Movie – Best Case Reviews.

‘Tenet’ Review

It’s about time! A non-spoiler dissection of Christopher Nolan’s epic global spy-thriller ‘Tenet’

Tenet Review by Alex Ledebuhr

It’s been too long since we’ve last spoken, erm, I mean written. I’ve missed you dearly and, presumptuous as it may sound, I think you’ve missed me too. That’s not to say my writing is that incredibly important to your lives, but I’m sure it is fair to say for most of you it has been terribly long since you’ve seen the inside of a movie theater. That is a complete tragedy. The Covid-19 pandemic has taken so much from us in 2020. Not to say movies rank above the loss of human life, because they pale in comparison, but I know for me movies were a perfect escape from everyday life. That outlet has been taken from us, and that hurts. But alas, we must trudge forward, one day at a time, and figure out our place in this new normal.

Before I begin my review, I think it’s important to catch you, my trusted readers, up on my life. My last review was in February of this year. I was going to school full time and I got a little overwhelmed with my workload as it was my last semester and then Covid struck. I attended remotely throughout the rest of the semester. Looking back I should have used that time to write more reviews, I was just severely disheartened that theaters weren’t open. I felt lost. Well, I was definitely found after I graduated from school (in May) and proposed to my girlfriend of almost three years (in June). We had a joyous, lovely, and contained zoom wedding with a small number of in-person guests (in October… 10-10-2020 to be exact… aren’t you jealous of that date). We have since moved into a new home together and are so excited to start/continue our lives together. Needless to say, we just cleared out our office and plugged in the old Mac-aroni ™ and I have been dying to tell you all about Tenet, so in the words of Heath Ledger’s Joker, “Here we… go.”

BTS: Christopher Nolan discussing the upcoming scene with John David Washington for ‘Tenet’ (photo: Warner Bros.)

Christopher Nolan is by far one of the most unique directors of this generation, let alone all-time. The only argument against him from a movie-goer I have heard is that his movies are “confusing.” The only argument against him from film makers is in regards to his sound mix, which I will address later. While I don’t fully disagree with either of those sentiments, I think the man is truly a genius when it comes to film, in regard to his complex plots, narrative structures, and yes, his sound design. He knows the rules, and better yet, he knows how to break them… in absolutely glorious fashion. While Tenet is both confusing and “noisy” (more on that later), it’s a groundbreaking film, with some of the most captivating concepts, stunts, and cinematography I have ever seen. In addition, the composition by Ludwig Göransson (Black Panther, Creed) and the acting performances were pretty phenomenal as well.

Explosion at the Kiev Opera House in ‘Tenet’ (photo: Warner Bros.)

Tenet is Christopher Nolan’s take on the spy genre, of which he is a self-professed super-fan. It’s description on iMDb is as follows: “Armed with only one word, Tenet, and fighting for the survival of the entire world, a Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.” Wow. That’s a mouthful. I hate to be the bearer of bad news, but I won’t really go too much more in depth aside from answering the most frequently asked question in regards to Tenet, “it’s not time travel. Inversion.” That being said, the plot is… hard to handle. It absolutely takes multiple viewings in order to understand the very complex plot (I dared not write this review before seeing it 4 times, thrice in theaters and once at home… shhhhhh). It’s like Inception on crack. However, I noticed upon each viewing, like Inception, the film just kept getting better for me.

The Protagonist (John David Washington) and Kat (Elizabeth Debicki) speed into the future in ‘Tenet’ (photo: Warner Bros.)

First off, I’d like to break down the cinematography and stunts. While I can’t talk about the cinematography without mentioning the Director of Photography, Hoyte Van Hoytema (Interstellar, Dunkirk), I could not talk about the stunts without mentioning John David Washington (BlacKkKlansman, Ballers). This film literally wouldn’t have been able to be made without JDW, who had to film complex fight choreography and stunts, both forwards and backwards. The sheer athleticism it took was absolutely astounding, but then again Washington did play professional football for several years, so I guess he was cut out for the role. Back to the cinematography, which I will be amazed if Hoytema isn’t nominated for an Oscar for his incredible work. In order to make the film, which is easily his most ambitious collaboration with Nolan, he had to literally make adjustments to the IMAX camera so that he could shoot both forwards and backwards. That’s right, there are multiple scenes throughout the film which were shot both forwards and backwards. The scenes in question are truly fascinating and worth the price of admission/blu-ray alone, but the film also has stunning cinematography throughout allowing it to stand on its’ own two legs, time-inversion gimmicks aside.

The Protagonist (John David Washington) and Neil (Robert Pattinson) in the Red/Blue Room in ‘Tenet’ (photo: Warner Bros.)

The amount of collaboration on the direction of the film had to be very precise in order to pull of the various inversion effects, and one of the most important collaborations was with the films’ editor, Jennifer Lame (Marriage Story, Hereditary). Nolan has always been a huge fan of non-linear storytelling, but Tenet provided the additional challenge of forward and inverted fight scenes, which would be a challenge for any editor. In addition, she replaced Nolan’s longtime editor, Lee Smith, who was busy editing the Oscar-winning film, 1917. Lame, who has also worked on several Oscar-winning films, proves to be a multi-talented editor, as she has edited dramas (often with director Noah Baumbach), horror, and now with Tenet, an action/thriller/espionage film. Her editing was essential for keeping the characters grounded emotionally, especially Kat, played by Elizabeth Debicki (Widows, Guardians of the Galaxy Vol. 2).

The Protagonist (John David Washington) and Neil (Robert Pattinson) infiltrate the Freeport in Oslo in ‘Tenet’ (photo: Warner Bros.)

Speaking of Kat, I should mention the other major players in the film, which are the aforementioned Protagonist (which is the only name we are given in the film for the character), played by John David Washington, Neil, played by Robert Pattinson (The Lighthouse, Good Time), and the villainous Sator, played by Kenneth Branagh (Dunkirk, Murder on the Orient Express). All of these actors did an incredible job of keeping the story moving forward (and backward *slaps knee*) through it’s fairly complex portrayal of time manipulation. All four really hold the film together and give memorable performances in a film which constantly one-ups itself technically. It’s hard to say much more without giving anything away, so I will pull myself to another topic, the score.

Kat (Elizabeth Debicki) with some major attitude in ‘Tenet’ (photo: Warner Bros.)

Ludwig Göransson has already won an Oscar for his incredible score in Black Panther (Rest in Power Chadwick), and I don’t know what his competition is this year, but he very well could get nominated for his work on Tenet. What makes this even more incredible is that he had to conduct his many musicians virtually due to social distancing protocols. What makes his soundtrack so cool, and I must emphasize, it is very cool (I’m listening to it right now on repeat), is how in sync with the plot it is. It, along with the plot, utilizes the concept of time-inversion throughout the film, which gives it tons of replayability, both forwards and backwards. The themes for the Protagonist, Neil, Kat, & Sator are all thoroughly unique and blended together subtly which makes for an exciting ride, both visually and sonically. Its’ booming synths and electric guitars keep the heart (and its’ strings) pumping throughout the entire film.

