Jyn's father, Galen Erso (Mads Mikkelsen) trapped helping him create the weapon. Our rag tag group of rebels will have to steal the plans and maybe save Jyn's father along the way. The fate of the entire galaxy rests on their shoulders, can they succeed and survive?
Every member of the cast does an excellent job with the roles they are given. Alan Tudyk is memorable and funny as the sarcastic K-2SO, Donnie Yen impresses with his fighting skills as Chirrut Imwe (he gets a scene in which he takes on a bunch of Storm Troopers using just a stick), Diego Luna looks like he belongs in this universe as Cassian (He feels very organic, like he's been in The Star Wars universe for a while. He's also bad-ass. ), and Ben Mendelsohn makes for a terrific, all too hate-able villain. For my money though, Felicity Jones is the real scene stealer. She has a tragic backstory that propels her character forwards throughout the film, and is very likable. It also doesn't hurt that she is drop-dead gorgeous. Felicity Jones is one hell of a talented actress, and the Star Wars universe is all the richer for having her a part of it.
Rogue One is a refreshingly dark, downbeat entry into The Star Wars Saga (It's about as dark as Empire Strikes Back, maybe darker). The whole film is dirty, grungy, and looks worn. It looks and feels like it takes place in the original trilogy timeline, and there are many set pieces that are sure to remind some of places and things they saw in episodes 4, 5 and 6. Some of the costumes worn are also VERY reminiscent of those from the original trilogy. Yes, there is A LOT of fan service in this film, but it all feels very natural and organic. Everything feels like it belongs here. We get Tie Fighters, Imperial Starships, The Death Star, Darth Vader (who is in all of two scenes and is a complete bad-ass in both), Grand Moff Tarkin (via some obvious CGI), X-Wings, AT-ATs, and more (including some super cool surprises). I also loved getting to spend some time with the Rebel Alliance (before Luke joined. They are more morally grey than ever here.) and The Empire (So cool to have them back on screen).
I also really loved that Rogue One has actual stakes in it. It is made clear that any one of our heroes could die by the time the end credits roll, and that helps to keep us on the edge of our seats. We care about our protagonists, and don't want to see any of them bite the bullet. It was also surprising (and very cool) that the last act of Rogue One essentially becomes a war film. Every action scene is fantastic, and the CGI throughout the film is great. The first 45 minutes or so is a little bumpy as we are introduced to our leads and some exposition, and the film does drag at points. It's 134 minutes and can feel that way at odd intervals. We also do A LOT of planet hopping (although I liked this aspect, and getting to explore different planets). Luckily, once Rogue One takes flight, it manages to stay in the air for the rest of the film.
Gareth Edwards has had a shaky track record, but I'd say Rogue One is easily his best film thus far. You can tell he relished getting to be a part of this universe. He does a fantastic directing job, and the cinematography (by Greg Fraser) is consistently gorgeous. I saw Rogue One in 3D, and I'd best describe the experience like watching a living painting. Not much flies out of the screen, but a decent deal of depth is added. Everything looks beautiful, but I wouldn't necessarily say the film is a must in 3D.
Rogue One is without a doubt the finest Star Wars film we've gotten since Empire Strikes Back. It felt good to be back in the timeline of The Original Trilogy, and it was so cool to see some iconic vehicles and characters back on the big screen. I'm surprised I'm even saying this, but Rogue One may be my favorite film of 2016 (for me, it was easily on par with Empire Strikes Back). I loved the hell out of Rogue One. It was thrilling, super dark, nostalgic, action-packed, emotional, and altogether a very memorable, and rewarding film. For myself, it definitely surpassed the hype.
