film

Quarantine 2020 Catch-Up — Rapid Fire Reviews #4 Netflix Gems

This latest edition of the Rapid Fire Reviews focuses on an extremely diverse selection of movies that debuted on Netflix. Included are a couple action movies, there are some films about filmmaking, several dramas about life and the complexity of modernity, hell, there’s even a thriller and one surprisingly effective horror movie. Since everyone’s been quarantining for the last few months you may already have come across these titles- but if you haven’t hopefully there’s a few flicks here to fill the void. We’ve all got the time now, right?

Shirkers

“Shirkers” is a documentary made by Sandi Tan and her close friends Jasmine Ng and Sophie Siddique. The story is about the 16 mm indie film that the three friends made as young creatives in Singapore in the early 1990’s. Well, it’s more than that in truth, the film was the culmination of Sandi Tan’s obsession with films, creating, and generally being a weird kid with her friends. The hook comes when the three friends’ film is stolen by their friend and fellow collaborator George Cardona, an older man of mysterious origin and intent. This was a charming and encouraging story about a group of friends pouring everything into their film to only have it ripped out of their hands for more than twenty years. The unraveling of their pasts and careers afterwards was truly a story worth being told and I personally love the fact that Netflix picked this one up.

Recommendation: The mystery of the theft and how it traumatized, enraged, and brought together these young woman was a fascinating journey and one that I highly recommend! If stories about filmmaking are your thing, you’ll likely enjoy this delightful doc.

Dolemite is my name

Written by Scott Alexander and Larry Karaszewski and directed by Craig Brewer, “Dolemite is My Name” is the comedic biography of Rudy Ray Moore and his character called “Dolemite”. Eddie Murphy stars in this comeback role as Moore, an overly ambitious entertainer who wants nothing more than to be a success in the spotlight. Set during the 1970’s right before the height of the ‘Blaxploitation’ era of genre filmmaking, Moore worked at a record shop and club as the weekly MC. One day when a regular purveyor of the streets, Ricco (Ron Cephas Jones), walks in to tell his stories and make a bit of money, Moore is made to walk the older homeless man out, but the story being told catches Moore’s ear and his imagination. Ricco’s modern myth of magnanimous proportions inspires Moore to utilize the title of “Dolemite” and mold it into his own character brimming with confidence and extremely lewd sexual conquests. Once he takes “Dolemite” and gives him voice, a costume, and a lyrical tune to the performance, Moore takes the character on stage during his duties as the Master of Ceremonies and turns it into a rousing success. From there Rudy Ray Moore took Dolemite and started selling out local theaters until he put together a few comedy albums which truly catapulted Moore to cult character status. After taking the character through as many highs as possible in the comedic business Moore has the realization that if he can put Dolemite on the silver screen, he can transcend the cultural boundaries of the time and become truly unforgettable. This leads Moore to his most infamous phase as Dolemite in which he gathers a production crew and makes the Dolemite Movie! It’s a hilarious gut-busting third of the film and it is firmly anchored by Eddie Murphy’s enigmatic and electric performance as the foul-mouthed entertainer.

Recommendation: If you can stand the extremely sexual and low brow humor, this one may be for you. It’s incredibly subjective for this one though. The supporting cast is packed to the rim with famous black entertainers and actors that layer the film wall to wall with charming and hilarious characters and performances. I had a great time with this one.

1922

Written and directed by Zak Hilditch, “1922” is the story of a marriage in dire straits in the heartland of Nebraska. The film begins with Wilfred “Wilf” James, played with a stony gristle by Thomas Jane, as he espouses his life’s mantra. Namely that in 1922, a man’s pride is with his land. It is through the work put into that land that a man can be free, his identity begins and ends with his plot of land and occupation on it. However his wife, Arlette (Molly Parker), does not share this philosophy of life. Arlette had inherited much of the land the James family farm now consisted of, and she wanted to sell that land and move to Omaha to live in the city. Caught between the two is Henry (Dylan Schmid), their fourteen year old son who’s been dating the daughter of the farmer living nearby. I won’t give away the plot to this one, but it is one mostly concerned with the consequences of prideful actions.

Recommendation: This was a really fun horror movie! No jump-scares, and the degradation of the characters is an effective slow burn. Thomas Jane’s performance as the scornful husband was thoroughly brooding and maddening, one of his best performances in my opinion! This is a dark and chilling tale with a lean story that’s rife with tension and malice. If you enjoy Stephen King adaptions, this is one of the better ones, definitely one I recommend.

Marriage Story

Written and directed by Noah Baumbach, “Marriage Story” is about Charlie (Adam Driver) and Nicole (Scarlett Johansson), and their emotional journey through a coast-to-coast divorce. Charlie is a successful New York Theatre Director and Nicole’s a former Teen Movie actress that now stars in his plays. The film begins with the two of them in counseling where they each describe what they appreciate about the other, but Nicole doesn’t particularly feel like sharing hers even though we the audience are privy to those thoughts through narration. The two are attempting to amicably traverse their divorce in the best way possible for their boy, Henry (Azhy Robertson), they’re each represented as kind, considerate, and compassionate individuals that don’t want to ruin the other’s life while still pressing forward with their own goals and struggles. Things begin to escalate after Nicole moves back to California with Henry to stay with her family. Charlie’s play gets accepted for Broadway and he’s awarded the MacArthur grant to fund that transition so he stays in New York, he also considers himself and his family as a “New York Family”. This complicates things after Nicole gets a lawyer played by Laura Dern with all the pomp, poise, and sleaze that would make any lobbyist or car salesman proud. When Charlie comes to California to see Henry and visit Nicole’s family, as he’s still very much accepted by Nicole’s mother and sister, he’s taken aback by Nicole’s choice to get lawyers involved. So, Charlie decides to get a lawyer as well, even though he detests the idea. First he goes to an expensive and ferocious lawyer played by Ray Liotta, but Charlie doesn’t want to attack Nicole’s character in order to see his son. Thus he opts for the more blasé, yet compassionate, lawyer played by Alan Alda. The supporting cast in this film truly fills out the edges and compounds the heartbreak between Nicole and Charlie in intelligent and narratively sharp fashion. The conflict gets heated and heart-wrenching at times, when the two are pushed to their emotional breaking points from the cumulative stress due to the inclusion of bureaucracy.

Recommendation: I’ve had this film on my ‘Watch List’ for months and I’m so glad I finally got around to it. Noah Baumbach has a knack for humanistic drama, so I knew I’d be in for some good familial drama as I’ve come to know his work. Adam Driver and Scarlett Johansson further prove their indie cred and acting chops in this one. The performances that are pulled out of these two actors, both of which are involved with the biggest top dollar blockbuster series in the world, are emotionally intelligent and realistically crushing. This is a film that prioritizes performance above all else, so if you’re looking for some good old-fashioned drama, this is for you!

Extraction

Written by Joe Russo and directed by Sam Hargrave, “Extraction” is a lean and mean action flick starring Chris Hemsworth as an Australian Mercenary hired for a job in Bangladesh. This is a very simple and effective action movie, our lead is the broken hero Tyler Rake (Hemsworth) who takes the extraction job when offered, he’s played in muted fashion with ferocious action. The target is the son of a jailed international crime lord who’s been kidnapped by a bigger and badder warlord. There’s not an extreme amount of plotting or character work here, but what is given to round out Hemsworth’s Rake is subtle and appreciated given the action to dialogue ratio. David Harbour is also in the film as a fun supporting character around halfway through the film. There’s some fun camera work throughout the action sequences, but nothing mind-blowing. There’s a lot of intense shootouts that seem to be heavily influenced by the choreography of the John Wick movies paired with the immediacy of that first Bourne film- though mercifully without the shaky cam. Can’t say that much more about this one, it’s a perfectly fine and well executed action film.

Recommendation: This film’s probably been seen by most viewers with a Netflix account by now, but if you haven’t seen it yet and are looking for a fun way to kill a couple hours, this is a fine way to do just that. It you enjoy your action movies with a tinge of darkness, then I’d recommend it

6 Underground

Written by Paul Wernick and Rhett Reese and directed by Michael Bay, “6 Underground” is Bay’s return to form within the Action (with a Capital A!) genre. This film hits hard and fast. If you longed for the era of Michael Bay’s filmography before his time with those transforming robots- this movie will likely satisfy that urge. The premise is simple- until it isn’t. A group of extremely skilled individuals have all been recruited by Ryan Reynolds’ as a Billionaire organizing a small elite squad of people that are “dead”, given new identities, and set to jet around the world doing the kind bad-guy-killing that most governments can not, or will not, take part in. Every member is given a number, 1 through 6, and each has a very specific skillset that they utilize in any given mission. The opening set-piece in Florence Italy is the epitome of Michael Bay’s directorial skills. There’s fast cars, bright and over-saturated colors everywhere possible, bullets flying through the air, and a surprising amount of violence. There’s even a parkour scene from atop the famous Florence Cathedral- because of course there is. It’s loud, there’s an active disregard for human life, and it’s exactly what everyone in the 1990’s would describe as Cool. The majority of the plot follows the team as they decide to de-throne an ‘evil’ dictator in Turgistan (a fictional country), and install his brother, a believer in the benevolence of Deomcracy, as the new leader. The only real complaints I have with the film is that the second act gets lost in time jumps back and forth between the group’s beginnings and ‘The Present’. There’s just not enough focus there in my opinion. The first and third acts anchor the flippant middle act though. The other point being that while Ryan Reynolds is entertaining as an actor- it seems as though “Deadpool” has seemingly wormed his way into every role Reynolds has taken on since then. He doesn’t seem to be able to distance himself from the foul-mouthed mercenary entirely.

