Best Case Reviews.

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

Rocketman Review

Taron Egerton Portrays Captain Fantastic Himself, Elton John

Rocketman is 100% not Bohemian Rhapsody, so let’s just get that out of the way. Now, that’s not to say that Rocketman isn’t as good, it’s just a vastly different experience, which, in this writer’s opinion is a relief. After the ridiculous success of the aforementioned Bohemian Rhapsody, I was nervous Rocketman would be a carbon copy, especially considering Dexter Fletcher (Eddie the Eagle, Sunshine on Leith) infamously stepped in to finish direct BR due to Bryan Singer (X-Men: Days of Future Past, X2: X-Men United) getting fired mid-shoot. Fletcher, having worked with Taron Egerton (Kingsman: The Secret Service, Sing) before on Eddie the Eagle, decided to go in a different direction with his biopic on the life of Elton John.

Rocketman is a more traditional musical, which contains plenty of different Elton-inspired numbers with amazing choreography. While I do think the marketing was a little misleading, because it seemed as if we were in for the same musical biopic that Queen received last year, I quickly caught on and I ultimately didn’t mind the change in tone/style. My hope is, equipped with this knowledge, the next viewer won’t be as shocked and can better enjoy the already wonderful film. The film begins with Taron Egerton’s Elton John entering an AA meeting, and the audience immediately sees how dire things are for him. As he begins to tell his story of rejection, music, betrayal, and addiction we are quickly immersed in the tragic upbringing of John. With a pair of lousy parents, played by Bryce Dallas Howard (Jurassic Worldfilms, The Help) and Steven Mackintosh (Underworld: Evolution, Memphis Belle), Elton relies on his sweet/supportive grandmother Ivy, played by Gemma Jones (Sense and Sensibility, Bridget Jones’s Diary) to consistently champion his piano skills via insisting he get professional piano lessons.

Once Elton meets Bernie Taupin, played magnificently by Jamie Bell (Jumper, Fantastic Four), the film really takes off, as the duo take on the record industry in England. After plenty of minor failures the two begin to succeed in their goal of getting their music heard. In my opinion, this relationship is probably the strongest dynamic in the film. Egerton and Bell have a certain chemistry which mirrors the incredible friendship of the two in real life. Their ability to work together on screen includes joint ventures into the excess of success, with only Bernie able to stay above the water, as John is taken on a journey of addiction and self-destructive behavior. Needless to say, the film is rougher around the edges considering its’ R rating and is not afraid to show the dark side of success and fame.

As a man who struggles with addiction himself, namely alcohol, this film really spoke to me in a number of different ways. I was instantly able to relate with parts of Elton John’s life story as told on the big screen. The screenplay, written by Lee Hall (Billie Elliot, War Horse), does a fantastic job of intercutting musical numbers with plot in interesting and unique ways. The film covers a lot of Elton’s bigger hits like “Your Song,” “Crocodile Rock,” the title song “Rocketman,” and an awesome cover of The Who’s “Pinball Wizard.” This is yet another example of a major Hollywood film advertising the return of pinball, which I completely endorse. While some of the sparks of creation in the film don’t completely match what happened in real life, the songs’ deeper meanings really help to enhance the plot of John’s struggle with acceptance and addiction.

Actor turned director Dexter Fletcher proves that he is a director worth watching, as Rocketman is an incredibly fun film that is guaranteed to have you singing along with the songs in your head (or out loud, which my girlfriend probably didn’t appreciate or enjoy). This is compounded with Taron Egerton’s incredible performance as Elton John. Honestly, it’s hard not to compare his performance with Rami Malek’s portrayal of Freddie Mercury in Bohemian Rhapsody, which he won an Oscar for. Egerton’s Oscar-worthy performance completely embodies the appearance and mannerisms of Elton John. However, his performance couldn’t have been as good as it was if not for the costume and makeup/prosthetics teams. Julian Day (Rush, Robin Hood 2018), who was also the costume designer for Bohemian Rhapsody, recreates some of Elton’s most iconic outfits, as the singer is partly known for his choice of extremely flamboyant/fabulous outfits. I’d be surprised if his name isn’t in the running for an Oscar in nine months as well.

