Category Archives: Netflix

“Stranger Things” Season 3 T.V. Show Review

**This review of Stranger Things 3 will remain spoiler-free, but I will be talking about the broad strokes of what happened in season 2.**

Most people in America use the Fourth of July to celebrate the birthday of the U.S. with fireworks and red-white-and-blue regalia. I use this time to binge watch a Netflix show in a different country. I won’t judge your personal forms of celebration if you won’t judge mine. The third season of this coming-of-age sci-fi horror show was released on the streaming service Netflix on July 4th, 2019. Highly anticipated, the streaming service claims to have scored astronomical views from customers all over the world. However, since the company never publicly discloses their numbers, there’s no telling how well it’s actually doing. But given the huge established fanbase and the positive critical reviews that it’s received from major outlets, it’s safe to say that a fourth season is all but guaranteed. After the big, if somewhat cool success of the second season in 2017, creators Matt and Ross Duffer took a brief break to figure out the next few steps for the show. Netflix had originally desired for the third and fourth seasons to be written and shot back-to-back, but the brothers opted to just focus solely on this next chapter instead. Although initial reports have suggested that this is the penultimate season for the hit show, Netflix and the Duffer Brothers have been mum on whether the next season will be the last or not. Set about six months after the last confrontation, the main kids in Hawkins, Indiana have settled back into normality once more, with Milly Bobby Brown’s Eleven fully integrated into normal civilian life. Many of the characters are indulging much of their summer vacation in the newly opened Starcourt Mall, which has also stirred up controversy with the town’s self-righteous mayor. Soon, it becomes clear that the Mind-Flayer, the primary antagonist from last season is still alive and well, hoping to slowly indoctrinate humanity into their will. On top of all that, a handful of residents stumble upon a conspiracy involving the Russian government wanting to reopen a gateway to The Upside Down. It’s been kind of incredible to see the sheer self-made phenomenon that Stranger Things has become. Like many who got hooked on the show, I’d hardly heard anything about it before finding it on Netflix, and immediately told everyone I knew to start watching it as well. And now, it’s become arguably the streaming service’s biggest flagship show. Because of this, seasons 2 and 3 have a bit of an unfair obstacle to overcome, as fan expectations were sky-high for both of them. The second one was mostly able to meet them, even with a few stumbles in the road that didn’t quite work in the way the showrunners wanted. And now with season 3, Stranger Things has focused up on what works best and gives use easily my favorite season yet. With just 8 episodes now instead of 9, there is less room for unnecessary fat, allowing them to keep the action on the central characters and relationships. With new developments for the ones from last season and spotlights on the brand new ones, the characters all feel the most nuanced, most relevant, and most human they’ve ever been. And even though the mythology and lore surrounding is expanded upon in really intriguing ways, the relationships almost always come first. That has always been one of the biggest strengths of Stranger Things, not just all of the nostalgia-inducing references