5 STARS
Every member of the cast does an excellent job with the roles they are given. Alan Tudyk is memorable and funny as the sarcastic K-2SO, Donnie Yen impresses with his fighting skills as Chirrut Imwe (he gets a scene in which he takes on a bunch of Storm Troopers using just a stick), Diego Luna looks like he belongs in this universe as Cassian (He feels very organic, like he's been in The Star Wars universe for a while. He's also bad-ass. ), and Ben Mendelsohn makes for a terrific, all too hate-able villain. For my money though, Felicity Jones is the real scene stealer. She has a tragic backstory that propels her character forwards throughout the film, and is very likable. It also doesn't hurt that she is drop-dead gorgeous. Felicity Jones is one hell of a talented actress, and the Star Wars universe is all the richer for having her a part of it.
Rogue One is a refreshingly dark, downbeat entry into The Star Wars Saga (It's about as dark as Empire Strikes Back, maybe darker). The whole film is dirty, grungy, and looks worn. It looks and feels like it takes place in the original trilogy timeline, and there are many set pieces that are sure to remind some of places and things they saw in episodes 4, 5 and 6. Some of the costumes worn are also VERY reminiscent of those from the original trilogy. Yes, there is A LOT of fan service in this film, but it all feels very natural and organic. Everything feels like it belongs here. We get Tie Fighters, Imperial Starships, The Death Star, Darth Vader (who is in all of two scenes and is a complete bad-ass in both), Grand Moff Tarkin (via some obvious CGI), X-Wings, AT-ATs, and more (including some super cool surprises). I also loved getting to spend some time with the Rebel Alliance (before Luke joined. They are more morally grey than ever here.) and The Empire (So cool to have them back on screen).
I also really loved that Rogue One has actual stakes in it. It is made clear that any one of our heroes could die by the time the end credits roll, and that helps to keep us on the edge of our seats. We care about our protagonists, and don't want to see any of them bite the bullet. It was also surprising (and very cool) that the last act of Rogue One essentially becomes a war film. Every action scene is fantastic, and the CGI throughout the film is great. The first 45 minutes or so is a little bumpy as we are introduced to our leads and some exposition, and the film does drag at points. It's 134 minutes and can feel that way at odd intervals. We also do A LOT of planet hopping (although I liked this aspect, and getting to explore different planets). Luckily, once Rogue One takes flight, it manages to stay in the air for the rest of the film.
Gareth Edwards has had a shaky track record, but I'd say Rogue One is easily his best film thus far. You can tell he relished getting to be a part of this universe. He does a fantastic directing job, and the cinematography (by Greg Fraser) is consistently gorgeous. I saw Rogue One in 3D, and I'd best describe the experience like watching a living painting. Not much flies out of the screen, but a decent deal of depth is added. Everything looks beautiful, but I wouldn't necessarily say the film is a must in 3D.
Rogue One is without a doubt the finest Star Wars film we've gotten since Empire Strikes Back. It felt good to be back in the timeline of The Original Trilogy, and it was so cool to see some iconic vehicles and characters back on the big screen. I'm surprised I'm even saying this, but Rogue One may be my favorite film of 2016 (for me, it was easily on par with Empire Strikes Back). I loved the hell out of Rogue One. It was thrilling, super dark, nostalgic, action-packed, emotional, and altogether a very memorable, and rewarding film. For myself, it definitely surpassed the hype.
5 STARS
Thursday, December 1, 2016
NOCTURNAL ANIMALS WILL KEEP YOU UP AT NIGHT
In Nocturnal Animals, Susan (Amy Adams) is a curator at an art museum. She receives a manuscript for her ex-husband Edward's (Jake Gyllenhaal) newest book, named Nocturnal Animals, in the mail. Although they parted on bad terms, Susan decides to read it. From here on out, the film switches from the present, to the past, to the events of the novel as mysteries are raised (That's right, Nocturnal Animals is essentially three movies in one). Why did Edward write the book? Does it have some relation to past events? What did Susan do that hurt Edward so much?