The supporting actors do a terrific job as well, with newcomer Matthew Illesley portraying the youngest version of Elton John, back when his name was Reggie. He gets a chance to perform a few musical numbers and he does a fantastic job of encapsulating the younger version of Elton. Howard crushes it as the world’s worst mom… seriously, this woman is truly horrid. Richard Madden (Game of Thrones, Bodyguard) portrays Elton’s manager John Reid, who ironically was played by Aidan Gillen (Game of Thrones, The Dark Knight Rises) in Bohemian Rhapsody. Madden’s performance is hauntingly sociopathic, as he successfully lures Elton into the familiar traps of fame and fortune. Last, but not least, Tate Donovan (Hercules, Swordfish) puts in a super groovy performance as Doug Weston, the owner of the Troubadour in L.A., where Elton becomes popular in the United States.

All in all, Rocketman is a fun and somewhat historically-accurate retelling of the music industry’s all-time best singer/songwriter duo. While its’ strengths clearly lie in the all-star casting, its’ marketing could have been better, in my opinion, if only to avoid the initial style/genre confusion I experienced. Having topped the charts for several decades, the film, produced by Elton himself, comes out during his Farewell Tour, as he intends to spend more time with his husband and kids. If you’re a fan of Elton John and/or musicals, I highly recommend this film, as it captures the spirit of the man, the myth, the legend: Elton John.

MPAA Rating: R for language throughout, some drug use and sexual content.
Running Time: 121 Minutes
Released by Marv Films and Paramount Pictures

Yesterday Review

Danny Boyle and Richard Curtis Imagine a World Where The Beatles Never Existed

Based on a story by Richard Curtis (Four Weddings and a Funeral, About Time) and Jack Barth (Japanorama, The Fabulous Picture Show), with a screenplay written by the former, comes the delightfully refreshing Yesterday, directed by Danny Boyle (127 Hours, Slumdog Millionaire). In this comedy/fantasy/musical Jack Malik, played by big-screen newcomer Himesh Patel (EastEnders, Damned), is a struggling singer/songwriter with his childhood best friend Ellie, played by Lily James (Baby Driver, Cinderella), as his manager and sole believer. Working part-time at a mass grocery store in London, Jack is well-liked by his customers, but very dismally received by his musical audience. When he decides to quit the music business for good, against Ellie’s fervent wishes, he sets off for home on his bicycle with his guitar strapped to his back. This is where things get weird.

In a freak, global power outage that happens at the very moment Jack is crossing the street on his bicycle, a bus hits him. Waking up in the hospital to his friend Ellie, he discovers he has lost two teeth, but other than that he is physically okay. When Ellie and Jack’s other friends come to take Jack out after he leaves the hospital, they shower him with gag gifts including a new guitar. When they ask him to play a song, Jack decides to sing Yesterday by the Beatles. His friends are absolutely blown away and continue to ask him how he came up with something so beautiful. After a bit of Google searching, Jack discovers that after the accident/power outage the Beatles have ceased to exist. In a moment of existential crisis, Jack decides to play the Beatles songs as if he wrote them and slowly but surely he becomes more and more popular, finally realizing his dream of becoming a famous singer/songwriter, with his trusty roadie/comedic sidekick, Rocky, played by Joel Fry (Game of Thrones, 10,000 B.C.).

Without spoiling things, Richard Curtis has written yet another fantastic screenplay that warps the real world we live in just slightly enough to be utterly bizarre. Danny Boyle takes this screenplay and perfectly adapts the feeling it is to be trapped in a small hometown with desperate aspirations to get out and be successful. The film is filled with dry British humour as well as plenty of music numbers, mainly by Jack, but also by the self-deprecating Ed Sheeran, who helps Jack along the way. The film challenges what the definition of success is with Jack being pulled between Ellie and his new manager, Debra Hammer, played by Saturday Night Live alum Kate McKinnon (The Spy Who Dumped Me, Ghostbusters 2016).