to 80s pop culture. Sure, there is LOTS of product placement for Coca-Cola throughout and greatly improved visual effects, but that’s not the point of the show. And seeing that the Duffers haven’t lost sight of that is very encouraging for what the future may hold. All of the kids have grown up and evolved with this show in beautiful ways. Just look at how far Lucas, Eleven, Mike, Dustin, and Will have come since the first season; the actors have all grown naturally with their characters. Of particular mention is Joe Keery as bad boy-turned caring pseudo-adoptive father Steve Harrington. His character arc has always been one of the most engaging, as we watch him gradually evolve throughout the show in a positive way. Case in point, his new partner this season is Maya Hawke’s Robin, easily my favorite character of the new season. She’s funny, quick-witted, thinks on her feet, and never misses an opportunity to poke fun at her co-worker. But as the season progresses, she gradually lets her guard down, culminating in a revelation of a bathroom scene that virtually everyone has been talking about. The other big scene-stealer of the season is Priah Ferguson as Lucas’ little sister Erica, upgraded from the previous season. Although she clearly holds her brother’s friends in contempt, her bouncing off of Dustin is one of the most beautiful things the showrunners have come up with. She’s sassy, but also smart and resourceful and always manages to get some clever jabs at her companions every chance she gets. And technically speaking, Stranger Things has never looked so good or polished than here. The trademark cinematography is back with all the controlled movements and expert blending of practical and special effects. For this season, however, they’ve added brighter, more neon-tinged colors that really go well with the 4th of July setting. Whether it’s inside the Starcourt Mall or at the town’s Independence Day fair, there are many colors meshed together in a really cool way. And the pacing of this season is elevated by the editing department, which bounces from one storyline to the next. I was worried that one character or arc would overtake the rest, but I was thankfully wrong; they’re all intercut very well. As always, Kyle Dixon and Michael Stein of the band Survive provide the musical score, and as always, they deliver a great soundtrack. Like the last two times, the soundtrack is composed largely of synthesizers and Theremins as an homage to old-school sci-fi flicks. But the most memorable track comes for the third episode, which mixes the Upside Down’s leitmotif with unique sound effects. With a heartbeat keeping tempo and noises that sound like squishing meat, it sounds deeply terrifying and disgusting. Other notable songs from the era used include an excerpt from Philip Glass’s Satyagraha Act II: Tagore for the end of the sixth episode and a wholly unexpected sequence involving the theme from The Neverending Story. Whereas the former created an extreme amount of tension as the villain’s plan comes into play, the latter is joyous and puts a smile on my face. Stranger Things 3 is a highly entertaining and neon-soaked continuation that pushes the series ever forward. By focusing and improving on what’s made the show great in the past and changing the formula up a little, the Duffer Brothers have delivered the best season of the show yet. And after finishing it all, I can honestly say that I hope rumors about it only lasting four or five seasons is true. Better to go out in a blaze of glory than fizzle out for decades.

