“Captain Marvel” Movie Review

Hands down, this film features one of the greatest fictional cats ever put to film. However the rest of the film turns out, I’m just really happy that I got to fall in love with a cat on-screen for the first time ever. This sci-fi superhero adventure was released in theaters around the world on March 8th, 2019. Despite being the 21st overall installment in the rapidly expanding Marvel Cinematic Universe, it has grossed over $990.6 million at the worldwide box office, including a massive haul from overseas markets. This makes it the fastest and highest grossing film led by a female actress and the second-highest global debut for a superhero film yet. And while it has received mostly positive responses from critics and audiences, it initially suffered an attempted pre-release review bomb on Rotten Tomatoes and IMDb from male users. This forced both websites to change their policies for the future. Co-written and co-directed by Anna Boden and Ryan Fleck, makers of Half Nelson and Mississippi Grind, Marvel Studios had been trying for many years to get a female-fronted superhero movie off the ground, with multiple characters tossed around as possibilities. Nicole Perlman and Meg LaFauve were initially hired to write the screenplay, but producer Kevin Feige eventually brought on Geneva Robertson-Dworet to overhaul it as it started to take definite form in 2017. In addition, this is the first prequel in the franchise, and two principle actors had their faces digitally de-aged by nearly two and a half decades. Set in 1995, Brie Larson stars as Vers, an extremely powerful member of an elite intergalactic team called Starforce working for the Kree Empire. In the midst of their ongoing war with shapeshifting aliens called the Skrulls, Vers accidentally gets separated and lands on Earth. There, she begins to realize that she might have had a past life as an Air Force pilot named Carol Danvers, and quickly becomes acquainted with low-level S.H.I.E.L.D. agent Nick Fury, played once again by Samuel L. Jackson. Soon, they discover that the Skrull are planning to potentially blend in with and take over the planet and try to find them before it’s too late. Watching and anticipating this film, I couldn’t help but feel reminded of last year’s Black Panther. After spending over 10 years and nearly two dozen superhero films starring a white guy named Chris, Marvel finally passed the baton to a demographic that is sorely overlooked in the genre. Also like Black Panther, this was the unfair victim of pre-release bashing by extremely fragile people (Re: men) who felt threatened by something like this. Although I haven’t yet seen Anna Boden and Ryan Fleck’s acclaimed indie Half Nelson, I did enjoy their Southern gambling movie Mississippi Grind. And the stellar casting and 1990’s setting made it sound even more intriguing, even if the some of the marketing material wasn’t very impressive. Overall, Captain Marvel doesn’t rank quite as highly with the other MCU films for me, but it’s still undeniably entertaining and a great step forward for inclusion. Something I appreciate about the latest slew of films in this franchise is how thematically ambitious they’ve gotten. I’ve seen this film in theaters twice now and both times, I noticed different things in the story that resonated. No, it’s not the ’90s references, (Which, thankfully, avoid nostalgia porn) but how it explores the day-to-day sexism that women have to deal with. Whether it’s some random guy asking her to smile or her own superiors saying she’s too emotional for the job, there’s a certain connection to the real world that was previously missing in the MCU. Even though the story itself is a familiar origin story we’ve seen dozens of times over, its the specificity given to the characters that counts. Following an Oscar win and numerous impressive roles in various films, Brie Larson is perfectly cast as Carol Danvers/Vers/Captain Marvel. It’s previously been stated that she is the most powerful character in the MCU, and it’s easy to see why. She’s incredibly headstrong and fierce with both her powers and mind, frequently torn between following orders and doing what’s right. The digital de-aging for Samuel L. Jackson is no joke, as he looks uncanny to his appearance in films from the same decade it’s set in. While he is more idealistic in this era, he still is able to see the bigger picture and is willing to bend rules to get the job done. On the more cosmic end of things, Jude Law knocks it out of the park as Yon-Rogg while Ben Mendelsohn is great as the Skrull general Talos. Both eschew typical elements of the tough mentor and villain archetypes, respectively, bringing something a little unexpected to the film. Other roles are taken up by Gemma Chan, Annette Bening, Lashana Lynch, Rune Temte, Algenis Pérez Soto, a de-aged Clark Gregg, and both Djimon Hounsou and Lee Pace reprising their roles from Guardians of the Galaxy. Some fair better than others, (Bening feels particularly disinterested) but Lynch particularly impresses as Maria Rambeau, Danvers’ best friend in the Air Force. I’m not sure if she’ll return for future installments but I hope she does because she was so compassionate yet badass. And even though this is their first studio blockbuster, Captain Marvel shows that Boden and Fleck are still able to retain a somewhat personal touch behind the camera. This is the 4th MCU film to be shot by Ben Davis, who’s been more into the cosmic sensibilities of the franchise. The cinematography is very clean and slick with a wide-ranging color palette that encompasses the diverse creatures and worlds that the story visits. Elliot Graham and Debbie Berman also edit the film’s action scenes rather nice. Although it gets in danger of being too choppy, for the most part it keeps everything comprehensive and easy to follow. There is a musical score that goes along with the film that’s composed by Pinar Toprak, the first woman to compose for the franchise. Like many of the recent Marvel films, this score is actually memorable and noteworthy in many different tracks. The main theme is distinctive in its fusion of classic “hero” music and more contemporary riffs with other instruments. One of the most noteworthy instruments is the synthesizer, which plays chaotic melodies over numerous tracks and creates a real sci-fi atmosphere. The soundtrack also licenses a number of female-centric songs from the 1990’s many of which are played appropriately with their respective scenes. The best one used is “Just a Girl” by the ska-punk band No Doubt, which plays at a pivotal point in the climax. The second time I watched it, I could hear a woman in my theater softly singing along to it, which made it even more of a joy. Utilizing its setting to its advantage, Captain Marvel is an enjoyable intergalactic romp with an extremely powerful lead character. They have more work to do on their handling of action scenes, but Anna Boden and Ryan Fleck have successfully transitioned over to studio blockbuster territory with this movie. While it may not be as involving or fresh as other entries in the MCU, it still manages to keep you entertained for 2 hours and has great setup for Brie Larson’s future with the series.

