Category Archives: Action

“Alien” Movie Review

Whoever said that you should only be allowed to watch “scary movies” in October? This film (and its sequel) are perfectly enjoyable to watch around the summer time. After all, what could possibly be more worthy of the summer movie season than small aliens bursting violently out of the chest? The inaugural picture of this sci-fi horror franchise was released in the United States on May 25th, 1979, coming to the U.K. 3 months later. Although critics were slow to acknowledge its brilliance, the film made back over 10 times its $9 million budget worldwide. Over the years, it has spawned a franchise consisting of 7 more movies, in-depth novels, crossover comics, and numerous video games, some better than others. Directed by Ridley Scott, his second full-length feature, the screenplay was conceived by Dan O’Bannon and Ronald Shusett while working on Alejandro Jodorowsky’s doomed production of Dune. Many, many drafts later, and with the help of producer Walter Hill, the gears actually started turning. It was only after the monumental success of Star Wars that 20th Century Fox agreed to finance the science-fiction film, a dangerous genre in those days. Set in the early 22nd century, the story follows the crew of the Nostromo, a commercial spaceship transporting 20 million tons of ore back to Earth. Under assignment from the intergalactic company Weyland-Yutani, they land on a planetoid called LV-426. Unbeknownst to them, a mysterious and highly aggressive extraterrestrial creature sneaks onto their ship as they make the return journey. As the creature stalks and takes out members of the crew one by one, the survivors, led by warrant officer Ellen Ripley, must find a way to beat what is seemingly the perfect organism. Let’s make something abundantly clear here before going on: Alien is a horror film. You can be snobby about it and put it away in any other Blockbuster aisle that you want, but at its bleak core, Ridley Scott has made a horror movie through and through. This is one of many things that distinguish it from its sequel (Which you’ll absolutely see a review of later this month) and very little beats watching it in the middle of the night all on your own. It took a little bit for me to fully appreciate it, though. On my first watch, I felt a bit cold from the overwhelming atmosphere that seemingly clouded the emotional involvement. But now, having rewatched it as part of my New Year’s Resolution, I have finally seen its brilliance. Something that really struck me on this rewatch was the deliberate pacing the director moves the film along at. With an opening scene that slowly establishes the setup with just the slightest amount of on-screen exposition, we learn everything needed to be known about the mission. Scott is wise not to rush to the survival horror aspects of the film, instead carefully building up the world and motivations for the characters. Interestingly, the creature itself doesn’t really show up or take full form until at least halfway or maybe even two-thirds of the way through the movie. But much like Jurassic Park 14 years later, it does a really great job at sucking viewers in and engrossing them in a place where no one can hear you scream. One reason to get so invested is thanks to the capable ensemble cast. Sigourney Weaver’s storied career was launched thanks to this franchise and for good reason. One of the most powerful female characters ever written for the big screen, watching her pretty much act as the only one aboard who is following orders is enticing, even if we don’t know much about her backstory. Interestingly, she isn’t even made the main character until around the time the creature finally shows up. We really get to know and get attached to her crew members before then. Tom Skerritt as the cowby-esque captain, Veronica Cartwright as a particularly emotional engineer, the late Harry Dean Stanton and John Hurt as minor but vital members of the crew, Yaphet Kotto as a muscleman, and Ian Holm as corporate overseer Ash. While Ash arguably gets more screentime than anyone else, (And for good reason) you can’t help but care about everyone onboard and fear for their lives. Meanwhile, on a purely technical scale, it’s hard not to see the impact this film had on the sci-fi genre in the years to come. Cinematographer Derek Vanlint wisely chooses to expose shadows and dark corridors for our heroes to go down, tracking their every move with steady shots. The slow move-ins and unexpected pans or tilts only increase the amount of dread that each frame is filled with. It is combined with the editing work of Terry Rawlings, Peter Weatherley, and David Crowther that adds up the intensity. Comprised almost like a wound-up guitar string, the movements and cuts work perfectly together to build up the dread and terror. A fine decision, as anything with a whip-fast pacing, could have put the story in danger of no longer being scary. But the big star here is the late, great art designer H.R. Giger. He brings his signature style of ghastly, gothic, and darkly sexual work and design to the eponymous creature as well as many other environments. Never before had a planetoid surface or a derelict spaceship looked so terrifying yet intriguing at the same time. There’s also something just immediately disturbing just by looking at the alien and thinking of all of the things it could do to someone. The famous chestbursting scene is one of the most unsettling momenbts in the history of cinema, thanks in large part to Giger’s practical handiwork. And the best part? None of the cast members were told what was going to happen when it was filmed; their reactions on-screen are real. Nearly 40 years onwards, and Ridley Scott’s breakthrough feature hasn’t lost an ounce of its horrifying touch. Not only did it set a standard for his own career buit also for sci-fi and horror in general. Alien is a frightening, suspense-filled classic of atmospheric terror. Like 2001: A Space Odyssey, this has inspired an entire generation of film lovers and filmmakers and it’s not hard to see why. You’ll get a very warm feeling in your chest as you watch it, but it’s not becuase some monster is about to burst out. It’s because you’ll be so petrified by what’s happening that no one will be able to hear you scream.

