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Nope (2022)
A Vile Spectacle
I just got done watching Jordan Peele's latest cinematic excursion Nope, which focuses on two siblings OJ and Emerald Haywood, played by Daniel Kaluuya and Keke Palmer respectively, with this being Kaluuya's second collaboration with Peele following his 2017 film debut Get Out. In "Nope" the Haywood sibs are forced to band together after the unexpected and tragic death of their father "Pops" Haywood played by Keith David, after he's struck and killed by a falling object from the sky that lodges into his skull and causes him to die of what appears to be a brain hemorrhage. However the ultimate cause of why the object fell from the sky and where it came from is left unexplained, at least at first.
In addition to the main plot focusing on The Haywoods, who are notable for being the only black horse trainers working in Hollywood, the film also follows Ricky "Jupe" Park played by Steven Yeun, a former child actor and owner of a Western themed amusement park nearby called "Jupiter's Claim" who witnessed a horrific and tragic incident in his childhood while working on a sitcom called "Gordy's Home" and in the present day is focused on creating a public "spectacle" in one of his newest attractions being hyped up called The Star Lasso Experience. In an attempt to keep this review spoiler free I won't delve any deeper into the plot except to say that while I overall enjoyed the film, and was legitimately frightened in several scenes, several aspects kept me from giving it a full 10 star or even 9 star review, and that is some of the characters came off as very annoying or unlikable, and others felt either underdeveloped or fulfilling no real purpose to the overall plot, with the strongest performance in my opinion coming from Daniel Kaluuya as the more quiet and subdued Haywood sibling who comes off almost as a heroic character out of an old time Western flick.
A lot of the imagery and sound design was exceptionally well done, and I liked how it was divided into chapters based on the names of several animals which appear in the film, I also really liked the end reveal of the cause of what's going on and did not see it coming, but ultimately I feel the film could have used a bit of fine tuning to make it a true cinematic spectacle.
Last Night in Soho (2021)
A Cautionary Tale
I just got finished watching Edgar Wright's latest film, "Last Night in Soho" starring Thomasin McKenzie as Eloise Turner, who might be recognizable as the Jewish girl hiding in the attic from Jojo Rabbit, and the lovely Anya Taylor-Joy as "Sandie" who made her stunning film debut in Robert Egger's The VVitch, one of my favorite horror movies of all time.
The film itself is very cleverly paced and reminds me a bit of older films from the swinging sixties at times like Roman Polanski's Repulsion which I'm sure must have at least partially inspired this film, as well as modern thrillers like Darren Aronofsky's intense "Black Swan" which like this film chronicles a young woman's descent into madness where the line between fantasy and reality becomes increasingly muddled as it progresses.
I really enjoyed the film personally and I especially loved the music in it, as someone who also fancies older music and vintage clothing styles the production design and visual elements of "Last Night in Soho" were like eye candy for me. As I was trying to figure out what was happening to Eloise "Ellie" Turner as she became more and more embroiled in the world of Sandie, a girl who is much like herself trying to gain fame and success in 1960s London but ends up being forced to do things that slowly begin tearing her apart emotionally and physically, the parallels between her story and Ellie's were too close for comfort.
There was a very distinct clash between expectations and reality and behind all of the glitz and glamour a hideous darkness lurked, ready to prey upon anyone who looked too closely into it. Also, didn't see the ending coming, but looking back on it now, it should have been so obvious, but that's not a bad thing, it just makes the film even more engrossing for me. Ultimately it was a tragic tale but one I was glad I witnessed.
Midnight Mass (2021)
Not what you would expect
I just finished watching the entire series on Netflix and I knew that I had to make this review as quickly as I could while this epic series was still fresh in my mind.
The series stars Hamish Linklater as Father Paul, Kate Siegel as Erin Greene, Zach Gilford as Riley Flynn, and Samantha Sloyan as Beverly Keane, and focuses on the denizens of a small insular, island community that seems to be somewhere in New England or the Mid-Atlantic region, which immediately brings to mind the many works of Stephen King which take place in similar locales and often deal with similar religious or supernatural themes interwoven together. Honestly, I'm actually surprised that he was not somehow involved with this series, but regardless I am glad that I was able to enjoy the work of another talented filmmaker working in the industry instead.
The general plot, at its core, follows the arrival of the aforementioned Father Paul to the island community of Crockett Island, as a temporary replacement for the aged Monsignor Pruitt, the former Priest of the St. Patrick's Catholic Church, who became unexpectedly ill while on a sojourn to the Holy Land of Jerusalem and was unable to return as expected. Despite seeming to be well meaning and with a strong desire to assist the community by spreading the message and will of God as best as he can, there does seem to be something odd about him, something not quite right, and surely enough, soon after his arrival, mysterious, unexplained events occur, a dark phantom seems to be stalking the island by night, people disappear or die gruesomely without warning in ways that seem to defy reason and logic.
At the very same time, a strange positive force seems to be rejuvenating and healing the townsfolk miraculously, allowing one previously paralyzed character to walk again, and even gradually restoring youth to the elderly and infirm. The more devout members of the community, notably characters like Bev Keane, an influential member of the community in her own right, see it as works of the Lord who is possibly bringing about a new age or covenant upon the Earth, while the more skeptically inclined such as the atheistic Riley or those belonging to another faith entirely like the newly elected Sherriff Hassan and his son Ali, who are Muslim, are less willing to accept it on faith alone and attempt to find a more natural explanation, although it becomes harder and harder to do so as each episode passes and the weirdness seems to escalate.
In my opinion just about the entire cast put in stellar performances but especially Hamish Linklater, Zach Gilford, Kate Siegel, Samantha Sloyan, and Rahul Kohli as Sherriff Hassan, who was admittedly a refreshing take on a Muslim character in American media which so often demonizes both Islam and Muslims in general as violent, primitive, and backwards. Despite being a Vampire story, Midnight Mass is an incredibly unique and nuanced take on the genre, mixing in classic Vampire tropes such as feeding on blood and burning in the sun, with religious themes and parables which surprisingly work well together, especially as espoused through Father Paul's general philosophy towards his work as a Priest and how he views the world and humanity's place in it, contrasting sharply with Riley Flynn's a recovering alcoholic who had been involved in a tragic crime years prior and is just released from prison at the start of the series, returning to the island where he grew up to hopefully start anew and reconnect with his family, despite losing his faith in the process.
