thetyvonlesure Reviews

Blade Runner (1982)

A Dystopia that transcends Cinema

[9/10 · 3 April 2024]

"Blade Runner" is a film set in a dystopian 2019, where humans have bio-engineered robots (replicants) for slave labor. After a few replicants go rogue, a Blade Runner is hired to track them down and "retire" (kill) them. The film stars Harrison Ford as Rick Deckard, the Blade Runner hired to track down four fugitive replicants, Sean Young as Rachael, Deckard's love interest and newly discovered replicant, Rutger Hauer as Roy Batty, the leader of the rogue replicants, and Daryl Hannah as Pris, Batty's partner. This is the third feature from legendary director, Ridley Scott. "Blade Runner" is a game-changing cinematic experience that successfully marries elements of film noir with the genre of science-fiction.

Harrison Ford is the film's center. He portrays an unconventional protagonist. The heroes of "Blade Runner" live in a grey area. Deckard is no different. He's stoic. He's aloof. He lacks compassion. Although Deckard is portrayed as a human, his temperament is not far off from the expectations of a replicant. Deckard is one of Ford's most prolific performances. Ford approaches each scene as if he's lived in the world of "Blade Runner" for hundreds of years. He's tired. He's groggy. However, the killings of a Blade Runner is never easy for him. In tense moments, Ford breathes heavy. He's afraid. At times shame seeps into Ford's performance. Ford attaches depth to the character of Deckard - much of which goes unexplored. Sean Young's Rachael is naive. She's innocent. She's inexperienced. She's young. Rachael is brought into a world that she is unfamiliar with. She shy's away from the world of replicants and Blade Runners. She's sheltered. Young is meek. She approaches each scene with tenderness. Her portrayal of Rachael is submissive. She's very docile. It works for Rachael's character. Young is able to balance Ford's experience. Where Ford's Deckard is a grizzled veteran in the dystopian world of 2019, Young is a total novice. Daryl Hannah's character Pris is overtly sexual, yet intimidating. She's cunning. Each scene that features Pris feels like a setup. She is always plotting. Hannah brings a lot of charm and sex appeal to the character. Her friendliness, physical imposing nature, and beauty are all elements that make the character intriguing. Hannah's delivery of lines is sweet, yet goading. Her movements are calculated. She performs handstands throughout the film, which adds weight to her physically imposing nature. She moves through each scene with speed and intensity. Pris is fun to watch. Much of the film's emotional weight comes from Rutger Hauer's performance as Roy Batty. He is scary good. Batty is the film's antagonist. Much like the protagonist, the antagonists exist in a shade of grey. Batty captures this perfectly. Batty pushes the viewer to question the ethics of the human-replicant relationship. He is often aggressive. Hauer carries himself as if he were portraying a monster. He's confused. He's in pain. He brings manifests those feelings through anger. Ironically, Hauer's performance as Batty is more human than Ford's performance as Deckard. Hauer's delivery is incredibly emotional. He's pointed. He's witty. Roy Batty is arguably the soul of the film. In sum, The character work and acting of "Blade Runner" are well-crafted.

Thematically, the film adds much to the conversation of "man vs. Technology." Much like the character work and acting, the narrative has a lot of depth. The relationship of replicants and humans is jarring. Replicants are viewed as sub-species despite having the make and physical appearances of humans. They are treated as less than humans. Conversely, they are built to be the superior. Some replicants are designed to be special in areas that humans are not. The script shows that humans and replicants are each special and unique in their own ways. The narrative of "Blade Runner" is slow and requires focus. The story is very methodical. It requires attention and patience. However, when finished, the story is a marvel. The viewer is left wanting to stay in the world of "Blade Runner," to explore other pieces of a grim future.

The production design of "Blade Runner" is amazing. The detail and the world building are some of the film's best attributes. The dystopian 2019 earth of "Blade Runner" is wondrous and dreadful. The world is shrouded in shades of black, gray, and brown. At times lit by lush, neon billboards, 2019 Los Angeles is gripping. Set pieces such as flying cars add to the spectacle of the film's futuristic nature. Weather sets the tone for the film. The city wears a perpetual rain and smog combination. The environment feels dirty. There is an aura of grit and grime. A moody soundtrack helps bring the fictitious setting to life. Synths and jazz are the film's signature. Vangelis crafted an incredible score that pairs perfectly with any rainy day. "Blade Runner" is a drug to the senses. Ridley Scott's vision for the world of "Blade Runner" is a compelling and unique cinematic experience.

Overall, "Blade Runner" is a must-see science-fiction classic. It masterfully brings elements of film noir to dystopia. The film transcends beyond cinema, offering a dialogue on the waning relationship between man and machine.

Thief (1981)

A Mastercraft about a Master Thief

[8/10 · 3 March 2024]

"Thief" is a neo-noir thriller about a jewel thief who deals with a shady Chicago crime syndicate for the score of a lifetime. The film stars James Caan as Frank, Tuesday Weld as Frank's wife, Jessie, Jim Belushi as Frank's partner, Barry, Willie Nelson as Frank's mentor, "Okla," and Robert Prosky as Chicago crime boss, Leo. This is the feature directorial debut of Michael Mann. "Thief" is a detailed and gripping crime drama that almost perfectly juxtaposes a seedy, dark underworld with lush cinematography.

James Caan is the heart and soul of "Thief." His performance as Frank is mesmerizing. He's charismatic and passionate. He's bold and ballsy. Frank is not a virtuous protagonist. He's honest in his misgivings. Caan captures Frank's sensibilities with his pointed delivery. He's aggressive in his movements. He gets through each scene with a sense of urgency that enhances the film's tense nature. Caan's performance is really strong - and at times it drives the film. Frank's friends and family add a layer of emotion that can't be reached in Caan's no nonsense performance. As Jessie, Tuesday Weld balances Caan's performance with patience and grace. She challenges him. She meets his brashness with levity. Weld is a breath of fresh air - adding a sense of calm to the otherwise tense narrative. Jim Belushi and Willie Nelson standout as loyal figures in a world built on deceit. Belushi is subtle, yet cool. His body language is often relaxed. Belushi's character, Barry, and Frank are the same in that they are master thieves, but different in their approach. Nelson's performance as "Okla" adds a mature aura. He is Frank's pseudo father. He motivates Frank. He adds and emotional tie to the narrative - grounding and reaching Frank in a manner that Jessie cannot. Finally, Robert Prosky's performance at Leo is jarring. Leo is polite, intelligent, and reassuring. However, he's also cold and calculated. Leo is intimidating in that he is overtly confident and believable. Prosky owns the screen with elegance and power. He adds much weight to the danger that lives in "Thief."

The film's strongest aspect is its' cinematography. Director of photography, Donald E. Thorin captures the world of "Thief" in a manner that is masterful and effortless. Everything in this picture is detailed. Scenes in which Frank and Barry are setting up their heists or completing a score are mesmerizing. The act of welding in the film is soothing. The heists are satisfying to watch. The film is shot in an uncharacteristically relaxed manner that juxtaposes the narrative's tense. For example, the rain depicted in the opening sequence serves as a true calm before the storm. The neon lights of 1980's Chicago are incredible to look at. The lights shine off of Frank's cadillac - reflecting the city's busy, yet lush nature. The use of lighting is almost dream-like. Often, the camera has a blue-ish filter on the lens, adding to the overall cold tone. If Frank is a master thief, consider Thorin a master photographer. The grain, the lighting, and the action are all aspects that are crafted masterfully and showcased in a style befitting of the film at large.

The story of "Thief" is fine. It is not excessively complicated. It at times is not to the point, nor is it entirely exciting. However, the narrative is carried by great characters and a strong vision. The use of sound in this film is well-done - however there are some minor hiccups. At times, dialogue is difficult to understand. But mostly, the audio is perfectly paired with each scene. For example, toward the end, Frank is in a situation where he is sneaking into a home. The audio is cut - and silence perfectly helps build the tension of the scene. Natural sound is used throughout the film - and it enhances the overall experience. There are stretches with no dialogue that are spectacular because much of the noise is diegetic. Additionally, the soundtrack is incredible. Tangerine Dream's music accompanies the film - completing the total experience that is "Thief."

Overall, "Thief" is one of the greatest heist movies ever made. It is mesmerizing in every sense. "Thief" is a film about a man who is a master at his craft - carried out by actors, a director, and a cinematographer who are nothing short of master's at their craft.

Jackie Brown (1997)

Tarantino's Most Underrated Picture

[9/10 · 30 August 2023]

"Jackie Brown" is a crime-thriller about a flight attendant who finds herself caught up in an ATF investigation involving an arms dealer. The film stars Pam Grier as Jackie Brown, Samuel L. Jackson as Ordell Robbie, Robert Forster as Max Cherry, Brenda Fonda as Melanie Ralston, and Robert De Niro as Louis Gara. This is the third feature film from Quentin Tarantino. "Jackie Brown" is one of Tarantino's most unique pictures; excelling in subtlety, wit, and pacing.

The performances in "Jackie Brown" are well-constructed. Pam Grier plays the titular character. In contrast to many of her Blaxploitation roles, Grier takes center stage as more than a caricature for male fantasy. Jackie Brown is intelligent, cunning, and a bad ass all the same. Grier breathes life into Jackie Brown through a wide palette of emotion. In her dialogue, she exhibits anger, fear, and joy with the inflection of her voice. In addition to her delivery, Grier's body language is one of her strongest assets. By large, she is the film's glue. Samuel L. Jackson counterbalances Grier's soul with snakish charm. Jackson's portrayal of Ordell Robbie is devious and chilling. Ordell has charisma and style, however he is cruel. Jackson's best moments are displayed through non-verbal body language. His facial expressions are his strongest attributes. Ordell Robbie may be one of Jackson's most underrated characters. While Jackson and Grier excel in personality, Robert Forster completes that package with his old school Hollywood acting prowess. Forster's character Max Cherry is thrusted in the middle of the film's conflict. He steps in as the audiences surrogate. He is the film's straight man, yet he displays a lot of heart. Cherry gradually transforms into a warm character. Forster plays off both Grier and Jackson as the voice of reason, while simultaneously matching their strong performances. The supporting cast does a great job of keeping up with the film's three central characters. De Niro gives one of his most low-key performances as Louis Gara, while Brenda Fonda is bombastic and colorful as Melanie Ralston. Michael Keaton and Michael Bowen are sprinkled in as an ATF agent and LAPD detective. They each give weight to the film's circumstance through their non-yielding presence as the authorities. In sum, the cast of "Jackie Brown" is really good. They have great chemistry - and their performances double as a "how to" guide on fine acting.

