Category Archives: Action

“Shazam!” Movie Review

Alright, not going to lie here: After watching both this and last year’s Instant Family, I’m seriously considering adopting foster children. I had never even thought about it before, but now I would love to give it a try someday. I’m being totally serious. This superhero comedy film was released in theaters around the world by Warner Bros. and New Line Cinema on April 5th, 2019. Made on a production budget of around $80 million, the film has managed to gross over $361.5 million at the worldwide box office. This partially came from a $3.3 million total made from advanced screenings setting up by Fandango two weeks earlier. It has also received some of the best reviews in the franchise and a sequel is already in the early stages of development at the studio. Directed by David F. Sandberg, maker of the horror films Lights Out and Annabelle Creation, the project had initially been in and out of development hell since the early 2000s. After many stops and starts throughout the decade, Warner Bros. finally put it on its release slate in 2014 with Dwayne Johnson attached as the potential villain Black Adam. He eventually departed the project for a future solo film, and remained credited as an executive producer. This also marks the seventh overall installment in the constantly evolving DC Extended Universe. The story follows a young orphan named Billy Batson, played by Asher Angel, who’s been in and out of foster homes for most of his life. After moving into a group home that includes disabled comic book nerd brother Freddy Freeman, played by Jack Dylan Grazer, he later is visited by a mysterious wizard named Shazam. This wizard is looking for someone who is pure of heart to take his place and transfers his immense powers over to Billy, who transforms into an adult played by Zachary Levi. Quickly becoming an internet sensation, his powers and exploits gain the attention of Mark Strong’s Dr. Thaddeus Sivana, who’s been tracking the wizard’s powers for decades. I’ll be honest here, for the longest time I didn’t actually think this movie was going to happen. Sure, there was the persistent news that The Rock was playing the main villain, but that is about as consistently supporting as saying Channing Tatum’s Gambit movie is actually going to happen now. In any case, the film is here in theaters now, and it’s here to stay for at least a little while. The trailers for this movie were very funny and lighthearted, but there was still a skepticism within me about it. Although I haven’t seen Sandberg’s debut Lights Out, I was legitimately creeped out by the short film that inspired it. And while horror directors in the past have adapted well to the superhero genre, such as James Wan or Scott Derrickson, since he only had two other movies under his belt, I wasn’t entirely sure if it would stick the landing. Shazam! is far and away one of the best films in the DCEU and perhaps one of the most fun entries in the genre as a whole. Like some of the best superhero movies, this one is primarily concerned about what it means to be a hero, rather than just big action spectacle. Billy is not pure of heart, so he has to learn how to use his powers responsibly and for the betterment of others. Since he’s only 14 years old, this is hard for him to realize, especially when Freddie helps him become a YouTube star and they initially use the powers for whatever they want. I was actually surprised by how much Shazam! had to say about masculinity and what it means to be a “man.” This is something that Dr. Sivana constantly struggles with understanding because of his very harsh upbringing, and also leads to some pretty terrifying imagery. The film occasionally strains with balancing this delicate tone, but for the most part it’s done pretty well. I can’t think of a living actor better fit to play the adult Shazam than Zachary Levi. As a big fan of his work on the show Chuck, his boyish charm and bumbling charisma make him perfect for the titular role. It star Jack Dylan Grazer is equally perfect as his foster brother Freddie Freeman, a massive comic book aficionado. It’s clear that while he sees the potential good that this can bring about, he also wants an opportunity to do something worthwhile and prove he’s not just a sad kid in crutches. The two of them have incredible chemistry together throughout the film, making for one of the most watchable duos in superhero movies recently. Mark Strong, consistently typecast as villains, is noticeable as the big baddy Dr. Thaddeus Sivana. He’s given a rather disturbing and dark prologue at the beginning, which sets up all of the confusion and obsession his character has to deal with in the story. I had partially expected him to be an intentionally over-the-top villain, but his backstory and characterization surprised me. Meanwhile, Billy’s foster family is filled with both new and familiar talent. Cooper Andrews and Marta Milans are warm and empathetic as the parents, Grace Fulton is caring yet conflicted as the college-bound older sister, Faithe Herman is extremely effusive and lovable as the youngest of the bunch, Ian Chen is honestly hilarious as the residential tech wizard, and Jovan Armand is shy and reserved as the middle child. Each one feels alive and brings a different aspect of the family to like. The technical aspects of Shazam! show that it’s a film which Sandberg has total fun working within. Maxim Alexandre, known mostly for shooting horror movies, handles the cinematography with a rather balanced aesthetic. Whether it’s highlighting the vibrant, popout colors of the titular hero’s suit or the more nightmarish look of the villain’s henchmen, the personality is always definite. It goes surprisingly well with Michel Aller’s editing, which manages to keep both the pacing and tone consistent throughout the 132 minute-long runtime. There’s one particularly amusing “training montage” set to Queen’s “Don’t Stop Me Now” where Freddie takes videos of Billy testing his powers. The way it moves between first-person shots is quite funny and engaging. Benjamin Wallifisch, one of Warner Bros. and Hans Zimmer’s most promising proteges, provides the instrumental score. Much like the rest of the film, it feels like an appropriate throwback back to an era of blockbusters that weren’t afraid of their source material. With jovial bells and percussion, there’s a certain childlike wonder to the main theme. It also helps that horns and strings manage to come in and out of the melodies that makes it sound like a classic. The best way I can describe it is if John Williams decided to compose for his long-awaited Superman follow-up. Shazam! is a colorful and light-hearted dose of old-fashioned superhero fun. Despite his horror background, David F. Sandberg proves that he’s quite capable of making the genre his own. Not to mention the pitch perfect casting of Zachary Levi and Jack Dylan Grazer which makes the connection feel extremely tangible.