Amy Adams (who remains the queen of cleavage and side-boob) does a great job as Susan, a woman living among intolerable rich people. She's made more likable than her peers by her acute awareness that her job is trash. Jake Gyllenhaal is superb in dual roles as Edward (In the real world) and Tony (The protagonist of his novel). As Edward, he is the usual, likable Jake Gyllenhaal character and as Tony he gets to stretch his acting chops in a meaty, heavily emotional role. Like always, Gyllenhaal impresses. Michael Shannon is super enjoyable as Bobby, a tired lieutenant in Edward's novel who is tired of playing by the rules and isn't afraid of breaking them in order to see justice done. He is great here, and it's cool to see him play a morally questionable good guy for a change. By far, I'd say the actor who impressed me the most was Aaron Taylor-Johnson as Ray, the antagonist of Edward's Novel. Ray is a skeevy, dirty red-neck who oozes slime and menace. Johnson steals every single scene he is in, and is indeed pretty scary and unpredictable (He definitely kept me on the edge of my seat whenever he was on screen). This is undoubtedly his best role, and I'd say he deserves an Oscar nod for Best Supporting Actor this year.
This is Tom Ford's sophomore directing effort, and I'd say he nails it. He clearly has an eye for detail and visual poetry, and he seems to be an expert at coaxing fantastic performances out of his leads. I was surprised to learn he also wrote the screenplay for the film. Ford did a great job there too. Ford started his career as a fashion designer, but the film industry is better for having him in it. Nocturnal Animals is expertly edited by Joan Sobel, and shot with cinematography by Seamus McGarvey (both the editing and cinematography play crucial roles). The editing is confusing at odd intervals, but for the most part it's easy to tell where we are (in the past, present, or the novel). The cinematography in the film is gorgeous, using images and the above mentioned visual poetry to help tell the story we are watching. Needless to say, all the technical aspects of Nocturnal Animals are on point and it is definitely a mesmerizing and haunting film to watch.
There is A LOT going on in Nocturnal Animals. It is another film that requires audiences' full attention. It's not that hard to get sucked into the movie. About 90% of Nocturnal Animals takes place inside the novel Susan is reading. Essentially, this is a film about a woman reading a book, but it is always engaging, tense and interesting. This is not a happy film, it's cold, dark, disturbing (at points), and sad. I didn't find the answers to be all that shocking, and the film didn't resonate as emotionally with me as I expected it to, but it did leave me with a few things to chew on and contemplate (It will stay with you). I have no problem with saying that Nocturnal Animals is easily one of the best films of 2016. It is definitely worth a watch (Just, watch out for the first few minutes of the film.....so disturbing).
4.5 STARS
Amy Adams (who remains the queen of cleavage and side-boob) does a great job as Susan, a woman living among intolerable rich people. She's made more likable than her peers by her acute awareness that her job is trash. Jake Gyllenhaal is superb in dual roles as Edward (In the real world) and Tony (The protagonist of his novel). As Edward, he is the usual, likable Jake Gyllenhaal character and as Tony he gets to stretch his acting chops in a meaty, heavily emotional role. Like always, Gyllenhaal impresses. Michael Shannon is super enjoyable as Bobby, a tired lieutenant in Edward's novel who is tired of playing by the rules and isn't afraid of breaking them in order to see justice done. He is great here, and it's cool to see him play a morally questionable good guy for a change. By far, I'd say the actor who impressed me the most was Aaron Taylor-Johnson as Ray, the antagonist of Edward's Novel. Ray is a skeevy, dirty red-neck who oozes slime and menace. Johnson steals every single scene he is in, and is indeed pretty scary and unpredictable (He definitely kept me on the edge of my seat whenever he was on screen). This is undoubtedly his best role, and I'd say he deserves an Oscar nod for Best Supporting Actor this year.
This is Tom Ford's sophomore directing effort, and I'd say he nails it. He clearly has an eye for detail and visual poetry, and he seems to be an expert at coaxing fantastic performances out of his leads. I was surprised to learn he also wrote the screenplay for the film. Ford did a great job there too. Ford started his career as a fashion designer, but the film industry is better for having him in it. Nocturnal Animals is expertly edited by Joan Sobel, and shot with cinematography by Seamus McGarvey (both the editing and cinematography play crucial roles). The editing is confusing at odd intervals, but for the most part it's easy to tell where we are (in the past, present, or the novel). The cinematography in the film is gorgeous, using images and the above mentioned visual poetry to help tell the story we are watching. Needless to say, all the technical aspects of Nocturnal Animals are on point and it is definitely a mesmerizing and haunting film to watch.
