Category Archives: Action

“GoldenEye” Movie Review

Obviously, with 24 films in the bag already, I don’t have nearly enough time to review all of the James Bond movies in existence. But since No Time to Die is coming out in theaters soon, it seems only appropriate to go back and review a couple of Bond’s best.

This action spy film was originally released in theaters worldwide by MGM on November 17th, 1995, being released in the U.K. a week later. It managed to gross over $355 million at the global box office against a production budget of $60 million, far surpassing many of its predecessors without adjusting for inflation. This made it the highest-grossing film in the franchise since 1979’s Moonraker with Roger Moore. It also received some very positive reviews from critics and audiences, mainly for how it adapted to the modern world while remaining true to the past.

Directed by Martin Campbell, efforts to produce a new film were halted by legal and financial disputes within the studio, causing previous star Timothy Dalton to step down from the part. The end of the Cold War and subsequent collapse of the Soviet Union led to numerous rewrites with completely different drafts one after another. The film was the first in the long-running series to not be based on any of Ian Fleming’s novels and to not be solely shot on the 007 sound stage. It was also the last film in the franchise with the involvement of longtime producer Albert Broccoli, who passed the torch onto his daughter Barbara and son Michael G. Wilson.

Pierce Brosnan makes his debut as James Bond, an MI6 officer and veteran of the Cold War. While on assignment investigating the Janus crime syndicate in Russia, a mysterious EMP goes off in a scientific base in Siberia destroying fighter aircraft and knocking out satellite systems in orbit. His newly appointed superior M, played by Judy Dench, orders him to get to the bottom of it, soon discovering a larger techno-conspiracy at play. Facing his former partner Alec Trevelyan, played by Sean Bean, Bond races against time to figure out his plan and stop it before it can be enacted.

The James Bond franchise is one that has consistently fluctuated in quality throughout the years for me. For every great movie in the franchise like Skyfall or Casino Royale, there’s always been a few that are mediocre or just straight up bad like Moonraker. In fairness, it’s a challenge for a character that’s over 50 years old to stay relevant in an ever-changing world, which leads to mixed results with each installment.

As such, I was curious to rewatch this particular entry after so many years away from it to see if my opinion had swayed at all with the times. Part of me was worried that its 90s style and setting would have aged badly by this point, not to mention whether its treatment of the main character would still fly in the modern era. Thankfully, GoldenEye still proves to be one of the franchises better entries and just a fun action movie in general.

It’s interesting to note how Martin Campbell is actually responsible for revitalizing the Bond franchise twice, first here and later with Casino Royale. (Whose own review will be coming soon) And both times, he found a way to make the character of James Bond grow and modernize without losing his essence. The Soviet Union is long gone by this point, so what use is an old-fashioned secret agent like him to the rest of the world?

Furthermore, GoldenEye manages to acknowledge Bond’s long history of womanizing and points out that it’s really immature and unprofessional of him. The most telling moment is when M tells 007 “I think you’re a sexist, misogynist dinosaur. A relic of the Cold War, and whose boyish charms, though wasted on me, obviously appeal to that young woman I sent to evaluate you.” And although the film ultimately can’t resist giving him an attractive female lead, (Or two) it makes up for it in various other departments.

In his first outing with the iconic role, Pierce Brosnan proves more than capable of putting his own unique spin on James Bond. Although he is surprisingly soft-spoken, he knows exactly how to use both words and weapons to turn control of the situation over to his hands throughout the film. He has a very clear way of keeping his composure under stressful situation, but it becomes tested when his connection to the main conflict suddenly becomes personal.

Also making her franchise debut, Dame Judi Dench is nothing short of impressive as the new version of M, Bond’s superior at the MI6. She’s highly determined and intelligent who fully understand the gravity of her new position, but never passes up the opportunity to break out some wit. Although she’s initially skeptical of 007’s capability as an agent, she begins to develop a grudging respect for him even if she strongly disapproves of his seductive methods.

Sean Bean also shouldn’t be overlooked as Alec Trevelyan, the primary antagonist of the film. While Bond villains are very inconsistent in terms of quality or intrigue, Bean is able to avoid these pitfalls by creating a personal connection with our hero and really represents what he could have become if he hadn’t maintained his loyalty to the United Kingdom. His effortless charisma and confidence makes him pretty intimidating, especially as he seems to know all of Bond’s weak points.

Izabella Scorupco, Famke Jenssen, Gottfried John, Alan Cumming, Robbie Coltrane, and Desmond Llewelyn round out the cast of new and returning supporters. Some of them definitely standout more than others, (I honestly thought Cumming was miscast) but they all play key roles in the grand scheme of things. Everyone knows that they’re in a James Bond movie and have no problem hamming it up for the crowd if the moment comes for it.

And from a technical perspective, GoldenEye marked an evolution behind the camera for the long-running franchise. Phil Méheux’s cinematography looks shiny for the most part but also manages to capture so many cool moments on-screen. Chief among them is the opening sequences when James dives off the top of the Contra Dam and the camera follows down with him. It’s an amazing stunt that immediately sets itself apart from all the previous entries in the series. There are also numerous points throughout where it uses numerous angles and long-takes for certain scenes. And the lighting is almost immaculate all the way through.

This works mostly in tandem with the editing job by Terry Rawlings. Every scene is carefully cut together so that the action can remain exciting but still intelligible for audiences. One particular moment near the end where Cumming’s character keeps frantically pushing on a pen creates a lot of unique tension as it builds towards a literally explosive climax. It also manages to blend the visual effects with practical in-camera tricks really well to where it looks mostly seamless.

Luc Besson’s frequent collaborator Éric Serra provides the instrumental film score here and to be honest, it’s entirely forgettable. The composition very much is inspired by contemporary 90’s music with an attempt to mix traditional orchestral sounds with more electronic rhythms. Unfortunately, the combo really doesn’t work as well as it should, and it honestly feels more like an afterthought than anything else.

Pop superstar Tina Turner gives us an original song for the requisite opening credits sequence titled the same as the film. As far as Bond songs go, it’s fine but not particularly memorable. Turner’s incredible vocals are always a delight to the ears but the rest of the track still leaves a lot to be desired.

GoldenEye is a welcome reinvention of a very archaic character. Martin Campbell is able to wrangle together a capable cast and great crew members to successfully bring James Bond into a post-Cold War world that proves to be just as great, if not more so, than its predecessors. Pierce Brosnan is more than willing to carry the iconic role forward with all of the wit, charm, and sophistication that we’ve all come to expect from 007.

“Birds of Prey” Movie Review

Although I could be wrong, this might be the first movie I’ve ever seen where two female characters exchange a hair tie on-screen. It’s a small moment, but it’s also something totally unique to mainstream films that doesn’t get enough recognition.

This superhero crime comedy film was released in theaters worldwide by Warner Bros. on February 7th, 2020. Made for the relatively small budget of around $82 million, it has gone one to gross just over $202 million at the global box office. While this is undoubtedly a big success and could see a sizable profit, it’s been on a slower role than expected. Following the relative underperformance of the opening weekend, the studio changed the film’s title to Harley Quinn: Birds of Prey for some markets. In spite of that, it has amassed some very positive reviews from critics and audiences alike.

Directed by Cathy Yan, the film was one of several DC projects announced after the commercial success of Suicide Squad. The main actress set up her new production company, LuckyChap Entertainment, so that screenwriter Christina Hodson would have more creative freedom in pre-production. The studio had multiple different properties involving Harley Quinn in development, including Gotham City Sirens, but this was the only one with the main actress’s direct involvement. Yan’s hiring, only her second feature overall, also makes her the first female Asian director to helm a theatrical superhero movie.

