Category Archives: Movies

“Mute” Movie Review

Chasing your dream project for years on end can typically be a respectable endeavor. But when they result in something like this, maybe it wasn’t the best idea. This poorly conceived cyberpunk dystopian sci-fi drama was released by Netflix on February 23rd, 2018. Although its actual budget remains unknown at the moment, the film received a wave of negative reviews from critics. Written and directed by Duncan Jones, the same man behind Moon, Source Code, and (Unfortunately) Warcraft, the film is purported to be a passion project of his, with the earliest draft being written back in the 2000’s. Jones himself has described it as a spiritual sequel to Moon, and there’s even a scene with Sam Rockwell cameoing in his previous role. Set in a futuristic version of the city of Berlin, Alexander Skarsgård stars as a mute Amish bartender named Leo who struggles to stay in touch with the technological world around him. After a fateful night, his girlfriend Naadirah, who works at the same club as him, vanishes without a trace. As she is the only person who truly communicates with him, Leo follows a series of clues in Berlin that ropes him into a world of prostitutes, black market dealers, and two American army surgeons who seem to be the center of it all. To be upfront here, unlike many other critics that have reviewed this film, I have not seen any of Jones’ previous works. I do plan on watching Moon and Source Code soon, but Warcraft is one I’ve been hesitant on. Seeing all the bad press that that video game adaptation received, one would hope that he would be able to bounce back from it. And for a long while, this Netflix Original was one of my most anticipated movies of 2018. Even after reading some of the negative reviews, I figured this movie couldn’t possibly so terrible and unwatchable, right? Well… it’s pretty bad, guys. It’s also a damn tragedy for me to say this because Duncan Jones tried to get it off the ground for several years. The son of the late David Bowie (Who’s given a heartfelt tribute in the end credits) promoted it heavily on social media, sharing set photos and concept art almost daily. And that’s all great and dandy. Anyone who wants to make a lifelong passion project and share it with the world has already got my vote. Moreso than that, I always support anyone who wants to make an original science-fiction movie on a big studio budget. Netflix marketed this as their next big blockbuster, much like last year’s Bright. Also, like Bright, Mute fails at being either compelling or intriguing. Skarsgård has impressed me in past films with his performances, but something with Leo just felt off. I know it’s incredibly hard to act without any words, and he does a good job in some scenes, but most of the time he feels annoying and stupid. And that entire thread of him being an Amish man just feels tacked on. His girlfriend, Seyneb Saleh, isn’t any better and spends her spare moments whining and begging for a man. Ant-Man himself Paul Rudd is by far the best performer in the entire film as Cactus Bill, one of the American surgeons. Though his demeanor is uneven and acts like a conceded jerk, he clearly looks like he’s having the time of his life and is (mostly) able to power through the clunky dialogue. His best friend, played by Justin Theroux… is a pedophile. That’s not an exaggeration; Theroux’s character has a sexual attraction to young children in this movie. Admittedly, he does a fine job at being creepy and uncomfortable but the fact that it is played off like some sort of joke is wrong and honestly gross. As far as the technical aspects go, Mute doesn’t have too much going on that separates it from the cyberpunk noir genre. From the neon-soaked streets of night-time Berlin to the filthy interior buildings, the production designers try really hard to be like Blade Runner, a movie that will, unfortunately, get many comparisons to. The cinematography by Gary Shaw often opts for long wide shots, especially for some of the action sequences. Though it does provide a sense of character for the setting, showing as much of the world as possible without being too disorienting. Surprisingly, there’s a sparse amount of CGI used to create this futuristic setting, mostly relying on practical sets and oddball costumes to bring it to life. It definitely adds up to a grimy, lived-in feeling that it’s unfortunately unable to rise out of. Clint Mansell, one of the most versatile composers in the industry, gives us the musical score for this film. Taken as a whole, it’s exactly what you’d expect from a picture like this. The vast majority of the tracks consist heavily of synthesized beats and melodies, some of which seemingly go on indefinitely. On occasion, a new bit of percussion or strings were come in and reach for sentimentality in the story. Although that aspect failed, the soundtrack itself is actually pretty good to listen to and helps establish the somber tone of this world. But the film overall is wildly uneven in both pacing and tone. The first half is a slog to get through and even though it admittedly goes out on a high note, it would be perfectly reasonable if you turned it off by then. And the film seems unsure of whether it wants to be an all-in sci-fi extravaganza or a contemplative noir drama. Mute is a visually appealing busfire devoid of charm or pleasant characters. I could see why some people actually like Warcraft, but I have a hard time seeing anyone enjoying this Netflix Original. It makes me temper my expectations for all of their future content. And the saddest part of all is that, at the end of the day, Duncan Jones has nobody but himself to blame for this.