Recommendation: Overall the film is peak ‘Bayhem’ and a lot of fun. If you enjoyed his “Bad Boys” movies, you’ll likely find some fun here as well. However, if you really can’t stand Michael Bay, avert your eyes- this will not be for you. I recommend it if you’re willing to suspend disbelief, buy the ticket, and take the ride.

The King

Written by Joel Edgerton and David Michôd, and directed by Michôd, “The King” is an adaption of several Shakespeare plays surrounding the last days of King Henry IV and the ascension of his son King Henry V. Timothée Chalamet stars as Henry V, or “Hal” as his close friends call him, who begins the tale as a drunk that spends more time with women of the night than on anything related to his father’s realm. He’s uninterested and derisive of his father’s iron fisted rule. By his side in his jesting and drinking is John Falstaff, played with a warm and worldly wisdom by Joel Edgerton. Besides the relationship between Hal and his father, his companionship with Falstaff is the most important of the film, and given the most emotional weight. If you’re unfamiliar with this tale, it follows Hal as he reluctantly dons the crown, which is only necessary after his brother is killed in battle as his dying father resents his eldest son’s ways. After Henry IV dies and Hal is crowned King, the young monarch attempts to sweep the civil unrest and vile deeds of his father’s Kingdom under the rug and make those enemies new partners. These peace seeking methods are unfortunately seen by others as weak and garner unwanted attention from the French. After the French King sends an assassin, Hal feels the need to invade and made sure they would not underestimate him again. From there the film follows from the Siege of Harfleur to the Battle of Agincourt as Hal is met with Kingly duties, manipulation, bravery, and a pretty good war speech at Agincourt. The film was well acted, had excellent production among its sets, costumes, and the cinematography was well executed though not in any flashy or innovative ways.

Recommendation: “The King” was a fine retelling of Shakespeare’s several plays on the subject meshed into one. It’s a bit longer at two hours and twenty minutes, but the time is well spent and fairly engaging. Robert Pattinson also has a role here as ‘The Dauphin’ and it was a fun small role, further proving the actor’s recent excellent choice of roles. If you enjoy a good old historical epic about Kings and Knights and battles in the mud with a tinge of moral awareness and more violence than (I personally) expected, you may enjoy this one. I had fun with it!

Okja

Written by Jon Ronson and Bong Joon Ho, and directed by Bong Joon Ho, “Okja” is a charming story about a young South Korean girl, Mija (Seo-hyun Ahn) and her genetically created “Superpig” called Okja. The film begins with Tilda Swinson (in one of two incredibly fun and ‘animated’ roles) as Lucy Mirando, the new CEO of Mirando corp, as she presents the beginnings of a new ten year program designed to solve world hunger by biologically formed “Superpigs”. Granted, she presents the program as “Non-GMO” and consumer friendly, void of all guilt etc. She explains that there are twenty-six pigs that will be sent to reputable and well respected farmers around the world and in ten years, the biggest “Superpig” will be brought to New York City to celebrate when they announce the existence of the “Superpigs” to the world. Naturally, there’s a lot more to it than that. Ten years later we find ourselves with Mija, who is about twelve or so, and lives with her grandfather and Okja in the mountains of South Korea. The first act establishes Mija’s connection with Okja as they wander through the forest, catch some fish, and they’re even put in a bit of peril on the walk home as Okja saves Mija from falling off the cliffside. The film’s pace picks up when the Mirando representatives come to check Okja’s status as the final contestant. As you may have expected, Okja is the largest and healthiest “Superpig”, and while Mija was under the impression from her grandfather that they had purchased Okja from the Mirando corporation, this was not the case. Thus Mija, a pure and straightforward character composed of heart and grit- literally chases down the Mirando truck transporting Okja. From there Mija finds herself in the midst of diverging animal activism and corporate greed as the ALF (Animal Liberation Front) attempts to free Okja on route to America, Mija becomes an international star due to her riding Okja through a mall in South Korea, and eventually everything culminates in New York City with every character returning in significant ways. This was a charming and lovely humanistic film about animal food production, opportunists, and capitalism (in more subtle ways).

Recommendation: I actually highly recommend “Okja”. I was fairly surprised by how much I enjoyed this one, the film is unafraid to confront “difficult” aspects of food production, factory farming, the morality of food and where it comes from, I was impressed by that. The cast is also really damn good. Paul Dano was great as the head of the ALF, like a spy of animal activism. Jake Gyllenhaal, Steven Yeun, and Giancarlo Esposito fill out the cast of supporting characters with considerable poise and skill. That and the movie is worth a watch purely for Jake Gyllenhaal’s voice work as Animal Celebrity Johnny Wilcox.

Private Life

Written and directed by Tamara Jenkins, “Private Life” is a drama surrounding a middle-aged couple living in New York City who have been trying to have a child by any means necessary. Paul Giamatti and Kathryn Hahn star as Richard and Rachel, both successful creatives in theater and writing, who have had nothing but bad luck with their attempts at conception. They tried having a surrogate mother, that didn’t pan out. They attempted every three letter acronym associated with childbirth possible many times. They even tried a last minute $10,000 medical procedure so as not to miss Rachel’s cycle. Eventually things evolve when a close family member decides to help them have their child, but it comes with lots of familial baggage too. This was a well acted and hopeful drama about the trials and expenses of difficulty with childbirth. At times, it can be melancholic and full of regret, but, at other times it allows for a chance at hope. Sometimes, that’s all you can ask for. This one wasn’t exactly my cup of tea, but I did appreciate the story for what it was.

Recommendation: “Private Life” was an interesting watch because it covered a part of adulthood that is seldom portrayed onscreen, and they made an engaging story out of it. This rite of passage is one where the issues and problems that can be paired with it aren’t always discussed. If you’re looking to feel a little sad, this one might be for you. Though I would recommend “Marriage Story” over this film for that outcome.

Hold The Dark

Written by Macon Blair and directed by Jeremy Saulnier, “Hold the Dark” is a supernatural thriller surrounding the mystery of a child taken by wolves in Alaska. Russell Core (Jeffrey Wright), a writer whose studied Wolf behavior, is summoned by Medora Slone (Riley Keough), the mother of the missing boy. Russell answers her letter and flies out to her small village near the mountains to see if he can find the wolf that killed her boy. From there the film takes many unexpected turns, and I don’t want to ruin the experience for any newcomers to this film- but not everything is answered, and not everything makes sense in the end. In fact, the film greatly benefits from the performances of the actors, the lingering brooding atmosphere, and the undulating score all assist when the story elements lack here and there. Be forewarned, this one is a bit violent, though not to an unsettling degree.

Recommendation: “Hold the Dark” wasn’t what I expected, and due to that it was rather engaging. The mystery that the story weaves keeps you guessing, and while sometimes you don’t get the answers you want, or any answers for that matter- the film is a decent enough watch and fine way to kill a few hours. I do recommend it, but I would enter the film with measured expectations.

NEXT TIME ON RAPID FIRE REVIEWS:

Recently the Criterion Collection had another tantalizing sale so I picked up several films by Yasujiro Ozu. Specifically these films come from the end of his career, widely regarded as his “Old Master” phase. There will be six films, all in color, and I’ll dive into those at length. Until next time!

film

Old School Review: The “Lone Wolf and Cub” Film Series (1972-1974)

Recently I began watching a Samurai film series from Japan made in the early 1970’s called “Lone Wolf and Cub” based on the hugely popular Manga of the same name. I’ve been slowly wading into the popular Samurai genre of Japanese films for a little while now. I started, as most Americans do, with Akira Kurosawa in “Yojimbo” and “Sanjuro”, before plunging into the famed director’s sword brandishing epic “Seven Samurai”. From there I found “The Sword of Doom” partly because that’s a great title- but also because it starred Tatsuya Nakadai (Who gave memorable character appearances in both Yojimbo and Sanjuro) as the lead, with the legendary Toshirô Mifune as a revered master swordsman in a minor, but powerful, role. All of these films have reviews here on this blog, and they left me wanting to discover more! One day after seeing a few reputable cinephiles on twitter take note that the series had landed on the Criterion Collection’s streaming service, I knew I had to check it out. It must seem as though I’m plugging this streaming service all the time- but it is only because I often find films there that I cannot find anywhere else, and as a student of the medium- I always need to see more movies. Always.

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Rather than go through each film and review them individually, it made more sense to sum up the series as a whole and what made it great. Though, for your convenience I’ve listed each film’s title and year of release below this piece. Throughout these six films the most singular and significant factor that makes them stand out from the rest of the genre is the fact that Itto Ogami (Tomisaburo Wakayama) roams the vast Japanese countryside with his infant son, Daigoro (Akihiro Tomikawa) by his side. In the beginning of the first film, we see Ogami in his role as the shōgun’s executioner, mercilessly cutting down an incredibly young daimyō (Essentially a Lord in the feudal sense, a form of royalty within Japan’s Edo period. Forgive me if this is inaccurate, I’m only going by slight internet research and how this role is depicted within the films). This is important as it sets this world of cinema apart as a particularly brutal one, not even children can escape with their lives. It also serves as the assumed revenge for Ogami’s wife who was killed by three ninjas afterwards. It’s a bit more complicated than that, but it boils down to the “Shadow” Yagyū Clan framing Ittō for treason and subsequently taking over his executioner’s post. Ogami quickly gathers his son Daigoro and offers the toddler a choice to avoid the hardships of their uncertain future by death or to join his father “On the Demon path to Hell”. Which is, essentially, to wander as assassins-for-hire as they seek vengeance by hunting down all members and known associates of the Yagyū Clan. Obviously, Daigoro accepts the ronin lifestyle.

Holy Mother of Violence!