The series is quite notable for its strong emphasis on dialogue and clever use of atmosphere and suspense to build tension, while also properly building complex characters as opposed to the cardboard cut-outs which so often serve as little more than fresh meat to be killed off over the course of the film or in this case, miniseries. It's admittedly not going to be for everyone, as it might have just too much talking and conversations as opposed to thrills and scares, but in my opinion those conversations and monologues between the characters, especially between Riley and his love interest, Erin, who has not lost her faith despite having gone through many trials and tribulations of her own, with much of her past trauma seeming to confirm her worldview rather than negate it. To me I highly enjoyed the conflict which arose when differing beliefs and worldviews were challenged or criticized because in some instances, they provided some profound insight into character's psyches, and it became easier to understand why they made the choices that they made at pivotal moments that otherwise might not make any sense if left unacknowledged by the strong writing.
I'll admit there are a few things I wasn't overly crazy about, or think could have been handled a bit better, especially towards the climax of the show, but overall, I am very glad I was able to watch this series when I did, as I myself am an aspiring writer, and this series is now a big inspiration for me in some of my own writing. I would highly recommend this series to anyone who is interested in a fairly unique take on the Vampire mythos, but you should at the very least know what you are getting into, as there are only seven episodes, but they are each a little over an hour long and for some could become boring or tiring to sit through, especially the earlier episodes.
Hotel Mumbai (2018)
The Best and Worst of Humanity
This film was a true emotional gut punch, it was sickening, mesmerizing, enthralling and horrifying all at the same time. I can't say I enjoyed it, but I don't think you're supposed to necessarily enjoy two straight hours of endless violence and brutality. But what truly shook me the most wasn't the actions of the terrorists brutally slaughtering innocent people in the name of their God, but the unexpected acts of heroism and sacrifice made by the victims trapped at the Taj hotel who are forced to make live or death decisions in a split second that may or may not have saved countless other lives from being lost whether or not they may have realized it at the time.
Excellent performances all around from Dev Patel as Arjun, Armie Hammer as David, Nazanin Boniadi as Zahra, Anupam Kher as Hemant Oberoi, and even surprisingly Jason Isaacs as an initially villainous seeming Russian named Vasili who later proved himself a far more complex character.
Yoga Hosers (2016)
Bottom of the Barrel Comedy, Nonexistent Horror
I'll be frank here, I actually kind of liked Tusk, a little more than Kevin Smith's previous effort Red State, and far more than this cinematic abortion which serves as somewhat of a sequel or spin-off to Tusk as the second film in his so-called "True North" trilogy which focuses on various oddball and quirky characters living in Canada and constantly saying "eh" and "aboot" because that's how Canadians talk right? Well apparently in Kevin Smith's world they do, and that same stale, over-used recycled bilge which quickly got old in Tusk is ramped up to 1000 here.
The basic plot, if you can call it that, focuses on the two teenage female clerks briefly seen in "Tusk", both named Colleen, played by Johnny Depp's daughter Lily Rose Depp and Kevin Smith's daughter Harley Quinn Smith, who work at some random convenience store in a small town and are forced to use their carefully honed Yoga skills to take down a new reign of terror in the form of 1 foot tall "Bratzis" essentially human/bratwurst hybrids who do nothing but shoot Nazi slogans like "Heil" and kill people by literally crawling up their ass and into their stomachs. No, I'm not joking, though I wish I was. If that wasn't horrifying enough, you've got two Satan worshipping high school seniors who attempt to murder/sacrifice the two Colleens and have no relevance to the plot beyond that and to add in some more quirky Canadian humor to the mix with some extra "ehs" and aboots" in for good measure.
So yeah, that's basically the film in a nutshell, the writing and dialogue and acting uniformly is terrible, although given how hammy this film is I think it may have been intentional. Justin Long and Johnny Depp both return in this film, with Justin Long now playing the girls moronic Yoga instructor and apparently now he's Canadian too, and no mention of the events of the last film are ever mentioned by him or Depp as Guy Lapointe, so it puts the theory that this is a sequel or spin-off to Tusk into question as well, if everything else wasn't bad enough, the film lacks any cohesion or consistency and I personally did not find it funny at all, or scary but I don't think they were even attempting to be frightening. The satanic stuff and the killer "bratzis" come off more as a cheap attempt at dark comedy than any legitimate horror.
Antebellum (2020)
Past, Present, and Future Tense all Interwoven
As the quote from William Faulkner in the beginning states, the past isn't even past. Making sure to keep that in mind as the film began in an attempt to figure out what was going on before the big reveal is fully explained to the audience, I'll be completely honest and say that even when a minor reveal happened I still didn't entirely get what was happening. Starring Janelle Monae as Veronica as well as "Eden", Kiersey Clemons as Julia, Gabourey Sidibe as Dawn, Eric Lange as the General or "Him", Jack Huston as Captain Jasper, and Jena Malone as Elizabeth, Antebellum is a very polarizing film for a lot of people as a lot of people are either trashing this film for having what they view as a misleading trailer, an attempt to glorify slavery or at least the Antebellum South, or just another heavy-handed slave movie invoking white guilt ridden audiences and showing how evil it was and how they are complicit in the modern day repercussions through their obliviousness to their "white privilege". However I firmly believe that it is none of those things.
Evoking imagery from other more famous horror, thriller, or slavery movies such as The Shining, The Village, 12 years a slave, and perhaps most notably and justifiably, the Jordan Peele 2017 black social thriller "Get Out" through which numerous comparisons have already been made, "Antebellum" has shades of all of those films but also much more to bring to the table. Following the main character, a successful, a renowned sociologist, author, and public speaker who also happens to be a black woman, something which in and of itself, some certain individuals find threatening enough to their pre-conceived notions of order in American society.