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“Avengers: Infinity War” Movie Review

And there it is, ladies and gentlemen. The ultimate all-around culmination. The payoff of 10 years and 18 movies worth of franchise-building and superhero spectacle, all wrapped in one 2-and-a-half-hour movie. Will it really live up to the ridiculous hype or be crushed by fan expectations? This epic superhero ensemble film was released worldwide on April 27th, 2018, a week earlier than its previously announced date. One of the most expensive films ever made on a budget of $320 million, the 19th film in the Marvel Cinematic Universe broke records for the highest-grossing opening of all time. Having already earned over $1.16 billion worldwide, it is expected to hit the $2 billion mark by the end of its theatrical run. Directed by Anthony and Joe Russo, the brothers behind the two previous Captain America movies, the film was originally announced as the first of two parts, the other one being released next year. Anticipation for this film was so incredibly high that the cast were all initially given fake scripts to avoid spoilers getting leaked. Inspired primarily by Jim Starlin’s Infinity Gauntlet from 1991, the sprawling story follows the all-powerful being Thanos, played by Josh Brolin, as he travels across the universe looking for items called Infinity Stones. Seeking them for his gauntlet, it would grant him the strength to wipe out half the universe with just the snap of a finger and restoring balance to the known universe. Grabbing wind of his intentions, space-friendly team the Guardians of the Galaxy and the fractured but earth-bound Avengers begin following his trail and start looking for ways to defeat him. With time running out and clues few and far-between our Marvel heroes hope to confront Thanos before its too late. To say that I and several other fans have been looking forward to Avengers: Infinity War would be quite an understatement. As someone who has continuously followed and written about the Marvel Cinematic Universe, being a particular fan of Iron Man, Guardians of the Galaxy, Black Panther and the first Avengers, the biggest crossover of all time wasn’t just another MCU film to me. This was a landmark cinematic event in the making, finally bringing together every little detail and strand that the franchise has built thus far. As a result, some of the individual films suffer in quality in favor of bringing in more Easter Eggs or hints. But it was all part of the lead-up to the endgame. I was actually scared that Infinity War wouldn’t be able to deliver the pay-off, but for the most part, it’s really satisfying. Indeed, the whole idea of wrangling almost every existing Marvel character into one major movie would prove daunting to anyone. And Joss Whedon, writer and director of the first two Avengers films, famously walked away from the MCU entirely a few years ago in anger. So it makes sense that Anthony and Joe Russo were brought on board as the two did a pretty great job at juggling and balancing multiple heroes in Captain America: Civil War. Make no mistake, there are a handful of characters who feel under-utilized and it often feels like the film is straining to carry all of the exposition present. But hopefully, they’ll all have a balance on everything for the sequel next year. At this point, the primary actors have become so comfortable with playing their heroes that they seem extremely natural. Big