"Jackie Brown" has a strong narrative. There are many twists and turns in the film's plot. While character motives can be seen as complicated, the film does a great job of identifying each person's central goal through exposition. The film's complex set up is one of its' strengths. There is never a dull moment. Tarantino crafted a tight screenplay that does not waver. One of the best aspects of "Jackie Brown" is the use of perspective. Akin to Francis Ford Coppola's park scene in "The Conversation," portions of the movie are depicted from different character standpoints that add new details and new meaning to the central action. Tarantino kills two birds with one stone by replaying the same scenes, while adding each character's essence to the aforementioned scene. One of Tarantino's defining trait is his well-written dialogue. "Jackie Brown" is no exception to this. The dialogue and language used in "Jackie Brown" is well-crafted. Each character feels unique, yet their speech connects to one another and adds more weight to the story. To say "Jackie Brown" has a good narrative is an understatement. The film's plot and dialogue are very strong.

The cinematography is great. Director of photography, Guillermo Navarro does a great job of matching the script's complex narrative with top-notch camera work. The opening scene is an iconic character introduction. The steady-cam dolly on Jackie Brown on a moving walkway is one of the film's best shots. Throughout "Jackie Brown," the camera often follows the characters, mimicking verite and presenting a documentary-esque feel. It makes the drama feel real - and proves compatible with the already excellent story. The film's editing is solid, but at moments rough around the edges. A few cross dissolves feel unnecessary. The sound-mixing is really good for the most part, yet when the characters talk on the other end of a phone - their audio tracks do not match. It's often as if the characters are in the same room as the other characters while being on the opposite end of the phone. It's a minor gripe that can be immersion-breaking. Despite, very minor editing issues, the film has a great style. The soundtrack adds so much to the mood and tone of "Jackie Brown." It's a fun movie to look at - with great music to compliment the visuals.

Overall, "Jackie Brown" is Tarantino's most underrated film. It's novel, it's witty, it's well-paced, it's charming, and it's a great experience. "Jackie Brown" should be remembered as a film that gave Pam Grier and Robert Forster their best performances. Defined no less than what it truly is - a thriller.

The King of Comedy (1982)

A stylish and sensible character study

[7/10 · 7 August 2023]

"The King of Comedy" is surreal dark-comedy crime film about an amateur comedian consumed with making his big break on his favorite late night talk show. The film stars Robert De Niro as wannabe comedian, Rupert Pupkin, Jerry Lewis as late night talk show host, Jerry Langford, and Sandra Bernhard as obsessed Jerry Langford fan, Masha. This is the eighth film directed by Martin Scorsese. "The King of Comedy" flexes the imagination of one of cinemas most prolific filmmakers, while also providing a unique character study on fandom and delusions of grandeur.

A highlight of the film is the acting. It's not gamechanging, but it really gets the job done. Robert De Niro is a prolific actor, however he delivers a sleeper performance as Rupert Pupkin. The self-proclaimed "King of Comedy" is one of De Niro's best low-key performances. Pupkin is the main character of the film. One could argue, he is the protagonist and the antagonist bundled into a singular vessel. He is a socially awkward guy who is bedeviled by fame. He often daydreams and finds himself ruminating on the fantasy of becoming a star. Robert De Niro does an excellent job of showcasing Rupert's whimsical nature through his delivery of lines. De Niro acts oblivious to the tone and demeanor of his co-stars and gives a straight, yet comical performance. Rupert's female counterpart Masha is similar. Sandra Bernhard's delusions are manifested through fits of aggression. Masha is spontaneous. She explodes at the thought of being with Jerry Langford. Bernhard is jarring at times. She breaks things, she attacks physically and verbally, she snaps, and Bernhard is really good at all of it. The straight man in the film is Jerry Langford. He is very stoic and nonchalant. Jerry Lewis' portrayal of Langford can be characterized as a man who is perpetually annoyed. He acts as if he'd rather be anywhere else. Often, this could be seen as bad acting, however it is highly appropriate given the circumstances of the film's plot.

Narratively, "The King of Comedy" is solid. The story is driven by a singular theme - fame. The nature of fame is showcased through the ugliness of success, as well as falsehoods it inspires in the beholder. Writer, Paul D. Zimmerman uses Rupert Pupkin as a vessel to explore the essence of celebrity. Rupert daydreams and wonders about the success that comes with being famous. He has cardboard cutouts of famous actors, comedians, and movie stars. He has a book with celebrity autographs. He is consumed with delusions of grandeur. Rupert Pupkin is written as an unconventional common man - who is almost relatable, until his curiosity gets the best of him. The film thrives as a character study. Where it falls short is intrigue. Rupert's goal is becoming famous by getting onto the 'Jerry Langford show.' At a certain point in the film, Rupert's process becomes uninteresting. Much of the drama feels anticlimactic. A portion of the movie is rather uneventful - and it feels underwhelming. It's an intelligent and thought-provoking concept, but the drama is weak - and its' satirical demeanor is not strong enough to bolster the narrative.

The visual storytelling is stronger than the script. Rupert's daydreaming sticks out stylistically. Scorsese's creativity shines when Rupert's fantasy blends with his reality. Scenes in which Rupert's fantasy is interspliced with his recital of the fictitious events are exceptional. Scorsese's creative use of imagery is profound. A facet of this is the power dynamic of Rupert and Langford. When the film starts, Rupert is seen as begging Langford. He is portrayed as inferior to Langford. This is juxtaposed with portions of Rupert's fantasy in which Langford is begging Rupert. In Rupert's imagination, he and Langford are on the same level. This adds a unique fold to the idea of Rupert manifesting his fantasy. Additionally, Scorsese's almost verite approach to Jerry Langford's experience as a celebrity is well-executed. For example, there are scenes in which fans mob Jerry Langford, or approach him on the street. These scenes often feel real. As if they are ripped from a documentary about Jerry Lewis, the real-life celebrity. Scenes on the set of the 'Jerry Langford show' are iconic. The 'Jerry Langford show' logo stands out like a cultural landmark. The set is lush and vibrant, mimicking that of late night TV. Largely, it feels like a spectacle. Scorsese successfully showcases Television, while making it feel like cinema. The sights of "The King of Comedy" are strong and enhance the movie's theme.

Overall, "The King of Comedy" is a good character study that uncovers fame and the delusions of grandeur. It falls short narratively, but is carried visually and thematically. It's a unique experience that adds sensibility to the accomplished catalog of one of cinema's greatest minds.

They Cloned Tyrone (2023)

An Enigmatic Blaxploitation Marvel

[8/10 · 24 July 2023]

"They Cloned Tyrone" is a contemporary science fiction, Blaxploitation film about a pimp, a ho, and a drug dealer uncovering the biggest conspiracy against ethnic groups. The film stars John Boyega as Fontaine, Jamie Foxx as Slick Charles, and Teyonah Parris as Yo-Yo. This is the fea'ure directorial debut of Juel Taylor. "They Cloned Tyrone" stands out as an engaging dark comedy that unearths some harsh truths through social commentary.

The main cast is the heart and soul of this movie. Boyega, Foxx, and Parris have great on-screen chemistry. Boyega delivers a raw and jarring performance in his portrayal of Fontaine. The character is a drug dealer in perpetual mourning. Fontaine trusts no one - and he has no one. He has a heart of ice throughout most of the film. Fontaine is an intelligent man who operates through fear and heartbreak. Boyega showcases the character using stoic mannerisms. Coupled with a rugged accent, Fontaine is the film's champion. He grounds the movie - and makes the conflict feel ripped from reality. Jamie Foxx counterbalances Boyega's performance as Slick Charles. As a pimp, Foxx lends the film comedic relief. Slick Charles is a well-portrayed parody of the procurers of the 70's. He's fast talking and quick witted. He's naturally curious if it serves to his benefit. To say Slick Charles is hilarious is an understatement. It's another great performance from Foxx. He never steps on Boyega's toes. He never overstays his welcome. Slick Charles is a bright spot in the movie. Another crucial piece of the film is Yo-Yo, portrayed by Teyonah Parris. Yo-Yo is one of Slick Charles' hoes. However, her occupation takes the back seat for her true calling - being an intellect. Yo-Yo is the soul of the movie. She provides a much needed feminine perspective. At moments, she supersedes Boyega as the film's true lead. While Fontaine and Slick are both broken men, failed by their lack of human compassion, Yo-Yo picks up the pieces. Together, all three present the notion that good people can be found in the worst of circumstances and the strangest of places.

The film is well-written. The jokes are well-placed. The dialogue has great flow. Juel Taylor crafted a world worth exploring. 'The Glen' is a great setting that has its' own character and depth. The dialogue between the three protagonist feels natural. Again, the cast's chemistry is a bright spot of the film - and it's carried by their dialogue. At certain moments, the dialogue does feel forced and it breaks the immersion. For example, when the antagonist (Kiefer Sutherland's character) is introduced, their exposition is cartoonish and undercooked. This particular character sticks out like a sore thumb in the film, perhaps intentionally as an homage to classic Blaxploitation - regardless, they throw off the flow. The movie has a great theme and a great message. The exploration of assimilation - as well as race is controversial, yet unique and authentic. The film has a great pace. Characters, their conflicts, and their motives are set up subtly. Everything ties together well.