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“Extremely Wicked, Shockingly Evil and Vile” Movie Review

This may be one of the few films I’ve ever seen that actually doesn’t live up to the description in its title. In context with the story and characters, it makes sense but there is not a single moment here which indicates that it earns it. This biographical crime thriller initially premiered out of competition at the 2019 Sundance Film Festival. Picked up for approximately $9 million, it also played at the Tribeca Film Festival later in April to similarly mixed opinions. It later received a limited theatrical release on May 3rd, 2019, and landed on the streaming service Netflix the same day. It is believed to have made close to $2 million in specialty markets, although, like all of the distributor’s theatrical releases, there’s no telling the veracity of these reports. It’s also scheduled to make a return to theaters later this fall as a way to provide more visibility for awards season. The film marks the narrative feature debut of director Joe Berlinger, who previously helmed a number of documentaries. This is his second Netflix project focused on the main subject, after the docu-series Conversations With a Killer: The Ted Bundy Tapes. There was some initial backlash when the film was first announced at the 2017 Cannes Film Festival, particularly over its star’s seemingly problematic casting, and sparked further controversy with its first trailer. Beginning in 1969 Seattle, the true story is told from the perspective of Liz Kendall, played by Lily Collins, a single mother and secretary. Pretty soon, she becomes romantically involved with law student Theodore “Ted” Bundy, played by Zac Efron, who soon moves in and becomes a stepfather to her daughter Molly. However, Bundy quickly becomes accused of committing a number of heinous and disgusting crimes against women, eventually culminating in the first-ever televised court trial. And while all of this happens over the course of more than a decade, Liz struggles to reconcile her love for Ted with the crimes he committed. I’m not going to pretend like I didn’t expect this movie to garner controversy when it first made waves. Like many films focused on the lives and/or exploits of serial killers, it would have to walk an incredibly fine line to really work. I was somewhat worried that it would turn into a voyeuristic or fetishized depiction of what Bundy did to all of those women. Although I haven’t watched Joe Berlinger’s Confession Tapes, I have a pretty good feeling that he’s fascinated with this man. And I was curious to see if he could find a certain wavelength or angle that would serve up a fresh and respectful treatment of the subject matter. And Extremely Wicked, Shockingly Evil and Vile is by no means exploitative or distasteful, it’s just… not that remarkable. In fairness to the filmmakers, the story of Ted Bundy has been covered in so many different views and perspectives. The idea of looking at his decades-long crimes from the P.O.V. of his real-life girlfriend, whose book The Phantom Prince served as the source material, is both a blessing and a curse. A blessing because his sickening acts of violence are only heavily implied throughout the film, which also ends with a list of his known victims. But it’s also a curse because Extremely Wicked still feels beholden to stay in Bundy’s orbit constantly. He keeps insisting that he’s an innocent man and it’s not really until the very end of the movie that he finally relents. The whole film is framed with Liz visiting him in prison one last time before his ultimate sentence and for whatever reason, that format just didn’t feel right. For whatever problems the movie has, Zac Efron is practically perfect casting as Ted Bundy. He has all of the confidence, swagger, and deceitful charm befitting of the man, able to swoon entire flocks of people with just a blink. He surprisingly maintains a level-headed composure throughout the film, internalizing his sick thoughts and deeds. And although the film is told from her perspective, I have mixed feelings about Lily Collins as his longtime girlfriend Liz. Don’t get me wrong, she’s great in the role, but her lack of agency and full characterization make her feel more like a sketch of a person than a real individual. Kaya Scodelario turns in surprisingly effective work as Carole Ann Boone, Bundy’s old friend and by far most ardent supporter. She is absolutely devoted to getting Ted acquitted by any means necessary, following him to his various trials and trying to persuade the judge or juries to let him be. Haley Joel Osment and Jim Parsons are pleasant surprises as Liz’s new boyfriend and the Florida prosecutor, respectively, while Brian Geraghty and Jeffrey Donovan excel as Bundy’s failed attorneys. John Malkovich is quite impressive as Edward Cowart, the judge presiding over Bundy’s final trial. Despite the violence and degrading, inhumane crimes described in the case, he offers a bit of empathy to the defendant. “It is an utter tragedy for this court to see such a total waste of humanity, I think, as I’ve experienced in this courtroom,” he says to a full house, deeply disappointed by what has transpired over the trial. And although it’s only his first feature, Joe Berlinger first feature, he shows some promise with the technical aspects of Extremely Wicked, Shockingly Evil and Vile. The film is shot by regular comedy cinematographer Brandon Trost, and his usually dark aesthetic translates rather well here. Much of the film seems desaturated of color to strip away any color or glamour in Bundy’s crimes. Many scenes are done in long takes, with one unbroken monologue that Ted delivers when his final sentencing is announced in court being especially memorable. The editing by Josh Schaeffer, on the other hand, is rather bland and uninteresting in it execution. The aforementioned framing structure makes the story feel more constrained than it needs to be, as the rest of the film is cut together in chronological order. The film frequently cuts between filmed scenes and actual archival news footage, which works to an extent with bringing the historical context full circle. An example of the sum of its parts being better than the whole, Extremely Wicked, Shockingly Evil and Vile has a fantastic lead performance that cannot save a middling-at-best film. While not nearly as gross and exploitative as I feared it would be, Joe Berlinger just doesn’t put enough oomph or engagement to really examine its subject matter. Yes, Zac Efron is undeniably great as one of the most reprehensible humans to have ever walked the Earth, but I just wish it had focused more on the intriguing angle it had promised. Unfortunately, it sometimes feels like the movie forgets that.

