Category Archives: Mystery

“The Rhythm Section” Movie Review

If you suddenly had the chance to get back at the people who wronged you and your loved ones, would you? Regardless of what the collateral damage might look like?

After numerous delays, this action drama was released in theaters worldwide by Paramount Pictures on January 31st, 2020. Made for the budget of $50 million, it has drastically underperformed and only grossed about $6 million worldwide thus far. This is far below several predicted metrics, making it the worst opening weekend ever for a film released in over 3000 theaters. And in addition to losing the studio roughly $40 million, it hasn’t been graced with the best of critical reviews.

Directed by Reed Morano, the film is adapted from the novel of the same name by Mark Burnell, who also wrote the screenplay. The product apparently was so attention-grabbing that James Bond franchise showrunners Barbara Broccoli and Michael G. Wilson hopped on-board as producers. During production, the main star suffered a pretty serious physical injury that set the schedule back by almost six months while she recovered.

Blake Lively stars as Stephanie Patrick, a young woman in London still reeling from a terrible loss. Three years earlier, her whole family was killed in an international plane crash over the Atlantic and has since spiraled into drugs and prostitution to cope with the tragedy. However, she is recently told by journalist Keith Proctor, played by Raza Jeffrey, that the crash wasn’t an accident but in fact part of a larger terrorist plot. Over the course of the next several months, she begins developing fighting skills so that she can hunt down and kill every person responsible for the death of her family.

I had been somewhat intrigued by this film all the way through the various hiccups and delays. I’ve been a fan of Blake Lively as an actress for a long time, and in 2018, we got to see her give some really awesome work in Paul Feig’s A Simple Favor. The idea of her doing an international action flick from the same people behind the James Bond franchise sounded like an amazing proposition.

Although I haven’t seen her two previous features, I thought Reed Morano’s work on Hulu’s The Handmaid’s Tale was really impressive. And despite all the bad reception it was getting, I had hopes that she and Lively would be able to conjure something that was at least interesting. And in all seriousness, The Rhythm Section isn’t nearly as bad as some people say it is; there is some enjoyment to found here.

The story presented here practically begs to become a female version of James Bond, with the CIA and MI6 thrown in for good measure. However, perhaps the best thing about this film is that it avoids that temptation and becomes way more interested in looking at the weight of grief and futility of revenge. Stephanie isn’t a very competent spy, but that makes her feel all the more human as she tries to learn from her mistakes and break the barriers around her.

I think where The Rhythm Section loses a lot of people is that its style is very unconventional for a studio blockbuster. It occasionally moves back and forth between different points in time for Stephanie, which can make it a little frustrating to follow her journey. It’s easy to see why this movie hasn’t fare well at all with critics or audiences, but I definitely at least appreciate it for trying to subvert the norms of a traditional blockbuster, especially since it doesn’t seem interested in starting a franchise.

Blake Lively has been on a role in recent years, and it’s exicitng to see her branch out even further here. As Stephanie Patrick, she is a messy, broken woman who gave up trying to get closure for her family’s death a long time ago. When she gets caught up in a newfound conspiracy web, she becomes desperate to find out the truth and despite knowing she’s in over her head, she’s come too far just to turn around and leave.

Jude Law makes a similar impression as Iain Boyd, a retired MI6 operative who reluctantly helps train her. It’s clear that he wants absolutely nothing to do with the world of espionage anymore and only agrees to help Stephanie due to a personal connection with her case. He’s particularly unremorseful with her, having been desensitized to the worst humanity has to offer, and the secrets he carries make him intriguing.

Aside from these two, the supporting cast is made up of various actors who give hit-or-miss performances. This includes Sterling K. Brown as a highly resourceful information broker, Raza Jeffrey as the determined journalist who gives Stephanie a purpose again, Richard Brake as an infamous international gangster, Tawfeek Barhom as a potential suspect, and Max Casella as the man bank-rolling the antagonist’s plans. Each player has varying amounts of screentime and some leave more of an impression than others.

And looking the technical aspects, The Rhythm Section sees Morano still trying to find her own voice. The cinematography by Sean Bobbit opts for a more handheld, cinéma vérité style to capture the messy and frenetic nature of the protagonist’s situation. Stephanie is in nearly every shot of the film, putting us practically in her shoes as she goes on her bloodthirsty quest. There are many close-up shots and rack focuses, which does a decent job at capturing her state of mind as we learn about the truth as she does.

Joan Sobel’s editing job mostly serves this style well as it tries to keep up with everything happening on-screen. There are a handful of action scenes where it can be hard to tell what’s going on at first, but it soon comes into focus. There’s also a Terrence Malick-esque choice to occasionally cut back to snapshots of Stephanie’s life with her family, using a much brighter color palette. This might be one of the better stylistic choices the film makes, as it illustrates everything that was taken away from her.

Relative industry newcomer Steve Mazzaro provides the instrumental film score here. Like the rest of the film, it tries to provide something unique and different than most mainstream films offer in the genre. The majority of tracks use jagged, staccato violins and other strings to highlight the frantic pacing of the story. Alternatively, this primary sound is often manipulated either into a scene that’s very exciting or deeply somber. What really separates the two is the occasional inclusion of mild percussion or woodwinds sounds.

Taken as a whole, The Rhythm Section is a wonky but determined antithesis to traditional Hollywood spy films. It is far from perfect or even great, but Reed Morano still shows she’s got a lot of potential as a filmmaker who wants to stand toe-to-toe with the other major blockbuster directors of her generation. And Blake Lively proves why she’s completely deserving of a real franchise to lead and manages to deliver one of her most complex roles to date.

