Category Archives: Music

“Joker” Movie Review

I have rarely seen a piece media evoke such an evolving response that went from “we live in a society” memes to “this could be dangerous.” This psychological thriller initially premiered in competition at the 76th Venice International Film Festival. To the surprise of pretty much everyone in the industry, it won the prestigious Golden Lion award and continued its streak at TIFF the following week. Following what can only be described as one of the most unnecessary firestorms in recent memory, it was later released in theaters worldwide by Warner Bros. Pictures on October 4th, 2019. After breaking records for the biggest opening weekend in October, it has gone on to gross over $937 million at the box office against a budget of $55 million- way below the standard comic book movie budget. Several sources have indicated that it might become the first R-rated film to break the billion-dollar mark. And while some outlets have cooled since its premiere, it has maintained a generally positive critical reception and huge Oscar buzz for its star’s performance. Directed by Todd Phillips, the filmmaker and co-writer Scott Silver originally came up with the film as an answer to the struggling DC Extended Universe. It apparently took them over a year to convince Warner Bros. to release the film as they had conceived it: a hard-R character study with no DCEU connections, no sequel setup, and a mid-range cost. While the cast and crew came together fairly quickly, there was a brief incident during filming when extras were trapped inside a train car, and a SAG-AFTRA rep was sent to monitor the rest of production. It also generated enormous controversy in the weeks leading up to release when some worried that it might incite violence among “incels,” leading to increased police visibility and the film getting pulled from screening in Aurora, Colorado. Set in 1981 Gotham City, Joaquin Phoenix stars as Arthur Fleck, a struggling and isolated party clown. He suffers from a mental illness that causes him to laugh and cry uncontrollably at inappropriate times, which hinders his relationships and aspirations for a stand-up comedian. During a time when the city is going through social and economic strife, Arthur discovers a shocking secret held by his mother Penny, played by Frances Conroy, who he takes care of. This revelation, plus a number of other random and disturbing events happening in the city, propels him into madness as he decides to embrace his clown persona: The Joker. I’ll be honest, I only really became interested in this movie when Joaquin Phoenix signed on. I’ve never been fond of finding out the titular character’s backstory, as his mystique is part of the reason he’s such an endearing villain. But hearing tale that it was a mid-budget, R-rated character study rather than just a straightforward superhero story made it sound more enticing. The trailers showed exactly what I was hoping out of the film, as more of a street-level drama than a massive CGI-filled ensemble epic. Even with all of the controversy surrounding it, (We’ll get to that in a moment) I still had hopes Todd Phillips would be able to at least deliver something mighty interesting. And as it stands, Joker isn’t quite as brilliant as it wants to be, but it’s undoubtedly a big step forward for the genre in many ways. It’s very clear that Phillips and co-writer Scott Silver pay a great deal of homage to early Scorsese films, especially Taxi Driver and The King of Comedy. Like the films of that legend, who was initially onboard as a producer, it tries to take a look at a mentally ill man disregarded by society who’s desperate for approval and attention from everyone. This is particularly spurred on because the city of Gotham is in such a state of disarray, and even Arthur’s social worker admits that the city doesn’t care about people like them. This portrait of mental illness and the violence it hath brought has also created an extraordinary controversy that, frankly, got blown way out of proportion. Regardless of the film’s deeper implications about the character, the idea that it would incite armed violence among an online community of incels is far too