17th century Japan was not a nice place to live. The ones in charge were strictly enforcing a complete shut out of Christianity/Catholicism and anyone discovered to be practicing that faith or attempting to spread it were arrested, told to denounce their faith (by stepping on a picture of Jesus), and if they refused they were tortured and eventually killed. Silence is based on a 1966 book by Japanese author Tanizaki Prize. This is a passion project for director Scorcese, and has been in development since 1990. Passion projects don't always pan out well, but for Scorsese the effort pays off beautifully.
In 1639, priests Rodrigues (Andrew Garfield) and Garupe (Adam Driver) travel to Japan in search of their mentor Ferriera (Liam Neeson), who was there spreading Catholicism and is rumored to have publicly denounced his faith after being captured and tortured. Their mission is to find Ferriera, discover if he is still faithful to the cause, and spread Catholicism there if possible. While in Japan, Rodrigues undergoes his own crisis of faith as he witnesses unspeakable acts of suffering and torture, and is ultimately tested himself.
Adam Driver is pretty great as Garupe, though he doesn't play as important of a role as I expected him to. A big surprise was Shin'ya Tsukamoto as Mokichi, a Japanese practitioner of Catholicism who befriends both Rodrigues and Garupe. Mokichi has some of the most affecting scenes in the whole film. Liam Neeson is superb as Ferriera, although he doesn't appear until well into the third act, and has little screen time. He still manages to make a strong impression, and this is easily his best modern day role.
All this said, Silence is mostly a one man show. That one man would be Andrew Garfield, who tackles his meaty role with gusto. He is our main character, and we spend 100% of the running time following him and his journey. His struggles throughout the film are deeply affecting, and there were a few scenes where I choked up a bit watching his and others' suffering and abuse. Garfield's Rodrigues continually prays to God throughout the film, and after a while it starts to feel like he is praying to the audience watching the film. This alone brings up questions and will be sure to ignite discussions. Andrew Garfield continues to prove himself a stunning, magnificent talent and this is easily his best role so far. He manages to make his character relatable and personal, but also vulnerable and all too human. It did bother me a bit that the film kept relating his trials to that of Christ's, but luckily this is brought up and discussed later on in a satisfying way. I have no qualms saying that Andrew Garfield as Rodrigues is easily the performance of the year. I'm happy to see him get a nod for Best actor at the Oscars, although it was for the wrong role.
Silence is a film that is expertly crafted from beginning to end. The direction, script (by Scorsese and Jay Cocks), the editing (Thelma Schoonmaker), and the cinematography (by Rodrigo Prieto) are all fantastic. It's interesting to note that the film itself is pretty silent as there isn't much of a score to accompany the scenes. At two hours and forty one minutes, it does run a bit on the long side. That said, every single frame in this film is important. It's all a part of the deeply personal journey Scorsese is taking us on. Yes, this is a very tough film to watch. There is a lot of torture, and every scene of it is deeply affecting and disturbing. Don't walk in expecting a feel-good film, this is a challenging cinematic experience. Silence is about religion, faith, the personal resolve of men, and how all this can be tested (the audience is tested as well).
There should be no doubt by now that Scorsese is a master at his craft. His modern films have all been masterpieces in their own right, and Silence is no exception. After two hours plus of nasty, disturbing stuff going on, Scorsese offers the audience a meditative, calming credits score consisting of crickets and ambient noise (which fits in perfectly with 1600s Japan). It's a nice, welcome reprieve that allows us a chance to finally catch our breaths and reflect on what we just watched. It's not often I want to stay for the whole credits, but this was one of those rare occasions. This alone demonstrates how in tune Scorsese is with his craft. He was able to sense what audiences would need after such a grueling, relentless experience.
Silence acts as a history lesson (some of the proceedings are fictionalized, but it is historically accurate to that era in Japan, and Rodrigues is based on real life historical figure Giuseppe Chiara), a deep character study, and an examination of faith during trying times. It never condones or condemns one religion or another. It takes us on a deeply personal journey (I'm not a religious person, but this affected more than I expected it to. I look at it as more about faith than religion). This is a film that is impossible to ignore, and I know it will be swimming around in my mind for a long time to come. Silence is powerful, moving, complex, and meaningful. It is the crown jewel and defining masterpiece of Scorsese's modern film career.
Tuesday, January 24, 2017
Sunday, January 22, 2017
SMALL'S WORST FILMS OF 2016
I thunk we can all agree that 2016 sucked...HARD! We lost many beloved icons, a shameless demagogue was elected into the top position in the U.S, and the U.K. voted to leave the E.U. (among other tragedies). I suppose now is as good a time as any to say farewell to 2016 by giving the finger to these 10 terrible films which I consider to be THE WORST FILMS OF 2016!