When it’s all said and done, I’ve got to give credit to Paramount and Barbara Broccoli and Michael G. Wilson for trying to create a unique counterpart to James Bond. It’s a bummer that it’s mostly likely going to get overlooked by most audiences, but hopefully that doesn’t deter studios from make more (And better) action dramas geared towards adults.

The Rhythm Section Poster #1

“Tron: Legacy” Movie Review

Imagine being trapped inside a computer programming of your own creation for the better part of 30 years. With absolutely no knowledge of any of the politics, crimes, misery, or troubles of the real world. I kind of envy that.

This techno-influenced science-fiction action drama initially had its world premiere in Tokyo on November 30th, 2010. It was later released in theaters worldwide by Disney over two weeks later on December 17th to high anticipation. Made for the budget of $170 million, it went on to gross just over $400 million at the global box office. Although it managed to break even, it didn’t meet the studio’s big expectations for the long-awaited sequel. The financial disappointment and mixed critical reception put plans for a new franchise on hold, with talks of a new installment coming and going with each passing year.

Directed by Joseph Kosinski in his feature debut, rumors of a sequel to the 1982 original had been in circulation for a long time. Although Pixar was supposedly interested in continuing the story in 1999, it was only around 2005 that Disney began serious development of the project. Kosinski rejected the studio’s idea of drawing visual and narrative inspiration from The Matrix, and instead used money that producer Sean Bailey lent him for concept footage of the style and tone. An architecture student, he also used chroma keying and various other unconventional techniques to give as much creative room for the effects as possible.

Picking up 27 years after the original, Garret Hedlund stars as Sam Flynn, the primary shareholder of the tech company ENCOM International. For the past two decades, he has been investigating the disappearance of his father Kevin, played by original star Jeff Bridges. One night, Sam’s investigation leads him to an arcade that unintentionally transports him to The Grid, an independent virtual reality system. While he reunites with his father, he must contend with a corrupted version of him named Clu and figure out a way to get back to the real world.

It has been many years since I last watched this film, and I only had vague memories of liking it. On the off chance that I would miss something, I made sure to watch the original Tron first to try and understand the lore a little better. And it was a highly impressive and stylistic technical achievement, but was extremely confusing from a story standpoint.

I was hopeful to see what, if any, lessons this long-belated sequel could take from the first go-around. It’s supposed to be so different from almost all of Disney’s other live-action films recently and I wondered if this was as much of a cult hit as a lot of people have made it out to be. And Tron: Legacy is undeniably entertaining and aesthetically unique, but the story at the center is rather simplistic.

This is exactly the kind of film I think Disney should try investing more stock in making. No “live-action” remakes of animated classics, but something that looks and feels totally different than what’s usually on the market. The film is always at its best when its pushing the boundaries of family-friendly entertainment and ponders if it’s worth sacrificing fatherhood for something truly revolutionary.

But beyond the gorgeous visuals (Which still hold up quite nicely) and these brief moments of contemplation, Tron: Legacy falters to create a very meaningful or engaging story. While there is some pretty cool worldbuilding throughout and the majority of the film’s 2-hour and 5-minute runtime are spent inside The Grid, there’s not much of an emotional pull beyond the father-son thread. Still, it’s cool to watch and this is one IP I hope Disney considers revisiting in the future.

Garret Hedlund has always been a “good-not-great” actor and his performance here epitomizes that pretty well. As Sam Flynn, he constantly does immature and rash things in the real world, likely to cope with the lack of a real father figure for the past 20 years. It’s apparent that The Grid gives him an opportunity not only to make up for lost time with his father but to thrive in a world that doesn’t even exist.

In a dual role as both Kevin Flynn and his evil counterpart Clu, Jeff Bridges returns to the franchise with lots of gusto. With Flynn, he feels much more mature and wise than the previous film, optimistic for the future of humanity but still feeling guilty about his lackluster job as a father. On the opposite end, he’s intimidating and relentless as the villain Clu, even though the then-burgeoning effort of de-aging technology doesn’t quite work for him.

Olivia Wilde is also worth mentioning as Quorra, a uniquely programmed warrior who serve’s as Kevin’s only ally in The Grid. She’s extremely adept at fighting and even steals the show in a handful of action scenes because of her wicked skills. However, she’s also deeply curious about what the real world is like, as reading endless amounts of literature and asking questions isn’t enough to quench her thirst to witness a real sunrise.

And while there are some familiar faces that pop up in the supporting cast, it’s Michael Sheen’s turn as Castor, a flamboyant nightclub owner. Although he doesn’t appear until the second act, he absolutely steals the show from under the protagonists and clearly relishes the role. Sheen’s bright personality and fantastic wardrobe are also heavily reminiscent of David Bowie’s early years, which makes him by far the most interesting character in the whole movie.

And from a purely technical point of view, Tron: Legacy is a major step forward for the studio and shows Kosinski knows what he’s doing. Claudio Miranda’s cinematography is extremely noteworthy for its smooth movements and slick framing. The Grid heavily relies on the opposing colors of orange and blue while scenes in the real world are relatively muted. This is one of the best examples of 3D filmmaking as the cameras capture everything, from light cycle battles to one-on-one duels, with great precision.

James Haygood’s editing job goes hand-in-hand with the visuals, knowing when to leave a shot lingering or keep the action flowing. There are enough cuts during action sequences to keep the momentum up and never makes it confusing or hard to follow. It’s a testament to the editing crew that the flow between CGI shots and practical actors or sets is mostly seamless. Plus, the sound design is stellar, ensuring that every scene can be heard just as well as seen. It’s actually one of the most satisfying sound designs of the last decade.

Speaking of sound, French music duo Daft Punk provide their first and thus far only score for a film. I hope they decide to do more soundtracks because it’s an absolute thing of beauty and innovation. Like the rest of their work, the score is heavy on electronics across the board, which is appropriate for the unique world here. However, much of the soundtrack avoids being just dubstep and uses synthesizers, low strings, and percussion beats to create an emotional connection to the storyline. At times, it’s warm, harsh, and always attention-grabbing, making for one of the most underrated film scores in recent years.