Danny Boyle proves he is the master of tackling different genres as he directs Yesterday with so much ease, it’s as if he has been making comedies his entire career. Well, when you look at his filmography, I suppose he does have a knack for comedy, even in his more twisted film 127 Hours. It’s truly inspiring that he can make so many truly great films that touch on so many different unique genres. He directs the actors extremely well, as each and every character in the film is just that: a character. Very memorable performances given, especially by the supporting cast, with shout outs to Jack’s hilarious parents Sheila & Jed Malik, played by Meera Syal (Doctor Strange, Absolutely Anything) and Sanjeev Bhaskar (Absolutely Anything, London Boulevard) respectively. Kate McKinnon injects her own dry sense of humor into the veritable “devil on the shoulder” talent manager. Himesh Patel and Lily James own the screen with their charisma and charm, both dealing with an odd situation in completely different ways. Patel also proves he has a very beautiful voice, and that he can carry a movie on his shoulders, as he sings the majority of the songs in the film himself.

With such a wacky world-building device as a mass blackout where things are literally forgotten from the world, it’s only fitting that Jon Harris (127 Hours, Kingsman: The Secret Service) edits Yesterday. Harris’s films are consistently edited with a fresh and kinetic style like no other. With one Oscar nomination under his belt already for 127 Hours, don’t be surprised if his name comes up during awards season. Filled with tons of interesting title crawls introducing the many different locations the characters visit, Yesterdayis a melodically, warm summer film. Combined with the lovely & colorful cinematography from Christopher Ross (Black Sea, Blackout) Yesterday is, simply put, the feel-good movie of the summer. If you enjoy the Beatles, wacky British humour, and/or Danny Boyle, I highly recommend this film, which takes a pretty insane plot device to lengths you couldn’t imagine.

Child’s Play Review

Chucky Slays In This Upgraded Reboot Of The Horror Classic

Shocking as it may sound, if you haven’t heard, Child’s Play, the old school horror series about a killer doll named Chucky, got a reboot. Even more surprising is that, for the most part, it is a relevant and noteworthy reboot. From the producers of It (2017), comes a re-imagining of the classic tale about mass-consumerism in a day and age where smart phones have taken over our lives. There a few major differences between this iteration and the original. First, Brad Dourif (Child’s Play Franchise, The Lord of the Rings: The Two Towers), who has voiced Chucky in every single Child’s Play film from Child’s Play (1988) to Cult of Chucky, got replaced by the very talented voice actor, Mark Hamill (Star Wars, Batman: The Animated Series). Chucky also isn’t brought to life via voodoo this time around. He is just an artificially intelligent robot gone awry. The final big difference is the fact that Andy, played by Gabriel Bateman (Lights Out, Benji remake), is a few years older than his counterpart in the original film, and he is joined by a group of kids, which is probably inspired by the massive success of that dynamic in It (2017) and Stranger Things.

Child’s Play begins with a television ad about the “Buddi Doll” featuring Henry Kaslan, the head of Kaslan Corporation, played by Tim Matheson (Animal House, Hart of Dixie). Kaslan Corporation specializes in smart-home technology like thermostats, vacuums, and speakers, as well as drone technology. The Buddi Doll is introduced as a similar device as Alexa, but in a kid-friendly form that does everything from singing bedtime songs to helping them remember their science book. A disgruntled Kaslan employee, working in a factory in Vietnam, disables one of the Buddi doll’s safety features following his unceremonious firing and all sorts of nasty shenanigans are in store for whoever’s hands the doll ends up in. Fast forward to Andy and his mother, Karen, played by Aubrey Plaza (Parks and Recreation, FX’s Legion). After a sudden move for unknown reasons, Andy is a lonely kid, spending all of his time looking at his phone, while his mom works at the local Zed Mart, the local toy/electronics store.