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My Final Oscar Predictions

The 90th Academy Awards ceremony is nigh upon us and now every cinephile around the Internet are putting in their last predictions for the winners and losers. This is the first year that I’ve done this, as previous years have had me bogged down by busy work and unavailability for some of the nominees. However, I’ve seen more of the Oscar hopefuls this year than I thought, possibly because the race has been seriously unpredictable. After last year’s unprecedented Best Picture debacle, there’s no clear frontrunner for the biggest prize. That being said I would like to throw in some of my own predictions about what will, could, and should win in each major category. I also wanted to include some films or players whom I feel were snubbed and deserved some recognition. No matter what, we’ll all have the same answers on Sunday, March 4th.

Best Picture

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Will Win: The Shape of Water

Could Win: Get Out

Should Win: Dunkirk

Should Have Been Nominated: Mudbound


Best Director

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Will Win: Guillermo del Toro for The Shape of Water

Could Win: Christopher Nolan for Dunkirk

Should Win: Christopher Nolan for Dunkirk

Should Have Been Nominated: Denis Villeneuve for Blade Runner 2049


Best Actor

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Will Win: Gary Oldman in Darkest Hour

Could Win: Timothee Chalamet in Call Me By Your Name

Should Win: Gary Oldman in Darkest Hour

Should Have Been Nominated: Hugh Jackman in Logan


Best Actress

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Will Win: Frances McDormand in Three Billboards Outside Ebbing, Missouri

Could Win: Sally Hawkins in The Shape of Water

Should Win: Frances McDormand in Three Billboards Outside Ebbing, Missouri

Should Have Been Nominated: Carla Gugino in Gerald’s Game


Best Supporting Actor

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Will Win: Sam Rockwell in Three Billboards Outside Ebbing, Missouri

Could Win: Willem Dafoe in The Florida Project

Should Win: Sam Rockwell in Three Billboards Outside Ebbing, Missouri

Should Have Been Nominated: Gil Birmingham in Wind River


Best Supporting Actress

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Will Win: Laurie Metcalf in Lady Bird

Could Win: Allison Janney in I, Tonya

Should Win: Laurie Metcalf in Lady Bird

Should Have Been Nominated: Holly Hunter in The Big Sick


Best Original Screenplay

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Will Win: Get Out

Could Win: Three Billboards Outside Ebbing, Missouri

Should Win: Get Out

Should Have Been Nominated: The Meyerowitz Stories (New and Selected)


Best Adapted Screenplay

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Will Win: Call Me By Your Name

Could Win: Mudbound

Should Win: Logan

Should Have Been Nominated: The Lost City of Z


Best Animated Feature Film

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Will Win: Coco

Could Win: Coco

Should Win: ONLY Coco

Should Have Been Nominated: The Lego Batman Movie


Best Foreign Language Film

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Will Win: A Fantastic Woman (Chile)

Could Win: Loveless (Russia)

Should Win: The Square (Sweden)

Should Have Been Nominated: First They Killed My Father (Cambodia)


Best Documentary- Feature

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Will Win: Last Man in Aleppo

Could Win: Strong Island

Should Win: Icarus

Should Have Been Nominated: Jane or City of Ghosts


Best Documentary- Short Subject

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Will Win: Edith & Eddie

Could Win: Traffic Stop

Should Win: Heroin(e)

Should Have Been Nominated: Long Shot


Best Live-Action Short Film

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Will Win: DeKalb Elementary 

Could Win: My Nephew Emmett

Should Win: DeKalb Elementary

Should Have Been Nominated: Auditorium 6


Best Animated Short Film

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Will Win: Lou

Could Win: Negative Space

Should Win: Revolting Rhymes

Should Have Been Nominated: In a Heartbeat


Best Original Score

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Will Win: The Shape of Water by Alexandre Desplat

Could Win: Dunkirk by Hans Zimmer

Should Win: The Shape of Water by Alexandre Desplat

Should Have Been Nominated: Good Time by Daniel Lopatin


Best Original Song

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Will Win: “Remember Me” from Coco