Visual cues are taken from Blaxploitation and science fiction b-movies of the 70's. It is shot on film. The lighting enhances the film's drama - adding weight to the surrealism. Additionally, the film grain adds a sense of authenticity and rawness. The use of color is lush and rich. For example, in a scene in the Babylon Motel parking lot, the neon lights are incredibly vibrant. The entire scene is visually appealing, despite containing one of the film's most jarring moments. Some shots feel ripped out of a TV Movie, but for a majority of the movie the cinematography is solid.

Overall, "They Cloned Tyrone" is a breath of fresh air for Black cinema. It's a movie that is critical toward race relations. It unearths a lot of harsh and uncomfortable truths. The film has so much personality - and a lot to say. While not a perfect film, it is a well-crafted, charismatic reinvention of Blaxploitation - a genre that lost its' footing in cinema.

Pulp Fiction (1994)

Fiction turned Verite

[8/10 · 23 May 2023]

Pulp Fiction" is a film that is stylistically a shock to the system. It is a feature about the intertwining of criminals in 1990s Los Angeles through a non-linear narrative. Is is Quentin Tarantino's second feature-length film - and it serves as the tentpole for the iconography of 90's cinema. Tarantino pulls no punches in his sophomore picture. "Pulp Fiction" showcases the power in a detailed screenplay, with well-written and rich dialogue.

"Pulp Fiction" features an exceptional cast. The film stars Samuel L. Jackson and John Travolta as the intuitive duo of Jules Winnfield (portrayed by Jackson) and Vincent Vega (portrayed by Travolta). Bruce Willis adds brutish charisma to the film as Butch Coolidge - the Boxer wanted for screwing over Jules and Vincent's boss, Marsellus Wallace. Uma Thurman shines as Marsellus' better half - the attractive and quaint, Mia Wallace. Ving Rhames adds a layer of intimidation in his portrayal of the solemn, yet ruthless crime boss, Marsellus Wallace. Together, the cast defines Tarantino's cruel and raw underbelly of 1990s Los Angeles. To consider the acting in "Pulp Fiction" as a "performance" could be considered an insult. The actors fell into each role in a manner that pushes toward reality. Each character feels like a real person. In no greater words, the acting of "Pulp Fiction" is supreme.

The charm of "Pulp Fiction" is that the film shares three protagonists: Jules, Vincent, and Butch. Each character is written with such unique, yet interesting perspectives that bring nuance to the film - leaving much to be uncovered through multiple viewings. In large, the characters and their motives are incredibly authentic. The character interactions are the heart of the film. Tarantino and screenplay co-writer, Roger Avary craft a world in which conversation is key. Character's do not break into exposition. Character's do not explicitly reveal their motives - or what drives them. Each character is introduced to us as if we've known them for our entire lives. Moreover, each character is bold in their interaction with each other. The use of dialogue - or the "moments of silence" reveal more about personas than actions. "Pulp Fiction" excels in disjointed narrative storytelling, because dialogue builds the bridge between the viewers and the picture. Many lines of speech are epochal and quotable, lending to the notion that the film is a tentpole of 1990s cinema. A flaw of the film is that there is no real "storyline." At times, the film can be disengaging. Some moments feel aimless, often not contributing to the overall narrative. Some lines of dialogue feel forced and unnecessary - as if written solely for the sake of shock value. Despite minor flaws, "Pulp Fiction" is a brash and gritty exploration of the length to which one can construct a well-written story.

Another crucial element to the success of "Pulp Fiction" is the film's camera-work and composition. Cinematographer, Andrzej Sekula successfully matched the narrative - with neo-noir-esque style of filming. The violence in the movie is hyper-real. For example, a scene in which a character "accidentally" gets shot in the face is grotesque and jarring. The emphasis on the color red enhances the use of blood in graphic scenes. Additionally, the film is dark and grainy, matching the overall attitude and tone of the film. Scenes are lit in a manner that does not take away from the tension. The film's sporadic moments are close to cinema verite. At times, the cinematography is quite literally a camera operator chasing the action and following the characters as if it was ripped out of "Jerry Springer." In sum, the film is well-shot - making the tension, suspense, and moments of conversation feel gritty and naked.

Overall, "Pulp Fiction" is a decade defining piece of cinema. It is propelled by exceptional dialogue - and well-crafted cinematography. At times the film suffers from being too sophomoric, however it stands the test of time as a great achievement in art and literature. It is a clever arrangement that pushes the bounds of fantasy.

Air (I) (2023)

A Great Tale about the Risks and Rewards of Gambling

[8/10 · 10 April 2023]

"Air" is a non-fiction comedy about how Nike changed the world by partnering with the greatest Basketball player of all time. The film recounts the inception of the "Jordan" brand through the eyes of Sonny Vaccaro, an ambitious employee of Nike. The film is directed by Ben Affleck and written by Alex Convery. It features an all-star cast that includes Matt Damon as Sonny Vaccaro, Ben Affleck as Phil Knight, Jason Bateman as Rob Strasser, Chris Tucker as Howard White, and Viola Davis as Deloris Jordan (the mother of Michael Jordan). "Air" is Ben Affleck's fifth feature film as director - and it serves as a great companion piece to the legacy of Michael Jordan and Nike.

Matt Damon leads the film as Sonny Vaccaro - the man who was willing to take a gamble on NBA Rookie, Michael Jordan. Damon's portrayal of Vaccaro was a success. He delivers a performance that makes the viewer want to root for his character. He is very likable. In this narrative, Vaccaro is the quintessential protagonist. Jason Bateman's character, Rob Strasser is second to Damon's Vaccaro. Strasser is a straight forward character that serves as an opposite to Vaccaro. Strasser is no nonsense - and very much concerned about his family and job stability, rather than reinventing the wheel. Bateman delivers a simple, but effective performance. Ben Affleck's portrayal of Phil Knight is well done. Affleck's physical presence lends much weight to his portrayal of Knight. His body language speaks louder than his voice. Phil Knight is portrayed as a critical thinker. Much of Affleck's expressions come from moments of silence. The character is most vulnerable at these moments. Two of the best performances in the film come from Chris Tucker and VIola Davis. Tucker's portrayal of Howard White is carried by a great accent - and rich line delivery. White is a warm character. His presence brings smiles - when he is one the screen. He is appropriately sarcastic - yet full of knowledge and wisdom. Tucker's accent makes this character unique. The character of Howard White is pure bliss on screen. In contrast, Viola Davis has a very stern, yet reverent performance as Deloris Jordan. Davis commands attention and respect when on screen. Her delivery is gripping - and she fits the role of Deloris like a glove. The cast is the brightest spot of the movie. Each actor gives a great performance. Furthermore, their chemistry is another shining achievement. The cast submerged themselves in the roles - giving the script more weight as a result.

The film's dialogue is witty and charming. Characters bounce off each other, adding a fine tuned rhythm to each scene. Conversely, characters speak differently based on their settings. For example, when Damon's Vaccaro is at the Nike headquarters - he speaks freely and loosely to his colleagues. In contrast, when Vaccaro is visitng the Jordan family, or speaking with Davis' Deloris Jordan - he's more tame and respectful. Each character interaction is different, yet appropriate. Often do writers forget their speaker, their speaker's relationships, and their speaker's environment. This was not an issue for "Air." Character motivations were clear and concise; yet each dynamic was unique and well-crafted.

The set and costume design were other highlights of "Air." The film felt true and authentic to its' time period. The 1984 setting was enhanced by actors wearing hairstyles - and fashion trends of the time period. Moreover, the use of color also enhanced the visual aspect of the film. Neon, fluorescent colors were used on some of the clothing and signs - further amplifying the movie's authenticity. Additionally, colors such as Brown and Cream decorate offices and homes, presenting a warm atmosphere to locations of which characters are familiar. The worst aspect of the costume design is the terrible wig used on Affleck's Phil Knight. Otherwise, "Air" feels ripped right out of the 80s.

Overall, "Air" is a story about a company's gamble on an NBA Rookie being one of the largest jackpots in Sports. It excels in many areas - and falls short in few. It's a fine, yet simple story. It's a great tale about the American dream; and the risk and rewards taken to achieve it.

Malcolm X (1992)

The Quintessential Black History Film

[10/10 · 12 February 2023]

"Malcolm X" is a three and a half hour historical epic from legendary filmmaker, Spike Lee. The film is a retelling of the life and legacy of American civil rights activist, Malcolm X. It's based on "The Autobiography of Malcom X," co-written by Malcolm X and journalist Alex Haley. Denzel Washington leads the cast as the titular role. The supporting cast features Angela Bassett as Betty Shabazz (wife of Malcolm X), Albert Hall as Baines (Malcolm X's mentor), Al Freeman Jr. As Elijah Muhammad, Delroy Lindo as West Indian Archie (Malcolm's former gang mentor), Kate Vernon as Sophia (Malcolm's former love interest), and Spike Lee as Shorty (Malcolm's childhood friend). "Malcolm X" is Spike Lee's sixth movie - and one of his greatest achievements as a filmmaker.

Denzel Washington is the star of this film. By a large margin, Denzel leads the cast with such courage and grace that echoes the aura of Malcolm X. Denzel is unyielding in his portrayal. His delivery is stern and bold. He steals each scene. As an actor, Denzel successfully conveys Malcolm's progression throughout the different stages of his life. As younger Malcolm, Denzel embues immaturity. His delivery of lines is light. There's no strength or bass in his voice. His posture is more soft. In contrast, as Malcolm progresses into the Muslim activist recognized throughout the annals of American history, Denzel evolves. His demeanor is unshaken. His posture is intense. His delivery is strong. He transforms into the muse of empowerment that Malcolm X was. Angela Bassett holds her own with Denzel. Her potrayal of Betty Shabazz compliments the titular character. She is soft, yet not meek. Strong in every essence. Bassett's portrayal of Betty is a match to Denzel's portrayal of Malcolm. She exudes elegance and beauty in each scene. Simply put, Denzel and Bassett are a match made in heaven. The supporting cast a fine pieces to Lee's greatest puzzle. They each lend a sensation of authenticity needed to speak on the amazing life of such an influential figure.