Pushing the boundaries of filmmaking technology in exciting ways but lacking a real human pull for it, Tron: Legacy is a visually and audibly stunning adventure with a rather unaffecting story. At the end of the day Joseph Kosinski and Disney have made a really impressive tech demo that’s more like candy for the eyes and ears than anything else. It’s fun to see Jeff Bridges return to the saga and his new cast members are welcome as well, but their characters aren’t the most compelling to watch.

I think there’s a lot of potential in this franchise for Disney to explore, and this film seems to indicate they have an idea of where it would go. I just wish Kosinski was just as good with his actors as he was with her camera and effects.

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“Rain Man” Movie Review

Welcome back, one and all, to my New Year’s Resolution! It’s been a great way for me to finally watch films I’ve always wanted to and look back on old favorites. The rules are the same as the have been for the past two years, and it’s time for me to start by scratch a major film off my watchlist.

This road-trip dramedy was originally released in theaters worldwide by MGM on December 16th, 1988. Made for the middling budget of $25 million, it went on to gross over $354.8 million at the box office. This made it the highest-grossing U.S. film of that year, despite competition from the likes of Die Hard and Twins. Critically acclaimed, it went on to win and be nominated for several year-end accolades, including top honors at the 39th Berlin International Film Festival. It also managed to win 4 Academy Awards, including Best Actor and Picture, out of 8 total nominations.

Directed by Barry Levinson, the Oscar-winning screenplay was originally written by Barry Marrow before being polished by Ronald Bass. The characters and story were inspired by Kim Peek and Bill Sackter, two real-life savants who Marrow met by chance. The final draft was delivered a few hours before the 1988 Writers Guild of America strike started, preventing any further rewrites during filming. There was also a controversy when 15 major airlines omitted a pivotal scene from the film, except for the Australian based Qantas whose safety records become more well-known afterwards.

Tom Cruise stars as Charlie Babbitt, a selfish young wheeler-dealer who tries importing cars against the EPA’s rules. When his estranged father dies, he travels to Cincinnati to hear the will reading and presumably inherit his vast amount of money and assets. However, he learns that his father’s entire fortune has been bequeathed to his older brother Raymond, played by Dustin Hoffman, who’s lived much of his life in a group home due to his autism and savant syndrome. Together, they embark on a cross-country roadtrip to change the legal status of their inheritance and form an unusual bond along the way.

Full disclosure for everyone reading this: I am an adult male diagnosed with autism spectrum disorder. I have been on the spectrum for as long as I can remember and it has been a major defining part of my life and personality. It’s only been in the last few years that I’ve truly become interested in researching the topic and I’d even go as far as to say that it has helped shape my passion for movies and storytelling. It’s something I’ve become comfortable with, and I’m proud of the resilience it has given me over time.

Despite this, with a few exceptions, I have rarely seen a portrayal of the condition in mainstream media. Shows and films such as Atypical, The Accountant, and Barfi have attempted to normalize it for neurotypical people in recent years, but I had never seen the one that had put it on the map for more people. As a serious depiction of autism, I have a couple of issues with it. But as a film on its own, Rain Man is still a pretty engaging and entertaining road movie to watch after 32 years.

The way they handle Raymond’s condition was much more sensitive than I had anticipated and it definitely gets a lot of things right. Many of his on-screen mannerisms, such as talking to himself and frequent panic attacks or outbursts, are remarkably accurate to the general symptoms of autism. It also gets points for showing how Charlie, a cold and selfish person, initially tries to manipulate Raymond for his own purposes before gradually changing his mind; that really hit close to home for me.

Where Rain Man falters here, aside from just being a typical roadtrip movie, is that it almost implies that all people on the spectrum are savants who are cut off from normal human emotions. This makes Raymond seem almost robotic during his time on-screen, and it feels way too simplified to have a full impact. But at the same time, I have to give Levinson and Co. some credit for at least trying to do something realistic with it, especially for the time it was made in.

In one of the earlier roles of his storied career, Tom Cruise delivers the goods here as Charlie Babbitt. At the beginning of the film, he’s a callous and narcissistic older brother who wants no responsibility that doesn’t result in his own personal gain. And while he tries to use Raymond’s incredible mathematic skills for his benefits, he soon comes to realize that having a relationship with his brother is far more important.

Valeria Golino is also worth mentioning as Susanna, Charlie’s level-headed girlfriend and business partner. She constantly tries to put Charlie on the right path and often tries to shoot down some of his schemes when they clearly only benefit him. As the film goes along, she starts to see his softer side as the influence of Raymond begins to show on the both of them.

And then, we have Dustin Hoffman as Raymond Babbitt, the role that won him the Academy Award for Best Actor. It’s easy to see why his performance was so acclaimed at the time of release and why it’s so controversial now. As mentioned earlier, Hoffman plays the role rather robotically, only showing real emotion during big outbursts. A huge part of me really wishes that had actually cast someone on the spectrum for the role rather than a neurotypical actor, but then again, the film might not have gotten made.

That being said, Hoffman does a pretty good job at showing his character’s insecurity when things don’t go according to his routine. It may seem a little childish at first, but it soon becomes clear that this is the only way that Raymond can cope with the real world, which he has never lived in as an adult. Seeing the way average people dismiss him because of his behavior is heartbreaking, especially since he can’t really express himself or his feelings in a “normal” way.

And from a technical perspective, Rain Man fits right into the pack of late 80s movies. John Seale’s cinematography tries to capture the sense of a sprawling road trip, with sweeping shots across the countryside. Being shot on location helps make it feel like an authentic look through a part of Americana. There are also a number of medium close-ups to help get intimate with the characters in small moments.