Picking up a little while after the events of Suicide Squad, Margot Robbie returns as Harley Quinn, a former psychiatrist turned violent criminal psychopath. After the Joker dumps her and ends any connection between the two, she goes on a citywide bender to keep the breakup a secret as it would remove any protections she has. Word of their breakup soon reaches Roman Sionis, played by Ewan McGregor, a ruthless Gotham crime lord in Gotham who goes by the name “Black Mask.” Harley eventually crosses paths with four other women on Sionis’ radar- mob daughter-turned vigilante Helena Bertinelli, burlesque singer Dinah Lance, alcoholic detective Renee Montoya, and street-wise thief Cassandra Cain -and soon find a way to team up and bring him down.

This was one of those potential superhero projects that I was skeptical about when it was first announced, as DC has had many films in and out of development. My best guess is that most of them are still being made but this one was simply the first one to make it out of the gate. But in any case, it’s finally here now, it’s out in the world, and it’s up to us to talk about the ultimate results of it.

Regardless of your opinions on the movie Suicide Squad, it’s hard to deny that Margot Robbie’s Harley Quinn was absolutely fantastic. And hearing that she was gonna headline an all-female team-up movie with various other heroines in an R-rated adventure sounded like a true breath of fresh air for the genre. And lo and behold, Birds of Prey is a really fun time at the movies that inverts a lot of classic superhero tropes.

Make no mistake, this is not a movie either to be seen with the whole family nor taken very seriously. Just the full title, And the Fantabulous Emancipation of One Harley Quinn, illustrates how irreverent it’s gonna get and, credit where its due, Hodson’s screenplay commits to it. The film fully utilizes its R-rating with numerous F-bombs and scenes of bloody violence without becoming immature; to be honest, I don’t know if it would have still worked if it were PG-13 instead.

However, after seeing Birds of Prey, it is fairly easy seeing why the studio changed the name in some markets. Harley Quinn is undoubtedly the protagonist of the story and the other four women are more or less just along for the ride. The script often has trouble finding a good balance between multiple storylines, constantly having to cut back to different timelines to keep the continuity flowing. It’s a little frustrating, but it’s hard to resist the charm of what Yan and company set out to do.

Margot Robbie is the definitive live-action version of Harley Quinn, and no recasting will ever change that. Here, she has her trademark sense of macabre humor and aloofness, more often than not unaware of how much destruction she’s leaving in her wake. While she clearly has zero interest in doing the right thing or helping people who need it, she’s desperate to find a sense of belonging after the only person she’s ever had a connection with has abandoned her.

Meanwhile, the other four “Birds” are absolutely fantastic and fun in their respective roles. Mary Elizabeth Winstead, Jurnee Smollet-Bell, Rosie Perez, and newcomer Ella Jay Basco all fulfill their duties with flying colors and create different and interesting personalities. Basco is particularly excellent as Cassandra Cain, a highly resourceful petty thief who only wants to find a place of belonging, much like Harley.

Ewan McGregor is also fantastic and flamboyant as crime lord Roman Sionis, A.K.A. “Black Mask.” He’s a complete narcissist who has no qualms about torturing, killing, or humiliating others to get what he wants and always tries to become the center of attention iin the room. McGregor is clearly having a grand time in the role and while it may seem a bit over the top, it perfectly suits the villain’s personality.

The supporting cast is also great and isn’t afraid to ham it up to match the over-the-top nature of the film. This includes Ali Wong as Montoya’s ex-girlfriend of a district attorney, Chris Messina as Black Mask’s psychopathic killer and right-hand man, Steven Williams as the apathetic Captain at the GCPD, Dana Lee as a friendly restaurant owner in Harley’s building, and François Chau as a rival crime boss threatening Black Mask’s operations. All of them know exactly what to do with their respective roles and get one or two good lines in for good measure.

And from a technical perspective, Birds of Prey showcases a unique style that sets it apart from other films in the genre. Shot by the versatile Matthew Libatique, the cinematography is very colorful and saturated, perfectly in the right tone with its wild protagonist. The film makes use of many different techniques throughout, including sudden dolly-ins and roving swoops during action sequences. Numerous primary colors are enhanced to make Gotham feel like a twisted Wonderland playground for Harley and her friends to mess around in.

The editing job by Jay Cassidy and Evan Schiff is frenetic and highly reminiscent of Guy Ritchie’s style. There are multiple freeze frames throughout the film so that Harley can wryly catch the audience up on a brand new plot point. And for the most part, during action scenes, it’s cut together in a way that’s easy enough to follow but still filled with enough style to feel unique.

Bolstered by committed performances and great visuals, Birds of Prey is a fun R-rated romp that can sometimes be too fluff and flair. Freed from the normal constraints of a franchise blockbuster, Cathy Yan is able to make an impressive studio debut that proves comic book movies have a future in going beyond what’s family-friendly. Even when the film gets bogged down by an unnecessarily complicated script, Margot Robbie and the rest of her crew are more than willing to hold it together with all the charm and charisma that can be afforded.

“To Catch a Thief” Movie Review

It was only very recently that I realized I hadn’t actually seen nearly as many Hitchcock movies as I thought. Thankfully, my New Year’s resolution presented an opportunity to help rectify that situation, at least a little bit.

This romantic caper thriller was released in theaters worldwide by Paramount Pictures on August 3rd, 1955. Made for the budget of $2.5 million, the film went on the gross about $4.5 million in U.S. rentals during its original release. However, its global total at the box office is believed to be closer to around $8.75 million, on par with the director’s previous films. Although the film received mixed reviews at the time of its release, it has since garnered a respected reputation among his extensive oeuvre.

Directed and produced by Alfred Hitchcock, the script by John Michael Hayes was adapted from the novel of the same name by David Dodge. The main star had attempted to retire two years prior out of anger for the House Un-American Activities Committee’s treatment of Charlie Chaplin. However, he ultimately returned to collaborate with the director and would go on to act for 11 more years afterward. It’s also Hitchcock’s only film with Paramount that the studio still owns the rights to, as the rest were sold back to him in the 1960s and put out through Universal Studios.

Cary Grant stars as John Robie, a retired cat burglar living a peaceful retirement in the French Riviera. While he enjoys a comfortable, reformed public image, a series of copycat thefts is committed against the small town’s wealthy tourists. The authorities immediately assume that Robie has gone back to his criminal ways, causing him to go on the run. With a limited amount of time, Robie sets out with young American tourist Frances Stevens, played by Grace Kelly, to catch the real crook and prove his innocence.

Obviously, Alfred Hitchcock is one of the most important and influential filmmakers in cinema history. He managed to completely change the way that films were made and presented, with a wholly unique style and clear vision of what he wants. North By Northwest and Vertigo rank among some of my favorite movies of all time, and even some of his lesser work like The Birds is extremely impressive for its time.

I had seen that this particular film, one of his more celebrated as I understand it, was finally available to stream through my resources. Hitchcock is far from a stranger to the caper genre and was curious to see what he and Cary Grant could make prior to their collaboration on North By Northwest. And while To Catch a Thief is certainly not the director’s finest work, it still manages to be a whole lot of fun that subverts expectations all these years later.

Obviously, when you’ve made so many iconic and groundbreaking films like Hitchcock, a few of them are bound to get lost somewhere by the wayside. This one certainly falls into that category, since it was made seemingly in between masterpieces as a sort of lightweight exercise for all involved. But that’s not necessarily a bad thing at all because there’s still plenty of entertainment value to be had here and reflects the kind of caper adventure that Hollywood has seemingly lost interest in making.

It’s also a testament to the quality and production of To Catch a Thief that it stilly manages to really grab your attention all these decades later. Whether it be the magical pull of Hitchcock’s direction, the irresistible cast, or a combination of both, it’s hard not to fall right into Robie’s misadventures and quest for innocence. That’s a sort of Old World optimism that, by today’s standards, actually seems rather quaint, and is an immortal part of its irrevocable charm.