There is A LOT going on in Nocturnal Animals. It is another film that requires audiences' full attention. It's not that hard to get sucked into the movie. About 90% of Nocturnal Animals takes place inside the novel Susan is reading. Essentially, this is a film about a woman reading a book, but it is always engaging, tense and interesting. This is not a happy film, it's cold, dark, disturbing (at points), and sad. I didn't find the answers to be all that shocking, and the film didn't resonate as emotionally with me as I expected it to, but it did leave me with a few things to chew on and contemplate (It will stay with you). I have no problem with saying that Nocturnal Animals is easily one of the best films of 2016. It is definitely worth a watch (Just, watch out for the first few minutes of the film.....so disturbing).
4.5 STARS
Wednesday, November 30, 2016
MOANA TELLS SMALLS 'YOU'RE WELCOME'
In Moana, demigod Maui (Dwayne "The Rock" Johnson) steals the heart of Te Fiti (an island goddess) to give to mankind as a gift. Unfortunately, he loses possession of the heart and his magical hook (which gives him shape-shifting abilities) during a battle and is banished to a small island. With the heart gone, a darkness starts to overwhelm Earth. Years later on another island, 16 year old Moana (Auli'i Cravalho) is set to become the new chief of her people. The island her people and her live on starts to slowly die, so Moana sets out on a quest to find Maui and give Te Fiti her heart back.
The animation is Moana is consistently exquisite and breathtaking, and the musical numbers are beautiful. Lin-Manuel Miranda helped to write some of the songs for the film, and it shows. It's very easy to tell which songs are written by him. You can hear his voice in them, and they are the best songs in the film (my personal favorite is Maui's 'You're Welcome'). Moana is a film about remembering where you come from and using that knowledge to help guide you on your way, thusly it's a film that feels like it was made for Lin-Manuel Miranda (I also had some flashbacks to his first musical 'In The Heights' while watching Moana). Having him assist easily helps to elevate the proceedings.
Speaking of things that help to elevate the film overall, Dwayne "The Rock" Johnson is absolutely perfect as Maui. Maui is an egotistical, bad-ass jerk who hides a heart of gold under his tough, tattooed exterior. I'd compare him to Aladdin's Genie. He's a very memorable character that becomes yet another icon in the lexicon of Disney's animated films. It's becoming more and more apparent that there is nothing The Rock can't do. Auli'i Cravalho (pronounce Ow-Lee-E Craw-Vah-Lee-Oh) is also great and memorable as the resilient and fiercely independent Moana. Auli'i fills the character with a genuine warmth and heart that resonates throughout the film, and she is quite a talanted singer (She has a beautiful voice). Moana easily takes her rightful place among Rapunzel, Elsa, and Anna as yet another strong female role model for little girls. Little girls deserve great female role models, and Disney keeps on churning them out. Another memorable character is Heihei, a dimwitted rooster who inadvertently tags along with Moana on her adventure. He's voiced by Alan Tudyk, who makes rooster noises for the duration of the film. This is a cute character that almost didn't make it into the finished product. Honestly, I'm glad to have him here. He doesn't add much to the proceedings but he's certainly cute enough to be easily remembered.
Moana was a film that, surprisingly, gave me a lot of feels and chills throughout (I even teared up during a small scene). It's definitely more of an emotional film than Frozen, and the message here is certainly much stronger too. I will say that I liked it better than Frozen. Moana is a touching, heartfelt, sweet film that is another welcome addition to what may be later referred to as Disney's third golden age. It's beginning to seem like a good time to be a Disney fan.