In addition to her role as Veronica she also plays Dawn, a slave woman living on a plantation in the Antebellum South in what appears to be the midst of the Civil War. Alongside fellow slaves Eli (Tongayi Chirisa) and pregnant Julia (Kiersey Clemons) all of whom seem to strangely unaccustomed to life on a slave plantation, the general confusion, chaos, and seeming anachronistic elements and dialogue thrown in to the mix seem to hint that something far more inexplicable and horrific is going on, even in the context of an already sinister situation, as certain characters seem to be present in BOTH settings, perhaps hinting that there is time travel or something supernatural going on. The cinematography and score are incredibly evocative and beautiful to look at, in addition to the costume design which accurately portrays the fairly elegant if not over the top clothing the slave owners and their families wore during the time period with all of the fancy lace and crinoline you would expect giving them all an air of false affability, particularly Elizabeth played with cold conviction by Jena Malone, her character intentionally evoking Scarlett O'Hara from Gone with the Wind, in spite of the various horrors being inflicted on the enslaved men and women by the Confederate soldiers on the plantation. They are under the brutal command of the General and Captain Jasper, a cruel and sadistic overseer who seems to take great pleasure in making sure all of the slaves are as miserable as humanly possible while working in the fields.
While some scenes are very difficult to watch, despite the horrific events which unfold over the nearly two hour running time, the film itself is rarely all that frightening in regards to building tension and atmosphere and could be likened to more as a drama or thriller despite being marketed as a horror. In both time periods the emphasis on the interwoven nature of the past and present is constantly shown, often in very unpleasant scenarios whether it be Veronica's friend Dawn berating a waitress about attempting to seat her and her party of three in a poorly lit corner of a fancy restaurant or a white hotel receptionist giving Veronica an unnecessarily rude and flippant attitude when she attempts to book a room in an upscale hotel, the concept of microaggressions comes to mind, as well as the false idea of the notion that we are living in a post racial society.
As evidence has shown from the start of the COVID-19 pandemic and the BLM protests, are all of the evidence society at large needs to know that while progress definitely has been made since the Civil Rights era, we are still far from a truly post racial America, a truth this film hits home far more bluntly than many people would like it seems, while there are of course some flaws to be found such as "preachy" dialogue and writing which can also be described as heavy-handed or pretentious to many viewers I think that overall this film's strengths vastly outweighs it's weaknesses, and it's also definitely a film which needs to be watched more than once, much like the movie Get Out, from both the perspective of a first viewer trying to figure out just what the hell is going on, and a second time viewer spotting vital clues and imagery that they might have missed or ignored the first time around. Would definitely recommend a watch, preferably with friends and in the comfort of your own home.
August Underground's Mordum (2003)
Quite possibly the most boring, worthless piece of garbage in existence
For some reason unbeknownst to even me, I just actively sought out and subjected myself to this abomination of celluloid and it's an hour and twenty or so minutes I will never get back. I went in expecting a shockfest from start to finish, something to make me squirm in my seat and feel just as violated as the hapless "victims" in this film, some of whom are literally grinning and laughing as their being tortured. Fred Vogel and the rest of the cast, including the editors and writers couldn't even give me that. Instead what I got was one of the most pointless, boring, moronic pieces of crap I think I've ever witnessed in all of my nearly thirty years of life. I know I shouldn't be expecting very much from a film which advertises itself as a "simulated snuff" film but in hindsight I suppose it was pure naivete of me to expect even the slightest modicum of a plot or character.
This cinematic turd makes movies like Birdemic Shock and Terror and The Last Airbender look like the work of Shakespeare by comparison. Something I didn't even think was possible until today. The "writing", acting, camera-work, "plot" and conclusion were all uniformly either absolute garbage or completely non-existent. The special effects and gore scenes were occasionally convincing but that's about it in regards to quality. The film was trying so hard to be shocking and depraved but ultimately succeeds only in being boring, repetitive, annoying, and dull, it's not even so bad it's good, it's just horrible, in every conceivable way imaginable, something which, in and of itself, is an accomplishment, so if nothing else it does succeed in at least one regard.
The Florida Project (2017)
A Tale of Two Worlds
Honestly, I did not expect much going into this film. To me it seemed like just another run of the mill film about people living in the dredges of society and trying to live day by day, however when the film began I was surprised to see a rather bright and happy looking backdrop to an otherwise seedy looking motel in Florida where kids still laugh and play like kids do just about anywhere, with the only differences being the added threats more common to lower income families, like curious strangers passing through with unknown and possibly malicious intentions, drug addiction, violence, and desperation. Unlike other movies that strive to be as bleak as possible given the setting, The Florida Project manages to set itself apart by portraying all of these things from a child's perspective as opposed to an adults. When these things are a day to day occurrence as opposed to something kids are rarely exposed to, they will simply regard such life as normal because they don't know any other world exists out there beyond the confines of their narrow perception. As a result, instead of crying and screaming about it, they still find ways to enjoy life and find happiness in situations other more privileged kids might find soul shattering or devastating to their psyche.
This film was not directed by Harmony Korine but the seeming lack of plot and focus on characters going through the dredges of every day life felt very reminiscent to me of films like Gummo and Spring Breakers, especially the setting in regards to the latter. Instead Sean Baker, a filmmaker I'm not too familiar with helmed this project and I am genuinely surprised at how much it affected me emotionally, as growing up my life was similar to the main girl in this film Moonee (Brooklyn Prince), being raised by a single mom and being put into foster care are all experiences I've been through. Was my childhood all doom and gloom, not even close, were there times I wished I could trade my life for some other kids? You bet, but in a way such experiences shape who we are, and I feel I wouldn't be the person I am today because of it. For as depressing as this film can get at times, it also manages to be incredibly beautiful, with stellar cinematography, and outstanding performances from the already mentioned main girl and her close friends Scooty, Dicky, and Jancey, a new friend who met Moonee in unexpected circumstances as anyone who's seen the film will know. Also to be commended is Willem Dafoe in another great performance as Bobby, the gruff but caring manager of the motel Moonee and her mom Halley live in, and Halley herself, played by Bria Vinaite, whom I've never seen before live most of the actors and actresses in this film but she managed to create a very real and alternately repulsive and endearing character who may represent a future version of her daughter, the contrast in both of their worldviews is definitely worth noting.
Ultimately an experience I would not want to go through twice because it hits too close to home in some of the more dramatic scenes but nevertheless The Florida Project was one ride I have to say I enjoyed thoroughly.
The Invisible Man (2020)
Surprise!