extreme, even with the current state of gun violence in America. Joker may leave some things to be desired in its exploration of these themes, but at almost no point does it seem like it’s glorifying his actions. Honestly, the mere fact that a major studio film like this even tries to approach these ideas, let alone with its bleak and apocalyptic tone, should be commended. In any case, Joaquin Phoenix continues his white-hot streak with one of his best performances here as Arthur Fleck. With a considerable amount of weight lost and an unassuming demeanor, he’s absolutely terrifying to watch as he spirals downward into something truly demented. He’s not afraid to speak his mind to other people, condescendingly telling his social worker, “All I have are negative thoughts.” By the end of the film, his body language has completely transformed in such a way that the Academy just has to recognize it. Robert De Niro also does some fine work as Murray Franklin, a talk show host whom Arthur is obsessed with. A direct callback to his early Scorsese roles, he convincingly portrays a guy who always wants to get to the next punchline, even at other people’s expense. Frances Conroy isn’t in the film for long, but she leaves an impression as Arthur’s confused and ill-stricken mother Penny. Although it’s clear that she’s having some delusions, we see how Arthur genuinely cares for her when everyone else has left. Other players include Zazie Beetz as Arthur’s cynical yet kind neighbor, Glenn Fleschler as a manipulative clown colleague, Shea Whigham and Bill Camp as GCPD detectives investigating Arthur’s activities, and Brett Cullen as self-righteous billionaire Thomas Wayne. While some are more important than others, they all feel perfectly fit for the decadent world created here. And from a technical perspective, Joker is certainly distinctive from many other comic book adaptations out there. The cinematography by Lawrence Sher creates a gritty, grimy aesthetic for 1980s Gotham. There’s a stark contrast in colors that helps make the frame feel deceptively inviting and gives a sort of grim beauty to the world. The camera is often steady and focused, always trying to follow Arthur as his movements constantly change. The most weirdly compelling moment comes at the end of the first act, when Phoenix launches into an improvised dance routine in a dilapidated bathroom, all captured on one shot. Jeff Groth’s editing job is similarly dark and disjunctive, always knowing exactly how long to linger on a subject. There are a handful of scenes where Arthur is laughing (Or crying) uncontrollably and the camera stays fixed on him as he tries to contain it. There are also a number of shots and cuts done in slow-motion, which helps to show how isolated he is in his world. Hildur Guðnadóttir provides the instrumental film score, and it’s one of the year’s most haunting and terrific. Far removed from other operatic soundtracks of the genre, this one is deeply unnerving and nefarious, much like the titular character. It relies heavily on low strings and percussion to build an atmosphere of tension and unease as Arthur gradually becomes the Joker. At first it seems somber as literally everyone and everything Arthur interacts with ends badly. But by the end, it’s come around to a more revelatory score, one where he finally embraces his clown persona. I can’t wait to see what else Guðnadóttir has in store for cinematic scores. Joker is a moody, sporadic, and sincerely disturbing reimagining of the greatest villain in any medium. Although I was initially skeptical of what it would come out as, Todd Phillips has crafted a real game-changer in comic book adaptations. It also helps that it’s anchored by a terrifyingly convincing performance from Joaquin Phoenix, who’s able to make this version wholly his own without trying to imitate or outdo his predecessors. Even though some aspects and themes of the film are still questionable, it’s hard not to least admire the attempt to create something truly different in this genre. If Warner Bros. actually goes ahead with the proposed DC Black label- one-off, auteur-driven comic adaptations with a mature edge -then I will be so satisfied. More of these, please.