Cary Grant was one of the biggest movie stars in Hollywood for a reason, and his third collaboration with the director is further proof of it. As John Robie, he’s his usually charismatic and debonair self, a career criminal who simply wants to hang up his hat and live the rest of his life in peace. While he acts completely in control of the situation towards the authorities and locals, it all turns out to be a façade as everyone he once considered his friends start turning on him.

In one of her final roles before her royal retirement, Grace Kelly shines as Frances Stevens, Robie’s young American accomplice on the run. Although she only appears initially as a pretty face with a lot to say, she actually turns out to be much more intelligent and resourceful than given credit for. Despite the apparent danger this bandit-on-the-run scenario presents, she seems willing to jump headlong into the excitement of such an adventure.

John Williams (Not to be confused with the legendary composer) also gives a memorable performance as H.H. Hughson, a local insurance man who acts as Robie’s handler. Unlike Robie, he’s an extremely pragmatic career man who understands the intricacies of a situation like this and is highly skeptical of his colleague’s innocence. When it comes down to it, though, Hughson comes through for Robie when almost everyone else in the Riviera immediately believes his guilt.

Jessie Royce Landis, Charles Venel, Brigitte Auber, and Jean Martinelli all turn in memorable supporting roles of varying importance. Each one of them fits perfectly into the classic roles of a caper film which have since become archetypes of the genre. They all prove to be formidable players with someone like Hitchcock and manage to find the right balancing act for each of their respective characters.

Meanwhile, from a purely technical perspective, To Catch a Thief shows Hitchcock has already mastered his craft. Shot by frequent collaborator Robert Burks, the cinematography is very bright and full of diverse compositions. This was the first of five films the director filmed using the VistaVision process, which helps to create a widescreen format that makes the adventure feel bigger in scale and scope. Many of Hitchcock’s trademarks are shown throughout the film, including unusual angles that signify a character’s mental or emotional state during the plot.

This matches up well with the editing job by George Tomasini, who go on to work with the director for 8 more feature films. The film consistently makes use of cross dissolves as transitions between scenes to make things feel somewhat dreamy. And while the film consists of many scenes of dialogue, Hitchcock and Tomasini are able to keep things interesting with consistent cuts that don’t interfere with what’s going on. One particular scene sees a highspeed car traveling dangerously on a cliffside road as Frances and Robie finally come to an understanding with each other. Even 65 years later, that sequence still makes my palms sweat from anxiety.

In one of his earliest jobs for Hollywood, Lyn Murray composes and conducts the instrumental film score here. It is a perfect encapsulation of movie music during this period because of how wide-ranging the whole soundtrack is. The primary theme is an excellent tune that mixes the tone of adventure and mystery, using a mixture of woodwinds and strings to its advantage. Later in the soundtrack, we get to hear unusual percussion such as xylophones and bass drums to illustrate the relatively fast-paced nature of the story. While it’s not the best score of Old Hollywood, it is one worth listening to after the credits roll.

The kind of adventure that rarely gets made these days, To Catch a Thief is a lightweight caper with fun performances and old-school tricks. Alfred Hitchcock may have been coasting on his acclaim here, but he’s still able to assemble one hell of a picture that shows the best of his tendencies. It also has the luck of being carried by both Cary Grant and Grace Kelly in their prime to boost this straightforward and unpretentious classic.

“The Gentlemen” Movie Review

If this movie were any more British, you would need subtitles just to figure out what all of the characters were saying.

This crime black comedy was released in the UK on January 1st, 2020, after a surprise premiere in mid-December of 2019. It was later released to theaters in the rest of the world by STX Entertainment on January 24th. Made for the budget of $22 million, it has thus far grossed over $110.1 million at the worldwide box office. This ranks it among the young distributor’s biggest financial successes to date, in addition to some fairly positive responses from critics and audiences.

Written and directed by Guy Ritchie, the film marks a return to form for him after a string of so-so blockbusters. It was originally unveiled at the 2018 Cannes Film Festival under the title Toff Guys and then Bush, with Miramax essentially bankrolling it. There seemed to be have been so hot demand for it as distributor STX Entertainment reportedly acquired the rights from Miramax for $7 million. It was promised to be more tonally in line with the director’s earlier crime films such as Snatch and Lock, Stock, and Two Smoking Barrels.

Matthew McConaughey stars as Mickey Pearson, an American ex-pat living in London. Over the course of several years, he has built a highly profitable and powerful marijuana empire that even includes Royals in the mix. Now looking to retire peacefully with his wife Rosalind, played by Michelle Dockery, he approaches an Oklahoma billionaire with a proposition to buy out his business for $400 million. When word of the potential deal reaches the streets, all sorts of criminals and characters come for the throne in a series of blackmail, murder, and double-crossing.

I’ve been on-and-off about Guy Ritchie’s movies for a while now. He definitely has a distinct style that separates him from other filmmakers, but it’s not always suited to films like the live-action Aladdin or King Arthur: Legend of the Sword. The type of fast-paced, immensely quirky works really well when he finds a story that suits that rhythm, which is why I’m a big fan of Snatch and his adaptation of Sherlock Holmes.

When I heard that he would be making a smaller-scaled, mid-budget caper, I became excited about what he could do. It’s always interesting when filmmakers try to return to their basic roots, and I was curious if his vision of unapologetically British criminals would translate well into the 21st century. And while it’s far from perfect, The Gentlemen is still fun and shows that Ritchie’s still got a lot of creative juice left in him.

It’s very clear from the opening sequence that Guy Ritchie is much more comfortable here than in the confines of major blockbusters. Credit where it’s due, he manages to successfully make the film have a modern setting and feel to it without feeling like an old man disgruntled over the new generation. It’s interesting to see how widespread the drug business is in this world, with even the press and Royal family members involved in some form or another.

However, it needs to be said that The Gentlemen can also come off as offensive to some viewers, as the characters frequently say casually racist or anti-Semitic things. I suppose it’s a way to make this world feel more natural and lived-in, but it becomes a little distracting when someone makes a huge point of the character’s ethnicity and it’s not in a positive light. It hardly takes over the whole film and eventually dissipates, but it is still worth mentioning and definitely takes me out of the movie a little.

Matthew McConaughey has made a lot interesting acting choices in recent years with varying degrees of success, but this might be one of his better ones. As Mickey Pearson, he’s his usual rugged and charismatic self, always assured of his dominance in the game. He manages to be quite ruthless and efficient as a crime lord, but prefers to settle all of his disputes with as little bloodshed as possible, having a soft spot for his wife and soldiers under his command.

By his side for much of the film is Charlie Hunnam as Raymond Smith, Mickey’s highly resourceful right-hand man. He’s extremely straightforward when it comes down to business, always having an ally or unseen source waiting in the wings for him. Despite this, he’s insecure about getting his own hands dirty and trys to avoid hurting anyone severely for whatever their istakes may be.

Hugh Grant continues his hot streak from Paddington 2 with his role as Fletcher, an unethical reporter and private investigator. He starts the whole film by breaking down everything he’s gathered so far, however inaccurate it may seem, often going on long unrelated tangents. His deadpan delivery of several lines helps amplify the dark humor of the film and he even adds his own mannerisms that make his character seem even more slimy and amoral.

Ritchie also gets ample performances out of his extensive supporting cast. This includes Colin Farrell as the wise coach of a group of underserved MMA fighters, Henry Golding as an arrogant underboss for a larger crime syndicate, Michelle Dockery as Pearson’s business-savy wife, Jeremy Strong as the peculiar billionaire Pearson tries to sell his empire to, Eddie Marsan as a loud-mouthed tabloid editor, and Eliot Sumner as a young heiress affected by the drug world.

And just looking at the technical aspects, The Gentlemen sees Guy Ritchie’s highly energetic style come to life once again. The cinematography by Alan Stewart balances conventional techniques with unique camera movements. This include sudden dollys and zooms on characters whenever something unorthodox is happening or being explained. The frame creates enough space between subjects to maintain a certain level of tension, such as when an unseen assailant walks up behind someone.