This works decently with the editing job by Stu Linder. It’s a very straightforward and unpretentious method he uses to cut the film together. There are only cuts whenever there need to be for the story or for when the emotions start running high, instead opting mostly for longer takes. The lack of flare allows for the characters to take center stage here.

In one of his earliest works in Hollywood, Hans Zimmer provides the instrumental film score. It essentially serves as a guideline for all his scores to come because it is a genuinely good, if not quite memorable one. You can hear his signature style of blending electronic sounds with that of a more traditional orchestral sound. The main theme is an interesting theme that doesn’t really feel sentimental but still feels appropriate for what Charlie and Raymond go through. The trademark 80s synthesizer and percussion is ever present throughout as it sets the tone for the adventure to come.

A clear product of its time, Rain Man is a somewhat problematic mishmash of genuinely good intentions. Barrys Levinson and Marrow do work within the confines of a traditional road trip movie but still put forth a lot of effort to take its subject matter seriously. It’s also a great showcase for a pre-action Tom Cruise and a performance from Dustin Hoffman that, for better or worse, has made its way into film history.

As someone on the spectrum, I’m still trying to work out my exact feelings on how it treats autism. I can definitely respect the attempts the filmmakers made at painting a more accurate picture of the condition, but there’s still a long way to go.

“Star Wars Episode IX: The Rise of Skywalker” Movie Review

**Out of respect for the fans and viewers who wish to go into this film as cold as possible, I’ll only be giving the baseline premise for everything. Read at your own discretion.**

2019, as a whole, really has been a year of ending for a lot of pop culture things. Avengers, Game of Thrones, The Good Place, Mr. Robot, Toy Story, How To Train Your Dragon all seeing their narratives come to a close. But perhaps none were quite as anticipated or high-profile as this one, so let’s dive right in.

This epic space opera was released in theaters worldwide by Disney and Lucasfilm on December 20th, 2019, having previously been scheduled for May. After making a cool $40 million from Thursday night previews, it has gone on to gross over $927.5 million worldwide against a budget of $275 million. While that’s undoubtedly impressive, it’s a dip down from the intake of its two mainline predecessors. Not to mention, it has managed to split both fans and critics down the middle on its overall quality and effect.

Directed by J.J. Abrams, the third and final installment in the sequel trilogy under Disney was originally meant to be helmed by Jurassic World director Collin Trevorrow. After he departed due to “creative differences,” Abrams came back with co-writer Chris Terrio in tow to basically start over from scratch. There was also an incident months after production wrapped where one of the actor’s scripts accidentally got put up on eBay and a studio employee spent at least 5 figures to take it back. And in addition to the main characters returning here, this film has repeatedly been stated by the cast and crew to definitively be the final installment of the Skywalker Saga.

Picking up roughly a year after the events of The Last Jedi, Daisy Ridley returns as Rey, a young woman training to become a Jedi. During her journey, she and The Resistance discover that The First Order is about to make their final move in an attempt to control the galaxy once and for all. With time running out, Rey and her friends Poe Dameron and Finn, played by Oscar Isaac and John Boyega, set out on a quest to figure out the enemy’s plan before they can enact it. And it proves difficult when the malicious and power-hungry Kylo Ren, played by Adam Driver, tries to beat them to the punch all the while coming to terms with his own sins.

Although it hasn’t always been great, overall I’ve been happy with the Star Wars content Disney has been putting out in the last decade. I still and always will maintain that The Last Jedi is the best film in the saga in many, many years and I am eager to see what they do with The Mandalorian and season 7 of The Clone Wars. And hearing repeated vows that they would finally bring the nine-film Skywalker Saga to a big close made me excited.

As the hype built towards its release, I remained cautiously optimistic about what the results would be. I had hoped that there would be enough resolution for the characters and storyline to satisfy even fans who haven’t been on-board with the newer entries. And while The Rise of Skywalker is undeniably entertaining, there is so much it leaves to be desired from a thematic and story standpoint.

I don’t envy Abrams or Terrio because of the enormity of their task, (Concluding the mainline story for the biggest movie franchise of all time) but it can’t be denied they took the easiest possible route here. While it doesn’t completely retcon the choices made in The Last Jedi, it repurposes them into something that tries to bring all nine main films into play. But by trying to bring in a big picture, which can be admittedly admirable in concept, it’s unable to find enough satisfaction with the current narrative.

Despite this, there is still a lot of emotional weight that The Rise of Skywalker carries that, admittedly, can often be affecting. The character arcs of this new trilogy have arguably been some of the most interesting in the whole franchise and seeing them come to a head, regardless of the method, is a big event. And obviously, Disney and Lucasfilm have more films coming down the pipe, but it’s nice that they committed to wrapping up this particular narrative.

Daisy Ridley proves for the third time in a row why she was perfectly cast for the lead role of Rey. She has so much emotional baggage being carried, some of it for years on end, and the pressure of trying to bring back the Jedi is clearly weighing her down. All she wants to do is bring light and goodness to the galaxy, which is difficult with the consequences of the on-going war.

Opposite her, Adam Driver still proves why he’s one of the best actors of his generation thanks to his role as Kylo Ren. Still as deeply conflicted as always, his internal struggle comes to a dramatic head as his journey nears its end. He’s equal parts desperate, powerful, and pathetic here as he still struggles to figure out what exactly he desires and what path is he to take.

John Boyega also continues to be golden as Finn, one of the more interesting side characters of the franchise. His comedic timing is still impeccable as always and while he isn’t given as much to do as the last two films, his presence is always a welcome one. Seeing him come this far after having defected from the First Order is one of the more satisfying story threads in the film to be sure.