Andy has trouble staying at home because of her mothers’ jerk boyfriend, Shane, played by David Lewis (Dirk Gently’s Holistic Detective Agency, Man of Steel), so the only friend he has made since the move is nice guy detective Mike Norris, played by Brian Tyree Henry (If Beale Street Could Talk, Spider-Man: Into the Spider-Verse). Noticing her sons’ lack of friends, Karen decides to give Andy a Buddi doll she tactically acquired from work so that he has something of a companion. Sure enough, it is the same safety-featureless doll which was tampered with at the films’ beginning, and this is when the real fun of the film begins. As Chucky learns more and more from Andy and his ragtag group of friends the more violent he becomes. Without spoiling anything, the film definitely earned its’ hard R-rating with its’ horrific situations and intensely gory deaths.

The Child’s Play series has always relied on a combination of horror and comedy and the reboot, directed by Lars Klevberg (Polaroid), applies the same formula. Oddly enough in these films, there are times when we are almost rooting for Chucky, as an audience filled with a sense of blood-lust, and this film is no different. There are plenty of outrageous laugh out loud moments as well as truly horrific and violent moments which got groans and gasps from the mostly full theater I watched it in. Klevberg does a fine job of directing the actors during these tonal shifts from a debut screenplay written by Tyler Burton Smith. It’s really an interesting take on the Child’s Play story due to the fact that the majority of the technology in the film mirrors our current state of affairs. I could easily imagine this film as a twisted Black Mirror episode.

The child actors do a pretty good job, especially Gabriel Bateman, who seemed to convey so many different emotions of a kid who feels trapped and unhappy in a situation beyond his control. The other kids are pretty one-dimensional, but they serve their purpose well, as there wasn’t enough time to completely build their characters. Aubrey Plaza does a very good job of playing Andy’s mother, even though its’ her first time playing a mom. She conveys the necessary concern for her son, the reckless abandon of a recently single mom, and the unbelievable blind eye to the psychopathic doll living in her house. Mark Hamill does a fantastic job with Chucky’s voice, unsurprisingly. Hamill boasts a very large body of work as a voice actor, most famously voicing the Joker in Batman: The Animated Series and the Arkham Asylum video games. I would say his Chucky voice slightly resembles his Joker voice, but he does an incredibly good job with the small emotional subtleties which Chucky requires. Just like in the original film, Chucky seems to have two modes: good guy doll and evil psychopath. Hamill is incredible as he can switch from one mode to the other in an instant. Decades of voice acting experience made him the obvious choice to portray Chucky in this reboot.

Another reason I enjoyed this film is the shoestring budget which seems to be accompanying some of the greatest horror films these days like Don’t Breatheand any film produced by Jason Blum, who lives and breathes on small budgets. The reason I like a film with a small budget is that the filmmakers have to get creative and in the case of Child’s Play, it forces the filmmakers to use practical effects, which in this modern era of films is a breath of fresh air. It reminds me of the good old days of practical effects produced by Stan Winston (Terminator, Predator) and his protégé Rob Bottin (John Carpenter’s The Thing, Total Recall) whose creature effects redefined what could practically be done on a film set. The majority of the doll effects in Child’s Play are practical, with a tiny bit of CGI used when practical effects were simply impractical. Hats off to special effects coordinator Barry Hebein (X2: X-Men United, Trick r’ Treat) and his team for pulling off the cool robotics seen in the film.