This matches up with the editing job by James Herbert, who works to align with the director’s unique vision. Multiple scenes have constant cuts between shots to illustrate the frenetic speed of the drug business, such as Mickey explaining his operations to a customer. Other times, it uses freezes frames for comedic effect or creates on-screen texts to explain local lingo. It can be a little distracting from what’s happening with the characters, but it definitely grabs your attention.

The Gentlemen is a scrappy yet somewhat problematic return to form for the director. Guy Ritchie, despite making some questionable choices with the story and characters, shows he’s still got a lot of juice left in him after dabbling in Hollywood blockbuster for the last decade. He’s also able to get some pretty fun performances out a well-organized cast that looks hungry for great lines and moments.

“The Rhythm Section” Movie Review

If you suddenly had the chance to get back at the people who wronged you and your loved ones, would you? Regardless of what the collateral damage might look like?

After numerous delays, this action drama was released in theaters worldwide by Paramount Pictures on January 31st, 2020. Made for the budget of $50 million, it has drastically underperformed and only grossed about $6 million worldwide thus far. This is far below several predicted metrics, making it the worst opening weekend ever for a film released in over 3000 theaters. And in addition to losing the studio roughly $40 million, it hasn’t been graced with the best of critical reviews.

Directed by Reed Morano, the film is adapted from the novel of the same name by Mark Burnell, who also wrote the screenplay. The product apparently was so attention-grabbing that James Bond franchise showrunners Barbara Broccoli and Michael G. Wilson hopped on-board as producers. During production, the main star suffered a pretty serious physical injury that set the schedule back by almost six months while she recovered.

Blake Lively stars as Stephanie Patrick, a young woman in London still reeling from a terrible loss. Three years earlier, her whole family was killed in an international plane crash over the Atlantic and has since spiraled into drugs and prostitution to cope with the tragedy. However, she is recently told by journalist Keith Proctor, played by Raza Jeffrey, that the crash wasn’t an accident but in fact part of a larger terrorist plot. Over the course of the next several months, she begins developing fighting skills so that she can hunt down and kill every person responsible for the death of her family.

I had been somewhat intrigued by this film all the way through the various hiccups and delays. I’ve been a fan of Blake Lively as an actress for a long time, and in 2018, we got to see her give some really awesome work in Paul Feig’s A Simple Favor. The idea of her doing an international action flick from the same people behind the James Bond franchise sounded like an amazing proposition.

Although I haven’t seen her two previous features, I thought Reed Morano’s work on Hulu’s The Handmaid’s Tale was really impressive. And despite all the bad reception it was getting, I had hopes that she and Lively would be able to conjure something that was at least interesting. And in all seriousness, The Rhythm Section isn’t nearly as bad as some people say it is; there is some enjoyment to found here.

The story presented here practically begs to become a female version of James Bond, with the CIA and MI6 thrown in for good measure. However, perhaps the best thing about this film is that it avoids that temptation and becomes way more interested in looking at the weight of grief and futility of revenge. Stephanie isn’t a very competent spy, but that makes her feel all the more human as she tries to learn from her mistakes and break the barriers around her.

I think where The Rhythm Section loses a lot of people is that its style is very unconventional for a studio blockbuster. It occasionally moves back and forth between different points in time for Stephanie, which can make it a little frustrating to follow her journey. It’s easy to see why this movie hasn’t fare well at all with critics or audiences, but I definitely at least appreciate it for trying to subvert the norms of a traditional blockbuster, especially since it doesn’t seem interested in starting a franchise.

Blake Lively has been on a role in recent years, and it’s exicitng to see her branch out even further here. As Stephanie Patrick, she is a messy, broken woman who gave up trying to get closure for her family’s death a long time ago. When she gets caught up in a newfound conspiracy web, she becomes desperate to find out the truth and despite knowing she’s in over her head, she’s come too far just to turn around and leave.

Jude Law makes a similar impression as Iain Boyd, a retired MI6 operative who reluctantly helps train her. It’s clear that he wants absolutely nothing to do with the world of espionage anymore and only agrees to help Stephanie due to a personal connection with her case. He’s particularly unremorseful with her, having been desensitized to the worst humanity has to offer, and the secrets he carries make him intriguing.

Aside from these two, the supporting cast is made up of various actors who give hit-or-miss performances. This includes Sterling K. Brown as a highly resourceful information broker, Raza Jeffrey as the determined journalist who gives Stephanie a purpose again, Richard Brake as an infamous international gangster, Tawfeek Barhom as a potential suspect, and Max Casella as the man bank-rolling the antagonist’s plans. Each player has varying amounts of screentime and some leave more of an impression than others.

And looking the technical aspects, The Rhythm Section sees Morano still trying to find her own voice. The cinematography by Sean Bobbit opts for a more handheld, cinéma vérité style to capture the messy and frenetic nature of the protagonist’s situation. Stephanie is in nearly every shot of the film, putting us practically in her shoes as she goes on her bloodthirsty quest. There are many close-up shots and rack focuses, which does a decent job at capturing her state of mind as we learn about the truth as she does.

Joan Sobel’s editing job mostly serves this style well as it tries to keep up with everything happening on-screen. There are a handful of action scenes where it can be hard to tell what’s going on at first, but it soon comes into focus. There’s also a Terrence Malick-esque choice to occasionally cut back to snapshots of Stephanie’s life with her family, using a much brighter color palette. This might be one of the better stylistic choices the film makes, as it illustrates everything that was taken away from her.

Relative industry newcomer Steve Mazzaro provides the instrumental film score here. Like the rest of the film, it tries to provide something unique and different than most mainstream films offer in the genre. The majority of tracks use jagged, staccato violins and other strings to highlight the frantic pacing of the story. Alternatively, this primary sound is often manipulated either into a scene that’s very exciting or deeply somber. What really separates the two is the occasional inclusion of mild percussion or woodwinds sounds.

Taken as a whole, The Rhythm Section is a wonky but determined antithesis to traditional Hollywood spy films. It is far from perfect or even great, but Reed Morano still shows she’s got a lot of potential as a filmmaker who wants to stand toe-to-toe with the other major blockbuster directors of her generation. And Blake Lively proves why she’s completely deserving of a real franchise to lead and manages to deliver one of her most complex roles to date.

When it’s all said and done, I’ve got to give credit to Paramount and Barbara Broccoli and Michael G. Wilson for trying to create a unique counterpart to James Bond. It’s a bummer that it’s mostly likely going to get overlooked by most audiences, but hopefully that doesn’t deter studios from make more (And better) action dramas geared towards adults.

The Rhythm Section Poster #1

“Tron: Legacy” Movie Review

Imagine being trapped inside a computer programming of your own creation for the better part of 30 years. With absolutely no knowledge of any of the politics, crimes, misery, or troubles of the real world. I kind of envy that.

This techno-influenced science-fiction action drama initially had its world premiere in Tokyo on November 30th, 2010. It was later released in theaters worldwide by Disney over two weeks later on December 17th to high anticipation. Made for the budget of $170 million, it went on to gross just over $400 million at the global box office. Although it managed to break even, it didn’t meet the studio’s big expectations for the long-awaited sequel. The financial disappointment and mixed critical reception put plans for a new franchise on hold, with talks of a new installment coming and going with each passing year.

Directed by Joseph Kosinski in his feature debut, rumors of a sequel to the 1982 original had been in circulation for a long time. Although Pixar was supposedly interested in continuing the story in 1999, it was only around 2005 that Disney began serious development of the project. Kosinski rejected the studio’s idea of drawing visual and narrative inspiration from The Matrix, and instead used money that producer Sean Bailey lent him for concept footage of the style and tone. An architecture student, he also used chroma keying and various other unconventional techniques to give as much creative room for the effects as possible.