Extra Large Movie Poster Image for Joker (#1 of 11)

“Serenity” Movie Review

About 3 years ago, I had reviewed the one and only season of the underrated and beloved T.V. show Firefly. In that review, I had promised readers that I would review its cinematic follow-up and conclusion Serenity “very soon.” Now, all this time later, I am finally making good on that promise and giving readers that same review and hope it encourages you to watch both. This science-fiction western hybrid film premiered at the Edinburgh International Film Festival, which sold out screenings numerous times. It was later released in theaters worldwide by Universal Pictures on September 30th, 2005, almost 3 years exactly from when inspiration first aired. Despite being highly anticipated, it performed poorly at the box office, barely making back its $40 million budget. However, it was mostly able to recuperate when it was released on home media and was praised by both critics and fans of the show. Written and directed by Joss Whedon, in his feature directorial debut, he had spent over a year rigorously trying to get Hollywood to help him continue the story after Firefly was unceremoniously cancelled by Fox. Eventually, producer Barry Mendel and executive Mary Parent became interested in the project and got Whedon to heavily cut down his script originally entitled The Kitchen Sink. Much of the screenplay takes some of the director’s original ideas for Firefly‘s unfilmed second season, and initially attempted to address all of the unresolved plot points from the show. There were numerous disputes behind the scenes over the budget and shooting circumstances of the film, such as whether to film it abroad or in California. Set in a new solar system about 500 years in the future, the story see’s the return of the titular Firefly-class vessel’s crew led by war veteran and space cowboy Capt. Malcolm Reynolds, played by Nathan Fillion. After rescuing the mysterious girl River, played by Summer Glau, from an Alliance-controlled facility, they intend to go on their merry way. However, it becomes clear that she holds key, deadly secrets regarding The Alliance and its infrastructure. This sets a shadowy assassin known simply as The Operative, played by Chiwetel Ejiofor, on their trail as the crew attempts to unravel the clues on their hands. I was a huge fan of the short-lived Firefly show and will never, ever forgive Fox for cancelling it. It was such a creative and unusual take on the space genre, fusing it perfectly with sensibilities of a Western. Had Joss Whedon been given the chance to actually make more seasons, it could have possibly become one of the greatest shows of all time, and I stand by that. Very rarely do creators of a T.V. show get to continue, let alone conclude, their story on the big screen. And the fact that Joss Whedon actually got that second chance, no matter how it might have turned out, is amazing and a testament to the power of passionate fanbases. And that passion paid off because Serenity is a satisfying conclusion to the story and one hell of an enjoyable ride on its own merits. Unlike a lot of other cinematic continuations of beloved series, this follow-up doesn’t feel like it was forced by anyone. It really seems as though Whedon just naturally picked up where he left off with the story and characters without losing a beat. The crew of the ship are still wrestling with their own morality and choices, even if there’s been a gap in the timeline since the last episode. And even though we’re introduced to new planets and technology, Serenity still feels more like a Western than a sci-fi flick. Our heroes are undoubtedly cowboys looking for the next big score out in a virtually lawless sector of space and land. And seeing these cowboys finding a way to do what’s right even at the price of their own lives is all the more poignant, especially if you’re a big fan of the show like I am. Nathan Fillion has literally never been better than he has been as Malcolm Reynolds, and I’ll hold to that belief until I die. Beneath his smirks and cynicism is a man broken by war who tries to