Tag: movies

Categories
Uncategorized

The Return to Theaters: Tenet (Christopher Nolan, 2020)

{Don’t worry, this review is completely spoiler-free.}

It’s been a long 6 months since the last “Uncut” review. In the 172 days (yes, I counted) since I was last in a movie theater, the world has changed dramatically. If you’re anything like me, films are a necessary escape – sometimes they are a means to explore grand themes, to better understand ourselves, or to simply not worry about that days’ monotony.

Which is why I would argue (politics aside, because who cares what I think on that front) that theaters are all the more important in today’s climate. As I paced back and forth in my room during the seemingly never-ending quarantine, I watched every movie on my “Most Anticipated” list drop off the calendar – No Time to Die from April to November. Candyman from June to October. A Quiet Place Part II from March to who knows when. New Mutants from… just kidding, no one wants to see that.

But through it all, Tenet was my biggest hope, my shining light at the end of the tunnel. Christopher Nolan, today’s biggest proponent of the theater-going experience, relentlessly advocated for his 11th feature film to open the doors of movie theaters across the globe with its release. Consequently, already gargantuan expectations for Tenet ballooned from “Christopher Nolan spy movie” to “The Savior of Cinema As We Know It”.

So, there I sat, in Boise Idaho of all places, with 172 days’ worth of quarantine-fueled anticipation making it nearly impossible to sit still in the IMAX theater. Was it Christopher Nolan’s best film? Was it the “Savior of Cinema”? Was it worth potentially contracting the coronavirus from the large bearded Idaho man sitting behind me?

The answer to those questions, unfortunately, is no – but this is still a damn good movie, with action scenes so mind-boggling it’ll have you driving home in complete silence, wondering if Christopher Nolan is secretly a wizard.

Tenet is Nolan at his most Nolan-y, as the film is almost entirely made up of consecutive scenes of nonstop scientific exposition, which then sets up an ensuing car chase, fight scene, etc. Even if I was an alien with ten hands, I would not be able count out the number of scenes with two people walking around, doing nothing but describing the plot. Entire characters exist only to deliver scientific reasoning to John David Washington’s protagonist. These characters in past Nolan films, such as Tom Hardy’s Eames in Inception, were given enough scenes and catchy dialogue that it was harder to notice how little we actually knew about them, but Nolan has packed so much expository information and science into Tenet‘s runtime that these cardboard cutout people stand out as incredibly one-dimensional.

As one such cardboard character instructs the protagonist to “feel, rather than think”, the best way to enjoy Tenet is to give into the ludicrously complicated action spectacle on display; however, this is frustratingly hard when one-third of the film feels like a Physics lecture being rapped by Eminem. As someone who prides himself on understanding Inception, Interstellar, and Memento, I genuinely struggled to keep up with Tenet from scene to scene.

Another unfortunate aspect of Tenet‘s screenplay is John David Washington’s aforementioned protagonist, who literally says “I’m the protagonist” at least four times in the film. What else do we know about him, you ask? Um… he’s a spy… who wants to save the world… and he looks like a young Denzel Washington?

Washington deserves credit for packing as much charisma and excitement into his poorly written character as possible – but above all, he deserves credit as a believable action star. At one point a running back signed by the St. Louis Rams, Washington’s physical gifts are on full display as he performs his own stunts, lending crucial intensity to all his action scenes.

Meanwhile, his co-star Robert Pattinson further proves his legitimacy as a non-Twilight leading man, while Elizabeth Debicki provides the most emotional heft of the film (she was great in last year’s Widows as well). Kenneth Branagh, however, is the true scene-stealer, as arguably the best non-Joker villain in any Christopher Nolan film. Flipping from maniacal screaming to intense silence in a split second, his genuinely scary performance made me fear for the safety of everyone else on screen.

While Tenet‘s negatives can be largely summed up by an over-reliance on thinly-developed characters and science-heavy exposition, its positives delve into spoiler territory, which I obviously won’t get into at all. Anyone who has seen a Christopher Nolan film knows that he is the master of spectacle, and Tenet is no different. I flat-out don’t know how he shot some of the events on screen, and he deserves all the credit in the world for his devotion to in-camera physical effects. And while I have largely criticized Tenet‘s screenplay, it does reward the audience for paying attention, with small details leading to rewarding twists and reveals in the end.

While it may sound like I’ve been harping on negatives in this review, that’s only because I’ve come to expect so much from Nolan. Give me a flawed-but-spectacular film that takes chances over a “better” executed, more traditional film any day of the week.

Simply put, when Tenet was on the screen, all my real-world worries faded to the background. Isn’t that something we could all use these days?

The Cast: John David Washington, Robert Pattinson, Kenneth Branagh, Elizabeth Debicki, Michael Caine, Aaron Taylor-Johnson, Martin Donovan, Clemence Poesy, Himesh Patel

The Elevator Pitch: .sdrawkcab siht gnidaer boj ecin ,oslA .ti evol ll’uoy dna ,no gniog si lleh eht tahw wonk t’now uoY

The Score: 9/10

{A side note – my theater only allowed booked seats in every other row, with at least two seats between your group and the next group. I personally felt much more safe in the theater than I have at other gatherings that are more widely open across the country. If you feel comfortable with it, buying a ticket at your local theater could help bring movies back sooner. Either way, stay safe out there!}

Categories
Uncategorized

Review Roundup: January & February 2020

In honor of Leap Day, I’m leaping backwards to talk about some movies I never got the chance to review.

Ok, that was a stretch, but we’re moving on. This is the start of my “Review Roundup” segment – here are the rules and guidelines that I’m making up as I write this:

  • Each review has to be exactly 100 words (feel free to count them if you think I’m bluffing)
  • Movies are ordered chronologically by when I saw them
  • Underseen gems (The Lodge) and overseen garbage (Bad Boys For Life) can be found here

The Gentlemen (Guy Ritchie, 2020)

A true return to form for Guy Ritchie, The Gentlemen plays like Tarantino-lite: cool characters, quick dialogue, flashy jump cuts, intricate crime plots, and uber-violence.

Every actor here gives a top-notch performance, too. We have Matthew McCounaghey as a suave, smart gangster. Then we have Charlie Hunnam as his smart, suave right-hand-man. Hugh Grant as a smart and suave private investigator. Colin Farrell as a suave, smart boxer (my personal favorite).

Ok, so The Gentlemen isn’t the most subtle or deep film. But it’s tons of fun, and I had a smile on my face when I left the theater.

The Score: 8.25/10

Color Out of Space (Richard Stanley, 2020)

This falls into the category of an underseen-and-pretty-good-but-wow-this-is-weird gem (that only counts as one word). If you’re the type of person who likes the sound of a film where Nicolas Cage is obsessed with alpacas and slowly loses his sanity, then this one’s for you.