props especially go to Paul Bettany as The Vision and Zoe Saldana as Gamora, who are given more substantial character arcs than almost anyone else in the film. Both of them separately contemplate the cosmic dangers impending and even show a little sadness at the possibilities. But the obvious scene-stealer here is Josh Brolin’s motion-capture performance as Thanos. With a menacing voice and huge physical presence, it becomes quite clear that this being will obliterate anything and everyone in his path with just gripping his fist. But he’s not completely detached from reality or intelligence, telling one Avenger, “You have my respect. When I’m done, half of humanity will still be alive. I hope they remember you.” The whole film is really his own hero’s journey, as we see his own motivations for why he’s doing what he’s doing. It’s changed from the comics, and while it attempts to provide an emotional arc for him, it doesn’t quite land as expected. As is always expected with Marvel, the technical aspects are (mostly) hit right out of the park. For better and for worse, the film is loaded with a seemingly endless amount of CGI that helps bring to life the various worlds our heroes and villains travel to. Each one is given distinct coloring styles, but overall feel somewhat muted to match the more somber tone of the story. the motion-capture work for Thanos and his Black Order were particularly impressive and realistic, so much so that they very nearly looked like regular makeup. There are a number of swooping camera shots by cinematographer Trent Opaloch, who also shot the two previous Captain America films. This is contrasted with shaky action moments, meant to feel more gritty and grounded. And while they were very much in the vein of grand epics, it felt somewhat hampered by the editing from Matthew Schmidt and Jeffrey Ford. Having cut together 6 MCU films prior, they put a number of impressive action sequences through multiple cuts and it’s almost disorienting. Fresh off his excellent work in Ready Player One, Alan Silvestri returns to compose and conduct his 4th feature for Marvel. While not as memorable as Spielberg’s film, it still works when compared to the soundtracks of several other MCU pictures. On a handful of occasions, Silvestri will reprise his theme song introduced in The Avengers as a way of getting the crowd riled up. A vast majority of the tracks consist of big rousing horns and sustained percussion, as is expected for superhero epics. Interestingly, however, he also includes samples from other characters’ films, such as buoyant African drums for when we arrive in Wakanda or synths for Thor and the Guardians. There’s a good number of tracks that also used mellow strings as a way to hit home the emotional devastation of the story. And for the most part, it worked; especially in regards to the ending. And that’s where I’m going to stop. I hate to be the jerk who spoils a highly anticipated to anyone looking forward to it. We could argue back and forth about the temperament of expectations, but I have a code and I plan on standing by it. Avengers: Infinity War is a messy yet supreme example of modern popcorn entertainment. While it fell just short of my lofty hopes, there was still enough here that I loved to count it among the better entries of the Marvel Cinematic Universe. It’s been 10 years worth of hype and build-up and now the game has totally changed. And we’re all here to witness it.