The hook of the series, for me anyway, is the absolutely insane graphic violence that is on display throughout these films. I’m fairly certain that there isn’t a film in the bunch that doesn’t have at least five severed limbs from anyone foolhardy enough to challenge Ogami. From the candy-cane red blood that sprays from the Wolf’s victims to the inventive and bizarre ways in which he has outfitted Daigoro’s baby cart for maximum carnage- the series is fundamentally soaked in blood and corpses. The villains that seek to destroy Ogami and Daigoro get cartoonishly creative with their various techniques as the films progress. From hiding in walls and stone barriers to literally writhing through the dirt and snow to pursue the Lone Wolf and Cub- these enemies can seem unending at times, though we as the audience know that Ogami’s mastery of his Suiō-ryū swordsmanship is unparalled! These films could be categorized under exploitation within the Samurai genre, and there is plenty to be said about the snap-zooms and bad guys giving whole monologues with swords jammed in their skulls, but there’s enough artistry beyond pure shock and awe that propels these films into a category all their own. What other films series so values extreme bloodletting alongside such strong familial bonds?

Silence and the poetic nature it instills

The use of sound in these films is uncannily serene at times. Depending on the scene, these films can have either a melodic score to accompany Ogami strolling with Daigoro’s baby cart, or a jazzy upbeat tempo to fit the pace. Don’t get me wrong, I love the scenes when the 1970’s funk kicks in to accompany Ogami’s blending of bad guys, but if you’re paying attention you’ll begin to notice the times that have the least noise weigh the most thematically. Below this article I’ve left a link to a video analysis of how these films utilize silence effectively, and I urge you to check it out. Often when Ogami is stoically seated at altars and shrines, the score takes a beat or two back to meditate and breathe inbetween the chaotic fight scenes. The best use of silence in each film, in my opinion, is at the beginning of Ogami’s one-on-one duels with the central villain of the film. Upon drawing swords, each warrior takes his or her stance and waits, calculating, taking only slow measured movements. It is the calm before the storm. It heightens the tension from some of the sillier one-versus-many scenes’ over the top violence and allows a moment of uncertainty to slip in. Who will strike first? Will Ogami come away unscathed? Or will he finally meet his match? The films often put a lot of technical precision, craft, and care into their fight scenes with excellent choreography, but the biggest diversion from this tactic in the series lies in the third film “Baby cart to Hades”. It’s a far slower film than the rest and focuses more on the ulterior dimensions of the warrior spirit within Ogami. Deep within the second act Ogami is forced to endure a ridiculous amount of torture that would make Mel Gibson proud. Through his restraint and self control, he defeats his enemies. These things help to elevate the film series beyond it’s grindhouse attractions.

Cinematography

From thick wooded forests to sweeping sand dunes and even snow topped mountains, the “Lone Wolf and Cub” movies put a heavy emphasis on the locations that our two assassins travel through. Visually, location is front and center where the camera is concerned. Each film does it a bit differently, but whether through differing camera techniques or inventive framing, there is always a sense that the world these characters inhabit is fully realized, if a bit fantastical. I particularly appreciate any scenes that immerse themselves in mood or when depth of landscape is considered. The fight scenes themselves are constructed for the most visceral and eye-popping blood splatter, and it’s a joy to see Ogami take on literal armies of opponents at times. Throughout all the spraying blood, dubiously performed monologues, and patient wanderings through varying landscapes, the cinematographers of these films have thoroughly earned their place in celluloid history.

The Elephant in the room…

While these films are highly entertaining and culturally significant, we must take a moment to acknowledge the sexual acts of violence against women. I am no scholar of Japanese society, especially of any time period or place, but these films do depict several instances where women are taken advantage of. Maybe it’s more off-putting as an American because what we’re shown is a bit more explicit than our legacy of films, at least in the portrayal of the sexual assault. The films explicitly exist in the pulpy and exploitative arena of cinema- so I feel that it’s just wise to know that these scenes exist and could put some viewers off from watching the rest of the films. Though, to be fair, Ogami is never the perpetrator of these violent sexual acts, the villains here tend to be the worst of society. So, maybe making them out to be monsters of every variety was the intention to get audiences on board with Ogami’s particularly violent dispatching of such vile men? So, it can get ugly at times, but, hey people are a mixed bag themselves right? If you can get past these instances of vulgarity, then I would highly recommend giving these films a watch!

Final Score: 6 films, 6 circles of Hell

*Below I’ve listed a couple links to more information on these films that I quite enjoyed and found to be rather informative. If you want to know more about these films, check it out!

https://www.criterion.com/current/posts/4287-samurai-and-son-the-lone-wolf-and-cub-saga

Sword of Vengeance(1972)

Baby Cart at the River Styx(1972)

Baby Cart to Hades (1972)

Baby Cart in Peril(1972)

Baby Cart in the Land of Demons(1973)

White Heaven in Hell(1974)

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Old School Review: “Floating Weeds” (1959)

Written by Kôgo Noda and Yasujirô Ozu and directed by Ozu, “Floating Weeds” is a remake of Ozu’s own black-and-white silent film “A Story of Floating Weeds” made in 1934. This film follows a traveling troupe of actors performing Kabuki theatre around the provinces (“floating weeds” is a Japanese term for itinerent actors). In the opening we’re introduced to the sleepy fishing village that will house the story to come as a few random dock workers muse about the heat of the day and the novelty of the incoming troupe. The troupe arrives by boat and parades into town handing out flyers and talking up the locals as they make their way towards their new temporary home while in town, the theatre. While there are some delightful and fun side stories with several members of the theatre crew, the plot’s main focus is on Komajuro Arashi (Ganjirô Nakamura) the leader of the operation, and lead actor. After settling in Komajuro heads off to a Saki bar run by Oyoshi (Haruko Sugimura, his former mistress) to visit and go fishing with Kiyoshi (Hiroshi Kawaguchi) their grown son who is unaware of his true father’s identity, knowing Komajuro only as “Uncle”.

As you might guess, it isn’t long until Sumiko learns of Komajuro’s ulterior motives in choosing this town for their next round of performances. Which doesn’t go well for Komajuro, as Sumiko’s the jealous type. After she discovers this affront and sees Oyoshi in attendance at one of their shows, she goes to Oyoshi’s Saki bar and aggressively confronts her when she catches Komajuro there playing Go with Kiyoshi one afternoon. Despite Komajuro’s shock and dismay at Sumiko’s transgression he bans her from the Saki bar and breaks it off with her in a powerful argument in the rain. Later on Sumiko offers one of the younger actresses some side money to go and seduce Kiyoshi at his job. While reluctant at first Kayo (Ayako Wakao) eventually accepts without knowing Sumiko’s reasoning for the request. Despite the origins of their relationship, Kiyoshi and Kayo end up falling in love. Shortly after this development Komajuro stumbles upon the two embracing in an alley and finds himself in a conundrum- how can he exercise his authority over Kiyoshi without revealing his true identity to him?

Komajuro had high hopes for his son, Kiyoshi had been saving for college and had plans to support his mother when he could. Before Komajuro can sort out the situation though, Kiyoshi and Kayo elope just as the theatre troupe had begun to fall apart. The financial manager absconded with their funds and several members considered leaving before they become too desperate. Dwindling crowds paired with mismanagement spelled the beginning of the end for the troupe. Eventually Kiyoshi and Kayo head back to town at Kayo’s pressuring- but Kiyoshi and Komajuro clash at the Saki bar when Oyoshi reveals Kiyoshi’s true parentage in an attempt to diffuse the scuffle. Kiyoshi discards Komajuro and leaves in a huff while Komajuro sits in amazement at the series of baffling failures set at his feet. He decides to move on after a cheerful long goodbye to the troupe, ironically riding out of town on a train with Sumiko tending to him- begrudgingly accepting his enemy’s re-established loyalty.

Ozu’s works, of the two I’ve seen so far, have this unique serenity to them. Maybe it’s the leisurely pace, the shots of gentle locations giving the world of his stories a sense of the oft quoted “lived-in” space, or simply that the content of his films are universal to the modern human experience. His films evoke a powerful catharsis felt just as strongly sixty years later. Obviously, not every film will work for every person, but I’m willing to bet that if you gave any of his films a chance you might find yourself quizzically enraptured not just by the drama of common themes across his filmography, but also by the meditative cinematography of his infamous “pillow shots” that melt in-between scenes asking you to pause and digest, relax and breathe. There is something powerful in his depiction of the joy, sadness, humor, and tragedy of everyday life that makes his characters seem familiar and his plots reminiscent of truth.

It wouldn’t be an Ozu film (as I’ve come to notice in my intense search for information on the filmmaker) without a particularly precise composition for every shot in his films. Ozu would typically put the composition of his frame above all else, ignoring the continuity of props and eye-lines for the purity of his images. Which is doubly true for his foray into color filmmaking near the end of his career. His warm pastel coloration for “Floating Weeds” adds another layer of texture to the small seaside village the story takes place in. Between the visible mugginess of the hot summer and the cleansing, humidifying, rain that comes at night and in-between heated arguments, there is a unifying sense of place not only with the “pillow shots” of nature and architecture but in all variables of the filmmaking process. Particularly pleasing was the soundtrack, evocative of popular video game scores (which were probably inspired by films such as this) like “The Legend of Zelda: Wind Waker” and “Animal Crossing”, it was perfectly set for a small seaside village in the heat of summer. I doubt there could have been a more perfect fit than what we got. The recurring theme gave way to the notion of music belonging to a particular place in its essence, these melodies molded to fit this time and this place. All of these things combine to craft a beautiful and atmospheric stage for Ozu’s story to play out, and it does so with a grace and humility like no other.

While maybe not quite as emotionally impactful as “Tokyo Story”, Ozu’s remake here is a more diverse picture in terms of emotional balance. This is purely my commentary and I can only speak to my experience with the film, but this film held a greater variety of emotional resonance. I was legitimately shocked when Sumiko directly confronted Oyoshi in her Saki bar. The following heated debate in the rain between Sumiko and Komajuro was incendiary and raw. The anger, regret, shock, and disgust thrown at each other was palpable and moving. While earlier, in less fierce scenes, I was tickled by the three bachelors of the troupe and their antics in trying to pair up with the women of the town. This film is a rarity among cinema, as was Ozu himself, and it’s worth your while to experience something new in the pantheon of film, even though this film is sixty years old- it’s still a charming story with universal and relatable characters and themes. Give it a shot!