Color Out of Space feels like a modern B-movie classic that will find its niche audience. It trades slow-burn mystery for throwing everything crazy at the screen possible – which I’ll admit is very entertaining. Watch this only if you have a stomach for body horror, and enjoy Nicolas Cage doing whatever he pleases on screen.

The Score: 8/10

Bad Boys For Life (Bilall Farrah & Adil El Arbi, 2020)

Relying entirely (and only) on the charisma of its leads for entertainment, I can see why Bad Boys For Life has made a lot of money – but I have absolutely no clue why it’s sitting at a respectable 77% on Rotten Tomatoes.

The action plays as a blatant rip-off of Michael Bay’s choppy, quick-cut style, and the villains are bad cardboard cutouts of actual people. Will Smith and Martin Lawrence’s on-screen camaraderie, built over the last 25 years and three films, make For Life semi-watchable and semi-funny, but this is definitely my least favorite film from the beginning of 2020.

The Score: 5.5/10

The Lodge (Veronika Franz & Severin Fiala, 2020)

From the twisted directorial minds behind 2014’s Goodnight Mommy, I haven’t been able to shake the effect this film has had on me. This is hard-hitting, expertly crafted psychological horror that explores the impact of regret, grief, and revenge.

While not necessarily gory, The Lodge‘s slow descent into insanity makes its scary moments and images supremely horrifying – and admittedly hard-to-watch – as it dives into the dark undercurrent of the human psyche. And yet, I find myself wanting to rewatch it to analyze the clues, twists, and hidden messages within. This is my favorite film of 2020 – so far.

The Score: 9/10

Categories
Uncategorized

The Invisible Man (Leigh Whannell, 2020)

Anyone who saw director Leigh Whannell’s sci-fi thriller Upgrade in 2018 knew The Invisible Man would be better than Universal Picture’s failed beginning of The Dark Universe. This is how to properly do a remake of a classic horror film (looking at you, The Mummy).

With a reported $9 million budget, The Invisible Man squeezes tension and drama from the real-life horror concept of: how do you get away from a toxic relationship when no one will believe you?

Horror is at its best when it leans into our subconscious feelings, and the first two-thirds of The Invisible Man leans heavily into this to craft a relatable protagonist that the audience genuinely cares about in Cecilia, portrayed expertly by Elisabeth Moss. Whannell does a lot with a little here, slowly giving you information about Cecilia’s past abuses at the hand of the now-presumed-dead Adrian. Is Cecilia going insane, or is there actually an invisible person stalking her?

The answer, of course, is no. And that’s the biggest (only?) problem with the first two-thirds of the film: all the mystery assumes that the audience hasn’t seen any of the promotional marketing – or, for that matter, noticed that the title is literally The Invisible Man.

Because of this, the film doesn’t become truly great until the third act, when a shocking twist allows Whannell free reign to unleash his bag of sci-fi action tricks to give the audience the cathartic release they were waiting for. All of the The Invisible Man‘s best scenes are here – which is both a positive and a negative. I always say a movie’s finale is its most important ingredient, and this ending was so satisfying I had to physically restrain myself from dabbing.

Overall, the hype for this film is mostly deserved, albeit because of a tremendous final 40 minutes. For my money, Whannell’s best film is Upgrade, but I still absolutely recommend you see this in theaters.

[Side note – my girlfriend called this “the best horror movie I’ve ever seen”. But she also gave Frozen 2 a 10/10, so take that with a grain of salt.]

The Cast: Elisabeth Moss, Aldis Hodge

The Elevator Pitch: (Invisible) men are trash.

The Score: 8.5/10

Categories
Uncategorized

2020 Oscars Preview: Who Will Win, Who Should Win

Want to sound artsy and educated at your Oscars viewing party? I’ve got you covered, with predictions for each award in bold, as well as my personal picks in italics.

Best Picture

  • Once Upon a Time in Hollywood
  • The Irishman
  • Parasite
  • 1917
  • Marriage Story
  • Jojo Rabbit
  • Joker
  • Little Women
  • Ford v Ferrari

The award for Best Picture is wide open this year, and maybe it’s my personal bias, but I think Tarantino’s supposed penultimate film takes the big one. This comes down to how the Academy wants to be perceived: do they want to appear artsy and promote a foreign language film with Parasite? Do they want to echo 2014’s Birdman win with the showy camerawork of 1917? Or, in the midst of #OscarsSoWhite backlash, do they want to “prove” their non-racist-ness with Jojo Rabbit, like with last year’s Green Book?

But, there’s also a trend of Hollywood-themed movies winning it all (2011’s The Artist), as well as the Academy awarding an overdue auteur like Tarantino (2006’s The Departed). My money is on the Academy falling in love with a movie about themselves – Once Upon a Time in Hollywood becomes Tarantino’s first Best Picture winner.

Actress in a Leading Role

  • Renee Zelwegger, “Judy”
  • Charlize Theron, “Bombshell”
  • Scarlett Johansson, “Marriage Story”
  • Saoirse Ronan, “Little Women”
  • Cynthia Erivo, “Harriet”

Unfortunately, this one looks simple – Quentin Tarantino loves feet almost as much as the Academy loves impersonations of celebrities (just look at Rami Malek’s bucktoothed caricature of Freddie Mercury last year).

So with Renee Zelwegger winning for her portrayal of singer Judy Garland, Scarlett Johansson’s lovingly nuanced and human performance as an actress going through a divorce will go overlooked.

Actor in a Leading Role

  • Jonathan Pryce, “The Two Popes”
  • Antonio Banderas, “Pain and Glory”
  • Leonardo DiCaprio, “Once Upon a Time in Hollywood”
  • Adam Driver, “Marriage Story”
  • Joaquin Phoenix, “Joker”

If there’s anything the Academy loves as much as a biopic, it’s someone losing (or gaining) an unhealthy amount of weight. Plus, Phoenix’s performance as the Joker has a mystical aura as the spiritual successor to Heath Ledger’s Oscar-winning portrayal in The Dark Knight. (Don’t talk to me about Jared Leto). Phoenix is also extremely overdue to win his first Oscar.

But, I’m sorry, we’ve seen Phoenix as a mentally unstable loner before (see The Master, or You Were Never Really Here). What we’ve never seen is Leonardo DiCaprio pulling double duty as a stuttering, unconfident, hilarious drunk, and a savvy, screaming cowboy villain – all in the same performance. This is the best acted scene of 2019.

Best Director

  • Martin Scorsese, “The Irishman”
  • Quentin Tarantino, “Once Upon a Time in Hollywood”
  • Bong Joon-ho, “Parasite”
  • Sam Mendes, “1917”
  • Todd Phillips, “Joker”

8 of the past 13 Best Director winners have also led to Best Picture, so this could be an early predictor of the final award. Similarly, this award is wide open between Tarantino, Joon-ho, and Mendes – but I’m sticking to the same logic I started with. Up until this point, Tarantino has only won Oscars for his screenwriting, but now the Academy will symbolically reward him for his career as a director.