Oscar Isaac, Kelly Marie Tran, Anthony Daniels, Domnhall Glesson, Joonas Suotamo, Mark Hamill, Billy Dee Williams, and the late great Carrie Fisher (Who appears through unused footage from the last two films) all reprise their respective iconic roles from previous installments. Keri Russell, Richard E. Grant, Dominic Monaghan, Shirley Henderson and Naomi Ackie also make impressions as new characters in this story. Everyone onscreen is reveling in the fact that they’re in a Star Wars movie.

Meanwhile, The Rise of Skywalker is nothing short of a technical marvel. Abrams’ regular cinematographer Dan Mindel handles the camerawork once again here and it’s just as energetic as their previous efforts. The widescreen camera constantly roves around the action to keep up the momentum, even in smaller dialogue-driven moments. The use of primary colors, especially red and blue, are frequently saturated to highlight the constant battle between good and evil.

Maryann Brandon and Stefan Grube’s joint editing job is mostly a success, considering they had to edit some of it on-set. At 2 hours and 21 minutes, it’s one of the longest films in the saga, but this film really *moves.* Mile-a-minute pacing is the name of the game, as the main group of characters move around from one cool-looking world to the next as the adventure moves along. All of the action is cut together very well and comprehensively, even during some of the more extravagant sequences.

For his 9th and final Star Wars movie, the inimitable John Williams returns to provide the instrumental film score. It’s almost as magical as his previous efforts in the franchise, combining themes and motifs from all of the collective soundtracks into one while coming up with a couple of new ones. The woodwinds, brass, and strings all come together in the composer’s trademark sound of an emotional epic. He also brings in an ominous choir for the villain’s main theme, which encapsulates both the mystique of Kylo Ren’s morality and the somber road he’s taken thus far. The use of percussion like timpanis and bells also deserves to be noted, making it feel truly mysterious and adventurous.

Bringing the nine-film Skywalker Saga to a close and doing whatever it takes to get there, Star Wars Episode IX: The Rise of Skywalker is an enjoyable but narratively frustrating end to a truly epic cinematic story. J.J. Abrams sets out to finish the trilogy that he started and while it’s far from being worthy of getting thrown in the trash compactor, it still shows that he’s looking too much towards the past. All of the cast members do a great job to bring their characters’ arcs to a close and Williams’ final score for the franchise is undeniably excellent, even when it’s retreading old territory.

A part of me almost admires Abrams to sticking with his gut and ending the story on his own terms, but the choices he makes along the way are often ill-advised. Regardless of what you may think of how the Star Wars saga under the Disney banner has gone, it’s hard to argue that this final chapter could have been so much more.

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Top Ten Most Anticipated Movies of 2020

Welcome to the new year! Welcome to the new DECADE! As the last one passes on by, the next one comes in with an embarrassment of promising cinematic riches. Some of the films on this list have been on my radar for quite a while, others have only recently come to my attention. In any case, these are the 10 feature films that I’m most excited for coming out in the year 2020. I’d like to start off, however, by labeling some honorable mentions for other films that look pretty promising.

Honorable Mentions:

Artemis Fowl, The Way Back, West Side Story, The Prom, Free Guy, Saint Maud, Halloween Kills, The Eternals, Birds of Prey, Onward, Next Goal Wins, The Rhythm Section, The Trial of the Chicago 7, The Witches, Wonder Woman 1984, Black Widow

Now, let’s get on with it, shall we?

#10: “Soul” (Opens June 19th)

After a couple of long in-development sequels to beloved classics of theirs, Pixar is finally making the return to original filmmaking in 2020. Onward also looks interesting, but it’s Pete Docter’s newest film that has my attention the most. Early impressions seem to give off the feeling that this is yet another creative and heartfelt creation from the animation studio. The animation looks unsurprisingly vibrant and the integration of jazz music into the narrative has me giddy for whatever kind of personality it has in store- especially because Trent Reznor and Atticus Ross are handling the score. And given the recent shakeup in leadership at Disney’s animation branch, if Soul ends up being Docter’s swansong, it looks like a big way to go out.

#9: “The Gentlemen” (Opens January 24th)

Many filmmakers are able to sustain their careers by stretching out into different genres. Guy Ritchie isn’t really one of those directors, as his personal style never quite fit into a live-action Disney musical or a fantasy epic. However, his next movie The Gentlemen feels like a return to form for him, similar to Snatch and Lock, Stock, and Two Smoking Barrels. With an all-star cast at his disposal, all of whom seem to be having the time of their lives, it looks like Ritchie has found his comfort zone again. Let’s hope it’ll be genuinely fun and not just two hours of him trying desperately to relive his glory days.

#8: “Mank” (TBA 2020)

David Fincher finally making another feature film is enough reason for me to become excited about the project. But hearing that it was written by his late father Jack makes it sound much more personal for him, even with the near-mythical subject matter. It promises to be a movie about screenwriter Herman J. Mankiewicz, who fought with Orson Welles to attain a writing credit on the film Citizen Kane. Seeing talent like Gary Oldman, Amanda Seyfried, and Charles Dance among the cast members makes it seem like this could be a major awards contender for Netflix next fall. Fingers crossed Mank won’t get buried in their catalogue.

#7: “Last Night in Soho” (Opens September 25th)

After the success of Baby Driver, Edgar Wright could have done anything he wanted for is project. Rather than choosing something obvious or right up his alley, he’s doing a non-comedic horror movie with Anya Taylor-Joy, Matt Smith, and Thomasin McKenzie. The first image above teases something genuinely creepy and stylistic that he’s created alongside rising co-writer Krysty Wilson-Cairns. We still don’t know exactly the story might entail, but it sounds like it will be his rendition of psychological thrillers from the 1970’s. That alone is enough for me to be at least intrigued for whatever Wright and company have cooked up for next fall.