With the recent letdowns of earlier horror films released this year I was expecting all that much from this most recent horror film from Australian writer/director Leigh Whannell who also helmed 2018's body horror/action thriller "Upgrade" and previously the third installment of the Insidious franchise in 2015, however I was quickly proven wrong within the first ten minutes of the film during the dark and incredibly tense sequence when Cecelia Kass (Elizabeth Moss) escapes her torment at the hands of her sociopathic, evil, but brilliant scientist lover Adrian who specializes in optics technology.
Even though he physically doesn't actually appear throughout the vast majority of the film, surprisingly he still manages to maintain a sinister presence over just about every scene in the film, illustrated both through his psychological torment over Cecelia who with her wide eyed paranoid stare and somewhat insomniac appearance makes it all the more easier for Adrian (Oliver Jackson-Cohen) to both manipulate her as well as her friends and family into distrusting her and causing her to become more isolated and frantic as the film progresses.
The entire cast, which also includes Aldis Hodge as her close friend James who is also a cop, Storm Reid who plays his teenage daughter Sydney, and Harriet Dyer as her sister Emily all unanimously turn in great performances and even some smaller bit parts were done quite memorably. I've never read the book or seen the original The Invisible Man from 1933 so I can only judge this film as a standalone effort. However from what little I do know about the source material it appears that Leigh Whannell decided to take a different approach or reimagining of the story as opposed to a direct remake, which in my opinion is how you do proper remakes. Surprised, you bet I am!
Hazbin Hotel (2019)
Surprisingly good
The worldbuilding, the characters, the animation, and the humor is all insanely creative, dark but funny, and even rivals some professionally made cartoons airing on television or online. It's definitely only for mature audiences but for it's target audience I think it definitely delivers. My fave character is Angeldust, looking forward to see more
Uncut Gems (2019)
Liked the movie, did NOT like the ending!
Having never seen their debut feature "Good Time" starring Robert Pattinson, this is my first introduction to the Safdie brothers and it definitely delivered a satisfactory thrill ride from start to "almost" end.
When Adam Sandler is giving good direction and material to work with, he can be a surprisingly good actor, and this being a Safdie brothers film, NOT an Adam Sandler movie produced through Happy Madison productions, it clearly shows in how well crafted Howard Ratner's shady and manic persona. Howard, the main character played by Sandler is a jeweler working in New York's Diamond district who is also a gambling addict and on the verge of divorcing his wife Dinah (Idina Menzel) who is fed up with both his infidelity and his gambling addiction.
Over the course of the film both before and after receiving the Ethiopian Opal which sets the films events into motion, Howard comes into a number of unsavory and criminal elements who are also increasingly fed up with Howard's constant need to pay back debts with money he's either pawned or owes to other people to begin with thus keeping him in a constant cycle of debt although he doesn't seem to upset by this and instead seems to accept it as a part of a fast paced lifestyle not willing to think too hard over the dire consequences it's having on his life until it's too late.
At the end it seemed like it was finally going to pay off finally after so much bad luck and misfortune with Howard finally getting his happy ending with Julia and then he gets shot and killed by one of the crooks, who from the start seemed to have an exceptionally short fuse combined with a great dislike of Howard, thus eliminating the possibility of a true happy ending, but what was it all for in the end? He goes through all of that and doesn't come out of it alive, and the audience never even gets to find out what happens after his family and friends learn about his death. It felt really cheap and ruined much of the film for me.
I suppose you could make the argument that he never learned from his mistakes and that even if he had lived to reap the spoils of his biggest gamble he would still end up screwing it up. going back into debt and ruining his relationship with Julia much like he had with Dinah. Even if that was the intention I don't know why they played up the climax and other scenes with such tension and seemed to be hinting that it truly meant something in the end. I'm afraid it doesn't cut it for me, they could have written a better ending while still keeping the general idea of gambling and addiction of any sort perhaps, is bad.
Good Boys (2019)
Surprisingly sweet
Yes I know that the film is incredibly vulgar and raunchy, and the three main kids Max, Thor, and Lucas swear like truck drivers and act in stupid and immature ways but to be completely honest, most kids at that age tend to be behave like that, although not to that extreme, hopefully. There is some truth to this film and it definitely does have merit as cinema, at least in my opinion. If you can get past all of the crude humor and innuendo, you will find that the titular "good boys" are surprisingly innocent, at times sweet, and yes, even GOOD, especially compared to some of the adult characters and even some of the other kids in the film.
Don't knock it until you've tried to, to quote another, eerily similar film (that even uses the same song in the trailer) released this year called Booksmart, which I have yet to actually see. It's a coming of age comedy film at it's core, take it for what it is. I didn't find all of the jokes to be funny, and it did at times feel forced and trying to hard to be "mature" but more often than that I found myself laughing, and at the end of the day, and seeing as how this is a comedy film, I can't really say that it failed to deliver, at least for me.
The Lighthouse (2019)
There is Darkness in the Light
I just finished watching Robert Eggers sophomore feature film release of "The Lighthouse" just three years after his 2016 feature film debut of "The VVitch: A New England Folktale" both films which were released by the A24 production company which I'm slowly beginning to become obsessed with, as nearly every film they produce is exactly the sort of film I dream about crafting someday if I ever get into the film industry. Dark, visceral, haunting, surreal, and psychological are all words that come to find when viewing the trailer for The Lighthouse and while I got all of those sensations while watching the film as well, I did NOT except the sensations of insane hilarity and gross out moments which unexpectedly accompanied the aforementioned darker elements.
Set in a fairly claustrophobic setting, a rocky, windswept New England isle in the late 19th century. The Lighthouse looms ominously over the dark stormy oceans surrounding it on all sides. Ordinarily, images of lighthouses evoke associations with hope, sanctuary, warmth, and life however this film's titular Lighthouse acts (almost as a character in and of itself) as a complete inversion to these tropes, replacing them with nightmarish imagery more reminiscent of an lunatic asylum with just two hapless protagonists, rookie lighthouse keeper Ephraim Winslow (Robert Pattinson) and veteran Thomas Wake (Willem Dafoe) slowly losing their minds together while desperately searching for an escape from the increasing monotony and loneliness which becomes an ever increasing catalyst for the horrific events which unfold as the film progresses towards it's final destination.