Actress in a Supporting Role

  • Laura Dern, “Marriage Story”
  • Margot Robbie, “Bombshell”
  • Florence Pugh, “Little Women”
  • Scarlett Johansson, “Jojo Rabbit”
  • Kathy Bates, “Richard Jewell”

After winning this award at the SAG, Critics’ Choice, BAFTAs and Golden Globes, Laura Dern is the best bet on another W. And it will be a worthy win, as she hilariously delivers Baumbach-scripted monologues and battles Ray Liotta in court.

But my vote would go to Florence Pugh, with easily the most charismatic performance of the five nominees As a character that easily could have dipped into annoying, Pugh was the chaotic and lovable standout of an A-list ensemble that included Dern.

Actor in a Supporting Role

  • Anthony Hopkins, The Two Popes
  • Tom Hanks, A Beautiful Day in the Neighborhood
  • Joe Pesci, The Irishman
  • Al Pacino, The Irishman
  • Brad Pitt, Once Upon a Time in Hollywood

This one’s a lock: with wins at every other major awards show, the “long overdue” narrative, and Pesci & Pacino stealing votes from each other, Pitt will secure his first acting Oscar. (Fun fact: he’s won as a producer for 12 Years a Slave).

And it will be well deserved: Pitt’s Cliff Booth is the most “Movie Star” level performance of the year, and he delivers genuine heartfelt moments with pure hilariousness in equal measure.

International Feature Film

  • Poland, Corpus Christi
  • North Macedonia, Honeyland
  • France, Les Miserables
  • Spain, Pain and Glory
  • South Korea, Parasite

Parasite will win. As a local once told me in a Northwest Mississippi casino during a game of blackjack, “Oooooooweeeeee, I’d put the farm on that one!”

Original Screenplay

  • Rian Johnson, “Knives Out”
  • Noah Baumbach, “Marriage Story”
  • Sam Mendes & Krysty Wilson-Cairns, “1917”
  • Quentin Tarantino, “Once Upon a Time in Hollywood”
  • Bong Joon-ho & Han Jin Won, “Parasite”

By now, you’ve probably noticed my Tarantino bias. But Parasite is a deserving winner here, with its clever twisting narrative and thematic subtext. With my prediction of it getting snubbed in Best Picture and Best Director, this is where Parasite gets its due in a major category.

Adapted Screenplay

  • Steven Zaillian, “The Irishman”
  • Taika Waititi, “Jojo Rabbit”
  • Todd Phillips & Scott Silver, “Joker”
  • Greta Gerwig, “Little Women”
  • Anthony McCarten, “The Two Popes”

Zaillian’s work in making a three-and-a-half hour epic simultaneously feel intimate and historical should win here. But my gut says that the Academy will honor Gerwig’s screenplay after botching her Best Director nomination snub.

Animated Feature Film

  • Toy Story 4
  • How to Train Your Dragon: The Hidden World
  • Missing Link
  • I Lost My Body
  • Klaus

It’s not smart to bet against Pixar here, with 7 of the past 12 winners in this category. Bet on them making it 8 of 13 here.

Film Editing

  • The Irishman
  • Ford v Ferrari
  • Parasite
  • Joker
  • Jojo Rabbit

Similar to Zaillian’s screenplay masterwork, Scorsese’s longtime collaborator Thelma Schoonmaker should win here for crafting The Irishman into its exciting, engaging pace. But, with more obvious, action-packed editing usually taking the trophy, Ford v Ferrari is the (still deserving) likely winner.

Cinematography

  • Roger Deakins, “1917”
  • Robert Richardson, “Once Upon a Time in Hollywood”
  • Rodrigo Prieto, “The Irishman”
  • Lawrence Sher, “Joker”
  • Jarin Blaschke, “The Lighthouse”

After 13 straight nominations and 0 wins, Roger Deakins triumphantly won with 2017’s Blade Runner 2049. He is the clear choice here for another masterpiece in lighting the one-shot style of 1917.

Makeup and Hairstyling

  • Bombshell
  • Joker
  • Judy
  • Maleficent: Mistress of Evil
  • 1917

Charlize Theron’s transformation into Megyn Kelly alone earns this win.

Original Score

  • Little Women
  • Joker
  • Marriage Story
  • 1917
  • Star Wars: The Rise of Skywalker

After the Golden Globes win, Joker is the best bet here to take it home. But special shoutout to 1917‘s stirring score that works perfectly with Deakins’ cinematography and Mendes’ camerawork.

Original Song

  • “I Can’t Let You Throw Yourself Away” from Toy Story 4
  • “(I’m Gonna) Love Me Again” from Rocketman
  • “I’m Standing With You” from Breakthrough
  • “Into the Unknown” from Frozen II
  • “Stand Up” from Harriet

With the other nominees being too kid-friendly and too obscure, this is the perfect chance for the Academy to honor Elton John.

Production Design

  • The Irishman
  • Jojo Rabbit
  • 1917
  • Once Upon a Time in Hollywood
  • Parasite

This one’s up for grabs, but my money’s on the Academy falling in love with the meticulously recreated streets of 1969 Los Angeles.

Sound Editing

  • Ford v Ferrari
  • Joker
  • 1917
  • Once Upon a Time in Hollywood
  • Star Wars: The Rise of Skywalker

This category is built for fancy war movies, and 1917 is the cream of the crop.

Sound Mixing

  • Ad Astra
  • Ford v Ferrari
  • Joker
  • 1917
  • Once Upon a Time in Hollywood

This tends to be the same winner as Sound Editing, so my logical side says 1917. But I irrationally want Ad Astra to pull off the upset win in its lone nomination.

Visual Effects

  • Avengers: Endgame
  • The Irishman
  • The Lion King
  • 1917
  • Star Wars: The Rise of Skywalker

I figure the Academy will continue to recognize the technical feats of 1917 – but how awesome would it be for Endgame to win here?

{SPEED ROUND: I know nothing about the below nominees. Enjoy my guesses and picks, based off of a combination of coin flips and picking my favorite names.}

Documentary Feature

  • American Factory
  • The Edge of Democracy
  • Honeyland
  • For Sama
  • The Cave

Animated Short Film

  • Daughter
  • Hair Love
  • Kitbull
  • Memorable
  • Sister

Live Action Short

  • Brotherhood
  • Nefta Football Club
  • The Neighbors’ Window
  • Saria
  • Sister

Documentary Short

  • In the Absence
  • Learning to Skateboard in a Warzone (If You’re a Girl)
  • Life Overtakes Me
  • St. Louis Superman
  • Walk Run Cha-Cha

How do you think I did? Thanks for reading, and good luck on your picks!

Categories
Uncategorized

The 2010s in Review: Top 50 Movies of the Decade

The 2010s begun in the aftermath of Avatar (remember that small film?), ushering in a digital age of technological marvels. What followed was a decade full of cinematic universes, superheroes, reboots, remakes, and, I would argue, some truly great films.