This movie is epic. Each stage within the film is projected with accuracy - and once again, authenticity. From Malcolm's childhood living in a small home - you feel the isolation and terror he experienced. Malcolm's childhood is associated with the helplessness that comes with being a young victim of racism. Spike Lee and cinematographer Ernest Dickerson successfully capture the horror of prejudice. Malcolm's years as a young adult are showcased through the wonder and spectacle the Harlem Renaissance. Costume designer Ruth E. Carter use of hue on the clothing within this period is amazing. The use of bright colors and lively jazz makes the first hour of the film hard to step away from. The streets of Harlem feel like they were ripped right out of a 1950's technicolor musical. This portion of Malcolm's life is vibrant, yet chaotic because of his immaturity. Lee and Dickerson showcase this by making this time in Malcolm's life feel like a party that went entirely too long. The after party is not pretty. Malcolm's stint in jail is portrayed as another period of isolation - however this time its isolation for the sake of consequence and self-growth. The film transforms Malcolm from an immature street gangster into the legend he's recognized for being. This period is portrayed as very dull and bare. It feels like a period of introspection. Lee and Dickerson succesfully capture this by making scenes feel small and less grandeous. The shots are tight - and at certain times, the setting feels suffocating. When Malcolm goes from little to X, the world and scope of the film becomes bigger. The set feels full. The cast feels grand. The stakes feel much higher. Malcolm transforms into a bombastic figure - at times iconic. One of the film's best moments are the scenes in Mecca. Being the first flim ever shot in Mecca, "Malcolm X" portrays the Islamic faith as a religion of beauty and brotherhood. These scenes felt as epic as watching "Lawrence of Arabia" for the first time. Lee and Dickerson made this film a visual mastercraft. Epic is an understatement.

Thematically, "Malcolm X" touches on many hard topics. Race is the centerpiece of the narrative. Spike Lee addresses race in a manner that is tangible. He does not aim to guilt, nor finger point. Rather, he highlights an ugly time in American history. It's an honest portrayal of race and racism in America. He uses the different stages of Malcolm's life to reflect the different stages associated with racial consciousness. Malcolm starts his journey assimilated into white culture. Overtime, he grows to resent whites. By the end of the movie, he accepts white people and opens up his mind to the concept of racial equity and harmony. The progression is natural and poetic. The film addresses Malcolm's flaws and strengths with truth. Religion is another topic discussed within the film. Lee juxtaposes Malcolm's muslim faith with the systemic teachings of Christianity. Often, Lee showcases the practice of the islamic faith with grace. He also addresses the hypocrisy associated with organized religions in general. Religion is a core part of the film - and it never feels offensive, nor inauthentic. Largely, "Malcolm X" was written with a mature audience in mind. It opens discussion for the rational - yet leaves much room for interpretation and contrarian viewpoints.

Overall, "Malcolm X" is the quintessential Black history film. It's unwavering in its portrayal of many ugly American truths. It's a visual monument to one of America's greatest historical figures. Undoubtedly one of Spike Lee's greatest contributions to cinema. It's Black high art that polishes the legacy of an icon - who built a bridge between race and religion By Any Means Necessary.

Everything Everywhere All at Once (2022)

An Unforgettable Amalgamation of Genres

[10/10 · 8 January 2023]

Everything Everywhere All at Once is a film that is narratively wondrous. The film is centered around a Chinese-American family and their financial, and relational troubles. The story transforms into a science fiction quest around the multiverse to find purpose. Michelle Yeoh leads the cast as Evelyn Quan Wang, the Wang family's bitter matriarch. She is accompanied by a supporting cast that includes Stephanie Hsu as her daughter Joy, Ke Huy Quan as Evelyn's husband, Waymond, James Hong as Gong Gong, and Jamie Lee Curtis as the family's auditor, Deirdre. This is the second feature film for co-directors Dan Kwan and Daniel Scheinert (the duo known as "Daniels"). Everything, Everywhere All at Once is a romantic telling of the meaning of life and love through a vivid and ingenious imagination.

From top to bottom, the cast steals the show with their performance. The actors show a depth and range that is uncanny for a singular film. The cast plays multiple versions of their primary character from different universes. Each version provides a different emotional compass and a unique sense of being. For example, the film's primary Evelyn is dissimilar from another universe's Evelyn. Michelle Yeoh successfully captures each version of Evelyn through novel usage of body language and line delivery. Ke Huy Quan's portrayal of Waymond and his alternative selves matches the acting prowess of Yeoh. However, Quan's acting is much more emotional and sentimental. Each Waymond feels poignant. Primary Waymond is a touching character that serves as the family's glue. Stephanie Hsu's portrayal of Joy is characteried through melancholy, rage, and arrogance. Primary Joy is melancholic, whereas the alternate version of Joy, Jobu Topaki is filled with rage and self-assurance. Hsu's execution of Joy and Topaki is well-done. She is a bright spot in the film, serving as the quintessential heartbreaker. Jamie Lee Curtis and James Hong bolster the movie's depth. They each compliment the cast's performances. Their acting matches the tone needed for key scenes and moments. Largely, the cast triumphs in chemistry and

Aesthetically, Everything Everywhere All at Once is a marvel. Akin to the actor's performances, the movie offers are plethora of stages and scenery. Each universe is visually distinct. Various aspect ratios are used throughout the film to distinguish universes. Filters were also used to differentiate each universe. The movie's cinematography appropriately fluctuates from being lush to harrowing. Action sequences in the film were well-crafted. The fight scenes were captivating. Unusual objects were used throughout the Kung-Fu segments, offering a sense of levity and brutality. The movie is a visual spectacle that manifests itself as a potrait of clashing art forms.

The Daniels created a multiverse that triumphs in the exploration of themes such as family. They used the complex concept of the multiverse to provide a simple answer to life's mysteries. Plain constructs such as family are used as a bridge to the disjointed structure of the multiverse. As directors, they flourish in capturing many genres into one picture. The use of comedy balances drama. Scenes and sections of the film are written as if they were an escape from each other. One scene is counteracted by another scene, yet the drama and weight of the story is maintained. What may appear to be difficult to follow, culminates in a narrative that is multifaceted in essence. Furthermore, the film is authenticated through its' use of Chinese culture and languages. Simply put, the writing is tangible and awe-inspiring all the same.

Overall, Everything Everywhere All at Once is one of the most innovative and original depictions of family and the conflicts that come with relationships. The film traverses the unknown by using the known as a navagation tool. It is an unforgettable, yet picturesque amalgamation.

Blacula (1972)

A Muddled Blaxploitation Monster Flick

[5/10 · 5 October 2022]

Blacula is a film that bridges the gap between Blaxploitation and the classic horrors films of the early 1940s. The film is centered around an 18th century African prince who after being bitten by Count Dracula is cursed to live with being a vampire in the 1970s Los Angeles. William Marshall stars as the titular character Blacula, also known as Prince Mamuwalde. The movie also stars Denise Nicholas as Michelle, Vonetta McGee as Tina/Luva (Blacula's love interests), Thalmus Rasulala as Dr. Gordon Thomas, and Gordon Pinsent as Lieutenant Jack Peters. The film is directed by William Crane, serving as the second and most notable movie in his filmography.

The story of the film is cut and dry, however it serves as a sharp contradiction to the stereotypical portrayals of the Dracula character. Mamuwalde is the film's protagonist. He is a noble man served a cold fate. In contrast to the traditional depictions of Dracula, Mamuwalde is not a villain. Rather, he's an innocent man burdened by the trauma displaced on him by a colonial Dracula. His goal is to reunite with his wife and live in peace. However, external factors force his hands to act against his better judgment. The brightest spot of Blacula is the dialogue writing. Each character is clever and dynamic. The titular character is written the best. Often it feels unnatural for Mamuwalde to be the "monster." Additionally, Dr. Gordan Thomas is written to be very intelligent. The character's "no nonsense" attitude balances the wackiness of the film's heavy Blaxploitation elements. Much of the film's depth comes from Mamuwalde and Dr. Gordon Thomas. The film successfully builds toward a conflict between both parties. Neither are "antagonists," rather each are fighting for the security of their loved ones. Narratively, the film is far from horror. The horror and gore serve as a "action" to the Blaxploitation tropes, as well as the drama-esque tone. Blacula is an amalgamation of genres. At times, the genre-bending works. Other times, it does not work. Largely, the film has an identity crisis.

The acting is relatively average. The cast's chemistry ranges from solid to awkward. Scenes where Mamuwalde joins Tina, Michelle, and Dr. Thomas are typically awkward. However, scenes where each character spends time one-on-one showcases the group's allure. The side characters of the film add humor and depth. Background characters such as Sam, Skillet, Bobby, Billy, Juanita, and Nancy lend support to the main cast of characters. Each background character adds a different emotional element toward the film's central plot. Additionally, each actor lends believability to their character. Portrayals are not ground breaking. The acting is not a masterwork. However, it is simple and effective nonetheless.

The cinematography is average. At times, the film suffers from choppiness and amateur editing. Tension building is well crafted. The scenes with horror elements are technically the film's best moments. The film's makeup and costume design ranges from great to terrible. The makeup used from Black actors works well, whereas their white counterparts suffer from looking too green/gray. Blacula does not excel in the realm of cinematography, however there are engaging moments in the film.

Overall, Blacula is an average Blaxploitation flick that adds to the horror genre in terms of the representation of Black culture. However, it is an combination of genres that does not entirely work. The film is guided by dynamic characters and solid dialogue, while simultaneous lacking from a technical standpoint. It is an undead contradiction that is cursed with an identity crisis.