Could Win: “Mystery of Love” from Call Me By Your Name

Should Win: “Mystery of Love” from Call Me By Your Name

Should Have Been Nominated: “To Be Human” from Wonder Woman


Best Visual Effects

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Will Win: Blade Runner 2049

Could Win: War for the Planet of the Apes

Should Win: War for the Planet of the Apes

Should Have Been Nominated: Okja


Best Cinematography

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Will Win: Blade Runner 2049

Could Win: Dunkirk

Should Win: Blade Runner 2049

Should Have Been Nominated: The Lost City of Z


Best Costume Design

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Will Win: Phantom Thread

Could Win: Beauty and the Beast

Should Win: Phantom Thread

Should Have Been Nominated: Star Wars Episode VIII: The Last Jedi


Best Makeup and Hairstyle

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Will Win: Darkest Hour

Could Win: Wonder

Should Win: Darkest Hour

Should Have Been Nominated: The Shape of Water


Best Production Design

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Will Win: The Shape of Water

Could Win: Blade Runner 2049

Should Win: Blade Runner 2049

Should Have Been Nominated: The Post


Best Film Editing

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Will Win: Dunkirk

Could Win: Baby Driver

Should Win: Dunkirk

Should Have Been Nominated: Get Out


Best Sound Mixing

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Will Win: Dunkirk

Could Win: Baby Driver

Should Win: Dunkirk

Should Have Been Nominated: John Wick Chapter 2


Best Sound Editing

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Will Win: Dunkirk

Could Win: Baby Driver

Should Win: Dunkirk

Should Have Been Nominated: John Wick Chapter 2


How say you? What film do you believe should, could, or will win the top prize? Be sure to leave you thoughts in the Comments, and as always if you want to see more interesting content like the one on this list, be sure to like and Follow my blog.

“Phantom Thread” Movie Review

A feature-length advertisement for joining (Or not joining, depending on your interpretation) the fashion industry. That’s what this is essentially. The latest historical romantic drama from writer-director Paul Thomas Anderson saw a sneaky limited release in the United States on Christmas Day of 2017. It has received largely positive critical response, but has yet to recoup its $35 million budget at the box office, a common problem for Anderson’s films. Though many assumed that it was coming in too late to qualify for awards season, the film surprised the industry when it gained nominations for 6 Academy Awards. According to the director, the idea for the story came to him while he was incredibly sick in bed and became convinced his wife was trying to poison him. It’s also gained even more press in the last few months because Daniel Day-Lewis announced his retirement from acting and this would be his last performance. Set in post-World War II London circa the 1950’s, the story follows Reynolds Woodcock, played by Day-Lewis, an obsessive fashion designer for members of high society. Along with his sister Cyril, played by Lesley Manville, he spends all his time crafting beautiful haute couture dresses while managing his controlling personality. Then, he meets a young waitress named Alma, played by Vicky Krieps, whom he instantly falls in love with. Over the course of the next few months, their toxic relationship oscillates between hatred, forgiveness, distance, and passion. Okay, let’s make this clear from the get-go: Phantom Thread is an arthouse film through and through. That niche genre already has its own built-in audience that love challenging, “serious” cinema. They will be called “pretentious” by fans of more mainstream fare, who in turn will be accused of just wanting mindless consumption. Like it or not, that’s the situation and we have to deal with it. As a fan of some of Paul Thomas Anderson’s previous works, especially There Will Be Blood, I tried to approach his newest picture objectively. And while I’m pretty sure that I didn’t “get” it all, there’s still some elements of the movie that I do appreciate. Among the strongest elements is the surprising dose of dark humor present. One of the prevailing problems in some of PTA’s past films is that he spends so much time building an intricate, introspective plot that the rest of the movie suffocates in its emotion. Make no mistake, this film doesn’t have much room too breathe (Although it is noticeably shorter than PTA’s previous epics) and could leave a lot of audiences feeling cold. But this is the first time I think I’ve ever laughed out loud during one of his films, with the main trio dolling out wry wit in several instances. Sometimes, it was caused by a random outburst by the artist himself, others it was someone delivering a line of dialogue in an understated manner. Daniel Day-Lewis has given us many transcendent performances over his career and while his turn as Reynolds Woodcock isn’t his best, it’s clear to see why he chose it as his last. He plays an artist who takes his work extremely seriously, and his obsession with it fractures his relationship with everyone else around him. He’s a man who likes to have certain things in his life in exact spots like a chess board and loses it when something gets out of line. Vicky Krieps, meanwhile, does fine work as Alma. A lot of people will probably take issue with the fact that she stays with Reynolds even though he constantly either ignores or verbally abuses her. But I (At least try to) see her as a strong woman who is tired of being invisible to everyone in the world. The best performer, though, is Lesley Manville as the Woodcock sister Cyril. Aside from Alma, she is the only one to be able to get through to Reynolds and actually holds the power in all of her relationships. She is a force to be reckoned with, but she is still very fond of Alma and even sympathizes with her. From a pure filmmaking perspective, Paul Thomas Anderson sings his own voice with this film. Without his regular collaborator Robert Elswitt, he essentially served as his own cinematographer but denies credit for it. Shot on actual celluloid, the film expertly captures 1950’s London with a grainy precision. Many scenes consist of lingering still shots that rarely move around, somehow creating the feeling of a classic film production. There’s even cross-dissolves for various scenes. The grainy effect brings out saturation in the beautiful costumes by Mark Bridges. Each dress and outfit, whether worn by the characters or put in just for show, looked as though a tailor as obsessive as Reynolds himself made them in real life. Former Radiohead guitarist Jonny Greenwood returns to score his 4th film with PTA, which drives home the classical feeling. The soundtrack largely consists of seemingly neverending piano melodies, adding a near-seductive quality to the film. In some instances, Greenwood stretches his muscles as a multi-instrumentalist for ambient percussion and harsh strings. While this would normally be a relaxing composition, it actually gives a dark and surreal feeling to what is otherwise a mundane story. Most of the time, though, the score is relegated to the background in order for this to be more of a “performance-driven” film. How you react to the film as a whole and interpret its themes depends almost entirely on your capacity for patience. It has a deliberately slow pace and virtually none of the characters have any arc changes or even redeeming qualities. Phantom Thread is a showy exercise in art and acting. Overall, I didn’t particularly care for this movie and certainly isn’t one I will be clamoring to watch again immediately. But I do appreciate some of the things that Paul Thomas Anderson was trying to say here. Daniel Day-Lewis is one of the most brilliant actors ever to grace us, and seeing him retire is an end to an era.