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“You Were Never Really Here” Movie Review

Never underestimate a film’s trailer when it stars Joaquin Phoenix. No matter how cool it looked it could have never prepared me for actually watching this film, just like you won’t be ready. Lynne Ramsay’s neo-noir crime thriller first premiered in the Official Competition at the 2017 Cannes Film Festival. Despite the fact that it was still a work in progress, it received an 8-minute standing ovation plus awards for Best Screenplay (Shared with The Killing of a Sacred Deer) and Best Actor. Strangely enough, Amazon Studios chose to skip awards season and instead released the film limited on April 6th, 2018. Thus far, aided by strong critical reviews, it has grossed over $3.4 million at the box office, becoming the director’s most commercially successful film to date. After dropping out of Gavin O’Connor’s Jane Got a Gun, Ramsay decided to lay low for a while until she came upon the source material. It is also her first full-length narrative feature in 7 years, her last one being the controversial We Need to Talk About Kevin. Based on the book of the same name by Jonathan Ames, Phoenix stars as Joe, a traumatized Gulf War veteran and former FBI agent now working as a contract killer. One day, New York state senator Albert Votto approaches him and begs Joe to save his teenage daughter Nina from prostitution. While Joe accepts it as a regular job, he uncovers a vast conspiracy web more complex and disturbing than he could have ever imagined. Just by giving that synopsis, the average reader might cast this film aside as yet another derivative crime thriller starring a big name actor. But if anyone has ever watched a film by Lynne Ramsay, then you should know that her films are not so easily pigeonholed. I have been looking forward to this movie ever since it premiered last year. Why Amazon Studios chose to forego a potential awards season run for the lead actor in the fall season and instead release in the spring is still something I’m trying to figure out. But please don’t let the familiar premise and all the “artsy-fartsy” festival buzz deter you; You Were Never Really Here is one of the finest crime thrillers I’ve seen in quite a while. And perhaps that has to do with its subversive take on a harsh topic such as child exploitation. Rather than create a semi-Romantic film that ironically glamorizes the profession of hitmen, Ramsay wisely makes the viewers observers. It’s arguably with this clinical, objective technique that she is able to fully explore the subject matter without fear of exploiting it. Imagine the most European arthouse version of Taken crossed with Martian Scorsese’s Taxi Driver, and that’s about where the tone and style are at. But it never feels self-indulgent or overly obsessed with itself. It is able to find a beautiful balance between empathy for the characters and dispassion in the brutal violence. Joaquin Phoenix is an incredible method actor but, without a doubt, Joe is his best role to date. Imbuing an immense amount of humanity and confusion into the performance, we see just enough of his deeply troubling past to understand his motives and when Votto asks him if really is violent he replies, “I can be.” I will honestly be shocked if he isn’t at least considered for Best Actor this year, even if the film missed out last year. Opposite him is the young Ekaterina Samsonov as Nina Votto, who does a lot without speaking a lot of dialogue. While she sometimes feels more like a symbol than an actual character, hers is truly a breakout role since we can see so much pain and loss of innocence in her small eyes. The two of them are also supported by character actors like Alex Manette as the upset senator wanting his daughter back, John Doman as the hardened handler for Joe’s work, Judith Roberts as Joe’s helpless mother, Alessandro Nivola as the Governor with mysterious ties to the case, and Frank Pandro as a concerned middle man. They’re all great in their own way, but never even come close to Phoenix’s work. As for the filmmaking aspects of it all, Lynne Ramsay shows complete control with her own voice in nearly every department. Shot by underrated British cameraman Thomas Townend, the cinematography captures a seedy griminess to the story rarely found in New York-set cinema. There’s a constant contrast between steady, distant full shots of the scenes and close-ups where the actor might be looking directly into the camera. Not a single frame goes wasted or feels unnecessary, which gives us an opportunity to get to know the characters better without so much exposition. Also, frequent Werner Herzog collaborator knows exactly when to move between these haunting shots. There are a number of smash cuts between either the past, the present, or possible scenarios. This, along with the impressionistic and wholesome sound design, immerse the audience in a narrative that feels fractured, much like Joe’s state of mind. While his work has included both Paul Thomas Anderson and the band Radiohead, multi-instrumentalist Jonny Greenwood has assembled his best work to date for the score. A highly dynamic soundtrack, the man often trades staccato strings and percussion with pieces on a dark-toned synthesizer. His side-job as a computer programmer and infrequent use of diegetic background noises in tracks helps to create a New York City that, much like Daniel Lopatin’s work on Good Time, feels so alien. There’s a beautiful scene near the climax of the film that combines all of the above mentioned techniques with an amazing piece composed by Greenwood. The mix of electric melodies and distant sounds create an emotional connection without trying to manipulate audiences. That being said, I feel like not a lot of people are going to watch this movie. The subject matter, and the manner in which the film deals with it, are so heavy that most mainstream audiences probably won’t even want to try it. Above all, it’s a sad film; these institutions do exist around the world and some of the most powerful men or women condone it. And while some of the characters here are truly despicable, the director rejects the want for them to get a real satisfying closure. Because of this, some may leave the theater wanting more in a bad way. However, I just grew to appreciate her restraint in this approach. You Were Never Really Here is a powerful sucker punch of intense brutality and emotions. One of the absolute best films of the year, I was totally riveted and glued to my seat for all 90 minutes of its runtime. It flies by, which for some may be a relief with its difficult and bold subject matter. This could be the future of action thrillers.