#6: “Cherry” (TBA 2020)

It’s always an exciting prospect when established blockbuster filmmakers move away to something smaller and more personal. Cherry sounds like such a prospect, as it finds the Russo Brothers reuniting with Tom Holland on a true-story drama that’s, unfortunately, only increased in its relevance. The tale of Nico Walker, a PTSD-ridden soldier who becomes addicted to opioids, is one that begs to be told. I’m eager to see how all parties involved can get a film made that doesn’t have to be defined by the constraints of a traditional Hollywood blockbuster like the Marvel Cinematic Universe. Although it technically doesn’t have a 2020 release date or distribution deal set just yet, I really hope the major studios will at least try to give it some attention when the time comes.

#5: “The Invisible Man” (Opens February 28th)

I’m still recovering from the spectacularly failed promise of the “Dark Universe” 3 years ago. It pretty much convinced me that none of the classic Universal Monsters could be properly adapted to the modern age. However, it looks like Leigh Whannell and Blumhouse have managed to find a new and relevant angle on The Invisible Man. It looks like it will be taking a MeToo approach, using the titular character as a way of relating society’s absurd reluctance to listen to women’s stories of abuse even though they can’t really see it. Add in Elizabeth Moss as the lead, and this looks like it could become a real word-of-mouth hit in February.

#4: “No Time to Die” (Opens April 8th)

The James Bond franchise has, by and large, been hit or miss for me over the years. Skyfall still remains my favorite one, and Daniel Craig’s version of the character has been remarkable, but there have been a number of stinkers every now and then. However, his 5th and supposedly last outing as 007 looks intriguing as hell. After a troubled early production history, No Time to Die looks like it’s on the right track based on what we’ve seen thus far. Cary Joji Fukunaga making the transition to big blockbuster filmmaking is incredibly interesting, especially when you consider how gorgeous the film looks visually. And of course, Rami Malek as the main villain sounds really exciting, and I can’t wait to see Phoebe Waller-Bridge’s writing come to light after a hyper-successful rise with Fleabag and Killing Eve.

#3: “In the Heights” (Opens June 26th)

Of the high-profile Broadway adaptations coming to theaters this year- the others being Everybody’s Talking About Jamie and Spielberg’s spin on West Side Story -it’s In the Heights I’m the most pumped for. I’ll admit to having only become a fan of Lin-Manuel Miranda in the past few years because of Hamilton, but his first musical is still a joy to listen to. The first trailer showcased exactly what I was hoping to see from the film, and seeing Anthony Ramos in a huge leading role, not to mention the whole ensemble surrounding him, makes me so pumped.

#2: “Tenet” (Opens July 17th)

Christopher Nolan might be one of the last filmmakers who’s able to let a major studio allow him to make a completely original blockbuster on a massive budget. And after finally getting an Oscar nod for Dunkirk, I knew that whatever he did next would be unique. And seeing him recruit John David Washington and Robert Pattinson for a huge action epic, alongside a wildly exciting crew, makes it sound amazing. As for what Tenet’s plot seems to be? Even after watching the glorious first trailer, I probably still won’t know what the film is actually about until I see in theaters. And I absolutely love that.

#1: “Dune” (Opens December 18th)

Denis Villeneuve was, unquestionably, the breakout director of the last decade. Blade Runner 2049 is one of the best films of all time, Prisoners is an underrated masterpiece, and Arrival is a modern sci-fi classic. So it’s only fitting that his newest project is an adaptation of one of the biggest and most influential science-fiction novels ever written. It feels almost like the type of film that he’s been building his whole career towards, especially with all of the support involved. He also has an enormously talented ensemble at his disposal, from Timothée Chalamet to Jason Momoa to Stellan Skarsgård bound to bring their all to the table. In short, Dune is shaping up to be a true sci-fi epic that could hopefully define cinema of the coming decade.

Do you agree with my picks? What movie are you most excited to see come out in 2020? I’d love to hear your thoughts in a Comment below. And for more awesome content like this, be sure to leave a like and Follow my Blog. Happy New Year, everyone!