“8 Mile” Movie Review

*Insert some unoriginal joke about Mom’s spaghetti somewhere in here* This hip-hop focused drama was originally released in theaters worldwide on November 8th, 2002, having been pushed back from a previous summer opening. It went on to gross over $242 million at the worldwide box office against a $41million budget and set a record for the biggest R-rated opening weekend at the time. The film managed to garner some very positive reviews both from critics and the rap community, even winning an Oscar. It also made over $40 million in DVD sales the first day of its release, a record for an R-rated  film at the time. Directed and produced by Curtis Hanson, the screenplay by Scott Silver is loosely based on the life of its main star. Numerous other filmmakers were in the running for the director’s chair, including Quentin Tarantino who had to turn it down to finish Kill Bill. Much of the rap battles, the centerpieces of the entire film, were auditioned for by various local artists and were given an improvised, one-take only opportunity. There was a bit of controversy when rap producer Buckwild claimed that one of the scenes used an instrumental of his song “Time’s Up” without his approval. Set in 1995 in Detroit, Marshall Mathers A.K.A. Eminem stars as Jimmy Smith Jr., an unhappy blue-collar worker struggling to provide for himself and his family. He harbors a strong passion for hip-hop music, participating in various underground rap battles under the stage name “B-Rabbit.” As he tries to win back respect after a humiliating defeat, he also attempts to look at his world beyond just his dreams. I’ve been a big fan of Eminem’s music for a long time now. Not just because it’s good music, but also because many of his songs are genuinely inspiring and motivational to me. Hell, even if his newer stuff doesn’t measure up to his first few albums, they’re still a lot better to listen to than most contemporary rap artists. Aside from his hilarious one-scene cameo in The Interview, I had always been curious what his leading role in this film would be like. I also adored Curtis Hanson’s film L.A. Confidential, and while this was a sharp departure for him, it still made me curious to see what he could do. And while 8 Mile is definitely rough around the edges, it’s still a very compelling drama with a surprising amount of insight. While yes, the rap battles themselves are gripping and fun to watch, they’re not really the point of the film. Rather, Hanson and screenwriter Scott Silver are far more interested in using them to contextualize the old and decaying city of Detroit. There are numerous empty houses lined up in entire neighborhoods where people go to party and the characters struggle to get jobs better than on the factory line. One of the areas where it falters is that 8 Mile, named after the titular highway separating demographics, can get a little didactic about these issues. There’s even one character who constantly goes on diatribes about the lack of economic opportunities for citizens there. All of this is well and good, but I feel like we didn’t necessarily need this. Eminem might not want to be a big movie star, but it’s impossible to see anyone else playing B-Rabbit. Yes, the character is based on him, but he inhabits such a hidden energy and repressed anger at his social circumstances that we can’t help but root for him. And when the battles in the final act finally come into play, he absolutely explodes in a fury of brilliance. By his side for much of the film is Mekhi Phifer as Future, B-Rabbit’s best friend and host of the rap battles. He maintains an unwavering optimism for his buddy’s talent and artistry, in spite of the problems they face on the daily. The late Brittany Murphy also makes an impression as Alex Latourno, B-Rabbit’s love interest. Although she sometimes feels more like a sketch of a person than an actual individual, she does good work as a woman who sees the potential in the protagonist’s abilities. Michael Shannon and Anthony Mackie also have effective small roles as men Jimmy has to overcome while D’Angelo Wilson, Evan Jones, and Omar Benson Miller chip in as his enthusiastic best friends. The one weak link is Kim Basinger as Jimmy’s alcoholic mother. She felt really miscast in her role, and wasn’t really convincing in her own struggles. Meanwhile, for a studio movie from the early 2000’s, 8 Mile‘s technical aspects are surprisingly down in the dirt and gritty. The cinematography by Rodrigo Prieto, who later shot Silence and Brokeback Mountain, has a dark aesthetic to it. Most of the scenes are shot in a handheld, cinéma vérité style without much flare or fancy movement. The naturalistic lighting and focus create some organically beautiful shots, such as an abandoned house burning down in the middle of the night. The added fact that all of the film was shot on location in Detroit creates a certain level of authenticity and honesty that’s rare in films. It matches up perfectly with Jay Rabinowitz, which somehow feels wise in the amount of shots shown in each scene. Although a number of scenes take place at night, it’s still easy to tell what’s going on. The rap battles near the end of the film are perfectly cut together, especially considering the fact that each one was done in just one take. As could be expected, Eminem also produced and curated the music soundtrack for the film. The vast majority of tracks are essentially instrumental backings from various songs of his, such as “8 Mile Road.” But there a re couple of more obscure songs, mostly by local artists from Detroit. The centerpiece of it all is obviously “Lose Yourself,” which became the artists first song to reach the top spot on the Billboard. With a very consistent beat of pianos, drums, and guitar, the lyrics are a fiery call to chase one’s dreams. He apparently wrote the song’s music and lyrics in between takes during filming. It ultimately went on to become the first hip-hop song to win the Academy Award for Best Original Song, which Eminem ironically slept through. 8 Mile is a familiar yet gritty drama about the trials of achieving one’s dreams. Although there’s nothing particularly revolutionary about the film, it has enough conviction to earn a spot of memorability thanks to Curtis Hanson’s direction. And not only does Eminem surprise with a great lead performance, but also gave us one of the best songs ever written for a feature film.