Beetlejuice (1988)

A Vivid, Nightmarish Machination

[8/10 · 2 October 2022]

Beetlejuice is a film in which the concept of the afterlife is addressed in a unique, comedic, and elegant manner. The film is centered around a couple who dies in a car crash and are thrusted into an afterlife in which they haunt their own house. Eventually, the couple is forced to share a space with an Upper-Class family from New York that is set on rearranging and reshaping their home. The film is directed by Tim Burton. Beetlejuice stars Alec Baldwin, Geena Davis, Michael Keaton, and Winona Ryder. The supporting cast of characters includes parents of Winona Ryder's character portrayed by Catherine O'Hara and Jeffrey Jones, as well as the business and social acquaintances they bring from New York.

The cast delivers a dynamic, yet homey depiction of their characters. Alec Baldwin and Geena Davis' portrayals of Barbara and Adam Maitland is wholesome. They play the straight faced couple that lived a normal life, before being thrusted into the lunacy of the afterworld and the burdens tethered to death. Baldwin and Davis have a great chemistry. Winona Ryder plays off of their chemistry by being their daughterly figure, Lydia. She is a pessimist who is extremely unhappy with her home life. Ryder's portrayal of Lydia is gothic and cold, yet when a specific emotion is necessary to carry a scene she nails it; providing depth to Lydia's character. The titular character Beetlejuice, portrayed by Michael Keaton is the star of the show. Beetlejuice can be described as a wise-cracking con man exuding pure chaotic energy. Michael Keaton perfectly captures the lunacy of the show. His delivery is hilarious and jarring. Catherine O'Hara and Jeffrey Jones are great in their roles as Lydia's stepmother and father. O'Hara portrays a parody of a self-consumed artist who has zero concern for her family; while Jones accompanies her as a business oriented father who is trying to keep the family positive amid transition to a new home. Additionally, Glenn Shadix lends a sense of flamboyance with his portrayal of Otho. The entire cast works together bringing the film an eccentric chemistry that works in most, if not all cases.

The brightest spot of Beetlejuice is the makeup, costume, and set-design. The real world portrayal of Connecticut juxtaposes the vibrant yet masochistic portrayal of the afterlife. Fear is communicated through animation at times. Claymation is used when an otherworldly figure clashes with the real world. For example, Beetlejuice takes the form of a snake, and turns into claymation. Tim Burton's gothic, yet colorful portrayal of the afterlife is incredibly engaging. The use of colored lighting sets a playful yet grim tone. The afterlife is portrayed as a whimsical, circus-esque counterpart to the real world. There's a waiting room with a blue and green skinned people who are missing limbs. There's a man who has a shrunken head. There's a man who is flattened, communicating that he met his demise from a car accident. There are skeletons everywhere. The sight of the dead in this film is both chilling, yet extravagant. The makeup and costume design for each character is refined and elaborate. Everyone in the film has a unique appearance. Each character's look tells a story of their life and/or death. The film's nightmarish look is a signature of Burton's and still can be considered one of his best sets.

The cinematography of the film is well-done. Humor and levity are shot in a way that juxtaposes the grim tone for the better. The editing is mostly great. Tension is built really well. At times, the blatant use of green screen is a distraction. Character's being showcased in odd locations such as a terrifying sand dune is poorly showcased through green screen. The sound design is incredibly cartoon-ish, further adding to the overall lunacy. Technically, this film is fun and shot in a manner that compliments the general tone.

Overall, Beetlejuice is a lavish presentation of the fear and humor that comes with death. It is a fun, gothic juxtaposition on life and death, carried by a cast with unorthodox chemistry; all from the vivid, nightmarish imagination from a great director.

X (II) (2022)

A Soft-Core Slasher Thrill

[8/10 · 2 October 2022]

X is a simple, yet effective horror movie that takes a demented twist on vintage pornography. The film is centered around a group of adult filmmakers, as they spend the night at an elderly couple's cottage. The horror-thriller stars Mia Goth as Maxine/Pearl, Jenny Ortega as Lorraine, Brittany Snow as Bobby-Lynne, Kid Cudi as Jackson, Stephen Ure as Howard, Martin Henderson as Wayne, and Owen Campbell as RJ. This is the first film in TI West's "X" Trilogy and it serves as a sinful love letter to the slasher films of the 70s.

The story is straightforward, well-paced, and engaging. The horror/slasher genre has explored many settings and themes. Everso often the genre punishes the characters for violating the "rules" of the game via immorality. X is no different, however the concept of morality is explored from the frame of "immorality" is moralitly. The protagonists and antagonists are each victims of their own desires. Sex is effectively juxtaposed to religion. The film pits both concepts at odds. As the first film in the trilogy, X presents each character in a manner that entices the viewer to want more. Depth is well-applied to each character through dialogue and nonverbal expressions. Plot points are foreshadowed with effective pay-offs. At times the simplicity hurts the film. There's not much to the story outside of what is presented. In an era of psychological horror-thrillers, this film finds itself being fairly undemanding. It's not much of a "scary" movie. However, despite the film not being "scary," the tension building is enticing.

The cast has great chemistry. Mia Goth's portrayal of both Maxine and Pearl are distinct. Each character shares motivation, however each are different. Maxine is relatively harmless and bright eyed, where as Pearl is cynical and seasoned. Each character has a different twang to their southern accents. Goth makes each character unique and special in their own rights. Brittany Snow stands out as Bobby-Lynne. Snow's delivery of a porn starlet is outlandish for her filmography, however she fits perfectly in the role. Bobby-Lynne is the base for the sexuality that the film exhumes. Kid Cudi's portrayal of Jackson is solid. Jackson is a warm character, yet masculine character that adds an air of ease to the cast. Stephen Ure, Jenny Ortega, Martin Henderson, and Owen Campbell are all good in their roles. Each character interaction is natural. The film's charm is predicated on the cast's chemistry. Whereas most slasher film throws random personalities together, X throws like-minded parties into the bog and comes out clean.

The cinematography is a throw-back to 70s films. The camera zooms and encloses into characters from a wide shot, delivering a vintage experience. At times, the film mimics that of 70s pornography taking a 4:3 aspect ratio, providing an air of authenticity. Lighting is used effectively. The film is very dark at times, adding to the overall tension. The use of the color red enhances the deaths, as well as the gore within the film. Largely, the film is well-edited. Moments of tension are matched with sex scenes in a manner that successfully juxtaposes the scenes while telling one cohesive story.

Overall, X is a simple, yet enjoyable slasher flick. It effectively pays homage to classic slasher thrillers, while placing its own stamp on the genre. The film is bolstered by the cast's chemistry and engaging cinematography. The use of sex and religion is thematically well crafted. TI West constructs a soft-core horror porno that leaves much to be explored.

Django Unchained (2012)

A Spaghetti Western Love Letter

[10/10 · 28 November 2021]

Django Unchained is a film about a freed Slave taking revenge and claiming bounties on American slavers in 1858. The film stars Jamie Foxx as Django Freeman, Christoph Waltz as Dr. King Shultz, Leonard DiCaprio as Monsieur Calvin Candy, Kerry Washington as Broomhilda, and Samuel L. Jackson as Monsieur Candy's house slave, Stephen Warren. This is Quentin Tarantino's 7th directed film, and it serves as a tribute to Spaghetti Westerns, as well as a Slavery Revenge story.

The film's story is grounded in American history and race. The topic of slavery is incredibly sensitive. Most slavery films dedicate themselves to inhumanity and torture. Django is no different, however it tells a story that adds a layer of satisfaction and triumph in the form of revenge. Undoubtedly, Django Unchained is a journey worth the destination. The protagonists are incredibly likeable. All the same, the antagonists are some of the best in cinema, because they are absolutely vile and despicable. The story never has a dull moment. It is filled with enthralling dialogue and boisterous action that captivates at every turn.

The acting in Django is incredible. The entire cast play their roles masterfully. Jamie Foxx as Django is one of the greatest casting decisions in a Tarantino film. Django's stone cold, yet charismatic demeanor is one of the film's brightest spots. Additionally, Christoph Waltz and Leonardo DiCaprio give the performances of their lives. Waltz is one of the lesser known leads of the film who shines and stands out with the greats. His portrayal of Dr. King Schultz is awe-inspiring. DiCaprio as Monsieur Calvin Candy is scary good. He delivers this role with a sense of passion and prejudice that adds to the believability of his character as one of the film's main antagonists. Monsieur Candy's authenticity is further certified with the support of Samuel L. Jackson's character Stephen. Jackson fully embraces the role of house slave without any hesitation. Jackson elevates every scene that he is in with his intimation and wittiness. Finally, despite having a smaller amount of screen time, Kerry Washington masterfully captures facial expressions and body language. She adds a sense of urgency and fear to the film amid more extreme emotion. Altogether, this cast is incredible and their characters all the same.

The cinematography in this film is true to Westerns. The sharp zooms and wide shots add a feeling of grandeur to the film. Action sequences are easy to follow, and very exciting to watch. Moreover, there are scenes featuring scenery that is beautiful to look at. Cinematographer, Robert Richardson successfully captures the zeitgeist of the film's setting in a way that simultaneously blends in with the contemporary.

The editing of the film is very stylish. At times, flashbacks in the film are utilized in a unorthodox manner, however they add weight to the film's narrative. The film heavily uses music to set the tone. Sometimes, music is used too much, but it does not hurt the scenes. The soundtrack is one of the best in cinema, blending the music of westerns with Hip Hop and R&B. The sound mixing is very hard-hitting. Every action sound (punch, gunshot, explosion, etc.) feels bombastic.

Overall, Django Unchained is a classic. It successfully blends the genre of historical period piece telling of Slavery, and a Western telling of a Outlaw's triumph. The film's use of language and action enhances the stakes and adds emotional weight toward the viewer. While at times, uncomfortable to watch, it concludes with one of the most satisfying endings in cinema. Django Unchained is a prime example of Quentin Tarantino's boldness and his love for all things cinema and history.

