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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

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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

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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

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1917 (Sam Mendes, 2019)

Filmed like a video game with increasingly more difficult and unexpected challenges, tickets to see 1917 should come with your own personal seatbelt and adult diaper.

The buzz around Sam Mendes’ new war thriller is deservedly centered around its “one shot” style. As the camera follows our two protagonists Blake and Schofield in long tracking shots with no conceivable breaking point, the tension steadily climbs. This is no gimmick, however, as I have seen some critics claim. Rather, every expertly crafted camera movement works in unison with the realistic sound design and anxious score to create an assault on the viewers’ senses.

It is this sensory bombardment that is the very point. The camera moves as its own third character, placing us firmly alongside the heroes of the story as they are thrust into a suicide mission, allowing us to feel every moment of panic and shock as if we were holding a rifle ourselves. This also humanizes Blake and Schofield, who feel like real, lived-in people despite their limited dialogue (thanks to Dean Charles-Chapman and George MacKay’s intense physical devotion). These are young men, teetering on the edge of adulthood, fighting for survival.

Beyond 1917‘s jaw-dropping technical display, there is an impressive attention to detail and realism. The trenches feel dirty and grimy, swarming with rats. Every open field carries a sense of dread, every “empty” building leaves the viewer uneasy and cautious. The hundreds of soldiers Blake and Schofield come across have their own way of dealing with their surroundings: joking, sleeping, telling stories. I haven’t even mentioned brief cameos from A-listers Colin Firth and Benedict Cumberbatch because they masterfully disappear into their roles like the unknown extras alongside them.

1917 also contains a few of the most gripping action set pieces of the year (one frantic escape from a collapsing mine shaft gave me chills), and yet, it’s the remarkable realism that leaves the biggest impact on me long after the credits. I felt every bullet and bruise on Blake and Schofield’s journey as if they were inflicted on me, and the film left me marveling at the heroism of the real life men who fought in World War I.

1917‘s rhythmic pace is slightly predictable at times, but otherwise, this is one of the most impressive technical achievements of the decade that doubles as a cautionary tale against the horrors of war. This is must-see cinema on the biggest screen possible.

The Cast: George MacKay, Dean-Charles Chapman, Colin Firth, Benedict Cumberbatch, Andrew Scott, Mark Strong, Richard Madden

The Elevator Pitch: Birdman + Saving Private Ryan

The Score: 9.75/10

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Knives Out (Rian Johnson, 2019)

For Harambe.

Rian Johnson is very good at subverting expectations, and putting a clever spin on a well-known genre, whether it’s Brick (noir), Looper (sci-fi), or Star Wars: The Last Jedi (an exercise in pissing off half the world’s population and pleasing the other half).

With Knives Out, and the murder mystery genre, the results won’t be so divided. This is a cast that has something for everyone, from James Bond doing his best KFC commercial audition to Captain America being an absolute jerk.

Among too many other stars to name, the real stand-out here is Ana de Armas. I’ve been waiting for another film to showcase her strengths since 2017’s masterpiece Blade Runner 2049, and Knives Out is truly her time to shine as an outsider we’re rooting for.

Everyone else, of course, is great, and the beginning of the film is especially awesome as we get introduced to each zany, insanely rich character. The script does the characters justice, giving us some truly hilarious moments and conversations. Every actor in the film feels like they’re having a great time, allowed to really ham it up and have fun with it. This is what elevates Knives Out beyond the occasionally boring tropes we’ve come to expect from a murder mystery – I mean, come on, the stuttering kid from It plays a neo-Nazi in this.

And then we get to Rian Johnson’s clever twist. While successfully throwing the viewer for a loop early in the film, this deflates a lot of tension, and the inherent “whodunnit” fun that’s set up in the film’s first act. And despite all of Knives Out‘s cleverness and subversion, its conclusion is surprisingly conventional, with the expected exposition dump and reveal that comes with the murder mystery genre. Johnson also attempts to include a timely political message in the back half of Knives Out that comes across as overly obvious and forced, and just generally unnecessary.

Still, this is one of the funnier, and more entertaining films to be found in the year. At the end of the day, despite its flaws, Knives Out is something I would absolutely watch again and have just as much fun with.

The Cast: Chris Evans, Ana de Armas, Daniel Craig, Jamie Lee Curtis, Toni Collette, Lakeith Stanfield, Michael Shannon, Christopher Plummer, Don Johnson

The Elevator Pitch: “Mo money, mo murder” – The Notorious B.I.G.

The Score: 8.75/10

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Good Time (Josh & Benny Safdie, 2017)

Usually my idea of a good time is going to the movies with friends, but I guess Robert Pattinson is more of the rob-a-bank-with-your-mentally-impaired-brother type.

Why am I reviewing Good Time? Beyond just loving to talk about this film in general, the Safdie Brother’s follow-up starring Adam Sandler, Uncut Gems, is coming to theaters this week. What better time to reminisce on this 2017 classic?

Good Time is one of those films you feel like was written in the form of a Mad Lib, where you sound like kind of an idiot as you’re describing the plot. A bank robbery? Check. A Sprite bottle full of LSD? Check. A hospital break-in? Check. The “I am the captain now” guy from Captain Phillips? Check. An after hours amusement park? Check. That dude from Twilight? Check.