“The Curse of La Llorona” Movie Review

How exciting! This is my first ever review for a film I saw at a festival! I wish it were a better film, but hey I won’t complain too much. This supernatural horror thriller had its world premiere at the 2019 South By Southwest Film Festival. It is currently scheduled to be widely released in theaters on April 19th, 2019, by Warner Bros. and New Line Cinema. Made for the budget $35 million, given the studio’s track record the last couple years, it should have little problem earning it all back by the end of its theatrical run. But whether its middling critical reception can improve with general audiences remains to be seen. Produced by James Wan and Gary Dauberman, this movie marks the feature-length debut of director Michael Chaves, who previously helmed a number of short films. The screenplay was written by partners Tobias Iaconis and Mikki Daughtry under the original title The Children. Wan and CO. were apparently so impressed by Chaves’ work on the film that they immediately hired him to take over the next Conjuring film, which is supposedly slated to begin production later this year. Set in Los Angeles in 1973, Linda Cardellini stars as Anna Tate-Garcia, a social worker and widow. She’s called to check in on the status of a single mother Patricia Alvarez, played by Patricia Velásquez, who claims to be protecting her two boys from La Llorona, a ghost in Latin American folklore. Also known as the Weeping Woman, the story goes that a young Mexican woman drowned her children in a river after discovering her husband’s infidelity and then drowned herself out of extreme guilt, cursed to wade through the waters for eternity. Now, Anna becomes convinced that La Llorona is coming after her family next and enlists the help of a disillusioned priest, played by Raymond Cruz, to stop the evil spirit. Let’s get this out of the way before going any further: The Curse of La Llorona is the newest film in The Conjuring Universe. While such rumors had persisted for a while, it was always marketed as its own standalone horror flick. I don’t really consider this to be a spoiler because the connection to the other films is extremely lowkey, but take it as you will. To be perfectly honest, I don’t really have that much familiarity with this franchise, other than hearing a lot of praise from horror fans. I enjoyed what Wan did with the first Saw movie, and I like how he’s giving opportunities to newer filmmakers in the genre like Chaves or David F. Sandberg. Being my first experience at a film festival, there was a unique sort of anticipation I had for this film. And while The Curse of La Llorona has its share of fun moments, it just can’t quite rise high enough to separate itself from the crowded deluge of ghost movies. I have no doubt that Michael Chaves has a great career in the genre ahead of him, and he certainly shows some great skill behind the camera. But the issue is that the script he’s working with is so rote that it often feels like he’s fighting off what begs to be a jump-scare fest and dumb character decisions. At the very least, it could have honestly used an overhaul by another writer to make it a lot better. Furthermore, similar to The Cloverfield Paradox last year, I don’t feel like this had to be connected to The Conjuring at all. It’s a very fleeting moment shown in the latter half that doesn’t bear any actual relevance to the plot itself. I understand the desire for brand recognition to increase box office potential, but this could have easily written that crossover out entirely and no one would be the wiser. Linda Cardellini’s built a pretty sweet resume over the last few years with roles in films like Green Book and the underrated A Simple Favor. For her first stab at the horror genre, she does a pretty great job as Anna and exudes a certain vulnerability and strength in a frightened mother. Jaynee-Lynne Kinchen and Roman Christou play both of Anna’s children, Samantha and Chris, respectively. While horror films are often prone to terrible child actors, these two showed a decent range with what they were given. Patricia Velásquez is also pretty good as the petrified mother in Anna’s case while Breaking Bad‘s Raymond Cruz delivers some goods as a man of faith who may be the family’s best hope of survival. While they both did well with the material, their limited screen-time and development makes it hard to become invested in them. Cruz particularly feels underutilized and only really becomes important in the second half, and at that point he feels more like an archetype than an actual character. As continues to be tradition with New Line’s horror films, The Curse of La Llorona has some pretty polished and inspired moments from behind the camera. Wan’s regular cinematographer Don Burgess captures much of the action in darkness, often switching between tight Steadicam and handheld scenes. After a somewhat uneven prologue, the opening scene sees a single shot follow Anna and her children rushing around the house to get ready for school, setting the atmosphere. There are also a number of admittedly impressive bits where a shot seems like it’s following the titular ghost in one area, only for her to come back in the same shot. But the editing by Peter Gvozdas is pretty inconsistent and at times frustrating. While not necessarily choppy, it does feel in favor of creating jump scares with different shots following another. It can be clever sometimes in how it shows imagery, such as highlighting table cloths to imply that La Llorona is there. But the film is already wrestling with a meager script and editing it in such a ham-fisted way felt detrimental. Despite what the tone this review may make you think, I had a decent time with it. This is certainly a leap ahead of other horror movies like Wish Upon and The Bye Bye Man, but it still feels weighed down because of its obligation to the Conjuring Universe. Definitely a better viewing experience with a huge crowd, The Curse of La Llorona is a fleetingly scary flick that muddles a truly terrifying legend in favor of franchise connections. If for nothing else, this film shows that Michael Chaves clearly has a lot of talent and should enjoy a healthy career in Hollywood. His and Wan’s hearts are in the right place, but it just doesn’t make enough effort to distinguish itself from the genre. You’re most likely going to leave the theater having a fun time with all of the other patrons, but won’t remember much of it come the next day. But hey, it was super fun to watch at South By Southwest, so it’s great for that memory.