“Annihilation” Movie Review

I almost don’t know what to say. I just… I… Words are escaping me now. Well, I guess structural integrity is the way to go. Here goes nothing. This trippy science-fiction horror marks the second directorial effort of Alex Garland, following his massively acclaimed debut Ex Machina in 2015. Produced on a budget of around $40 million, the film has thus far earned back over $11 million following its stateside release on February 23rd, 2018. I suspect that a large portion of its profit will come from the United States, as international audiences won’t get to see it in a conventional manner. That’s something that I’ll explain more on in a little bit. Though it’s adapted from the first part in a literary trilogy, Alex Garland has said that he approached the source material as its own story, which he took from and morphed freely. Based on the novel of the same name by Jeff VanderMeer, Natalie Portman stars as Lena, a cellular biologist hired by a mysterious program called the Southern Reach. Following her thought-to-be deceased husband Kane’s sudden reappearance, she learns of a quarantined zone called The Shimmer that has been cut off from the rest of civilization. She then agrees to go out into the Shimmer with four other female experts and hopes to find new evidence of what happened to Kane and just what the heck is going on here. I loved Ex Machina, Garland’s debut feature. In an age where we’re practically surrounded by rip-offs and reboots and sequels that decades late, the screenwriter behind 28 Days Later and Sunshine created an original breath of fresh sci-fi that leaned more on speculative ideas than spectacle. And in anticipation for his new release, I read the VanderMeer novel, and can tell you two things. First, it’s one of the weirdest and boldest stories in recent fiction. Second, the film adaptation took massive liberties with the source material yet found ways to make its ideas still profound and complex. Hands down, either Annihilation will be the best movie I’ll see this year or 2018 is going to be an incredible year for cinema. It’s sad, however, that not everyone in the world will get to experience it in a traditional sense. Apparently, an executive from Paramount Pictures demanded that changes be made both to the ending and the main character, sighting it as “too intellectual” or “too complicated” for a wide audience. In response, producer Scott Rudin, who retains rights to the final cut, took Garland’s side and refused any notes or changes. As a result, while folks in the U.S. and China will get to see it in theaters, international audiences will have a chance to watch it 17 days later… premiering on Netflix. While I’m not necessarily opposed to Netflix picking up distribution rights for a film, this decision makes me really upset. No matter how large you 4K television is and even if you can watch it on the go, nothing will compare to sitting down in a dark theater and soaking it all in. The lengthy discourse I had with a handful of strangers after it finished is proof enough. Over the last few years, Natalie Portman has consistently proven to be one of my favorite actresses working today. Her performance here is a truly versatile one, bouncing between traumatized and tough-as-nails with ease. A damaged soul, some may find her character to be unlikable, but it’s honestly refreshing to watch a sci-fi movie where the female lead isn’t just a damsel in distress or a love interest. And she’s surrounded by Jennifer Jason-Leigh, Tessa Thompson, Gina Rodriguez, and Tuva Novotny as her teammates. You get a glimpse of each of their individual personalities and every decision they made in the Shimmer was intelligent and reasonable. Oscar Isaac also does great work as Kane, subverting the traditional idea of a traumatized soldier. He initially gives a very wooden performance, but the reasons for it become clear later on. Meanwhile, on a technical scale, this film is nothing short of astounding. The visual effects inside of The Shimmer are something to behold, rarely have on-screen visuals been so simultaneously beautiful yet also terrifying. I won’t actually describe any of them for you so that you can be as surprised as I was watching it. But Garland managed to pull off a number of creature designs from the book I thought would have been impossible to visualize. The lush green landscapes and unique animals can be noticeably CGI, but the fantastic production design and ethereal lighting make it all the more pleasant to look at. Meanwhile, the cinematography by Rob Hardy feels like something straight out of a John Carpenter film. Wonderful, steady wideshots of both the Southern Reach outpost and the landscapes inside The Shimmer feel lucid and almost dreamlike. The widescreen format and excellent lighting allows for an intense, immersive atmosphere that feels so lacking in other horror films. Composers Ban Salisbury and Geoff Barrow both provide the musical score, which perfectly fits the surreal tone of the film. In some of the more mundane scenes, it just consists of an acoustic guitar getting plucked with some accompanying percussion. But during some of the more fantastical moments, it shifts into an ambient mix of synthesizers and suppressed strings. Interestingly, this dichotomy works perfectly to explore the duality of the characters’ situation and bring out a genuine reaction from the audience. The last 15 minutes of the movie are almost dialogue-free, save for that powerful music. As a result, my jaw just dropped. However, I can appreciate that this movie is not for everyone. Like the novel, this movie is like a modern-day H.P. Lovecraft story. For those unfamiliar, H.P. Lovecraft was one of the fathers of horror fiction, creating the myth of Cthulu. In all of his stories, as well as ones that imitated them, the main theme involved ordinary characters trying (And failing) to make sense of the impossible. If you’re unable to accept that from the beginning, then you’ll just be left behind. For those with the fortitude to wait it out and really soak it all in, Annihilation is a stunning, psychedelic piece of science-fiction cinema. Whether you love it or hate it, this is a movie that is going to stick with you long after the credits start rolling. Luckily for people like me, that’s a feeling that I cherish these days with the current studio system.


