filmpurgatory Reviews

Bullet Train (2022)

A Stylish, Chaotic and Kawaii Ride through Japan

[7/10 · 29 August 2022]

Action movies are often filled with formulaic tropes, and although Bullet Train's plot is rather convoluted, its cinematography was the one element that caught my eye. The cinematography combines cyberpunk elements with both traditional and kawaii Japanese culture. The shots involving the White Death felt like they were ripped straight from Ghost of Tsushima with its setting in traditional Japanese temples and households. Meanwhile, the shots of Tokyo in the opening sequence showed off Japan's modern technological cityscape and had a very cyberpunk feel to them. During the train ride, we see more of the modern-day kawaii culture of Japan mostly with the mascots for their most popular anime.

To complement the cinematography, the acting was extremely entertaining. I especially liked Brad Pitt's comedic timing and banter with both Sandra Bullock and Aaron Taylor-Johnson. Pitt's on screen chemistry with Bullock is so good that I kept referring to this film as The Lost City in Tokyo way too many times. But besides Pitt and Bullock, I really enjoyed Aaron Taylor-Johnson and Brian Tyree Henry's chemistry. The two really feel like brothers and I wished I saw more of their insane adventures as assassins. Additionally, I also liked Joey King as The Prince. This is the second film that I saw Joey King in since Ramona and Beezus. And I have to say, she surprised me with how well she can hold her own among the likes of Pitt and Taylor-Johnson.

Besides the cinematography and acting, the action sequences are absolutely insane! The action is tight in both hand to hand combat in addition to some really over-the-top Fast and Furious style set pieces. This should come off as no surprise as David Leitch has loads of experience in the action genre, creating exhilarating and jaw-dropping scenes whether it's in hand to hand combat, car chases or fights on moving vehicles. One aspect of Leitch's filmmaking that I really like is his use of slow motion. Leitch uses slow motion to not only emphasize certain scenes but also allows for audiences to catch their breath and truly absorb the madness unfolding in front of them before the scene snaps back into real time.

Despite the insane action, the plot does feel overly cluttered. Coming in at a bit over two hours, the film does feel a bit too long for my taste especially with the multitude of backstories and characters. Speaking of which, I do feel there were too many characters crammed in. I understand that the film was based off a book, but books have the luxury of telling multiple backstories through hundreds of pages, unlike a film. Some characters were just introduced and given a backstory despite only being in the film for a few minutes.

Although the film does suffer from a messy plot and too long of a runtime, I still think it's worth checking out for the action, cinematography and humor alone. Bullet Train is more like a Fast and Furious movie than anything else. Treat it as such and you won't be disappointed as you brace yourself for a fun, chaotic ride through The Land of the Rising Sun.

River Road (2022)

A Stylistic yet Realistic Look at Addiction

[7/10 · 28 August 2022]

Throughout the film, I kept finding similarities with both Requiem for a Dream and Euphoria. When Travis and Zoe hit up heroin for the first time, the colors, atmosphere and cinematography coupled with Travis's inner monologue strongly reminded me of Euphoria, particularly during the first season when Rue began doing drugs with Jules. Additionally, whenever Travis or Zoe shoot themselves up with heroin, the camera cuts to the pupil of their eye dilating. This scene alone parallels Requiem for a Dream during the scene where the characters shoot up heroin and briefly brought back horrifying memories. I'm just glad we didn't have to hear the horrifying score from Darren Aronofsky's classic.

Perhaps River Road's greatest strength is its cinematography. What really stuck out to me were the shots of Travis at the docks during the sunset. Something about the contrast of the background and shadowed trees added an extremely artistic touch to the film's overall aesthetic. Speaking of aesthetics, the synth music was also a good choice to establish distortion. While our lead is a guitar player we oddly don't get much guitar playing, outside of the first and early second act.

Character-wise, I found both leads to be a bit unlikable. While both Cody Kearsley and Lexi Redman were amazing at portraying a dysfunctional drug-addicted couple, I didn't particularly feel any sort of attachment to either character. This isn't a bad thing, as I think it was the point of the film. However, what did throw me off was how poorly-shot the chase scene in the third act is, in addition to the lackluster dialogue for one of the major antagonists. The chase scene suffered from too much shaky-cam and fast cuts to the point where I had no idea what was going on. Meanwhile, some of the major antagonist's lines felt like a fourteen year old trying to sound tough over Fortnite or Call of Duty.