“The Breakfast Club” Movie Review

Out of all of the shiny teen dramas or rom-coms from the wash of the 1980s, this one has arguably aged better than most of them. I’m still not entirely sure if that’s saying very much, but it just is what it is. This coming-of-age dramedy was originally released in theaters by Universal Pictures on February 15th, 1985. In spite of low expectations, it managed to gross over $51.5 million at the worldwide box office against a modest $1 million budget. It almost immediately received critical acclaim at the time of release and has been hailed as a classic of the genre in the years since. It also was re-opened in select theaters for its 30th anniversary back in 2015. Written and directed by John Hughes, the film was apparently intended to be his directorial debut. But after proving himself a capable screenwriter and garnering success for his work on Sixteen Candles, investors gave him the all-clear for a single location shoot. Numerous pre-stardom actors auditioned for various roles, including Nicholas Cage, Laura Dern, and Jodie Foster. In additional trivia, the first draft of the film’s screenplay was missing for years until 2015, when it was discovered in the office cabinet of Maine South High School. Like many of his films, this one is set in a high school environment near Chicago city limits. Five students from different cliques- bad boy John Bender, popular girl Claire Standish, reclusive Allison Reynolds, star athlete Andrew Clark, and nerdy math wizard Brian Johnson -have all been assigned Saturday detention in the school library. Their strict and mean-spirited assistant principal Vernon wants them all to stay in their exact spots until the end of the day, ordering them to write a thousand-word essay about “who you think you are.” While the students initially seem so different from one another, as they talk and open up they realize they have far more in common than they would have believed. The Breakfast Club is one of those films where, even if you haven’t actually seen the film, you likely already know the general story. Whether it’s the iconic final shot on a football field or the immortal poster photo, it’s safe to say most people know what this film is about. Hell, even I knew a good chunk about it before watching it for the first time a few years ago. Almost everyone out there has a special teen-centric that they like to revisit for one reason or another. Maybe it’s because it’s simply a really good movie, or it could also be that it hits close to home for the viewer. For me, those movies are Ferris Bueller’s Day Off and The Breakfast Club, and I frequently switch between which one I love more. But after this rewatch, I’m starting to think this one just barely pulls out. As mentioned in the intro, I genuinely believe that this film has aged a lot better than many of its contemporaries, even some of Hughes’ other works. There are no era-specific references no one understands, no outdated technology that laughable by today’s standards, no mention of brands that no longer exist. By confining the film to a single setting, we’re treated to seeing a group of what seem to be stereotypical high schoolers stripped down to their very cores. What’s especially affecting about The Breakfast Club is how honestly it’s told from the perspective of the kids. There’s no point in looking at the story from the AP’s point-of-view because all he sees are an athlete, a brain, a princess, a basket case, and a criminal. Placing the story almost entirely inside this library is a stroke of genius because while it’s dialogue heavy, there’s enough space for the characters to move around in and reveal something about themselves. Later to be called the “Brat Pack” for their appearances together in other films, the five central actors are nothing short of iconic. Judd Nelson, Emilio Estevez, Molly Ringwald, Ally Sheedy, and Anthony Michael Hall all play the respective roles as John Bender, Andrew Clark, Claire Standish, Allison Reynolds, and Brian Johnson so perfectly. Even though they were extremely young at the time and somewhat inexperienced, it’s hard to imagine anyone else in their roles. My favorite one has always been Sheedy because she stays silent for much of the first half before turning inside out in the second. Obviously, there are many who prefer Nelson’s pot-smoking bad boy with a real heart, but I also want to mention Estevez as Clark. Not just your average high school, you can clearly tell that he has a lot of deep-seated regret and anger about his choices. Over on the adults’ side, the only two major characters outside the core five are Paul Gleason as Assistant Principal Vernon and John Kapelos as the janitor Carl Reed. Gleason, who would play a similarly humorless role in Die Hard is so arrogant and unconfident that he often tries to flaunt his authority over the students, even as he makes a fool of himself. Kapelos, meanwhile, is very carefree and easygoing as Reed, not getting in the way of the teens while occasionally standing up to Vernon. Meanwhile, despite its extremely modest budget, The Breakfast Club is pretty impressive from a filmmaking perspective. Thomas Del Ruth, who also shot Stand By Me and The Mighty Ducks, opts mostly for Steadicam shots of the characters, staying focused on them or following their actions. There are a surprising amount of wide shots, illustrating the teens being trapped in such a seemingly large room. Every now and then when the students are talking together, the camera is roving around them as the speaker constantly changes. This matches up well with the editing by Dede Allen, which never feels choppy or poor. Instead, it moves between different shots and scenes with ease. There are virtually no cutaway gags, which enhances the comedic moments even more. Moreover, all of the teens are given almost the exact same amount of screen-time in the film, which makes 97-minute story feel well-balanced. There is a film score provided by musicians Keith Forsey and Gary Chang, and it’s about the most ’80s thing you’re likely to ever hear. Nearly all of the original tracks consist of synthesizers and electric drums, tuned differently for the mood of the scene. This includes a love theme, which manages to avoid being super sappy. But let’s be honest, the most memorable piece of music is Simple Minds’ “Don’t You Forget About Me,” which plays over the film’s now-iconic ending sequence. It’s actually a perfect fit for the film, as these kids may never meet each other again but will never forget their time together this Saturday. The song has also become the subject of various memes and parodies over the years. When it comes down to it, it’s hard to think of a more widely known and beloved teen movie from a decade chock full of them. The director had a number of his own classic entries in his pocket, but none of them have aged nearly as well. Again, it’s really just the simplicity here that creates the genius and relatability. The Breakfast Club is the quintessential coming-of-age movie for teenagers and adults everywhere. Even with a career marked by angst-ridden teen dramas, John Hughes managed to completely top himself relatively early in his career. The fact that so many movies in the modern era have used the basic template for their own plots is a true testament to its timelessness. Some were certainly better than others, but none will ever beat this generation-defining classic.