Before you attack me for these rankings, I love every movie on this list, and the ones near the top are some of my favorite films of all time. So let’s get into it.

50. The Irishman (Martin Scorsese, 2019) – the culmination of Scorsese’s career of crime epics, with an All-Star cast. Never show up late to a meeting with Al Pacino.

49. The Town (Ben Affleck, 2010) – the introduction of Affleck as a director to be reckoned with, and a great old-fashioned heist film. Plus, a great loose-cannon performance by Jeremy Renner.

48. This Is The End (Seth Rogen & Evan Goldberg, 2013) – hilarious performances from Seth Rogen & Co. as versions of themselves make for one of the most enjoyable and quotable raunchy comedies in recent memory.

47. Doctor Sleep (Mike Flanagan, 2019) – Flanagan combines elements of Kubrick’s The Shining with King’s bestselling book to make for a heady psychological horror that successfully stands on its own.

46. Prometheus (Ridley Scott, 2012) – this Alien prequel is perfect for anyone looking for atmospheric, heady sci-fi. Plus, Michael Fassbender’s performance as the android David is one of my personal favorites of the decade.

45. The Spectacular Now (2013) – Miles Teller and Shailene Woodley combine for one of the most intimate, sincere, and realistic romance films in recent years.

44. John Wick (Chad Stahelski & David Leitch, 2014) – the introduction of Stahelski’s infectious “gun fu” style not only established John Wick as an iconic action star, but hinted at an alluring world of assassins to be explored in the sequels.

43. Mission: Impossible – Rogue Nation (Christopher McQuarrie, 2015) – Tom Cruise continues to one-up himself with mind-blowing stunts, and the additions of Rebecca Ferguson and Alec Baldwin to the series give the on-screen action more weight.

42. The Dark Knight Rises (Christopher Nolan, 2012) – the culmination of Nolan’s Dark Knight trilogy expands the scope to epic proportions. This also introduces the Tom-Hardy-in-a-Mask trend of the 2010s.

41. Rise of the Planet of the Apes (Rupert Wyatt, 2011) – one of the biggest surprises of the decade, Rise introduced the great primate protagonist of Caesar. Impressively stands on its own and sets up the great sequels that would follow.

40. Avengers: Endgame (Anthony & Joe Russo, 2019) – a dizzying cast list, high blockbuster stakes, and fan service done right in bringing 23 films together into a cohesive ending.

39. The Favourite (Yorgos Lanthimos, 2018) – a gorgeous period piece mixed with psychological warfare and black comedy. Unpredictable and wildly entertaining.

38. Alien: Covenant (Ridley Scott, 2017) – Ridley Scott wisely returned the Alien series to its horror roots here, and doubled down on Fassbender’s role as an android. It doesn’t get better than Fassbender teaching Fassbender to play the flute.

37. Silver Linings Playbook (David O. Russell, 2012) – this confirmed Jennifer Lawrence as a superstar. Simultaneously a great romance, comedy, and commentary on mental illness.

36. 50/50 (Jonathan Levine, 2011) – one of the only films that can make me laugh and cry. Plus, Seth Rogen is great here in a more dramatic role.

35. Us (Jordan Peele, 2019) – engaging, pulpy horror that weaves social commentary into an X-Files-like story. By now, you can probably tell I’m a sucker for an actor playing two versions of themselves (this time by Lupita Nyong’o).

34. Nocturnal Animals (Tom Ford, 2016) – he’s not just a fashion designer! This is an expertly crafted psychological thriller with a great cast and multiple layers, bolstered by an incredible ending.

33. Mission: Impossible – Fallout (Christopher McQuarrie, 2018) – the first Mission Impossible that continues the previous film’s story, this is the grandest and most exciting film yet in the series. And come on, Tom Cruise flies a helicopter through a canyon.

32. Under the Skin (Jonathan Glazer, 2013) – this film just feels different from everything else you’ll see, like you’re viewing the story through alien eyes. And no spoilers, but this is the 2nd most horrifying ending of the decade (behind #4 on this list).

31. Hereditary (Ari Aster, 2018) – speaking of horrifying endings, Hereditary expertly ratchets up the tension until a bizarre, mind-numbing conclusion that you’ll never be able to shake.

30. John Wick: Chapter 2 (Chad Stahelski, 2017) – in addition to the same great action as the original, Chapter 2 expands the world established by the original, and sets up the crazed frenzy of the third.

29. The Place Beyond the Pines (Derek Cianfrance, 2012) – split into two distinct halves, Pines delivers crime thrills and familial drama in spades, with a killer soundtrack. Plus, tatted Ryan Gosling.

28. The Social Network (David Fincher, 2010) – Fincher’s classic turned out to be prophetic in the impact of digital media on the decade. Beyond that, we’re also treated to an addicting thriller with incredible dialogue.

27. 1917 (Sam Mendes, 2019) – the film nerd in me marvels at the one-shot wonder of 1917, while the rest of me just lets this ride wash over me. Check out my review here.

26. Dunkirk (Christopher Nolan, 2017) – very similar to 1917, Christopher Nolan expertly throws a barrage of survival situations at the audience. For me, Dunkirk gets the slight emotional edge because of it’s ending. Plus, Tom-Hardy-in-a-Mask Part II.

25. Enemy (Denis Villeneuve, 2013) – the best of an actor-playing-two-of-themselves, beating out Alien: Covenant and Us. This is the type of movie I love showing friends: 95 minutes long, mysterious, unnerving, and a great ending. The film version of a puzzle.

24. Dawn of the Planet of the Apes (Matt Reeves, 2014) – a sequel done right, expanding on the predecessor with a dark, intense story. The best decision of all was to fully center the film around the character of Caesar – this rightly cemented the apes as the stars of the show.

23. Inception (Christopher Nolan, 2010) – the great Leo DiCaprio, the multiple layers (literally), the exciting action, the introduction of Tom Hardy, and the “wait what?” ending. If the Dark Knight hadn’t done it already, this announced Christopher Nolan as the Master of the Hollywood Blockbuster (and with three movies on this list!).

22. The Revenant (Alejandro Gonzalez Inarritu, 2015) – more DiCaprio (and believe me, he’s far from done). Way more than just “The One Where Leo Fights A Bear”, the cinematography and camerawork makes the familiar revenge story exhilarating.

21. Skyfall (Sam Mendes, 2012) – seamlessly bringing together classic James Bond action with the flawed character set up in Casino Royale. Unlike more cartoony Bond films of the past, Daniel Craig’s character feels mortal and constantly at risk.

20. Birdman (Alejandro Gonzalez Inarritu, 2014) – the OG “one-take” visual spectacle, this time used to create the chaotic madness behind-the-scenes of a theater play. Simultaneously comedic and touching, with bonus points for self-referential performances from Michael Keaton and Edward Norton.