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“Avengers: Endgame” Movie Review

**While this review will be completely spoiler-free, I’m going to be under the assumption that everyone reading it has already seen Infinity War. Proceed at your own discretion.**

And to think, 11 years ago, this entire saga started in a cave, with a box of scraps. It’s truly jaw-dropping to see how far it’s come since then. But I’m extremely glad to have seen it all the way through. This epic superhero film was released in theaters around the world on April 26th, 2019, a week ahead of its previously scheduled release date. Within its first couple of weeks, it has already grossed over $2.189 billion at the global box office, and is very likely to make it as the highest grossing movie of all time. It’s broken a handful of box office records and is sure on its way to shatter some more in the coming weeks. Numerous movie ticket websites such as Fandango and Atom Tickets consistently struggled to keep their servers operating, and ended up selling the most amount of pre-release tickets for a film within a few hours. Once again directed by Anthony and Joe Russo, the film was shot back-to-back with its predecessor Infinity War. This marks the 22nd overall installment in the Marvel Cinematic Universe, and has been promised to be even more of a culmination than its predecessors. While most all of the MCU films have maintained a certain level of secrecy about the plot, the producers and marketing team for this one went extremely far out of their way to ensure nothing got out. This included filming fake scenes that were purely used for trailers, a practice which some took issue with. According to numerous sources, only one member of the principal cast was given the entire screenplay to read. Picking up 23 days after the end of Infinity War, the remaining heroes of the Avengers are still reeling from the destructive victory of Thanos. Soon, they realize that they might have a legitimate chance to undo the damage done by his snap, which ended half of all life across the known universe. So they set out on a quest to recover the Infinity Stones to hopefully bring their loved ones back. And… that’s it. That’s quite literally all I can get into here without spoiling anything else about the plot. The Russo Brothers actually sent out a joint letter on Instagram asking fans to ruin anything for the people who haven’t seen the movie and out of respect for them, I won’t say another word about the actual plot. Obviously, like so many other fans and cinephiles, I was wondering how Marvel and the Russos could possibly follow up Infinity War, a film I found highly entertaining despite feeling a little unsatisfying. This would arguably become an even bigger culmination than that film, the sum of 22 films over the past 11 years. No other film in history has had such a Herculean task to achieve, let alone take on. Would it reach the stars or crumble in our hands? The simple answer is yes, yes it can; Avengers: Endgame exceeds all expectations one could possibly hold for it. The best way I can describe it is that this feels like the series finale for a T.V. show that I’ve been watching for the last decade. It has a certain sense of finality that most superhero films don’t have, really bringing a lot of character arcs to a strong thematic close. If I were given the job of writing the screenplay, I couldn’t possibly have done a better job at wrapping it all up. Of course, Disney and Marvel still have numerous projects coming down the pipe in the coming years. But as the wrap-up to 11 years worth of stories and characters, Endgame couldn’t have been more fulfilling and awesome. The Marvel mountain will never peak this high ever again. Quite literally everyone who’s ever been in an MCU film to date appears in this movie one way or another. All of them have