“High Flying Bird” Movie Review

As someone who grew up in a household with sports junkies family members, I understood more of this movie than I thought I would. I’m not even sure if that’s something I’m entirely proud of, but hey it sure added to the experience. This business-centric sports drama initially premiered at the 2019 Slamdance Film Festival. Although its distributor offered to give it a limited theatrical run, the director declined as he thought it wasn’t ultimately worth it. The $2 million production was instead released worldwide on the streaming service Netflix on February 8th, 2019. It garnered some of the best reviews for the filmmaker in quite a while, some even calling it a return to form. Directed by Steven Soderbergh, the film was originally written by Tarell Alvin McCraney, the Oscar-winning playwright behind Moonlight. The screenplay was based on an actual lockout that occurred in 2011, and immense research was undertaken in the ensuing years. According to the director, principal photography went so fast that he assembled the first cut of the film on his laptop within a few hours after production wrapped. André Holland stars as Ray Burke, an extremely intelligent and resourceful sports agent who primarily handles basketball players. During an ongoing NBA lockout, neither he nor his clients, including top draft prospect Erick Scott, played by Melvin Gregg, are getting paid while the owners and Players’ Association union refuse to compromise. However, Burke comes up with a daring and risky plan to try and upend the system within a tight timeframe of 72 hours. And every now and then, we see actual NBA players Reggie Jackson, Donovan Mitchell, and Karl-Anthony Towns giving interviews, breaking down exactly how the league works for rookies. To be perfectly honest with you, Steven Soderbergh’s work as a director can be hit-or-miss for me most of the time. I absolutely love Ocean’s Eleven and some of his earlier stuff, but I’ve been iffy on his newer releases, such as Unsane. But regardless, I can definitely appreciate how he tries to approach each of his films in a brand new way, even if it isn’t entirely successful. Seeing him collaborate with the same writer behind Moonlight, a film I wholly adored back in 2016, automatically made me ecstatic with the possibilities. I was interested to see the two of them tackle the behind-the-scenes world of sports, especially since Soderbergh came so close to directing Moneyball 8 years prior. And while it feels a little too lean for its own good, High Flying Bird is still incredibly well-written and sharply acted. The best thing that I can say about this film is that it made me even more interested in the business behind sports, something I don’t usually think about that much. It’s clear that McCraney did his homework here, creating environments and scenarios with such a level of detail that it feels like he’s spent a lot of time on the court. The ideas High Flying Bird wrestles with are interesting, especially in relation to how young black athletes are frequently at the mercy of their older, white owners. Why should we put so much pressure on the public image players put out while owners like Robert Kraft get away with millions and unsettling activities? The problem is that, at just 90 minutes, it feels like some of these themes and ideas get short-shifted in favor of the protagonist’s wild plan. This being a Soderbergh film, it has the verve and personality of an Ocean’s movie that was never made, which is totally fine. But when the scenes where the central issues start kicking, it makes me wish that it was at least a half hour longer, or even a miniseries. André Holland has slowly been building an impressive resume the last few years as an actor, and he continues that here as Ray Burke. From the minute he comes on-screen, he commands your attention with his razor-edge intelligence and charisma. Meanwhile, Zazie Beetz and Bill Duke are equally good as Ray’s snappy assistant and wise mentor, respectively. Much like Ray, they’re both fully aware of the racial implications of a system like the NBA; whenever the issue of slavery is brought up, Duke’s character repeats “I love the Lord, and all His black people.” Kyle McLachlan and Glenn Fleshler are also impressive as two owners who feign concern for their players, while Sonja John is witty and shrewd as a fellow sports agent. Melvin Gregg is definitely worth mentioning as Erick Scott, one of the nation’s top draft prospects. While he may not be privy to everything that’s going on, it’s clear that he loves the game of basketball and wants nothing more than to get back on. This being a Steven Soderbergh film, the technical side of things is pretty clean and interesting. As always Soderbergh acts as his own cinematographer and editor, credited for both categories as Pete Andrews and Mary Ann Bernard, respectively. Like many of his films, each scene has a static camera placed in a specific spot in the room, only moving around when needed for the characters. It also cuts between each scene and shot with purpose, replicating the high energy of the screenplay. That being said, I’m really not that convinced that this film needed to be shot on an iPhone, like his previous film Unsane. While it worked for that particular film’s psychological aspects, here, it feels too limited and narrow for the scope of the story, only allowing two characters on-screen at a time. And while some movements are quite impressive, the lack of field depth and extremely static movements can take audiences out of the experience. Still, with enough meat on the bone to generate discussion afterward, High Flying Bird‘s kinetic screenplay and performances outshine some questionable technology choices. Although I wouldn’t consider this a return to form for the director, Steven Soderbergh still shows that he’s got it and is willing to risk failure by trying new things. Not to mention the fact that he’s supported by an incredibly dense script by Tarell Alvin McCraney and an outstandingly committed cast who fully give themselves to a surprisingly topical story. Yes, it does feel like it could be a lot more, but for what it is, it’s still a riveting game to watch.