Final Score: 3 bachelors, 1 lead actor, and 2 mistresses

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The Good, The Bad, and The Ugly Movies of 2016

2016 may have been one of the most divisive years in recent memory, but when I looked back on the movies that came out I began to realize that while there were certainly big duds among the crowd there was an abundance of quality movies that came out last year. Below is the list of a majority of the films that came out last year with my thoughts on them. Enjoy!

The Good

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Deadpool

Ryan Reynolds gets a lot of credit for this one. He stuck around after his character’s horrific introduction and then incredible misuse in the first standalone Wolverine movie back in 2009 and kept pushing for this film to get greenlit. Self referential and winking at the screen knowingly, “Deadpool” is everything you want it to be if you know the crude character in the slightest. Violent, crass, and fourth wall breaking, this film is the best direct adaption of a comic character, possibly ever.

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Captain America 3: Civil War

Proving that you can take two characters with idealogical differences and pit them against each other and actually have the story work (Looking at you, Zack Synder), “Civil War” isn’t just one of the best Marvel movies, it’s one of the best Superhero movies ever made. Captain America and Iron Man take opposite sides of a government mandate and string up followers on each side to punch each other until you cry when it gets serious (You know what scene I’m talking about). Captain America 3 is one of the few exceptional blockbusters from this year!

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Dr. Strange

“Dr. Strange” continues to prove that Marvel can take any of their properties, no matter how Strange (Ba-dum-tss!), and make it work. Benedict Cumberbatch stars as Strange, a brilliant Neurosurgeon that has his hands crippled in an auto accident and ends up traveling the world and spending his last dollar in search of a cure. Instead he meets the Sorcerer Supreme (Tilda Swinton) aka the Ancient One, and begins his path of mastering the mystic arts of sorcery and otherworldly magic. What sold me for this origin tale is the third act, and how Strange solves his own villain dilemma. No Sky beams. No faceless army to beat into submission. No, here lies a creative solution that I will not spoil, but it’s well worth the watch.

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Hacksaw Ridge

Mel Gibson’s directorial return to cinema is not one to miss. Easily one of my favorite films of the year, this film changed my view on Andrew Garfield. The true story follows Desmond Doss, the first conscientious objector in wartime to receive the medal of honor for saving 75 men in the battle of Hacksaw Ridge, in WW2, without a firearm. The first half follows Doss’ battle to stick to his beliefs and to train as a field medic, without holding a weapon, as it was his belief not to kill another man. The second half depicts the battle, and well, hold onto your butts because it is relentless in it’s violence and horror. Gibson deserves a best director nod at the very least.

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Star Wars: Rogue One

Who knew a film with a widely known ending could be this good? “Rogue One” is pure Star Wars fun. This film had a lot riding on it going into it’s opening. Would the first standalone Star Wars movie be a success? Would audiences care about a film with little to no recognizable faces throughout the runtime? As the first film in the franchise to focus more on the “war” than the “stars” Rogue One swiftly introduced us to a cast of rebels devoted to the cause. Jyn Erso leads the band of resistance as the daughter of the head engineer of the Death Star while the Empire puts the finishing touches on their shiny new superweapon. Each member of the team has notable moments throughout- Donnie Yen’s “Chirrut Imwe” is a blind, force sensitive, kung-fu martial artist with a deep belief in the power of the force- and an excellent example of this. The film goes to extreme lengths to recreate the dirty, lived-in world of the original series, from 3D printing toy model sections for digitally recreating star destroyers to the use of practical effects and some puppetry throughout. The film also breaks new special effects ground by reviving Peter Cushing’s Grand Moff Tarkin not simply just for a cameo, but as a character that has several scenes and deliberately pushes the plot forward. The film adeptly handles the mythology with caring hands and even fills in former plot holes, such as the infamous womp-rat sized hole in the Death Star, while also taking new risks, like the ending. Which I won’t ruin just in case you haven’t caught this movie yet-somehow. Darth Vader also has one of his best scenes ever put to film near the ending-right before the reveal of a youthful CGI Princess Leia who, in a timely sense, reminds us to have Hope. Rest in Peace Carrie Fisher.

 

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Swiss Army Man

Easily the weirdest movie of the year, “Swiss Army Man” is an oddly beautiful one that combines emotional nuance.. with farts. I know, but trust me on this one. The best way I can describe this movie is that it’s about a suicidal man that teaches a dead guy that life is beautiful and worthwhile despite the hurdles of confusion and emotions that are thrown at us. Paul Dano’s character starts the film stranded on a small pacific island and is about to hang himself when he spots Daniel Radcliffe’s dead body wash ashore. He clambors down from his noose and inspects the corpse. He quickly finds that this void vessel is full of life, flatuence, and strange abilities-like farts powerful enough to propel him off his island. From there the film follows Hank (Dano) and Manny (Radcliffe) as they discuss life and its many complexities while they wander through the pacific northwest to try to find civilization. I know I’ll be on the lookout from anything that the Daniels (Directors & Writers of the film) make from now on, the special effects, soundtrack, and quirky nature of this flick was the strangest amalgamation put to film this last year and I can’t wait to see what they create next!

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Hunt for the Wilderpeople

Set in New Zealand, this film follows defiant city kid Ricky Baker (Julian Dennison) as he is placed into his newest foster care home to be raised by the jovial Aunt Bella (Rima Te Wiata) and grumbly Uncle Hec (Sam Neill). Written and directed by Taika Waititi (Helming the upcoming Thor: Ragnarok) this film is an excellent example of his ability to juggle wildly different tones with impeccable skill. The film ends up becoming a buddy roadtrip comedy, in a sense, between Ricky and Hec as they are chased in a manhunt throughout the wilds of the New Zealand bush that is in parts hilarious but also a touching and heartfelt showcase of friendship, family, and how to deal with loss. Between this and Waititi’s last film “What we do in the shadows” he has become one of my favorite directors to keep in mind. Seek this one out, you won’t be disappointed.

 

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The Jungle Book

The latest adaption of Rudyard Kipling’s 1893 literary allegory of anthropomorphic animals was released by Disney last year in groundbreaking fashion. This was one of the rare times when a reboot or reimagining of a property gave new life to the material and improved upon various versions of the story. This iteration, directed masterfully by Jon Favreau, combined some of the most cherished musical numbers from Disney’s earlier animated classic with a dash of the darker nature and tone that came from the original tale. Photorealistic computer generated imagery breathes new spectacle into the century plus old story, each of the animals move and react in a beautifully realized digital jungle with a human actor as Mowgli (Neel Sethi) that physically interacts with the imagined world around him. Of course it would be remiss of me not to mention the stellar voiceover cast with the likes of Christopher Walken as King Louie, Scarlett Johansson as Kaa, Sir Ben Kingsley as Bagheera, Idris Elba as Shere Khan, and of course-the perfect casting choice, Bill Murray as Baloo.

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Star Trek Beyond

The third movie in Star Trek’s newest revival of sci-fi films, “Beyond”, is a smaller film in terms of the scope of the adventure and thus feels more like a true ‘Trek’ episode than the previous films. While there is much to enjoy here, my only nitpick was some of the editing and cinematography choices during the action sequences, it was a departure from the sweeping glides of JJ Abrams whereas this seemed a bit clunkier and rife with shaky cam. The newest story takes place while the crew is on their five year deep space mission when they get stranded on an alien planet, the enterprize gets destroyed again, and thus the team is fractured into pairs where they must all work together to strive against the might of Krall, played effectively by Idris Elba. Simon Pegg pens the script here and you can feel his influence throughout in the playful pairings of the crew, Spock and Bones in particular was a great choice. The film leans a bit into nostalgia, and the revival series has earned it’s place among the canon to do so. It’s a bright future for the franchise and I can’t wait to see what they do next in “Infinity”… I mean, it might not be called that, but if they don’t name it “Infinity” they clearly missed an opportunity.

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Kubo and the Two Strings

This stop motion animated epic from Laika Studios is one of their very finest work.Charlize Theron, Ralph Fiennes, & Matthew McConaughey throw their talent behind the voices of Monkey, the Moon King, and Beetle respectively and much of it works to great effect. Kubo (Art Parkinson from Game of Thrones) is our hero who must retrieve his lost father’s armor and weapons to defeat the evil Moon King once his hiding place is discovered. Akin to a Legend of Zelda set up, this adventure wisely relies on wit and humor with crazily intricate fight sequences throughout to craft an entertaining and solid flick for children and adults.

 

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Snowden

Oliver Stone’s newest film tackles the recent international affairs of Edward Snowden, the name known the world over for unleashing news of America’s sweeping surveillance program put in place by the NSA. These revelations that our government was spying, not just on other nations, but on our own citizens has changed the course of history and will have a lasting effect on policy and politics. Joseph Gordon-Leavitt effectively portrays the title character in a very true to life scenario. Shailene Woodley also stars as Snowden’s girlfriend, Lindsay Mills, and injects an authentic charm into the film, which is a role that I believe will net her more projects in the future. The film may lag in spots because of it’s devotion to reality, but it doesn’t make this tale any less fascinating or important.