Ludwig Göransson in his socially distanced studio (photo: New York Times)

Lastly, I’d like to take a moment to address the sound design of the film, as it is what I went to school for. On my first viewing I was so utterly overwhelmed by everything I was seeing, I figured the sound design would be overshadowed by the visual aspect of the film. Two minutes into the film I was proven wrong during the epic opening introduction at the Kiev Opera House. I don’t think I have ever heard gunshots presented the way I heard in that moment. It’s a true shame that most won’t get a chance to see it on the big screen, because the sound design really has the ability to stop your aforementioned heart from pumping, especially in Dolby. While I understand the complaints of some regarding the inaudible dialogue, upon multiple viewings it’s clear that most of the information we are losing to bombastic gunshots and inverse explosions are simply exposition that is being explained visually anyways. To be certain I was able to watch the film with subtitles during my latest viewing, thus confirming my theory that not much is lost in translation. Again, I think Christopher Nolan is a genius and creative in most aspects of the craft of filmmaking, especially sound design.

Christopher Nolan, John David Washington, and Clemence Posey work on a scene for ‘Tenet’ (photo: Warner Bros.)

Well, I’ve written as much as I dare to on Tenet (for now), but I do urge you to check it out in a theater if you have the opportunity and feel safe enough to do so. Christopher Nolan movies, and in this case Tenet especially, deserve/need to be seen on the big screen. It’s an audio-visual experience like no other, and while I haven’t seen it in IMAX (and sadly probably won’t get the opportunity), I personally think that Dolby is the best way to see any movie. It’s fantastic to be back in the writer’s chair and in the spirit of Tenet’s inversion I plan to write reviews on each of Christopher Nolan’s films, working backwards of course, so expect a review for his thrilling war-epic Dunkirk next, in which I will break down a little thing called Shepard tones.

MPAA Rating: Rated PG-13 for intense sequences of violence and action, some suggestive references and brief strong language
Runtime: 150 Minutes
Produced by: Warner Bros. & Syncopy

‘Sister Act 2: Back in the Habit’ (TFD Supplies) Review

My first TFD Supplies movie review! I’m beyond grateful for the opportunity. Please visit the original link below the trailer embed!

https://www.tfdsupplies.com/blogs/educator-panel/sister-act-2-movie-review

The first Sister Act succeeded on the combined humor of Whoopi Goldberg’s (Ghost, The Color Purple) fish out of water comedy and the villain turned ally of Maggie Smith’s (Harry Potter and the Deathly Hallows: Part 2, The Best Exotic Marigold Hotel) deftly named Mother Superior. The first film ended on a high note with Sister Mary Clarence, AKA Deloris Van Cartier (Whoopi Goldberg’s character), surviving her killer mobster ex-boyfriend, bringing St. Paul’s Catholic Church back to prominence, and successfully repairing the church’s defunct choir. During the credits it is revealed that Deloris becomes a successful Vegas performer and everyone lives happily ever after.

Deloris aka Sister Mary Clarence (Whoopi Goldberg) in ‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)

Back in the Habit picks up soon after Deloris becomes a successful Las Vegas headliner. Sisters Mary Patrick, played by Kathy Najimy (King of the Hill, Hocus Pocus), Mary Lazarus, played by Mary Wickes (White Christmas,The Hunchback of Notre Dame), and Mary Robert, played by Wendy Makkena (State of Play, A Beautiful Day in the Neighborhood), travel to Las Vegas to seek out Deloris’s help. The local school which the nuns teach at in San Francisco, St. Francis Academy, is in dire straits; without a miracle the school is going to close. Mother Superior believes that Dolores could help reform the inner-city school’s rowdy music class… by reviving her former guise as Sister Mary Clarence.

The unruly class led by Rita Watson (Lauryn Hill) in *‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)*

Sister Mary Clarence underestimates the disrespectful class filled with loud, raucous high schoolers who have no intention of learning. Led by Rita Watson, played by multi Grammy award winning singer Lauryn Hill (The Miseducation of Lauryn Hill, The Fugees’ The Score), the class does their best to undermine Sister Mary Clarence. While Sister Mary Clarence squares off against the unruly class the suspicious school board, led by Mr. Crisp, played by James Coburn (The Great Escape, The Magnificent Seven), suspect “Sister Mary Clarence” isn’t who she purports to be. Will Sister Mary Clarence be able to tame the wild class? Will the school board find out Sister Mary Clarence’s secret identity?

Sister Mary Patrick (Kathy Najimy), Deloris aka Sister Mary Clarence (Whoopi Goldberg), and Sister Mary Robert (Wendy Makkena) in *‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)*

The brilliance of Sister Act 2 is the simplicity of the story. It’s a classic teacher vs. student story, filled with entertaining and well-choreographed musical segments. Both teacher and class eventually learn something new about one another, ultimately bringing them together. Unbelievably, the film is directed by classic action star Bill Duke (Predator, Commando), who has 60 other directing credits! Despite the film having a low metascore on IMDb, it is a classic 90’s film, which are without a doubt formulaic in the way they are written, directed, shot, and edited. The thing is… the formula works. It is a great example of 90’s humor and culture as well as having a heartwarming story of coming together to becomes something greater.

Deloris aka Sister Mary Clarence (Whoopi Goldberg) takes the class on a field trip in *‘Sister Act 2: Back in the Habit’ (photo: Touchstone Pictures/Buena Vista Pictures)*

Whoopi Goldberg does a fantastic job of slowly breaking through to the stubborn students. Conversely, she also learns to open her heart to hard cases like Rita. Like the first film, she transforms a ragtag group of off-key, self-conscious kids into a confident, unified choir. Her character is based, in part, on a real nun, Mother Dolores Hart, and there is also contention that the character was based on Delois Blakely, who sued Disney and Sony Pictures. While it is a stretch, I believe the film is a great demonstration of a teacher going up against the odds to break through and help the proverbial unruly, disobedient classroom. The film’s musical numbers add heart, soul, and tons of emotion as the students slowly begin to believe in themselves and climactically compete in the All-State Choir Championship.

MPAA Rating: Rated PG for some mild language
Runtime: 107 Minutes
Produced by: Touchstone Pictures
Distributed by: Buena Vista Pictures

The Irishman Review

Martin Scorsese’s Final Word on the Gangster Film

Martin Scorsese (The Departed, The Wolf of Wall Street) is easily one of the best directors of all time. It’s a miracle he has only won the Academy Award for directing only one time, as his worst film could generally be considered better than the average director’s best film. While he has worked with Robert De Niro (Taxi Driver, Raging Bull), Joe Pesci (Goodfellas, Raging Bull), and Harvey Keitel (Mean Streets, Taxi Driver) several times before, he has never worked with Al Pacino (The Godfather, Dog Day Afternoon) … until now. In what could be considered his final word on the gangster film, Scorsese brings all four of these legendary actors together in his adaptation of I Heard You Paint Houses, by true crime author Charles Brandt (Donnie Brasco: Unfinished Business, The Right to Remain Silent). Steve Zaillian (Gangs of New York, Moneyball) adapted Brandt’s book for the big screen (and the small screen, as it is a Netflix Original Film).

Frank Sheeran (Robert De Niro) and Russell Buffalo (Joe Pesci) in ‘The Irishman’ (photo: Netflix)

In The Irishman we follow Robert De Niro’s character, Frank Sheeran, throughout his life as he swims through the underworld of America’s Mafia. Most of the film is told in the past tense, as Frank recounts his life and his possible involvement in the disappearance of Jimmy Hoffa, played by Pacino. Very much like Goodfellas, this story is a rags to riches sort of tale. Frank starts out as a union truck driver who ultimately works his way through the various ranks within the union. The film is set against the backdrop of the rise of Jimmy Hoffa and the Teamsters Union.