“Boogie Nights” Movie Review

If the porn industry was anything like what this movie depicted, I can’t even imagine how much more chaotic Hollywood proper must have been at the time. This ensemble drama initially premiered at the 1997 Toronto International Film Festival, where it tied with L.A. Confidential for the Metro Media Award. It was later released in two theaters by New Line Cinema on October 10th, 1997, and gradually expanded in the ensuing weeks. It managed to gross around $43.1 million against a $15 million budget, with nearly half of that coming from foreign markets. It also received some of the best reviews from that year and earned several awards and nominations, including three Academy Award nominations. Written and directed by Paul Thomas Anderson, the film was inspired by a mockumentary short he made in high school called The Dirk Diggler Story. Several of the director’s first choices for roles had to turn it down for various reasons, and blindly cast for others. He also frequently butted heads with producer Michael De Luca during post-production, specifically over the epic runtime and original desire for an NC-17 rating. And according to most parties, the director got into nasty clashes with one of its stars throughout filming, and they were caught in the middle. Set in Los Angeles in 1977, Mark Wahlberg stars as Eddie Adams, a young high school dropout working as a nightclub dishwasher. one night, he meets legendary pornographic filmmaker Jack Horner, played by Burt Reynolds, and successfully auditions for one of his new projects. Over the next few years, we witness his meteoric rise as a star in the industry, as well as the lives of other production crew members during the so-called “Golden Age” of Porn. Paul Thomas Anderson is obviously a beloved auteur of cinema, with many films on his resume that cinephiles everywhere dissect each day. Whether it’s a sprawling epic like Magnolia or a lofty drama like Phantom Thread, his unique style is always present. There Will Be Blood and Punch-Drunk Love remain my favorites of his, but I can still appreciate how cinephiles may adore his other works more. For whatever reason, his first three films have managed to consistently avoid my grasp for quite some time. His sophomore effort, in particular, constantly came and left Netflix or Amazon Prime before I could decide to watch it. Well, I finally sat down and watched it last year, and have seen it again in the context of my New Year’s Cinematic Resolution. And I gotta say, Boogie Nights may just be the director’s most accessible film to date- which, admittedly, isn’t saying very much. But let’s make something abundantly clear right now: This film is not really just about porn. While there is considerable nudity, sex, and ungodly amounts of cocaine on-screen, PTA couldn’t be less interested in this sort of exploitation. He seems far more intent on exploring both the art form of something like this industry, the effects fame has on the characters, and their sexuality. At 2 hours and 35 minutes, Anderson doesn’t waste a whole lot of time on fat, developing each individual character and seamlessly weaving them into the overall narrative. And as the film starts diving into the 1980s, it manages to move into some seriously dark territory with surprising ease. Think if Robert Altman and Martin Scorsese did a collaboration together, and that’s about what Boogie Nights looks like. Prior to this film, Mark Wahlberg was the frontman for Marky Mark and the Funky Bunch, but his role as Eddie/Dirk rightly established him as a bankable star. This might be my favorite performance of his, as he convincingly gives off the impression of a pathetic man desperate to find something big to latch onto. Julianne Moore is also noteworthy as Amber Waves, one of Dirk’s most frequent porn co-stars. While she is beautiful, behind all the makeup is a woman with so much of her personal life in shambles. The film also features a very impressive and sprawling ensemble cast, most of whom integrate into the narrative well. These include Philip Seymour Hoffman, Don Cheadle, Luiz Guzman, Thomas Jane, Philip Baker Hall, and John C. Reilly. However, none of them quite live up to the late great Burt Reynolds’ supporting performance as Jack Horner. Although he and Anderson consistently clashed on set, it’s hard to imagine anyone else playing the part. Despite the exploitative nature of the industry he works in, he takes his craft very seriously and does his best to treat his cast and crew as equals. In fact, at one point he refuses to start shooting on video tape by proclaiming, “I’m a filmmaker. And that’s why I will NEVER make a film on tape.” Meanwhile, the technical aspects of Boogie Nights show that Anderson has no problem flaunting his influences while still trying to make it his own. This was the second of numerous collaborations the director had with cinematographer Robert Elswit and it was a great step forward for both of their careers. The camera is almost always roving around each scene, trying to capture as much action as possible. It makes use of a number of big zooms and whip pans to draw attention from one part of the ensemble to the next. The most impressive bout was a 3 minute-long shot following a character inside a chaotic New Year’s Eve party. It should also be noted that the editing by Dylan Tichenor, who also collaborated with Anderson on later projects, is very riveting and just as fast as the cinematography. It often blends new shots in with movements like the aforementioned whip pan, among others. There are a handful of montages that fuse together different parts of the narrative, such as Dirk Diggler’s meteoric rise to porn stardom. It also cuts between different scenes to help build tension, especially one sequence in the third act when petty much all of the characters are in a rut. There is a brief musical score here provided by Michael Penn, whose career afterward has been hit or miss. There’s really only one big memorable track, a four-and-a-half minute piece that has all the whimsy of a circus show and melancholy of a tragedy. With its contrasting strings and whistles, that arguably sums up the movie’s tone pretty effectively. The actual soundtrack itself is composed of various disco and rock songs from the 1970s, curated mostly by the director himself. They’re all extremely appropriate in finding the carefree feel and the excess of the era. Boogie Nights is a uniquely entertaining and frank look at the world of exploitation. Despite its somewhat touchy subject matter, I still profess that this is one of Paul Thomas Anderson’s most accessible films to date. This can also serve as a good template for how to make an ensemble picture right, a feat which seems really hard to pull off.