19. Creed (Ryan Coogler, 2015) – despite all its “cliches”, Creed works so well because it is genuinely powerful, thanks to Coogler’s direction and Michael B. Jordan’s performance. I’d be lying if I said tears weren’t flowing by the third act.

18. War for the Planet of the Apes (Matt Reeves, 2017) – the conclusion of the decade’s best trilogy (here’s how to continue the legacy of a famous sci-fi franchise, Star Wars). With top-notch visual effects, stunning cinematography, and timely social commentary, this is blockbuster filmmaking done right. Andy Serkis deserved an Oscar nomination.

17. John Wick: Chapter 3 – Parabellum (Chad Stahelski, 2019) – the only series that would rival Planet of the Apes for 2010s supremacy, except we (luckily) have a 4th Wick on the way. Parabellum outdoes its predecessors because of the sheer insanity and excitement of its set pieces – the Baba Yaga is pushed to his limits, and he pushes back.

16. Uncut Gems (Josh & Benny Safdie, 2019) – this is one of those films that will spawn countless inside jokes with my friends. Endlessly watchable and darkly comedic. Check out my review here.

15. Ad Astra (James Gray, 2019) – I love when science fiction meshes with raw human emotion, and that’s exactly what you get here. The best father-son film of the decade, plus some jaw-dropping visual effects and action scenes.

14. The Wolf of Wall Street (Martin Scorsese, 2013) – probably the most quotable film of the decade (“Steeeeeeve Maddddennnnn”), made all the better by a gonzo performance from DiCaprio that should have been his first Oscar. The entire cast is hilarious and perfect, but Jonah Hill and Margot Robbie take Wolf to the stratosphere.

13. Prisoners (Denis Villeneuve, 2013) – this holds a special place in my heart for introducing me to the master, Denis Villeneuve. This is simply an expertly crafted thriller, with moments and performances that will stick with you long after your first viewing. And that haunting final shot – perfect.

12. Ex Machina (Alex Garland, 2015) – Alex Garland knows how to do unnerving sci-fi (as you’ll see later on this list). Essentially a cabin-in-the-woods story, with the twist of not knowing who the true enemy is, Ex Machina rewards repeat viewings and will leave you staring out a window, contemplating life.

11. Get Out (Jordan Peele, 2017) – this cultural phenomenon is genius because it not only flawlessly combines comedy and horror, but delivers its message without ever being overbearing. You know it’s great when it transforms the director from a well-known sketch comedian into the next Alfred Hitchcock.

10. Shutter Island (Martin Scorsese, 2010) – Scorsese’s best-ever non-crime film. The story is so cleverly hinted and paced, that even when you know what’s happening, it’s still incredibly thrilling and entertaining. If you don’t know what happens in the third act, watch this ASAP.

9. Django Unchained (Quentin Tarantino, 2012) – this film is arn good (the D is silent). Everything a Tarantino fan could want is bountifully here: the nonstop dialogue, the Western score, the revenge plot, the twisted villains, the cathartic violence. I watched this for the first time in 3 years recently and still remembered every scene vividly – a testament to its addicting viewing experience.

8. Drive (Nicolas Winding Refn, 2011) – I wish I could be as silently cool as Ryan Gosling. This neon-drenched noir simultaneously feels new and like a callback to old B movies. The soundtrack’s amazing, and the whole film simply feels like nothing else released this decade.

7. Once Upon a Time In Hollywood (Quentin Tarantino, 2019) – Tarantino’s funniest and most emotional film still delivers on the trademark dialogue and violence his fans expect, but it’s the quieter moments (“You’re a good friend, Cliff”) that have stuck with me. Brad Pitt and Leonardo DiCaprio (who has 6 films on this list!) make for my favorite duo of the decade.

6. Mad Max: Fury Road (George Miller, 2015) – incredible character designs, post-apocalyptic landscapes, mind-blowing stunts, zero story exposition, and a non-stop chase. Fury Road is easily the best action film of the decade, and completes the trilogy of Tom-Hardy-in-a-Mask on this list.

5. La La Land (Damien Chazelle, 2016) – O.K., you caught me, I have a romantic musical in my Top 5. I’m not ashamed of it because Ryan Gosling and Emma Stone are amazing, the music and dance numbers are exciting and further the story, and L.A. is rarely caught on film so well. An underrated aspect of the film is how it smartly subverts romantic tropes – resulting in the saddest happy ending since 2004’s Eternal Sunshine.

4. Annihilation (Alex Garland, 2018) – sorry The Revenant, but Annihilation has the best bear scene of all time. This is terrifying, hallucinogenic science fiction at its finest, with unforgettable Lovecraftian horror images. This movie left me speechless the first time I saw it, and I still have yet to assign the right words to it.

3. Blade Runner 2049 (Denis Villeneuve, 2017) – films like Blade Runner 2049 just don’t get made anymore, or ever. The best cinematography of the decade, if not of all time, makes the grimy world of 2049 Los Angeles feel real and tangible. Ryan Gosling’s third film in this Top 10 is simultaneously an intimate existential journey, an epic story of rebellion, and a blockbuster sequel to the 1980s classic.

2. Arrival (Denis Villeneuve, 2016) – Denis Villeneuve is the MVP of the 2010s. With Arrival, he crafted the most emotional film of the decade, with one of the best twist endings of all time. I watched Arrival 5 times in the theater when it came out, and saw something new every time – if you haven’t seen this film yet, it’s a must-see.

1. Whiplash (Damien Chazelle, 2014) – Whiplash has it all. Funny, intense, quotable, emotional, and powerful, Chazelle’s masterpiece will speak to anyone who’s passionate about something. The film is both triumphant and tragic, with an all-time great performance from J.K. Simmons. If you watch only one film from all of the 2010s, make it Whiplash.

What did I miss? Tell me your favorites in the comments below. Happy New Year, and here’s to another decade of movies!

Categories
Uncategorized

Top 25 Movies of 2019

What a great year for movies. From the highest grossing film of all time, to small-budget indies, to Scorsese and Tarantino epics, to grown adults dancing in digital fur, 2019 had something for everyone.

After 55 trips to the theater this year, I’ve seen a lot, but not everything, so if one of your favorites is missing, feel free to drop your ranking in the comments or send me an angry DM.

And no, Cats will not come anywhere near this list. Let’s get into it.

25. The Lighthouse (Robert Eggers)

Eggers’ follow-up to 2015’s The Witch follows two lighthouse keepers slowly losing their mind on a remote New England island in the 1890s. While the film’s heavy accents and mysterious plot can make it difficult to watch at times, Robert Pattinson and Willem Dafoe’s masterful performances more than make up for it. Eggers’ direction is also impressive – I’m still thinking about Dafoe’s monologue at the bottom of a ditch in one long, unbroken shot.