Finally, the best horror films have great scores and Bear McCreary (The Walking Dead, Godzilla: King of the Monsters) creates an incredibly creepy score for this film. McCreary is having an excellent year as he also composed the wonderful score for the blockbuster Godzilla: King of the Monsters. It’s really a pleasure to listen to his work as each of his scores is so unique and different. His score for Child’s Play bears an overall theme, which is used in the Buddi song which Kaslan Corp uses as a marketing tool in the film. It is essentially retooled throughout the film as well, bearing many different toy instruments at its’ core. Everything from a kazoo to a child’s xylophone are used to create a very unique and creepy score, which plays on the fact that this is a film about a killer doll. The music changes from heartwarming to chilling in an instant, which plays well with the multiple tonal shifts throughout the film. Recently released on vinyl at Waxwork Records, I highly encourage fellow wax heads to check it out!

As far as reboots go, I was not disappointed with Child’s Play. It seems their clever marketing campaign, which feature Chucky humorously killing off different characters from the Toy Story franchise (seriously, checkout the crazy poster designs they came up with), has paid off as the film is heading for a $20+ million weekend. Considering the films’ small budget, this could be a good indicator that a potential sequel could happen. If you have kids, definitely take them to see Toy Story 4 instead of this, but if you’re a fan of horror films and can stand a bit of gore, I would give this movie a chance. After seeing this movie, I’m not going to lie, I’m slightly scared of going to sleep with my Amazon Echo device in the house. Hopefully it hasn’t gained the same malicious self-awareness that Mark Hamill’s Chucky did.

Godzilla: King of the Monsters Review

Godzilla Proves To Be The King of the Big Screen!

After the disappointment of the 2014 Godzilla reboot, which was directed by Gareth Edwards (Rogue One, Monsters), and starring Aaron Taylor-Johnson (Kick-Ass, Godzilla), Elizabeth Olsen (Godzilla, MCU), and Bryan Cranston (Argo, Breaking Bad), I’m sure fans were skeptical when news of a King Kong reboot was on the way in 2017. Luckily, audiences got the spectacular Vietnam-period piece which was Kong: Skull Island. So, when word that a straight up sequel to Godzilla was coming with an entirely (mostly) new cast, my ears perked up. Then the first trailer was released, and I’ll never forget the feeling of utter thrill and joy I felt when it ended with Godzilla and King Ghidora running at each other at full speed. As the next trailer started in the theater, I looked over at my girlfriend, heart beating out of my chest, and I saw the same look of excitement on her face. The film lives up to the incredibly well-done set of trailers that were released, and the reason why is that the filmmakers knew exactly what they were making: a monster film.

The first attempt at Godzilla was bogged down by the human factor. While Bryan Cranston’s storyline was ultimately tragic in nature, the major draw of a monster movie should not be the human element. We didn’t even get to see a full image of Godzilla until the third act. Even though it was a bearable film, I haven’t watched it again, yet. That says something right there. King of the Monsters on the other hand is absolutely rewatchable. The film begins during Godzilla’s battle in San Francisco from the point of view of Kyle Chandler’s (Argo, Friday Night Lights) character, Mark Russel, and his family. Suffering a tragic loss, the film then jumps ahead to present time. The Russel family is split up and they are dealing with the loss in different ways. Mark is off doing his own thing, upset at the “monsters” as he calls Godzilla, while his wife, Dr. Emma Russell, played by Vera Farmiga (The Departed, Up in the Air), and daughter Madison, played by Millie Bobby Brown (Stranger Things, Once Upon a Time in Wonderland), are working for Monarch on some unknown mission.

Emma creates a device that can essentially communicate with the monsters by the use of “Alpha” channels, which they test out on a larva version of Mothra. When Mothra is woken up she is NOT happy, but Emma’s device works and Madison gets to go pet the docile thirty story creature. Enter our villain, Alan Jonah, played by Charles Dance (Last Action Hero, Game of Thrones), an eco-terrorist who plans to use Emma’s device to wake the other Titans (AKA Monsters/Kaiju) so that they can bring the world back to a purer, more basic state of affairs. The only problem with his plan are the millions and potentially billions of innocent people who would become collateral damage. Jonah absconds with Emma, Madison, and the device, while Mothra goes into cocoon.