 

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La La Land

Combining a love and devotion to Golden age Hollywood Musicals with modern sensibilities and new age ability “La La Land” is easily one of my favorite films of 2016. This is a film that was made by somebody that had something to say, and that is powerful. When a crew this dedicated to perfection comes together-it’s palpable. The amount of pure determination showcased in this film with all of the choreography, the dancing, the music, the acting, the lighting, it’s astounding how it all works! This film is about the push and pull of love of art versus the art of love, but more than anything else, it’s about hope and the pursuit of happiness. If you’re a creative person at all (and that can be applied to many, many, many variations) you will likely love this film. If you love film, you may even adore it. Even more importantly than that-you should see this movie, challenge yourself if you’re not a musical person, these are extremely human characters telling an incredibly relatable tale. This is masterclass filmmaking at it’s finest, so much so that Damien Chazelle will likely become a household name after this, and he’s earned it!

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The Nice Guys

Critically underwatched, “The Nice Guys” is definitely one of my favorites of the year! Set in 1970’s L.A. Gosling is an alcoholic Private-Eye who ends up teaming with Crowe’s burly muscle with a heart of gold when they stumble upon a sprawling conspiracy while investigating the alleged suicide of a famous female porn star. This is hands-down the best script of the year and possibly the hardest I laughed at a movie all year, although “the Hunt for the Wilderpeople” gives that title serious competition. Directed by Shane Black in brilliant fashion, “The Nice Guys” harbours hilarity, a snappy script, and unlimited charisma between the leads to combine into a new classic.

 

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Sing Street

As the second musically themed movie on this list, “Sing Street” shares similarities about love and risk, but it is also about family and brothers. Set in the 1980’s in Dublin, Ireland the story centers on Conor, a 14 year old boy that’s strained by the familial stress at home from his parents’ arguments about love and money after he’s sent to a rough-and-tough inner city public school. He eventually finds a cool girl named Raphina whom he invites to be in a music video for his band. Then he sets out to create said band. The film is full of optimistic heart and catchy tunes from the era as Conor and his newfound friends play music, engage in youthful rebellion, and fall in love. “Sing Street” shows us that music has the power to sweep us away from the turmoil of everyday life and transform us into something far greater.

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Zootopia

Proving to be smarter than your average anthropomorphized animation, Disney’s “Zootopia” is a well crafted tale with timely lessons held within it. The story is about assumptions based on appearances, and how we (or in this case the animals of Zootopia) should approach diversity and challenge our reactions. The film follows Judy Hopps (voice of Ginnifer Goodwin), a small town bunny with big city aspirations. She desperately wants to be a police officer, which would make her Zootopia’s first bunny cop. Right away she is placed on meter maid duty but stumbles upon a case much bigger than expected by association of Nick Wilde (voice of Jason Bateman), a sly Fox that she encounters on her first day as an officer. From there the two reluctantly work together to follow the scent of foul play afoot. This is a wildly entertaining movie by Disney that has enough humor and stylish zany cartoon antics to keep children appeased with a story that adults can also appreciate. Also starring in the film as various animals are J.K. Simmons, Idris Elba, Kristen Bell, Alan Tudyk, Tommy Chong, and Shakira. Definitely check this one out if you missed it!

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Shin Godzilla

Toho Studios revived their radioactive giant once more last summer in Japan to soaring review scores while also becoming a box office home-run. This is a smart monster flick that utilizes the current political landscape in Japan as a foundation for tension as well as mindful social commentary. There is camp and visceral destruction to be had of course but, the film also deftly uses Godzilla as an opportunity to decide whether or not to use force when the country effectively has no military. The film casts a wide net on the scope of the film by showcasing how Godzilla’s very presence effects the lives of the people in Tokyo and surrounding areas. This does a lot to present the audience with an effective grasp on just how many moving parts would have to come into play under such an event. There are many conversations between leading personnel about the streams of red tape and hurdles they have to jump through just to get anything done. A lot of the plot rests on these debates. The film carefully considers the weight of taking action, of following procedures, and whether or not to choose independently. As an added plus this new Godzilla has a ridiculous range of destruction rendering abilities.

 

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Silence

Ending an incredibly long creative journey for legendary film director Martin Scorsese, “Silence” is a long and thought provoking summation on religion, faith, and to what lengths two men of faith will go to spread the teachings of their religion. Set in the 1640’s this is the story of two Portuguese Jesuits (Andrew Garfield and Adam Driver respectively) who travel to Japan to retrieve their former mentor (Liam Neeson) who had been reported as denouncing his faith in public. Scorsese is one of the last great American film directors from an age when films took their time to tell you their story. Patience is important regarding “Silence”, but while it has a long runtime, the film rewards you with visual cinematic beauty. This is not in reference to any special effects, but rather classical imagery evocative of renaissance paintings, for much of the movie regards framing, movement, and staging in this manner. Andrew Garfield will find similar themes and ideas here in comparison to his most recent role in Mel Gibson’s “Hacksaw Ridge”. However while Gibson’s  film had Garfield’s character utilizing his faith as a source of power-as the solution to his problems- the same cannot be said for Scorsese’s epic where Garfield’s character has to ponder whether or not his religious convictions are causing his problems. Adam Driver, still riding high from his villainous role in “Star Wars: The Force Awakens”, encounters a supporting role that isn’t quite as involved as Garfield’s, but is meaty with the themes that weigh on the shoulders of the story nonetheless. This a beautifully realized film, however you should measure your expectations for the type of story you’ll be encountering. If you are appreciative of the visual arts or the art of cinematography and directing in film then this is something you’ll likely enjoy.

 

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*A Monster Calls

Sigourney Weaver, Felicity Jones, Toby Kebbell, and Liam Neeson (as the Monster) surround Lewis Macdougall as Conor, a young boy dealing with familial illness, schoolyard bullies, and the trials of youth. This is an engrossing coming-of-age story that is awash in vibrant color, brilliant special effects, and dark themes that the film boldly never shies away from. The film seems to be partly fantastical in it’s cinematography and art direction while deftly weaving in a teary-eyed story of loss and growth. Keep an eye out for this one.

 

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*Hell or High Water

A modern day Western in the skin of a bank heist thriller, “Hell or High Water” offers a tried and true formula that is ultimately satisfying on multiple levels.  Toby (Chris Pine) and Tanner (Ben Foster) are two renegade brothers that start running multiple bank heists and subsequently getting rid of the evidence, then starting up the cycle again constantly keeping the cops at bay. That is, until Texas Ranger Marcus (Jeff Briudges) arrives on the scene looking for one last grand pursuit before retirement becomes his reality. The efficient pacing and solid character work here elevates this above mindless popcorn gunplay, comparisons have even been made to a more bombastic “No Country for Old Men”. If you enjoy the Western genre or a solid cat and mouse heist thriller; you’ll likely find much to enjoy here!

 

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*Nocturnal Animals

Written and directed by Tom Ford (a well established American fashion designer, this is his second film), “Nocturnal Animals”follows Amy Adams and Jake Gyllenhaal as a divorced couple that get caught up in a haunting romance thriller. The film begins with a passion-lost Amy Adams owning an art gallery and living in a mansion in L.A. while her current husband (Armie Hammer) flubs their planned vacation and she ends up reading a book sent to her that was written by her former husband, Jake Gyllenhaal. This opens up the story contained within the book, a film within a film if you will, in which Michael Shannon and Aaron Taylor-johnson also star as side characters. Eventually the book melds with elements of the modern day storyline to form a violent and dark thriller that has a mixture of revenge, love, cowardice, and art all intertwined together.

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*The Edge of Seventeen

Not just another coming-of-age movie, “The Edge of Seventeen” wisely plays on the humor and emotional trauma of what it’s like to be a young woman in today’s world. The plot centers around Nadine, played with appropriate angst that endears sympathy by Hailee Steinfeld (True Grit), as her popular older brother starts dating her best friend. Ouch. That’s prime awkward Teen comedy/growth material. Woody Harrelson is also a supporting character here portraying Nadine’s History teacher who becomes a sort of venting partner/mentor throughout the film. A step above many in this genre; “The Edge of Seventeen” effectively reminds us of classics like “The Breakfast club”, “Sixteen Candles” and “St. Elmo’s Fire” particularly because it doesn’t hold back its punches and inserts some well respected honesty into the story.

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*Arrival

Hailed as one of the most memorable performances from Amy Adams in a leading role, “Arrival” is the thinking man’s (Or woman’s!) science fiction film. This alien invasion starts the film as an elite team is brought in by the government to try to understand this possibly invading force. Adam’s character, Dr. Louise Banks, is a superb linguist joined by a welcoming physicist Ian Donelly (Jeremy Renner) as agents of the military, Colonel Weber (Forest Whitaker) and others, inform them with what they know. There are eleven other gigantic alien crafts besides the one floating out in the wilderness of Montana, the alien spaceships reside in plain view as solitary stone-like structures in Shanghai, Siberia, Sudan, and Sierre Leone to name a few. Their mission is multifacted. They must open a line of communication with the aliens quickly, before the Russians or Chinese do, while yet learning more about them than what they can learn of us, the military influence pressures this with overbearing intent. This film is delibreate, cerebral, mysterious, and tension permeates the dialogue throughout. Another exceptional entry from Denis Villeneuve, who also directed Sicario, cementing yet another director to keep an eye out for!

 

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*Manchester by the Sea

After the death of his older brother Joe (Kyle Chandler), Lee Chandler (Casey Affleck) is shocked to learn that Joe has made him the sole guardian of his nephew Patrick (Lucas Hedges). Written and directed by Kenneth Lonergan, “Manchester by the sea” has been bandied about as the character piece that will likely skyrocket Casey Affleck to the top of many Oscar contenders lists. This is a painful yet powerful tale of the tragedies of life along with the nuances that accompany it. There is a palpable sadness that is true to life, it makes the experience fuller, and richer with humanity than it would have been without. This seems to be among the top awards contenders, showcasing unchained acting that feels authentic beyond measure.