4 STARS
Yes, I did see Moana in 3D but found it didn't add all that much to the experience. The added depth is very nice and appreciated, but other recent 3D films *cough Fantastic Beasts cough* impressed more.
The animation is Moana is consistently exquisite and breathtaking, and the musical numbers are beautiful. Lin-Manuel Miranda helped to write some of the songs for the film, and it shows. It's very easy to tell which songs are written by him. You can hear his voice in them, and they are the best songs in the film (my personal favorite is Maui's 'You're Welcome'). Moana is a film about remembering where you come from and using that knowledge to help guide you on your way, thusly it's a film that feels like it was made for Lin-Manuel Miranda (I also had some flashbacks to his first musical 'In The Heights' while watching Moana). Having him assist easily helps to elevate the proceedings.
Speaking of things that help to elevate the film overall, Dwayne "The Rock" Johnson is absolutely perfect as Maui. Maui is an egotistical, bad-ass jerk who hides a heart of gold under his tough, tattooed exterior. I'd compare him to Aladdin's Genie. He's a very memorable character that becomes yet another icon in the lexicon of Disney's animated films. It's becoming more and more apparent that there is nothing The Rock can't do. Auli'i Cravalho (pronounce Ow-Lee-E Craw-Vah-Lee-Oh) is also great and memorable as the resilient and fiercely independent Moana. Auli'i fills the character with a genuine warmth and heart that resonates throughout the film, and she is quite a talanted singer (She has a beautiful voice). Moana easily takes her rightful place among Rapunzel, Elsa, and Anna as yet another strong female role model for little girls. Little girls deserve great female role models, and Disney keeps on churning them out. Another memorable character is Heihei, a dimwitted rooster who inadvertently tags along with Moana on her adventure. He's voiced by Alan Tudyk, who makes rooster noises for the duration of the film. This is a cute character that almost didn't make it into the finished product. Honestly, I'm glad to have him here. He doesn't add much to the proceedings but he's certainly cute enough to be easily remembered.
Moana was a film that, surprisingly, gave me a lot of feels and chills throughout (I even teared up during a small scene). It's definitely more of an emotional film than Frozen, and the message here is certainly much stronger too. I will say that I liked it better than Frozen. Moana is a touching, heartfelt, sweet film that is another welcome addition to what may be later referred to as Disney's third golden age. It's beginning to seem like a good time to be a Disney fan.
4 STARS
Yes, I did see Moana in 3D but found it didn't add all that much to the experience. The added depth is very nice and appreciated, but other recent 3D films *cough Fantastic Beasts cough* impressed more.
Thursday, November 17, 2016
SMALLS OPENS THE MAGICAL BRIEFCASE THAT IS FANTASTIC BEASTS AND WHERE TO FIND THEM
In Fantastic Beasts and Where To Find Them, Newt Scamander arrives in 1920s NYC (1926 to be exact) carrying with him a magical briefcase that contains a wide assortment of magical creatures. He comes to America for a specific reason, but ends up staying far longer than expected when a No-Maj (a term meaning a person with no magical abilities) named Jacob inadvertently opens Newt's case and unleashes some of the magical creatures into NYC. To make matters worse, there is a mysterious, destructive force wrecking chaos through NYC, and it isn't long before Auror (special wizard detectives/investigators) Percival Graves has targeted Newt's creatures as scapegoats. Now it's up to Newt and his new friends (which includes ex-Auror Porpentina Goldstein and her sister Queenie) to round up the creatures, clear their names, and save NYC.
Eddie Redmayne shines brightly as the awkward and introverted, but kind-hearted and friendly Newt. He is a Magizoologist that travels around the world, collecting various creatures so he can research them in the hopes of educating witches and wizards on them. He prefers his creatures to witches, wizards, No-Majs and Muggles (for very good reason, I think). I'd honestly say this is my favorite role of his thus far. He does his usual Eddie Redmayne thing, but it fits the character well. I was surprised by how much Newt grew on me, and I'm even more surprised to say that Newt is actually pretty cool in the film. It just feels good to have the hero be a Hufflepuff for a change, and one that makes me proud of my house as well (That's right, I'm a Hufflepuff too).