Sally Hawkins (Godzilla, The Shape of Water) and Ken Watanabe (Inception, The Last Samurai) revisit their characters from the first Godzilla as scientists who urge Congress to embrace Godzilla, rather than treat him as an enemy, on the behalf of Monarch, the secret organization which monitors the activity of Godzilla and the Titans via bases situated throughout the world. They also have a few new team members in the form of Thomas Middleditch’s (The Wolf of Wall Street, Silicon Valley) Sam Coleman and Bradley Whitford’s (Get Out, Cabin in the Woods) Dr. Rick Stanton who has some of the films’ best one-liners. Once word of Emma and Madison’s kidnapping reaches them, they team up with Mark and a special ops team led by Colonel Diane Foster, played by Aisha Hinds (Assault on Precinct 13, 9-1-1) and Chief Warrant Officer Barnes, played by O’Shea Jackson Jr. (Straight Outta Compton, Den of Thieves), to try and get them back before any real damage can be done. Unfortunately, they are unsuccessful and Ghidora is woken up, which causes a whole bevvy of other problems.

Godzilla: King of the Monsters is successful because Michael Dougherty (Trick ‘r Treat, Krampus) is at the helm. Dougherty has referred to his movie as “the Aliens to Gareth’s Alien.” He is of course referring to the drastically different tones of those two classic films. Dougherty embraces the sort of quirky humor Aliens embraced when following up the ultra-dark sci-fi horror gem, Alien, directed by master director Ridley Scott (Blade Runner, Gladiator). It’s clear that all of the projects he has worked on thus far have led him to this point. He is fantastic at creating genre pieces, as Trick ‘r Treatredefined the horror genre and his screenplay for X2: X-Men United produced easily the best X-Men live action film. Dougherty is the perfect choice for this film, looking back, and I’m glad the studios made the right call this time around.

This film embraces the true nature of monster/Kaiju movies, which is the monsters themselves. It also does away with the ultra-realism the first film had. In this film, the technology is inexplicably updated to the point that some of Monarch’s gear/weaponry/planes are extremely sci-fi. I’m so glad the makers of this film had the good sense to know what to make of importance. Obviously, the technology and human element (for the most part, there is still some good old’ fashioned human drama in play) aren’t nearly as important as the look, feel, and especially sound of these magnificent creatures. Godzilla hasn’t sounded this much like himself since 1954 and King Ghidora’s intense scream is so exhilarating. Each of the different Titans has a different and unique sound, so don’t worry about the potential for confusion when all hell is breaking loose. The choreography (if you want to call it that) of the Titan battles is never out of control to the point that it is confusing.

Bear McCreary (The Walking Dead, 10 Cloverfield Lane) composed the music for this film, and it is yet another reason why the film is so good. The Walking Dead has definitely prepared him for this film, with subject matter that is totally unrealistic, yet dramatic at the same time. In the smaller, more delicate scenes, soft strings play soothing sounds of regret, hope, and wonder, whereas the big battle scenes boast blaring horns. McCreary also utilizes some of the original soundtrack, such as Godzilla’s theme, to great effect. We saw the film in Dolby Atmos, which really goes above and beyond with the sound/speakers in the theater. When Godzilla is rearing up to do battle and his theme song played, everyone cheered.

I recommend seeing this film in the best theater you can, whether it is Dolby Atmos or IMAX. Monsters as tall as skyscrapers deserve to be seen on the biggest and best screen possible. If you can’t, I still recommend seeing it on any big screen, as there is something fun about watching a bunch of giant monsters laying waste to Boston. Talk about some kahma (Go Blues!). The filmmakers behind these “Monarch” films have really outdone themselves this time, and it’s exhilarating and exciting that this cinematic universe is continuing so well. Let’s just say that the bar is set very high for the next major monster film in the series, because Godzilla: King of the Monsters was a smashing success!