grown immensely comfortable in their roles to the point where it’s hard to imagine anyone else playing them. Of particular note are the Original Six Avengers- Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, and Jeremy Renner. All of them have gone through incredible journeys since the first installment and getting to see them all reunited is so emotional. The end credits even include the actors’ signatures next to their names. Downey Jr. and Evans are especially amazing as Tony Stark/Iron Man and Steve Rogers/Captain America, respectively. As the defacto leaders of the team, both feel a deep shame from having failed the people they love and struggle to reconcile with the new world. And despite the faith-shattering fallout the two of them had in Civil War, they realize that their mission goes beyond any hard feelings they harbor for one another. Also noteworthy is Karen Gillan as Thanos’ cyborg daughter Nebula. In the previous films, she had never really impressed me or stood out as a character very much. But here, she’s given a full, interesting arc where we get to witness her reckon with past misdeeds and how to try and redeem herself. And at this point, there’s no real need to espouse how Avengers: Endgame is because all parties involved know exactly what they’re doing. Whether it’s lighting, sound design, art direction, or costumes, quite literally everything here works. The visual effects especially, as it took nearly 10 different companies- from Industrial Lights & Magic to Framestore -to bring the complex visuals to life. They’ve already accomplished making a fully CG character like Thanos look photorealistic, but adding more to that and keeping all of the realistic detail is unparalleled. It also has some of the best editing in the franchise done by Jeffrey Ford and Matthew Schmidt. When the mission becomes split up, we are able to cut between multiple scenes of the heroes working on their parts. This keeps the pacing aloft without having to getting muddled by exposition or constant action scenes. But when there are action scenes, they are so beautifully crafted and fluid that you can tell everything that’s happening. Without any. Rapid. Cuts. Once again reprising duties from Infinity War, Alan Silvestri provides perhaps one of the best superhero scores of the last to decades. By calling back to various themes and motifs from throughout the MCU, it feels like it’s really bringing everything full circle. The use of massive choirs, brass, and strings for new tracks is enough to induce goosebumps in any viewer. Of particular mention is the track titled “Portals,” which blends the classic Avengers theme song from the first movie with an exciting intro and outro. I’ve given the MCU heat for not having lots of memorable music, but this soundtrack truly feels like a fitting culmination to everything that’s come before in this franchise. In all seriousness, there is so much more I could write about this movie, that I WANT to write about this movie. But for now, this spoiler-free take is all that’s going to out right now. I’ll wait a little bit longer to write a spoilery review with my thoughts on various scenes or things that happened. Somehow bringing together 11 years and 22 movies worth of stories and making it all meaningful, Avengers: Endgame is an emotionally resonant journey, and one of the most satisfying feature films I have ever seen. This was the epic payoff to an unprecedented cinematic gamble that will rarely, if ever, find its equal. The Russo Brothers truly did the impossible and brought Stan Lee’s unbridled vision to life on the big screen. My only wish is that he had stayed alive long enough for it to come before his eyes like the rest of us. If this truly the endgame for most of this universe, than I am so happy to have taken this road, even through the bumpier installments. I love it, 3000.