Katherine Waterston was pretty good as Porpentina, another kind-hearted soul who just wants to do the best she can at her job. She prefers to follow the rules, but isn't above breaking them if she feels the occasion calls for it. Alison Sudol is magnetic, beautiful and quite charming as Porpentina's vivacious younger sister Queenie. She has the ability to read minds, and is fairly sympathetic to No-Majs. I really liked Queenie and the romantic subplot that she brings with her. Dan Fogler is the best he has ever been as the clumsy but well-meaning Jacob. He manages to balance drama, comedy and real emotion. Fogler's Jacob ends up being a real asset to Newt's team, as well as proving himself to be a brave and good-hearted man.
Ezra Miller co-stars as a creepy, abused, and frightened young adult named Credence Barebone. He is a No-Maj who belongs to the Second Salemers, a society dedicated to spreading fear of witches and wizards (it's run by the evil Mary Lou, played by Samantha Morton). Miller is completely believable as the super-shy and awkward youth who is hiding a good deal of hatred, hurt and fear under his shaky facade. Colin Firth is Percival Graves, an Auror who takes Credence under his wing but has some ulterior, secret motives of his own (He's pretty great here). Johnny Depp also appears as Gellert Grindelwald, an evil wizard who wants to make No-Majs and Muggles alike bow under the power of witches and wizards. He was in the film more than I expected him to be (a nice surprise).
I love that we finally get a wizarding film that's set in America. This provides us with an exciting new magical environment we get to explore, as well as a chance brush up on wizarding politics in the U.S. (and indeed, the setting of 1920s NYC is beautifully and mesmerizingly realized). The wizarding government for America is called MACUSA (pronounced Ma-coo-za), short for Magical Congress of The United States of America. The governing body is somewhat scary but seems to have good intentions at the heart of most of their actions. It's run by Seraphina Picquery (Carmen Ejogo), a serious woman who hides a good heart under her stony facade.
Given the current times we live in, I think it's safe to say that we all need an escape right now. Luckily, J.K. Rowling (who penned the screenplay for the film, a first for her. She does a fantastic job and the film plays much like one of her books.) provides us with that much needed escape, while also commenting on the times we are living in today. Fantastic Beasts is fantastic, completely magical, and whimsical. It's also dark, grey, serious, scary at points, and a little sad. This outing seems to be geared more-so towards adults than kids (for some of the reasons stated above). The film has plenty of the fun, magical moments we've come to expect from the Potter franchise while still providing plenty of thrilling action and wizarding battles. The CGI is pretty great (both for the creatures, which are completely lovable, and for the action), and the 3D is very well done. There are plenty of objects and creatures which fly out of the screen and into our laps, along with a good deal of added depth. I'd go so far as to say that the 3D enhances the film, and the magic and whimsy found within (honestly, it feels like this film was made with 3D in mind).
I went into Fantastic Beasts and Where To Find Them hopeful but trepidatious. I can confidently say that my fears were unfounded, this film is awesome in all the right ways. Fantastic Beasts has great messages that are pretty relevant today, high quality performances from talented actors, plenty of magic and whimsy, and provides us with a much needed reprieve. I honestly can't think of one thing I didn't like about the film (ok, maybe the film ends a few too many times, some of the dialogue is mumbled, and while the pacing is slow, that never bothered me....it may some though). It's been 5 years since we last got to visit The Wizarding World, but it feels like so much longer. It's good to be back. You want an escape? I say let J.K. Rowling whisk you away as only she can.
