Category Archives: Epic

“It Chapter Two” Movie Review

Imagine having to fight a literal interdimensional monster with only your middle-school friends by your side. Now that is pretty scary, not gonna lie. This supernatural horror movie was released in theaters by Warner Bros. and New Line Cinema on September 6th, 2019. After accumulating the second-biggest Thursday night preview earnings for a September release, (Behind its predecessor) it has gone on to gross over $457.4 million at the worldwide box office. While this is obviously enormous for a horror film, it is considered to be on a slower role than the first film. This is likely to due mixed reviews from audiences and critics, as well as the epic runtime which has curbed runtimes. Once again directed by Andy Muschietti, this sequel adapts the adult portion of Stephen King’s huge novel of the same name. Announced almost immediately after the massive success of the first film, production was stalled in order for all of the ideal cast members to be available. Muschietti has expressed interest in creating a supercut version combining both parts into one continuous film, as some unused scenes from the first were brought in for the second. It also contains a scene reportedly featuring the most amount of blood in film, with over 5,000 gallons worth of fake blood used. Picking up 27 years after the events of It, the Losers Club members have all gone their separate ways as adults. When a young man is found brutally murdered in the town of Derry, Maine, librarian Mike Hanlon, played by Isaiah Mustafa, believes the being Pennywise the Dancing Clown is behind it, despite having defeated him as children. Mike contacts his old friends- Bill, Richie, Beverly, Ben, Eddie, and Stanley -and convinces them all to return to Derry. Confronted by their own traumas of years past, the Losers band together to face Pennywise, played by Bill Skarsgård, one last time and end him for good. I was a really big fan of the first part of Stephen King’s It when it was released back in 2017. As a huge admirer of King’s enormous library of literary work, it was exciting to see one of his most famous books turned into a film that felt faithful to the source material. Plus, we’ve now seen a whole wash of different adaptations of his work in the last two years, including Gerald’s Game and the upcoming Doctor Sleep. With the talented adult cast that was assembled, there was a definite possibility for this second and final installment to be even better. And well, It: Chapter Two isn’t, but there’s still some meaty stuff to latch onto here. For a book this sprawling and massive, it is forgivable for the producers to split it into two separate movies. But the main issue here is that there is some material that probably was better left on the cutting room floor. At 2 hours and 49 minutes, it often feels like its repeating itself to pad out the runtime, especially during the second act. However, It: Chapter Two is able to redeem itself by the end, because it is a pretty satisfying wrap-up. It’s thematic ideas of lost innocence, childhood trauma, and facing a bizarre fear are part and parcel for Stephen King stories, but they’re all brought to an ambitious head here. In a world where franchises and IPs are seemingly neverending, it’s refreshing that the studio and filmmakers were committed to letting this saga be two parts and nothing more. Easily the biggest attribute to this film’s success is its cast of adult actors, all of whom commit very nicely in their roles. Played by James McAvoy, Jessica Chastain, Bill Hader, Isaiah Mustafa, Jay Ryan, James Ransone, and Andy Bear, they all perfectly pick up where their child counterparts left off last time. McAvoy and Chastain are clearly the leads here and their portrayals of both Bill and Beverly feel right. Like their friends, there’s clearly a lot of unresolved trauma from their younger years that they try and reckon with. Bill Skarsgård returns as Pennywise the Dancing Clown, and still has all of his swagger and terror intact. When he isn’t acting like a terryfing interdimensional being, he’s condescending the Losers or anyone else in his path for their fears. His contorted body movement and deeply unsettling clown voice are also back, and are even given more context when we learn a little bit about his potential backstory. But the real star, as you may have heard, is undoubtedly Bill Hader as the loud-mouthed Richie Tozier. Carrying all of the comedic and dramatic heft from his turn on HBO’s Barry, he is extremely convincing as a man confronting the anxieties he had as a child and are still carrying as an adult. He delivers some of the film’s funniest lines, but as we learn more about him, it’s clear he uses them as a way to shield off deep insecurities and shame. And from a technical point of view, It: Chapter Two continues the streak from the previous film, if not quite as refined. Checco Varese’s cinematography isn’t quite as atmospheric or memorable as Chung Chung-hoon, but it still captures the unique world of Derry. Big wide shots and slow tracking shots help to establish the scope of the story and try to instill a sense of dread and uncertainty in the Losers. In general, the visual palette is intentionally dull to show the dreary and unhappy state of the character’s adult lives. The color red is especially highlighted, whether it be a scene filled with blood or highlighting the red balloons signifying Pennywise’s presence. On the other hand, Jason Ballantine’s editing job somewhat reflects the convoluted nature of the film as a whole. The film often cuts back between the present day and when the Losers were still children, which hampers down the pacing and makes some scenes feel repetitive. The film tries its best to cut enough to keep tension alive in several scenes, with varying degrees of success. The cut between Steadicam shots and low-angle Dutch shots adds a feeling of paranoia and fear necessary. Benjamin Wallfisch returns to provide the instrumental score, and while it’s more of the same it’s still welcome. Several of the leitmotifs used from the first film are brought back and some of them are still quite effective. The use of flutes and piano help create a sense of twisted nostalgia as the Losers reckon with their past and present demons. Yes, some parts are classic strings building up to a big jumpscare, but that’s thankfully not all it has. Some tracks are surprisingly emotional, utilizing subtle strings and guitar riffs to recall the group’s unbreakable bond as kids now tested as grown-ups. Proving that bigger doesn’t necessarily always mean better, It: Chapter Two is a messy and rambling wrap-up made gratifying by its supreme cast. While it frequently stumbles to get to the finish line and feels heavily weighed down in the second act, Andy Muschietti still gives fans an entertaining closing chapter to this Stephen King adaptation. Getting to see all of the actors, particularly Bill Hader and James Ransone, stretch their muscles from funny to terrified to emotionally disturbed is also a treat and is easily the best thing it has going for it. It’s overlong, bloated, and often feels repetitive but compared to most studio horror sequels, it’s quite entertaining and rewarding. Sometimes, that’s all you can ask of a horror film.