“The Hurt Locker” Movie Review

One of the most common adages of modern writing or storytelling is that “War is Hell.” This movie takes that concept and inverts it into something completely different and unexpected. This independently produced contemporary war thriller premiered at the Venice Film Festival in 2008. However, it wasn’t distributed in American theaters until the following July. It went on to win 6 Academy Awards, including the coveted Best Picture prize. And yet, it’s the lowest grossing film ever to win the award, with a worldwide intake of $49.2 million against a $15 million budget. Directed by Katherine Bigelow, the first (And thus far, only) woman to ever win the Oscar for Best Director, the film is believed to be loosely based on screenwriter Mark Boal’s personal experiences. A former war journalist, he was embedded with several military task forces during the early stages of what seems to be a contrived, drawn-out war. Set primarily around 2003 and 2004, the film focuses on an Iraq War bomb disposal team, initially composed of Sergeant J.T. Sanborn and Specialist Owen Eldridge. Following a freak accident, a new member, Staff Sergeant William James, joins their operations in places like Baghdad and brings an incredibly reckless yet dedicated behavior to the team. The film traces the squad’s actions during their tour throughout various parts of Iraq and Afghanistan, some able to deal with the stress of combat better than others. It seems impossible these days to make a contemporary war film, let along talk about one, without the possibility of controversy. Some get accused of glorifying the United States’ wartime actions, others are called out for demonizing enemy nations, and the rest are criticized for so-called cowardice in addressing the subject matter. Films like American Sniper, Zero Dark Thirty, Thank You For Your Service, 13 Hours, 12 Strong, and just recently The 15:17 to Paris have all fallen under this controversy and some of it is justified. Now, is Bigelow’s The Hurt Locker the early 21st-century masterpiece everyone is touting it as? Probably not. However, I won’t deny that it is a great film worth watching. Interestingly enough, this movie did receive some controversy, but not the kind you would expect. Some of the most pointed critiques come from veterans of the war in Iraq and Afghanistan and other embedded journalists. Many of them claim that the film is not a realistic or accurate depiction of wartime conditions. Having read them, a number of them are just technical absurdities that only they would be able to notice- such as wrong uniforms or unbelievable weapon range. But they do have a point in criticizing the team’s misbehavior as being very irrational and reckless; to the best of my knowledge, no soldier would ever make decisions like the ones in this movie. At times, it can be as frustrating as watching dumb characters in a horror movie. But I’ll admit that it didn’t detract from the sheer relentlessness of certain scenes, especially when a bomb may potentially be involved. I’ve been a fan of Jeremy Renner for a while now, but this Oscar-nominated role may be his best performance to date. As James, he’s incredibly off the hook yet brilliant when the moment calls for it, perhaps the only one who truly knows how war works. Future Avengers co-star Anthony Mackie also does great work as his level-headed superior Sgt. Sanborn. His headbutting with James is essentially the story’s backbone, with his by-the-numbers input is nearly thrown out the window on numerous occasions in favor of improvisation. Meanwhile, Brian Geraghty is arguably the most “natural” is his role as Eldridge, an insecure but well-meaning teammate. Other actors, like Ralph Fiennes as the profane leader of a British PMC group and Guy Pearce as another bomb disposal guy, do excellent work and leave nothing to complain about. On the technical side of things, it becomes clear why this one was an awards season favorite. The cinematography by Barry Ackroyd opts for a handheld style that almost imitates a documentary, similar to his work on United 93. In fact, the way it constantly moves and zooms in makes it feel incredibly immersive in a raw setting like the Middle East. Several scenes were filmed with multiple cameras at the same time, which allows for new perspectives