Final 2019 Oscar Predictions

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

Best Picture

Will Win: Roma

Could Win: Green Book

Should Win: Roma

Should Have Been Nominated: If Beale Street Could Talk

 

Best Director

Will Win: Alfonso Cuarón for Roma

Could Win: Spike Lee for BlacKKKlansman

Should Win: Alfonso Cuarón for Roma

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

 

Best Actor

Will Win: Rami Malek in Bohemian Rhapsody

Could Win: Christian Bale in Vice

Should Win: Bradley Cooper in A Star is Born

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

 

Best Actress

Will Win: Glenn Close in The Wife

Could Win: Olivia Coleman in The Favourite

Should Win: Olivia Coleman in The Favourite

Should Have Been Nominated: Viola Davis in Widows

 

Best Supporting Actor

Will Win: Sam Elliot in A Star is Born

Could Win: Mahershala Ali in Green Book

Should Win: Sam Elliot in A Star is Born

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

 

Best Supporting Actress

Will Win: Regina King in If Beale Street Could Talk

Could Win: Rachel Weisz in The Favourite

Should Win: Regina King in If Beale Street Could Talk

Should Have Been Nominated: Tilda Swinton in Suspiria

 

Best Original Screenplay

Will Win: The Favourite

Could Win: Green Book

Should Win: Roma

Should Have Been Nominated: Sorry to Bother You

 

Best Adapted Screenplay

Will Win: BlacKKKlansman

Could Win: A Star is Born

Should Win: BlacKKKlansman

Should Have Been Nominated: Widows

 

Best Animated Feature Film

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

Could Win: Incredibles 2

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

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

 

Best Foreign-Language Film

Will Win: Roma (Mexico)

Could Win: Cold War (Poland)

Should Win: Roma (Mexico)

Should Have Been Nominated: Border (Sweden)

 

Best Documentary- Feature

Will Win: Free Solo

Could Win: Minding the Gap

Should Win: RBG

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

 

Best Documentary- Short Subject

Will Win: A Night at the Garden

Could Win: Period. End of a Sentence

Should Win: A Night at the Garden

Should Have Been Nominated: Zion

 

Best Live-Action Short Film

Will Win: Fauve

Could Win: Detainment

Should Win: Fauve

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

 

Best Animated Short

Will Win: Bao

Could Win: Late Afternoon

Should Win: Bao

Should Have Been Nominated: The Ostrich Politic

 

Best Original Score

Will Win: Black Panther by Ludwig Göransson

Could Win: If Beale Street Could Talk by Nicholas Britell

Should Win: Black Panther by Ludwig Göransson

Should Have Been Nominated: First Man by Justin Hurwitz

 

Best Original Song

Will Win: “Shallow” from A Star is Born

Could Win: “All the Stars” from Black Panther

Should Win: “Shallow” from A Star is Born

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

 

Best Visual Effects

Will Win: First Man

Could Win: Ready Player One

Should Win: First Man

Should Have Been Nominated: Mission: Impossible- Fallout

 

Best Cinematography

Will Win: Roma

Could Win: A Star is Born

Should Win: Roma

Should Have Been Nominated: Widows

 

Best Costume Design

Will Win: Black Panther

Could Win: The Favourite

Should Win: The Favourite

Should Have Been Nominated: Paddington 2

 

Best Makeup and Hairstyle

Will Win: Vice

Could Win: Border

Should Win: Vice

Should Have Been Nominated: Suspiria

 

Best Production Design

 

Will Win: The Favourite

Could Win: Black Panther

Should Win: First Man

Should Have Been Nominated: Annihilation

 

Best Film Editing

Will Win: Vice

Could Win: Bohemian Rhapsody

Should Win: BlacKKKlansman

Should Have Been Nominated: Hereditary

 

Best Sound Mixing

Will Win: A Star is Born

Could Win: Bohemian Rhapsody

Should Win: Roma

Should Have Been Nominated: Mission: Impossible- Fallout

 

Best Sound Editing

Will Win: Roma

Could Win: A Quiet Place

Should Win: Roma

Should Have Been Nominated: Mission: Impossible- Fallout

 