“Ad Astra” Movie Review

Of all the depictions of mankind’s future in the stars on the silver screen, this one might be one of the most grounded in plausibility. There’s no telling what exactly the future holds for us and to see this particular sort of portrait is fascinating. This large-scaled science-fiction drama premiere in the Official Competition at the 76th Venice International Film Festival. Aglow with positive reviews from critics, it was released in theaters by Disney under the 20th Century Fox banner on September 20th, 2019. From its opening weekend, it has thus far grossed over $120.1 million against an estimated budget of around $87 million. The studio is reportedly watching its performance closely for future analysis, though the star and director don’t seem to care as much. Directed by James Gray, the filmmaker spent the better part of a decade working on the project with co-writer Ethan Gross. His stated goal was to create the most realistic depiction of space in the history of film, especially of how hostile it is to humans. While many comparisons have obviously been made to the film Apocalypse Now and its novel inspiration Heart of Darkness, it’s also believed to stem from Gray’s complicated experience as a father. Originally scheduled to be ready in time for this year’s Cannes Film Festival, the film was repeatedly pushed back to accommodate time for the complex visual effects and for new distributor Disney to figure out the marketing campaign. Set in the near future, Brad Pitt produces and stars as Major Roy McBride, a space engineer and astronaut. After a series of power surges through the Solar System cause the deaths of thousands, the higher ups at Space Command believe it to be the work of his father H. Clifford McBride, played by Tommy Lee Jones. Clifford had disappeared 16 years prior on the Lima Project, a deep space mission that was meant to find signs of intelligent life in the farthest reaches of the Solar System. Believed to have lost his mind and hiding out near Neptune, Roy is assigned to go out and try and communicate with him, unraveling dark secrets about the mission in the process. I had been looking forward to this movie from the minute it had been announced a couple years back. I’m a fan of James Gray because I think he brings a certain classical touch to popular genres, like he did with The Lost City of Z and We Own the Night. Not to mention, this might be the biggest-scale project Brad Pitt has ever been a part of, which is really saying something. Hearing tale that this was more akin to Apocalypse Now in space rather than something like The Martian was extremely enticing. And plus, I will always support original big budget sci-fi movies in theaters because they’re becoming increasingly rare and in need of more attention. Such is the case with Ad Astra because it is simply one of the best films of the year and one hell of a breath of fresh air for science-fiction. While its yesteryear influences do feel clear in some respects, this film feels so adept to modern times. Some people have said that this is a feature-length advertisement for the proposed “Space Force,” but it’s far more abstract than that. Many people still cling to the idea that space really is the final frontier and while it may hold the future to someone like Elon Musk, to everyone else it’s simply a vast, cold, and empty void. What makes Ad Astra so amazing is that it addresses this hostility but keeps the hope of interpersonal connections at the forefront of its mind. Part of the reason Roy and Clifford love space so much is because it gives them an opportunity to get away from their loved ones, to isolate and become one with the universe. But it becomes clear that they’re both missing out on what’s right in front of them the entire time, and that sort of humanism is both beautiful and sorely lacking in the genre as a whole. I honestly didn’t think that Brad Pitt could top Cliff Booth in Once Upon a Time in Hollywood, but he has proven me wrong once again. As Roy McBride, he’s so incredibly reserved and collected for much of the film always internalizing his own emotions and fears about everything. And he goes about this mission, long repressed feelings about his father and life begin to bubble to the surface, especially because he thinks that Space Command is hiding something. Ruth Negga is memorable as well as Helen Lantos, a human native to Mars that encounters Roy on his journey. Although she’s only there for a brief period of time, she proves to be vital in his task as she apparently harbors a unique connection with his family. Her ability to empathize with Roy on his struggles makes her rare among the other companions he finds on his mission, and she’s one of the few people to get through to him emotionally and psychologically. Donald Sutherland also gets a rare chance to shine as Colonel Pruitt, Roy’s first and most consistent companion on his journey. He provides much insight into Clifford’s character as he tries to reason that he is not the man Roy remembers him being. Even after The Hunger Games series, it’s nice to see the 84-year-old actor put in some genuine work in a genre film like this. The supporting cast features a host of different individuals who have varying impacts on Roy’s mission or personal life. These include John Ortiz and John Finn as high-ranking officials in Space Command, Donny Keshawarz as an assuming ship captain moving straight from the Moon to Mars, Liv Tyler as his estranged Earth-bound wife Eve, and Tommy Lee Jones as his mysterious father Clifford. Each one leaves a pretty good impression and while Jones certainly isn’t the star of the film, he has a powerful monologue late in the film where it becomes apparent the Lima Project has become all-encompassing. And from just a look at the technical aspects, Ad Astra is such a prestigious and polished film. Shot by Interstellar and Dunkirk DP Hoyte Van Hoytema, the cinematography is about as incredible as you’d expect from him. Beginning with a glorious pan shot to Earth, the transition between CGI and practical sets is nearly flawless. The realistic lighting and careful shots help to establish the unique atmosphere and futuristic world. These include Mars, which is engulfed in an orange-red haze, and the Moon, where everything is wide open and spread out. The editing job is a collaborative effort between John Axelrad and Lee Haugen, and it moves from scene to scene effortlessly. There’s an almost weightless quality to the pacing of this film, as each moment is cut together very smoothly and elegantly. It often switches from wide-angle or medium shots to Roy’s P.O.V. to help us get inside his headspace, whether it’s on the collapsing space antenna or when his escort is attacked by moon pirates. And what’s even better is that these scenes are almost entirely devoid of sound, which makes their impact even more sudden. Classically trained composer Max Richter gives us the instrumental score here, and it’s quite possibly my favorite of his for a feature film. The main track, while lacking a conventional melody, is a sweeping and memorable one filled with high and low strings. Other tracks throughout use a very similar method, and even throw in some old-school electronic sounds for good measure. It’s at once very melancholy and also hopeful, using the composer’s trademark minimalism to capture the emotional effects space has one person. The soundtrack also uses songs from various other composers to great effect, such as newcomer Lorne Balfe. The most notable one, though, is Nils Frahm, whose song “Says” plays near the climax of the film. The synth-heavy piece perfectly plays up the tension as everything our protagonist has worked towards comes to a stirring head. Bolstered by excellent thematic ideas and one of the best uses of voice-over in recent memory, Ad Astra has stunning cosmic visuals to match its deeply humanistic story. Quite possibly James Gray’s finest picture yet, and certainly one of his most accessible, this is the kind of science-fiction movie that studios don’t really make anymore. It features one of Brad Pitt’s greatest performances and a curious message about how maintaining interpersonal relationships is more important than finding any other form of life in the universe. And in a world that’s becoming increasingly distant and disconnected, that is the sort of oddly comforting optimism that should be appreciated more.