Bill Buffalino (Ray Romano), Jimmy Hoffa (Al Pacino), and Frank Sheeran (Robert De Niro) in ‘The Irishman’ (photo: Netflix)

The Irishman is a technical achievement due to the fantastic de-aging effects for the various actors, specifically Robert De Niro and Joe Pesci’s characters. Not only that, but it is easily one of Scorsese’s best works. While the film is just under three and a half hours, it is a very concise story, with little to no wasted screen-time. Although I did find something online which breaks up the film into four distinct episodes, similar to how Netflix split up Quentin Tarantino’s The Hateful Eight into four episodes. Watching it this way did feel a little easier, as I know it is tough to find almost four free hours in a day to sit down and watch a movie. Eventually I do want to sit down and watch the movie in its entirety.

The Return of the Copacabana Club in ‘The Irishman’ (photo: Netflix)

The acting in the film is absolutely phenomenal. While Robert De Niro didn’t get nominated, both Joe Pesci and Al Pacino have been nominated for an Academy Award for their portrayals of their characters, Russell Buffalino and Jimmy Hoffa, respectively. Even though De Niro didn’t get nominated (it is a bloated Best Actor race this year) he plays his part to perfection. He plays a sort of tough guy who will go to extreme lengths to protect his family, but the emotion that he shows is palpable even though he never sheds a tear. It’s truly a wonderful performance.

Aged Frank Sheeran (Robert De Niro) in ‘The Irishman’ (photo: Netflix)

As for Pesci, it is one of his most understated roles I have ever seen him perform. He isn’t the loose cannon, as so many of his other Scorsese-film characters are. On the contrary, he is in complete control of his emotions throughout the entire film, and when he needs to express any emotion, he has somebody do the dirty work for him. Pacino, on the other hand, portrays Hoffa as an absolute stark raving mad lunatic. He is extremely uneven, as anything can set him off, which makes him more like Pesci’s usual roles in Scorsese films. I will neither confirm nor deny what that says about Hoffa’s chances of making it to the end of the film.

Russell Buffalino (Joe Pesci) in ‘The Irishman’ (photo: Netflix)

Tongue-in-cheek humor aside, the film is excellently shot and edited. Rodrigo Prieto (The Wolf of Wall Street,Babel), who has worked with Scorsese since The Wolf of Wall Street, was the director of photography, and his shots work to further the story. On various occasions throughout the film, the camera works to tell the story more effectively than the dialogue. Not only that, but the shots are absolutely gorgeous and pristine. The film was shot half digitally, and half on Arri film cameras.

Angelo Bruno’s (Harvey Keitel) Restaurant in ‘The Irishman’ (photo: Netflix)

Thelma Schoonmaker (Raging Bull, The Departed) has edited every Scorsese film since Raging Bull in 1980, which she consequently won an Oscar for. Similarly to the cinematography, her editing style ingeniously conveys information to the audience that dialogue simply could not achieve. At one point Russel Buffalino tells Frank that a character said something disrespectful to him and that it crossed a line. Instead of showing Frank respond verbally, the very next shot is a god’s eye view of a bed with a bevy of uniquely and neatly arranged firearms. The implication is very clear. This guy is about to get whacked. Schoonmaker has made a career by working with Scorsese, and it is one of the reasons the majority of his films are so well received. It makes sense, as she has won three Academy Awards during her standing collaboration with Martin Scorsese.

Russell Buffalino (Joe Pesci) and Frank Sheeran (Robert De Niro) and wives in ‘The Irishman’ (photo: Netflix)

Similarly to other Scorsese gangster films, the music in the film is a rag tag combination of popular songs that fit the mood of the scene, with a little score added in to make the film unique. Robbie Robertson (The Wolf of Wall Street, The Color of Money) works in the music department as well as composing the repeating themes throughout the film. The score is a bluesy harmonica mainly playing throughout the various montage sequences, which usually foreshadows a killing or dark action of some kind. The other main theme is “In the Still of the Night,” by The Five Saints, which plays throughout the film in various degrees as well.

One of many smoke breaks in ‘The Irishman’ at Howard Johnson’s Ice Cream Restaurant (photo: Netflix)

Overall, I believe The Irishman is an extraordinarily good film. I’ve seen it on plenty of top ten lists, but I’m not sure I would put it on mine, as the gangster film is kind of overdone at this point, and a little unnecessary in my opinion. It’s essentially the same story as Goodfellas and Casino. That being said, it is a technical achievement and one of Scorsese’s most well-done films, although the ending is a little weird, in this author’s humble opinion. Either way I recommend it to fans of gangster films and Scorsese fans in general. You won’t be disappointed… just make sure you have the time to watch it!

How to watch ‘The Irishman’ as a mini-series (Photo: Twitter user @dunerfors

MPAA Rating: Rated R for pervasive language and strong violence
Runtime: 209 Minutes
Producers: Tribeca Productions, Sikelia Productions, and Winkler Films
Distributed by: Netflix

2019 Top Ten Films

Favorite Movies of 2019

Here is my top ten list of 2019. It was extremely difficult to narrow down my 10 favorite movies of the year. While I don’t necessarily think they are the best films of the year, they are the movies that I personally enjoyed the most. It was hard enough to choose them all, so I won’t order them from worst to best. Instead, I will list them in the order that I saw them.

1. Avengers: Endgame — The Russo Brothers

This was, without argue, the biggest event film of all time. It’s literally the highest grossing film in the world, and the money has absolutely no impact on whether or not it is on this list. I will never forget my experience seeing this opening weekend. Seeing Captain America pick up Mjiolnir after it had been teased since Avengers: Age of Ultron was one of many moments where the entire theater was cheering. We laughed together, we cheered together, and we cried together. It was a moment 10 years and 22 films in the making and it was easily one of the greatest movie moments of 2019.

2. Once Upon a Time… in Hollywood — Quentin Tarantino

Quentin Tarantino (Pulp Fiction, Reservoir Dogs) movies are event films in their own right. The director is so quirky and unique that each one of his movies is a love letter to cinema, and his 9^th film was the biggest love letter of them all. He, along with his cinematographer, Robert Richardson (The Aviator, Shutter Island), who he has worked with since the Kill Bill films, re-created the early 70’s Hollywood, with one of his most daring films yet. It was maybe his funniest film he has ever made, following a has-been actor and his loyal stuntman, played by two of the best in the game: Leonardo DiCaprio (The Revenant, Inception) & Brad Pitt (Inglourious Basterds, Moneyball). It was the dynamic duo we didn’t know we needed, and it has been a smashing success on the awards circuits.

3. The Lighthouse — Robert Eggers

As a sound designer, I try to pay as much attention to the sound design in each movie, so that I can learn the tricks of the trade. The Lighthouse had some of the craziest sound design I have ever heard. The awful sound of the horn that the lighthouse made in the film was so intense it made me feel like I was going insane, like the two wonderful actors on the screen. I’m mighty surprised that neither Willem Dafoe (The Florida Project, Platoon) or Robert Pattinson (Good Time, The Lost City of Z) are getting accolades for their amazing performances, but their acting talents will be here for years to come, so I am sure there will be more amazing performances from each of them. The other thing about this movie is the ingenious formatting: black and white 35mm film, orthochromatic aesthetic evoking 19th-century photography, and a nearly square 1.19:1 aspect ratio, which further increases the sense of claustrophobia we feel with these characters.

4. Jojo Rabbit — Taika Waititi

After Thor: Ragnarok, I was a little nervous about Taika Waititi (What We Do in the Shadows, Thor: Ragnarok) films. The biggest complaint with the third Thor film was that they absolutely beat the jokes to death. Luckily, Taika reigned it in, for the most part, for Jojo. It’s a satirical film about hate, which is so relevant in today’s world, with an outstanding introductory performance by Roman Griffin Davis, who played the titular character. The film is much deeper than the trailer’s let on, but it somehow manages to balance on the tightrope between comedy and drama. Considering the subject material, that was an incredible feat.