“How to Train Your Dragon: The Hidden World” Movie Review

This franchise has become a lot more than jut one where a skinny guy leans how to fly a dragon. This has become a full-on friendship saga, and I’m here for it. This computer-animated fantasy adventure was released worldwide on February 22nd, 2019, after nearly three years of constant delays. Before that, audiences in Australia got to see it starting on January 3rd, and had already grossed over $181 million at the worldwide box office and should pull in even more numbers from domestic markets. Produced on a budget of $129 million, it has gone on to gross more than $440.5 million and garnered some of the best reviews for any film released so far this year. It also currently holds the record for one of the highest-grossing advanced screenings of all time. Written and directed by Dean DeBlois, the same man behind the previous installment, this is the latest in the series based (Albeit, very loosely) on the book series of the same name by Cressida Cowell. The director had always planned on making a trilogy of films, and scrapped a very well-developed plotline about halfway through production to rework everything. And after running out their contract with 20th Century Fox, this is the first film from Dreamworks Animation Studios to be distributed by Universal Pictures. All parties involved have repeatedly vowed that this stands as the definitive conclusion not just to the film trilogy, but to the entire franchise as a whole. Set one year after the events of the second movie, we once again follow Jay Baruchel as Hiccup, the young leader of a small Viking village called Berk. Having completely integrated humans with dragons into their population, Hiccup and his trusted Night Fury dragon Toothless work with several other warriors in the village to rescue dragons from rival clans. This draws the attention of Grimmel the Grisly, voiced by F. Murray Abraham, an infamous dragon hunter set on capturing or killing Toothless and a newly discovered female “Light Fury.” With little time and a massive armada on their tail, Hiccup decides to lead the citizens of Berk to a legendary Hidden World, said to be the true home of the dragons. I’m a huge fan of both the first and second How to Train Your Dragon films from 2010 and 2014, respectively. Although Dreamworks itself can honestly be hit-or-miss most of the time, these were two of the best, most epic animated films of the decade. In fact, they were both superior in quality to some of Pixar’s latest outings, which is a damn near impossible task to accomplish for the company. And although I paid no attention to the smaller shows that spawned out of it, I had long been hungry for the concluding chapter of the trilogy to hit theaters. It’s constant delays had started to make me a little worried that it may not be able to properly wrap up the entire franchise. Especially because the trailers I had seen for it weren’t all that enticing, a common problem for Dreamworks. Would Universal fundamentally change how they made their film? Well, I’m extremely happy to say that How to Train Your Dragon: The Hidden World is not only a satisfying conclusion to the animated saga, but it’s also a great movie in general. And perhaps the best compliment I can give this film is that it really feels like a finale to a franchise. Each installment in the saga has improved upon the last one, and the same goes here for the third film. Much like the Toy Story films, this series has gradually grown up with its audience as the years have gone by, becoming a darker and more mature tale. However, unlike the Toy Story films, How to Train Your Dragon has the wisdom to know when its narrative should end and how to make it feel justified. Witnessing Hiccup and Toothless’ friendship together come to a head is a highly emotional journey as the lessons they’ve learned from past adventures come into play. And it’s incredibly wonderous to see that the filmmakers managed both to make the ending here worthwhile and keep it as entertaining. I cannot express to my readers enough how stupidly rare it is for trilogy cappers in cinema to actually be satisfying. I haven’t really been a fan of Jay Baruchel as an actor, but his voice role as Hiccup continues to impress me. Having grown from a yuppy wimp in the first film into a capable leader in this one, he consistently struggles with how to balance his desire for pacifism and the need to protect his people. By his side this entire franchise is America Ferrera as Astrid, Hiccup’s beautiful and headstrong girlfriend. She has full control over her own agency and isn’t afraid to tell Hiccup when she thinks he’s wrong on something. F. Murray Abraham also does impressive work as the villain Grimmel the Grisly, an utterly ruthless dragon hunter. While he isn’t given much of a backstory or motivation, his voice and look give a menacing presence that resonates every time he’s in a scene. The rest of the voice cast is filled out by returning players, none of whom have lost a beat. These include Cate Blanchett, Kit Harrington, Craig Ferguson, Jonah Hill, Christopher Mintz-Plasse, Kristen Wiig, and even Gerard Butler. While not all of them have as rewarding of an arc, they still contribute something unique to the experience. Meanwhile from a technical standpoint, Dreamworks has never had a better looking film than How to Train Your Dragon: The Hidden World. While the two previous installments in the series were very well-animated and had fantastic art direction, the imagery in this film is so awe-inspiring and beautiful that it makes others look shabby by comparison. There is so much subtle detail in every animation, whether it be sand on a beach or flora and fauna in a cave, that feels alive. Moreover, the film is made in an extremely cinematic style in aspects such as camerawork and lighting. You’d swear that Roger Deakins himself shot this film with how controlled it is. We get a lot of swooping shots and glorious pans that reveal the true scope of this imaginative world. In addition, John Powell returns to compose and conduct the instrumental film score, and it’s just as amazing as the last couple times. It incorporates leitmotifs from the previous films in various parts, and always feels full of personality. A wide range of different instruments are brought together to create a gorgeous and epic sound, such as vocal chorus and strings. It also undercuts with woodwinds and percussion to give the feeling of one last grand adventure. Bringing together all of the elements from previous films that made them so amazing while amplifying it to eleven, How To Train Your Dragon: The Hidden World is an epic and emotionally fulfilling end to a truly awesome saga. After 9 years, it has become one of the rare third installments of a trilogy that is the best of the bunch, thanks in no small part to its astound animation and story. This has become the pinnacle of the Dreamworks brand and what they’re capable of doing in film.