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“Heat” Movie Review

A movie so meticulous and unconventional that it often swings between being totally revered to highly underrated. You could also make the same case for the rest of the Mann’s filmography, but nowhere does he epitomize it more than in here. This contemporary crime thriller- written and directed by Michael Mann -was initially released in theaters on December 18th, 1995, just in time to get ignored for awards season. Though it was largely overshadowed by other big contenders that year, it still managed to gross over $187 million at the worldwide box office against a $60 million and also managed to receive positive reviews. Mann had apparently taken the concept of the movie from a real-life tale, initially drafting a 180-page pilot episode for a proposed T.V. series called L.A. Takedown. After that project ultimately fell through, he trimmed it down when Warner Bros. showed interest in a feature film. When it was all said and done, the main marketing material focused on the fact that its two legendary stars would appear on-screen together for the first time. Robert De Niro stars as Neil McCauley, a career criminal who pulls off a string of professionally armed robberies in the city of Los Angeles. After his latest heist goes wrong, veteran LAPD Lieutenant Vincent Hanna picks up on the trail and begins an obsessive cat-and-mouse chase. While his crew members want to leave town as soon as possible, McCauley is pulled back in by recently found love and gets ready for one last hurrah. As is apparently a continuing trend with my New Year’s resolution, prior to this viewing, I had never actually seen the movie Heat. Small clips of famous scenes, sure I had watched on YouTube. But part of my fear is that when a movie like this is held up in such high regard when I sit down to watch it I may not have the same reaction as many other fellow cinephiles. A movie about a cop and a professional thief chasing one another around a big city for 2 hours and 50 minutes? That seems like an awfully big commitment, even for someone such as myself who loves watching long movies most of the time. Yet once again, my fears were almost completely unfounded; this film is amazing and inexplicably gripping. Most films will probably have one moment that shows any hint of realism or attachment to reality. Ultimately, while these moments might be nice, the film will have to sacrifice the rest for style, obviously to keep the viewer intrigued. What’s especially remarkable about Michael Mann’s Heat is how well he balances the traditional style of Hollywood with realistic combat and character interactions. From the intelligent lines of dialogue to the hyper-intense gun battles between cops and criminals, it all feels like something that could really take place in our own world. Not just because this story actually happened in real life, but also because these characters are fully fleshed out into tangible beings. And a lot of that credit goes to the remarkable all-star cast. The film may have been marketed solely on Robert De Niro and Al Pacino appearing onscreen together, but they’re incredible on their own as well. Both feel so alienated from the rest of society that they ironically complete each other, despite their opposing professions. The iconic scene where the two sit down for coffee is so simple and naturalistic, yet carries an invisible weight of tension. Their supporting players include Val Kilmer as McCauley’s restless sniper/right-hand man, Ashley Judd as a prostitute-turned housewife, Amy Brenneman as a young graphic designer looking for a bit of excitement in her life, Mykelti Williamson and Wes Studi as local cops running out of options, and an early role from 15-year-old Natalie Portman as a depressed step-daughter. They all bring their A-game and add little pieces to the overall puzzle. Meanwhile, Mann’s ability to balance out style and realism shows in the technical aspects. The cinematography by Dante Spinotti is caught primarily on a widescreen telephoto, which brings the city of Los Angeles to vivid life. Much in the same manner as Mann’s later film Collateral, some of the best shots in the film are captured at night time. The opening and closing shots are particularly artful, taking place in spaces that feel familiar yet strangely alienating. But major props to the sound designers for their commitment to realism. The gunshots during action sequences in this film sound and feel like the real thing. Cracking, echo-like, utterly shocking. This is especially the case during the famous heist shootout, which has quickly risen up to become one of my favorite action scenes in cinema. Combined with the frenetic, collaborative editing of William Goldenberg, Dov Hoenig, Tom Rolf, and Pasquale Buba, the 7-minute sequence never ceases to tense up and leaves little breathing room. It’s almost never shaky and rarely features multiple cutaways in the same scene together. Elliot Goldenthal, one of the most unconventional film composers in the industry, brings a harsh and unforgettable score to the table. Like much of his other work in the action genre, there are several atonal passages of French horns whining about. However, he also builds and sustains a penetrating, challenging atmosphere through a set-up of electric guitars. The soundtrack also includes works from other composers, including Brian Eno, Kronos Quartet, and Moby. The latter two are really impressive with a piece called “God Moving Over the Face of the Waters” that plays during the final scene and over the credits. It’s a gorgeous track that perfectly captures the entire tone of the story thanks to contrasting piano melodies, low strings, and distant percussion. However, I have to recognize that there are probably going to be a handful of people who don’t like this movie. Michael Mann doesn’t really make movies that are in the mainstream, per se. The characters, lawful or chaotic, are all initially hard to like, despite their motivations and traits being laid down early on. And plus, as mentioned before, to some, the daunting runtime of 2 hours and 50 minutes, will likely make viewers feel bored or uninterested. What sort of rime thriller ever has to be that long anyway? Thankfully, for today at least, I am not among that crowd. Heat is an amazing blend of character drama and cinematic style. Although I’ve only just recently watched it for my New Year’s resolution, I’m perfectly willing to rank it among the greatest films ever made. The coffee scene, the heist shootout, the final chase. It all adds into a action-packed yet still-human look at the dichotomy of professions. This should be taught as an example of style meets realism.