Picking up 27 years after the original, Garret Hedlund stars as Sam Flynn, the primary shareholder of the tech company ENCOM International. For the past two decades, he has been investigating the disappearance of his father Kevin, played by original star Jeff Bridges. One night, Sam’s investigation leads him to an arcade that unintentionally transports him to The Grid, an independent virtual reality system. While he reunites with his father, he must contend with a corrupted version of him named Clu and figure out a way to get back to the real world.

It has been many years since I last watched this film, and I only had vague memories of liking it. On the off chance that I would miss something, I made sure to watch the original Tron first to try and understand the lore a little better. And it was a highly impressive and stylistic technical achievement, but was extremely confusing from a story standpoint.

I was hopeful to see what, if any, lessons this long-belated sequel could take from the first go-around. It’s supposed to be so different from almost all of Disney’s other live-action films recently and I wondered if this was as much of a cult hit as a lot of people have made it out to be. And Tron: Legacy is undeniably entertaining and aesthetically unique, but the story at the center is rather simplistic.

This is exactly the kind of film I think Disney should try investing more stock in making. No “live-action” remakes of animated classics, but something that looks and feels totally different than what’s usually on the market. The film is always at its best when its pushing the boundaries of family-friendly entertainment and ponders if it’s worth sacrificing fatherhood for something truly revolutionary.

But beyond the gorgeous visuals (Which still hold up quite nicely) and these brief moments of contemplation, Tron: Legacy falters to create a very meaningful or engaging story. While there is some pretty cool worldbuilding throughout and the majority of the film’s 2-hour and 5-minute runtime are spent inside The Grid, there’s not much of an emotional pull beyond the father-son thread. Still, it’s cool to watch and this is one IP I hope Disney considers revisiting in the future.

Garret Hedlund has always been a “good-not-great” actor and his performance here epitomizes that pretty well. As Sam Flynn, he constantly does immature and rash things in the real world, likely to cope with the lack of a real father figure for the past 20 years. It’s apparent that The Grid gives him an opportunity not only to make up for lost time with his father but to thrive in a world that doesn’t even exist.

In a dual role as both Kevin Flynn and his evil counterpart Clu, Jeff Bridges returns to the franchise with lots of gusto. With Flynn, he feels much more mature and wise than the previous film, optimistic for the future of humanity but still feeling guilty about his lackluster job as a father. On the opposite end, he’s intimidating and relentless as the villain Clu, even though the then-burgeoning effort of de-aging technology doesn’t quite work for him.

Olivia Wilde is also worth mentioning as Quorra, a uniquely programmed warrior who serve’s as Kevin’s only ally in The Grid. She’s extremely adept at fighting and even steals the show in a handful of action scenes because of her wicked skills. However, she’s also deeply curious about what the real world is like, as reading endless amounts of literature and asking questions isn’t enough to quench her thirst to witness a real sunrise.

And while there are some familiar faces that pop up in the supporting cast, it’s Michael Sheen’s turn as Castor, a flamboyant nightclub owner. Although he doesn’t appear until the second act, he absolutely steals the show from under the protagonists and clearly relishes the role. Sheen’s bright personality and fantastic wardrobe are also heavily reminiscent of David Bowie’s early years, which makes him by far the most interesting character in the whole movie.

And from a purely technical point of view, Tron: Legacy is a major step forward for the studio and shows Kosinski knows what he’s doing. Claudio Miranda’s cinematography is extremely noteworthy for its smooth movements and slick framing. The Grid heavily relies on the opposing colors of orange and blue while scenes in the real world are relatively muted. This is one of the best examples of 3D filmmaking as the cameras capture everything, from light cycle battles to one-on-one duels, with great precision.

James Haygood’s editing job goes hand-in-hand with the visuals, knowing when to leave a shot lingering or keep the action flowing. There are enough cuts during action sequences to keep the momentum up and never makes it confusing or hard to follow. It’s a testament to the editing crew that the flow between CGI shots and practical actors or sets is mostly seamless. Plus, the sound design is stellar, ensuring that every scene can be heard just as well as seen. It’s actually one of the most satisfying sound designs of the last decade.

Speaking of sound, French music duo Daft Punk provide their first and thus far only score for a film. I hope they decide to do more soundtracks because it’s an absolute thing of beauty and innovation. Like the rest of their work, the score is heavy on electronics across the board, which is appropriate for the unique world here. However, much of the soundtrack avoids being just dubstep and uses synthesizers, low strings, and percussion beats to create an emotional connection to the storyline. At times, it’s warm, harsh, and always attention-grabbing, making for one of the most underrated film scores in recent years.

Pushing the boundaries of filmmaking technology in exciting ways but lacking a real human pull for it, Tron: Legacy is a visually and audibly stunning adventure with a rather unaffecting story. At the end of the day Joseph Kosinski and Disney have made a really impressive tech demo that’s more like candy for the eyes and ears than anything else. It’s fun to see Jeff Bridges return to the saga and his new cast members are welcome as well, but their characters aren’t the most compelling to watch.

I think there’s a lot of potential in this franchise for Disney to explore, and this film seems to indicate they have an idea of where it would go. I just wish Kosinski was just as good with his actors as he was with her camera and effects.

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Final 2020 Oscar Predictions

It’s that time of year again, folks. The 92nd Academy Awards are nigh upon us, and much sooner than usually expected. Unlike last year, the lead up to the ceremony itself has been relatively quiet, save for the occasionally befuddling snub or surprise. And just like the last two years, I have managed to watch the majority of the big nominees and contenders and have decided to put down my own predictions for who I think will or should win. In addition, I’ll be including films or artists who I felt should have been recognized but were ultimately left out of the bunch.

And no matter what you think of the nominees or the ones that were snubbed, we’ll all find out the results when the ceremony airs on ABC this Sunday, February 9th.

Best Picture

Will Win: 1917

Could Win: Parasite

Should Win: Parasite

Should Have Been Nominated: The Lighthouse

 

Best Director

Will Win: Sam Mendes for 1917

Could Win: Bong Joon-ho for Parasite

Should Win: Bong Joon-ho for Parasite

Should Have Been Nominated: Greta Gerwig for Little Women

 

Best Actor

Will Win: Joaquin Phoenix in Joker

Could Win: Adam Driver in Marriage Story

Should Win: Adam Driver in Marriage Story

Should Have Been Nominated: Robert Pattinson in The Lighthouse

 

Best Actress

Will Win: Renée Zellweger in Judy

Could Win: Scarlett Johannsson in Marriage Story

Should Win: Scarlett Johannsson in Marriage Story

Should Have Been Nominated: Awkwafina from The Farewell, Lupita Nyong’o from Us

 

Best Supporting Actor

Will Win: Brad Pitt in Once Upon a Time in Hollywood

Could Win: Joe Pesci in The Irishman

Should Win: Brad Pitt in Once Upon a Time in Hollywood

Should Have Been Nominated: Song Kang-ho in Parasite

 

Best Supporting Actress

Will Win: Laura Dern in Marriage Story

Could Win: Florence Pugh in Little Women

Should Win: Laura Dern in Marriage Story

Should Have Been Nominated: Jennifer Lopez in Hustlers

 

Best Original Screenplay

Will Win: Parasite

Could Win: Once Upon a Time in Hollywood

Should Win: Knives Out

Should Have Been Nominated: Booksmart

 

Best Adapted Screenplay

Will Win: Little Women

Could Win: Jojo Rabbit

Should Win: Little Women

Should Have Been Nominated: Just Mercy

 

Best Animated Film

Will Win: Toy Story 4

Could Win: Klaus

Should Win: I Lost My Body

Should Have Been Nominated: Weathering With You

 

Best International Feature Film

Will Win: Parasite (South Korea)

Could Win: Pain and Glory (Spain)

Should Win: Parasite (South Korea)

Should Have Been Nominated: Portrait of a Lady on Fire (France)

 

Best Documentary- Feature

Will Win: American Factory

Could Win: For Sama

Should Win: For Sama

Should Have Been Nominated: Apollo 11

 