24. Midsommar (Ari Aster)

More artsy horror from A24! After 2018’s Hereditary, Aster turns the lights on and brings terrifying horror to the sunny exterior of a Swedish festival. Confession: Midsommar scarred me, and I never want to watch it again. But that’s a testament to the unnerving filmmaking here, and some shocking images that I can’t shake from my head. And don’t even get me started on that final scene.

23. Glass (M. Night Shyamalan)

[minor SPOILERS for Unbreakable and Split, which you definitely should see]

M. Night Shyamalan brings the characters across his newfound trilogy together brilliantly across the first two acts, giving fans the David Dunn action they’ve been waiting for since 2000’s Unbreakable (James McAvoy is incredible as well). While M. Night’s desire for one-too-many twists ends Glass on a sour note, the film still makes for an exciting trilogy capper, and an interesting examination of the superhero genre as a whole.

22. Yesterday (Danny Boyle)

Come for the Beatles nostalgia, stay for the surprisingly heartfelt romance. Yesterday poses the great “what if” question of a world where the Beatles never existed, but at its heart, the film just wants to talk about love. While Yesterday is incredibly cheesy, Lily James and Himesh Patel’s great chemistry help this stand out as one of the more entertaining films of the year.

21. Joker (Todd Phillips)

The first R-rated film to gross $1 billion, Joker doesn’t hit on everything it’s hyped up to be. At times, it feels like a direct rip-off of the better Taxi Driver, rather than an homage, and the “twists” are telegraphed poorly. And yet, Joaquin Phoenix gives an absolutely magnetic performance, and the film is refreshingly bold for the superhero genre. Hopefully Joker‘s success means we’ll get more dark, villain-focused films.

20. Parasite (Bong Joon-ho)

Currently sitting near the top of most critics’ “best of” lists, and at 99% on Rotten Tomatoes, you might find it blasphemous that I have Parasite this “low”. But for me, Parasite‘s two distinct halves, while entertaining and exciting on their own, led to an inconsistent tone, and an ending that didn’t quite stick the landing. Still, I’m nitpicking – this is a film unlike any other released this year, explores timely themes of class warfare, and it’ll stick with you long after the credits roll.

19. Ready or Not (Matt Bettinelli-Olpin & Tyler Gillett)

Another film about class distinctions! Ready or Not sets up a deadly game of hide-and-seek, as the newly married Grace must run from her wealthy, murderous in-laws. Ready or Not was one of the most surprising films of the year, deftly balancing comedy and horror to deliver an engaging ride at the theater. With this, Samara Weaving (“wait – that’s not Margot Robbie?”) announced herself as a star, and I can’t wait to see what she does next.

18. Marriage Story (Noah Baumbach)

Well-acted and complex, Marriage Story stars Adam Driver and Scarlett Johansson as a couple going through a divorce, with the accompanying challenges of moving across the country and having a son. While it’s not a film that’s necessarily saying anything new about marriage, Marriage Story is surprisingly funny, realistic, and heartfelt. Review here.

17. The Art of Self-Defense (Riley Stearns)

The Art of Self-Defense follows a down-on-his-luck loser who decides to enlist in a local dojo under a mysterious sensei. What ensues is like a black comedy version of Fight Club, with twists and revelations that you won’t see coming. Jesse Eisenberg is great in the main role, but the real standout is Alessandro Nivola as Sensei, who hilariously encapsulates masculine energy at its most stereotypical.

16. Knives Out (Rian Johnson)

Knives Out brings back the classic murder mystery genre with one of the years’ best casts and a whole lot of twists. The result is an entertaining crowd pleaser that allows each cast member to shine, especially Daniel Craig, Chris Evans and Ana de Armas. Review here.

15. El Camino: A Breaking Bad Movie (Vince Gilligan)

El Camino plays out like an epilogue to the Breaking Bad story, seamlessly continuing Jesse Pinkman’s story. Although that means the entire TV show is required viewing to enjoy this film, El Camino benefits from the audience’s established understanding of this world and the stakes at hand. Overall, El Camino is intense, exciting, and ultimately triumphant.

14. Spider-Man: Far From Home (Jon Watts)

Tom Holland’s second Spider-Man feature effectively wraps up loose ends from Endgame while also standing out on its own. The first act takes some time to set up, but once a twist kicks in about halfway through the film, Far From Home moves at a relentlessly fun pace. Combine that with a great villain from Jake Gyllenhaal, jaw-dropping visual effects, and one of the MCU’s best post-credits scenes, and you have one of the best superhero movies of the last 5 years.

13. Ford v. Ferrari (James Mangold)

James Mangold, after 3:10 to Yuma and Logan, establishes himself as one of the most underrated directors working today with Ford v. Ferrari. This is a true story done right – in addition to the high-octane racing, tension is expertly built through the internal conflicts within Ford. Thanks to Matt Damon and Christian Bale’s top-tier screen presence, I also found myself genuinely invested in Caroll Shelby and Ken Mile as characters too.

12. Luce (Julius Onah)

Luce announced Kelvin Harrison Jr. as the breakout star of 2019, which was further bolstered by a film later on this list. Harrison Jr. portrays the titular high school student Luce, whose model character is called into question by one of his teachers. The performances here are top notch: Tim Roth, Naomi Watts, and Octavia Spencer all knock the dialogue out of the park. In addition to being one of the best psychological thrillers of the year, Luce has poignant things to say about race in today’s society.

11. Toy Story 4 (Josh Cooley)

Toy Story 4 may be the best unnecessary movie ever. While Toy Story 3 perfectly wrapped up the series in 2010, I’m not complaining about getting another film if it’s this good. Toy Story 4 smartly focuses on Woody as a character, and asks surprisingly existential questions about what it means to live a fulfilling life (I’m not reading too much into the animated toy film, am I?). Plus, bonus points for the creepy dolls and The Shining reference.

10. Waves (Trey Edward Shults)

More Kelvin Harrison Jr. as a troubled high school student! Waves was the most surprising film of 2019 for me – equal parts intense thriller and examination of love. Broken into two vastly different halves, Waves feels epic and intimate at the same time. Review here.

9. The Irishman (Martin Scorsese)

As far as I’m concerned, if your film stars Robert De Niro, Al Pacino, and Joe Pesci, and your name’s Martin Scorsese, then your film is allowed to be 3.5 hours long. The Irishman is a meditation on all the Scorsese epics that came before it, and explores the lasting impact of violence and crime. Watching this cast in another gangster film is like seeing Jordan, Pippen, and Rodman get back together on the hardwood.

8. Doctor Sleep (Mike Flanagan)

Doctor Sleep somehow pulls off the high-wire act of simultaneously being a Stephen King book adaptation and a sequel to Kubrick’s 1980 masterpiece. Ewan McGregor’s portrayal as a grown-up Dan Torrance feels like a natural evolution of his character, and Rebecca Ferguson is awesome as the villainous Rose the Hat. Doctor Sleep impressively establishes its own worth as a standalone film with fascinating new characters and world building in its first two acts. By the time you get to its intense climax and homage to The Shining, everything else is just icing on the cake.