reconcile his own personal rules with what’s really going on with The Alliance. He’s also defiantly loyal to his own crew and never backs down from his mission, telling their assassin “I’m going to show you a world without sin.” Gina Torres and Alan Tudyk make a return as Zoe and Wash, Mal’s first mate and pilot on the ship, respectively. Although they frequently have strong differences with their captain, and are eager to share them, their unwavering loyalty makes them potent allies in the struggle to discover the truth about what’s going on. Their own husband and wife dynamic creates a great contrast as we get to see them butt heads on various issues that are raised throughout the story. Summer Glau is as great as ever with her role as River Tam, essentially the key to the whole mystery. She has relatively few lines of dialogue but the lines she does speak are extremely insightful into the chaos of the future and her voice intonations are on point. She also makes up for the lack of substantial words with amazing body language, constantly moving in unique and unpredictable ways. Adam Baldwin, Morena Baccarin, Sean Maher, Jewel Staite, and Ron Glass all reprise their respective roles from the show while David Krumholtz and Sarah Paulson play notable new faces. Chiwetel Ejiofor is extremely memorable as The Operative, as close to a human ghost one could get without becoming a real specter. He’s the kind of antagonist who never really shows outward emotions, using his calm demeanor to disarm his opponents. He also seems to recognize that he doesn’t belong in his vision of a perfect world, which makes his mission slightly more melancholy. And from a technical perspective, Serenity has all of the show’s prowess with a few cinematic touches. Clint Eastwood’s frequent collaborator Jack Green handles the cinematography with equal parts grime and glamour. Due to the film’s relatively low budget, fancy, sweeping shots typical of the genre are instead supplemented by a lot of handheld scenes. This ultimately helps sell its gritty Western aesthetic, as we’re down in the dirt with the characters as they try to make sense of things. The worlds are varied and unique and nearly each one is given a different color palette, which creates a visual distinction between them all. This manages to compliment the editing job by Whedon’s longtime editor Lisa Lassek, who also made her feature debut here. The scenes are cut together nicely and smoothly, with a number of match cuts that are perfectly lined up. It also moves between shots in action scenes with surprising grace and effort, ensuring that the viewer knows and sees everything going on. This especially gets interesting whenever the demented Reavers are on-screen, as the camera cuts away from showing their monstrous actions but still giving you a feeling of dread. The highly prolific yet underrated David Newman provides the instrumental film score here, and it’s perfectly suited to the story. Like the show, it manages to fuse influences from Westerns, sci-fi, and even a little bit of Eastern music into a big musical melting pot. Plucked strings are the main instrumentation, which give off the feeling of an old-school sci-fi adventure with a unique touch. It’s very melodic and befitting for the vastness and life of the new solar system that our heroes explore. Other tracks utilize low strings and electronic percussion to heighten the tension or mystery of the film. No matter what, it all works, even if the show’s theme song is sorely missed. With beloved characters making a wonderful return, Serenity is a highly fulfilling follow-up that does justice to its roots while making new strides. Even if you’re not affiliated with the show in any way, Joss Whedon still crafts one hell of a genre mashup that’s sure to be a crowd-pleaser. Even if it gets really weird and wonky in its pacing from time to time, the passion from everyone involved is as clear as daylight. And after the recent acquisition, this is one Fox property that I would be okay with seeing Disney revive. If it does actually happen, I can only hope that they do it right.