Best Documentary- Short Subject

Will Win: Learning to Skateboard in a Warzone (If You’re a Girl)

Could Win: Life Overtakes Me

Should Win: In the Absence

Should Have Been Nominated: Birders

 

Best Live-Action Short

Will Win: Brotherhood

Could Win: The Neighbor’s Window

Should Win: Brotherhood

Should Have Been Nominated: Anima

 

Best Animated Short

Will Win: Hair Love

Could Win: Kitbull

Should Win: Hair Love

Should Have Been Nominated: Best Friend

 

Best Original Score

Will Win: Joker by Hildur Guðnadóttir

Could Win: 1917 by Thomas Newman

Should Win: Joker by Hildur Guðnadóttir

Should Have Been Nominated: Us by Michael Abels

 

Best Original Song

Will Win: “Into the Unknown” from Frozen II

Could Win: “Stand Up” from Harriet

Should Win: “Into the Unknown” from Frozen II

Should Have Been Nominated: “Glasgow (No Place Like Home)” from Wild Rose

 

Best Visual Effects

Will Win: The Irishman

Could Win: 1917

Should Win: The Irishman

Should Have Been Nominated: Ad Astra

 

Best Cinematography

Will Win: 1917

Could Win: Once Upon a Time in Hollywood

Should Win: 1917

Should Have Been Nominated: A Hidden Life

 

Best Costume Design

Will Win: Little Women

Could Win: Once Upon a Time in Hollywood

Should Win: Little Women

Should Have Been Nominated: Dolemite Is My Name

 

Best Makeup and Hairstyle

Will Win: Bombshell

Could Win: Judy

Should Win: Joker

Should Have Been Nominated: A Beautiful Day in the Neighborhood

 

Best Production Design

Will Win: Once Upon a Time in Hollywood

Could Win: 1917

Should Win: Parasite

Should Have Been Nominated: The Lighthouse

 

Best Film Editing

Will Win: The Irishman

Could Win: Ford v Ferrari

Should Win: Parasite

Should Have Been Nominated: Rocketman

 

Best Sound Mixing

Will Win: 1917

Could Win: Ford v Ferrari

Should Win: Ford v Ferrari

Should Have Been Nominated: Alita: Battle Angel

 

Best Sound Editing

Will Win: 1917

Could Win: Ford v Ferrari

Should Win: 1917

Should Have Been Nominated: Alita: Battle Angel

 

Do you have any thoughts or predictions of your own? Which films do you think will, could, or should take home the prize in each category? What are some that you felt were snubbed by the Oscars? I’d love to hear your thoughts in a Comment below, and if you like what you see here, be sure to Like this post and Follow my blog for more movie-heavy stuff.

“1917” Movie Review

Imagine crawling through No Man’s Land with just one companion by your side. No living person in this era could ever even comprehend having to do so, let alone see it up close. But now, as VR blurs the lines between reality and fiction ever so gradually, this film has come along to put us face first in the filth of it all. Now, this is what a call a “cinematic experience.”

This period war thriller was given a limited, awards-qualifying theatrical release by Universal Pictures on Christmas Day, 2019. It was then released to a much wider audience two weeks later on January 10th, 2020. After doing exceptionally well in specialty theaters originally, it has since gone on to gross over $147.5 million at the worldwide box office. Against a production budget of around $90 million, this could put it in position as one of the highest grossing films of its genre if it continues its streak. It also helps that it has been given some of the best critical reviews of the year and numerous accolades and nominations, including for 10 Academy Awards.

Directed by Sam Mendes, the film marks his feature screenwriting debut alongside co-writer Krysty Wilson-Cairns. The duo had previously attempted to get two other projects off the ground before Amblin Partners and Steven Spielberg gave the script the greenlight. The story was inspired in part by memories told to him by his grandfather, Lance Corporal Alfred P. Mendes. During filming, conservationists expressed concern for the trenches and sets being built, a warning signs had to be posted to hikers that any bodies they saw were just mannequins.

Set on April 5th of its titular year, George MacKay and Dean-Charles Chapman star as William Schofield and Thomas Blake, two British Lance Corporals in France during World War I. The Germans have just made a tactical withdrawal from the Western Front and are planning to ambush an impending British attack the next morning. Blake and Schofield are assigned by the General to carry a message beyond the Hindenburg Line that would stop the attack and save the lives of over 1,600 men, including Blake’s older brother. With time running out, the two soldiers hasten to deliver the message and stop their forces from sustaining heavy casualties.

Overall, I like Sam Mendes as a director. He has a great style that’s really slick, realistic, and in-control of everything that’s happening on-screen. He directed Skyfall, which is my personal favorite James Bond movie, and I also was impressed by his smaller-scale drama Revolutionary Road. Hearing news that he would be returning behind the camera for a huge film like this felt almost like an event.

The fact that he would be covering a movie about World War I was already enough to gain my attention, as there are relatively few films about the conflict. Seeing all of the incredible hype and buzz it was getting left and right in the industry, not to mention crashing the Oscar race last-minute, made me even more excited. But that still didn’t prepare me because 1917 exceeded my expectations and is easily one of the best war films of the last decade.

Contrary to what some people may tell you, the main stylistic choice of this film- presenting the whole story as if it were a single continuous shot -isn’t just a showy gimmick. Yes, it’s very stylish and attention–grabbing, but it only serves a way to drive the story forward, spend time with the two main protagonists. We’re with Blake and Schofield every step of the way as the traverse the mud and blood left behind by men they’re hesitant to even call the enemy.

It’s also a big testament to the film that 1917 never once even thinks about glorifying the conflict that they’re in. World War I was an utterly pointless conflict where millions of people died over petty aristocratic squabbles, and the film shows the immense cost that comes with. The characters are witnesses and party to many horrendous things in the trenches, but as long as the army advances forward the higher ups see it as an absolute victory. By keep the focus on just two small soldiers, the real perspective hammers home; there’s not much time for big heroics but even minor acts of courage count.

George MacKay has been building his repertoir over the last few years and he finally gets a real breakout here. As Schofield, he’s fairly quiet and unassuming, prefering to keep his head down than answer directly the big call. Going on this huge trek forces him to confront anxieties he’s been running away from, including long-repressed feelings about potentially going home and being given a medal for something he says as arbitrary.

Opposite him for almost the entire journey, Dean-Charles Chapman is excellent as Blake, the defacto leader of the duo. He’s much more chatty than Schofield, often reminiscing on stories from home or camp to lighten the mood. The enormity of the mission at hand is never lost on him, desperate to see his older brother again but not foolhardy enough to dive headlong into a worthless firefight with the Germans.

These two men have wonderful chemistry together and are the primary reason why the film works. Refusing to cast world-famous stars in the lead roles is a stroke of genius so that the audience can find more relatability in their struggle. We learn just enough about their personal backgrounds over the course of the film to become invested and believe the reliability they have on each other, even if they’re not best friends.

They’re both flanked by respected thespians in small roles and cameos throughout. These include Colin Firth as the General who gives their mission in the first place, Andrew Scott as a drunken and cynical Lieutenant providing their equipment, Benedict Cumberbatch as the stubborn Colonel wishing to push forward no matter what, and Claire Duburq as a lonely French woman hiding out in the ruins of a village. None of these actors stay on-screen for very long, but they each provide a different perspective on the war and its purpose- or lack thereof.

And just looking at the technical aspects, 1917 is an absolutely stunning landmark in big-budget filmmaking. The inimitable Roger Deakins provides the cinematography and it’s some of his best work yet. The aforementioned single-shot look is breathtaking to say the least and always has a fluid motion throughout the whole movie. The realistic colors and gorgeous natural lighting help to create a strong atmosphere of a country that has been torn asunder many times over. It roves over many impressive sets, never once losing focus and makes us feel like observers.