 

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*Green Room

Posing as a genre B-movie thriller, yet proving to be much more, “Green Room” offers an offbeat and intelligent addition to the horror/thriller genre. Punk rock band, “The Ain’t rights” are roughing it out, low on money, gas, and energy when they hear of an odd opportunity in the backwoods of Oregon- playing a show for Neo-Nazis. Reluctantly they accept but end up accidentally witnessing a brutally violent act. The club’s owner, played with a fiendishly fun and elegantly evil performance by Sir Patrick Stewart, quickly mobilizes his cronies to get rid of the outsiders. The rest of the film delves into murderous fun full of dark humor, expertly crafted tension, and a wicked good time. With the exception of his role as Chekov in “Star Trek Beyond” this is Anton Yelchin’s last starring role, and its one that’s worth watching if you’ve been craving a unique and violent genre flick.

 

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*The Lobster

Requiring an acutely acquired taste, “The Lobster” will most undoubtedly be a rare viewing opportunity for most. Despite its drab color scheme, muted and bleak, or the nature of its droll adaption of society, this film creates a truly unique effort. In the near future being single has been outlawed. If found to be single, you’re quickly transferred to a prison/hotel of sorts, with strictly enforced rules, where you must meet another single participant and become a couple within forty-five days or you’ll be transformed into an animal of your choosing. The film isn’t a straight up comedy, but there are many moments throughout that elicit laughter, particularly for the absurdity of the scene itself. It acts as a social commentary on how society can pressure people into finding soulmates so much that it leads to reckless choices, however the film flips this ideology by applying this radical treatment to people who are happy being single. The films stars Colin Farrell in the lead role (an uncharacteristically oddball choice for the actor), and Rachel Weisz, Léa Seydoux, Ben Whishaw, John C. Reilly, Olivia Colman, Angeliki Papoulia as supporting characters.

 

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*Paterson

The latest film from Jim Jarmusch “Paterson” is about Paterson (Adam Driver) who lives and works as a bus driver and would-be poet, with his girlfriend Laura (Golshifteh Farahani) in the town of Paterson, New Jersey. If you’ve never seen a Jim Jarmusch film, you might say, “Wow, not a lot happens in this movie”, welcome to his style. This is, much like his filmography suggests, a repetitive rumination with beauty and comedy meshed in-but here it excels beyond previous efforts because of the performances and the ideology of the story. Paterson is about everyday life and trying to create art inbetween shifts at work, and the different ways people approach this. His girlfriend Laura, for example, treats every day as a new art project and switches from country music singing to another skillset or genre altogether. Paterson writes art, but Laura lives it. Jarmusch doesn’t play favorites with each character’s personal style either, both are presented as different approaches from different perspectives, no right or wrong here. Charmingly mundane, “Paterson” is a collection of very human moments, where Paterson will overhear bus passengers tell tales, catch up on the love lives of the barflies at the local bar he frequents, banter with bartenders, and passes by a late-night laundromat where Method Man (as himself) is rapping about the 19th-century black poet Paul Laurence Dunbar. It’ a pretty Zen film and a lovely change of pace, check it out for something new!

 

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*The Witch

One of the freshest horror films to come out this year, “The Witch” delivers it’s scares with proper skill and serious commitment. In a dread filled, puritan embellished flick set in New England in the 1600’s, this film has an unreal amount of dedication to the correct period piece way of life. Not only does the film boast proper spoken English for the period, it is also regionally specific to that time, with Carolinian prose for these Calvinist settlers. Realism is key in this setting, because in this world, the supernatural does exist. There really is a witch out in the woods plaguing the town, and how the film builds tension versus how it unravels it’s secrets will grip you until the credits.

 

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*Moonlight

“Moonlight” acts as a series of one act plays all centering on a character in three specific periods of his life: as a child, as a teenager, and as an adult. Accordingly, three different actors perform as Chiron during these eras of his life (Alex Hibbert, Ashton Sanders, Trevante Rhodes). This all makes sense as it is an adaption of the play “In Moonlight Black Boys Look Blue” by Tarell Alvin McCraney. Told in these particularly powerful stanzas is the story of Chiron and his path in life as he attempts to understand society and more closely, himself. Witnessing Chiron’s progress is both thrilling and agonizing as he tackles manhood and the issues he faces because of his sexuality. Being his second film, Barry Jenkins crafts a story that is very specific yet it has an inclusive nature of universality among its scenes without ever weakening the value of whose story is being told. The nature and meaning of manhood is the most primed focus here. How tough are you supposed to be? How cruel, or tender? How brave? And how are you supposed to learn? These are all pondered on and exemplified throughout the film. As powerful and challenging a look at life as you will ever come across, “Moonlight” is more than deserving of its award season buzz.

 

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*Fences

Starring, and directed by Denzel Washington “Fences” is an adaption of the 1987 Pulitzer prize-winning play by August Wilson. This isn’t the first time Washington has played around with the material though as both he and Viola Davis, also starring in the film adaption, were awarded Tonys for their 2010 revival of the Broadway play. The film, set in the mid 1950’s, is about Troy (Washington) and the inner workings of his family, through thick and thin. There may be temptation to limit Troy to his outwardly friendly demeanor at first, however upon peeling back the layers we see a man who is far more complex than is first realized. Bitter that Jackie Robinson broke the color barrier years after he was able to play on the national stage, Troy barks harshly at his children who dream of being musicians and college football players undercutting their hopes with a dark realism that the world has not changed as ideally as they would like to believe. Troy’s wife Rose (Davis) battles him verbally as the film progresses and enters into a monologue at the end that will ensure her name in the best supporting actress nomination. Intense and raw acting paired with brilliantly impactful dialogue, this is definitely among the best performances from this year.

 

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*The Founder

The story of Ray Croc, founder of the franchised McDonalds, is a story-as the trailers say- of persistence. Michael Keaton looks to soar in this grimy power grab of a film about the rise of McDonalds through shear determination.. and slimy business tactics. This is the tale of how a wily businessman took an idea and made into one of the most profitable and globally recognized property of the twentieth century. The supporting cast is also excellently rounded out by Nick Offerman, John Carroll Lynch, Linda Cardellini, and Patrick Wilson.

The Bad

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Independence Day 2: Resurgence

This sequel tries so very hard to outdo it’s much loved predecessor, and fails in alomst every regard in that attempt. It’s worth a watch just for Jeff Goldblum’s antics, but make no mistake, much of this film was a mistake. The biggest issue, it seems to me, is that the film tries to balance two very different tones that don’t mesh well. While attempting to recreate that 1990’s big budget take on Sci-Fi and Aliens in all it’s explosive glory, the film wanders near that attitude, but then veers into our post “Dark Knight” world where dark and brooding close-ups reign in measured and overly serious bits. I say, if you’re going to do weird, go full weird. Don’t wander between tones like that, it shows indecision based on fear and profit margins, not the inherent joy of fighting off an alien invasion that we should be getting from this movie. Honestly, with “Collateral Beauty” and “Suicide Squad” now on Will Smith’s filmography, he’s shown a willingness to take on terrible films. He could have done something this film- and it would have benefited greatly from his presence just as “Suicide Squad” did.

 

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Sausage Party

The idea here is somewhat brilliant, take an animated Disney style 3D animation focused on food products-but show them swearing constantly and point out all the sexual innuendos possible. There are enough puns here to sink a ship, and some of that is acceptable and pretty funny at times, however the problem with this flick is that it’s overly excessive with this idea. A swearing hot-dog can only induce so many giggles after all. That and there is some heavy handed themes against the ideas of the most popular religions, which I get-but again, it was a bit excessive.

 

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Alice Through the Looking Glass

Through the studio inspired paradigm of throwing everything at the wall to see what sticks, “Alice through the Looking Glass” is jam packed with colorful candy cane vomit. Decent visual effects can’t cover up a general lack of comittment to the characters and plot because it seems they have forgotten how to focus on telling a good and whimsical tale. From the opening Alice is now a swashbuckling adventuress that returns to feminist-viewpoint-squashing victorian era London to shove aside a former admirer before jumping through a mirror to land back in Wonderland. There’s something wrong with the Mad Hatter (who seems to have overgrown his original place in Carroll’s stories to appease fans of Depp’s first outing as the character.) and Alice strives to help him sort it all out. While the pace seems to want to rush along a breakneck pace to keep you from noticing the near underserving of the well known characters, you can’t help but become aware of this as the runtime wanes on. Even a time travel sequence can’t hide the workman like response to try and recreate Tim Burton’s first take on the world, and his missing presence can be felt.

 

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Passengers

Chris Pratt and Jennifer Lawrence star in this futuristic sci-fi romance as two passengers on an intergalactic voyage that are awakened 90 years too early. There are aspects about this flick to be admired, it’s not downright bad, it’s just lackluster. There is a twist that is revealed way too early in the film that could have been played for far more benefit if certain elements had simply been told in a different order. Other than that both Pratt and Lawrence are fine in their roles but they were clearly not challenged by the director to dig deeper or find the center of these characters because both seem to act exactly how you would expect either celebrity to act, they played into their own archetypes and the romance never feels fully developed, there is a false charm to it. Personally, I believe this is one of the few movies that I would have preferred as a book where the author could have the time to develop the characters better.

 

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*Gods of Egypt

While this whitewashed take on Egyptian mythology is saturated in bad CGI and immense overacting-It can be a good time in the right setting. Nikolaj Coster-Waldau (Jaime Lannister) as Horus, Gerard Butler as Set, & Brenton Thwaites as ‘mere mortal’ Bek play as the lead characters in which Set usurps Horus’ rise to power among the Gods. Horus then unites with Bek to undo Set’s ravenous power grab. Although, admittedly the story doesn’t really matter here as this movie doubles down on the ridiculous aspects as much as possible. For example, the Gods are physically much larger than mortals, but not to a gigantic amount, reaching roughly around ten feet tall making pairings of the mismatched characters outright silly from the beginning. Geoffrey Rush, Chadwick Boseman, & Elodie Yung also all star in this film. This is unequivocally the best “so bad it’s good” movie of the year.