As mentioned before, the titular lighthouse, despite seeming at first fairly unassuming and even benevolent with it's immaculate whitewashed exterior and transparent glass dome both protecting the vital beacon of light and reflecting it outwards into the cold gray void, certainly seems to live up to it's established purpose of serving as a barrier against darkness, death, and disaster. However, delving deeper into the structure's shadowed interior and ascending up the spiral staircase towards the solitary light in the darkness and it's essence slowly takes on a far more sinister aspect, with the hypnotic, almost blinding quality of the light simultaneously repulsing and enchanting the eyes, infecting their minds with madness and paranoia until they're unable to distinguish what's real and what's not causing them to forget who they even are and distorting their perception of the passing of time.
It's only through Ephraim Winslow's character that we get to witness this gradual descent into madness and the true nature of the light becomes more clear. Even at the film's start it's heavily implied that Thomas Wake, portrayed by Willem Dafoe as a darkly humorous caricature of Captain Ahab, a fact which is even remarked upon by Winslow in the film itself, has long since been taken over by it and is a lost cause cursed to dwell upon that god forsaken rock until his last breath. However, once he is able to coax Winslow into listening to his "tall tales" and partake in drinking alcohol, something he is very hesitant to do, not necessarily because he doesn't enjoy drinking or conversing with others but because his primary focus is on doing his job right and not losing his position and especially his sanity even though Wake, the lighthouse, and everything else on the accursed isle from the howling winds, to the almost mocking cries of a one eyed seagull, seems to have conspired against him to make sure that goal is never achieved.
The Lion King (2019)
Not the worst thing ever, but far inferior to the 1994 version
This recent spade in "live action" remakes of classic Disney films from the 60's all the way to the 90's has got to stop, as it is perfectly clear that their sole purpose is to cash in on the nostalgia and fond memories many of us now adults had as children watching the original animated versions. In regards to their inherent quality they vary from really bad to just okay for the most part, so I dislike more than others, but the Lion King is one of the worst. I don't even know where to start.
I guess the biggest disappointment here would have to be the photo-realistic 3-D animation of the characters which does indeed make them look a lot more like the lions, hyenas, zebras, etc. that they were in the original animated film from the 90's but on the flip side they managed to suck just about all of the life and warmth from them in the process. They honestly would have just been better off filming actual lions and then providing voice overs for them like they did in Disney live actions films in the 90s, notably an earlier "remake" of The Jungle Book. All of the life, expressiveness, emotion, and beauty which went into the design of the original characters is almost completely gone here, with the possible exception of Timon and Pumbaa and even they can't live up to the original.
I understand that given their more realistic appearances they can't really go as far as they could with the original then they could here, and as a result it seems that director Jon Favreau, who also directed the recent live action Jungle Book remake from 2017, told them not to be as emotive in their voice work as it would create too much of a clash between the fairly static expressionless faces on the more realistic characters. Which I suppose makes sense from a technical stand point so either way it was as if this film was doomed to failure from the character animation alone.
But then this brings us to the dialogue and humor of this film, which though not the worst ever it's mostly because the vast majority of the dialogue is simply cut and pasted from the original along with the music and songs and they couldn't even do that right. Most of the humor comes from, as might be expected, the characters of Timon and Pumbaa and the time Simba spends with them growing up after leaving Pride Rock, along side several of their friends and fellow prey animals who are extremely wary of being in the presence, and rightfully so, of an apex predator such as a Lion, even if he's technically on "their side" due to their influence on him.
I did genuinely laugh in a few scenes, but aside from that I rarely got anything emotionally speaking from watching this film, not even the scene where Mufasa, again portrayed by James Earl Jones, although noticeably not as strong, perhaps due to his age, but I suspect more so because of the limits imposed by the "realistic" character designs. Chiwetel Ejiofor as Scar is a far cry from the greatness Jeremy Irons embodied in his role as the original, having little to no menace and personality to him, he doesn't even have his signature black mane and aside from his scarred face it barely even looks like him aside from the fact they are both played by British actors. His version of Be Prepared as also shorter in length and not remotely as memorable as Jeremy Irons version, there almost like two completely different songs. Both Beyonce as adult Nala and Donald Glover (Childish Gambino) as Simba also seem to have very little chemistry or depth regarding their characters and seem almost bored when delivering lines which held far more of an impact in the original.
The story line overall is with a few exceptions the same one as the original with Simba, supposed to be dead, runs away from his place as king of Pride Rock leaving Scar to turn it into a dry deserted hellscape which could also be a pretty good analogy for this film, as just about every character, even Zazu and Rafiki are not even close to as memorable as they were in the original. Zazu barely even looks the same, I think he's an entirely different species of bird, although personally I could care less even if he did look the same.
One thing I guess that I did in fact think was an improvement over the original was the portrayal by newcomer JD McCrary of Simba as a cub, in that he was far more endearing and innocent and therefore likable then the 1994 version played by Jonathan Taylor Thomas, who came off a lot more bratty and even annoying before going through his character growth following Mufasa's death. Here he's just so adorable as a cub you can't help but feel bad for him and hope to see him grow up and take his place as ruler of the Pride Lands, even if he's a little childish and disobedient you're much more likely to forgive him because of his inherent sweetness.
Aside from that there really isn't much to commend, although I suppose the more realistic backgrounds and landscapes are pretty and well detailed, their overall isn't much more to see here worth the price of a movie ticket. A real shame that something so magical was completely sucked dry just for the sake a nostalgic cash grab.
Pet Sematary (2019)
Sometimes, Original is Better
This recent "re-imagining" of what is often considered the most disturbing and darkest King novel, apparently written at a very bad time in his life and the end result clearly shows it, leaves MUCH to be desired. While it's been a long while since I've seen the original adaptation from 1989, and I'm well aware it's not a perfect rendering of the original story either, I do remember that I felt a lot more dread and unease from that film than I did with this current one, especially in the film's third act after "Ellie" returns.
While it didn't absolutely despise the film overall, and I'll admit, especially towards the beginning when the story was still developing I did find several of the scenes, especially involving Victor Pascow's apparation trying to warn Louis not to bury anything in the "sour" place beyond the Pet Sematary, quite ominous and freaky. I honestly found the scenes where "Church" comes back more frightening than when Ellie does, which I feel was definitely not intended by the filmmakers who created this new rendition.