to be found in each moment. But the editing job by Chris Innis and Bob Murawski is what truly sets the picture apart. Putting together hours of footage from Super 16 mm film is no easy task, but add the asymmetrical structure of the script and things seem almost impossible. During an early bomb sequence, the film breaks out into slow-motion and cuts constantly between the explosion itself and the impact it has on various surrounding surfaces. The musical score here is composed and conducted by both Marco Beltrami and Buck Sanders. While not one of the 21st century’s best, it’s still a pretty memorable soundtrack. The tracks are largely made up of electric guitars on constant riffs and melodies. Instrumental in building all of the tension and anxiety in the film, it often sounded like a neverending crescendo. It also features some choir-like voices which help to provide a great background for the cacophony of war. But both Bigelow and Boal’s greatest accomplishment with this film is its examination of how these soldiers react differently to the Iraq War. While most war films spend their time showing us that “War is Hell,” the team behind The Hurt Locker find it to be something else: an addiction. A potent drug, even. The main character is essentially an adrenaline junky, always searching for the next bomb to defuse. That was by far the most interesting thing this film had to offer. Whenever it goes off into something else, it just feels like nothing is happening. The Hurt Locker is a marvel of technical realism and character frustration. A tense and unpredictable war thriller, I appreciated the unique approach it took to the perspective of war while being annoyed by some other decisions. Nevertheless, it’s a truly great film, if not a particularly rewatchable one.

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Let’s Do It: My Favorite Movies #100-91

Yep, we’re going there now. After nearly 4 years of slamming away aimless thoughts on movies on my keyboard, I decided to go through and rank my Top 100 favorite movies of all time. Due to the comprehensive nature of the rankings, I decided to split it up into ten lists of ten over a certain period of time. I figured it was probably best to throw this list together now at the beginning of the year as I don’t feel anything has yet threatened the competition. These are the movies that I have watched the most, cherished the most, quoted the most, and recommended the most to my friends, family, and fellow cinephiles. So let’s begin, shall we?

#100: “2001: A Space Oddysey” (1968)

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It seems like utter heresy to place such a highly regarded film on the lower end of my rankings, especially from an auteur such as Stanley Kubrick. But the truth of the matter is that, even though I absolutely respect his legacy and importance as a filmmaker, I have never truly liked many of his movies. However, I would be a stone-faced liar if I didn’t say that 2001: A Space Odyssey is nothing if not a sprawling, mesmerizing epic with groundbreaking visuals that still hold up 50 years later and a sweeping story that none of us will probably ever fully decipher. That’s alright, though.

#99: “Goodfellas” (1990)

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Ah, Martin Scorsese. One of the few remaining directors in Hollywood who can include both graphic violence and heinous profanity in his movies (in ample supply) yet still actually get away with it. An expansive look into the Italian Mafia told from the perspective of one of their biggest players back in the day, it really does better with each rewatch. Especially if you haven’t seen it in a long while.

#98: “It Follows” (2015)

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I remember there was a long point in time where I just didn’t like horror movies. At all. I thought they were all just the same thing recycled: tits, blood, and jump scares. However, it’s been in more recent years, in part because of my broadened tastes as well as the rise of the indie horror movie, that I began an appreciation for the genre. You’ll certainly some more on my countdown later on that I love the most. And David Robert Mitchell’s hypnotic, original, terror-inducing It Follows is one of the finest examples in modern cinema you’ll ever find.