 

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*Ghostbusters

It’s a credit to this film’s creative team that this wasn’t down in the “Ugly” section of films that came out this year, it wasn’t horrible, it just wasn’t all that great. Pitched as a female led revival of the Ghostbusters franchise, this straight up recycle of the first Ghostbusters was largely just “okay”. The worst I heard about the film was just that it wasn’t really quite as good as the first and that some of the jokes fell flat. Now, just because something isn’t as good as we would have liked doesn’t mean it deserves the hate it got. Personally, I say if Paul Feig wants to make a sequel, let him-he might be able improve upon the franchise now that they’ve wandered knee deep into the material and know what works and what doesn’t. They should probably ditch the “Answer the call” tagline though, doesn’t seem to make much sense.

 

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*Teenage Mutant Ninja Turtles 2: Out of the Shadows

While the sequel quelled some of the problems with the initial outing, these corrections and changes were not enough to make the “Michael Bay-ification” of the turtles worthwhile. The additions of Bebop and Rocksteady alone will assuage nostalgia for some older fans of the material though it cannot cover the sugar coated glean of issues plaguing most of the film. Movies like this can be fun and intelligently made, just look at any Marvel Studios movie, this one just lacks enough wit and charm to merit any further iterations, although we’ll probably get one anyway.

 

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*The BFG

An adaption of Roald Dahl’s literary children’s classic “The BFG” sits on the bad list not because it is necessarily terrible, it’s here because Steven Spielberg made it-and it’s somewhat lackluster. The story is about a small girl and a giant (Mark Rylance) who set out to stop evil man eating giants that have begun to invade the human world. The visual effects are efficient, and there is some merit to the film, but when Steven Spielberg steps up to the camera we’ve all come to expect the cinematic “magic” that is so often associated with his work, and there isn’t much to feel here.

 

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*X-men: Apocalypse

Sequel/prequel/threequel “Xmen: Apocalypse” unfortunately fell from the heights that “Days of Future Past” set it up for. The film is overloaded with an over reliance on special effects, to the point that it’s trying to cover for a weak and baseless villain who unfortunately falls prey to cliche. However the film isn’t straight up awful, there is fun to be had here at times, but the shortcomings outweigh the few strengths available to them. Which is a shame, because the cast is great, they were simply under-served by the film around them. Magneto’s (Michael Fassbender) story is really the only one that has good motivation, everyone else’s is either sub-par or passable. However the biggest failure is most definitely the wasted opportunity of Oscar Issac as En Sabah Nur aka Apocalypse. He is resurrected and begins his world domination with a fairly poor plan and almost no characterization. Besides the multitude of characters (which can be done intelligently ie Civil War), weak excuses for destruction, and lack of reasoning as to why killing off humanity would make the world a better place-the film has entertaining moments, but they’re simply not enough. To quote Jean Grey (Sophie Turner from Game of Thrones) after viewing “Return of the Jedi” in the movie, “The third ones always suck”.

 

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*Jason Bourne

What do you do with a character whose former motivation was regaining his memory, now that he remembers everything? Well, you end up with “Jason Bourne”. This is a film that has a magnetic lead in Matt Damon, and an effective director in Paul Greengrass, but it cannot shake the fact that they are working with seriously thin material. More of the same and yet nothing new. This latest Bourne flick has him chasing down the mystery behind his father’s association with the Black Ops Treadstone program. The typical character archetypes of past Bourne iterations are present; the shifty middle-aged intelligence chief, the female CIA agent who eventually believes Bourne’s actually a good guy, and a fierce opposing assassin. The shaky cam fight sequences are back too, which isn’t a good thing in my opinion, especially while shot in the dark. There might be a good fight scene happening, but the audience is just listening to two guys trying to kill each other in the dark. This is passable summer diversion, just don’t reflect too long on the films that came before this one, lest you realize this lesser Bourne for what it is.

 

 

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*Legend of Tarzan

Another year and another reboot of an ages old property. Granted this Tarzan adaption attempts to be weightier than most of its predecessors, it doesn’t do much else to warrant this revival. With a capable cast and hints of Tarantino glory, this is a reteaming of Christoph Waltz and Samuel L. Jackson after all, the film begins with Tarzan returning to the Congo after having lived in London for some time as John Clayton III aka Lord Greystroke. His reason for returning to the jungles of the Congo? He’s told of a Belgian plot, led by Leon Rom (Christoph Waltz), to conquer the land and subjugate it’s people. This news comes to him by way of American diplomat George Washington Williams (Samuel L. Jackson), and it isn’t long before they travel, along with Tarzan’s Wife (Margot Robbie), to the African continent together to foil it. David Yates attempts to distance this film from some of the more unsavory aspects of the character’s past, ie being a white savior to the African countries and peoples along with the way Jane is typically presented, and he succeeds on some parts. Particularly when Jane is captive and spits in Rom’s face upon him mocking her and attempting to stir a scream, when she responds fiercely “Like a Damsel?”. There are fun aspects to the film, however it’s hard to get past the past when it comes to transforming Tarzan into an eighteenth century superhero of the jungle.

 

The Ugly

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Batman V Superman: Dawn of Justice

Two of the most iconic superheroes of all time come together in a fury of fisticuffs. Sounds like fun right? Wrong. Long, muddled, and a flawed understanding of the characters leads this film straight to the dump. At least the ultimate edition straightened out that Lois Lane scene at the beginning of the film. #Martha

 

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Suicide Squad

With a tagline like “Worst. Hereos. Ever.” you’d think this film would have a fun edge with a sassy commentary on the tropes and themes of modern superhero flicks. Wrong again. 1 & 1/2 acts of introducing characters set to outrageously overplayed hits, the only saving grace here is that Will Smith and Margot Robbie make the film worth a watch, but not much more.

 

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Assassin’s Creed

There was a hope among many that “Assassin’s Creed” could break the video game to film adaption curse. It most definitely did not. This film is overly loud and so frantic you can barely tell what’s going on at times. The hyper fast editing style also didn’t help, there may be good choreography in this film but you wouldn’t know it as the camera cuts away from the action so many times to get sweeping location shots that add nothing but more confusion. Michael Fassbender is an extraordinary actor but maybe he should choose his projects more carefully after this because his “I’m Crazy” sequence alone was so over the top and out of place I literally mouthed “What the hell is going on?” in the theater. The story only takes a barebones structure of narrative from the games and dashes the rest of the rich stories available to them. Particularly curious was the choice to make Fassbender’s ancestor a near mute, with “devoted to the cause” being his only character trait and motivation. Ezio Auditore had charisma, layers, and purpose. No one in this film came close. Oh Ubisoft, maybe next time?

 

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*Ben Hur

A remake of one of Hollywood’s golden age classics is already enough to boil some viewer’s minds just at the thought. A couple of visually interesting scenes cannot save this trainwreck from the graveyard. Morgan Freeman’s dreadlocks and an overly butterflys-and-cake-frosting ending send this movie into the abyss of unwatchables.

 

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*Zoolander 2

Not only did this sequel not need to happen (Nor was anyone clamoring for it), it retroactively makes the first movie worse. The comedy sensibilities of the first film do not work 16 years later, and it shows. The first movie worked for its time, but it’s a different world now. Cringeworthy at best, Ben Stiller- what happened?

 

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*Max Steel

A half baked and eye rollingly bad cash grab for an action figure with no notable name recognition (At least for me, and I grew up in the 1990’s!), “Max Steel” isn’t even “laughably bad”-good, it’s just bad.

 

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*Nine Lives

Who knew Kevin Spacey needed money this bad? At least, that’s the theory I have for why this movie even exists. Kevin Spacey stars as a daredevil businessman who rushes to get a cat (which he hates) for his daughter for her birthday, and is thus somehow turned into that very cat. This is an entirely forgettable, debasing, poorly written, with hamfisted acting abound, slog of a movie. Please, for your own good, do not waste your time on this one.

 

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*The Fifth Wave

Generic and middling in plot with forgettable tropes that are overly familiar to this sub-genre of films, “The Fifth Wave” is another bad effects and teenage-love-triangle-riddled bland movie. Maybe this film will be the end of the Young Adult (YA) dystopian films. We can only hope for so much.

 

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*Collateral Beauty

While some of the performances here are fine, Will Smith in particular, this film resides on the ugly list for how it was marketed versus what the story actually is. I won’t ruin it for you, but just know that the story is morally deficient and that there’s a reason it was buried under the latest Star Wars film.

 

*For one reason or another I did not get to see this film (yet), or simply wasn’t all that interested but thought it was worth mentioning. I have collected a general sense of the film through the marketing, reviews in video or written form, and the general consensus from word-of-mouth experiences through secondhand accounts. Some of these may receive individual reviews if I find them interesting enough to write about after an initial viewing.

 

film

Is 2016 the worst summer movie season yet? + year in review (so far)

This has been a weird year for movies. Lest we not forget the political vomiting that’s taking place and poor ole Harambe, but when it concerns the cinema, whew, it’s been one for the books, and its still only September! I can only speak for the films I’ve seen, but for the ones I have not I can only go by general consensus or word of mouth. For example, I saw Batman V Superman, so I know the extent to which I was dissapointed, but I could have easily relied on the explosion of conversation surrounding the film as well. Rotten tomatoes score or not that movie earned (some) bank but built an uneasy foundation going into the summer for DC comics based movies.

After compiling the lineup below I realized I haven’t seen anywhere near the amount of movies I wanted to see this year, but eventually I’ll get around to most if not all on this list. It’s hard to keep up with the abundance of visual art that’s made each year, and I personally try not to berate any one production, because it’s a difficult thing making a movie. I know, just from small instances of my own personal efforts, that simply scheduling around people’s lives can be a headache in itself and that’s not considering budgets, daylight, special effects, line memorization, lighting, hell even lunch being delivered on time can make or break a day’s efforts sometimes. So, sometimes even simply finishing a film can be a feat. I get that. However it’s also important to hold Hollywood to quality storytelling as they have the infrastructure that independent filmmakers only dream of and consequentially the indie people have made better films, than the big studios, as far as 2016 is considered.