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“Isle of Dogs” Movie Review

Those dogs did NOT deserve the treatment they received. As the owner of a boxer, seeing anything like that portrayed on the big screen makes me uncomfortable. Acclaimed writer-director Wes Anderson’s stop-motion animated picture first premiered at the 2018 Berlinale in mid-February, where Anderson won a Silver Bear award for directing. After closing out the 2018 South by Southwest Film Festival, the film entered a limited American release on March 23rd, 2018. It has done rather well in its run thus far, grossing over $39.6 million at the box office and should perform even better once it releases widely on April 20th. Anderson’s ninth overall feature and his second using stop-motion animation, the story apparently was born out of the auteur’s obsessive love of the films from legendary Japanese director Akira Kurosawa. It’s also said that he was heavily influenced by holiday specials by Rankin/Bass Productions as well as the exploits of Mecha-Godzilla. Set in a dystopian future, canines have not only grown to epidemic levels but have also contracted a new flu virus. Fearing transition to humans, Mayor Kobayashi of Megasaki City, Japan, banishes all dogs to Trash Island, where several of them form tight-knit packs. The mayor’s young ward and nephew Atari travels to the island in an effort to find his lost dog Spot, all the while civil unrest is becoming more apparent in the city. I’m a big fan of Wes Anderson and his works, some better than others. His previous film, 2014’s The Grand Budapest Hotel, was one of the earliest reviews on my Blog and is perhaps one of my favorite comedies of the decades. So the prospect of him writing and directing another stop-motion picture 9 years after the wonderful Fantastic Mr. Fox? I’m already signed up before I read the plot synopsis. Well, I’ll say that Isle of Dogs is a lower-tier film coming from the American auteur, and certainly is no modern masterpiece. But still, that shouldn’t necessarily deter you from watching it because I had a fun time watching it. However, I’m unfortunately inclined to agree with a recent controversy that has arisen regarding this film. Specifically, Anderson and studio Fox Searchlight have been accused by a number of critics for misappropriating Japanese people and their culture. While there are a number of things that it does get right, it ultimately does succumb to certain Hollywood stereotypes. Moreover, some of them were played for laughs, a large amount of which I actually partook in. Among these was the language barrier between the Japanese, the dogs, and the Americans. While dog barks have been happily translated into English for us, the Japanese characters are often speaking without any subtitles, only aided by a running gag of a television translator. The concept was initially amusing but definitely stretched to the max. The hugely stacked ensemble voice cast does extremely well at almost every turn, especially some of Anderson’s regular collaborators. Including *deep breath* Edward Norton, Bryan Cranston, Koyu Rankin, Bob Balaban, Bill Murray, Jeff Goldblum, Yoko Ono, Courtney B. Vance, Liev Schrieber, Akira Ito, Harvey Keitel, Ken Watanabe, Scarlett Johansson, Frances McDormand, F. Murray Abraham, Tilda Swinton, Fisher Stevens, Akira Takayama, Greta Gerwig, Anjelica Huston, and co-writer Kunichi Nomura. With the possible exception of Gerwig, all of their characters feel like a worthy addition to the tight, almost flight-footed plot. Most of the dialogue is delivered in an extremely deadpan way, almost as if they’re all aware of the fact they’re in a movie. While there is an apparent melancholy to what everyone’s saying, the manner in which it’s said is nothing short of hilarious. And from a purely technical standpoint, Isle of Dogs is a Wes Anderson movie through and through. All of his distinct trademarks are in place, not the least of which includes the cinematography by Tristan Oliver. Capturing a certain color palette between gray and red, there are a number of static wide shots and close-ups. We also get to see his perfect symmetry where literally everything onscreen is shown in an exact order, from character arrangements to everyday items in the background. The differences in animation between this picture and Fantastic Mr. Fox are astounding with the improvements. Freezing just a single frame would be worth extensive analysis on its own with all the details on the figures and environments. What’s more impressive is that even something like explosions or fight scenes are put together with puffy clouds of cotton, not CG. Plus the editing by Ralph Foster and Edward Bursch is frenetic. Often, something serious or drawn out will be punctuated by an abrupt cut, eliciting real laughter out of my audience. In his 4th collaboration with the director, and the umpteenth in his seemingly endless cinematic hot streak, Alexandre Desplat composes the musical score. One of the most obvious instruments heard here is traditional taiko drums with deep impacts and pulsating rhythms. It is frequently accompanied by ferocious work from auxiliary equipment such as steel pipes and cowbells, which maintain the craziness of this story. Meanwhile, Desplat also manages to incorporate a set of bamboo whistles into perfectly idiosyncratic melodies. In all of this effort, he totally succeeds in making a Western film sound as foreign as possible to audiences while still making it not sound too alien to enjoy. With some truly stunning stop-motion animation, an appropriately self-aware cast, and a compelling story that flies by through its 101 minute-long runtime, Isle of Dogs is a whimsical adventure that occasionally gets bogged down in politics. Fans of Wes Anderson will certainly have a lot to chow down on repeat viewings, even though this definitely isn’t measured up to his finest work. One last thing: If you say the title fast enough, you’ll begin saying, “I love dogs.” And this movie might just convert you to a lover, if you aren’t one already.