5. Ford v Ferrari — James Mangold

This is another film that is successful mainly due to the charisma between it’s two main characters. Christian Bale (Vice, The Big Short) and Matt Damon (The Martian, Good Will Hunting) played off each other great in this action-packed sports dramedy. It was way funnier than I expected it to be, which was good, because when the film wasn’t being funny, it was in your face “hard knocks of life” family drama. Bale and Damon do a terrific job, in an excellently directed film by James Mangold (Logan, 3:10 to Yuma).

6. Parasite — Bong Joon Ho

Possibly the best film of the year, Parasite is an example of what Americans are missing out on with film from other countries. It is a story about capitalism, which is the only thing I will say about it because the film is so much better going in knowing next to nothing. Bong Joon Ho (Snowpiercer, The Host) is an excellent film maker with an extremely creative mind. He has written as many films as he has directed, which is a pretty amazing feat. Do yourself a favor and see this film.

7. Star Wars: Episode IX – The Rise of Skywalker — J.J. Abrams

This is up there with Endgame for being a great example of experience over technical achievement. I grew up watching Star Wars and I was in my formative years when the prequel trilogy came out, so I am in a unique position where I actually love every Star Wars movie. This film was no different. The experience during opening weekend was up there with Avengers: Endgame. There were laughs, cheers, and tears, and in my opinion the film makers did the best they could. For me, the nostalgia was amazing, however it is probably the most divisive film of 2019.

8. Uncut Gems — The Safdie Brothers

If you would have told me that Adam Sandler (Happy Gilmore, Grown Ups) put in the performance of the lifetime a year ago, I would have told you to go spit. Afterall, this is the man who admitted on talk shows that he has lost his edge and takes movies to go on vacations with his friends and family. That being said, he has put in the performance of a lifetime. The saga of Howard Ratner, a sleazy New Yorker jeweler, is a story 10 years in the making, and the Safdie Brothers (Good Time, Heaven Knows What) have proven that feet on the ground, improvisational film making is still an amazing way to tell a story.

9. Marriage Story — Noah Baumbach

Noah Baumbach (The Squid and the Whale, The Meyerowitz Stories) is such a humanist director. He tells human stories, with human characters, set in the human universe. Marriage Story is such an intense film about something most people are too afraid to admit: the end of a relationship, and in this case, a marriage. Scarlett Johansson (Her,Lost in Translation) and Adam Driver (Paterson, The Report) deliver impactful realistic performances, surrounded by a truly great supporting cast. It’s a must-see film streaming on Netflix as we speak.

10. 1917 — Sam Mendes

Even though it’s release window barely makes it a 2019 film, it is indeed, technically a 2019 film. The saying, “save the best for last” comes to mind when I think of this film. It’s a technological feat: a WWI story filmed to look like it is one continuous shot. It’s successful, it’s a great (and potentially triggering) film for veterans to see, which gives us a glimpse of the intense traumas soldiers go through in a tour of duty. It’s also Sam Mendes’s (Skyfall, Road to Perdition) first screenplay, which should excite any fan of his. It was a great way to end the year and the decade.

After looking at my top movies, I realized I need to branch out more and see more films by women & people of color, so that is definitely one of my goals for 2020! As 2019 came to a close, I felt a little lost. I’m graduating film school next semester, and I don’t necessarily have a concrete plan, but I am learning to follow my instincts and passions and see where they take me. I think we can get more than just an experience out of film, but if we can’t have a little fun along the way, I don’t really see the point of the journey. Good luck to everyone on their journey into the new decade, I hope it’s as fun and productive as mine is already starting to be.

Honorable Mentions

Blinded by the Light — Gurinder Chadha
Midsommar — Ari Aster
Knives Out — Rian Johnson
Joker — Todd Phillips
Rocketman — Dexter Fletcher

1917 Review

Sam Mendes’ One Take Wonder Takes Us to The Gritty Trenches of WWI

Without a doubt, 1917 is the technological feat of 2019. There, I said it. The film is extraordinarily good, which should be no surprise since it comes from the mind of Sam Mendes (Road to Perdition, Skyfall), who in my opinion only has one not so great film: Spectre. It is also a movie that should be seen in the theater. I know I said that Uncut Gems was probably the most stressed I have been in a movie theater ever, but 1917 gives that experience a run for its money. We, the audience, are with these two British soldiers, played by Dean-Charles Chapman (Game of Thrones, The King) and George MacKay (Captain Fantastic, 11.22.63) on a suicide mission to save 1,600 lives through one of the most dangerous battlegrounds in human history. The experience, to say the least, is intense.

Lance Corporal Schofield (George MacKay) and Lance Corporal Blake (Dean-Charles Chapman) in ‘1917’ (photo: Universal Pictures)

Lance Corporal Blake (played by Chapman) is a British soldier in WWI, and he is tasked with a mission, which he unwittingly pulls his buddy, Lance Corporal Schofield (played by MacKay), into as well. The mission: go behind enemy lines to call off an attack because of a trap laid by the German army. The kicker: one of the men in the company that is set to attack is Blake’s brother. If you are unfamiliar with WWI and the grave fighting situation, then I will give you a small history lesson. Trench warfare was a no-holds-barred stalemate resulting in the loss of a reported 12 million lives. Essentially one side would attack and gain some ground, then the other side would attack and gain the ground back, and this literally went on for almost 4 years. It was a nasty situation and it is depicted exceedingly well in 1917.

General Erinmore (Colin Firth) in ‘1917’ (photo: Universal Pictures)

The first thing that needs to be talked about is Roger Deakins’s (Blade Runner 2049, No Country for Old Men) excellent cinematography. The film is shot and edited to appear as one continuously flowing shot. This was achieved with clever storyboarding & editing as well as a bunch of long takes. The daytime shots are gritty and recall what a color version of Stanley Kubrick’s Paths of Glory would look like, while the nighttime and interior trench shots use shadows and complete darkness to add to the suspense and intensity of the film. I will be truly awestruck if Roger Deakins doesn’t win another Academy Award this year. Like its predecessor Birdman or (The Unexpected Virtue of Ignorance), which was also shot and edited to appear as one long take, 1917 is utterly unique and bold. Emmanuel Lubezki won the Academy Award in 2015 for his groundbreaking work on Birdman and I believe Deakins is a shoe in this year.

Lance Corporal Schofield (George MacKay) in ‘1917’ *(photo: Universal Pictures)*

The direction in the film is absolutely phenomenal. It’s no fluke that Sam Mendes won the Golden Globe for Best Director, because with a film of this scale the direction had to be on point, otherwise it just wouldn’t have worked. The number of extras, set designs, special effects, etc. is daunting, and without Mendes’s precise direction the film couldn’t have achieved its unique flowing cinematography. From the beginning of the film it feels like these two soldiers are walking a tightrope and throughout the film it’s as if that tightrope is getting thinner and increasing in elevation. He wrote the film with Krysty Wilson-Cairns (Last Night in Soho, Penny Dreadful) and the film is inspired by Mendes’s grandfather’s (Alfred H. Mendes) experiences in WWI.