Also, the subplot regarding Rachel's sister Zelda felt completely unnecessary and forced simply put in to add more scary scenes to an otherwise sub par movie, I know that they were in the original novel as well as the 1989 film, but in both cases they were handled much better than here.
John Lithgow playing Jud Crandall couldn't even save this film from mediocrity, which is a shame because usually he's a pretty good actor, but I guess he just wasn't give enough direction here to make anything worthwhile, and often came off as an old decrepit Santa Claus more than anything else. I'm not familiar whatsoever with the other actors in this film playing the Creed family, Jason Clarke or Amy Seimetz, as well as the two child actors, so I can't really compare them to any other roles that may have been done better, regardless I still feel that too much of what made the original novel and film "Pet Sematary" was for the most part devoid from this film, which is a real shame considering it had decent cinematography and visuals overall, but in the end, perhaps in part due to the mostly unknowns playing the main cast, and the cliched jump scares and other "scary" effects make it feel more like some cheap made for TV movie looking to make a quick buck.
Ma (2019)
Lookout Weekend, Here Ma Comes!
Honestly, this film was just okay, not great but good enough I suppose.
For one thing, I didn't find the film all that scary or even thrilling until the last act and prior to that, aside from some party scenes with cool music I found myself more bored than anything. To me, the film works better as a drama than a horror-thriller film and aside from some performances from the adult characters, notably Sue Ann (Ma) played by the talented Octavia Spencer in a role we've never seen her in before, as well as Juliette Lewis who plays the mother of the main teenage character Maggie, and to a slightly lesser extent Luke Evans as the unlikable father of Maggie's "boyfriend" Andy, the acting was not all that great or memorable.
For one thing that stuck out to me was so many open ended questions or plot points which were never fully resolved by the film's fiery climax, such as why Ma had all of those creepy African tribal masks in her house, what her daughter Genie's "illness" was and why she made her use a wheelchair when she was able bodied, she was actually the most sympathetic and even disturbing character in the film and Ma's relationship with her reminded me of the relationship between Carrie and her mother from the 1976 classic horror film starring Sissy Spacek.
None of the kids, even newcomer Maggie, were sympathetic or likable, especially popular girl Haley, who was incredibly nasty and annoying. While it is revealed that Ma is a very lonely and disturbed character her plan to get back at the parents through their kids is very cliched and I was able to predict most of the events in the film before everything went down. It seems like the film was trying to be more compelling than it actually was by borrowing heavily from earlier horror classics, from Carrie to even A Nightmare on Elm Street with the parent child revenge theme, and it wasn't able to pull it off convincingly. It seemed like it didn't know what it wanted to be in the end and that's ultimately what kept it from being great which is a real shame, especially in regards to Allison Janey who was relegated to a role as an unlikable obnoxious boss veterinarian to Sue Ann. She honestly would have been better playing one of the teen's parents in my opinion. Ultimately it's not the worst film I've ever seen but it's FAR from the best.
Also, I REALLY enjoyed the ending song playing over the credits, to me that was almost more entertaining than the entire film itself!
Better Luck Tomorrow (2002)
Asian Stereotypes, the Debunking
This fairly grim and darkly humorous crime drama film directed by Justin Lin, perhaps better known for his The Fast and the Furious films, is often perceived as a seminal film by many people in that it features an all Asian-American cast starring Parry Shen as Ben Manibag, as well as Roger Fan as Daric Loo, Sung Kang as Han, Jason Tobin as Virgil Hu, and John Cho as Steve Choe rounding it out.
The film itself was competently filmed and acted however the thing which struck on the several occasions in which I watched it was that at times it seemed more focused on dispelling the numerous stereotypes surrounding Asian-Americans as opposed to creating more complete, 3 dimensional characters with clear motivations and reasons as to why they feel the need to act out in such violent, dangerous and nihilistic ways. I have no issue with challenging stereotypes in media however I feel that the film's primary focus was not to simply challenge them but tear them to pieces. Seeing as how Asian Americans are often seen as the model minority and as such tend to be nerdy, awkward, anti-social, introverted etc. and especially in regards to men they are often seen as feminine and never getting the girl or being perceived as Alpha males.
In Better Luck Tomorrow Ben and his little gang of friends are depicted engaged in sex with prostitutes, getting into violent altercations at parties, smoking, drinking, doing drugs and all manner of disturbing behavior which is pretty much the exact opposite of their usual portrayal in films. I feel that had the film portrayed the cast in a more nuanced way that didn't make them come off as a bunch of unlikable punks who simply used their straight A's and over-achieving status as a scapegoat to get away with all manner of criminal activities that made it difficult to sympathize with them.
Another, more recent Asian film, which also interestingly enough had John Cho in it, that I feel debunked the model minority myth while still creating compelling and even likable characters that you could root for and understand was 2018's Searching, which I believe was a far more finely crafted and written thriller that was compelling from start to finish. That film had a flawed Asian American protagonist and other similarly flawed Asian American characters who swore, did drugs, acted violently etc. but nevertheless there was a clear reason for why they did what they did, in Better Luck Tomorrow, there is never any real explanation given for why the characters do what they do except that they're bored and having little to no parental guidance in their life, it doesn't give much for the audience to empathize with aside from teenage angst and rebellion. I get that this was inspired by a true story but I still feel that it could have been handled better overall to make a more rounded, complete film that wasn't overly bleak or nihilistic. Better Luck Next Time, I guess
Searching (2018)
A Parent's Worst Nightmare
I don't even have any kids and I was still incredibly moved and shook by this film, for a number of different reasons. For starters, it's very much a modern film and very accurately, almost too accurately, depicts the average online social life of modern teenagers and young adults as well as the darker side of that aforementioned online social life. In this film, David Kim (John Cho), discovers his daughter Margot (Michelle La) failed to return home one night after going out for a study group. Initially he doesn't think much of it, assuming she got home extra late and then had already left for school the morning after she disappears.
However, as time goes on things don't seem to add up and it quickly becomes clear that something happened to Margot, and it's up to her father, David to find out what. However, that turns out much easier said than done, because as he learns more about who his daughter truly was when he wasn't around everything starts to make less and less sense, until he's forced to admit that he never TRULY, knew his daughter, and that perhaps is the scariest thing about this film, and I would imagine for any loving parent to have to admit to themselves.