Does this make the film bad? No. Despite the film's flaws, it's still a solid watch if you want to explore the dangers and consequences of drug addiction. Where River Road easily stands out is in its cinematography, music and overall story. Instead of those outdated drug PSAs schools force you to watch, they should instead show kids more realistic depictions of addiction and I think River Road should be one of those films.

Infrared (2022)

A Homage to Classic Found-footage Films

[8/10 · 28 August 2022]

Greg Sestero is perhaps best known for his first starring role in Tommy Wiseau's 2003 film The Room. However, he has moved on since then and has written a book, The Disaster Artist, in addition to being in a number of films, including the upcoming film, Infrared, which is now available for streaming this year. While most may write the film off due to Greg's association with The Room, this film shouldn't be ignored.

I really enjoyed the performances of Greg Sestero and Jesse Janzen. Jesse gave a vibrant performance as Wes and energized every scene he's in. He perfectly portrayed the host of an amateur paranormal investigation show. However, the true star of the film is Greg Sestero as Geoff. He perfectly played the affable nature of a school teacher and Greg himself has so much natural charisma that I wanted to see more of him. Compared to his acting in The Room, this is a major improvement. Finally, Leah Finity, while not as outgoing as the other three, was also very likeable as Izzy and acted as a good foil to Wes.

My biggest gripe with the film was its pacing. The film's runtime added up to about an hour and a half, however, the beginning moved at a snail's pace. I understand it was introducing characters and setting up the stage of what's to happen, however, I felt it could've been done in a bit more of an interesting manner. Additionally, there are several scenes that could've been shortened down, for example, the séance conducted by Izzy. Another small nitpick I had with the film was Sarah's demonic voice near the film's beginning. It sounded too robotic and voice changer-esque.

With that said, the film excelled at building tension and intrigue. The film, similar to The Blair Witch Project, Paranormal Activity, and many other great horror films, is a slow burn where you would have incredible difficulty pinpointing when the film's tension starts. And it manages to do this with very few jump scares, which were well-integrated into the film. The tension was further helped by the characters being both engaging and charismatic. With this, I actually had some investment in where the story went, something that many other found-footage films fail to do, including both Blair Witch and Paranormal Activity.

Overall, Infrared is an engaging film that breathes new life into not only the horror genre, but also the found-footage subgenre. With great performances by Greg Sestero, Jesse Janzen and Leah Finity, along with an amazing buildup of tension, Infrared is a must-see film for horror fans!

The Flock (2022)

A Terrifying Found-Footage Experience!

[8/10 · 26 August 2022]

Movies like The Flock and Robert Livings' Infrared do what found-footage style films should do: keep the whole film shot in a first person camcorder. By doing so, the film makes the viewers feel as if they are directly going through the experience with the characters. Besides the cinematography, I liked how The Flock uses real abandoned locations for the majority of the film. This not only helps with the immersion, but it increases the horror aspect as you don't know what's lurking around the corner.

As a whole, the film is well-acted, with the cult leader, Crow, being the best of the bunch. Patrick Liberatore really sold me as a crazy cult leader who tries to be the second coming of Charles Manson. Additionally, the kidnapped camera operator did a good job acting as the audience surrogate following V and Danny. He reminded me of Ethan Winters from Resident Evil VII in many ways, as Ethan, like the camera-op, was our introduction to the events of the story. On the side of the mercenaries, I liked Trinity's chemistry with Son. The two come across as having a sibling-like relationship that was wholesome.

What I wished the film did better is to have a more focused plot and main character or group that we could follow. The Flock has the viewers following two groups and I was confused as to which one we should relate to or sympathize with. Also, I felt that the plot was a bit unfocused, especially with the limited runtime. As the film went on, I had trouble discerning whether The Flock as a cult were truly evil. However, that is likely the intention of the film by making you question how bad they really are.

Despite a few flaws with the film, I can safely say that The Flock is another solid inclusion in the list of new found-footage style horror films. It does a good job in production design, acting and cinematography. Unlike a lot of horror films that rely too much on jump scares, The Flock feels more atmospheric, as if the feeling of danger was on the horizon. Combined with an effective and likable cast, we get both a frightening and engaging film!