Ad Astra - Poster Gallery

“Citizen Kane” Movie Review

Oh yeah, we’re going there now. As part of my New Year’s resolution, I’ve finally decided to takcle what is widely considered to be the best film ever made. This historical drama premiered at the Palace Theatre on May 1st, 1941, before being released in other theaters on September 5th of that year. Although it did well in larger city venues, because of outside industry pressure, numerous theaters and rural areas refused to screen it. As a result, it failed to recoup its $839,727 budget during its theatrical run and faded from public mindset despite good critical reviews. However, it was brought back to attention after it was praised by such people as Roger Ebert and André Bazin and ultimately got a re-evaluation in America starting in 1956. Since then, it has been held up as one of the greatest films of all time and has influenced countless filmmakers in the generations afterward. Directed by Orson Welles, the film was his first time working on a feature film after an extensive history with Broadway and the infamous radio show War of the Worlds. While he was only 25 at the time, RKO Pictures signed him to an unprecedented deal which gave him immense freedom, including final cut and using his own cast and crew. The screenplay is largely attributed to co-writer Herman J. Mankiewicz, but the true extent of Welles’ contribution to it has been fiercely disputed by many, including critic Pauline Kael. Although the true source has been debated, it’s universally believed that publisher William Randolph Hearst served as the inspiration for the title character, who consequentially did everything in his power to destroy or discredit the film. By now, you probably know the general story: Welles stars as Charles Foster Kane, a notorious newspaper business tycoon who has amassed one of the biggest fortunes in the world. At the very beginning of the film, he dies alone in his Xanadu mansion of old age, only uttering the cryptic word “Rosebud.” Soon after, newsreel journalist Jerry Thompson, played by William Alland, sets off on an investigation to figure out the word’s real meaning. As he interviews various people from Kane’s life and reads confidential files, we the audience get to see in flashbacks of the mogul’s rise to power and, ultimately, his loss of innocence. Last fall, Netflix’s finished cut of The Other Side of the Wind was the very first feature film by Orson Welles I had ever fully watched. His other works had always been on my radar, (Touch of Evil is still very high on my watchlist) but somehow his world-famous debut had always eluded me. Until now, that is. Whenever I sit down to watch a highly revered movie, I have a bit of reservation about its praise. And in this case, this is considered to be the best film ever, so I tried to distance myself from all of the hype to ensure I could watch it on my own terms. And I can personally attest that Citizen Kane is indeed worthy of all that acclaim that’s built up over the last 78 years. Before you immediately decide to write this film off as “overrated,” please just consider how it was made and how its reputation was built. It was plagued with production problems, dealt with a media mogul who went to extreme (And allegedly illegal) lengths to bury it before it even premiered, had Hollywood veterans skeptical of such a young man taking on an ambitious project, and still managed to completely change the game of cinema. Not just in terms of technical innovations but also how the storytelling challenged typical structure and plotting. By constantly moving back and forth in time, Citizen Kane becomes a tragedy as we witness a man completely indifferent to wealth become defined by it. The fact that it’s original title was The American is no accident, as the film seeks to indict the cost of power and fame at a time when unbridled capitalism was arguably at its peak. But no amount of witty quips or bad art he purchases can bring him any real sense of happiness or fulfillment. In his multihyphenate debut for a feature film, Orson Welles is nothing short of incredible as Charles Foster Kane. Although he starts out with a genuine desire to hold up freedom of the press, he gradually becomes more power hungry and surrounded