7. Avengers: Endgame (Anthony & Joe Russo)

I don’t have to tell you anything about Endgame, because you’ve likely already seen it. After Infinity War impressively upped the stakes, Endgame manages to keep them high, while also serving as a capper to a 22-film series. Everyone in the stacked cast gets their moment to shine, and Endgame ends on an emotional payout that was built up over the past 11 years. This is how you end a saga properly (*cough*STAR WARS*cough*).

6. Us (Jordan Peele)

How do you follow-up a debut that transformed you from sketch comedian to the next Alfred Hitchcock? Although not quite on the level of Get Out, Us is still masterful in its execution of thrills-mixed-with-social-commentary. Lupita Nyong’o is incredible pulling double duty as the lead, and the entire Wilson family feels real and lived-in. Peele’s trademark humor is still there, and he has officially announced himself as one of the best horror directors working today.

5. 1917 (Sam Mendes)

1917 is an absolutely wild ride. If it wasn’t so intense, I would have spent the whole time wondering how Mendes pulled off the one-take filmmaking style. 1917 gives us some of the best war action set pieces and strings it throughout the film in one long assault on your senses. Review here.

4. John Wick: Chapter 3 – Parabellum (Chad Stahelski)

Parabellum cements John Wick as the Bourne of this decade, and one of the best action franchises ever. Once again, Wick‘s “gun fu” action is jaw-dropping, and once again, the sequel outdoes its predecessor in terms of set piece insanity. Plus, this has the 2nd best NBA player appearance in a film this year. John Wick is so good it simply makes other action movies unwatchable. I mean, come on, Parabellum has the library scene… the throwing knife scene… the horse fight scene… And that’s just the first 15 minutes of the film.

3. Uncut Gems (Josh & Benny Safdie)

I’m obsessed with Uncut Gems. The Safdies have written an iconic character in Howard Ratner, and Adam Sandler embodies this crazy character to perfection. This is the best NBA player appearance in a film this year, by the way – Kevin Garnett is legitimately really good, and his presence furthers the hyper-realism that makes Gems so entrancing. (True story – Uncut Gems inspired me to bet on a 6-way basketball parlay, and if the Kings hadn’t blown a 17-point lead at home to the Knicks, I would’ve won $363. Am I becoming Howard Ratner?). Review here.

2. Ad Astra (James Gray)

Ad Astra spoke to me like no other film this year. Aside from its incredible special effects and eerily realistic sci-fi world, Ad Astra tells a remarkably human father-son story. Brad Pitt is phenomenal as a protagonist we don’t fully get to know until the end, and his deeply flawed character is both heroic and tragic. The story feels grand, like Apocalypse Now in space, and when the action set pieces come (like the moon rover sequence), they’re some of the best of the year. Equal parts epic, exciting, and emotional, Ad Astra is a masterpiece in big budget filmmaking, and it’s criminal that more people didn’t see it in theaters. (Another true story – director James Gray made an appearance at the opening night screening I attended. I lost my mind).

1. Once Upon a Time in Hollywood (Quentin Tarantino)

But, despite all the amazing films that came out in 2019, my personal favorite comes from Quentin Tarantino. Once Upon a Time in Hollywood expertly weaves Rick Dalton and Cliff Booth, two of the best characters Tarantino has ever written, into the history of 1969 Los Angeles. The entire film feels like a passion project from Tarantino, who painstakingly recreated 60s L.A., and serves as an ode to filmmaking as a whole. And with all due respect to The Irishman and Avengers: Endgame, OUATIH gives us the best cast of the year, with DiCaprio, Pitt, Robbie, and cameos from all the Tarantino regulars. This is Tarantino at his funniest and most sentimental, but you still get everything you’ve come to expect from a Tarantino film in possibly the best climax to a film this year.

What a year for movies! Drop a comment with your favorite movie of the year below, or let me know what you think I missed. And if you like this list, click Subscribe to see my Top 50 Movies of the Decade ranking later this week. Cheers!

Categories
Uncategorized

Cats (Tom Hooper, 2019)

Normally, I like to write these reviews right after I see the film, fresh off what I just watched. Normally, I’ll spend a long time crafting my thoughts and arguments, rereading to check for any errors.

This isn’t one of those reviews.

I watched Cats last night, so you don’t have to. After stumbling home in shock, I had to immediately get into the fetal position in my bed. Now, I need to get these thoughts on paper as quickly as possible so I can avoid thinking about this film ever again.

I use the term “film” very loosely. There is no plot here, no character development, no tonal balance, no world-building, no catchy songs, no redeeming qualities of any kind. All there is, is cats singing and dancing, and dreaming of being resurrected in The Jellicle Ball (yes, that’s a thing now).

If you can call them cats. These humanoid creatures have human faces, human hands, and human feet, with digital fur slapped on them like a film student’s school project. Some of these cats wear clothes. Some of them wear shoes and hats. Some of them are incredibly horny for some reason. This is honestly the worst digital effects I’ve seen in the 2010s, from the last film of the 2010s, in a film that relies entirely on digital effects. These humanoid cats are the stuff of nightmares.

This is one of the most unintentionally terrifying films ever. For every joyous upbeat song, there’s a scene of the humanoid cats slowly chanting the rules of their cult in the darkness. Don’t bring a small child to see this, unless you want him to become a serial killer.

Who is this film targeted towards? Fans of the original musical won’t like Cats because of the digital effects. Fans of musicals in general won’t like Cats because the music makes no sense. Fans of movies won’t like Cats because there’s no semblance of a plot, protagonist, or sense of direction. And finally, no with a pulse will like Cats because it’s insane and will haunt your dreams.

I have so many more questions. How did they get Taylor Swift, Jennifer Hudson, James Corden, Rebel Wilson, Idris Elba, Judi Dench, Ian McKellen, Jason Derulo, and Ray Winstone to sign onto this film? How is Cats made by the director of The King’s Speech? Why is Jennifer Hudson’s cat so sad? Why is Jennifer Hudson acting so hard? Did she think she was going to win an Oscar for this? For Cats? Why is Idris Elba’s cat wearing a fedora? Why does he have magical powers, and no one else? Why does the Magic Cat not have the same powers? Wait, but he does in that one scene? Why does everyone worship Judi Dench’s cat? Why does she have the power to resurrect one person every year? Why is that decision based entirely on song and dance numbers? Why was there a Railway Cat? Why is Ian McKellen licking himself with a human tongue and saying “meow”, when no one else is? Why do some cats wear clothes, and others don’t? Does that mean the other cats are nude? Does that not bother the clothes-wearing cats? Why is Jason Derulo’s cat so horny? Where are the humans in all of this? Do they not notice that their cats are singing and dancing in the public streets? Why does every single cat introduction require a 5 minute song? Why does Rebel Wilson’s cat force hundreds of cockroaches to do a dance number with her? Why do they have human faces? Why is she eating them if they mess up? Is she enslaving them? Are we going to get a sequel called Cockroaches if this makes money? Why does Judi Dench break the 4th wall at the end and stare directly into my soul? Why did I subject myself to this torture? Why did I watch Cats?