Thor: Love and Thunder (2022)

How Tonal Inconsistency can Ruin a Film

[6/10 · 8 July 2022]

Expectations were high when the movie was announced, with many fans looking forward to Jane Foster's Mighty Thor being brought to the big screen. And I have to say, Natalie Portman brought a much-needed breath of fresh air to the character. Like most characters in the previous two Thor films, Jane Foster felt very bland and her chemistry with Thor wasn't believable. However, in Thor: Love and Thunder, we see the two spend time together doing normal things a couple would do. This makes it all the more heartbreaking when we see how they broke up and cathartic when the two are reunited.

Before watching the film, I was most curious about how well Christian Bale's acting would mesh with Taika Waititi's direction. And I have to say, Bale is perhaps the best aspect of the film. Not only is he a master actor who's rivaled by few, but Gorr is a genuinely interesting character. If there's anything that everyone can agree on, it's that Phase 4 of the MCU has some of the best villains. Gorr's character motivations are very clear: he wants to kill all gods because he believes they are inherently selfish beings with no regard for their followers. If you take a look at various religions across history, he has a point. Gods are often portrayed as morally ambivalent and are not paragons of justice.

When I watched this movie, I felt like I was watching two different movies at the same time. The scenes with Gorr are very dark and somewhat horrifying, with Gorr becoming more and more corrupted by killing gods. Bale's performance wavers between camp and downright horror, hell, he'd even scare The Scarecrow with how terrifying he can be. Yet whenever it cuts to Thor and his friends, it's always bright and colorful. These cuts almost felt like sensory overload in how different they are. Not to mention the plethora of typical MCU-styled jokes littered throughout the film detracting away from any tension. Which brings me to my next point. The lack of tension in the film. I never thought for once that any of the main characters were in any mortal danger.

Besides this lack of tension, I felt that Thor's goofball nature is dialed up even more in this film compared to Thor: Ragnarok. Thor was funny even when a situation doesn't call for it. Although Chris Hemsworth is naturally funny, seeing Thor act funny in dangerous situations started to grate on my nerves. While Waititi is a very talented filmmaker and actor, and the performances, especially Christian Bale's, are superb, Thor: Love and Thunder feels hollow compared to some of the MCU's other Phase 4 films. With conflicting tonal shifts and excessive humor at times when it wasn't appropriate, it appears that lightning seemed to have missed its mark with Thor: Love and Thunder.

Healing with Hypnotherapy (2022)

An Average Documentary with a Thoughtful Message

[5/10 · 7 July 2022]

What I liked about this documentary is how real it portrayed the subject of hypnotherapy. In movies, hypnosis is often performed on non-consenting people in order for them to perform tasks they normally wouldn't. However, in reality, you have to consent to being hypnotized in order for any effect of hypnosis to work on you. According to the various subjects that Ray has worked with, I think that hypnotherapy could be worth a shot as a method of healing and overcoming addiction. I also enjoy Ray's passion for helping people, and empathizing with his clients and their struggles. Not many people do this, and it is refreshing to see people who care about those they are helping.

Despite Ray's passion, the production value was a bit lackluster. While the shot composition and editing were done well, the visual representation for the onscreen topics were mostly comprised of stock footage. Additionally, I felt that the music had a very "stock" feel to it and was mostly there for filler. Don't expect a score from Koyaanisqatsi in this, but then again, most films don't have such a score.

The main issue I had with the documentary is the lack of interview subjects. While this isn't a deal breaker for a documentary, in the case of Healing with Hypnotherapy, only two subjects were interviewed. While Ray had a lot of stories about his line of work, it would have strengthened his points if more people had spoken. It also would have given more visual and audio variety in its presentation. Although the run time is standard for most films, due to the lack of interviewees, the film's main points feel drummed in by the forty minute mark, despite only being halfway done.

Healing with Hypnotherapy shows that hypnotherapy is a viable method for treating addiction and improving one's lifestyle. I enjoyed Ray's passion and listening in on his knowledge on the subject of hypnotherapy. Despite some rather lackluster bits of the documentary's production, which I can imagine could have been due to budget or time constraints, the message of hypnotherapy still made its way through.