by money he has no idea what to do with. When chided by his former mentor for his brand of newspaper journalism, he simply replies, “I have no idea how to run a newspaper, Mr. Thatcher, I just try whatever I can think of.” He’s able to believably portray Kane’s downward spiral from early adulthood into an old man in his twilight years. Ruth Warrick and Dorothy Comingore are equally great as Kane’s first and second wife, respectively. It’s clear that Kane sees them both more as an object of his affection, and like everything else in his life, he seeks to control their actions. This comes into conflict with both of them, and their failed marriages with him add layers to his decline in humanity and empathy. William Alland is also great as Jerry Thompson, the newsreel reporter trying to find more truth on “Rosebud”‘s meaning. Although his face is never fully shown to the audience, his soft voice and constant movement about the frame make him an intriguing and memorable character. It’s clear that he’s deeply fascinated by the life og the mogul and how it affected those around him. Welles brings his Mercury Theatre troupe to the silver screen in various supporting roles and bit parts. These include Joseph Cotten as Kane’s longtime friend and business partner, Ray Collins as his shrewd political rival, Paul Stewart as Kane’s ambivalent butler, Agnes Moorehead as Kane’s well-meaning but financially strained mother, George Coulouris as and Everett Sloane as a kindly employee at The Inquirer. Although none had any prior cinematic experience, their professionalism and commitment is so apparent in every scene. And from a purely technical perspective, Citizen Kane has so many innovations that deserve their own whole essays. Greg Tolland’s cinematography is steady and controlled, capturing everything it needs to in the frame. Easily the biggest breakthrough is the deep focus technique, where everything in the foreground is as visible as what’s in the background. It allows many small things to be captured in gorgeous ways. The movement and placement of the camera is also key, as we get to see many great long takes and a scene where the crew literally cut a whole in the floor to get a shot. This perfectly matches up with Robert Wise’s editing job, which found new and interesting ways to move between scenes. Whether it was a slow dissolve over new audio or vice versa, each moment carried seamlessly into the next one. Not only that, it used whip pans and subtle cuts to advance the timeline, especially during a scene depicting Kane’s crumbling first marriage. And the collapsible set created to pan from a neon sign down through a rainy window into a restaurant is one of the best transitions in any film. Frequent Alfred Hitchcock muse Bernard Hermann composed and conducted the instrumental film score. It’s a unique and wide-ranging one, mirroring the life of its titular protagonist. Some tracks utilize low brass and strings to emphasize the melancholy of his greedy decline in humanity. Others, particularly during scenes of his younger years, are more exuberant and exciting with big percussion and winds. It perfectly reflects his initial optimism for The Inquirer down to his lonely final years and culminates in a big final piece. The orchestral swell as the last shots reveal the truth of everything hits its impact very well. There are only a handful of films in history that can comfortably say they had a major impact on the film industry. And it’s perfectly understandable if some viewers are hesitant to watch it because it’s put so high up on the proverbial pedestal. But that shouldn’t deter you because it’s actually much more entertaining and engaging that some people believe; within the first 10 minutes, you’ll be hooked until the very end. Citizen Kane is an extremely important cinematic landmark that’s worthy of its loft reputation. At the age of 25, Orson Welles completely disrupted the idea of how movies were and should be made. Its influence can be seen nearly everywhere after being released, just to give you an idea of its impact. It has inspired generations of aspiring filmmakers and cinephiles over the decades, including yours truly. Not bad for a film that was nearly destroyed by the very man who inspired the protagonist.