“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.

“Cinema Paradiso” Movie Review

No joke, I genuinely believe that this movie is compulsory viewing for anyone who claims to be a cinephile or aspiring filmmaker. Or at the very least, it can act as a great segue into understanding why it’s so important to many of us. This Italian romantic dramedy was released in theaters by Miramax on November 17th, 1988, before also screening at the Cannes Film Festival the following year. It managed to gross over $12.3 million at the U.S. box office alone, and become a huge hit in other territories. Garnering huge critical acclaim the world over, it went on to won the Academy Award for Best Foreign Language Film, among other accolades. Numerous filmmakers, such as Roberto Benigni and Gabriele Salvatores, have publicly credited the film with reviving the Italian film industry. Written and directed by Giuseppe Tornatore, the film largely draws on his own childhood experiences. This goes as far as having most of the film shot in his rural Sicilian hometown, with many flashback sequences resembling an idealized version of his memories. Originally running 155 minutes long, after its poor commercial reception in Italy, the producers cut it down by over half an hour for better profits. One of the main actors spoke all his lines in his native French language, having another actor dub over his lines afterwards in Italian. Jacques Perrin stars as Salvatore Di Vita, an acclaimed Italian filmmaker living in Rome in the 1980’s. One night, he receives a phone call informing him that his mentor film projectionist Alfredo, played by Phillippe Noiret, has died. He returns to his hometown in Sicily for the funeral and becomes confronted with various memories and faces from his past. From there, we get to see flashbacks recounting his childhood self, played by Salvatore Cascio, as he begins a passionate love for film in post-World War II Italy. When people talk about films made by movie fans for movie fans, this is most definitely the one that springs to mind. Tornatore’s passionate love for the medium is clear in every frame of the film, with subtle or overt references to other works. Hell, I can personally attest that it has inspired me in several ways, and can definitely appeal to people new to foreign cinema. Even so, I wasn’t entirely sure if some, if any, of that initial magic would remain on this rewatch. Perhaps it might have been a case of a highly acclaimed or beloved picture that I liked mainly because of its enormous hype. Thankfully, Cinema Paradiso actually proves the opposite, turning out to be an improvement on repeat viewings. This film is really like a childhood blanket: warm, comforting, and filled with so many memories that it’s hard to let go. The director doesn’t just make a loving homage to cinema as a whole, but frames it as a way to project his relationships and family from childhood into adulthood. The escapism and power of the reel is an amazing foil to Salvatore’s hometown, which was in ruins following World War II and heavily censored by the people in charge at the time. At times, Cinema Paradiso does get in danger of letting nostalgia cloud the rest of what the film tries to say about maturity and letting go. It’s almost always at its best whenever Salvatore is clearly going through an emotional struggle to reconcile his dreams with his reality. But overall, it’s able to keep the course and get to one of the most beautiful final scenes in history. Salvatore Di Vita is played here in three separate stages of his life by Salvatore Cascio, Marco Leonardi, and Jacque Perrin, respectively. All three of them shine in different ways and bring new shades to the character as the timeline bounces back and forth. From an idealistic young child to a teenager with a head full of dreams to a famous yet jaded filmmaker, we get to see him evolve with cinema as his only true companion along the way. By his side as a child and teenager is Phillippe Noiret as Alfredo, one of the greatest mentors in the history of film. Initially reluctant to take Salvatore on as his protégé, his deep passion for movies and hidden compassion brings many great adventures between the two. More often than not, he is quoting a famous or obscure line from films, and frequently uses the medium to teach Salvatore lessons about life. These two central characters are flanked by a group of smaller but equally capable actors. Chief among them is Agnese Nano as Salvatore’s first (And really) only true love, Antonella Attili as his mother struggling to adjust to post-war life as a war widow, and Leopoldo Trieste as the strict priest who tries to censor the movie theater from what it can show. Each one plays an integral part in the lives of either Salvatore or Alfredo, and come in and out of play throughout the timeline. And from a technical standpoint, Cinema Paradiso plays lovingly with filmmaking conventions across the board. The cinematography by Blasco Giurato captures the filmmaker’s childhood hometown in Sicily with great authenticity and wonder. The swift push-ins and long-shots make it almost seem like something ripped right out of an old fable. The frame always stays fixated on the main subject and moves around when necessary. This plays into the idea that the film is told almost exclusively from the point-of-view of Salvatore. It is practically enhanced by the editing job by Mario Morra, who was nominated for a BAFTA for his work here. Scenes transition from one to another using classic film techniques such as the cross dissolve or slow fade out. It also cuts between different shots quite effectively with a nice variety sprinkled throughout. It also moves in and out of various establishments in the time between the different timelines, showing how much they’ve changed, if at all. The instrumental film score was composed and conducted by industry legend Ennio Morricone. It might just be his most underrated score to date, nearly on par in quality with his other, more famous work. It mostly uses strings, piano, and an oboe, and that simplicity helps cut straight to the emotion evident in the film. Several tracks blend into the same “Love Theme,” which perfectly represents the heart of the film. All of these elements culminate in one of the most memorable endings and montages in film history. Nicknamed the kissing montage, it’s a fantastic sequence as all of the themes and ideas of the film suddenly come rushing forward at once. It may be one of those moments that transcends the barrier of language and translation, as anyone watching it will understand its emotional impact. Cinema Paradiso is a heartwarming and inviting tribute to memory and the movie. Giuseppe Tornatore’s semi-autobiographical take on the story makes it feel all the more personal and intimate, as we really get to know this town and its characters. Stacked with a great cast and one of the best endings in film history, watching this film may as well be an informal version of film school. And I’m more than content with that observation.