Party Hard (2020)

A Millennial's Lost in Translation

[7/10 · 7 July 2022]

Rather than give a straightforward narrative, the film instead is very freeform in its plot delivery, with events happening on a whim rather than having a direct cause and effect. The film manages to capture the feeling of the night life scene very well, as shown through the cinematography, which steadily gets shakier as the film goes on. Regarding the sound design, PARTY HARD reminded me a little bit of Fight Club by keeping the background noise almost as loud as the character dialogue. While this can be seen as a risky move, as the dialogue can sound muffled, in PARTY HARD's case, it adds a sense of realism while still keeping the dialogue audible.

One of the most creative aspects of the film was the music. Most if not all of the soundtrack was composed of original scores. This is especially impressive considering the quality of the songs, such as the aptly-named title song PARTY HARD. If I didn't know the song was an original song, I would've almost thought it was from Kendrick Lamar! Both Miles Kendrick and Ty Rowe have serious talent and singing ability and I wish to see more of their work in the future!

PARTY HARD was made on a budget of $6,000 and shot over the course of two and a half weeks. Director William Nicholas Clay and cinematographer Stephen T. Canada wanted to create a film that was a hangout film set in their hometown. Previously, the two worked on various short films and music videos, with PARTY HARD being their first feature film. Upon looking at the hectic bar-hopping scenes, I can see how both Clay and Canada's experience working on music videos came into play, turning something that would be considered mundane into a more dramatic activity.

Overall, PARTY HARD is a well-made film with a solid production and cast. It was made to be the ultimate 'hangout' movie and it is very successful in that endeavor. Despite its boisterous appearance consisting of loud bar music, crass language and disjointed storytelling, at the heart of the film lies a very solemn issue that plagues the hearts of many young folk today. While it may not have the production value of a bigger budget film such as Lost in Translation, it has similar feel and story beats to the iconic Academy Award winner. For anyone who suffers from guilt over their past, or just wants a heartfelt hangout film, this movie is worth checking out.

The Northman (2022)

A Vicious Viking Epic

[7/10 · 7 July 2022]

What truly caught my eye in The Northman was its gorgeous cinematography. It was incredible how well-executed it was, as they gave multiple perspectives of characters simultaneously and followed action smoothly throughout the narrative. It also led to some ingenious visuals as well. While director Robert Eggers leans more into the practical effects side of filmmaking, there are still times when it seemed CGI was necessary. The practical effects were so smoothly edited in at times I nearly couldn't tell the difference, which led to some surreal and brutal imagery.

Along with impressive visuals, the script is very creative and has a heavy Shakespearean vibe to it. Now, I am not the first one to say that Shakespearean English is difficult to understand at times, but in The Northman it never feels incomprehensible; in fact it is quite poetic. This version of dialogue never felt out of place, and in fact felt like it took direct inspiration from Shakespeare's Hamlet. But its story's themes are also hard hitting as they take a dark look at the toll of vengeance and the ties that bind a family together. The dialogue and the story hit hard and stick with you, and I have a feeling this film will be quoted for years to come.

Did I even mention the performances? Alexander Skarsgaard shows his savagery as our titular Viking, having what seems to be an inhuman physique with an animalistic dominance. But at the same time, he also shows a very compassionate and gentle side to his character as his quest for vengeance unfolds. We also got Nicole Kidman giving us initial damsel in distress vibes, until she reveals a malicious side to her that devastates our vicious protagonist and turns the story on its head. But possibly my unexpectedly favorite performance has to be Claes Bang as our villainous Fjolnir. He is first portrayed as an envious and power-hungry brother, but as the film progresses his motivations become clearer and more complex. While Anya Taylor-Joy is amazing, she feels underutilized in the story, and Ethan Hawke's performance left me wanting more.

The Northman is a rare film that is as unflinching as it is engrossing. Its epic story and classical dialogue mixed with its visuals make for an unsettling yet rewarding viewing experience. With phenomenal performances throughout, Eggers direction from previous works fits seamlessly in this film and keeps his creative winning streak going. Ensuring that not only is The Northman a fantastic and vicious take on a Viking epic (even by Viking standards), but possibly Eggers' best work yet.

Introspectum Motel (2021)

Solid Cinematography, Simple Story

[6/10 · 7 July 2022]

Relationships can be difficult to navigate. Marriage, especially, can be a chore for most people. But what happens when a marriage begins to go stale? Do you and your significant other talk out your problems and work things out? Nope, the obvious answer is you cheat on them! With another married person! Because what can go wrong? Well, a lot.