“Once Upon a Time in Hollywood” Movie Review

If Tarantino is indeed serious about only making 10 movies and then retiring, I’m going to be genuinely upset. He still has so much to offer the world of cinema it would be a shame to see him leave all of a sudden. This historical comedy-drama competed for the Palme d’Or at the 72nd Cannes Film Festival, coinciding with the 25th anniversary of Pulp Fiction‘s premiere. It was later released in theaters worldwide by Sony and Columbia Pictures on July 26th, 2019, having previously been set for August 9th. Following impressive drawings from Thursday night previews, it managed to garner the biggest opening weekend for the director yet. It has thus far grossed over $239.8 million at the worldwide box office and has the potential to make so much more. Written and directed by Quentin Tarantino, the filmmaker initially spent 5 years writing the story as a novel before deciding that it was better fit for the big screen. After the horrifying allegations against his longtime producer Harvey Weinstein, he severed ties with him and The Weinstein Company permanently and shopped his script around to every major studio around. Eventually, Columbia got the rights after agreeing to several of the director’s demands, including final cut rights. In addition, the late Burt Reynolds was set for a small part in the film, but died before any of his scenes were shot; it’s also the last project featuring Luke Perry before his untimely death last March. Set in 1969 Los Angeles, Leonardo DiCaprio and Brad Pitt star as Rick Dalton and Cliff Booth, a faded Western T.V. star and his longtime stunt double. As the so-called Golden Age of Hollywood is coming to an end, the two of them are struggling to break it big into the film industry as it evolves. On their quest to remain relevant, they run into various real-life movie stars and celebrities, including Rick’s new next-door neighbor Sharon Tate, played by Margot Robbie. And while all of this is happening, cult leader Charles Manson and his “Family” began to gain notoriety in the city. This was easily my most anticipated movie of the year from the minute that it was announced for a number of reasons. For one, Tarantino is one of the few living filmmakers who I will watch anything that he creates. Not to mention the absolutely stacked ensemble cast he managed to put together and there is little reason for me not to get amped up for the director’s 9th feature. (Yes, Kill Bill counts as one movie) I was especially curious to see what the self-proclaimed cinephile had in his portrayal of the 1960s film industry he frequently homages in his movies. That it took place in 1969, by most accounts the year when everything changed in Hollywood for good, made it all the more fascinating, particularly when it was reported it would involved Manson Family. And it may not be perfect, but Once Upon a Time in Hollywood just about lives up to my lofty expectations. Nearly everything about this film feels like a genuine, violent, profane fairytale, which you wouldn’t expect from the writer-director. Through an extremely specific and detailed lense, we get to see a version of Hollywood stripped of any bitterness and cynicism, while still not idolizing the industry. This may be his most emotional and mature film yet, as we spend a lot of time with Rick, Cliff, and Sharon as they simply go about their daily lives. Many people have criticized the film for its treatment of Sharon Tate and how it addresses her real-life fate. (I won’t spoil it if you don’t know what happened) But to be honest, Once Upon a Time‘s unconventional way of showing this legend living her life in pure bliss, including watching herself in a theater screening of The Wrecking Crew, is wholly affectionate and deeply respectful. And if you are aware of the context of what went down, that’s ultimately when the fantasy of it all really stings. I’ve always wanted to see Brad Pitt and Leonardo DiCaprio collaborate on-screen together and this dream team-up couldn’t have been more perfect. The duo imbue Rick and Cliff with little quirks and traits that make them more human and their friendship more palpable. Whereas Rick is deeply insecure about his future prospects of being a movie star and spends a fair amount of screen time drinking or smoking his problems away, Cliff is always calm and collected and could break every bone in your body without losing composure. Seeing the contrast in these two’s position in Hollywood was extremely enticing and watchable, and the movie is almost always at its best when they’re together. Margot Robbie also leaves a major impression as Sharon Tate, at the time one of the biggest and most beloved movie stars in the industry. Although she has relatively few lines of dialogue and maybe a third of screen time compared to the two male leads, her name and legacy loom heavily over the narrative. It’s particularly during the second act when she shines, getting to walk through downtown L.A. on a free-spirited adventure. Alongside these three is one of the most sprawling ensemble casts I’ve ever seen for a feature. These include *DEEP BREATH* Al Pacino, Kurt Russell, Bruce Dern, Dakota Fanning, Damian Lewis, Emile Hirsch, Nicholas Hammond, Luke Perry, Timothy Olyphant, Margaret Qualley, Austin Butler, Damon Herriman, Lena Dunham, Lorenza Izzo, Rebecca Gayheart, Spencer Garret, Mikey Madison, and Mike Moh as Bruce Lee in a controversial yet highly entertaining scene. All of these actors float in and out of the story depending on the weight of the scene, leaving big impressions throughout. The big scene-stealer, though, is surprisingly the child actress Julia Butters as Trudi, whom Rick meets on a Western T.V. set. She’s only around for a couple of scenes, but she more than holds her own against DiCaprio when the two have a philosophical debate about the profession of acting. I can’t wait to see what else she does in the future. And from a purely technical perspective, Once Upon a Time in Hollywood sees Tarantino gaining an even stronger grip on his voice. With regular cinematographer Robert Richardson, the city of Los Angeles is captured in glorious anamorphic 35mm. Multiple streets were converted into looking like their 1969 counterparts, which lends to a heavy dose of authenticity. There are a number of impressive longshots and static moments where the camera’s fixated on one thing. These include when the two protagonists are watching an episode of The F.B.I. where Dalton guest stars and commentating on it, while the camera remains on the T.V. screen for most of the scene. Careful zooms and slow 360-turns throughout also help reveal a character’s state of mind in certain scenarios. The director’s third movie to be edited by Fred Raskins, at first the pacing is quite deliberate and slow but soon gains momentum. One of the best things in the film is how it cuts back and forth between Rick’s luxurious house on Ceilo Drive and Cliff’s humble trailer home behind a drive-in theater. This creates a really interesting dichotomy between their status in the industry and really says a lot on how stuntmen and stuntwomen are treated. It also does something interesting in digitally editing Rick Dalton into various films and shows from the era, such as The Great Escape and Death on the Run. Although far from a brand new technique, it helps to further contextualize Rick’s success (Or lack thereof) in Hollywood. With amazing performances inhabiting fantastically written characters and a surprisingly affectionate tone, Once Upon a Time in Hollywood is an intricate and wonderfully told fairytale about one’s legacy and permanence. If this is truly his penultimate feature, then Quentin Tarantino is still on the right path in terms of filmmaking choices and maintaining a hot streak. Although its pacing could definitely be better, it’s hard not to admire the ambition and extreme attention to detail in its recreation of Los Angeles. And once you strip away all of the fantastic dialogue and rich acting, it’s truly melancholy looking at what could have been in real life. A happily ever after that never came to be.