5 STARS
Eddie Redmayne shines brightly as the awkward and introverted, but kind-hearted and friendly Newt. He is a Magizoologist that travels around the world, collecting various creatures so he can research them in the hopes of educating witches and wizards on them. He prefers his creatures to witches, wizards, No-Majs and Muggles (for very good reason, I think). I'd honestly say this is my favorite role of his thus far. He does his usual Eddie Redmayne thing, but it fits the character well. I was surprised by how much Newt grew on me, and I'm even more surprised to say that Newt is actually pretty cool in the film. It just feels good to have the hero be a Hufflepuff for a change, and one that makes me proud of my house as well (That's right, I'm a Hufflepuff too).
Katherine Waterston was pretty good as Porpentina, another kind-hearted soul who just wants to do the best she can at her job. She prefers to follow the rules, but isn't above breaking them if she feels the occasion calls for it. Alison Sudol is magnetic, beautiful and quite charming as Porpentina's vivacious younger sister Queenie. She has the ability to read minds, and is fairly sympathetic to No-Majs. I really liked Queenie and the romantic subplot that she brings with her. Dan Fogler is the best he has ever been as the clumsy but well-meaning Jacob. He manages to balance drama, comedy and real emotion. Fogler's Jacob ends up being a real asset to Newt's team, as well as proving himself to be a brave and good-hearted man.
Ezra Miller co-stars as a creepy, abused, and frightened young adult named Credence Barebone. He is a No-Maj who belongs to the Second Salemers, a society dedicated to spreading fear of witches and wizards (it's run by the evil Mary Lou, played by Samantha Morton). Miller is completely believable as the super-shy and awkward youth who is hiding a good deal of hatred, hurt and fear under his shaky facade. Colin Firth is Percival Graves, an Auror who takes Credence under his wing but has some ulterior, secret motives of his own (He's pretty great here). Johnny Depp also appears as Gellert Grindelwald, an evil wizard who wants to make No-Majs and Muggles alike bow under the power of witches and wizards. He was in the film more than I expected him to be (a nice surprise).
I love that we finally get a wizarding film that's set in America. This provides us with an exciting new magical environment we get to explore, as well as a chance brush up on wizarding politics in the U.S. (and indeed, the setting of 1920s NYC is beautifully and mesmerizingly realized). The wizarding government for America is called MACUSA (pronounced Ma-coo-za), short for Magical Congress of The United States of America. The governing body is somewhat scary but seems to have good intentions at the heart of most of their actions. It's run by Seraphina Picquery (Carmen Ejogo), a serious woman who hides a good heart under her stony facade.
Given the current times we live in, I think it's safe to say that we all need an escape right now. Luckily, J.K. Rowling (who penned the screenplay for the film, a first for her. She does a fantastic job and the film plays much like one of her books.) provides us with that much needed escape, while also commenting on the times we are living in today. Fantastic Beasts is fantastic, completely magical, and whimsical. It's also dark, grey, serious, scary at points, and a little sad. This outing seems to be geared more-so towards adults than kids (for some of the reasons stated above). The film has plenty of the fun, magical moments we've come to expect from the Potter franchise while still providing plenty of thrilling action and wizarding battles. The CGI is pretty great (both for the creatures, which are completely lovable, and for the action), and the 3D is very well done. There are plenty of objects and creatures which fly out of the screen and into our laps, along with a good deal of added depth. I'd go so far as to say that the 3D enhances the film, and the magic and whimsy found within (honestly, it feels like this film was made with 3D in mind).
I went into Fantastic Beasts and Where To Find Them hopeful but trepidatious. I can confidently say that my fears were unfounded, this film is awesome in all the right ways. Fantastic Beasts has great messages that are pretty relevant today, high quality performances from talented actors, plenty of magic and whimsy, and provides us with a much needed reprieve. I honestly can't think of one thing I didn't like about the film (ok, maybe the film ends a few too many times, some of the dialogue is mumbled, and while the pacing is slow, that never bothered me....it may some though). It's been 5 years since we last got to visit The Wizarding World, but it feels like so much longer. It's good to be back. You want an escape? I say let J.K. Rowling whisk you away as only she can.