“Spider-Man: Far From Home” Movie Review

*This review, while steering clear of plot details for Far From Home, will discuss spoilers from Avengers: Endgame. Proceed with caution.*

No lie, this movie brought back some pretty fond memories of class trips I took back in high school. Granted, none of them ever had any giant monsters wreaking havoc all across the city, but still. Can’t beat the fun. This coming-of-age superhero comedy was released in theaters on July 2nd, 2019, officially making it the 23rd theatrical entry in the Marvel Cinematic Universe. After breaking records for a Tuesday night opening, it has gone on to predictably gross over $860 million at the worldwide box office. This makes it the third-most successful film centered on the central character and could well be on its way to the $1 billion-dollar marker. It’s also seen major overseas profits from both China and South Korea, all the while receiving typically positive reviews. Directed by Jon Watts, this is the second film under Marvel’s collaboration with Sony Pictures for creative control over the titular character. This marks the official end to Phase Three of the MCU, acting sort of like an epilogue to Avengers: Endgame. Because of Endgame being released before this one, Marvel and Columbia worked together to withhold most marketing material, one teaser trailer notwithstanding, until after its release. This also marks the first in a new multi-film agreement between Sony and IMAX Corporations to have the studio’s films released in IMAX theaters. Taking place not too long after the events of Endgame, Tom Holland returns as Peter Parker, a New York City high school student moonlighting as the superhero Spider-Man. While out on a two-week summer field trip to Europe with his classmates, including his love interest MJ, played by Zendaya, a series of monsters known as the Elementals begin terrorizing the world. Peter is then recruited by Nick Fury to stop these phenomena and teams him up with alternate-reality soldier Quentin Beck, played by Jake Gyllenhaal. As Beck gains the nickname “Mysterio” from the awed public, Spider-Man must decide where his loyalties lie. I really liked how Marvel integrated Peter Parker into the MCU with Captain America: Civil War and Spider-Man: Homecoming. Even though we’ve seen no less than FOUR theatrical iterations of the friendly neighborhood web-crawler this century, three of which have been live-action, the focused approach to the hero’s nerdy high school life has felt genuinely novel and fun. Plus, Tom Holland was virtually perfect as the character in nearly every single way so seeing him continue as the character was almost a no-brainer. Seeing this being an adventure where the web-slinger leaves Queens behind sounded like an opportune moment for him to stretch out of his comfort zone. Especially because this both follows up on Endgame and serves as the official closer to Phase 3 of the MCU. And on the whole, Spider-Man: Far From Home is satisfying on both ends and opens up some really interesting avenues for the franchise’s future. What’s really interesting is seeing how not only Peter reacts but how the people around him react to a post-Iron Man world. Peter lost a mentor and father figure, even if Stark could never admit to being one, while his guardian Happy Hogan, played by Jon Favreau, lost a good friend, and everyone else lost a real hero. Without a proper role model to look up to anymore, Peter is forced to become his own hero and figure out what’s best for him and the people he loves. Far From Home also has some interesting arguments about the power of perspective and manipulation of truth. In a world filled with sensationalist news sources that frequently exaggerate what’s really happening, it’s hard to decide what’s real and what’s not. Granted, this isn’t some grandstanding thesis on modern fallacy, but that little commentary about people believing whatever they want to believe was welcome. Tom