One thing the film does well is the cinematography and production design. The camera work not only gives a good view of the action, but also makes the audience feel distant from the characters. This helps as with the cast being anything but likable, it helps to have distance to prevent people from sympathizing with the characters too much. The production design does a good job making the set feel like a nice motel that was mostly empty. It felt very isolated and separate from the rest of the world adding to the tension. At times, I felt the cinematography was similar to that of a Christopher Nolan film, albeit much more unpolished. However, to be compared to Nolan at all speaks volumes about Introspectum Motel's cinematography.

Even by thriller standards, this film is a slow burn. For about half the runtime, I didn't know when the thriller part would come into play. When I first saw the poster of the film, I expected that the film would involve a detective trying to investigate a series of murders taking place in different motels. After watching the film, I was a bit disappointed at the premise of the story. However, the film does get its message across: cheating is bad and will destroy your marriage. It also is very difficult to predict where the film is going, as it does a good job of implying potentially bad outcomes while not having those outcomes fully come true. While it is a revenge story, it does not get very violent despite the threat of violence being a constant presence.

Overall, despite some pretty good cinematography and decent performances, I felt that Introspectum Motel could have been much more than a simple marital-revenge story. However, for what it was, the film successfully gets its message across to the audience and feels tense especially in its latter half. I would also like to say that this film has a fair share of nudity and sex scenes, so be warned. All-in-all, would I say this is a good film? Not really, I'd say it is average at best. However, where it shines is the cinematography which makes the film look grander.

Top Gun: Maverick (2022)

The Need For Speed Returns

[9/10 · 3 June 2022]

If you were coming into this film expecting the same cheesy action flick like the first Top Gun, you would be sorely mistaken. The overall tone and story of Top Gun Maverick is more melancholic and intense than I anticipated. While there are dog fighting and training sequences that are definitely in the realm for a Top Gun film, the driving force of the story is the conflict between Rooster and Maverick as they come to terms with the past.¬¬

But damn, the performances given in this film are just phenomenal. Cruise possibly gave his best performance ever as Maverick! I know right?! He brings Maverick's signature cockiness, but matches it with compassion that wasn't present in the first film. Miles Teller is a fantastic foil to Cruise, as well as being a good casting choice since he looks nearly identical to Goose's actor, Anthony Edwards. Rooster is the opposite of Maverick in every way and the amount of resentment towards his surrogate father figure is both palpable and understandable.

Of course it would not be a Top Gun film without some jet-on-jet action. This not only elevates the action from the first film but it really keeps you on the edge of your seat, putting you in the cockpit with the other actors. Before I proceed further, I would like to mention that many of the actors, Cruise included, actually flew these fighter jets themselves. These ingenious stunt sequences lead to what I have to say are some of the most realistic and suspenseful sequences I have ever seen! They also lead to some brilliant cinematography as well; beautiful shots of the bright blue sky to the claustrophobic nature of the cockpit. It was something to behold.

Top Gun Maverick is not just a great sequel to a classic 1980s film, but one of the best sequels to ever be produced, arguably up there with Terminator 2: Judgment Day. Phenomenal acting by the entire cast, gives tremendous weight to the atmospheric melancholy. And the action sequences are the best of the best, with gorgeous cinematography to help feel the dire and tense nature of a fighter pilot. Top Gun may have been entertaining with its cheesy popcorn action, but Top Gun Maverick brings more humanity and intensity than the first to make it possibly one of the best films of the year.

The Other Girl (2020)

A Black Comedy on The Reality of Infidelity

[8/10 · 3 June 2022]

While the plot is rather linear and doesn't contain many surprises, this isn't a bad thing as Adam is a complete jerk from start to finish, blaming everyone for his problems except himself. The humor in this black comedy stems from watching his world fall apart and him trying to act "reasonable" in this chaos. It's both funny to see him desperately attempt to worm his way out of admitting to the infidelity while getting called out for his awful behavior, in addition to being uncomfortable and tense to watch his relationship with Danielle fall apart.