8½ (1963)

A Neurotic Masterpiece

[10/10 · 1 June 2021]

8 1/2 is a film about the psychology behind filmmaking and the neurosis that may come with it. The film is centered around Guido, a director stuck in his own head, tormented by his own mortality and the responsibility of directing a blockbuster. The film is directed by Legendary Italian filmmaker, Federico Fellini. It stars Marcello Mastroianni as Guido Anselmi, Anouk Aimée as Guido's wife, Luisa, Sandra Milo as Carla, and Claudia Cardinale as Claudia. The rest of the cast serves as producers, critics, actors, and religious clergy members in Guido's chaotic life. 8 1/2 successfully captures the inner monologue within humanity and the myriad of issues that come with it.

The acting within the film is superb. Mastroianni dissolves himself into the character of Guido. His body language is powerful, as it strikes the internal tribulations faced by Guido. As the film's centerpiece, Guido is a relatable figure. His character exhumes the deeper conflict within the desires of man. Furthermore, he represents a juxtaposition between adulthood and adolescents. Guido is haunted by nostalgia, while being unable to escape his own desires and trepidations as a man. The film constantly juggles between dreams, fantasy, and reality, serving as a character study. The supporting cast strengthens this narrative as they are all puzzle pieces fitting properly into Guido's consciousness. Anouk Aimée's portrayal of Guido's wife, Luisa is stern and full of heart. Her love for Guido is portrayed as defiance for his lust. Characters such as Pace, the film producer of Guido's film, played by Guido Alberti match Luisa's sternness with conviction. Pace is a constant reminder of the high stakes Guido's film takes and must achieve. On the contrary, characters such as Mario Mezzabotta (portrayed by Mario Pisu) and Gloria Morin (portrayed by Barbara Steele) serve as reminders of Guido's youth, despite his middle age. Both characters are levity and fun within the story's serious tone. Generally, the actors portraying the supporting characters do an incredible job of delivering the emotion and consciousness their characters are tied to. Each character in the film is unique and serve their purpose, adding a new depth to the story at every turn.

The cinematography of this film is incredible. For a film released in 1963, it blows contemporary popcorn flicks out of the water. Gianni Di Venanzo crafted a visual masterwork. The shots within the film are timeless and jaw-dropping. An early shot in the film sees Guido levitating over a beach, as if he were a kite. This particular shot certifies the magnificence of the film. Di Venanzo translates the beauty of the scenery in excellence. Despite being in black and white, the film's settings are depicted as lush and ominous backdrops matching Guido's inner conflict. Di Venanzo's craftsmanship in 8 1/2 is some of the best work in the history of cinema.

The direction of the film is a work of genius. Federico Fellini shares the story from personal experience. The film shines in Fellini's successful encapsulation of psychology. The writing of the film connects the disjointedness of the human psyche. Fellini translates a range of emotion through symbolism and nuance. He addresses the contradictions between the love that men and women experience, while also criticizing the roles each are placed in within the confines of a relationship. His observations are astute and well-thought out. He communicates Guido's position through his experience and fantasy. 8 1/2 shines as one of Fellini's most innovative pictures, in which Fellini is a conductor of a train ride through life and morality.

Overall, 8 1/2 is a neurotic, self-indulgent masterpiece. What emerges from the film is an engaging, self-reflective narrative about life and the human condition told from an innovative expressionist.

The Usual Suspects (1995)

A Convoluted Crime with a Great Escape

[7/10 · 28 March 2020]

The Usual Suspects is a 1995 Crime-Thriller directed by Bryan Singer. The film stars Kevin Spacey, Benicio Del Toro, Stephen Baldwin, Gabriel Byrne, and Kevin Pollak as the film's group of hardened criminals. The film follows Kevin Spacey's character, Roger "Verbal" Knit as he narrates a series of crimes to the Police to find the truth of a high scale massacre.

The acting in the film is hit or miss. For the most part, the main cast does a great job in the portrayal of their characters. Kevin Spacey's portrayal of Verbal is well done. Verbal has a physical disability and is considered to be stupid. Spacey displays a convincing lack of mobility in the film. Simultaneously, Spacey's body language is believably timid and mild manner. Moreover, Benicio Del Toro's portrayal of Fred Fenster was fantastic. Del Toro engrains Fenster with a thick accent that lends a realistic and natural spirit to the character. Gabriel Byrne plays Dean Keaton, serving as the assumed leader of the criminals. Byrne's portrayal of Keaton grants the film levity and a cooler head. Byrne's facial expressions are really well done. Keaton is a character tormented by his past. Despite being haunted, Keaton serves as the straight man, driven by love as opposed to gain. Chazz Palminteri acts as Officer, Dave Kujan. Palminteri does a great job showcasing intensity and grit when needed. He drives the film by answering the questions when needed. Despite moments of great acting, the dialogue suffers from poor writing and delivery in some aspects.

Some characters are one-dimensional. Certain actors deliver their lines with too much force and intensity. Verbal has the best dialogue in the film. "The greatest trick that the devil ever pulled was making people believe he didn't exist," is an incredible line. The police officers in the film are also afforded some great lines, and engaging moments of discourse. At times, anger throughout the film feels unnecessary. In terms of being written, specific characters are very dumb, whereas others are brilliant. The aggression in the film is heavy handed at moments, diluting the story's progression. Up until the conclusion, the story is convoluted and predictable. The time jumps and flashbacks are placed poorly at moments. The story could've benefited from more "present day" moments, rather than flashbacks. On the other hand, the ending makes up for a lot of these issues by being so impactful. The convolution of the story is a testament to who is truly narrating it.

The cinematography is decent for its time. Mostly, there's no unique style to be had in the cinematography. The camera work is atypical for an action film in the 90s. The best shot moments in the film come from the conclusion. The action in this film is decent. The audio mixing is bright toward the end of the film. However, the soundtrack is very bland, making the film feel like a direct to TV movie, as opposed to a theatrical release.

Overall, The Usual Suspects is confusing at first, but recoups with an iconic and memorable ending. The Usual Suspects is a good crime-thriller driven by great acting.

Motherless Brooklyn (2019)

Great Acting and A Convoluted Plot

[6/10 · 28 December 2019]

Motherless Brooklyn is a detective drama set in 1950s New York City, based on a 1995 novel of the same name. Motherless Brooklyn is about a private eye investigator solving a case that his mentor left unfinished. The film provides social commentary on topics regarding racism and gentrification. Motherless Brooklyn stars Edward Norton as Lionel Essrog, Gugu Mbatha-Raw as Laura Rose, Willem Dafoe as Paul Randolph, and Alec Baldwin as Moses Randolph. The leads do a fantastic job in their portrayal of these characters. Edward Norton's portrayal of Lionel stands out, because of the character's Tourette's syndrome.

Norton's portrayal of Lionel accurately depicts the neurodevelopmental disorder. Lionel's character fidgets throughout the film, and symptoms of his Tourette's syndrome are worked into lines of dialogue, as well as various scenes throughout the film. Norton loses himself within the character, providing some of 2019's finest acting. Willem Dafoe's once again delivers a good performance. His portrayal of Paul was well done. Dafoe is a bright spot in the film, when on screen with others. His conversations with Norton's character are great. Norton and Dafoe have great chemistry in the film. Alec Baldwin's performance as Moses Randolph was intimidating. He successfully captures the power behind Moses Randolph with his presence alone. His tense and emotionless facial expressions successfully convey the character's serious tone and Bourgeoisie stature. Baldwin's delivery of lines are great. Moses Randolph is a villain of villains, portrayed by a great actor. The rest of the cast varies and fluctuates between amazing and amateur. Gugu Mbatha-Raw's portrayal of Laura falls in between. She's good all around, whereas actors such as Ethan Suplee are corny in their portrayal. Certain actors feel as if they are acting for a television show, as opposed to a motion picture. Generally, the acting is fine in the film.

The plot of Motherless Brooklyn is fine as well. It's a standard story that adds a lot to contemporary discussions regarding race and gentrification. Despite having great social commentary, the story drags and ultimately the film suffers from it. The investigation within the film is incredibly drawn out and boring. The answer being hidden in plain sight could immediately be discovered by the viewer if they pay little attention to what is going on. The investigation feels like a waste of time, especially when a lot of the core questions are answered relatively easily. There's various unnecessary subplots within the film, that add nothing to the overall story. The progression is convoluted. The bland nature of the plot does not aid the film's problem solving. At times, it's baffling how certain issues solve themselves within the film. For the dragging that the story does - the ending is not as satisfying as it could be. Suffice to say that this film could have been cut 45 minutes shorter.

The set pieces within the film are amazing. 1950s New York City looks really cool. The cinematography is fairly standard, with nothing really groundbreaking or visually stunning. However, that's the point. The audio was fine. The score successfully reflects the 1950s, as well as a detective drama. The film did not fully feel as if it was in the Film Noir genre, however it was definitely a detective drama. The direction was okay, the film did not have a unique flavor to it. However, the movie is not bad, nor is it amazing.

Overall, Motherless Brooklyn is a fine movie that is carried by great acting and great social commentary. The story was rather bland and boring, and could have easily been shortened and more clairvoyant.

Jojo Rabbit (2019)

A Charming Coming of Age Story

[8/10 · 23 December 2019]

Jojo Rabbit is a film about a ten year old Nazi sympathizer befriending a Jewish girl, after finding her hiding in his house. Jojo is tasked with learning the meaning of friendship and family, while fluctuating between childhood and a premature adulthood. Jojo Rabbit is based on the book, Caging Skies by Christine Leunens. The film stars Roman Griffin Davis as Jojo, Scarlett Johansson as Jojo's mother, Thomasin Mackenzie as Elsa, the Jewish girl Jojo meets, and Sam Rockwell and Rebel Wilson as Jojo's Nazi superiors. The film is directed by Taika Waititi, who also portrays Jojo's imaginary manifestation of Hitler. The film successfully fluctuates between comedy and drama. The tone of the film is perfect.