“Star Wars Episode I: The Phantom Menace” Movie Review

Alright, I’m going to be completely honest with everybody reading this review. It is May the 4th, and this is not really the Star Wars movie I want to be talking about right now. However, I promised the review for a while and it’s appropriate for the 20th anniversary, so let’s do this. This epic space opera was originally released in theaters worldwide on May 16th, 1999, almost 16 years to the day from the premiere of Return of the Jedi. Widely anticipated from fans and the general public, the film managed to gross over $924.3 million at the global box office. This made it the highest grossing film in the Star Wars saga and the second-highest grossing film of all time at that point. It was also rereleased in 3D in 2012, bringing its total to over $1 billion. Despite this, it had an incredibly mixed reception, with fans and critics saying it was either just fine or a hot pile of garbage. Written and directed by George Lucas, the director had long expressed no interest in continuing the Star Wars saga as he felt it would fade out, even cancelling a planned sequel trilogy. However, after seeing the franchise’s sustained popularity through the Expanded Universe comic books and novels, he decided to move forward. He apparently adapted the screenplay from a 15-page outline he wrote way back in 1976, and took advantage of the then-burgeoning innovations of CGI. It’s also been confirmed that he tried to hand the reigns over to Ron Howard, Robert Zemeckis, and Steven Spielberg, all of whom insisted he be the one to helm it. Set 32 years before the events of A New Hope, Liam Neeson and Ewan McGregor star as master Qui-Gon Jinn and apprentice Obi-Wan Kenobi, two Jedi Knights sent to try and end a dispute between the Trade Federation and the Galactic Republic. Barely escaping an attempt on their lives, they soon abscond with Queen Amidala just as the Federation launches a full-scale invasion of the planet Naboo. While on the run and trying to make it home, they come across a nine-year-old boy named Anakin Skywalker, played by Jake Lloyd, who has unusually strong powers with the Force. They ultimately decide to take him and a misfit alien named Jar Jar Binks on a quest to prove that the Trade Federation’s actions are completely illegal and under the influence of the Sith Lord Darth Sidious. This is one of those films that’s hard for me to review fairly because it’s such a divisive film among fans and critics. I myself have had conflicted feelings over it for many years. I used to really like it and defend it to death as a kid, along with the other two prequels Attack of the Clones and Revenge of the Sith. Now that I’m older, I can definitely understand why so many fans felt burned by it when it was originally released. But is it the intergalactic dumpster fire that a lot of people have continually proclaimed it as? While Star Wars Episode I: The Phantom Menace may be extremely disappointing and subpar compared to the rest of the saga, there are still a handful of things I like about it. I think George Lucas is a very creative person, with tons of different ideas that he wants to get out on the canvas. He wants to make a film about the political and economic machinations behind a galactic civil war? That is perfectly fine by me. What’s so bothersome about The Phantom Menace is that it never really weaves all of these ideas into the story in a compelling or organic way. Sure, we get to see that slavery exists in the Outer Rim and the lightsaber battles are glorious, but it doesn’t really matter when the direction and characterization are so choppy that it feels like they might have been sleepwalking. And I’m not even going to dive into the problematic nature of “midichlorians” and how that alters the Force. The performances, across the board, are an incredibly mixed bag. The impressive ensemble, including everyone