Jesse Janzen, Leah Finity and Samantha Laurenti all give believable and down-to-Earth performances. Janzen pulls off Adam's self-obsessed and conceited behavior that would make just about anyone cringe at how childish he acts. Meanwhile, Laurenti as Libby is perfectly manipulative as she tries to get Adam to break things off with Danielle. Speaking of Danielle, she really is the only character the audience sympathizes with, as she carries the relationship and pays for all the bills. As a quick side note, I'd like to mention that if any of the cast sounds familiar, it is because they were featured in Infrared, which was also directed by Robert Livings. I personally love it when directors work with recurring cast members, since it often shows a strong work relationship between actors and directors.

This film was made on a budget of $200 and limited crew consisting of Robert Livings and Randy Nundlall Jr, who not only directed, but also did the cinematography and sound mixer Austin Blank. I am continuously impressed by director Robert Livings' ability to make so much out of so little. The film was shot with Panasonic AG-DVX100B cameras which Livings said was a throwback to early 2000s mumblecore films, and I have to say that the results are spectacular! My favorite moment with the cinematography was how it creates tension and unease with a series of close-ups and zoom-ins when we watch Adam trying to be honest with Danielle about both their relationship and his affair.

The Other Girl is a solid black comedy that shows the reality of infidelity and the impact it has on a relationship. Packed with solid performances, subtle cinematography, realistic dialogue and engaging characters, the film is another strong showing for its director and cast. To see someone make a really good film from so little is both refreshing and inspiring, considering that there have been some rather notorious independent directors who gathered a cult internet following for making worse films while having abundant resources. In an industry where many fail, the few exceptional soar. While making a film is by no means an easy feat, to make a good film with limited resources is an ability that will take a director far.

The Misadventures of Mistress Maneater (2020)

A Funny, yet Intelligent Romantic Comedy

[9/10 · 2 June 2022]

Now while most romantic comedies are supposed to be funny, I usually don't find them so. Mainly because their jokes happen to be very cookie-cutter and often derived from the misfortunes of others. In the case of The Misadventures of Miss Maneater, I really enjoyed how the film was self-aware and wasn't afraid to poke fun at itself, much like The Lost City. I also loved how relatable her cynical inner monologue is, which constantly pokes fun at her life.

At first, this film feels like Pretty Woman. However, unlike Pretty Woman, this film does a far better job portraying both women and sex workers. While Ava is a dominatrix, she is never shown to be a "pure" sex worker like Vivian from Pretty Woman. She never doubts her own ability, rather she understands her own self-worth and is unafraid of confronting disrespectful men. This brings me to another important aspect of the film: the humanization of sex workers. Throughout the film, men treat Ava with disdain upon realizing that she is a dominatrix. However, what they didn't know is that she is indeed a highly intelligent individual and that her occupation doesn't define her.

Unlike so many rom-coms in Hollywood, Ava's relationship with Radovan is slow and gradual. The two meet when Ava attempts to offer her services to him, and he rejects her. Eventually, Radovan begins to see her as more than just a dominatrix, but rather a complex and highly intelligent art historian. Unlike most men in rom-coms, Radovan respects and treats Ava as a person, rather than just a trophy to achieve. It's so refreshing to see a healthy relationship in film, as most romance films show a plethora of toxic red flags that we often normalize in real life relationships.

Besides the story and themes, I really enjoyed the performances by both Lorissa Julianus and Mickey O'Sullivan. Julianus truly shines at balancing Ava's hard exterior with a softer, more introspective side of her. Meanwhile, O'Sullivan does a pretty convincing Serbian accent, in addition to being very enigmatic during his debut. Upon getting to know him better, he becomes a very selfless character who places the well-being of others before his own.

The Misadventures of Mistress Maneater is a well-made romantic comedy that is not only funny, but also is a prime example of what a healthy relationship looks like. It perfectly balances the humor and heartfelt moments that make you care about the characters. With splendid performances and clever writing throughout the film, The Misadventures of Mistress Maneater is one of those films that I would not only recommend to lovers of the rom-com genre, but also to fans of cinema and is a film that I will continue to watch and enjoy.

Ava (2021)

Letting Go and Finding Independence

[7/10 · 2 June 2022]

One thing that the mainstream film industry constantly fails to do is make films about older people. Many legendary older actors in the industry are often sidelined in favor of younger generations in most films. Older women have it even worse, often being relegated to specific roles, like the evil stepmother. A range of stories can be told with an older protagonist and older women and AVA: A Twist in the Road shows this off well.