British soldiers taking cover in a WWI trench in ‘1917’ *(photo: Universal Pictures)*

The score is composed by Thomas Newman (Skyfall, American Beauty), cousin of Randy Newman, who scored Marriage Story this year. Thomas Newman has been nominated for a whopping 14 Oscars! Do I think he will win this year? No. The simple reason why is that Hildur Guðnadóttir, who scored Todd Phillips’ Joker, has way too much steam going into the Oscars. I think it’s a foregone conclusion that she will take home the Oscar for Best Score this year. However, that doesn’t take anything away from Newman’s extremely emotional score. I’ve always gone back and forth on whether it is the actor’s physical actions or the musical score which creates the emotional pull of a film. I think the answer, at least in 1917’s case, is simple: it’s a combination of the two. There are several moments in this film where the lack of score creates the same palpable emotions that the score itself creates. That’s part of the required genius of a musical composer, knowing when to allow the film to just be. Thomas Newman is an extremely talented composer. His awards are no fluke, and the musical score for 1917 is the proof in the pudding.

Colonel MacKenzie (Benedict Cumberbatch) in ‘1917’ *(photo: Universal Pictures)*

Enough can’t be said about Chapman and MacKay’s performances. Although it is unlikely they will get too many acting nominations, as the race is extremely tight, they clearly have talent. Their performances make the entire film feel as if the stakes are real. The violence is extremely realistic and the obstacles they must overcome are astronomical and horrifying. Having been in the military myself I related with the ball-busting camaraderie they both had with one another. One second they can be joking about masturbation and the very next they are deadly serious, covering each other’s backs with a trained precision. I’m sure many veterans will be able to relate with this movie… more on that later. There were several big-name actors playing small supporting characters, including Colin Firth (The King’s Speech, A Single Man), Andrew Scott (BBC’s Sherlock, Spectre), Benedict Cumberbatch (Avengers: Endgame, The Imitation Game), and Mark Strong (Kingsman: The Secret Service, Kick-Ass). The real emphasis is on Lance Corporals Blake and Schofield and their bond as soldiers and friends, but without such good supporting characters/actors the film easily could have lost its footing early on.

1917 is truly an experience to be had in the theater. Not only is the cinematography fantastic, but the sound design is made to be heard in a theater, where a bullet can come from any direction. I would issue a warning to veterans with combat experience as this film is an extremely good example of why soldiers come home with PTSD. It is very intimately shot and the sound effects all feel very close quarters, as if we are right there with Blake and Schofield. I unknowingly sat next to a Vietnam veteran during the film and afterwards we talked a bit, but when he told me he served in Vietnam I asked him if he was okay, because the film is very intense. He thanked me and also told me a story which was very inspiring and emotional, which made me think as veterans it’s our duty to look out for one another… and go to the VA for goodness sake! Don’t wait until tomorrow, go today, they are there to help, even if it can be a flawed system at times. Okay, back to the review. Imagine the intensity and reality of Steven Spielberg’s Saving Private Ryan of WWII and you will reach a good comparison for the portrayal of WWI in 1917. It is easily one of, if not the best, films of the year, and it’s one of the best war films I have ever seen. Do yourself a favor and see this one before it leaves theaters!

MPAA Rating: Rated R for violence, some disturbing images, and language
Running Time: 119 Minutes
Produced By: Amblin Partners, DreamWorks, Neal Street Productions, New Republic Pictures

Star Wars: Episode IX – The Rise of Skywalker Review

The Skywalker Saga Comes to a Thrilling End

How do you end a decades long saga beloved by millions and millions of people? Do you honor the past like The Force Awakens did when it started off this new trilogy or do you try something new like Rian Johnson (Knives Out, Looper) did with The Last Jedi? Ultimately, J.J. Abrams (Star Wars: Episode VII – The Force Awakens, Super 8) decided that nostalgia is more important than going in a new direction. At this point, I believe that Star Wars films are event blockbusters, very similar to films from the Marvel Cinematic Universe. For me, the reason I like Star Wars movies is because I absolutely loved the original trilogy and I even love the prequel trilogy (I hope that didn’t instantly burn my reputation). This being said the nostalgia in the film was easily one of my favorite parts of the experience.

I absolutely loved every second of it, especially seeing it during opening weekend. The crowd had an energetic vibe and there were plenty of cheers and eye-wateringly awesome moments if you’re a major fan of the franchise. I really enjoyed the story too! As displayed by the second trailer that was released, Emperor Palpatine, played by Ian McDiarmid (Star Wars Episodes I, II, III, V, V), returns to wreak havoc and retake control of the galaxy. Self-declared Supreme Leader Kylo Ren, played by Adam Driver (Marriage Story, The Report), attempts to take control of the galaxy as well in his ever-persistent journey to become the most powerful person in the galaxy. Rey, Finn, and Poe, played by Daisy Ridley (Star Wars: Episode VIII – The Last Jedi, Murder on the Orient Express), John Boyega (Star Wars: Episode VIII – The Last Jedi, Pacific Rim: Uprising), and Oscar Isaac (Star Wars: Episode VIII – The Last Jedi, Ex Machina), race against the clock to try to protect the galaxy as the battle between good and evil, light and dark, is waged one last time.

The movie moves along at a (force) lightning pace. This didn’t bother me in the slightest because I grew up watching the original trilogy with my Dad and I saw all of the prequel movies in theaters… not to mention the amount of times I have watched them all at home. However, I guess for some it could be considered too fast paced, so it will be advantageous going in with that knowledge. The characters finally felt comfortable to me. Rey is continuing her training to become a Jedi, Finn and Poe aren’t exclaiming and hugging every single time they see each other, and Kylo Ren is determined and has dropped the whiny tantrum act. The stakes in the film are palpable and, in my opinion, honor the Skywalker Saga as a whole, not to mention this new trilogy. This film also brings back Lando Calrissian (Star Wars: Episode V – The Empire Strikes Back, Brian’s Song) and I can’t emphasize enough how chilling Ian McDiarmid’s portrayal of The Emperor is. Seriously, if you have young children it may not be the best film as there is some truly frightening imagery as my cousin learned the hard way (again, I apologize for not writing this sooner). The film is easily the darkest of the new trilogy, although I think Revenge of the Sith has to take the cake for the darkest film in the entire franchise; why the younglings, Anakin??!!

Needless to say it is up to each and every person to come up with an opinion for this film because it is extremely divisive. At the end of the day as an auteur you can’t please everybody, and J.J. Abrams clearly put his heart, soul, and extensive knowledge/passion of Star Wars into this film. He co-wrote the film with Chris Terrio (Argo, Justice League) as well as taking on directing duties. The film was another movie that was actually shot on film like so many other fantastic films this year. As I’ve said, there is something magical about movies that are actually shot on film. The film was shot by Dan Mindel (Star Wars: Episode VII – The Force Awakens, Star Trek Into Darkness) and contains plenty of classic J.J. lens flare along with some truly breathtaking imagery. Seriously, the desert scenes are amazing, filled with heat shimmer that make the film that much grittier. Luckily our main characters visit plenty of planets this time around, which offers up all sorts of beautiful and unique kinds of scenery. I’m sure the film will garner a few technical Oscar nominations too as the sound design and VFX are stunning to say the least. Again, it is a Star Wars film, so these qualities are almost a no-brainer.