The acting in this film is fantastic. The brightest star in the film is Scarlett Johansson. Her portrayal of Jojo's mother is wondrous. Jojo's mother is a cinematically special character whose wisdom is akin to Mr. Miyagi from Karate Kid. Jojo's mother nurtures the movie and adds serious dialogue where it is needed. She serves as the voice of reason within the film. Her relationship with Jojo is beautifully written, and poetic. Scarlett Johansson was perfect for the role. Roman Griffin Davis does an excellent job in portraying Jojo. He is a curious kid who does not fully have a grasp of his reality. Jojo's character development is well written, as it toys with the juxtaposition of childhood and adulthood. Initially, Jojo's circumstance is that of a child, but he feels that he's an adult. As life changing events occur within the film, Jojo's character is tasked with circumstances of adulthood, while Jojo realizes that he is a child lost in the middle of war. Jojo's character development is brilliant. The rest of the cast is great as well. Sam Rockwell's portrayal of Captain Klenzendorf is another bright spot. His German accent is spot on. Despite Captain Klenzendorf's heinous crimes as a Nazi soldier, he is still presented with a sense of humanity. He serves as a father figure for Jojo. His love for Jojo is real, and it adds to the heart of the film. Generally, the casting was amazing.

The writing within this film is really good. As the story progresses, it shifts from a family comedy into a family Drama. Jojo's struggle between his humanity, social awareness, and support for the Nazi party is the primary conflict. Jojo's friendship with Elsa progresses really well throughout the film. Jojo is a child filled with hate. As he grows within the film, he becomes stricken with love. The film accurately portrays the decline of Nazi Germany, in lieu of World War 2 and their heinous crimes against humanity.

The direction of the film is great. Taika Waititi is a master of comedy. Foremost, his portrayal of Hitler is humorous in the sense of parody. He portrays the Nazi party as weak idiots throughout the film, as opposed to portraying them as mighty protagonists. Taika's portrayal of Hitler is lead by hilarious one-liners. Despite Nazi's being his protagonists, he captures their true nature as human garbage. Cinematically, the film is good. There's nothing groundbreaking about the cinematography. The callbacks to previous scenes is great. The film's set pieces are well done, and the grim colorization is useful in conveying the absence of freedom within Nazi Germany. There's one particular scene that is well shot and unforgettable. Jojo chases a blue butterfly, leading into a shocking reveal. The music within the film is good. The German dub of certain songs is really cool. The film's biggest flaw comes from not knowing who its audience is. Jojo is a child protagonist suitable for a rated PG or G film. His environment is incredibly graphic and borderline R Rated. At times the film feels too child-like, or too adult oriented.

Overall, Jojo Rabbit is a great movie that is very charming, fun, and emotional. It's a great coming of age story that successful captures the innocence of childhood, while juxtaposing the harsh realities of adulthood.

Queen & Slim (2019)

A Failed Attempt at Social Commentary

[6/10 · 17 December 2019]

Queen and Slim is a film about two strangers being on the run after killing a police officer in self defense. It stars Jodie Turner-Smith and Daniel Kaluuya, as Angela Johnson and Ernest Hines. Queen and Slim is directed by Melina Matsoukas, and written by Lena Waithe. The cast is fine and the cinematography is well done, however the film is squandered by poor writing and poor direction.

The writing in this film is very ignorant and stereotypical. The concept of a black Bonnie and Clyde acting in self defense is a fantastic idea. However, it loses its footing on amateur writing that is incoherent. The people in this film are incredibly ignorant. A coherent story is sacrificed in order to depict each character as hyper realistic contemporary stereotypes. The yearn for social commentary destroys any promise that this film has. Rather than adding something positive to the commentary on police brutality, the film takes an extreme position that encourages hatred and outrage. The film encourages black viewers to kill police without reason, and it encourages the police to hold further fear and disdain toward blacks. Lena Waithe does an awful job of making uplifting, or positive contribution toward police brutality as a social issue.

The direction is not there. A lot of the lines are delivered without conviction, or consistency. With direction, these performances could have been much better, as opposed to feeling like a B movie. Perhaps with better direction, the writing could have been fixed during production. Side characters vary from impactful to pointless. A lot of the character decisions are very stupid. It's as if the writer was directing this film, rather than the actual director.

The cast lacked direction, however they did their best to work with the material. The film shines cinematically. The camera shots are beautiful and the film is well paced. The plot is initially intriguing and promising, but later squandered by poor writing. The dialogue fluctuates between corny and poetic. The editing is well done. For example, the dubbing of dialogue over sequences in which the characters were mute was very cool. The journey was fun to watch because of the set pieces.

Overall, Queen and Slim had so much potential that is lost on a vain attempt to make social commentary. The cast and scenery make the film bearable, despite poor writing that romanticizes police brutality and racism.

Waves (I) (2019)

A Stylized, Beautiful Heartbreaker

[10/10 · 16 December 2019]

Waves is a drama centered around the lives of an upper-middle class family in Florida. Waves is directed by Trey Edward Shultz, and it stars Kelvin Harrison Jr., Taylor Russell, Renée Elise Goldsberry, and Sterling K. Brown as the Williams family. Throughout the film, the family faces internal and external conflict that pushes the boundaries of their love. The story of the film is broken into two distinct character arcs. One arc leads into the other, and the film treats the atypical dramatic structure as a loop, as opposed to a singular line. The use of looping, presents the story without a true ending, but rather a new beginning. The storyline of this film is wonderfully heartbreaking. The writing hurts in a good way.

The brightest qualities of this film come from the editing, cinematography, and the soundtrack. The editing is incredible. The film transitions smoothly, while taking its time to enjoy the scenery. The use of color and visual effects within the film is masterfully edited in with the ongoing story. The scenes are edited to perfectly match the soundtrack put together by Trent Reznor. The soundtrack is a beautiful representation of teenage hormones and emotion. Each song accurately reflects the emotion and energy that Tyler (Kelvin Harrison Jr's character) and Emily (Taylor Russell's character) are presenting. The soundtrack is an all star ensemble of contemporary Hip Hop and R&B. Sonically, it adds a lot of depth to the film and the characters. The audio engineering, is some of 2019's best work.

The cinematography is beautiful. Drew Daniels does a phenomenal job capturing the beauty of South Florida. The film is well lit and colorized, displaying a keen sense of hyperactivity. Daniels successfully captures the emotion and energy of each character. When the film is at a low, the cinematography reflects the low point. When the film is at a high, the cinematography reflects the high point. The story's pace and emotion is flawlessly matched by the cinematography. A lot of the shots within the film are stylized and well done. An excellent example of Daniels' fantastic work comes from the 360 shot seen within cars throughout the film. Daniels' cinematography is a shining example of great camera and lighting use.

The acting within the film is beautiful. There are no hiccups within the cast. Every member of the cast emits raw emotion that moviegoers will feel. Their energy guides the film to grace. The audience feels for each character and shares their success and anguish. Kelvin Harrison Jr. is the breakout actor of the film. His portrayal of Tyler is an amazing performance. Each character is presented differently and portrayed in a unique fashion. The Williams family feel like real people living within a reality of heartbreak.

Overall, Waves hurts. It hurts because it feels so real. Waves deals with the duality of life and death, and the duality of love and hate. Waves is a beautiful film with a powerful and wondrous presentation that shines cinematically and sonically.

A Beautiful Day in the Neighborhood (2019)

An Emotional Day in the Cinema

[8/10 · 10 December 2019]

A Beautiful Day in the Neighborhood is a film based on children's television icon, Mister Rogers, and his impact on a writer from Esquire Magazine. The film stars Tom Hanks as Mister Rogers and Matthew Rhys as Lloyd Vogel. The story is inspired by an Esquire Magazine article titled "Can You Say...Hero?" by Tom Junod (the real-life counterpart of Lloyd Vogel.

The story of the film is relatively un-relatable, because it is oriented toward real-life events of writer, Tom Junod. The conflict is very specified and mirrors that of an anomaly. Despite being the protagonist, the general audience can not relate to Lloyd Vogel, because he is a popular press journalist with family conflict relatable only to his circumstances. Lloyd spends a majority of the film holding resentment toward his family and Mister Rogers, because of a grudge he has with his father. He's a miserable character. Mister Roger's role is to help Lloyd in his conflict. Ultimately, Mister Rogers takes a backseat to an un-relatable tale of a miserable journalist. The story drags when Mister Rogers isn't a focal point. The story inherits emotion from its nostalgic subject matter. Despite a generic story, the film is emotionally driven by Mister Rogers and the theme of death.

The acting is great. Tom Hanks wins over detractors in his portrayal of Mister Rogers. Hanks assumes the role of Mister Rogers, which would undoubtedly make the real Fred Rogers proud. The depiction of Mister Roger's kindness and faith is well done. Director Marielle Heller does a phenomenal job in recreating the essence of Mister Rogers. Tom Hank's soft spoken voice and well tempered body language presents much needed levity. Matthew Rhys does a fantastic job as Lloyd. He conveys a large range of emotion from facials alone. The supporting cast do a great job of being supporting characters. They fill in any emotional gaps that the film yearns.

The cinematography is well done. The film is well lit. The writing of the film is bland, and at times corny. Marielle Heller's direction is great, as despite a weak story and plot, she wins audiences over with her use of emotion and her recreation of Mister Rogers. The film is very stylized, as it blurs between Mister Roger's toy neighborhood set and reality.

Overall, A Beautiful Day in the Neighborhood is a good film that overcomes a weak story with superb execution. Fred Rogers would be proud.

Knives Out (2019)

An All-Star Ensemble Whodunnit

[7/10 · 8 December 2019]

Knives Out is one of 2019's brightest original concept. It is a charming take on the Mystery genre. Knives Out is written and directed by Rian Johnson, and it portrays an All-Star cast of characters as a family fighting for inheritance in leu of a tragedy. The film stars Jamie Lee Curtis, Michael Shannon, Chris Evans, Don Johnson, Toni Collette, and Christopher Plumber as the Thrombey Family. Despite being centered around the Thrombey family and their tragedy, the film's protagonist is Marta portrayed by Ana De Armas. The best performance in the film comes from Daniel Craig's portrayal of Detective Benoit Blanc. Craig does an exceptional portraying a southern detective. His southern accent and intense body language present the film with a sense of levity. Most of the cast (with an exception of a few) have great chemistry and they make the film superb. The best part of this film is the acting, whereas the worst part comes from the writing.