This film is anything but a traditional drama. The story beats that are expected of the film don't happen. Instead, the film goes on a more freeform path where major story and character elements just happen. Is this a bad thing? Far from it. Movies shouldn't have to be predictable, because why would I want to see something where I can predict what's going to happen in the next scene? Although the film doesn't have a traditional approach, it ultimately succeeds at telling a story about moving on and becoming self-sufficient.

Some of my favorite shots in the film have to be when Ava is grieving in her home after learning of Bobby's tragic death. Unlike some films that I've seen, Ava's portrayal of grief is very accurate. She shuts herself in away from her friends, drinks her sorrows away and struggles to move on. Meanwhile, her neighbors and friends try to help her move on from Bobby's death by bringing her food and flowers. Throughout the film, Ava struggles to overcome her loss, as her previous idyllic life begins crumbling around her. Despite the film's strengths, there are a few problems I had with it. Some of the film's dialogue felt a bit too on-the-nose. Additionally, some of the lines delivered were a bit weak, and I also felt a few of the scene transitions were a bit too tacky at times and could have been toned down a bit.

Carrying the film is our lead played by Catherane Skillen. Her earnest performance makes Ava both relatable and likable. While she doesn't nail every line delivery, her performance feels very real, something many actors struggle with. My second favorite performance has to be Tannis Benedict who had the best line delivery as Ava's best friend, Leanne. However, I felt that Louie Mandrapilias as Michael was a bit stiff on his line delivery in his first few scenes, but noticeably improved later.

Overall, AVA: A Twist in the Road is good in its general storytelling and message. However, its technical side does suffer a bit, which occasionally takes me out of the film. Despite this, the film makes up for this by making Ava a likable protagonist who perseveres through and through. Is this film a perfect movie? No, but then again most films are not. But is it worth watching? Yes, I think it's worth a viewing, especially for those who are either undergoing or have underwent the cycle of grief.

Doctor Strange in the Multiverse of Madness (2022)

Not Your Typical Marvel Movie!

[8/10 · 9 May 2022]

Unlike the first film, Multiverse of Madness doesn't follow the typical MCU formula. Raimi truly made the film his own, adding in many of his signature horror elements and even references from his Spider-Man movies. Additionally, Raimi makes use of the "zombie vision" angle several times, a clear homage to his work on the Evil Dead movies. Both can be seen with many of the action sequences.

Both Elizabeth Olsen and Xochitl Gomez easily give the best performances of the film. During Wanda's more villainous turn as Scarlet Witch, Olsen puts all of Wanda's grief and pain front and center and see how she has become so corrupted. And of course our introduction to Xochitl Gomez as America Chavez was more of a scene-stealer than I initially anticipated. She brought all the character traits I expect from a coming-of-age superhero arc, in addition to an endearing form of charisma to the role. Gomez is a welcomed newcomer to the MCU and I can't wait to see what more she brings to Chavez!

Although the film does suffer from somewhat poor pacing in its first act, it still manages to balance its convoluted storytelling. Additionally, while the film's MCU-style humor was a bit much at times, it felt a bit more natural compared to its predecessor. I wished we got more of Raimi's typical style of humor, but the film is ultimately part of the MCU and I shouldn't complain too much.

When we say this movie is not your typical Marvel movie, I mean does not feel like a Marvel movie. It has the Marvel logo, but it is closer to a horror movie, complete with jump scares, an eerie atmosphere and nightmare-inducing visuals. Whenever Scarlet Witch is on screen, I thought for a moment I was watching The Exorcist. Raimi's roots in horror are on full display, as he introduces the MCU to an uncharted direction.

The Unbearable Weight of Massive Talent (2022)

Nicolas Cage's Resurgence in Hollywood!

[8/10 · 3 May 2022]

This film has not one, but two manic performances from both Nicolas Cage as a fictionalized version of himself and Pedro Pascal as a Spanish billionaire named Javi. Cage's signature style of acting consisting of screaming, creepy smiling, hitting people and swearing like a mad man are all on full display in this hilarious action comedy flick. He displays an impressive range by playing not only his fictional self, but also successfully portraying a younger internalized version of himself that's supposed to represent his inner ego. All this shows that Nick Cage still has that acting flame inside him.