The movie was edited by Maryann Brandon (Star Wars: Episode VII – The Force Awakens, Super 8) and Stefan Grube (10 Cloverfield Lane, Tully). While the action sequences were all edited very well, I didn’t feel like anything really stuck out as being exemplary or ground-breaking. The film was edited very much like The Force Awakens and The Last Jedi, however, they did have an extraordinary task of making everything feel cohesive as there is quite a bit going on. John Williams (Star Wars, Indiana Jones) returned one last time to score the final Skywalker film and he claims this film will be his last Star Wars film, which is bittersweet. On one hand, all of his Star Wars themes are memorable and unique, whether it was the main theme, which is arguably the most iconic movie composition of all time, or it his extraordinarily composed/performed “Duel of the Fates” in The Phantom Menace. On the other hand, it is always good to leave on a high note, and his score for The Rise of Skywalker is definitely a high note. Whether it be “Rey’s Theme” or the classic “Imperial March,” John finds a way to mix old with new in unique and memorable ways.

In summary the experience of The Rise of Skywalker is what you make of it. Unfortunately characters like Rose, played by Kelly Marie Tran (Star Wars: Episode VIII – The Last Jedi, Sorry for Your Loss), and Maz Kanata, played by Lupita Nyong’o (Star Wars: Episode VII – The Force Awakens, Us), don’t get much screen time, which is another reason the film is being criticized, especially the absence of Rose. In a bulky script, I don’t see how their roles could have been increased, but alas, such is life. There are plenty of truly epic moments that any Star Wars fan should enjoy and if anything it is an extremely fun movie to experience in a theater. Be wary of bringing small children as the film is extremely dark and could be scary for them, and as always, may the Force be with You!

MPAA Rating: Rated PG-13 for sci-fi violence and action
Running Time: 142 Minutes
Produced By: Walt Disney Pictures, Lucasfilm, and Bad Robot

Marriage Story Review

Adam Driver and Scarlett Johannsen Both Give Powerhouse Performances in Noah Baumbach’s Marriage Story

Marriage Story is an inside view of the tragedy of divorce and how it affects all the parties involved. Written and directed by Noah Baumbach (The Squid and the Whale, The Meyerowitz Stories) and inspired by his real-life divorce, Marriage Story does a great job of realistically portraying the subtle and not-so-subtle awfulness of splitting up from a person you have pledged your life to. Things could have gone smoother, but they also have a son, Henry, which exponentially complicates things.

Adam Driver (Star Wars: The Rise of Skywalker, BlacKKKlansman) plays Charlie, who is going through a divorce with his wife Nicole, played by Scarlett Johannsen (Avengers: Endgame, Under the Skin). The film picks up with the couple in New York, where Charlie directs a theater company which Nicole stars in. Nicole gets an opportunity to go home to LA with their son Henry, played by Azhy Robertson (Juliet, Naked, The Americans), when she gets a role in a television pilot. The major complication is that both Charlie and Nicole want to equally be involved in Henry’s life, which only gets more complicated when lawyers get involved. These lawyers are played by Laura Dern (Jurassic Park, Big Little Lies), Ray Liotta (Goodfellas, Narc), and Alan Alda (M.A.S.H., The Aviator). The film shows the sacrifices parents must make so their children can remain as unaffected by divorce as possible, which having had no direct experience with divorce seems incredibly difficult.

Marriage Story is one of the many films that were actually shot on film this year. There is something about film that is exceedingly more captivating than the much easier digital platform. I mentioned graininess in my review for Uncut Gemsand the same applies to Marriage Story. It was beautifully shot by Robbie Ryan (The Favourite, American Honey) and superbly edited by Jennifer Lame (Hereditary, Manchester by the Sea) who is set to work with Christopher Nolan on his upcoming blockbuster Tenet. The way the film is shot and edited conveys the tragedy of divorce without having to needlessly explain it with exposition. There is a scene that involves a gate that is layered with metaphor and it’s one of, if not the most beautiful scene in the film.

As for the writing of the film, Noah Baumbach’s witty script keeps the story going the entire time. We respectively see the point of view of Charlie and Nicole and their struggle to get through the divorce. The dialogue is written extremely well and is very entertaining, slowly helping us get to know these characters. While the supporting characters like Dern, Liotta, and Alda hold their own, Adam Driver and Scarlett Johannsen’s astronomical performances accurately portray the heartache of divorce.

Randy Newman (Toy Story, Maverick) composed the music for Marriage Story, which is delightfully upbeat, yet incredibly melancholic revealing the troubling predicament both characters are in. Newman uses a simple piano melody throughout the film, layered with strings to add to the drama/intensity of the events taking place. The horns and flutes add to the whimsical nature of the film keeping it both lighthearted and incredibly moving. It is the perfect complement to an endearing story.

Marriage Story is easily one of the best films of the year, expertly achieved on every level. I highly recommend it to a mature audience as the language, understandably so, is extremely foul at times, not to mention the subject matter is intense to say the least. Plenty of lessons can be taken away from Marriage Story, a film which explores the vast emotional spectrum of the human condition.

MPAA Rating: Rated R for language throughout and sexual references
Running Time: 137 Minutes
Produced By: Heyday Films & Netflix

Uncut Gems Review

Experience the Safdie Brother’s Latest Underworld Odyssey Featuring Adam Sandler in New York’s Diamond District

The Safdie Brothers (Good Time, Heaven Knows What) have directed a near-perfect crime drama/comedy which has resulted in an outstanding performance from Adam Sandler (The Meyerowitz Stories, Punch-Drunk Love), loads of breakout roles by newcomers like Kevin Garnett, The Weeknd, Keith Williams Richards, and Tommy Kominik to name a few, and a guaranteed two hours of being on the edge of your seat. The film revolves around an eccentric Jewish jeweler in New York’s diamond district with a serious gambling addiction named Howard Ratner, played by Adam Sandler. While owing money all over town, including his brother-in-law Arno, played by Eric Bogosian (Talk Radio, Under Siege 2: Dark Territory), Howard struggles throughout the film to keep the various loan sharks at bay in order to make one giant score with a rare (and questionably legal) Ethiopian black opal. Howard is also dealing with a failing marriage, his children don’t seem to care for him except his eldest son, and he is having an affair with a far younger woman who works at his shop. When he finally comes into possession of the afore-mentioned black opal it seems his monetary problems are over, until he is talked into letting Kevin Garnett, who plays himself, borrow the rare and valuable stone for good luck as he faces the Philadelphia 76ers in the 2012 NBA Eastern Conference semi-finals. The film is a non-stop thrill ride filled with relentless suspense as Howard delves deeper and deeper into an abyss of greed and depravity in order to emerge victorious… and alive.

The film is beautifully shot by Darius Khondji (Se7en, The Ninth Gate) with a gritty and realistic look. The graininess to the film and digital shots (Khondji shot on both) is fantastic and creates a seamless look throughout the film. While I noticed a few shots seemed to be slightly out of focus, overall, I think the film looks gorgeous compared to some of the unbelievably oversaturated “popular” films of the twenty-tens. It gives the film an 80’s feel to it, as if it were taking place in another decade. If you’ve seen Good Time then you’ll be prepared for the cinematography of Uncut Gems, which includes plenty of extensive zooms, long lenses, and tracking shots. The trailer does a good job of rounding out a lot of the different shot types that are achieved throughout the film.

Daniel Lopatin (Good Time, The Bling Ring), aka Oneohtrix Point Never (no, I’m not making that up), composed the music for the film. While it arguably works wonders to create an exhaustingly stress-ridden film, it is very similar to his score for Good Time. Contrary to how it sounds, this is a compliment as both scores complement the style and substance the Safdie Brothers are going for. Both films work on many levels to make the audience feel as anxiously claustrophobic and trapped as their protagonists. The score of Uncut Gems is an interesting blend of synths and jazzy sounds, which creates a unique feel to the film and the story. The score is as unconventional as the Safdie Brothers’ themselves.

