Category Archives: Comic Books

“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.

“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.

“Alita: Battle Angel” Movie Review

I’ve imagined for many years what I might want to do if I was suddenly bestowed with cybernetically enhanced body parts. Being a badass fighter-type has been near the top of that list for the longest time, and this movie realizes it pretty well. This dystopian cyberpunk actioner was released in theaters by 20th Century Fox on February 15th, 2019. Previously, the film had been pegged for a late summer 2018 release and then another one for that year’s holiday season. Thus far, it has grossed around $163.7 million against an estimated overall budget of $170 million. Much of that money comes from overseas markets, where it has far outpaced some of the studio’s previous films in profits. Among all of this, it’s received a mixed critical reception from critics and audiences alike, with some proclaiming either to be terrible or amazing. Directed by Robert Rodriguez, the film- based on the manga series Gunnm or Battle Angel Alita by Yukito Kashiro -had been gestating in development hell since at least 2003. James Cameron was originally signed on to produce and direct the film with partner Jon Landau, as well as co-write the script with Altered Carbon scribe Laeta Kalogridis. However, Cameron ultimately stepped down from the position to focus on his Avatar sequels and gave the gig to Rodriguez, although he retains producing and co-writing credits on the final product. And apparently, the final script was shot with over 600 pages worth of notes while filming occurred. Set in the year 2563, the story takes place in the junk-filled metropolis of Iron City, one of the last specs of civilization after a devastating war called “The Fall.” In this junkyard, a scientists named Dr. Ido Dyson, played by Christoph Waltz, discovers a surviving part of a cyborg in a pile dumped from the lofty sky-city of Zalem, just above Iron City. He rebuilds the parts into a female cyborg named Alita, played by Rosa Salazar, who has incredible strength and agility despite having lost all of her memory. As she gradually regains pieces from her past, she becomes the target of both low-level bounty hunter cyborgs and residents of Zalem that are concerned she’ll mess with their dominance. I remember watching the first teaser trailer over a year ago and being might intrigued by what was being promised. Although I’m completely unfamiliar with the (Apparently influential) manga series it’s based on, the prospect of seeing James Cameron and Robert Rodriguez collaborate on a film together was very enticing. I loved Sin City and From Dusk Til Dawn, and his ultra low-budget debut El Mariachi is a literal inspiration for me as an aspiring filmmaker, so seeing him team up with the brains behind Terminator and Aliens is obviously gonna get my blood pumping. Then its release date got delayed twice, which is rarely a good sign in modern studio blockbusters. Not to mention, the titular character’s unusually large eyes became something of a meme when the first footage was initially revealed. Now it’s finally been put out to the public, with the big hopes of launching a brand new franchise. Alita: Battle Angel is certainly better than your average manga adaptation, yet it still leaves something to be desired. This really does feel like a movie that James Cameron was going to direct, but handed off the reigns to someone else at the last minute. Make no mistake, Robert Rodriguez’s distinct touch is still there and all, and the idea of him and the guy who made Aliens making a dystopian movie together sounds like an honest-to-God dream collaboration. And at points throughout the film, it definitely feels like that potential comes through. But while it is mostly its own movie, Alita: Battle Angel more often than not feels far too preoccupied trying to set up plot points or character arcs for sequels. There’s even a blink-and-you’ll-miss-it cameo near the very end that nearly made me jump out of my seat in surprise. The tough pill to swallow, though, is that it may be unlikely that a sequel will really happen. And that’s a damn shame, because it deserves a chance. I’ve seen Rosa Salazar in a handful of roles the last couple of years, and hopefully this becomes her big break. Through the motion-capture work, she shines as Alita, a cyborg woman with a childlike innocence and the fighting skills of a trained killer. Christoph Waltz also gets a break from his villainous roles as Dr. Ido Dyson, Alita’s creator and father figure. While he’s forced to do unsavory things to sustain his clinic in Iron City, it’s clear that he has a great amount of compassion and humility that is sorely lacking in this world. The weakest link though, is newcomer Keean Johnson as Hugo, Alita’s main love interest. His character never really seemed that interesting, and the chemistry he should have had with Salazar was practically nonexistent. The rest of the cast is filled out by the likes of Ed Skrein, Lana Condor, Jorge Lendeborg Jr., Jennifer Connolly, Mahershala Ali, Jackie Earl Haley, and Idara Victor. While they all try their best, (It’s cool to see Ali play a straight-up villain for once) only a handful are able to elevate behind simple archetypes. However, when it comes to the technical side of things, Alita: Battle Angel is unquestionably a sight to behold. Bill Pope’s cinematography feels just as eye-boggling and fluid as it was in The Matrix trilogy nearly 20 years ago. The dystopian landscape is caught in a slightly dingy and neon-plastered frame that oozes style and beauty, despite the griminess of its setting. It also matches up with the editing by Stephen E. Rivkin, which feels smooth and calculated. None of the action scenes feel choppy or hard to follow, which is especially impressive considering over half of the characters have some sort of metal prosthetic. But the meat of this film is undoubtedly the motion-capture work and visual effects done by the always reliable Weta Digital. This is easily some of their most impressive work yet, which is really saying something considering these guys also made the Lord of the Rings trilogy and a host of Marvel movies. Although it occasionally looked a tad cartoony in some shots, it did such an amazing job at blending real actors with their CG costumes, including and especially Alita herself. As one of the most prolific and inventive composers in recent memory, Tom Holkenborg A.K.A. Junkie XL provides the instrumental film score. And like much of his other work, such as Mad Max: Fury Road, it’s very exciting and befitting to the setting. The score infuses rapid strings with bellowing horns quite frequently, matching the intensity and fast-paced action happening on-screen. It also uses a number of dynamic percussion instruments as well as synthesized sounds to create a unique sound. Much like its protagonist, it can be whimsical, futuristic, and badass all at once. We also get treated to an original song called “Swan Song” by the singer Dua Lipa, which plays during the end credits sequence. It was much more infectious and catchy song than I was expecting, using a great beat and gorgeous vocals to provide a neat coda to the adventure. Its lyrics and style feel appropriate to give the titular character a fighting anthem all her own. Alita: Battle Angel is a well-meaning and visually stunning but narratively messy sci-fi action romp. Although it fell short of my expectations, what Robert Rodriguez and James Cameron accomplished here is nothing short of nonstop fun. I legitimately want to see this film succeed so that we can see more of this world in the future. The story, I mean, not the actual Iron City itself.