Holland continues to prove why he’s more than perfectly suited to play the titular character here. With a genuine kid-like earnestness and a quick wit, it’s interesting to see him grow on his own without any real adult supervision. His sense of wonder at seeing so many different things that teens his age normally wouldn’t see sells it, and can often lead to some pretty funny avenues. Jacob Batalon and Zendaya also return as Ned and MJ, Peter’s best friend and love interest respectively. They both provide an interesting foil for Peter, reminding both us and himself of what he has to lose on this trip. Each one presents a different worry for him, but both are equally great and funny. Jon Favreau also returns as Happy Hogan, Tony Stark’s former bodyguard and best friend. In the character’s most substantial turn to date, we get to see how he’s dealing with Iron Man’s departure. He also gets to have a bit of a romantic fling with Aunt May which creates some humorous tension between him and Spider-Man. The supporting roster is equally impressive, if not always as memorable. Samuel L. Jackson, Cobie Smoulders, Maris Tomei, Tony Revolori, Angourie Rice, and Martin Starr all reprise their roles from Homecoming or otherwise, respectively. Each one brings a certain level of humor or humanity to this world that is so different after Endgame. And Jake Gyllenhaal definitely should not be overlooked for his role as Quentin Beck A.K.A. Mysterio. As the audience gradually learns more and more about him, it’s hard not to get caught up in the things that he’s saying. One particular scene in a bar about two-thirds through the film really showcases the actor’s talents and the unique way he inhabits what’s arguably one of the web-slingers most underrated adversaries in the comics. And as one could expect from any MCU entry at this point, the technical aspects for Far From Home are unsurprisingly astounding. Since much of the behind the scenes magic is done by Marvel’s own in-house talent, such as cinematography and editing, there isn’t a whole lot of room for artistic distinction. But for what it’s worth, both come hand-hand-hand for various scenes. Beginning with a little news montage explaining what’s happened at Peter’s high school since Thano’s Snap, (Nicknamed the Blip) we’re immediately put back into the world of Midtown High. The use of exotic European locations keeps things interesting as the story progresses throughout the trip. The special effects used for the Elementals is mostly convincing, using different forms of matter for each creature such as fire and water. Even as the MCU becomes increasingly cosmic, it’s refreshing whenever they stay relatively grounded on Earth. Costumes are also great, as the new stealth suit for Spidey is both visually appealing and practical. Mysterio’s costume is also extremely accurate to the comics. Like last time with Spidey, the instrumental film score is composed and conducted by Michael Giacchino. He proves once again to be more than capable for the task, providing a mixture of instruments and styles. With a heroic, orchestral remix of the classic Spider-Man theme song, the love and respect for the character’s history is fully established. It also uses staccatos from wind and electronic instruments and dynamic percussion for the more exciting action scenes but always remains memorable. Spider-Man: Far From Home is another step in the right direction for the web-slinger, and a fitting coda to the Infinity Saga. By actually stepping out of the character’s comfort zone, director Jon Watts is able to find new ground for him to explore, and to exciting results. And not only does it prove that Tom Holland is pitch perfect as Peter Parker, but it also sets up many riveting avenues for the Marvel Cinematic Universe to follow in the future. If this movie proves anything, it’s that Sony and Disney need to set aside whatever bullshit they’re dealing with and come back to a reasonable agreement.