The performances in the film are outstanding. The hype for Adam Sandler is well-deserved, as he gives thepowerhouse performance of his career. It’s a shame he wasn’t nominated at the Golden Globes, but I’ll hold out hope for his chances at the Oscars. The newcomers all did a fantastic job as well. Kevin Garnett and the Weeknd play over-exaggerated versions of themselves, while the two real standouts have to be Arno’s henchmen Phil and Nico, played by Keith Williams Richards and Tommy Kominik. The sheer intensity of both their characters have Howard and the audience constantly reevaluating the stakes and the levity of the situation Howard is in. Another standout was Idina Menzel (Frozen I & II, Rent) who plays Elsa in the Frozen franchise. In Uncut Gems she plays Howard’s estranged wife, who constantly seems to be apologizing on Howard’s behalf, while simultaneously berating Howard’s constant and numerous failings. Her acting is made stronger by the lack of words she has for some of Howard’s ridiculous situations/actions, which is conveyed through her subtle facial expressions. She is clearly used to his many fuck ups and it’s obvious she has had enough of his shit. LaKeith Stanfield (Get Out, Knives Out) plays the accurately named Demany, who works for/with Howard by bringing customers to the store and selling stolen watches on the side. He absolutely crushes it in this role as an unlikeable foil to Howard’s struggle to get the black opal to auction. The film is rounded out by the main antagonist of the film, Arno, played by Eric Bogosian and Gooey, Howard’s father-in-law, played by the excellent Judd Hirsch (Ordinary People, Independence Day).

Needless to say, Uncut Gems is anxiety personified. The entire film works similarly to Good Time, creating an unending source of stress and anxiety for its’ protagonist as well as for the audience. In both films we follow an unlikeable protagonist who we can’t help but to root for. The Safdie Brothers are interesting filmmakers who seem to have a handle on telling unconventional stories. Combined with their ability to defy audience expectations, it is a film definitely worth seeing. Just make sure you take your blood pressure medication before you see Uncut Gems, because you’re gonna need it!

MPAA Rating: Rated R for pervasive strong language, violence, some sexual content, and brief drug use
Running Time: 135 Minutes
Produced/Distributed By: Elara Pictures, IAC Films, A24

Spider-Man: Far From Home Review

The Web Head you know and love travels to Europe to team up with Nick Fury, Maria Hill, & Mysterio

After the absolutely phenomenal Avengers: Endgame was released to massive critical acclaim and commercial success, the question on everybody’s mind was: how do you top that? Well, Spider-Man: Far From Home chooses not to compete, instead sticking with the John Hughes-esque dynamic its’ predecessor used to make Spider-Man unique within the MCU (Marvel Cinematic Universe). Whether it’s introducing new characters or building on pre-existing characters, Far From Home does a fantastic job of remembering that character comes first when telling a story on a massive stage. Director Jon Watts (Spider-Man: Homecoming, Cop Car) and writers Erik Sommers & Chris McKenna (Spider-Man: Homecoming, Ant-Man and the Wasp) both returned to give us both the next chapter of the MCU’s Spider-Man and the final film for the MCU’s Phase 3. A word of caution, if you read any further there will be massive spoilers for Avengers: Endgame. Please, I hate spoilers as much as the next human, so do not continue reading if you have not seen Avengers: Endgame.

Final chance… okay, so Far From Home deals with the aftermath of Endgame, specifically a major death, which I will refer to in a few sentences in case somebody who hasn’t seen it is still scanning the page. As Peter Parker/Spider-Man, played by Tom Holland (Spider-Man: Homecoming, The Impossible), deals with the loss of his mentor and friend, Tony Stark/Iron Man, played by Robert Downey Jr. (Avengers: Endgame, Sherlock Holmes series), and the enormous power vacuum left in his place. Peter struggles throughout the film with the enormous pressure of whether or not he should take Tony’s place as the world’s protector or not, and in his defense, he is the Friendly Neighborhood Spider-Man. In addition to this pressure, Happy Hogan, played by Iron Man director Jon Favreau (Spider-Man: Homecoming, Swingers), informs Peter that Nick Fury, played by Samuel L. Jackson (Captain Marvel, Pulp Fiction), is trying to get in touch with him. At the same time Peter is off to Europe for a summer vacation with his friends/classmates. With subplots galore, including a burgeoning potential relationship with MJ, played by Zendaya (Spider-Man: Homecoming, The Greatest Showman), his best friend Ned’s, played by Jacob Batalon (Spider-Man: Homecoming, The True Don Quixote), girl problems, and a global threat involving the Elementals, Far From Home has plenty going on. All this going on while Happy may or may not be dating Peter’s Aunt May, played by Marissa Tomei (Spider-Man: Homecoming, My Cousin Vinny), which causes Peter unimaginable amounts of grief.

When an Elemental attacks Venice, where Peter and his friends are staying, a mysterious man, played by Jake Gyllenhaal (Prisoners, Donnie Darko), appears out of nowhere to save the day. As he is dubbed Mysterio, Peter learns that he is from an alternate Earth, introducing the concept of a multi-verse, as well as working with Nick Fury and Maria Hill, played by Cobie Smulders (How I Met Your Mother, Avengers films). Mysterio AKA Quentin Beck acts as Peter’s unofficial mentor, with the absence of Tony, and Peter is able to commiserate his predicament of becoming a hero for good or enjoying life with his friends. In a film that challenges Peter in many ways that are familiar, yet so unique and interesting, Far From Home is an exciting, thrilling, and hilarious addition to the MCU.

First off, I think the way this film addressed The Snap was incredibly thought out and dealt with people’s criticisms about Peter’s friends all being the same age in a thought provoking way. Honestly, it only gets me even more excited for whatever comes next in the MCU, because Kevin Feige (President of Marvel Studios) and his team have proven they can literally do anything. I think one of the many reasons that the MCU is so successful is the consistent genre/tonal shifts they keep introducing to their films. Far From Home feels like a combination of a John Hughes film and a National Lampoons’ Vacation film, all while still maintaining its’ blockbuster superhero status. Hopefully Marvel and Sony can work together in the following years, because they have an absolute hit on their hands with both of these Spider-Man films.

The actors in this film all absolutely nailed their roles. Whether it is Peter’s “guy-in-the-chair” sidekick, Ned, or Zendaya’s sarcastic, dry humored turn as MJ, the films’ supporting cast does a tremendous job. Angourie Rice (Black Mirror: Rachel, Jack and Ashley Too, Spider-Man: Homecoming) got way more screen time this go-around, portraying Betty Brant, Peter’s co-worker at the Daily Bugle in the comics. Tony Revolori’s (Spider-Man: Homecoming, The Grand Budapest Hotel) portrayal of Peter’s nemesis, Flash Thompson, is just as hilarious as it was in Homecoming. Remy Hii (Marco Polo, Better Man) puts in a fantastic turn as Pete’s rival/MJs’ other love interest in the film as Brad Davis. Martin Starr (Spider-Man: Homecoming, Freaks and Geeks) and J.B. Smoove (Mr. Deeds, Hall Pass) are absolutely hilarious together as the teachers/chaperones for Peter and his friends’ trip to Europe. Jon Favreau and Marisa Tomei both crush their roles as Peter’s parental figures. Last but not least, Tom Holland proves himself, yet again, to be my absolute favorite iteration of the live-action web crawler. As Peter or Spider-Man he absolutely nails the quintessential teenager superhero role. Since Civil War he has injected a lot of fun and emotional story arcs into the MCU and I can’t wait to see whatever he does next.