“Parasite” Movie Review

Every now and then, I watch a movie that can be absolutely hilarious in one scene and then make you question why you’re laughing in the next. If that’s the kind thing that floats your boat, then you’re going to have a grand time here. This dark comedy-drama premiered in the Offical Competition section at the 71st Cannes Film Festival. It went on to win the prestigious Palme d’Or, making it the first Korean film to do so and the first one with a unanimous vote in 6 years. Although it was released in South Korea and other international territories in late May, Neon gave it a theatrical release in North America beginning October 18th, 2019. Made for the budget of roughly $11 million, it has thus far grossed over $127.4 million at the worldwide box office. This makes it one of the country’s highest-grossing features and it has the best-ever per-venue average for a foreign-language film. Directed by Bong Joon-ho, the idea for the film had been in his head for some time. He has repeatedly stated that he and co-writer Han Ji-won were inspired by several of Alfred Hitchcock’s films, incorporating some of his most common motifs. The house in the film was built completely from scratch by the production designers and was specifically designed to cast light in a certain way. Song Kang-ho stars as Kim Ki-taek, the patriarch of a low-income Korean family struggling to make ends meet. When all of them are on the verge of losing their jobs, the son Ki-woo, played by Choi Woo-shik, is bestowed a golden opportunity. Posing as a university student, he is hired as a tutor for the daughter of the wealthy Park family while his friend is studying abroad. As time goes along, each Kim family member slowly becomes ingratiated with the Parks, to the point where they barely recognize the life they’re living anymore. While I’ve admittedly yet to watch all of his films, I really like Bong Joon-ho’s filmography and personal style. He’s always able to blend the very absurd with the realistic in films like The Host and Okja, both of which are among the most underrated films of the century. Plus, his English-language debut Snowpiercer was actually one of the very first films I ever wrote a review for. Prior to actually seeing it, I had been advised by many sources to avoid all trailers and reviews for the film, only watching the trailer once during a screening for another film. Although I usually like learning about whatever film I’m about to watch, here, I decided it would probably be best to go in as cold as possible. And that decision has paid off in spades because Parasite isn’t only Bong Joon-ho’s best film to date, but it’s also now become one of my favorite foreign-language pictures of all time. Like many of the director’s other films, this movie is really about the intersection between class differences, capitalism, and circumstance in our modern world. Rather than giving an easy solution to income inequality, the film shows the nuance in a situation like this and throws unexpected curveballs now and again. The dichotomy in how the rich and the poor react to things so mundane as the rainfall is fascinating and a wonderful way to highlight the difference in their socioeconomic standings. And like I said at the beginning, Parasite is able to generate some laughs from uniquely hilarious moments. The first half of the movie plays out more like a dark comedy and just when the tone seems set in stone, it transforms into something much more sinister. The transition between moods is so seamless and one of the many reasons why this film works so well. Another reason why is Song Kang-ho, who, in his 4th collaboration with the director, gives an incredible lead performance. As Kim Ki-taek, he always has the best interest of his family at heart even if it comes at the expense of others. He’s very thoughtful and quiet, making any sudden outbursts he has feel completely surprising and intimidating. His two children, meanwhile, are both played by Choi Woo-shik and Park So-dam, who demonstrate immense range with their roles. Woo-shik acts kind of as the innocent, wide-eyed man who wants his family to benefit without harming the Parks. So-dam, meanwhile, is more a calculating mastermind who cares about her loved ones but is cynical about the rest of the world. Both of them bounce their ideas of deception off one another even if they disagree about how to go about it. Cho Yeo-jeong also definitely shouldn’t be overlooked as Yeon-gyo, the mother of the wealthy Park family. Although she means well and tries to treat those around her with kindness, it’s clear she is quite dim-witted and oblivious to the con being played. Her aloof attitude provides some of the biggest laughs in the film, and a welcome levity to the story. The rest of the supporting cast, while relatively small, bring a great sense of memorability to the film. This includes Lee Sun-kyun as the stern and stoic patriarch of the Park family, Lee Jung-eun as their loyal yet eccentric housekeeper, Chang Hyae-jin as the assertive mother of the Kims, and Park Seo-joon as a friend of the Kim son who sets them up in the first place. Each player works masterfully under the director’s guidance and finds a uniquely dramatic and comedic angle in every scene. And from a pure filmmaking perspective, Parasite finds Joon-ho working at the absolute peak of his powers. Hong Kyung-pyo’s cinematography is exquisitely detailed and mapped out in such a beautiful way in every scene. The camera movement and positioning are perfectly placed as they find the right amount of negative space for the action. It uses the lighting and production design to its advantage by always blocking the actors with precision. There’s a healthy amount of static wides throughout which equally help to create a sense of unnerving dread and deadpan humor. Yang Jin-mo’s editing job also does wonders for the structure and pacing of the film as it moves from one scene to another. No shot is ever too long or too short for its effect to take hold on audiences. The opening sequence perfectly sets up the characters and their environment, brilliantly showcasing their relevant surroundings. There are also a handful of mini-montages sprinkled throughout that showcase the gradual infiltration between the families. It really demonstrates how methodical and careful the Kims are with their plans. Jeong Jae-il provides the instrumental film score here, and although the Academy apparently disagrees, it’s one of the best of the year. The film opens with a solemn piano piece that immediately sets the mood and it only gets better from there. The soundtrack utilizes numerous different instruments to realize the attitude and position of the characters throughout. This includes plucked strings for more mischievous moments and a high-octave chorus to illustrate the more luxurious life of the Parks. The end credits also feature an original song called “Soju One Glass” written by Jae-il and sung by Choi Woo-shik. Although it starts off with a really mellow guitar melody, it soon shifts into something deceptively enticing. In that, it might just be the perfect tune to end the film on. With an excellent ensemble, tight direction, and one of the most biting screenplays in recent memory, Parasite is an utter masterclass on all filmmaking fronts with immense social consciousness. By tackling its subject matter head on but refusing to give easy answers, Bong Joon-ho has crafted not only of the year’s best films but also proven that he’s an artist that demands to be taken seriously. Its stunning and scathing critique of the effects of capitalism is absolutely incredible but also never forgets the specific cultural context. This also acts as a fantastic example of how to use the setting to help tell your story, and is honestly inspiring to me in this and many other ways.