Rian Johnson wrote the film and for the most part, his writing was not bad. However, in typical Rian Johnson fashion, his writing is very incohesive and inconsistent. The first half of this film serves as a daunting mystery with thrilling dialogue. The setup is incredible and is some of the best writing in 2019. Midway into the second act, the film loses its footing and becomes a family comedy. The first half of the film is squandered by a premature reveal that ultimately hurts the story. Essentially, the Knives Out story has no rhythm or flow. This lack of cohesion trickles down into the characters as well. Daniel Craig's Detective Benoit Blanc goes from the World's Smartest Detective to the World's Most Oblivious Private Eye. Furthermore, Characters such as Trooper Wagner (played by Noah Segan) water down the film with corny one liners of obscure or outdated Pop Culture references. The comedy in this film fluctuates from natural to corny. The conclusion of the film is unsatisfying as well, because it feels more like a reach than an actually well-thought out ending. The conclusion is borderline parody, because it makes no sense for the most part how the characters came to find out the nature of the true mystery. There are minor hints throughout the film, however using things such as Hallmark movies as a clue is very stupid. The writing was very incohesive and could have benefitted from more guidance.

Despite the poor writing, the film is thematically sound. The sociopolitical undertones of the film are well done. However, the dialogue toward immigration fluctuates between respectful and ignorant. The cinematography was great. The film was well-lit and finely produced. The digital cameras were great for this film. The set piece of Harlan Thrombey's estate was really intricate. The estate is great to look at, and it's akin to the estate in 1958's "Cat on a Hot Tin Roof". The audio quality and editing were fine. The compilation of flashbacks was refreshing.

Overall, Knives Out is one of 2019's best original story that was squandered by Rian Johnson's poor writing and corny humor. The film excels in acting and thematic storytelling, serving as a decent film with some of 2019's best casting.

Joker (I) (2019)

That's Life

[10/10 · 26 October 2019]

Joker is a contemporary example of a chef-d'oeuvre. It's a monumental piece of art. In essence, it's a masterpiece. Joker stars Joaquin Phoenix in a once in a lifetime portrayal of an iconic comic book villain. Barring any connection to the source material, Joker stands on its own as a film that will be upheld in the annals of the decade's best films.

Joker stars Joaquin Phoenix as Arthur Fleck, a mentally unstable man who is trying to find his place in a society that rejects him. Phoenix's portrayal of Arthur is perfection. Phoenix captures the essence of life with mental illness. In a career with so many masterful character portrayals, this is the one that viewers will cite as Phoenix's crown jewel. The emotion within the film supersedes great acting by taking a step into reality. Arthur Fleck is a character that is written so well and so real that it hurts. Where much of the media stigmatizes mental illness, the character of Arthur Fleck humanizes it.

The cinematography in this movie is incredible. 2019 has been a year of great camera work, and this film spearheads the year. There are many iconic scenes layered throughout the film that are phenomenally shot. As the movie progresses, the film grows exceptionally in terms of cinematography. At times it is hard to tell whether the movie was shot digitally or on film. Essentially, this movie bridges the gaps between new wave cinema and contemporary cinema in a graceful manner. The lighting used within the film is atmospheric and successfully matches Arthur's mood throughout the film. The cinematography is masterful.

This film is a Dramatic, Psychological Thriller with a great twist. The writing is insanely clever. The suspense is uncanny. The ending is satisfying and chilling. The supporting cast are great. They add weight to Arthur's emotion, successfully building him up and progressing his development. The soundtrack is iconic. The music enhances the overall experience as opposed to watering it down with noise. This film is damn near perfection. Todd Philips and Joaquin Phoenix created a modern masterpiece

Overall, Joker is a classic in the making. It challenges the stigma surrounding mental illness, presenting a narrative coupled with classism. This movie is important. In a zeitgeist where mental instability is a common issue, this film gives voice to the voiceless.

Ex Machina (2014)

2014's Science Fiction Paragon

[9/10 · 13 October 2019]

Ex Machina is a science fiction film that continues the conversation about the consciousness of Machines. The film offers an obscure answer to the question, while also presenting a dialogue that many are not privy to. With humanity's present reliance on technology, this film showcases the dangers and luxuries that are married to technology.

Ex Machina stars Domhnall Gleeson, Oscar Isaac, Alicia Vikander, and Sonoya Mizuno. Gleeson plays Caleb, and incredibly gullible coder for Blue Book (a tech based company that mirrors Google). Isaac portrays Nathan, the CEO of Blue Book. Alicia Vikander portrays AVA, the A.I within the film. In Ex Machina, Nathan invites Caleb to test the consciousness of AVA. As the film progresses, Caleb and AVA become close at the discretion of Nathan. Gleeson is the film's low point. His portrayal of Caleb has nothing going for it. The character is inherently generic, and he doubles down on this by having a generic portrayal. Vikander's portrayal of AVA is unnatural in a natural sense. She captures the consciousness of an A.I and a human, in a way that feels like a successful hybrid of the two. Isaac's portrayal of Nathan is great. The character's stone cold intellect is a saving grace of this film. He plays God, while having the flaws of a human. Caleb and AVA serve as Adam and Eve in this technological revamped telling of the Garden of Eden.

The story is intricate and well told. Every detail is explained within the film. Ex Machina leaves large room for interpretation on even the slightest details. Visually, the movie is stunning. The technology within the film looks incredibly real. The setting is believable as well. In having a small budget Ex Machina outmatches the Blockbusters of its time. Ex Machina feels authentic from start to finish.

Overall, Ex Machina is an intricate film that adds a lot of depth to philosophical conversations, as well as the Science Fiction genre. The film holds relevance to the present Zeitgeist. Ex Machina is a timeless film that showcases the best parts of science fiction.

Judy (II) (2019)

A Dry Biopic for an Icon

[6/10 · 10 October 2019]

Judy is a film about the legendary Judy Garland. Despite being a biopic, the film falls short in capturing the essence of Judy Garland. Judy Garland is best known for her portrayal of Dorothy in the Wizard of Oz. This film makes little reference to the Wizard of Oz, or much of her career. It lightly touches upon the abuse and hardship Judy Garland faced in working in Hollywood. The story of this film is a great disservice to the iconography of Judy Garland.

The story is incredibly dry. It's set during her final tour in London. Instead of showing the evolution of her as a person, we are given a shell of Judy. The film focuses on her at her worst without addressing her at her best. Sprinkled within the story are brief flashbacks that serve no real purpose. The story is dry because it overlooks the impact of Judy by focusing on her uneventful, and miserable final year. The primary setting of London is incredibly drab and boring. Hollywood is absent in 90% of this movie. The story presents the audience with no reason for caring about Judy. It's a generic take on an icon.

Renée Zellweger carries this film. From start to finish, her portrayal of Judy Garland is masterful. Her acting is Oscar-Worthy. Zellweger's portrayal of Judy's addiction and her insomnia feel real. Her body shape and mannerisms parallel the real Judy Garland. Zellweger absorbed herself into the role of Judy Garland, and gave a perfect performance. Every emotion is heartfelt and tangible. Her singing is not akin to Judy Garland's (which emphasizes what a unique figure she was). However, her singing is well done. Renée Zellweger is this film's saving grace.

The cinematography of the film is solid. Brief moments feature poor camera work, whereas the scenes in which she is on stage are beautiful. The camera work bounces between excellent and poor. The audio follows the precedent of the cinematography. It bounces from excellent to poor. The supporting cast is bland and interchangeable. At times it feels like Zellweger is acting in a Television Movie. The characters outside of Judy are predictable and one dimensional. The actors portraying these characters are also very dry.

Overall, Judy is a film with a generic storyline that does not fully capture the significance or importance of Judy Garland. Renée Zellweger carries this film by giving a performance of a lifetime. Judy feels like a film made for television, starring one of the industry's best actors giving her best performance.

Ad Astra (2019)

A Character Study in Space

[7/10 · 4 October 2019]

Ad Astra is a contemporary space odyssey that serves as a character study first and foremost. It's a slow burn movie that is the privileged, but not equivalent, love child of both 2001: A Space Odyssey and Apocalypse Now.

The protagonist of the film is Brad Pitt's character, Roy McBride. The characterization of Roy is great, because it presents him as multifaceted and vulnerable. Brad Pitt's portrayal of Roy is really good. Pitt manages to be emotional without exhibiting a great range of emotion. The character Roy is a depressed man who is held back by his occupation's requirement for his emotional levity. Pitt encompasses this obstacle very well in his portrayal of Roy. Through his facial expressions, we can see his disdain for life within Roy. His body language gives off a lack of confidence and a yearn for love. Pitt accurately portrays a man with depression. Despite be very calm and confident, Roy is a vulnerable character who reminds the audience that despite being a professional first and foremost, he's still human and imperfect.

The visuals for the movie are really good. The journey through Space is one that is shown to be incredibly dark in the absence of planets. The journey is manic and incredibly moody. The mood of each planet is exhibited through fine color use. The lighting on Mars is red, setting up the tone for the planet and the following act. The set pieces within the moon and planetary bases are atmospheric. They are akin to a galactic therapy room. They are very comfortable and relaxing. This serves as a juxtaposition to the conflict within the story and the character.

One major flaw of the movie is the third act. The third act drags, and tries to be something that it's not. It tries to be similar to the confrontation at the end of Apocalypse Now, however it ends in a predictable manner that makes the entire journey seem like a waste of time. The character study takes a backseat to Roy's yearn for his Dad's approval. The ending was anticlimactic and seems forced and contradicts the intrapersonal conflict.

Overall, Ad Astra is a solid film despite a dry third act. The pace of the story is slow, reaffirming it's place in the realm of space exploration dramas. Brad Pitt does an incredible job of portraying Roy McBride. This is a strong character study with commentary on life outside of our occupation, and a commentary on life in the unknown.