#97: “Zodiac” (2007)

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David Fincher certainly has a penchant for serial killers and other psychologically disturbed individuals, as highlighted in his filmography. However, nowhere in his career has he done it better than with Zodiac, which, believe it or not, is based on a true story. That fact arguably makes this film even more terrifying than if it were just a piece of fiction. I’m glad this movie is finally getting the appreciation it deserves now because it still is better than a lot of murder mystery crap that comes to us today.

#96: “Fargo” (1996)

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Leave it to the Coen Brothers to find the most hilarious bits of comedy even in the darkest of places. They’ll have another film later on this 100, but Fargo is pretty much a perfect movie. Not a single misstep in the plot, not character that feels shoehorned or left out, no line of dialogue that feels like it’s out of place. Oh, and it features a legendary Oscar-winning performance from Joel’s wife Frances McDormand. It may seem like a “nothing” movie at first glance, but it warrants rewatchability.

#95: “Pirates of the Caribbean: Curse of the Black Pearl” (2003)

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I’ve always been a sucker for this franchise’s early installments, especially from a young age. Make no mistake, the Pirates of the Caribbean series got consistently worse as it just went on, but I enjoy watching the first three movies every now and again. The inaugural one, though, is essentially the template for a good Disney blockbuster. A quirky but likable lead character, inoffensive humor, great music from Hans Zimmer and Klaus Badelt and epic action sequences. Johnny Depp may have become a pin-up for domestic violence in recent years, but his performance as Jack Sparrow is so wholesome, unique and inimitable- even by the man himself later in his career.

#94: “Spirited Away” (2001)

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It wasn’t until recently, like in the past two or three years, that I truly began to appreciate anime films. I had seen some Studio Ghibli productions beforehand, like Ponyo or Howl’s Moving Castle, but it took me a while before realizing their brilliance. However, I automatically knew upon first viewing that Hayao Miyazaki’s Spirited Away was a masterpiece, an astonishing work of the 2000’s. It’s not often that you get to watch a movie, let alone an animated one, that is so daring, original, and beautiful. Miyazaki was an absolute genius and he retired from the art too soon.

#93: “Finding Nemo” (2003)

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Back-to-back animated films on this list, but no less an achievement. Finding Nemo is simply one of Pixar’s best films, and you will definitely see more of their works on the Top 100 to come. For now, though, Andrew Stanton crafted a gorgeous ode to the troubles of parenthood cleverly disguised as an underwater road trip adventure with talking fish. Kids will be awed by the vibrant visuals and sight gags while adults will be moved by the strong, stirring look at responsibility in the vast world. In hindsight, the enormous ocean is a brilliant metaphor for the big wide world all around us.

#92: “Serenity” (2005)

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I am a huge fan of the T.V. show Firefly. Of all the one-season wonders in the history of television, nothing is more painful than the fact that Fox canceled this show for no concrete reason. So color me ecstatic when I found out that the story wrapped up in a theatrical movie written and directed by Joss Whedon. For all intents and purposes, Serenity shouldn’t even exist. But the power of fandom succeeds and whenever I feel bored and trapped at home, I think about just getting back together with some of my favorite characters ever in sci-fi. Ugh, I wish there was more of it.

#91: “The Bourne Ultimatum” (2007)

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You either love Paul Greengrass’ shaky, vérité style of action filmmaking or you don’t. Considering that The Bourne Ultimatum ended up on my list, I guess you can figure out where I stand on that argument. The over-the-shoulder angle of the action sequences can certainly be disorienting for some, but for others, like me, it provides an unnatural realism to a genre that seems reliant on ridiculousness. It also has a subtly great performance from Matt Damon and an intricate storyline to boot, bringing the trilogy to a satisfying conclusion. And it features one of the best one-on-one knife fights in movie history, which is depicted in the image above.

There’s the first list of ten. I’ll be back soon with the next batch. In the meantime, please be sure to like this post and Follow my Blog.