This works perfectly in sync with the editing job by Lee Smith, who helps to make the whole thing seamless. With one very brief exception about halfway through the film, every take looks perfectly stitched together from the first frame to the last. The occasional CGI structure or enterting of interiors is the closest I can tell to when the takes end and start. How Smith managed to make a transition from a window into a fiery village during the nighttime look seamless is beyond me.

With a long career trailing him, Thomas Newman reunites with Mendes to provide perhaps his finest score ever put to film. Much like Hans Zimmer’s work on Dunkirk, it avoids the sweeping orchestral notes of typical war films and instead builds many tracks as a never-ending crescendo. The soundtrack mixes traditional instruments with some light electronics to create a unique sound that’s hard to shake.

One track, in particular, is more mystifying than the rest, as it uses light strings and glockenspiel to illustrate a mysterious environment. Another one near the end is a 6-minute epic as the tension builds towards a massive payoff on-screen. Although they both sound vastly different, they each encapsulate exactly the film is about. The immediacy of the score somehow matches that of what’s happening in the film, and that alone is enough.

With brilliant performances, unforgettable set pieces, and a stylistic choice that actually serves the story, 1917 is an astonishing and fully immersive achievement of modern cinema. Sam Mendes completely tops himself by delivering easily one of the best films about World War I ever made. With the help of Krysty Wilson-Cairns, Roger Deakins, and a willing ensemble of capable actors, he manages to craft a thrilling piece of film that celebrates the small acts of courage while condemning the machinations of war.

Whether or not you agree with its presentation, it’s almost impossible to shake this one off after the credits roll. It’s the rare kind of event film that just demands to be seen on the big screen rather than at home, which further catapults its impact.

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“Star Wars Episode IX: The Rise of Skywalker” Movie Review

**Out of respect for the fans and viewers who wish to go into this film as cold as possible, I’ll only be giving the baseline premise for everything. Read at your own discretion.**

2019, as a whole, really has been a year of ending for a lot of pop culture things. Avengers, Game of Thrones, The Good Place, Mr. Robot, Toy Story, How To Train Your Dragon all seeing their narratives come to a close. But perhaps none were quite as anticipated or high-profile as this one, so let’s dive right in.

This epic space opera was released in theaters worldwide by Disney and Lucasfilm on December 20th, 2019, having previously been scheduled for May. After making a cool $40 million from Thursday night previews, it has gone on to gross over $927.5 million worldwide against a budget of $275 million. While that’s undoubtedly impressive, it’s a dip down from the intake of its two mainline predecessors. Not to mention, it has managed to split both fans and critics down the middle on its overall quality and effect.

Directed by J.J. Abrams, the third and final installment in the sequel trilogy under Disney was originally meant to be helmed by Jurassic World director Collin Trevorrow. After he departed due to “creative differences,” Abrams came back with co-writer Chris Terrio in tow to basically start over from scratch. There was also an incident months after production wrapped where one of the actor’s scripts accidentally got put up on eBay and a studio employee spent at least 5 figures to take it back. And in addition to the main characters returning here, this film has repeatedly been stated by the cast and crew to definitively be the final installment of the Skywalker Saga.

Picking up roughly a year after the events of The Last Jedi, Daisy Ridley returns as Rey, a young woman training to become a Jedi. During her journey, she and The Resistance discover that The First Order is about to make their final move in an attempt to control the galaxy once and for all. With time running out, Rey and her friends Poe Dameron and Finn, played by Oscar Isaac and John Boyega, set out on a quest to figure out the enemy’s plan before they can enact it. And it proves difficult when the malicious and power-hungry Kylo Ren, played by Adam Driver, tries to beat them to the punch all the while coming to terms with his own sins.

Although it hasn’t always been great, overall I’ve been happy with the Star Wars content Disney has been putting out in the last decade. I still and always will maintain that The Last Jedi is the best film in the saga in many, many years and I am eager to see what they do with The Mandalorian and season 7 of The Clone Wars. And hearing repeated vows that they would finally bring the nine-film Skywalker Saga to a big close made me excited.

As the hype built towards its release, I remained cautiously optimistic about what the results would be. I had hoped that there would be enough resolution for the characters and storyline to satisfy even fans who haven’t been on-board with the newer entries. And while The Rise of Skywalker is undeniably entertaining, there is so much it leaves to be desired from a thematic and story standpoint.

I don’t envy Abrams or Terrio because of the enormity of their task, (Concluding the mainline story for the biggest movie franchise of all time) but it can’t be denied they took the easiest possible route here. While it doesn’t completely retcon the choices made in The Last Jedi, it repurposes them into something that tries to bring all nine main films into play. But by trying to bring in a big picture, which can be admittedly admirable in concept, it’s unable to find enough satisfaction with the current narrative.

Despite this, there is still a lot of emotional weight that The Rise of Skywalker carries that, admittedly, can often be affecting. The character arcs of this new trilogy have arguably been some of the most interesting in the whole franchise and seeing them come to a head, regardless of the method, is a big event. And obviously, Disney and Lucasfilm have more films coming down the pipe, but it’s nice that they committed to wrapping up this particular narrative.

Daisy Ridley proves for the third time in a row why she was perfectly cast for the lead role of Rey. She has so much emotional baggage being carried, some of it for years on end, and the pressure of trying to bring back the Jedi is clearly weighing her down. All she wants to do is bring light and goodness to the galaxy, which is difficult with the consequences of the on-going war.

Opposite her, Adam Driver still proves why he’s one of the best actors of his generation thanks to his role as Kylo Ren. Still as deeply conflicted as always, his internal struggle comes to a dramatic head as his journey nears its end. He’s equal parts desperate, powerful, and pathetic here as he still struggles to figure out what exactly he desires and what path is he to take.

John Boyega also continues to be golden as Finn, one of the more interesting side characters of the franchise. His comedic timing is still impeccable as always and while he isn’t given as much to do as the last two films, his presence is always a welcome one. Seeing him come this far after having defected from the First Order is one of the more satisfying story threads in the film to be sure.

Oscar Isaac, Kelly Marie Tran, Anthony Daniels, Domnhall Glesson, Joonas Suotamo, Mark Hamill, Billy Dee Williams, and the late great Carrie Fisher (Who appears through unused footage from the last two films) all reprise their respective iconic roles from previous installments. Keri Russell, Richard E. Grant, Dominic Monaghan, Shirley Henderson and Naomi Ackie also make impressions as new characters in this story. Everyone onscreen is reveling in the fact that they’re in a Star Wars movie.

Meanwhile, The Rise of Skywalker is nothing short of a technical marvel. Abrams’ regular cinematographer Dan Mindel handles the camerawork once again here and it’s just as energetic as their previous efforts. The widescreen camera constantly roves around the action to keep up the momentum, even in smaller dialogue-driven moments. The use of primary colors, especially red and blue, are frequently saturated to highlight the constant battle between good and evil.

Maryann Brandon and Stefan Grube’s joint editing job is mostly a success, considering they had to edit some of it on-set. At 2 hours and 21 minutes, it’s one of the longest films in the saga, but this film really *moves.* Mile-a-minute pacing is the name of the game, as the main group of characters move around from one cool-looking world to the next as the adventure moves along. All of the action is cut together very well and comprehensively, even during some of the more extravagant sequences.

For his 9th and final Star Wars movie, the inimitable John Williams returns to provide the instrumental film score. It’s almost as magical as his previous efforts in the franchise, combining themes and motifs from all of the collective soundtracks into one while coming up with a couple of new ones. The woodwinds, brass, and strings all come together in the composer’s trademark sound of an emotional epic. He also brings in an ominous choir for the villain’s main theme, which encapsulates both the mystique of Kylo Ren’s morality and the somber road he’s taken thus far. The use of percussion like timpanis and bells also deserves to be noted, making it feel truly mysterious and adventurous.