 

“Midsommar” Movie Review

I’ve made it clear for a long time that I have no desire whatsoever to join a small “commune” in the future. I don’t care how interesting their beliefs are or how beautiful the scenery is, count me out and keep the hell away. This psychological folk horror film premiered at an Alamo Drafthouse Cinema location in New York in mid-June. It was later released in theaters by A24 on July 3rd, 2019, after previously being scheduled for early August. It has thus far grossed nearly $34.9 million on a budget of around $10 million, swiping most of it within the first 5 days alone. With such a major start, it feels safe to assume that it will turn a large profit by the end of its theatrical run and could even become the distributor’s biggest financial success yet. Written and directed by Ari Aster, the producers originally approached him about doing a straightforward slasher film among Swedish cultists, which he rejected. Production on the film began almost immediately after the huge success of Aster’s breakout horror feature Hereditary, as distributor A24 reportedly built a 15-building village set from the ground up. He’s mentioned previously that making the film was his own way of attempting to cope with a really bad breakup. In addition, there’s also an extended director’s cut running 24 minutes longer which will likely play in select theaters. Florence Pugh and Jack Reynor star as Dani Ardor and Christian Hughes, a grad student couple whose relationship is hanging by a thread. A few months after a horrible tragedy involving her sister, Dani agrees to go with Christian and their friends on a backpacking trip to Sweden. Their friend and guide Pelle, played by Vilhelm Blomgren, takes them to his ancestral village, the Hårga, for a midsummer festival that only occurs once every 90 years. But as the ceremony goes on, the Hårga community ropes the group into an increasingly violent series of pagan cult traditions. As is the case for many cinephiles, Hereditary was easily the best horror movie I saw last year and one of my top 10 favorites of that year. Even though it was heavily divisive among audiences, I was blown away by its singular vision and willingness to go to some really dark places. Aside from a powerful, career-best performance from Toni Collette, it immediately announced Ari Aster as a new filmmaker with tons of potential to bring to the medium. When I heard he was tackling a pagan cult for his new project, I thought that his sensibilities were perfectly suited for the subject matter. And for the most part, Midsommar is able to avoid the sophomore slump and further develop Aster’s craft. Just like Hereditary, I understand that this film will not be digestible for everyone. In fact, I imagine that people who were turned off by that film’s bleak tone and imagery will dislike this one even more. The director is once again tackling grief, suffering, and how people process a tragedy differently, and he doesn’t shy away from the disturbing parts of it. I will say, Midsommar is definitely funnier than Hereditary, often stemming from the main group’s awe and unfamiliarity with the local customs. But this is, by no means, a comedy movie, as the film is more concerned with making the audience uncomfortable. It sometimes feels like it’s purely going for the shock factor from the visceral imagery on-screen and asking audiences to handle it for 2 hours and 27 minutes is a mighty task; but if you try to keep an open mind, it will certainly haunt your thoughts and dreams. Florence Pugh has been on the rise for the past coupe years now and her leading role here might be the big break she deserves. As Dani, she is devastating and frightening as a young woman trying to bottle up her trauma and anger for a trip with her friends. Opposite her for most of the film, Jack Reynor is equally great as her well-intentioned but distant boyfriend Christian. While he does care for Dani, it’s clear that he wants out of the relationship and we’re presented with consistent evidence of why they should just break up. Every time they’re together on-screen, there’s a certain coldness or feeling of discomfort between them that desperately needs to be resolved. Also worth noting is William Jackson Harper as Josh, a friend of theirs completing a thesis on midsummer festivals. A great departure from the good-hearted Chidi Anagonye on The Good Place, he is willing to do anything to get more info about the community, even if it means endangering his friends. Will Poulter, Ellora Torchia, and Archie Madekewe round out the group of tourists for the festival while Vilhelm Blomgren, Isabelle Grill, Björn Andrésen, Anna Åström, and Gunnel Fred play locals in the Hårga community. Each one feels like they have their own hidden motive or something that they’re not sharing about what’s going on. All the characters feel like something right out of an H.P. Lovecraft story, and I mean that in a good way. And technically speaking, Midsommar sees Ari Aster further honing his craft behind the camera. Unlike his work in Hereditary, Pawel Pogorzelski’s cinematography basks in the bright daylight of Sweden. There’s rarely a scene where the sun goes completely down, which makes some moments more disorienting and frightening. The camera is almost always following the characters as they experience their own horrors during the festival, and often feels like a cold, omniscient observer. Most of the time, whenever Dani and Christian are on-screen together, it’s in a distant two-shot to illustrate the deteriorating state of their relationship. It goes well with the editing by Jennifer Lame and Lucian Johnston, who are able to keep things interesting for the 2 hour and 27 minute-long runtime. The scenes are interlaced with each other well enough to make the plot go along, and the style behind it is so fascinating. It often feels hallucinogenic in its execution and how the community is shown to the travelers. There even a couple scenes where the group takes drugs and the frame is very distorted as we see their P.O.V. The instrumental film score is provided by The Haxan Cloak A.K.A. Bobby Krlic, in his first solo work as a composer. For his first time, it’s quite impressive and effective, mixing together different styles to great results. At first, it uses distorted strings and dark overtones to highlight the bad omens to come in the film. But by the end, the soundtrack has morphed into a twisted fairytale score that fully embraces the madness of the Hårga’s traditions. It uses those same strings to bring in everything shown in the film to a wild and emotional culmination. And it’s a definitely final shot to be remembered for quite some time. Utilizing a little known culture as an intriguing backdrop, Midsommar is a maddening if somewhat inconsistent symphony of daytime terror. If this film proves anything, it’s that Ari Aster is here to stay as a filmmaker who demands to be taken seriously. Anchored by a breakout performance from Florence Pugh, we’re fully and convincingly drawn into this unique fever dream.

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