“Black Panther” Movie Review

Give more power to the people. Or to filmmakers. Or to filmmakers who are from a people that aren’t nearly as represented as they should be. That’s the biggest takeaway from Black Panther. This superhero/sci-fi picture hybrid, the eighteenth (!) overall in the ever-expanding Marvel Cinematic Universe, was released on February 16th, 2018. Produced on a budget of nearly $200 million, the film is projected to earn all of that back and break a number of other records within the first weekend alone. Several celebrities and local charities have partaken in a challenge to give disadvantaged children of color around the world a chance to see the movie, which could set a new precedent in moviegoing attendance. The first-ever major black superhero in comic books, Blade actor Wesley Snipes attempted to get an adaptation off of the ground as early as 1992, but all potential iterations ended in turnaround. John Singleton seemed poised for the director’s chair at one point, but it eventually went to Ryan Coogler of Fruitvale Station and Creed. Set after the events of Civil War, T’Challa returns to Wakanda, his home country in Africa which is isolated from the rest of the world. Following the death of his father, he is crowned the new king and also inherits the persona of the Black Panther warrior, infused with high-tech gear from an extremely rare metal called vibranium. However, his sovereignty is challenged by a new mercenary named Erik Killmonger, aided by an enemy of the state Ulysses Klaue, and must now become involved in a potential global conflict. To say that this movie was a long time coming would be an understatement. Black Panther, no relation to the political party from the early 1970’s, is an important symbol for many reasons. And the Black Panther Challenge, started by a local from Harlem, is a beautiful opportunity for expanding this movie to people that need to be represented. I remember in the weeks before watching it seeing a viral video of an economically underserved school’s ecstatic reaction to the news that they were all going to see the movie together. I was already excited for the movie because I adored Creed from 2015, but that video only amped up the excitement. And I can say positively that this is one of the best MCU movies yet, as well as one of the boldest. There was a story not too long ago that said an alt-right Facebook group planned on bombing the movie with negative reviews on Rotten Tomatoes. Those are nothing more than a collection of fools scared that they’re moving from a majority to a minority. Indeed, there will inevitably be a crowd of folks who decry this movie for being “too political.” There is some truth to that charge; not all movies released have to tackle relevant issues. But on the flip side, there’s also the baffling belief that art wasn’t inherently political, to begin with. And a movie like this, written by, directed by, and largely starring black artists, deserves to have a message that the world can hear. Is it flawless? No. But there’s still so much to chew down on here. I feel like I don’t harp on how amazing it is that a big-budget studio film gets to have an almost all-black cast. Chadwick Boseman did a great job in Civil War, but now that he’s front and center, we get to see all his charisma and majesty in full display. With an authentic African accent and a calm demeanor, he gives us a royal figure who has to prove himself a man first, juggling all sorts of responsibilities and weight on his shoulders. The female characters were completely badass, thanks in no small part to the all-women king’s guard Dora Milaje. The Walking Dead‘s Danai Gurira shines as the general Okoye, who particularly stands out in a casino brawl where she goes to town on men in a striking red dress. Lupita N’Yongo also does great work as Nakia, a love interest who’s not just a love interest. She’s capable in a fight and extremely resourceful. The standout for the ladies is Letitia Wright as Shuri, T’Challa’s teenage sister who’s one of the smartest people in the world. But the true scene-stealer in this crowd is Coogler’s regular collaborator Michael B. Jordan as the main antagonist Erik Killmonger, who finally breaks the mold of bad Marvel villains. Though it can become clear early on what his motivations are, they’re no less impactful and sympathetic. When he finally makes his beliefs and intents be known to his adversaries, you immediately understand where he’s coming from. It’s easy to say that an MCU movie looks stunning, but the technical aspects of Black Panther are simply stellar. Mudbound nominee Rachel Morrison gives Wakanda a distinctly alien yet human feel like it belongs in the real world. She captures in every frame the beauty and vastness of Wakanda, a welcome departure from the war-torn continent we’re used to seeing. One sequence that stands tall is when our heroes take on mercenaries in a Korean casino and it’s all filmed on a single take. Though, the editing by Michael P. Shawver and Claudia Costello can admittedly get jerky and borders on cut-to-shit sometimes. However, that’s completely made up for with the outstanding production design and costumes, which are beautifully exotic. And of course, the visual effects are awesome. Ludwig Goransson composes the musical score for this film, and it’s by far Marvel’s best one. Yes, it does feature tracks of sweeping orchestral beats common in these blockbusters, which could be forgettable. But what really makes it stand out is its creative fusion with African percussion and drums along with a beautiful vocal chorus. On top of that, rapper Kendrick Lamar curates some original songs for the soundtrack. Of particular note are “All the Stars,” which plays over the end credits, and “Pray for Me” during the casino scene. In fact, it could be argued that the movie is a cinematic version of a new Kendrick Lamar album. The movie does ultimately succumb to some of Marvel’s tired template rules. Namely, the ending felt a tad cliche and the film ran for about 20 minutes longer than it should have. And while it did lean a little too heavily into the Lexa product placement, Black Panther is a socially conscious superhero adventure that shows the power and importance of representation. Ryan Coogler has crafted a new kind of superhero story with the scars of colonialism and black culture well on its mind. Here’s hoping this paves the way for more inclusion in Hollywood in the future.

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