from Samuel L. Jackson to Ian McDiarmid, try their hardest with the material given and are occasionally able to power through the wooden dialogue. Liam Neeson and Natalie Portman, as Quin-Gon Jinn and Padmé, seem particularly stiff and uncomfortable, not quite able to make out what to do with their characters. Ray Park and Ewan McGregor are by far the best of the bunch as Darth Maul and young Obi-Wan Kenobi, respectively. McGregor’s interpretation as a somewhat hotheaded Padawan is a neat foil for his later role in the franchise, and while Maul has few lines of dialogue, he left an impression as one of the coolest villains in the saga. Now we come to Ahmed Best and Jake Lloyd. I have no problems with these two personally, and the career-hurting hate they received is wholly unfair. But it’s hard for me to deny that Jar Jar Binks is an annoying character, even though Best is clearly have the most fun out of any of the cast members. And Lloyd does some decent work as young Anakin, setting the groundwork for the character’s tragic arc to come. But because the characterization is all over the place, there isn’t much of an angle that he gets from it. Even when it comes to the technical aspects, The Phantom Menace is still a hit-or-miss. David Tattersall’s cinematography is usually quite flat and uninteresting, opting for dull camera angles and zooms. Occasionally it starts to pick up when something exciting happens, but the film is so focused on expository dialogue that they’re few and far between. It also has a weird and confusing color palette, being bright and gorgeous one moment and absolutely dull the next. For better and worse, it goes hand-hand-hand for the editing by Paul Martin Smith and Ben Burtt. Using classic screen-swipes for transitions, the disparity between what’s convincing practical effects and obvious CGI is too often. While some of the effects still look fine and were probably fantastic for their day, others just have me scratching my head. But it does shine during the pod-racings sequence and the lightsaber duels, which are now much more elegant and choreographed. As is tradition, the musical score is provided here by franchise veteran John Williams. He brings a number of brand new themes to appreciate here, particularly “Duel of the Fates,” which plays during one of the most exciting lightsaber battles in the series. Using a full choir that sings in Sanskrit and backed by a full orchestra, the 4-minute track is beautiful and majestic all the same. Of course, the rest of the soundtrack utilizes Williams’ signature brass horn line, but also incorporates strings in a rather unique way. If for not the sake of continuity, this film is worth watching for Williams’ iconic score, which makes it at least FEEL like a Star Wars movie. I would definitely recommend watching the 2008 CG cartoon Star Wars: The Clone Wars. Not only is it a great series on its own but it also retroactively improves the prequel trilogy and provides even more context to what happens. In that, I can definitely appreciate what they’re going for here even more now and can see its potential. Unfortunately, Star Wars Episode I: The Phantom Menace is still a frustrating mishmash of confusing lore and uncertain characterization. I have no doubt that George Lucas tried his hardest to make this film great, and you can definitely see little moments that hint at it. But I truly feel like it would have been a lot better if he had handed the helming duties over to another director. And yet, it’s still not the worst film in the saga; that title still belongs to the Christmas Special and Attack of the Clones. Whether we like it or not, this movie introduced a whole new sect of the universe to explore and devour. And it’s definitely an interesting sect, but the execution of it all is still extremely underwhelming, even watching it now as an adult. May the 4th Be With You, fellow geeks!