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“Knives Out” Movie Review

Every time I see an author in a film or show, I almost always want their fictional work to be real so I can read it. Even if their in-universe bibliography is extensive, I just want to get my hands on it, however possible. This darkly comedic murder-mystery premiered at the 2019 Toronto International Film Festival to a rapturous response. After closing out Fantastic Fest, it was released in theaters worldwide by Lionsgate on November 27th, 2019. Having already made over $167.5 million against a $40 million, it should have no problem becoming a box office hit over the holidays. depending on how strong word of mouth ends up being, it could end up becoming one of the year’s most profitable films. Written and directed by Rian Johnson, the filmmaker had wanted to make a murder mystery for a while. He had originally planned on making it his fourth feature after finishing Looper but made Star Wars: The Last Jedi instead. It’s said to have been inspired by numerous Agatha Christie novels and films like Clue and Gosford Park. The film came together very quickly, with the cast and crew being announced within a month of its initial announcement. Daniel Craig stars as Detective Benoit Blanc, a well-renowned Southern private investigator. On the night of his 85th birthday, wealthy crime novelist Harlan Thrombey, played by Christopher Plummer, dies of apparent suicide. Suspecting foul play, Blanc is brought in to help question Harlan’s deeply dysfunctional family, including his South American caretaker Marta Cabrera, played by Ana de Armas. It soon becomes clear that everyone in the family is lying and all of them seem to have reasonable motives. I love a good murder mystery story every now and then and there aren’t enough movies these days in the genre. I’ve been a fan of Rian Johnson’s work for a while, from his perfectly directed episodes of Breaking Bad to the original sci-fi flick Looper and The Last Jedi, which I maintain is a genuinely great movie. Hearing news that he would be tackling a Christie-esque whodunnit set in the modern era made me practically giddy with excitement. As each player in the massively impressive ensemble signed on for the project, my excitement for it only grew exponentially. And hearing that it would be releasing over the long Thanksgiving weekend made me think it was going to become a real populist hit. And that’s just the case because Knives Out is an absolute delight of a film that is sure to become a huge crowd pleaser. From it’s very first scene, it’s perfectly clear that this is a film that understands its own genre and seeks to upend it in exciting ways. By focusing on a highly rich crime novelist, it’s able to examine greed, privilege, and entitlement in a way that bites hard. It’s evident that the majority of Harlan’s family members only care about getting in the will and how much they get, regardless if they actually deserve or earned it. But rather than being bitter and pessimistic, Knives Out also benefits from a darkly hilarious screenplay. Watching the various members of the Thrombrey clan obviously lie about the night of his death, plus how they all savagely treat each other provides some great laughs. And the dim-witted local authorities musing over missing clues, including a particularly convoluted metaphor about donut holes from the main protagonist, seal the deal for this original package of a movie. Daniel Craig takes a break from his tenure as James Bond for Detective Benoit Blanc, the eccentric private eye with a penchant for wordplay and cigars. With a thick Southern accent and loads of swagger, he quickly shakes off any imitations of Hercule Poirot as he gets right down to the case. Although we don’t get to know much about him personally, Craig’s subtle mannerisms and delivery of lines like “I suspect foul play, and I have eliminated no suspects” add so much to him. After a series of small supporting roles, Ana de Armas gets the breakout she really deserves with her performance here. As Marta Cabrera, she’s so pure-hearted and clearly has no interest in material wealth like the rest of the Thrombrey clan, who patronize her about her nationality. During the second act, she becomes the unexpected hero of the story as things shake up and she’s forced to confront things she’d rather have no business dealing with. Her facial cues and silence tell a lot about her character and just knowing she’ll be a big star is already exciting to me. Chris Evans also manages to surprise as Ransom Thrombrey-Drysdale, Harlan’s spoiled and narcissistic grandson. A total departure from his years-long MCU tenure, he goes to a lot of effort making his character a selfish bastard who never has any interest in being likable to those around him. Things take a turn, however, when he unexpectedly makes a change about halfway through where he admits to feeling vain and empty from the material life he’s lived. And Rian Johnson has managed to put together one of the best ensembles this side of Once Upon a Time in Hollywood. The family members consist of Don Johnson, Jamie Lee Curtis, Katherine Langford, Toni Collette, Michael Shannon, Jaeden Martell, Riki Lindhome, K Callan, and Christopher Plummer, while Lakeith Stanfield, Frank Oz, and Edi Patterson fill out smaller but equally important roles. Each player clearly looks like they’re having a blast as everyone clearly knows something the rest don’t, and their interplay with one another is aces. Meanwhile, from a filmmaking perspective, Knives Out sees Rian Johnson working in tip-top formation. Steve Yedlin, the director’s regular cinematographer, captures the picture in exquisite detail and precision. The opening scene features multiple shots of the Thrombrey mansion, clearly establishing the layout of the home and the legacy of the victim. There are some pretty creative shots that play with the visual composition of the characters and creates a great amount of negative space. We also get to see some amazing movements and techniques such as a dramatic dolly during an epiphany or a slow tilt for a revelation. This matches up quite well with the editing job by Bob Duscay, which keeps the pacing up despite a runtime of 2 hours and 10 minutes. In the first 20-30 minutes, we get a brisk montage of the police interviewing every member of the family as they give their of the story. Watching it cut back and forth between each of them is a great way to get insight into their characters and find new details that the others may be hiding. It also cuts to an occasional flashback to the night of Harlan’s death and shows it from multiple perspectives, adding to the mystery. The director’s cousin Nathan Johnson provides the instrumental film score here, and their fourth collaboration is absolutely brilliant. It has a certain jangly sound and rhythm to it as it utilizes plucked strings and percussion to build the suspense and intrigue. A handful of tracks also use a full symphonic orchestra in a sort of homage to old-school whodunnits Hollywood used to be obsessed with. The implementation of woodwinds and double reed instruments also creates a feeling of modernity to the story. There’s a certain underlying dread and melancholy to the tracks that by turns can be both tragic and ironic. The film ends with the song “Sweet Virginia” by the Rolling Stones, which perfectly fits the mood of the final moments. The lyrics and instrumentation surmises the themes and ideas of the film as a whole, and leaves on one of the best final shots in the last couple of years. Loaded with charm and personality and riding off of a killer script, Knives Out is an enormously satisfying crowd-pleaser with a fantastically committed ensemble. By prodding at the conventions of its dusty genre, Rian Johnson is able to craft a loving and pointed murder mystery with tons of social bite. The whole cast of veterans and stars give it their all and Ana de Armas is finally given a proper chance to shine in the spotlight. In an age where IPs are rampant in the market, this is one film that I wouldn’t mind becoming a new franchise. Even if it’s less shocking than it is clever, it practically begs to be seen with a big crowd and rewatched for a long time to come.

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