First, a few dishonorable mentions:
Ghostbusters- A remake that no one wanted or was looking forward to. It wasn't funny enough, relied too heavily on nostalgia, and failed to come up with a reason for existing. Worth a watch only for Kate McKinnon and Leslie Jones
First, a few dishonorable mentions:
Ghostbusters- A remake that no one wanted or was looking forward to. It wasn't funny enough, relied too heavily on nostalgia, and failed to come up with a reason for existing. Worth a watch only for Kate McKinnon and Leslie Jones
Assassin's Creed- Not a good movie, but also not a bad video game adaptation. The color palette is dark, grey, brown and murky. The world inside the Animus is given very little plot, characters or development (we only spend a maximum of 30 minutes in the Animus, probably less) while the real world (mostly inside an Abstergo facility) is given most of the film's plot, character and development (in other words, the exact opposite of an Assassin's Creed game). That said, this film does manage to accurately depict the world, backstory and some of the action of the games. The actors all do pretty decent jobs, with the best one being Marion Cotillard as the kind hearted head of The Animus project and the daughter of Abstergo CEO Alan Rikkin (Jeremy Irons). I actually gave a shit about her character. Fassbender and Irons both are fine, but ultimately not super memorable. Assassin's Creed doesn't offer much for those who aren't already familiar with the world of the games, it seems to be made for hardcore fans (and even then I've read reviews from fans who didn't particularly enjoy the film). Assassin's Creed doesn't offer much plot, character development or world building. I thought the Animus arm, some of the action, and Abstergo were cool and I was interested in learning more about Abstergo and what they were really up to....unfortunately, there aren't really any surprises (you are told everything you need to know in an opening text scrawl) and the film never really goes anywhere in the end. While there are certainly some cool things inside Assassin's Creed, it moves at a slow pace and isn't as exciting as it should be. It's not a terrible film (or even really bad), it ends up being just ok. It shouldn't provoke any kind of emotion from audience members. Honestly, I'd say you'd probably get more if you just played one of the games.
Now, onto the top 10
10. Independence Day: Resurgence- Man, this film looked fun. Man, it really wasn't. There wasn't all that much action, the script was pretty bad (as was most of the acting), and it ended on a sequel-bait of an ending. I really wanted this film not to suck, but suck it did.
9. The Girl on the Train- A film that was advertised as if it was going to be the next Gone Girl. Spoiler Alert: It wasn't. The first two acts were actually fairly interesting, and the film had a good mystery at its core. Too bad the last act became your typical lifetime movie where men are evil and women have to team up to defeat them and blah blah blah. No amount of good acting from Emily Blunt and the beautiful Haley Bennett could save this turd. Don't buy a ticket to this train to shitsville.
8. Yoga Hosers- I was not quite as harsh on this one as other critics, that still didn't save Yoga Hosers from making it onto this list though. Kevin Smith once again displays a total lack of self control. Johnny Depp gets slightly more mileage out of his tired Guy Lapointe character than he did in Tusk, but this film is still mostly annoying and makes the mistake of attempting to trash critics. We get it Smith, you're butt-hurt because critics don't like your films anymore....maybe you should just retire.
7. Carnage Park- Mickey Keating (who wrote and directed this turd) clearly wants to be the next Tarantino. He's not. His writing is awful, as is his directing and LOKK AT ME LOOK AT ME editing style. I couldn't even make it all the way through this one. Pat Healy is trying here, but it's a wasted effort.
6. Gods of Egypt- A bad film that mixes together Prince of Persia, Aladdin, and Egyptian mythology to poor results. The CGI is bad, there are lots of video-game levels, the action scenes are confusing and hard to follow, the dialogue is awful, the humor doesn't work, and the "Egyptians" tend to speak with a non-Egyptian accent (and are white). This film is every bit as bad as you have heard....that said, it's kind of hard not to enjoy your time with it.
5. Nine Lives- Starring Cat-vin Spacey. There is a lot of annoying fake cat noises and lots of fake cat CGI (which looks bad). The film itself is fairly dull, boring and filled with silly, unrealistic cat hijinx. Kevin Spacey is clearly trying in what is mostly a voice-over role (and to his credit, he does make for a good voice-over actor), but he can't save this piece of cinema cat poop.
4. Batman vs. Superman: Dawn of Justice (Theatrical Cut)- I wrote a lengthy rant on this stinker, and my original rating still stands (though the Director's Cut is significantly better). Where do I start with this one? The film lacks focus, tries to tell five different stories at once (and tells each one poorly), fails to understand these characters and why audiences love them, there's no plot, the editing is atrocious, and the whole film is a nonsensical nightmare. I'm officially done with giving Zach Snyder my money, you should be too. We deserve a better class of hero(s), and a better class of directors too.
3. Zoolander 2- Unfunny crap that does nothing but attempt to re-tell beloved jokes from the original while throwing in a butt-load of unneeded celebrity cameos that add absolutely nothing to the film. It's pretty bad when a sequel makes you question your love of the original. Mark this one up as yet another I just couldn't finish.
2. Passengers- What could have been a perfectly decent piece of sci-fi fluff is turned into something far more harmful by a terrible, BAD decision by our male lead. What's worse is that I can easily see how this issue could have been fixed by a simple script re-write. It also doesn't help that the film winds up being fairly predictable and bland as well. Unfortunately, the blame for Passenger's failure falls squarely at scriptwriter's Jon Spaihts' feet.
1. Meet The Blacks- Damn my love of The Purge! This film isn't morally reprehensible or disgusting (like Passengers), but it is still my pick for worst film of 2016 for a multitude of reasons. This atrocious attempt at a Purge spoof (specifically, the first Purge film. Think A Haunted House, Meet The Spartans, or the Scary Movie films) falls flat at every single step of the way. It's unfunny, painful, needlessly loud, poorly written (almost every character is constantly talking/shouting over each other), and just plain BAD. I only made it to the hour mark before I realized this wasn't going to get any better and quickly shut it off. You'd have more fun banging your head face-first into a wall for an hour thirty-four minutes. You'd also likely lose less brain cells too.
So there you have it, my worst films of 2016. It was a tough year, let's hope 2017 takes it easier on us. Hang in there, I'm still compiling my BEST FILMS of 2016 list, so until then....keep it classy!
Thursday, December 29, 2016
FENCES TREATS AUDIENCES TO A TRUE BROADWAY EXPERIENCE
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
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 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.
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