“Monty Python’s Life of Brian” Movie Review

Not going to lie, after watching this movie, I’m genuinely considering changing my name to Biggus Dickus just for laughs. This historical comedy film was originally released in U.S. theaters on August 17th, 1979, followed by a U.K release 3 months later. While it grossed over 5 times its $4 million budget and became one of the year’s highest grossing films, its religious themes courted massive controversy in major countries and was banned for years in places like Ireland and Norway. It also led to a highly anticipated and publicized T.V. interview between two of the stars, conservative radio host Malcolm Muggeridge, and Mervyn Stockwood the Bishop of Southwark. Despite all of this, it generally received positive reviews from most publications, and has been retroactively named one of the funniest films ever made. Directed by Terry Jones, this marks the third feature-length effort of the Monty Python comedy group, after The Holy Grail. Days before production was originally supposed to begin, the studio EMI Films backed out due to being scared by the controversial script. Eventually former Beatles member George Harrison created his own production company, HandMade Films, and funded the project in its entirety. Set in Roman-occupied Judea during biblical times, Graham Chapman stars as Brian Cohen, a young Jewish man born on the same day and vicinity as Jesus Christ. Through a series of ridiculous circumstances, including getting involved with Pontius Pilate, he becomes mistaken for a prophet by the locals. Without much choice at all and little clue for how to advance, he takes on the persona of a reluctant Messiah for wary travelers and a radical anti-Roman political organization. I’ve been a really huge fan of the Monty Python troupe for quite some time now. To this day, 1975’s Monty Python and the Holy Grail still remains my favorite comedy film of all time, and one I quote on a daily basis. I also think that their sketch comedy show, The Flying Circus, is a template for all sketchy comedy today, even if some of their humor hasn’t aged all that well. But for some reason, I had not yet seen their follow-up feature or their later effort, the sketch film The Meaning of Life. And since it was finally made available on Netflix the past few months, I figured this would be as good a time as any to review it and include it as part of my New Year’s resolution. In the end, I ultimately prefer Holy Grail to this film, but I still recognize that Monty Python’s Life of Brian is just as hilarious and witty as I would expect from these comedians. I will say that I think this film is ultimately more focused and brainier than I normally find the troupe to be. Holy Grail was a lot broader with different areas or themes to explore such as politics, death, and what actually qualifies as bravery, but more often than not felt like a series of sewn-together sketches that were too high-budgeted for the show. Life of Brian on the other hand, tries to take on a more coherent look at religious attitudes from different groups (Rather than organized religion itself) as well as the hypocrisy of left-wing organizations in Europe during the 1970’s. That being said, there is still some humor that just doesn’t hold up very well by today’s standards. The very first scene in the entire film involves brief but wholly unnecessary blackface for one of the actors. Not only that, but there are a handful of somewhat transphobic gags throughout the film, some definitely more noticeable than others. But if you’re able to get past that, (And again, most of it is pretty brief) the second half of this movie is pure gold. The 6 members of the Monty Python troupe all return here, each playing various characters from scene to scene. Graham Chapman, John Cleese, Michael Palin, Terry Jones, Terry Gilliam, and Eric Idle all inhabit each character they play with surprising ease and versatility. Chapman is mostly resigned to playing Brian, and he’s a far cry from his role as King Arthur. Easily confused and hopelessly romantic, he wants nothing to do with any of his followers and brilliantly stumbles from one place to the next. Pailn and Cleese also regularly impress with the amount they do. For Cleese, his turn as the leader of a fractious anti-Roman group who talks more than he acts has incredible deadpan delivery and timing in every written line. Palin also deserves attention for his turn as the Roman politician Pontius Pilate, whose unexpected speech impediment and higher-pitched voice makes for one truly side-splitting scene when he berates a group of centurions. Meanwhile, with a higher budget than they’ve previously worked with, the technical aspects of Monty Python’s Life of Brian manage to impress regularly. The second feature-length film shot by Peter Biziou, there are many grand, sweeping shots meant to imitate biblical epics of previous decades. The frequent use of zooms and pans also help to reveal ridiculous little details in numerous scenes, such as various anachronisms. Everything is well-lit so that the reactions of various actors to certain situations can be captured- and more often than not, they’re resisting the urge to burst out laughing. It matches up well with the editing by Julian Doyle, who would go on to collaborate extensively with Terry Gilliam. For most of the scenes, there are few cuts, drawing out the irony and sarcasm of their absolutely savage lines. This is particularly great considering a number of scenes were cut at nearly the last minute. And like much of the troupe’s work, there are a couple of animated sequences edited in here and there, allowing even more absurd humor to come in. In his first (And most notable) film credit, Geoffrey Burgon composes and conducts the instrumental film score. Many of the tracks consist of sweeping strings and brass, befitting of a Charlton Heston epic from the Golden Age of Hollywood. But as usual, the soundtrack’s biggest draw are a handful of silly songs written and performed by the core 6 comedians themselves. This includes a fantastic opening song that parodies James Bond songs with glorious vocals and orchestration. The most popular one, though, is “Always Look on the Bright Side of Life,” performed by Eric Idle at the end. It’s simple in composition and rather uplifting in tone; no wonder it’s the most requested funeral song in Britain. Like most of the troupe’s work, this might just be too silly for some viewers out there to enjoy. I know a handful of people who don’t like Holy Grail or The Flying Circus at all because they’re so weird and unusual. I do think they’ll have a better chance of getting into this film because it is ultimately more focused. As long as they can move passed some of the outdated gags. Monty Python’s Life of Brian is a scathingly funny satire of biblical proportions. Although Holy Grail is still my favorite that they’ve created, there’s little denying the Monty Python’s accomplishment here. And despite its controversy, it proves to be supremely hilarious and insightful into religious attitudes. Any film that can manage to get banned from Ireland AND Norway is automatically worth turning heads.