“Us” Movie Review

After watching this movie late at night, I’m officially afraid to look at myself in the mirror anymore. Not that I was a particularly big fan of doing so to begin with. This horror thriller premiered as the opening night feature for the 2019 South By Southwest Film Festival. Following incredible buzz from those who attended, Universal Pictures released the film worldwide on March 22nd, 2019. Making over $7.4 million from Thursday previews, which far outpaced that of the director’s previous film, it has thus far grossed over $247.4 million at the global box office. Already on its way to an extremely profitable run, the film had the highest-grossing opening weekend for an original film since James Cameron’s Avatar way back in 2009. Written and directed by Jordan Peele, the film is the second of five proposed “social thrillers” he wants to make, the first of which was his debut Get Out. Disappointed by audiences’ general confusion about that particular film’s genre, he went ahead and decided to make a full, straight-up horror movie, inspired heavily by the Twilight Zone episode “Mirror Image.” The director has repeatedly stated that while it was very important for him to have black actors in the starring roles, the film is not actually about race. Lupita Nyong’o stars as Adelaide Wilson, a young woman dealing with a trauma from earlier in her life. During the summer, she goes with her husband Gabe, played by Winston Duke, and their children Zora and Jason to a family beach house in Santa Cruz. One night, they are confronted by a group of evil doppelgängers named “The Tethered.” Throughout the night, they must fight to survive the Tethered and their cruel plans while getting a closer look at who they really are. That right there is about as far as I can go with the premise before getting into spoiler territory. Much like the director’s previous effort, that description just barely scratches the surface for what’s really going on in the film. That was one of the main reasons why I loved Get Out so much back in 2017, and a huge reason why I was anticipating this movie. Ever since the project was first announced last spring, I’ve been salivating to see what movie Jordan Peele would come up with next, especially after winning Best Original Screenplay. Even if it wouldn’t be great, I would still make an effort to go see it in theaters because the director already has THAT much support from me. While it may be a completely different film from Get Out, Us is just as much of an audacious, thought-provoking, and supremely entertaining genre film from the former comedian. However, your own enjoyment of the film might have to depend on expectations. If you’re expecting another round of scathing social commentary on race relations in America, then you’ll likely be disappointed. This is indeed Jordan Peele’s first swing at a horror movie, with plenty of loving tributes and subversions sprinkled in throughout. In that sense, Get Out is arguably thematically stronger and more focused in on its issue. That being said, I would actually argue that Us is a better paced film, and it still has a lot on its mind than mere suspense and kills. It isn’t just the idea of “we are our own worst enemy,” but also how classism in modern society can help create a fear of the Other. Once you strip away a person’s social standing, or lack thereof, there’s very little that separates us from each other. Lupita Nyong’o has built an amazing repertoire over the last few years, and this performance is only the next step in her career. As Adelaide, she is paranoid and mindful of all of her surroundings, always feeling like the threat is only a few paces behind. She reunites with her Black Panther co-star Winston Duke, who strays very far away from his role as M’Baku. His performance as Gabe is one of trying to consistently prove himself as the “man” of the house, attempting to impress their wealthy friends and act intimidating when the Tethered all arrive. Shahadi Wright Joseph and Evan Alex are also worth noting as the daughter and son, Zora and Jason, respectively. Both of them forego the trope of bad child acting in horror cinema by adding endearing layers to their characters, making us truly care about their survival. Other players include Yahya Abdul-Mateen II, Anna Diop, Tim Heidecker, Elizabeth Moss, twins Cali and Noelle Sheldon, and Duke Nicholson. Of course, all of the actors also pull double duty with their Tethered counterparts, managing to be both creepy and physically imposing. Nyong’o is especially impressive as her doppelgänger “Red,” particularly during an unbroken monologue about her life story told through an unsettlingly raspy voice. Meanwhile, the technical aspects of Us show that Jordan Peele is only getting an even stronger grip on his own unique voice. For this outing, he chose Mike Gioulakis as the cinematographer, who also shot Glass and It Follows, and it really paid off. Like those other film’s there’s a certain fluidity and surreal nature to the camera in each scene. The lighting is on point, capturing the darkness in each character with subtlety and grace while making room for some impressive Steadicam moments. Nicholas Mounsour edits these moments together really well. Not once during the 1-hour and 56-minute runtime did a scene feel choppy or hard to follow. The precision and deliberate cut between each different scene or shot is extremely commendable. It often moves back and forth between two separate time periods, offering more context to what’s going on. Michael Abels returns to collaborate with the director to compose and conduct the instrumental film score, his second for a feature film. It’s an infinitely more impressive soundtrack than Get Out, utilizing numerous unconventional instruments to convey a sense of creepiness. The film’s opening credits are played alongside an unsettling anthem that mixes chanting in a nonsense language and unique percussion beats. Other tracks use either swaying or plucked strings to their advantage and never act as a device for a cheap jumpscare. The soundtrack also utilizes the hip-hop song “I Got 5 On It” by Luniz to great effect. Abels somehow managed to transform it from a fun, feel-good song into a genuinely terrifying melody. That’s no easy task, and for that alone, he deserves to be on a list of the most promising composers working today. With strong performances, evocative imagery, a fantastic score, and one of the most unique movie monsters in recent memory, Us is a marvel of originality and thought-provoking ideas wrapped in a fun horror movie. By taking lessons from his debut feature, Jordan Peele has already established himself as a filmmaker who has my undivided attention. I eagerly look forward to anything he’s working on in the future, and I hope that in the years to come, we’ll be talking about this film the same way we’ve been talking about The Shining and A Nightmare on Elm Street and all of the other horror classics.