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“Game Over, Man!” Movie Review

Fancy a drinking game much? Take one shot every time a joke involving dicks is spouted out in this movie and I swear you will die of alcohol poisoning before the halfway mark. And frankly, that wouldn’t be such a terrible thing. The latest low-brow comedy from Netflix premiered on the streaming service on March 23rd, 2018. The film, directed by Kyle Newacheck, received an onslaught of terrible reviews, with many citing it as something even Adam Sandler would pass on. The film was produced and co-written by the same team behind Workaholics, a show on Comedy Central that was similarly raunchy and juvenile. The script was supposedly taken from their collective love of the 1988 film Die Hard, and it really shows. But somebody apparently saw the appeal and both Seth Rogen and Evan Goldberg boarded as producers, thus giving it real life. Adam Devine, Anders Holm, and Blake Anderson star as three down-on-their-luck friends who work as housekeepers at a hotel in Los Angeles. The night that they seem close to funding their video game, their potential financier and a host of other celebrities at a lavish party are suddenly taken hostage by terrorists. Now the housekeepers- Alexxx, Darren, and Joel -must use their knowledge of action movies and video games to save the day. Even with such a terribly derivative and predictable plot, there was some potential here for a good parody. Although I haven’t actually watched any of Workaholics, I have seen Devine in the first two Pitch Perfect films as well as some episodes of the sitcom Modern Family. At first, I thought that he was a pretty funny guy who was able to churn out some naturalistic dialogue in most scenarios. I also watched another Netflix comedy earlier this year starring him called When We First Met, which was watchable but showed a bit that he’s wearing off rather quick. And now with Game Over, Man!, it’s becoming clear that he and his buddies are a lot like Adam Sandler; this is one of the worst movies of the year. Generally speaking, I consider myself a supporter of Netflix Original films. In an age where studios are increasingly defined by watering down projects to appeal to the lowest common denominator, here’s a service that offers a great leash on creative control. No reliance on franchise names or IP recognition is usually found in their library. *Cough Cloverfield Paradox *Cough A lot of films that they release are ones that normal distributors wouldn’t even consider touching, and sometimes that’s to Netflix’s benefit. But ever since the start of the new year, it has become increasingly hard for me to keep defending their original content. It just seems like they’re getting desperate to hit that 80-movie mark they promised last year, and there are bound to be a lot of stinkers on that list. Say this for Devine, he’s grown to be comfortable with his usual shtick, and apparently so have Anderson and Holm. However, within the first 6 minutes, these friends- who we’re supposed to be rooting for -are introduced as some of the most insufferable, annoying and obnoxious individuals to surface in modern comedy. Their needless vulgarity makes it hard to care about them, especially in the second half with an unexpected barrage of homophobic jokes. However, the film is somewhat boosted by good work from familiar faces like Neal McDonagh and Home Alone‘s Daniel Stern. Most of the rest are just F-list celebrity cameos, many of whom this generation probably hasn’t even heard of. Donald Faison, Flying Lotus, Shaggy, King Bach, Joel McHale, Fred Armisen, and Jillian Bell all show up for a few seconds, with Shaggy getting the most screen-time. Why they had him perform a song, I’m still wondering. And there really isn’t anything to talk about from a behind-the-scenes perspective because the filmmaking aspects are unimpressive. Loads upon loads of unconvincingly fake blood, CGI or cheap squibs, feel gratuitous at best. It mostly is reserved for gross-out killings of the terrorists and even party guests, along with obviously rubber cut-off genitals. The lighting feels far too overly flashy for this kind of plot if only used to heighten the glamour of L.A. nighttime party life. Plus, the camerawork by Grant Smith always feels so unnecessarily glossy and way overdone. It does a mixture of slow motion and hanheld shaky cam for the uninspired action scenes and (Unfortunately) lingering static shots for some of the more obscene jokes. And… that’s it. I have nothing else to add. It’s all just a bunch of hogwash and terrible mishmash of vastly different tones and ideas. The score just sounds like a lot of leftover tracks from Steve Jablonsky’s other films, there’s no clear direction, and everyone is either trying way too hard or not trying at all. Admittedly, there are far worse options to watch before falling asleep and forgetting about in the morning. But that doesn’t change the fact that Game Over, Man! is an overly juvenile excuse for a comedy loaded with unlikable characters. If for nothing else, this movie exists to provide Netflix naysayers new evidence at the overall lack of quality in original content the streaming service pumps out. I’ll keep trying to defend them whenever I have a chance, but now I’ve become more tempered on it. Damn you, Workaholics crew.

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“A Quiet Place” Movie Review