5 STARS
Saturday, November 12, 2016
SMALLS LEARNS A NEW LANGUAGE WITH ARRIVAL
In Arrival, Earth is visited by mysterious aliens (which we dub Heptapods). Twelve of their spacecraft touch down in various different locations around Earth. Top linguist Dr. Louise Banks (Amy Adams) and theoretical physicist Ian Donnelly (Jeremy Renner) are brought in in an attempt to communicate with the Heptapods and learn what their true intent is. Do they mean us harm, or is their prescence meant to be more beneficial?
Both Amy Adams and Jeremy Renner do fantastic jobs as Louise and Ian. Their performances may be the best I've seen from them. Arrival is a film that demands your full attention and participation. It wants you to try to figure out exactly what is going on. The film lays a jumbled jigsaw puzzle at viewers feet and encourages us to take our time putting it together (and when you finally figure it out for yourself, man is it rewarding).
Arrival is talkative, intelligent sci-fi (much like last year's Ex Machina). The first two acts are fairly slow and kind of plod along, but it's in the film's third act where Arrival really shines as the puzzle pieces start to fit together and the whole picture of what is going on is revealed. There are many layers at work in Arrival. It's not just a film about first contact, but also about time, love, loss, communciation/language and unity (in fact, the first few minutes of the film echo those of Up!). It's a deeply emotional, touching, hopeful, tragic and powerful film that contains numerous messages and deep themes for us to unravel at our own leisure. This is definitely one that you'll likely be thinking about a good deal of time after leaving the theater.
The cinematography (by Bradford Young) is exquisite and subtle, the direction (by Denis Villeneuve, who rarely disappoints) is fantastic, the editing (by Joe Walker) is handled exceptionally well and is a crucial part of the film, and the screenplay (by Eric Heisserer) is exceptional. If the screenplay for Arrival doesn't make it into the Oscars, I'd be seriously disappointed. While Arrival certainly wasn't made for mass audiences (The film is appropriately deep and heady), I'd imagine those that this was made for will eat it up gladly. Personally, I loved the hell out of this film and found it to be a challenging, poignant, beautiful and deeply rewarding experience. There is no doubt in my mind that this film was released at exactly the right time, we need this film and it's messages right now. Arrival is definitely well worth your time and money.
5 STARS
Both Amy Adams and Jeremy Renner do fantastic jobs as Louise and Ian. Their performances may be the best I've seen from them. Arrival is a film that demands your full attention and participation. It wants you to try to figure out exactly what is going on. The film lays a jumbled jigsaw puzzle at viewers feet and encourages us to take our time putting it together (and when you finally figure it out for yourself, man is it rewarding).
Arrival is talkative, intelligent sci-fi (much like last year's Ex Machina). The first two acts are fairly slow and kind of plod along, but it's in the film's third act where Arrival really shines as the puzzle pieces start to fit together and the whole picture of what is going on is revealed. There are many layers at work in Arrival. It's not just a film about first contact, but also about time, love, loss, communciation/language and unity (in fact, the first few minutes of the film echo those of Up!). It's a deeply emotional, touching, hopeful, tragic and powerful film that contains numerous messages and deep themes for us to unravel at our own leisure. This is definitely one that you'll likely be thinking about a good deal of time after leaving the theater.
The cinematography (by Bradford Young) is exquisite and subtle, the direction (by Denis Villeneuve, who rarely disappoints) is fantastic, the editing (by Joe Walker) is handled exceptionally well and is a crucial part of the film, and the screenplay (by Eric Heisserer) is exceptional. If the screenplay for Arrival doesn't make it into the Oscars, I'd be seriously disappointed. While Arrival certainly wasn't made for mass audiences (The film is appropriately deep and heady), I'd imagine those that this was made for will eat it up gladly. Personally, I loved the hell out of this film and found it to be a challenging, poignant, beautiful and deeply rewarding experience. There is no doubt in my mind that this film was released at exactly the right time, we need this film and it's messages right now. Arrival is definitely well worth your time and money.
5 STARS
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