“Inglourious Basterds” Movie Review

There might not be any action in modern world history more fundamentally American than killing or humiliating Nazis. If only our own current leadership could realize this. This unconventional war movie initially competed for the Palme d’Or at the 2009 Cannes Film Festival. Although it didn’t win the big prize, one of the breakout stars won the Best Actor award, as well as a BAFTA and Academy Award later on in awards season. It was released in theaters by The Weinstein Company on August 21st, 2009, having been released the previous day in Germany. It managed to earn over $321.5 million at the worldwide box office against a budget of $70 million, making it the director’s highest-grossing movie at that point. It was also a critical smash, taking home numerous accolades that included 8 Academy Award nominations. Written and directed by Quentin Tarantino, the auteur had spent just over a decade writing the screenplay, at one point producing three completed scripts. It was so big that he briefly flirted with the idea of making it into a miniseries, ultimately trimming it down after finishing his Kill Bill duology. The director’s longtime distributor, The Weinstein Company, heavily accelerated production in hopes of making it to Cannes on time, and was the last collaboration between Tarantino and producer Lawrence Bender. The title is a deliberate misspelling of director Enzo G. Castellari’s 1978 film Inglorious Bastards, who also makes a cameo as an S.S. officer. Set during World War II, the story follows a young Jewish French woman named Shoshanna Dreyfus, played by Mélanie Laurent, who seeks revenge against the Nazi regime for the murder of her family. At the same time, a group of Jewish-American soldiers led by Aldo “The Apache” Raine, played by Brad Pitt, slowly carve a path of resistance behind enemy lines. Both parties are under the suspicion of S.S. Colonel Hans Landa, played by Christoph Waltz, a notorious officer with the given nickname “The Jew Hunter.” All of their paths eventually culminate in a film premiere for a Paris theater where many important Germans are attending. At the risk of bias, I’ll admit to having a bit of a personal connection to this movie because it was the first Tarantino film I ever watched. I was fairly young when I first saw it, and had heard that, at least compared to the director’s other films, it was pretty tame. And now, with the lone exception of 2007’s Death Proof, I’ve watched all of his films at least once. Most filmmakers at some point in their career feel like they have a World War II film inside that they want to make. And how would Quentin Tarantino, the same man who made people laugh when a young man was accidentally shot in the face, manage to tackle one of the most extensively covered periods in cinema history? The answer is Inglourious Basterds, a glorious and immensely satisfying film with tons of rewatch factors. Let’s just start by completely throwing out any discussions about historical accuracy because this movie clearly isn’t interested in holding to that. Instead, like most of his oeuvre, this film acts as an extensive homage to classic and foreign cinema and an examination of violence. While not as gratuitous as some of his other films, such as Django Unchained, it still uses shock factor to highlight the regular death toll in a war. This being a Tarantino joint, it’s also, of course, an homage to the medium of film in unexpected ways. As much of the story revolves around a Paris movie theater, we get to see how celluloid is developed and put into a projector for screenings. For aspiring filmmakers and devoted cinephiles such as myself, this is a wonderful thing to watch and makes me excited to see it further explored in Once Upon a Time in Hollywood. Brad Pitt has worked with a number of great directors to great results, and his turn as Aldo Raine is easily one of his most memorable roles. With a thick Tennessee accent and an affinity for large knives, he has a swaggering personality and forceful nature that makes him a natural leader. When rousing up his troops, he enthusiastically tells them, “Nazis ain’t got no humanity. They’re the foot soldiers of a Jew-hating, mass murdering maniac and they need to destroyed.” A newcomer to the States at the time, Mélanie Laurent also proves a leading lady to be reckoned with as Shoshanna. One of the strongest women Tarantino has created, it is very clear that she will stop at nothing to take revenge on the Nazis for what they did to her family, and internalizes much of her trauma and anger. August Diehl, Daniel Brühl, Alexander Fehling, Sylvester Groth, Léa Seydoux, and Denis Ménochet shine as locals under the French regime while B.J. Novak, Mike Myers, Michael Fassbender, Eli Roth, and Diane Kruger do well as Allied members. But of course, the true standout of the movie is Christoph Waltz in his show-stopping performance as Colonel Hans Landa. The director has frequently called Landa the greatest character he’s ever written, and Waltz plays into it beautifully with tons of charm and bravado covering his truly terrifying nature. In nearly every scene he’s in, he remains in total control of the situation, gleefully manipulating his subjects while never revealing all his cards. To me, there’s no villain more intimidating than that, which is why he is one of the most memorable of the last decade. And from a technical perspective, Inglourious Basterds shows Tarantino further developing his craft and voice. With his regular cinematographer Robert Richardson, the camera is precise and deliberate as always. Many of the character interactions are captured in gorgeous medium shots and the camera often remains in one place during a scene, zooming in or panning when necessary. Numerous colors pop out in the frame, including red for blood and the Nazi flag, and black for the uniforms. There are some pretty evocative shots that reference Western and war films of the past, such a John Ford-esque shot of an open doorway. This was the last film by the director to be edited by longtime collaborator Sally Menke, who died not long after its release. With her skill, every scene is perfectly cut together and the transition between segments or “chapters” of the story feels organic. One standout Mexican standoff in a basement is expertly made, because a LOT happens in a short amount of time and we’re still able to follow the chaos. As with most of his films, there is no original score for the film. Instead, the director uses various pre-existing tracks to help create the mood. Although he wanted Ennio Morricone to compose the soundtrack, he did end up using 8 tracks of his from other films. This helps to establish the tone of a Spaghetti Western in Nazi-occupied France. There’s also an excellent montage later in the film featuring the song “Cat People” by David Bowie, which works splendidly. Inglourious Basterds is a cleverly written and fantastically performed slice of alternative history. I can confidently say that this is Quentin Tarantino’s second-best film, and definitely one of his most rewatchable ones. As always, he breaks the traditional rules for filmmaking, and it’s all the better for it; a World War II film where a beefy 70% of the dialogue is spoken in French and German. Very few other American filmmakers would attempt something like that, and that’s what I love most about him.