Searching is a truly tense, riveting, and emotional thrill ride which I would recommend for anyone to watch who enjoys excellently crafted thrillers with an emotional undertone of family drama which asks both the viewers watching and the characters in the film the question of how well we really know our friends and family members, because sometimes finding out the answers might be too hard to handle, especially if it's done the hard way.
Also have to give director Aneesh Chaganty, a positive shout out for crafting such a clever, remarkable film, especially for a first time directorial debut just out of college! I'll definitely be looking out for any future films he might helm if they remain as strong as this one. :)
Us (2019)
It's US!
Us, the newest horror creation written and directed by Jordan Peele, is an extremely odd, unsettling, darkly humorous, and suspenseful mind trip of a film that for some, may provide more questions than it gives answers for, nevertheless I have to say I thoroughly enjoyed the film. Two sequences in particular, the opening sequence before the credits, and the scene in the Tyler family's house, I found to be extremely eerie and disturbing, and for a seasoned horror veteran like myself, that's no easy feat.
The film itself stars Lupita N'yongo as Adelaide Wilson, who after an incredibly surreal, nightmarish experience with a "mirror girl" as a child, is now a grown woman with a husband Gabe, played by Winston Duke, daughter Zora, played by unknown actress (at least I've never seen her before) Shahadi Wright-Joseph, and son Jason, who is played by the similarly unheard of Evan Alex. Rounding out the cast are Tim Heidecker and Elizabeth Moss playing the Tylers, another affluent white couple who are friends of the Wilsons.
The basic premise follows Adelaide and her family confronting a sinister group of doppelgangers called "The Tethered" who attack them brutally one night after returning from a day at the beach, the EXACT same beach where Addie had her experience as a child, and has seemingly been haunted about ever since. She is extremely hesitant to go but eventually agrees after being persuaded by her husband. After arriving strange "coincidences" or signs begin to occur one after the other, and Addie is convinced something bad is going to happen, and that something eventually does happen, although in a far more horrific manner than she probably could have imagined.
Unlike Get Out, which had a strong satirical thriller vibe in the vein of "The Stepford Wives" Us is a far more straightforward horror film that can be enjoyed as such, or if you prefer you can watch the film numerous times in order to go back and see things, little Easter eggs thrown in very clever, often subliminal ways, much like Get Out. All of the actors in the film, especially Lupita but also the children and even the Tylers put forward great performances portraying their original selves and their sinister "tethered" doubles. Highly recommended!
Escape Room (2019)
Eerie, Clever, and Suspenseful
I really enjoyed this film, a lot of reviewers online seem dead-set on hating it but I can't personally see why, just because something is PG-13 or "toned down" doesn't automatically make it bad. The basic premise is fairly simple, a group of six strangers receive, under mysterious circumstances, a sort of puzzle cube which when unlocked reveals instructions for an "escape room" experience where the winner wins 10,000 dollars. Some decide to participate due to barely being able to get by on their work salary while others are wealthy and successful and seem interested in the "Escape Room" only for pure amusement purposes or perhaps to challenge themselves mentally.
Regardless of why they decide to join, once they arrive and the "Escape Room" begins it quickly becomes clear that this is no simple harmless game, the stakes are deadly and the consequences are real, and if they can't find a way to escape it very well may mean the end of not the game, but their very lives!
The Killing of a Sacred Deer (2017)
The Very Definition of a Slow Burn
Yorgos Lanthimos's most recent and polarizing film, "The Killing of a Sacred Deer" seems to me like one of those films which one half of it's viewers absolutely will despise, and the other half will hail as an underrated masterpiece of psychological horror, somewhat akin to classics like Stanley Kubrick's The Shining, which by the way, shares many aesthetic elements with this film, and will undoubtedly inspire a slew of comparisons from people who feel it's ripping The Shining off, or working as something as an homage to it. Anyway, me personally I felt that it didn't work as a horror film in the same way that The Shining did, as it wasn't particularly frightening, lacking any jump-scares or the traditional elements of what many people consider trademarks of the horror genre nowadays, however for anyone familiar with Yorgos's previous films such as The Lobster and especially Dogtooth, not to mention the fact that this film was distributed by A24 Pictures, also responsible for such "art-house" type horror films like 2017s "It Comes at Night" or 2016's "The Witch" than you will quickly figure out that this film has far less in common with the likes of "Paranormal Activity" or "Unfriended" and much more in common with the films of Ingmar Bergman or Michael Haneke, both European "auteur" filmmakers who have a long history of making uncompromisingly dark and grim films which are a large hit among the Sundance crowd.
What this film lacks in flashy visuals and gory death scenes in makes up for with an overwhelming sense of unease and despair which slowly, very slowly, ratchets up the tension and atmosphere as the film progresses and you learn more and more about the relationship and tragic history between the surgeon Dr. Murphy (Colin Farrell) and a strange, almost alien boy named Martin (Barry Keoghan). At first Martin just seems a bit awkward and geeky, the sort of quiet introverted type who always keeps a low profile in public and doesn't really speak much, but as the film progresses and he gets to know Murphy's wife and kids better, especially his teenaged daughter Kim (Raffey Cassidy) it quickly becomes clear that his odd, robotic mannerisms and way of speaking are more than just harmless quirks but the hallmarks of a truly sinister and dangerous youth who is hellbent on serving his own brand of retribution for an unforgivable act done to him by the father, but it's his family that must pay the ultimate price, and Dr. Murphy is eventually forced to make a horrific decision that inevitably will tear his family apart one way or the another. In "The Killing of a Sacred Deer" revenge truly is a dish served, cold and bleak.
Many people will not like this film because many things are left unexplained at the end and it also features elements which many have seen as attempts at dark humor although I personally rarely found this film to be funny, just odd. The dialogue also is incredibly stilted and robotic, but this only works in favor of Martin, with everyone else it serves as a real crutch in allowing the audience to sympathize with their plight and comes off as very unnecessary and forced most of the time, and thus many who watch it will see it as being pretentious and laughable even though the lines themselves are delivered in a deadpan serious manner, and others will criticize it for being "weird for the sake of being weird" which I definitely feel is a legitimate criticism as the film is filled with "weird" scenes which seem to make little or no sense on the first viewing, so overall whether or not you enjoy the film will be based on whether or not your able to look past the surface level and dive deep into the hidden metaphors and allegories lurking around every corner, waiting to be analyzed by those of a more analytical mindset, anyway, I know this review may come off as incredibly meandering or even pretentious itself, but I do genuinely feel that it's the sort of film you need to watch more than once to truly understand, but that's just my take on it.