Besides Cage, Pedro Pascal not only rivals Cage's manic energy, but also brings a whole new dynamic that I never expected from a Nick Cage movie: a buddy-cop dynamic. Pascal and Cage have a true bromance through and through. If everyone had a friend like Javi, the world would be a better place. Pascal continues to amaze me with his acting range, going from serious and nuanced in The Mandalorian to over-the-top villain in Wonder Woman 1984 to well-meaning, if not a bit goofy, best friend in this film.

Everything Everywhere All at Once (2022)

The True Multiverse of Madness!

[9/10 · 3 May 2022]

Everything Everywhere All At Once perfectly manages to tell a multiverse story, juggling MANY different genres, from sci-fi, martial arts, black comedy, action and family drama without losing their tone or direction. It somehow manages to tell a realistic and relatable story about family without becoming bogged down by world building when creating its version of the multiverse.

Speaking of the Quan family, the film does a wonderful job giving an accurate and all-too-relatable representation of Asian family life in North America. The way Evelyn constantly nags Joy about being "too fat", having tattoos, being rebellious and having a white partner is relatable for any Asian kid growing up in North America. All of Evelyn's disappointments in Joy eventually led to her becoming depressed, hence creating the bagel. Hollywood has a long track record of Asian misrepresentation, so to see the struggles of an Asian American family being accurately portrayed on screen is so refreshing to me.

Along with the realistic and relatable Asian representation, there are some heavy themes revolving around depression, existentialism and nihilism. Just look at how the Everything Bagel is treated; it is a multiversal black hole because Joy pretty much had a psychotic break in one universe and came to believe that nothing truly matters in life. I personally saw this as an allegory for depression as everything about Joy's personality was placed on this Bagel and could never find the good in it, eventually leading to her to enter the black hole as a way to find peace and stop agonizing over a meaningless life.

These are without a doubt some of the best performances of 2022 so far. Michelle Yeoh was extremely convincing as a woman who's basically always in crisis mode, dealing with her family and business trying to get through an audit. But the true star of the show, is Ke Huy Quan, which is apparently his first movie role in almost 20 years. He is a simple man who is quite happy with his life and is very personable, choosing kindness in the face of negativity and puts everyone else before himself.

Everything Everywhere All at Once is one of the most original films of 2022, delving into family dynamics, mental health, existence, and presenting realistic Asian representation for mainstream audiences. An epic and very personal story with excellent acting, gorgeous cinematography and inventive editing created a movie going experience I have never had before. This is a movie that will not be forgotten by the film community for a very long time.

Weekend Healer (2020)

Keeps You on the Edge of Your Seat!

[8/10 · 24 April 2022]

When I first saw the trailer to this film, I thought it was going to be a horror film in the same vein as 2019's The Lodge, due to its color grading, tone and editing. However, the film was more of a thriller and a bit of a comedy. This is a clever way to subvert the audience's expectations, which in of itself is a very difficult task to do and can often ruin the film if not done properly. However, Weekend Healer not only succeeds in subverting our expectations, it does so spectacularly.

This film shares many similarities with Sofia Coppola's On The Rocks. Both films deal with a main character who thinks their partner is cheating on them and let their feelings of jealousy cloud their perception of reality and drive a rift in their relationship. The key difference is that Weekend Healer offers a far more realistic outcome of Mark's insecurity and jealousy compared with the slightly more optimistic On The Rocks.

One thing I enjoyed about the cinematography was the balance of close ups and aerial shots. The distant shots give a good window into the characters and their feelings. This rings especially true for Mark, whose suspicions drive the conflict. We as the audience see everything through his eyes. For example, every time Rob appears on screen, ominous music would play in the background, almost indicating a threatening presence to the audience.

Additionally, the dialogue is very natural, and makes the characters feel like real people. They both stutter and repeat themselves, much like people do in real life. Speaking of the characters, they are all compelling to watch. Mark is an interesting POV character in his unreliability and entitlement. Katie is very likable and sympathetic, and Rob does a great job balancing the suspicion that the audience has with a very likable, well-meaning man that would be fun to be around.

Weekend Healer is a film that not only subverts your expectations, it also keeps you on the edge of your seat guessing what's going to happen next. The characters are interesting and mostly enjoyable to watch, and the writing only adds to their believability. Robert Livings shows great range as a film director, perfectly adding subtle horror elements in a comedy thriller. With great cinematography and performances, this movie is worth a viewing!