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“Apollo 13” Movie Review

Yeah, I know it’s not really the appropriate month, but this coming July 20th will mark the 50th anniversary of the Apollo 11 Moon Landing. And I thought it would be extremely appropriate to revisit one of the earliest films about astronauts. This space-centric historical docudrama was originally released in theaters on June 30th, 1995. Made for the budget of $52 million, it went on to gross over $355 million at the worldwide box office and brought in a little more when it was re-released in IMAX in 2002. It also garnered some of the best reviews from that year and was nominated for 9 Academy Awards, including Best Picture. It ultimately won two in technical categories and scored numerous victories elsewhere. Directed by Ron Howard, the film is adapted from the nonfiction book Lost Moon: The Perilous Voyage of Apollo 13 by Jim Lovell and Jeffrey Kluger, which had been optioned by several studios. After Universal Pictures got their hands on the rights, the dense script by William Broyles Jr. and Al Reinert had been overhauled as the film was entering production. Many interior sets were built from the ground up, but NASA did allow them to use certain tools for accuracy, such as a reduced-gravity aircraft. Set in 1970, the true-story drama takes place at the height of the Space Race during the Cold War. Following the incredible success of the Apollo 11 Moon Landing, astronauts Jim Lovell, Jack Swigert, and Fred Haise- played by Tom Hanks, Kevin Bacon, and Bill Paxton, respectively -are assigned to helm the third official trip to the Moon. However, 3 days into the mission, a small technical failure causes an onboard explosion which deprives the ship of most of its electrical power and oxygen supply. Reduced to a lifeboat, the trio of astronauts and the NASA members back on Earth abort the mission and scramble to find ways to get the men back home safely. Let me get this out there so that there isn’t any confusion: I fully believe that the 1969 Moon Landing and all other lunar-based missions were 100% real. I have no interest in the idea that Stanley Kubrick filmed it or if the CIA staged the whole thing or any other conspiracy theories about it being fake. I don’t usually like to get on a soapbox for my reviews, but I just needed that to be known, especially when we’re so close to the anniversary of such a historical human achievement. In any case, I’ve always been fond of movies centered around astronauts, whether they’re laced with science-fiction like Interstellar or recounting history like last year’s First Man. Many of those films partially owe their success and existence to this Ron Howard film, and for good reason. Because Apollo 13 still holds up tremendously well all these years later and leaves me on the edge of my seat the whole time. This movie has been one I’ve seen multiple times at different ages or points in my life. As a child, I was in total awe of the tense adventure and visual effects. Now, as a fully-grown adult, I can understand the very real potential for the human cost this mission caused. Every time I watch it, I appreciate the people at NASA even more for their hard work and commitment to these missions. And while Apollo 13 may not be the most historically accurate film ever made, it does a fantastic job at illustrating that teamwork. Whether you know how the story ends or not, it’s hard not to be drawn into the drama of it all. With a laundry list of incredible roles, it’s kind of odd that his performance here is relatively underrated. He’s great as Jim Lovell, the level-headed leader of the team who’s not only concerned for his crew but also wanting to get back to his family. When the big explosion happens onboard, he utters the famous words, “Houston, we have a problem.” His crewmates Jack and Fred are played by Kevin Bacon and the late Bill Paxton, respectively. Although they have different personalities, it’s clear that their combined expertise will be the only thing that might help them get through the situation alive. The three of them bounce off of each other beautifully as the likelihood of their survival gets les and less certain and they begin pointing fingers at one another. Back on Earth, Ed Harris turns in an Oscar-nominated turn as Gene Kranz, the team’s Flight Director. Although we don’t really get to see his interior life, he absolutely refuses to give up on the Apollo crew no matter what the public or his NASA superiors may think. His dialogue is delivered with the authority of an Aaron Sorkin script, which is probably one of the highest compliments I could give to him. The rest of the cast on Earth does a great job at propelling the human drama and intensity of the task at hand. These include Kathleen Quinlan as Lovell’s optimistic yet concerned wife, Gary Sinise as the deposed original member of Apollo 13’s crew, Joe Spano as the NASA director worried about public perception, Bret Cullen as a Capsule Communicator, and Xander Berkeley as the bumbling yet well-intentioned member of the Office of Public Affairs. Each of them manages to elevate the 2-hour and 20-minute runtime with humanity, even if not all of them get full characterization. Meanwhile, the technical aspects of Apollo 13 show Ron Howard in full command behind the camera. Dean Cundey’s widescreen cinematography captures everything in the mission with exquisite detail. Considering that there are no archival shots from the actual ship in the film, that’s especially impressive. The practical sets make the film feel more authentic, particularly a couple of shots that simply drift through the spacecraft and show the crew. While most other shots throughout the film are static, they work for establishing the enormity of NASA’s hopes and dreams for the future. And the Oscar-winning editing job by Daniel P. Handley and Michael Hill is truly remarkable. Whenever something big is happening, it constantly cuts back between the three men onboard the ship and the people at Mission Control. Not only that, but it doesn’t forget to cut back to scenes with Lovell and Haise’s families, as a way to illustrate the potential cost if this mission doesn’t end well. If this weren’t edited as well as it is, the movie would lose all of its intensity and grip on viewers. The late great James Horner composes and conducts the instrumental film score, which can only be described as Aaron Copland in cinematic form. The use of snare drums is extremely present in many of the tracks as if to keep the intensity of the situation constant. Much like Copland, there’s a prevalent amount of strings and horns throughout the soundtrack, a sound of patriotic optimism in the face of great obstacles. It also makes occasional use of heavenly choruses as a way to capture the absolute God-like nature of the mission. It’s films like this that honestly make me wonder why we ever stopped going into space decades ago. For better and worse, it really is going to be the final frontier for mankind and abandoning it just seems foolish. We’re now wiser and more experienced thanks to the dedication of the people in this film and I think we ought to use it for exploration. Apollo 13 is a gripping and masterful thriller about perseverance and teamwork in the direst of circumstances. Ron Howard’s classic historical drama feels like the type of film that never gets made anymore, and I mean that in the best possible way. Without the needless emotional manipulation, we’re able to get straight to the point; a grand story about one of the greatest rescue-and-recover missions ever attempted.