The Cast: Taylor Swift, Jennifer Hudson, James Corden, Rebel Wilson, Idris Elba, Judi Dench, Ian McKellen, Jason Derulo, Ray Winstone

The Elevator Pitch: A new interrogation method: lock someone in a room with Cats playing on loop, and they’ll talk.

The Score: 1/10

Categories
Uncategorized

Jumanji: The Next Level (Jack Kasdan, 2019)

The second/third Jumanji is exactly what you expect: a funny but cookie-cutter experience. If you liked the first/second one, then you’ll probably like this one.

The twist here is that The Rock and Kevin Hart get to give their best Danny Devito and Danny Glover impersonations, which allows for a small change of pace from the previous entry. Kevin Hart’s impression is especially funny as the slow talking Glover – he takes Jack Black’s place as the comedic standout.

However, when this joke is stretched to its limit, there’s not much else here that’s new to the story. For every punchline, there’s unnecessary exposition to sit through (which could be summarized as “Hey – remember this from the other movie?!”).

Like 2017’s Welcome to the Jungle, there is never a real sense of danger. The set pieces are entertaining and varied enough, but the constant quips and overabundant CGI make the stakes feel incredibly low. For some reason, both films have too-long endings as well, suddenly halting the jokes and expecting the audience to suddenly care for the characters.

And yet, the theater was packed and laughing throughout, and I’d be lying if I said I didn’t have some fun with it. While The Next Level doesn’t accomplish anything new, its cast additions and character twists keep the entertainment level just high enough to be watchable.

The Cast: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Danny DeVito, Danny Glover, Nick Jonas, Awkwafina

The Elevator Pitch: Fun drinking game: take a shot for every piece of Sony product placement.

The Score: 6.5/10

Categories
Uncategorized

The King (David Michod, 2019)

If you have a loved one with insomnia, send them to see The King.

While gorgeously shot and mostly well-acted, the film’s poorly written protagonist (Timothee Chalamet as King Henry V) turns the plot into an unbelievable bore. We never truly understand what King Henry V is thinking, as he vows to be different than his father (a man who forces England into war unnecessarily). So what does he do? He unnecessarily declares war with France as soon as he becomes king. It’s not entirely Chalamet’s fault, who is horribly miscast and given whiney, cliched “tough guy” dialogue to spit out every 3 minutes. Am I really supposed to believe Chalamet, at 110 pounds soaking wet, is a fearsome fighter?

The shortcomings of King Henry V as a character are further noticeable because of the strengths of the surrounding cast. Ben Mendelsohn as King Henry IV chews the scenery with aplomb, and Joel Edgerton lends great credibility to an eccentric war advisor, but Robert Pattinson is the true scene stealer as an over-the-top French prince. It’s a testament to his performance, but a bad sign for the movie, that I was actually rooting for Pattinson and the French to win the war. If only The King was centered around Edgerton or Pattinson, and not Chalamet.

Unfortunately, Pattinson isn’t introduced until halfway through the film (over an hour), which brings me to the pacing: The King‘s 2 hours and 20 minutes feels longer than The Irishman‘s 3-and-a-half hours. Not only is the protagonist the least interesting character on screen, but the bulk of the runtime is filled with ceremonies and sieges… gripping.

This is all more frustrating when you see the strengths: this is a beautifully shot and lit film, with a genuinely exciting battle sequence in the second half. Unfortunately, Pattinson, Edgerton, and one scene can’t carry an entire 2 hours and 20 minutes.

The Cast: Timothee Chalamet, Robert Pattinson, Joel Edgerton, Sean Harris, Ben Mendelsohn, Dean Charles-Chapman

The Elevator Pitch: Call Me By “Your Lord”

The Score: 6.25/10

Categories
Uncategorized

Uncut Gems (Josh & Benny Safdie, 2019)

Uncut Gems gave me such feeling of euphoria that I want to find my nearest bookie and put all my money on a 6 way parlay. From the moment the final credits rolled, I haven’t been able to get this film out of my mind.

The hype around the Safdie Brothers is real, and with Gems, they have a plot that is perfectly tailored to their kinetic strengths. The Safdie’s trademark handheld camera follows Howard Ratner (played masterfully by Adam Sandler), a New York City Diamond District jeweler and gambling addict, as his life unravels over the course of a few days. This film, like Howard himself, never stops moving, chaotically jumping to each new scene and inevitable problem.

Sandler’s famous yelling and larger-than-life persona is perfect for the character of Howard: someone whose actions we can’t condone, but we can’t look away regardless. He accomplishes the impossible task of not only matching the plot’s manic pace, but also making Howard a likable (no, lovable) character. Like the Safdie’s previous protagonist, Connie Nikas in Good Time, Howard doesn’t fit Hollywood’s standard archetype of a hero. Or have a recognizable character arc, for that matter.

While some may see this as a shortcoming of the directing duo’s work, I would argue it is one of their greatest strengths. Uncut Gems is not constrained to your expectations or preconceived notions of how a film should look, feel, or end. You’ll never know what’s coming next, and therefore you are caught in this infuriating, exciting adventure alongside Howard.

A large part of this unpredictability is owed to the Safdie brothers’ casting as well. Kevin Garnett (playing himself), The Weeknd (playing himself), and Julia Fox (playing a version of herself) are all first-time actors and add a meta layer of realism to the story that further sends the viewer’s head for a spin. All three are fantastic, but Garnett is especially a standout, lending his trademark intensity to the silver screen. As a massive basketball fan, I’m naturally a little biased to Gems‘ inside jokes, but anyone can appreciate the authentic devotion to real-life celebs and NBA playoff history.

This may not be the case for every viewer, but I also found Gems to be hilarious (I’ll forever remember Howard’s New York accent screaming “KG!” at the towering NBA player). Sandler’s dedication to playing this absurd character so straight-faced brings laughs and grimaces in equal measure.

The direction, casting, and Sandler’s magnetic performance mix together to make an intense, hilarious, and addicting watching experience. Just like Garnett’s obsession with the titular gem, and Howard’s undying need to find the next big score, Uncut Gems has nestled its way deep into my brain like an itch I have to scratch. Start the Best Actor Oscar campaign for Sandler immediately (I’m serious).

I could keep writing and talking about this film for hours on end, but I’ll spare you from more reading because by now, you probably have guessed my score. Uncut Gems is a perfect example of why I love movies.

The Cast: Adam Sandler, Idina Menzel, Lakeith Stanfield, Kevin Garnett, Julia Fox, The Weeknd

The Elevator Pitch: “This is me. This is how I win” – Adam Sandler at the 2020 Oscars.

The Score: 10/10