Michael Giacchino (Spider-Man: Homecoming, Doctor Strange) is the brilliant composer behind the music in Far From Home. Giacchino, who got his start composing music for video games, proves to be the next John Williams, leaving an indelible mark on cinema as a whole. The Far From Home score is filled with trumpet fanfare, woodwinds, and flutes. To me, it sounds very much like his scores from The Incredibles I & II, as there is a theme of espionage within Far From Home, while also embracing some major MCU themes that have been created over the years by various composers. Giacchinos’ score effortlessly transitions between thrilling and bombastic to sweet and heartfelt throughout the entire film, embracing instruments throughout the films’ many different locales.

Jon Watt, Chris McKenna, and Erik Sommers have crafted another brilliant addition to the MCU. Hopefully they get a chance to work with Marvel again, I suppose we all have to collectively cross our fingers that Sony doesn’t botch the deal in an effort to build their own Spider-Verse with Venom, Morbius, and future Into the Spider-Verse sequels. Unfortunately, there is no Stan Lee cameo in Far From Home, as Endgame appears to be his final cameo before his sad passing. Although there is no Stan Lee cameo be sure to stay behind after the credits as there are two mid/post-credits scenes that hint at what is to come in Phase 4 of the MCU. I am sure Stan Lee and Steve Ditko are proud of what Kevin Feige and the cast and crew have created. In my opinion, it is just as good as Homecoming, if not better.

MPAA Rating: Rated PG-13 for sci-fi action violence, some language and brief suggestive comments
Running Time: 129 Minutes
Released by Columbia Pictures, Marvel Studios, Pascal Pictures, and Sony

Midsommar Review

Ari Aster Proves He is Not a One-Hit Wonder With Midsommar

Ari Aster’s follow-up to Hereditary may be one of the greatest folk-horror films of all time. It also is one of the most deeply unsettling and disturbing films I have ever watched. Aster’s sophomore effort shows an amazing amount of thought, innovation, and sheer talent. The film opens up with our main character, Dani, played by Florence Pugh (The Commuter, Lady Macbeth) making several phone calls, including one with her friend discussing her disintegrating relationship with her boyfriend, Christian, played by Jack Reynor (Free Fire, On the Basis of Sex). Meanwhile, Christian is similarly talking to his group of guys about their relationship, as well as a potential trip to Sweden. On the verge of an inevitable breakup, Dani suffers an unimaginable tragedy, in a scene that I can only describe as one of the most empathetic scenes I have ever seen in a movie, which forces the precarious relationship to persevere.

In an attempt to maintain the relationship, Christian invites Dani to the Sweden trip, against the wishes of Christian’s friends, Josh, played by William Jackson Harper (Patterson, The Good Place), and Mark, played by Will Poulter (We’re the Millers, Detroit). Christian, Josh, and Mark are all anthropology majors and the purpose of the trip to Sweden is to observe the commune their foreign classmate Pelle, played by Vilhelm Blomgren (The Days the Flowers Bloom, Min papa Marianne), grew up in. As soon as they arrive the group of friends quickly ingest psilocybin, aka hallucinogenic, mushrooms after meeting Pelle’s brother Ingemar, played by Hampus Hallberg (The Inspector and the Sea, Flykten till framtiden). From here on out the film is as if the audience ingested the same mushrooms as the protagonists. Concurrently their observations of the communes’ inhabitants, known as the Harga, become more and more unnerving.

Just like his first film, Hereditary, the less you know, the better experience you will have with Midsommar. I will be very clear that this movie is not for the faint of heart. It may not have as many jump scares as your average horror film, but it makes up for that with an ever-constant feeling of dread which gets more and more intense as the film carries on. The imagery in this film still hasn’t quite left my mind, and while it is definitely visually creative and, dare I say, artistically beautiful, it is also some of the most grotesque imagery I have ever seen.

The biggest draw to the film was the fact that Aster deliberately wanted to create a horror movie that exists in all-natural daylight. The film embraces the natural phenomenon called the midnight sun, which occurs during the summer solstice in polar regions. Due to this phenomenon, the sun is essentially always out, eliminating the common nighttime tropes in the majority of horror films. No, this film has all of its’ scares, and there are many, out in the beautiful, sun-filled countryside. The film also dives into the paganistic origins of the summer solstice, with the anthropological students digging deeper and deeper into the communes’ twisted set of beliefs, which are all the more terrifying because they originate from real life.

The films’ cinematography is astonishing, to say the least. Pawel Pogorzelski (Hereditary, Tragedy Girls) returned to collaborate with Aster once again, bringing his daylight horror film to life. Unlike most horror films, there is never any ominous weather, only beautiful, bright colors, provided by the beautiful landscape of Budapest, Hungary. The cinematography, combined with unique special effects, serves to create the visual equivalent of being on a hallucinogenic trip, as many of the characters are on. A very creative camera move early on in the film signifies the moment when the group of friends/lovers leave the proverbial Kansas and enter the horrific land of Oz. There were plenty of long takes which also help to create the sinister tension which broils beneath the surface through the entirety of the film. For critics of Pogorzelski’s work on Hereditarybeing too dark to see what’s going on, trust me when I say it is a non-issue in Midsommar.

Another artistic decision by Aster is the unique musical choices he and his composers create. For Midsommar Aster chose to work with Bobby Krlic, who also goes by the cryptic name, The Haxan Cloak. One of the first compositions early on in the film uses so many strings on multiple levels that combine with the imagery we are being shown to create the aforementioned empathetic scene. The amount of sorrow I felt with the main character was so intense I was fighting back sobs myself. This scene sets the tone for the entire film and to be honest I would go see it again purely for that scene. Luckily there are many other fantastic scenes filled with Krlic’s masterful score, which has immense depth. As in most folk horror films, there are ritualistic chants, which Aster and Krlic also created for the film. The oddly joyous, celebratory compositions can be heard at times when the most amount of horror is slowly unfolding on the screen.

However, easily the strongest part of the film is Florence Pugh’s performance. Her character Dani essentially suffers an emotional breakdown throughout the entire film, and Pugh is so convincing that I cried with her at multiple times. Her mixed emotions are so well played as she wills her grief away while she is around others, often seeking out solitude to release her anguish, which is so utterly realistic and all-consuming. After two and a half hours of that (yes, it’s a bit of a long film) I was completely emotionally wiped out. As the film continues, so does her grief, and Christian is more concentrated on studying the Harga to be bothered with it. The film deals a lot with shared emotions/empathy, which in a unique twist is exactly what cinema is for the viewer. The other actors all do a wonderful job in their supporting roles. Harpers’ Josh is the intense scholar with a chip on his shoulder, who serves to help the viewer better understand the Harga. Poulter’s turn as Mark is definitely the comic relief throughout the film. He keeps the film moving after some of the more disturbing moments with his utter American-ness. This unique balance could only be concocted by Ari Aster, as he wrote and directed the film. Blomgren nailed the role of Pelle, our unofficial guide who essentially holds our hands as he takes us through the Harga’s many different rituals.

Aster proves he is a brilliant writer/director worth paying attention to. He completely redefines the genre and opens the door for all sorts of wonderful and nasty horrors. Both of his feature films, especially Midsommar, have been incredibly dense, worthy of multiple viewings. If you are a fan of horror films, it is a must-see. The only requirement is an open mind and a strong stomach.

MPAA Rating: R for disturbing ritualistic violence and grisly images, strong sexual content, graphic nudity, drug use and language
Running Time: 147 Minutes
Released by B-Reel Films, Square Peg, & A24