“Iron Man” Movie Review

I’ve been meaning to dig back into the older Phase One Marvel films for a good while now. And with Avengers: Endgame promising to be even more of a culmination event than Infinity War in less than a month, I figured it was as good a time as any to go back to the beginning of it all. This tech-based superhero film was originally released in theaters on May 2nd, 2008. Although expectations were relatively low, it managed to gross nearly 5 times its $140 million budget and set a number of box office records which, in hindsight, seem rather puny at the time. It also managed to impress critics, comic book fans and general audiences alike, and singlehandedly launched the most lucrative media franchise of the 21st Century: the Marvel Cinematic Universe. Directed by Jon Favreau, the film had been in development hell since 1990, with multiple studios attempting to get it off the ground. After Marvel Comics managed to reacquire the rights to many of its characters in 2006, Paramount Pictures got their hands on the distribution. It became the first film Marvel financed entirely by themselves, setting the path for future installments based off relatively obscure characters. While Kevin Feige, Avi Arad, and the credited screenwriters spent extensive time discussing the story and action, the actors were encouraged to improvise most of their dialogue; several scenes had multiple cameras set up in case someone said something especially memorable. Robert Downey Jr. stars as Tony Stark, a genius billionaire playboy in charge of his father’s massive weapons manufacturing company. Following a life-threatening incident in war-torn Afghanistan, he develops a powered armor suit to help him escape a terrorist group called the Ten Rings. Realizing his culpability in the armed conflict, he modifies his suit with more improvements, adopts the nickname Iron Man, and sets out to fight those who want to use his technology for nefarious reasons. It’s truly strange looking back at this film, having watched all of the other films in the Marvel Cinematic Universe now. Back when I saw this in the theater for the first time, even though I was pretty young, I had a general understanding of the character and his origins. Most audiences didn’t at the time, and the fact that he’s become a household name shows how much the genre has grown in the 11 years since. So I figured that my New Year’s Resolution could use a little shakeup with something that isn’t too far away from the present but still old enough to bare some form of influence. I was a little worried, though, that on a rewatch, the inaugural installment for the MCU wouldn’t hold up very well. That just makes it even sweeter to say that Iron Man is still as badass as I remember it being, and still stands tall against many entries in both the franchise and the superhero genre as well. Do any of you remember a time when movies based on comic book characters were considered uncool? I can still think of the times when I would just mention a character’s name like Iron Man or Captain America and the people I’m talking to would just ask, “Who?” And perhaps the best compliment I can give Jon Favreau isn’t that it somehow managed to swing the franchise out the gate so confidently, but that it managed to have a wide enough appeal to general audiences without feeling like it lost its origins. It truly can’t be understated how hard that task was. Just two months later, it would arguably become overshadowed by Christopher Nolan’s masterpiece The Dark Knight. Marvel and Kevin Feige really had prove to themselves early on, and have earned the success they’ve gotten from it. Let’s get one thing straight here: Robert Downey Jr. IS Tony Stark, no question about it. The role he was seemingly born to play, his snarky attitude and hilarious wit are undercut by his clear intelligence and care for the few friends he has. The actor has literally credited the character was saving his life and career, and if he wasn’t the architect for the MCU, then the whole thing would have crumbled before it got off the ground. Opposite him are Gwyneth Paltrow and Terence Howard as Pepper Potts and Lieutenant Colonel James “Rhodey” Rhodes, Stark’s personal assistant and best friend respectively. Although Howard would later be replaced by Don Cheadle, the film manages to get this trio’s relationship down from the beginning, which would develop over the course of the next several films. Jeff Bridges is also unexpectedly good as Obadiah Stane, Tony’s business partner and former mentor. While the MCU has long struggled with making compelling antagonists, Bridges manages to give off a convincing impression of a greedy and overzealous businessman who wants what’s inside Stark’s mind. Shaun Toub should also not be overlooked for his role as Tony’s cave cellmate Yinsen. With enough aged wisdom to match Stark’s cunning intellect, it’s clear he knows what’s going on with the Ten Rings and what they want. Even though he’s not onscreen for a large chunk of time, he very much leaves a solid impact for the remainder of the story. As far as the technical aspects go, Iron Man was merely the first in a long line of impressive below-the-line feats for Marvel. Shot by the incredibly versatile Matthew Libatique, the cinematography is the right amount of clean and gritty. With some colors muted and couple enhanced, it really feels down in the dirt as Tony is attempting to figure out how to reconcile his identity with his newfound purpose. Unlike many later entries, the camera movement is actually quite controlled and smooth, and we’re able to see exactly what happens in every action scene. This matches up well with the editing by Dan Lebenthal, who collaborated on many of Favreau’s earlier films. The continuity of each scene is kept perfectly, not a single gesture or line feeling out of place with the cut. Considering they filmed with multiple cameras at once, it’s kinda impressive he was able to cut together that much footage and make it cohesive. Not to mention, Stan Winston himself brought the character of Iron to such vivid life, one of his last creations. Ramin Djawadi, who would go on to compose for HBO’s Game of Thrones and Westworld, provides the instrumental film score here. Like his work on those shows, it’s highly unusual for its genre and all the better for it. Mixing grungy rock with traditional orchestral arrangements, the mixture of electric guitar and strings is very memorable. he end results are perfectly suited to the main protagonist. It’s fresh, unpredictable, and quite brilliant. A quiet industry game-changer if ever I’ve seen one, Iron Man is the apex of superhero origin stories for cinema. It really can’t be overstated what Kevin Feige and Jon Favreau did here: they managed to defy expectations and create a cultural shift. Whether it’s Robert Downey Jr.’s immaculate performance as the titular character or Favreau’s assured direction, there’s little that doesn’t work in this film. And that legendary post-credits scene was only the beginning. We’re part of a bigger universe now, and I’m here for it.

“Captain Marvel” Movie Review

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

“The Curse of La Llorona” Movie Review

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