Final 2019 Oscar Predictions

After nearly a whole year’s worth of screw-ups, terrible announcements, last-minute changes, and other controversial matters, the 91st Academy Awards are finally upon us. And as was with last year, I managed to see nearly all of the major contenders from last year in preparation for this one night. While there are more frontrunners this year than previous expected, I still have some thoughts about who I think will win in all 24 categories (Which will THANKFULLY be all aired live) as well as who I think better deserves it. Also like last year, I took the liberty of including some films I really thought deserved a nod in a category that were ultimately snubbed. And remember, regardless of how it turns out or if we even like it, the ceremony airs this Sunday, February 24th.

Best Picture

Will Win: Roma

Could Win: Green Book

Should Win: Roma

Should Have Been Nominated: If Beale Street Could Talk

 

Best Director

Will Win: Alfonso Cuarón for Roma

Could Win: Spike Lee for BlacKKKlansman

Should Win: Alfonso Cuarón for Roma

Should Have Been Nominated: Marielle Heller for Can You Ever Forgive Me?

 

Best Actor

Will Win: Rami Malek in Bohemian Rhapsody

Could Win: Christian Bale in Vice

Should Win: Bradley Cooper in A Star is Born

Should Have Been Nominated: Joaquin Phoenix in You Were Never Really Here

 

Best Actress

Will Win: Glenn Close in The Wife

Could Win: Olivia Coleman in The Favourite

Should Win: Olivia Coleman in The Favourite

Should Have Been Nominated: Viola Davis in Widows

 

Best Supporting Actor

Will Win: Sam Elliot in A Star is Born

Could Win: Mahershala Ali in Green Book

Should Win: Sam Elliot in A Star is Born

Should Have Been Nominated: Michael B. Jordan in Black Panther

 

Best Supporting Actress

Will Win: Regina King in If Beale Street Could Talk

Could Win: Rachel Weisz in The Favourite

Should Win: Regina King in If Beale Street Could Talk

Should Have Been Nominated: Tilda Swinton in Suspiria

 

Best Original Screenplay

Will Win: The Favourite

Could Win: Green Book

Should Win: Roma

Should Have Been Nominated: Sorry to Bother You

 

Best Adapted Screenplay

Will Win: BlacKKKlansman

Could Win: A Star is Born

Should Win: BlacKKKlansman

Should Have Been Nominated: Widows

 

Best Animated Feature Film

Will Win: Spider-Man: Into the Spider-Verse

Could Win: Incredibles 2

Should Win: Spider-Man: Into the Spider-Verse

Should Have Been Nominated: Teen Titans Go! to the Movies

 

Best Foreign-Language Film

Will Win: Roma (Mexico)

Could Win: Cold War (Poland)

Should Win: Roma (Mexico)

Should Have Been Nominated: Border (Sweden)

 

Best Documentary- Feature

Will Win: Free Solo

Could Win: Minding the Gap

Should Win: RBG

Should Have Been Nominated: Won’t You Be My Neighbor?