“High Flying Bird” Movie Review

As someone who grew up in a household with sports junkies family members, I understood more of this movie than I thought I would. I’m not even sure if that’s something I’m entirely proud of, but hey it sure added to the experience. This business-centric sports drama initially premiered at the 2019 Slamdance Film Festival. Although its distributor offered to give it a limited theatrical run, the director declined as he thought it wasn’t ultimately worth it. The $2 million production was instead released worldwide on the streaming service Netflix on February 8th, 2019. It garnered some of the best reviews for the filmmaker in quite a while, some even calling it a return to form. Directed by Steven Soderbergh, the film was originally written by Tarell Alvin McCraney, the Oscar-winning playwright behind Moonlight. The screenplay was based on an actual lockout that occurred in 2011, and immense research was undertaken in the ensuing years. According to the director, principal photography went so fast that he assembled the first cut of the film on his laptop within a few hours after production wrapped. André Holland stars as Ray Burke, an extremely intelligent and resourceful sports agent who primarily handles basketball players. During an ongoing NBA lockout, neither he nor his clients, including top draft prospect Erick Scott, played by Melvin Gregg, are getting paid while the owners and Players’ Association union refuse to compromise. However, Burke comes up with a daring and risky plan to try and upend the system within a tight timeframe of 72 hours. And every now and then, we see actual NBA players Reggie Jackson, Donovan Mitchell, and Karl-Anthony Towns giving interviews, breaking down exactly how the league works for rookies. To be perfectly honest with you, Steven Soderbergh’s work as a director can be hit-or-miss for me most of the time. I absolutely love Ocean’s Eleven and some of his earlier stuff, but I’ve been iffy on his newer releases, such as Unsane. But regardless, I can definitely appreciate how he tries to approach each of his films in a brand new way, even if it isn’t entirely successful. Seeing him collaborate with the same writer behind Moonlight, a film I wholly adored back in 2016, automatically made me ecstatic with the possibilities. I was interested to see the two of them tackle the behind-the-scenes world of sports, especially since Soderbergh came so close to directing Moneyball 8 years prior. And while it feels a little too lean for its own good, High Flying Bird is still incredibly well-written and sharply acted. The best thing that I can say about this film is that it made me even more interested in the business behind sports, something I don’t usually think about that much. It’s clear that McCraney did his homework here, creating environments and scenarios with such a level of detail that it feels like he’s spent a lot of time on the court. The ideas High Flying Bird wrestles with are interesting, especially in relation to how young black athletes are frequently at the mercy of their older, white owners. Why should we put so much pressure on the public image players put out while owners like Robert Kraft get away with millions and unsettling activities? The problem is that, at just 90 minutes, it feels like some of these themes and ideas get short-shifted in favor of the protagonist’s wild plan. This being a Soderbergh film, it has the verve and personality of an Ocean’s movie that was never made, which is totally fine. But when the scenes where the central issues start kicking, it makes me wish that it was at least a half hour longer, or even a miniseries. André Holland has slowly been building an impressive resume the last few years as an actor, and he continues that here as Ray Burke. From the minute he comes on-screen, he commands your attention with his razor-edge intelligence and charisma. Meanwhile, Zazie Beetz and Bill Duke are equally good as Ray’s snappy assistant and wise mentor, respectively. Much like Ray, they’re both fully aware of the racial implications of a system like the NBA; whenever the issue of slavery is brought up, Duke’s character repeats “I love the Lord, and all His black people.” Kyle McLachlan and Glenn Fleshler are also impressive as two owners who feign concern for their players, while Sonja John is witty and shrewd as a fellow sports agent. Melvin Gregg is definitely worth mentioning as Erick Scott, one of the nation’s top draft prospects. While he may not be privy to everything that’s going on, it’s clear that he loves the game of basketball and wants nothing more than to get back on. This being a Steven Soderbergh film, the technical side of things is pretty clean and interesting. As always Soderbergh acts as his own cinematographer and editor, credited for both categories as Pete Andrews and Mary Ann Bernard, respectively. Like many of his films, each scene has a static camera placed in a specific spot in the room, only moving around when needed for the characters. It also cuts between each scene and shot with purpose, replicating the high energy of the screenplay. That being said, I’m really not that convinced that this film needed to be shot on an iPhone, like his previous film Unsane. While it worked for that particular film’s psychological aspects, here, it feels too limited and narrow for the scope of the story, only allowing two characters on-screen at a time. And while some movements are quite impressive, the lack of field depth and extremely static movements can take audiences out of the experience. Still, with enough meat on the bone to generate discussion afterward, High Flying Bird‘s kinetic screenplay and performances outshine some questionable technology choices. Although I wouldn’t consider this a return to form for the director, Steven Soderbergh still shows that he’s got it and is willing to risk failure by trying new things. Not to mention the fact that he’s supported by an incredibly dense script by Tarell Alvin McCraney and an outstandingly committed cast who fully give themselves to a surprisingly topical story. Yes, it does feel like it could be a lot more, but for what it is, it’s still a riveting game to watch.