Hereditary (2018)
Hail Hereditary!
This is quite possibly one of the most unsettling experiences I've ever had in a movie theater before, and that's definitely a good thing, because such emotional investment in cinema is not something that comes easily to someone as jaded as I. Hereditary, directed by NYC native Ari Aster and distributed by the now infamous A24 pictures, also responsible for modern cult horror flicks like 2015's, "The Witch" and 2017's "It Comes at Night". It's quite easy to see this film being compared to movies like The Witch and even classic horror like Rosemary's Baby and The Exorcist, as there are MANY similar thematic elements of familial bonds estrangement, mental illness, and the occult. I won't spoil it for you, but trust me, if you watch this film expecting a typical run of the mill horror film like "Happy Death Day" or "Truth or Dare" kindly look elsewhere, because this is completely different territory which can truly be called a horror movie for adults instead of teenagers. Go in with your analytical mind turn completely on as you won't want to miss the smaller, finer details that make everything come together in the shocking ending!
Three Billboards Outside Ebbing, Missouri (2017)
Anger only begets more anger
I just finished watching this film and good golly did it leave me confused, not only for the film's climax (or lack thereof) but also because it seemed to be hinting at something much larger in the grand scheme of things. When the film begins, you think you know who's the good guys, and who's the bad guys, then certain events occur and these events force you to alter your perception of the "heroes" and the "villains" in this dark, but moving story of grief and vengeance.
Frances McDormand, perhaps better known for her role as pregnant police chief Marge Gunderson in the Coen Brother's "Fargo", is about as far from "Minnesota Nice" as you can get and still remain sympathetic towards. Grieving divorced mother Mildred Hayes is tough, relentless, and uncompromising, willing to do whatever it takes for justice to be served towards the person(s) responsible for the rape and brutal murder of her teenage daughter Angela.
In supporting roles are Ebbing, Missouri police chief Bill Willoughby (Woody Harrelson), Officer Jason Dixon (Sam Rockwell), the latter in particular playing a deeply troubled man suffering from emotional trauma and instability. The film itself may be considered by some a tragicomedy, balancing a thin line between tragedy and comedy, but I rarely found the jokes all that funny, expect for a few instances, more often than that it came off as annoying or inappropriate considering the circumstances, but that isn't really the point.
To many people who view this film they might come away from it angry and unsatisfied because it doesn't really give any clear answers about it's motives or messages, simply puts them out for the film's characters and we, the audience, to view and draw our own conclusions, much like the titular three billboards outside Ebbing, Missouri. Sometimes it's less about the final destination and more about the journey getting there, as rough a ride as it may be.
A Quiet Place (2018)
A Beautiful Place
I just got through watching John Krasinki's "A Quiet Place" in my local theater and I absolutely loved it. A lot of other people are extremely nitpicky about certain choices the family in the film made, but personally, while I do find some merit in their arguments, I think they failed to see the larger tale being told here, a survival story about a loving family and how their lives are inexplicably altered after an unknown menace descends upon their world. This "menace" takes the form of grotesque, Lovecraftian type creatures which as the title may hint at, are completely blind and hunt using their highly developed sense of hearing.
Watching this highly suspenseful survival thriller reminded me a lot of older films with similar themes such as Shyamalan's "Signs" which also similarly focuses on one family trying to survive an alien menace descending into the world and lives, threatening to tear it apart.
The deadly creatures in this film are never fully explained as to what they are or where they came from, but I personally didn't mind that, because that's not the focus of the story, and was never intended to be. I see it more as a story about perseverance and the strength of familial bonds even under harrowing, life-threatening circumstances. Even though their lives are now completely changed and every day becomes a question of survival, that still does not prevent them from laughing, having fun, and enjoying their day to day existence. Not once do they despair over how bad things are, how their real lives are essentially over, how they'll feel safe again. They're fully aware of the sort of world they now inhabit, and that death and loss are inevitable, but life goes on.
Death Note (2017)
Take a Potato Chip...And Eat It!
The aforementioned phrase written above is quite possibly the most quoted phrase from fans of the original anime series and possibly manga (I don't know because I've never read it) that perfectly sums up the overall vibe of this pathetic excuse for an adaptation. It fails as a standalone film but it's an abomination in regards to the source material, in so many ways it can't possibly be summed up in a single review like this.
But to get to the point, the reason why I compared the film to the famous "potato chip" scene is because both the scene and the film itself are at their core very similar, the scene is a prime example of how the anime tries to be overwhelming epic and tense at times for no discernible reason expect it wants to stand out and be bold and daring, which it is, but not always in a good way, or at least how it intends. Overall, the anime has more hits than misses in that field.
The entire "Death Note" movie directed by Adam Wingard is in essence that one scene stretched out to a full length film, in that it tries to be overwhelmingly dark and gritty and thrilling to the point where it becomes a parody of itself and ultimately leads to ruin. The anime was dark and tense but could also be charming, light-hearted, amusing, and even hilarious at times, with all of the multi-faceted characters working extremely well off of each other, playing on their opponents strengths and weaknesses and using them to their advantage. It was smart and clever, but only occasionally got to full itself, much like the main character of the series, the doomed anti-hero Light Yagami (sorry, Light Turner).
But the movie tries to be so overly-mature with graphic violence, swearing, and sex that it ultimately loses sight of what made the original so great, it didn't need heavy bombastic fight sequences, endless angst and violence and heavy drama to be good, it could be subtle and clever all without resorting to any of that, and so it's such a disappointment to see how much was truly lost in translation, as if that sort of story could not work in an American or at least Western setting. Like the original source material, the story is universal, feeling much more like an epic Shakespearean tragedy at times than a comic originally in Shonen Jump, a demographic for teenage boys who are used to stuff like Naruto and One Piece. A true shame, it could have been a shining light to stand, no pun intended, but instead it sunk to the very bottom of the barrel.