Watching this movie in a packed theater at the Alamo Drafthouse was a truly surreal experience. Seriously, even with their strict etiquette of behavior, that auditorium was ridiculously silent. That added to the experience. This near-silent horror thriller premiered as the opening night picture at the 2018 South By Southwest Film Festival, where it received a standing ovation and rave reviews. Internationally released on April 6th, 2018, the film had a huge opening at the box office, raking in over $71 million against a $17 million budget. Directed by John Krasinski, the spec script by Scott Beck and Bryan Woods was inspired by various silent films they watched in college and was tossed around Hollywood for a number of years. According to the two of them, many studios were scared by the prospect of something so different and unique. When producer Michael Bay got a hold of it, the project finally got traction at Paramount, thus giving these Iowa boys their dream some life. The story is set in an unspecified future where society as we know it has broken down following a mysterious invasion. Krasinski also stars opposite his real-life wife Emily Blunt as two parents trying to keep their children alive in an extremely survivalist manner. They are constantly living in complete silence in order to avoid a set of violent creatures that are hypersensitive to sound. And for the next 95 minutes, we watch them deal with this peril as the monsters slowly start creeping in on their secluded farm home. If I’m being totally honest, I didn’t really have much initial interest in this film. Jim from The Office directing a straight-up horror flick? Seemed doomed from the start, but I became more enticed upon hearing the driving concept. It’s always nice to see filmmakers, and especially major studios these days, trying something new that we haven’t seen before. I had just barely missed its premiere here in my hometown but was encouraged by the positive response coming out the gate. Thankfully, A Quiet Place is exactly what I had been hoping for. Better yet, Krasinski is able to fully flesh out Beck and Woods’ screenplay to the max with uncommon originality and pulp. With a couple of exceptions, it’s pretty clear that everyone on board knew exactly how to “Show, don’t tell” the story and build the world. Although there is some dialogue present, the characters mostly interact through American Sign Language. Everything feels so lived-in and confident and thought-out that it resonates directly with the audience. It may be only his third feature, and his first one for a major studio, but he shows a considerable grasp on the plot and structure throughout most of the runtime. It’s lean and mean, gets right to the point, and doesn’t waste any time with narration or on-screen text. The man is also really good in the lead role as the survivalist father. He is willing to go to some pretty extreme lengths to keep his family safe, but never loses sight of his humanity with some moments of genuine heart-to-heart. Noah Jupe and Millicent Simmonds play his son and daughter, respectively. While both offer up great performances in their roles, Simmonds steals the spotlight frequently for her strength and determination. Not to mention the fact that she’s actually deaf in real life, which adds another layer of realism to this world. Emily Blunt, meanwhile, is fantastic as the mother of the family, who’s never content to just lay low at home. This may be a horror film released in late Spring, but her work here is honestly Oscar-worthy, especially a scene where she has to climb into a bathtub. Late in the picture, defeated and tired, she softly inquires, “Who are we if we can’t protect them?” Meanwhile, on a purely technical scale, Krasinski & Co. have put together a handsomely-produced film. Charlotte Bruus Christensen uses the widescreen format to her full advantage with numerously well-planned shots. Virtually everything seen in a frame can be used to help advance the story (Occasionally to a silly degree) and almost nothing is handheld. The practical sets, such as the cornfield littered with noise-reducing grain, are all caught on camera and make it feel like we’re actually there. Moreso is the pitch-perfect sound design by Erik Aadahl and Ethan Van der Vyn. With the minimal amount of spoken dialogue, so many diegetic background noises are allowed to be heard in increased volume. If you see this film in theaters, it’s a special treat; little details like the snapping of a twig make it all the more immersive. But also, the editing by Christopher Tellefsen is very clever. Like how it cuts to complete silence when the perspective shifts to Simmonds or amplifies when a creature comes on-screen. Horror veteran Marco Beltrami composes and conducts the evocative musical score for this film, which may be my favorite that he’s done. There are a handful of tracks that are meant as jolting violins for jumpscares, though they’re surprisingly effective. But the best ones are low-key bits of plucked electric guitars and subtle yet repetitive piano melodies. Also worth mentioning are a handful of low strings that either delve deeper into the intensity of the thrills or the emotions. Either way, it works to get to the emotional core of the family drama. While it was a truly visceral theatrical experience, the film, unfortunately, gets a little hampered by the end. One of the most annoying things in horror movies is watching main characters make really dumb decisions solely to keep the plot going. While this film is mostly successful in avoiding that, the last act came fairly close to dropping some of the logic- such as how much sound the family is allowed to make. Also worth noting is that the creatures themselves felt like they were scarier offscreen. While their overall design is pretty cool, it definitely felt heavy on CGI. You can’t help but feel it would have been better with something a little more practical to witness. But taken as a whole, for a first-timer in the horror genre, John Krasinski shows a knack for telling a tight, resonant story that is sure to please crowds. A Quiet Place is a tautly accomplished thriller that truly lives up to its title. It’s films like these that give me hope for the future of mainstream horror cinema. Good PG-13 flicks in this genre are a rare breed, but this might be an exception to the rule. I would definitely encourage seeing this in a packed theater, especially something like the Alamo Drafthouse Cinema like I did. No one will make a sound.

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