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“The Lion King” Movie Review

Okay, yes, I am writing a review for this movie because of the impending “live-action” remake next month. However, it also turns out that this movie is celebrating its 25th anniversary this month. This beloved animated musical was originally released in theaters on June 15th, 1994, to overwhelming success. In its initial run, it managed to gross over $766 million at the worldwide box office, making it the most successful film of that year. It was later re-released in 3D in 2011, which brought its total intake to around $968 million. In addition, it remains the best-selling film of all time on home video and the highest-grossing film made from traditional animation. Co-directed by Roger Allers and Rob Minkoff, the story was first conceived in 1988 while Jeffrey Katzenberg and Roy E. Disney were in Europe promoting Oliver and Company. With no less than 17 people credited for the story, original director and producer George Scribner and Thomas Schumacher left the project after constantly clashing visions with Disney. Their departure led to the story being greatly rewritten and reimagined as a musical. Although William Shakespeare’s Hamlet was a big inspiration for the story, it’s also worth noting that this was the first animated film under the Mouse House to be an entirely original property with no pre-existing source material. The classic story follows a young lion named Simba, voiced by Matthew Broderick, who’s destined to rule as King of the Pride Lands in Africa. After his father Mufasa is murdered by Simba’s paternal uncle Scar, he is manipulated and shamed into thinking that the death was his fault and runs away. Years later, Simba is all grownup, living with meerkat Timon and warthog Pumbaa, voiced by Nathan Lane and Ernie Sabella, and is completely divorced from any sort of responsibility. But when he gets word of the horrible conditions under Scar’s tyranny, he must rise up to the challenge and reclaim his rightful place as King. This is a film that has been ingratiated into the minds of so many childhoods over the last two-and-a-half decades. If you grew up in the late 1990’s or early 2000’s, there is virtually no way that this movie wasn’t involved in your life. It’s very hard for me to remember a time in my early childhood when it wasn’t around; it just seemed like the movie was always being played in the house. All of that nostalgia initially had me a little hesitant to review the movie now as a fully grown adult. I was worried that it would cloud my judgement on seeing the film purely for its own merits; or worse, that it wouldn’t hold up as well as I remember it. And yet, even without any childhood bias, I can still confidently say that The Lion King is still the peak of the so-called Disney Renaissance. For those who don’t know, the Disney Renaissance was a period of time in which Walt Disney Animation Studios churned out one high-quality movie after another. Other films released during this time included Aladdin, Tarzan, Mulan, and The Little Mermaid, all of which allowed the studio to further establish its worldwide brand. And even since its conclusion, fans such as myself have constantly debated over which one was the best of the all. For me, as you may or not have figured out, it’s no competition; this film contains everything those other films had and more. Memorable musical numbers, awesome characters, fantastic animation, a great sense of humor and heart. If there’s a certain criteria you have for a capital “G” Great animated feature, The Lion King probably has all of it. Matthew Broderick may be best known for Ferris Bueller in the titular movie, but there’s a lot to like about him as Simba. While probably not the most nuanced or complex protagonist in the studio’s arsenal, his struggle to step up and take on a tremendous task is something nearly all viewers can relate to. Also, James Earl Jones is fantastic as Mufasa, Simba’s wise and stern father. A completely different father figure from his turn as Darth Vader, his deep voice resonates with audiences of any age with many sage monologues filled with wisdom. Jeremy Irons also impresses as the voice of Scar, hands down one of the best animated villains ever, Disney or otherwise. His regal voice is one that is built for chewing the scenery and the way his character’s movements are animated makes it seem like he’s acting it out in the recording booth. And of course, we have Nathan Lane and Ernie Sabella as Timon and Pumbaa, Simba’s laidback mentors. The comedic timing and slight immaturity in their voices sounds completely naturalistic in their hands, and their timeless number, “Hakuna Matata,” is one for the ages. Moira Kelly, Robert Guillaume, Madge Sinclair, Whoopi Goldberg, and Rowan Atkinson all provide their voices for various supporting roles. It’s quite hard to point out a real weak link in the cast here, as they all contribute something memorable. It’ll be interesting how the new version changes these characters, if at all. And as with most other films of its period, The Lion King still stands as a technical marvel in the genre. Like some of its peers, there are a handful of shots that seem to blend traditional animation with then-burgeoning CGI. And despite being released in 1994, this mixture is not obvious; quite the opposite. It makes for some truly cinematic shots in iconic scenes, such as the heart-stopping stampede scene relatively early on in the film. And even when it’s just purely traditional animation, it’s absolutely gorgeous. The use of colors like orange, yellow, and red is ingenious in creating the atmosphere for the Pride Lands. It helps to deepen the character of the setting and define the characters’ personalities. Every time I watch it, the visuals always pop out, right from the opening shot of the sunrise on the horizon. Hans Zimmer won an Oscar for a reason because his original score here is a true classic of cinema. The soundtrack is just as epic and exciting as the story, utilizing a wide range of instruments and vocals for different tracks. Whether it’s an exciting bit where characters are being chased by the hyenas or a moment where Simba realizes his destiny, Zimmer knows what to do. It goes from being filled with rapid percussion and strings to haunting vocals in an instant and somehow still feels organic. In addition, musician Elton John and lyricist Tim Rice composed several original songs together, many of which have earned a spot in the annals of Disney history. Whether it’s the attention-grabbing, nostalgia-inducing opening number “The Circle of Life” or the Oscar-winning ballad “Can You Feel the Love Tonight?,” those two really know how to play it right. But who are we kidding? The best one is obviously the villain song, “Be Prepared,” in which Scar lavishly talks about his planned coup for the throne. There’s honestly WAY more that I could say about this film. About how it essentially defined a whole generation, how nearly every family had it playing in the house at some point growing up, and son on and so forth. But I have a feeling that everyone reading this already knows that and so, I’m gonna leave it off here. The Lion King remains the undisputed chief of traditional animation and the king of Disney proper. Even with a lean runtime of 88 minutes, there’s so much packed into this film that’s literally impossible to not fall in love with every viewing. I have limited expectations for Jon Favreau’s reimagining next month, but we’ll always have the original. If you ask me, this film was, is, and probably always will be the absolute pinnacle of animated cinema.

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