Bringing the nine-film Skywalker Saga to a close and doing whatever it takes to get there, Star Wars Episode IX: The Rise of Skywalker is an enjoyable but narratively frustrating end to a truly epic cinematic story. J.J. Abrams sets out to finish the trilogy that he started and while it’s far from being worthy of getting thrown in the trash compactor, it still shows that he’s looking too much towards the past. All of the cast members do a great job to bring their characters’ arcs to a close and Williams’ final score for the franchise is undeniably excellent, even when it’s retreading old territory.

A part of me almost admires Abrams to sticking with his gut and ending the story on his own terms, but the choices he makes along the way are often ill-advised. Regardless of what you may think of how the Star Wars saga under the Disney banner has gone, it’s hard to argue that this final chapter could have been so much more.

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Top Ten Most Anticipated Movies of 2020

Welcome to the new year! Welcome to the new DECADE! As the last one passes on by, the next one comes in with an embarrassment of promising cinematic riches. Some of the films on this list have been on my radar for quite a while, others have only recently come to my attention. In any case, these are the 10 feature films that I’m most excited for coming out in the year 2020. I’d like to start off, however, by labeling some honorable mentions for other films that look pretty promising.

Honorable Mentions:

Artemis Fowl, The Way Back, West Side Story, The Prom, Free Guy, Saint Maud, Halloween Kills, The Eternals, Birds of Prey, Onward, Next Goal Wins, The Rhythm Section, The Trial of the Chicago 7, The Witches, Wonder Woman 1984, Black Widow

Now, let’s get on with it, shall we?

#10: “Soul” (Opens June 19th)

After a couple of long in-development sequels to beloved classics of theirs, Pixar is finally making the return to original filmmaking in 2020. Onward also looks interesting, but it’s Pete Docter’s newest film that has my attention the most. Early impressions seem to give off the feeling that this is yet another creative and heartfelt creation from the animation studio. The animation looks unsurprisingly vibrant and the integration of jazz music into the narrative has me giddy for whatever kind of personality it has in store- especially because Trent Reznor and Atticus Ross are handling the score. And given the recent shakeup in leadership at Disney’s animation branch, if Soul ends up being Docter’s swansong, it looks like a big way to go out.

#9: “The Gentlemen” (Opens January 24th)

Many filmmakers are able to sustain their careers by stretching out into different genres. Guy Ritchie isn’t really one of those directors, as his personal style never quite fit into a live-action Disney musical or a fantasy epic. However, his next movie The Gentlemen feels like a return to form for him, similar to Snatch and Lock, Stock, and Two Smoking Barrels. With an all-star cast at his disposal, all of whom seem to be having the time of their lives, it looks like Ritchie has found his comfort zone again. Let’s hope it’ll be genuinely fun and not just two hours of him trying desperately to relive his glory days.

#8: “Mank” (TBA 2020)

David Fincher finally making another feature film is enough reason for me to become excited about the project. But hearing that it was written by his late father Jack makes it sound much more personal for him, even with the near-mythical subject matter. It promises to be a movie about screenwriter Herman J. Mankiewicz, who fought with Orson Welles to attain a writing credit on the film Citizen Kane. Seeing talent like Gary Oldman, Amanda Seyfried, and Charles Dance among the cast members makes it seem like this could be a major awards contender for Netflix next fall. Fingers crossed Mank won’t get buried in their catalogue.

#7: “Last Night in Soho” (Opens September 25th)

After the success of Baby Driver, Edgar Wright could have done anything he wanted for is project. Rather than choosing something obvious or right up his alley, he’s doing a non-comedic horror movie with Anya Taylor-Joy, Matt Smith, and Thomasin McKenzie. The first image above teases something genuinely creepy and stylistic that he’s created alongside rising co-writer Krysty Wilson-Cairns. We still don’t know exactly the story might entail, but it sounds like it will be his rendition of psychological thrillers from the 1970’s. That alone is enough for me to be at least intrigued for whatever Wright and company have cooked up for next fall.

#6: “Cherry” (TBA 2020)

It’s always an exciting prospect when established blockbuster filmmakers move away to something smaller and more personal. Cherry sounds like such a prospect, as it finds the Russo Brothers reuniting with Tom Holland on a true-story drama that’s, unfortunately, only increased in its relevance. The tale of Nico Walker, a PTSD-ridden soldier who becomes addicted to opioids, is one that begs to be told. I’m eager to see how all parties involved can get a film made that doesn’t have to be defined by the constraints of a traditional Hollywood blockbuster like the Marvel Cinematic Universe. Although it technically doesn’t have a 2020 release date or distribution deal set just yet, I really hope the major studios will at least try to give it some attention when the time comes.

#5: “The Invisible Man” (Opens February 28th)

I’m still recovering from the spectacularly failed promise of the “Dark Universe” 3 years ago. It pretty much convinced me that none of the classic Universal Monsters could be properly adapted to the modern age. However, it looks like Leigh Whannell and Blumhouse have managed to find a new and relevant angle on The Invisible Man. It looks like it will be taking a MeToo approach, using the titular character as a way of relating society’s absurd reluctance to listen to women’s stories of abuse even though they can’t really see it. Add in Elizabeth Moss as the lead, and this looks like it could become a real word-of-mouth hit in February.

#4: “No Time to Die” (Opens April 8th)

The James Bond franchise has, by and large, been hit or miss for me over the years. Skyfall still remains my favorite one, and Daniel Craig’s version of the character has been remarkable, but there have been a number of stinkers every now and then. However, his 5th and supposedly last outing as 007 looks intriguing as hell. After a troubled early production history, No Time to Die looks like it’s on the right track based on what we’ve seen thus far. Cary Joji Fukunaga making the transition to big blockbuster filmmaking is incredibly interesting, especially when you consider how gorgeous the film looks visually. And of course, Rami Malek as the main villain sounds really exciting, and I can’t wait to see Phoebe Waller-Bridge’s writing come to light after a hyper-successful rise with Fleabag and Killing Eve.

#3: “In the Heights” (Opens June 26th)

Of the high-profile Broadway adaptations coming to theaters this year- the others being Everybody’s Talking About Jamie and Spielberg’s spin on West Side Story -it’s In the Heights I’m the most pumped for. I’ll admit to having only become a fan of Lin-Manuel Miranda in the past few years because of Hamilton, but his first musical is still a joy to listen to. The first trailer showcased exactly what I was hoping to see from the film, and seeing Anthony Ramos in a huge leading role, not to mention the whole ensemble surrounding him, makes me so pumped.

#2: “Tenet” (Opens July 17th)

Christopher Nolan might be one of the last filmmakers who’s able to let a major studio allow him to make a completely original blockbuster on a massive budget. And after finally getting an Oscar nod for Dunkirk, I knew that whatever he did next would be unique. And seeing him recruit John David Washington and Robert Pattinson for a huge action epic, alongside a wildly exciting crew, makes it sound amazing. As for what Tenet’s plot seems to be? Even after watching the glorious first trailer, I probably still won’t know what the film is actually about until I see in theaters. And I absolutely love that.

#1: “Dune” (Opens December 18th)

Denis Villeneuve was, unquestionably, the breakout director of the last decade. Blade Runner 2049 is one of the best films of all time, Prisoners is an underrated masterpiece, and Arrival is a modern sci-fi classic. So it’s only fitting that his newest project is an adaptation of one of the biggest and most influential science-fiction novels ever written. It feels almost like the type of film that he’s been building his whole career towards, especially with all of the support involved. He also has an enormously talented ensemble at his disposal, from Timothée Chalamet to Jason Momoa to Stellan Skarsgård bound to bring their all to the table. In short, Dune is shaping up to be a true sci-fi epic that could hopefully define cinema of the coming decade.

Do you agree with my picks? What movie are you most excited to see come out in 2020? I’d love to hear your thoughts in a Comment below. And for more awesome content like this, be sure to leave a like and Follow my Blog. Happy New Year, everyone!