 

Best Documentary- Short Subject

Will Win: A Night at the Garden

Could Win: Period. End of a Sentence

Should Win: A Night at the Garden

Should Have Been Nominated: Zion

 

Best Live-Action Short Film

Will Win: Fauve

Could Win: Detainment

Should Win: Fauve

Should Have Been Nominated: One Cambodian Family Please For My Pleasure

 

Best Animated Short

Will Win: Bao

Could Win: Late Afternoon

Should Win: Bao

Should Have Been Nominated: The Ostrich Politic

 

Best Original Score

Will Win: Black Panther by Ludwig Göransson

Could Win: If Beale Street Could Talk by Nicholas Britell

Should Win: Black Panther by Ludwig Göransson

Should Have Been Nominated: First Man by Justin Hurwitz

 

Best Original Song

Will Win: “Shallow” from A Star is Born

Could Win: “All the Stars” from Black Panther

Should Win: “Shallow” from A Star is Born

Should Have Been Nominated: “Hearts Beat Loud” from Hearts Beat Loud

 

Best Visual Effects

Will Win: First Man

Could Win: Ready Player One

Should Win: First Man

Should Have Been Nominated: Mission: Impossible- Fallout

 

Best Cinematography

Will Win: Roma

Could Win: A Star is Born

Should Win: Roma

Should Have Been Nominated: Widows

 

Best Costume Design

Will Win: Black Panther

Could Win: The Favourite

Should Win: The Favourite

Should Have Been Nominated: Paddington 2

 

Best Makeup and Hairstyle

Will Win: Vice

Could Win: Border

Should Win: Vice

Should Have Been Nominated: Suspiria

 

Best Production Design

 

Will Win: The Favourite

Could Win: Black Panther

Should Win: First Man

Should Have Been Nominated: Annihilation

 

Best Film Editing

Will Win: Vice

Could Win: Bohemian Rhapsody

Should Win: BlacKKKlansman

Should Have Been Nominated: Hereditary

 

Best Sound Mixing

Will Win: A Star is Born

Could Win: Bohemian Rhapsody

Should Win: Roma

Should Have Been Nominated: Mission: Impossible- Fallout

 

Best Sound Editing

Will Win: Roma

Could Win: A Quiet Place

Should Win: Roma

Should Have Been Nominated: Mission: Impossible- Fallout

 

Do you have thoughts or predictions of your own? What films do you think will, could, or should win in each category? What are some that you feel got snubbed by the Oscars? Be sure to leave a Comment on it below, and if you like what you see here, be sure to Like this post and Follow my Blog for similar film-centric content.