Speaking of which, this is where Robert Pattinson (as the protagonist Connie) firmly announced himself as no longer being “that dude from Twilight”. He is absolutely captivating here as someone you should definitely not be rooting for, but are anyways. One long static shot of Pattinson’s crazed, unblinking eyes in the back of a car is seared into my brain – this is a man whose life has spiraled out of control in the matter of a day.

I’ve always had a soft spot for gritty, neon-drenched, one-day-long crime stories (the all-time best of which is Collateral), and the Safdie Brothers accomplish an amazing high-wire performance here. Handheld close-ups mesh with bright colors and an unpredictable plot to create an unnerving experience unlike most other films. (Benny Safdie’s performance is also incredible and believable as Connie’s mentally handicapped brother).

Good Time sets the tone early, with maybe the best ever scene-before-the-credits-roll in film. Other than a brief lull in the middle, Good Time never stops moving from there, gripping you by the neck and dragging you along with Connie. Whether you can buy into Connie’s actions as a character (he’ll never be mistaken for a “good guy”) may determine how you feel about the film, but regardless, this is a film like no other.

For me, sometimes I just want to kick my feet up and watch Robert Pattinson absolutely lose his mind in the streets of New York.

Doesn’t that sound like a good time?

The Cast: Robert Pattinson, Benny Safdie, Jennifer Jason Leigh, Barkhad Abdi

The Elevator Pitch: Twilight + Mad Libs + LSD, and it’s awesome.

The Score: 9.25/10

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Marriage Story (Noah Baumbach, 2019)

Unflinchingly acted and offering a realistic look into a couple’s divorce, Marriage Story surprisingly balances comedy with the obvious sadness inherent in its story.

First things first: Adam Driver and Scarlett Johansson, as Charlie and Nicole, are incredible. From the quiet moments to the loud ones (including maybe the best couple-fighting scene on film), they are always believable as a couple who loves each other but is falling apart.

That’s the most refreshing part of Marriage Story: it doesn’t lose track of the love at the root of their marriage, making the split all the more heartbreaking for the viewer.

Noah Baumbach’s writing is strong as always here, fleshing out characters that feel real, with real hopes, dreams, and motivations. As you’re watching Marriage Story, you find yourself understanding the point of view of both Nicole and Charlie, and wanting the best for both of them.

Marriage Story‘s humor also shines through, thanks to Baumbach. Laura Dern and Ray Liotta are especially funny as Nicole and Charlie’s divorce lawyers. I never knew I needed to see Henry Hill from Goodfellas start an argument in a divorce court, but I’m sure glad I got it here.

Despite its humor and remarkable acting performances here, Marriage Story doesn’t leave us with anything we haven’t seen before from films like Blue Valentine. While strongly balancing humor and realism, Marriage Story ends about as I expected it would, leaving me slightly wondering what the point of it all was.

Still, this is one of the best written and acted films of the year, and if you have Netflix, is absolutely worth your time.

The Cast: Adam Driver, Scarlett Johansson, Laura Dern, Ray Liotta

The Elevator Pitch: Kylo Ren and Black Widow get divorced.

The Score: 8.75/10

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Waves (Trey Edward Shults, 2019)

I went into Waves not knowing what to expect, and that is the perfect way to enter Waves.

Filmed almost like one 2 hour 15 minute music video, the aptly named film cascades over you with nonstop emotion and intensity. For some, this will be “too much” – with Kendrick Lamar, Frank Ocean, or Tame Impala turned up to full blast and the camera frantically spinning around our characters in shaky long shots, this isn’t a movie for your grandparents.

And yet, this is probably the film’s greatest attribute. Waves, perhaps more than any other 2019 film, is an experience. Watching this film is like riding a roller coaster – sometimes exciting, sometimes sickening, always captivating. However, this isn’t a case of style-over-substance: the kinetic and colorful pace works in unison with a tragic first-half storyline that makes for my most intense theater experience so far this year.

As the pace slows for a meditative second half, the film’s themes and messages come into razor-sharp focus and take on a more grand (dare I say epic?) feel. This is where Waves truly differentiates itself from being a run-of-the-mill thriller, and challenges you to ask questions of what it means to be human, to make mistakes, to forgive, and ultimately, to love.

If it sounds like I’m being overly vague (and perhaps a little pretentious), that’s on purpose. Waves accomplished something that’s rare for me in a film: I had no clue what was coming next, and I was absolutely gripped waiting for what would happen to our characters. At the end of it all, the final emotions and message that the film leaves you with is universal for every viewer. This is not just a film about being a young adult, about being an athlete, about being a family, or about being African-American. Waves is about being human.

All of this comes off the back of incredible and endearing performances from Sterling K. Brown, Lucas Hedges, Taylor Russell, and Kelvin Harrison Jr. (in a breakout year after the also-incredible Luce), working in wonderful conjunction with Trey Edward Shults’ urgent direction.

While its epic emotional scope and frantic filming style leads to some inconsistent pacing issues, Waves is something you should absolutely watch if you can get through some hard-to-watch events on screen.

The Cast: Taylor Russell, Kelvin Harrison Jr., Alexa Demie, Sterling K. Brown, Lucas Hedges, Renee Elise Goldsberry

The Elevator Pitch: The tragic story of one American family, filmed like one long Frank Ocean music video.

The Score: 9.25/10