Some are calling this the worst summer movie season ever. I don’t know about that. While it was certainly a letdown at times (here’s looking at you Independence Day) this year did have its merits, in fact I would say there were far more quality films over the more discussed dissapointments. You just had to know where to look for them. Anyways, here’s a quick reminder of this years highs and lows at the theater (so far).

The Good

Deadpool: A

Who knew the merc with a mouth could be more bankable (in North America), and have a better story, than Batman and Superman combined? #Driveby

Captain America Civil War: A+

Just another AAA 10/10 notch under Marvel’s belt, everything about this film knocks it out of the park in a way that keeps reinventing the superhero genre while inserting powerfully emotional story threads.

Swiss Army Man: A

This is a beautiful film about a suicidal man teaching a dead man that life is worth living. Filled with slick editing and special effects this film combines profound questions about life, saddness, love, and farts. Just trust me, it works.

Hunt for the wilderpeople: A+

A joyous and at times somber film that keeps you laughing while doling out life lessons for the leads both young and old. This is a truly unique flick and definitely one of my new favorites! Plus Any film that utilizes New Zealand’s beautiful landscape is always a nice touch.

Star Trek Beyond: B+

Slowed down to a more true ‘Trek’ vibe and pace this third outing in the series is another welcomed adventure with great character work. I may personally disagree with the creative choice of incorporating shaky cam sequences, but it’s not too much to distract from the overall quality.

The Shallows: B

The second best shark attack film ever made. At a tight hour and twenty seven minutes this popcorn shark flick hits all the intense and unnerving moments that you’d expect, and want, out of the ‘Blake Lively versus a giant shark’ pitch.

Jungle Book: B

Visually impressive beyond a doubt this modern rendition of Mogli’s animal adventure is a pleasure to watch and worthwhile solely on the basis of Bill Murray as Baloo and Christopher Walken as King Louie.

Kubo and The Two Strings: B

A clever and impressive stop motion adventure full of heart and danger, this is Laika studios’ best effort yet! Plus Matthew McConaughey steals the show as Beetle #AlrightAlrightAlright

Kung Fu Panda 3: B

A fitting and entertaining sequel following Jack Black’s Po and friends on more Kung Fu adventures while learning life lessons along the way. The soundtrack also took a noticeable uptick from previous outings.

The Bad

Independence Day Resurgence: C-

While I personally enjoyed this popcorn disaster flick, it is by no means “good”. Bigger Aliens, more destruction, but a confused tone throughout make a mess of a good alien invasion series. Jeff Goldblum makes the watch worth it, but not much else.

Sausage Party: C+

This isn’t necessarily a “bad” movie, but for what I expected (and this may be an issue of expectation vs reality of the film) it just didn’t really hold up for me. However there are clever bits hidden throughout about the nature of humanity, religion, and reality. If Hotdogs saying “Fuck” a whole lot is your thing then you’ll love it.

The Ugly

Batman VS Superman Dawn of Justice: D-

A complete misstep in the basic understanding of the two main characters here. While there are some fun visual things throughout the movie, like Batman in the warehouse, there are simply far too many failings (Martha/kryptonite spear/Jesse Eisenberg/Murderface Batman/No Smiles Superman) to merit this a success in the least.

Suicide Squad: D

1 & 1/2 acts and a thousand flashbacks mashed into one seriously confusing and muddled mess set to pop hits with the worst villain in ages, Suicide Squad is more entertaining than Batman V Superman at times, but not even Will Smith can save the DCEU, although he was the best part.

The Unwatched (For Now)

The Lobster: Want to see

I’ve heard great things about this one plus I love the concept of forced love under the threat of animal transformation.

Sing Street: Want to see

Consistently heard that this is one of the best, if not the very best, films of the year. Plus the trailers really sell those kids rocking the hits!

Green Room: Want to see

As one of Anton Yelchin’s last films I want to check it out since he was a great actor, but Patrick Stewart in a villainous role is also incredibly enticing!

10 Cloverfield Lane: Want to see

I personally love John Goodman in almost everything he’s done, plus the word of mouth about this film is excellence bar none so I’m pretty excited to check out how creepy Goodman can become when in a bomb shelter as friend or foe.

Hail, Caesar!: Want to see

I love the coen brothers’ films but I especially love when they work with George Clooney. The trailers sold me on the idea of a Golden Age hollywood kidnapping that becomes Josh Brolin’s problem. I’m in!

Warcraft: Want to see

Not everyone loved this film, and I’m not a World of Warcraft player but it looked fun and visually stunning, that and I admittedly have a fantasy genre weakness. More Magic and swords please!

The Witch: Want to see

I’m not the biggest horror fan around, but when a film in the genre seems to be universally loved I kinda want to know what all the buzz is about.

Zootopia: Want to see

The consensus is that this animated flick is clever as hell and highly watchable. That’s good enough for me!

The Nice Guys: Want to see

Ryan Gosling and Russell Crowe paired together in a buddy crime flick set in 1970’s Los Angeles and its directed by Shane Black? I have no excuses, I should have seen this one.

Hell or High Water: Want to see

I like the actors involved here and it seems like an excellent robbery film scenario. It’s just nice to see Chris Pine in something besides outer space, although he’s a great Kirk nonetheless.

Finding Dory: Want to see

Finding Nemo was Pixar’s Lion King, and it seems they did one better than Disney by creating a follow-up that wasn’t direct to video material, kudos, I need to see this animated feat.

The BFG: Moderately interested

The actual story and trailers didn’t truly sell me on the film, but it IS Steven Speilberg we’re talking about here, i will see this one eventually.

X-Men Apocalpyse: Not interested

While Days of Future past was an excellent X-men Movie I’m just not all that interested in the first class crew out on their own, I didn’t love their first outing and it seems like they wasted both Apocalypse AND Oscar Isaac here. I’ll check it out eventually because of Michael Fassbender’s Magneto though, however I’m still not convinced when it comes to James McAvoy’s Professor X .

Jason Bourne: Not interested

I might be in the minority here but I just wasn’t a fan of the earlier Bourne movies, to each their own, but if this one is supposedly the worst of them all then why should I bother?

TMNT Out of The Shadows: Not interested

The first (new) Teenage Mutant Ninja Turtles was abysmal (in my opinion) and this one did look to be a shade better, but they’re just not my turtles, sorry guys.

Ben-Hur: Actively avoiding

This seemed like a pointless remake to begin with and the reception has only grounded that belief further. I’m also not incredibly inclined towards Jesus flicks, I’m still miffed about the passion of the Christ if I’m being honest here (it’s not a movie).

Everybody wants some: Want to see

Richard Linklater is a unique voice in film today and I’ve enjoyed his other flicks so why not check this one out? It seems to be well received too!

The Neon Demon: Want to see

Besides Drive I’m not a gigantic Nicolas Winding Refn fan but this has been highly recomended to me by fellow film fans for the cinematography and use of color, so at some point curiosity will get the better of me and I’ll check this one out.

Zoolander 2: Actively avoiding

The first Zoolander is enertaining enough but I’ve heard that even people that loved the first one were dissapointed by this outing, so why spend the time if I wasn’t the biggest fan of the first one anyways?

Neighbors 2 Sorority Rising: Moderately interested

I have not seen the first neighbors so I should probably check that one out as well but I’ve heard nothing but good from both of these comedies and I’m always heartened when a solid comedy does well.

Now you see me 2: Not interested

I also missed the first Now you see me, so maybe I could give it a shot, I enjoy all of the talent involved, but I really have no interest in checking this out after all the “meh” this film received. Maybe on a rainy day.

The Legend of Tarzan: Not interested

This is one of those “Told a million times” stories that I honestly have no real interest in seeing. Christoph Waltz is always a delight onscreen but I fear this film has nothing else to offer.

Keanu: Want to see

Key and Peele are a fun comedic treat whenever they produce something it usually turns out great, plus the trailers sold me on the idea of this kitty caper, I just haven’t gotten around to it quite yet.

The Light between Oceans: Moderately interested

I recently saw a bit of an interview with the director Derek Cianfrance where he explains his filmaking process with this film and it honestly intrigued me enough to see how it ends up, plus Michael Fassbender is always good. Always.

Don’t Breathe: Moderately interested

Again, not a huge Horror fan, but the idea of a home invasion that is flipped on the intruders when the blind homeowner becomes the villain is delightfully creepy, plus Stephen Lang is excellent and its always nice to see him get more work.

Money Monster: Moderately interested

Directed by Jodie Foster and starring George Clooney in a timely thriller about the 1% and their greed seems like it could be an entertaining piece.

Nine Lives: Actively avoiding

Ha! This looked awful from the beginning, but if you really want a good opinion on why you should never see this check out Chris Stuckmann’s review of it on youtube, it’s glorious.

Pete’s Dragon: Not interested

To be fair I was never a fan of the original because I never saw it as a child so there’s no inherent nostalgia for me here, plus nothing in the trailers really sold me on it.

Gods of Egypt: Moderately interested

This is a train wreck I want to see. I know it’s bad. Terribly bad. But it looks entertainingly horrible, like laughing nonstop bad. It could be worth it if viewed as a comedy.

So that wraps it up for movies I have seen and those I have missed. If you have any thoughts or opinions please feel free to comment below. Let’s hope the fall has more promising films on the way. The ones I’m looking forward to are: Rogue One, Doctor Strange, Jack Reacher 2 Never go back, Godzilla Resurgence, In a valley of violence, Passengers, La la Land, & Rules don’t apply. Here’s to better films and brighter futures!