“Glass” Movie Review

I’ve always wondered what the world of psychology would think of any super-powered vigilantes running amuck. This film attempts to look directly at that field; at least temporarily anyway. This superhero thriller was first screened at 25 concurrent Alamo Drafthouse Cinema locations across the country. It as then released worldwide by Universal Pictures on January 18th, 2019, thus far managing to gross over $168.5 million against a small budget of $20 million. This made it one of the most successful openings over Martin Luther King Jr. weekend as well as the director’s career. Unfortunately, it’s been pretty hampered by mixed critical reviews, some harsher than others. Written and directed by M. Night Shyamalan, the film is meant to act as a conclusion to the Unbreakable-Split trilogy. Although he had wanted to make a sequel to his 2000 superhero gem for years, and apparently had the ending in mind the whole time, Touchstone and Disney were too disappointed by the lack of box office success to move forward. Then a few  years ago, he and Walt Disney Studios president Sean Bailey entered a gentlemen’s agreement, allowing him to use one of the characters in Split on the condition that Touchstone have a stake in a sequel, if made. Set roughly three weeks after that film, Burce Willis returns as former security guard David Dunn, a seemingly indestructible man who goes by the public persona “The Overseer.” He tracks down the disturbed 24-personality man Kevin Wendell Crumb, played by James McAvoy, only for them to both be captured and thrown into a mental asylum. Over the next several weeks, a psychiatrist named Dr. Ellie Staple, played by Sarah Paulson, attempts to convince these two men that they’re suffering from delusions of grandeur, which is apparently a growing field. However, they’re also locked up with the brittle but brilliant Elijah Price A.K.A. “Mr. Glass,” played by Samuel L. Jackson, who plans on turning David and Kevin against one another in a big showdown for the whole world to see. Although I only watched Unbreakable for the first time last year, it automatically became one of my all-time favorite films. Just the way it deconstructs not just the superhero genre but also comic books themselves was so original and engaging, and a fresh way to tell a new story. In fact, it actually holds up a lot better than most films from the same era that were actually based on comic books. Like many, I became ecstatic when 2017’s Split‘s surprise ending showed that the universe of the so-called “Eastrail 177 Trilogy” was still alive. Glass immediately shot up into the list for my most anticipated films of the year when it was finally announced for a 2019 release date. And sadly, while it is enjoyable in parts, especially the first hour, this was ultimately a very big letdown. To be clear, I don’t think that this is really a BAD movie, per se. Rather, it’s incredibly frustrating to watch and think about because there was far more potential for Glass than was in the final product. I applaud Blumhouse for allowing him to make the film the way he did, acting appropriately lowkey and small-scale. But still, you can’t help but feel like it’s simply grazing against something that could’ve been truly great. Shyamalan shows off some of his best and worst tendencies as a filmmaker here, major twist ending included. I actually thought that the ending was a good idea, and had the film been 10-20 minutes longer, it would’ve been more fulfilling. But instead, we’re left with a movie that seemingly just cuts off abruptly, but not before the director can get his obligatory cameo in. If for nothing else, the three main leads do excellent work as their respective characters. Shyamalan proves to be one of the few people capable of getting Bruce Willis to act, as his reprisal as David Dun/”The Overseer” is his best work in a while. McAvoy is even more fearless as Kevin, getting to dive headlong into numerous personalities and voices with ease, and appears to relish every moment. Meanwhile, Samuel L. Jackson proves he still has genuine dramatic acting chops as the highly intelligent and ruthless Elijah Price, who always seems one step ahead of everyone else despite his brittle state. Various actors from previous installemtns also return, such as Charlayne Woodard as Elijah’s proud mother, Anya Taylor-Joy as the only person who seemingly “gets” Kevin, and Spencer Treat Clark as Dunn’s resourceful son and partner-in-crime. The biggest addition here is Sarah Paulson as Dr. Ellie Staple. Channeling the intrigue and scenery-chewing of her various roles on American Horror Story, it’s pretty interesting to gradually learn more about Dr. Staple as the movie goes on. You’re never quite sure if she’s filling out an agenda or is genuinely concerned about these three men. From a filmmaking perspective, Glass is able to regularly impress with some of the director’s big flourishes. Mike Gioulakis, who shot It Follows and Split, handles the cinematography with an amazing amount of fluidity and grace. Many shots are meant to emulate that of a comic book art frame, and also uses primary colors to add more flavor to the characters. Purple for Mr. Glass, green for “The Overseer,” and a whole variety of shades for Kevin and “The Horde.” It also uses a healthy amount of one-shots to track the action and character movements, even if it occasionally feels a bit showy. This complements the editing by Blu Murray and Luke Ciarrochi, which is surprisingly patient with its cuts in scenes. Shots are seamlessly cut together and a number of interesting transitions are used between moments. For example, for an interview scene, each of the characters is either shown in P.O.V. shots or in close-ups, offering a glimpse inside their headspace. West Dylan Thordson provides the instrumental film score for this movie. While it doesn’t contain “Visions” and feels a little lesser compared to James Newton Howard’s work, it still works for this instance. Much like the film itself, the soundtrack isn’t like a bombastic opera you’d expect from the genre at this point. It uses a variety or instruments, including synthesized piano and dynamic percussion, to create a dark and unique atmosphere. It also incorporates a number of strings to create an interesting melody that’s both subdued and heroic, much like these protagonists. The ending suite is particularly memorable as the fruits of the director’s labors come into real focus. I definitely see where this movie wants to go; an exploration of the mythos of heroes and villains, and whether it’s real or true. It’s just not in the film enough to sustain itself for 2 hours and 9 minutes. I know that he promised this was the last one, but it still feels as though he’s wanting to set up a whole cinematic universe of his own. Glass is an engaging yet sadly disappointing study of the power of belief. There are some genuinely entertaining moments peppered throughout, and one can definitely admire M. Night Shyamalan for his ambition. And this is certainly leaps and bounds ahead of some of his worst work, but it simply can’t measure up to what Unbreakable was 19 years ago. This is unfortunately one of those scenarios where upending or subverting audience expectations doesn’t really work out.