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

“Velvet Buzzsaw” Movie Review

I’ve only been to a handful of art museums in my home state in Texas, and I can confirm that there are indeed people who act like the people in this movie. I shudder just to think how much more snobby they could be in a huge place like L.A. or New York. This satirical horror-thriller premiered at the 2019 Sundance Film Festival to a wide range of responses from those who attended. Just 5 days later, it was released in a limited theatrical engagement as well as on the streaming service Netflix on February 1st, 2019. The $21 million production was supposedly originally going to be released back in October of last year, but got pushed back. Written and directed by Dan Gilroy, the same man behind 2014’s Nightcrawler, the project was conceived from the filmmaker’s tumultuous experience co-writing Tim Burton’s unmade version of Superman Lives. Embittered over Warner Bros. concern for the increasingly large budget over anything else, it had apparently taken him quite a while to make peace with the disaster. He has frequently described the film to be similar in themes and style to Robert Altman’s ensemble classic The Player. Set in the glitzy modern art scene of Los Angeles, the story follows quite a few characters, but it mostly focuses on well-renowned art critic Morf Vandewalt, played by Jake Gyllenhaal. His agent and lover Josephina, played by Zawe Ashton, discovers a treasure trove of never-before-seen paintings by a recently deceased artist named Vetril Dease. But when numerous people in the world of art seek to profit off of them, including Rene Russo as the cutthroat gallery owner Rhodora Haze, these paintings apparently come to life and start murdering anyone wanting to make money. 2014’s Nightcrawler is one of my absolute favorite films of the last decade, and one of the best directorial debuts I’ve ever seen. It was clear that Dan Gilroy had something to say about the ruthless world of commercial entertainment and how anything can be made into such with enough grit. Not to mention, it featured two astounding and horribly snubbed performances from Jake Gyllenhaal and Rene Russo as the sociopathic protagonists. The prospect of seeing these two actors reunite with Gilroy on a brand new movie, especially one as oddball as this ,was highly intriguing. After all, the modern art world has essentially become a parody of itself. And while Velvet Buzzsaw isn’t anywhere near as good or revelatory as Nightcrawler, it’s still very entertaining and engaging. Although it is a straight-up horror flick, it really isn’t all that scary or even disturbing. Rather, Velvet Buzzsaw approaches its subject matter with a surprising amount of silliness and hot air, (The characters’ names are deliberately ridiculous) while still telling its story with a lot of venom. Most of the individuals in the film are pathetic creatures who only care about how much money a piece of art may make, and not at all appreciate what Jackson Pollock or Allan Kaprow are trying to say with their art, with one character exclaiming, “What’s the point of making art if nobody sees it?” However, it ultimately falls prey to its setting, and at points it starts to feel like a pretentious critic shouting into the void. While it is poetic that the film was funded and released by Netflix, it still doesn’t feel as insightful or deep as it wants to be. Thankfully, it tries to avoid much self-seriousness with a mad capper tone, which helps save it from becoming a hollow mess. Morf Vandewalt has to be one of the weirdest names I’ve seen recently, but Gyllenhaal hams it up perfectly. He’s a sniveling, detached, and snooty critic who may not even believe his own critiques as long as the piece is a success. Gilroy’s real-life wife Rene Russo and Toni Collette are equally brilliant as Rhodora Haze and Gretchen, the icy art gallery owners who always have money on their minds before anything else. While they may be rivals in the film, their goals are very similar as they want nothing more than to be the only ones to sell Dease’s paintings. And the big ensemble cast features awesome roles from John Malkovich, Billy Magnussen, Daveed Diggs, Tom Sturridge, Natalie Dyer, but the biggest revelation has to be Zawe Ashton a Josephina, the agent who finds the art in the first place. While at first she appears decent, she gradually and deliberately gets rid of any sympathy for this character as she herself succumbs to insatiable greed. Like Morf, she slowly becomes disillusioned with reality from these works and will do anything to stay at the top of the ladder. I’d love to see what else she has in store for viewers in the future. Meanwhile, the technical aspects show that Gilroy is further developing his own style and voice. With Paul Thomas Anderson’s regular cinematographer Robert Elswit, who shot the director’s two previous films, he proves once again he has a unique talent for shooting the city of L.A. The shots and framing are as sleek and shiny as the world in which the story takes place, and frequently floats around from character to character in a scene. It also uses lighting to its advantages in many aspects, such as telegraphing when someone might be killed next. The director’s twin brother John Gilroy also edits the film, as he has for every member of his family. It knows when to cut away from a shot or let something linger on-screen. And this being a horror movie, you’d expect there to be some creative or memorable deaths. With so much art to go around in the plot, I was pretty impressed by a lot of the kills, some of which drew real laughter from me. Replacing the director’s previous collaborator Jams Newton Howard, Marco Beltrami and Buck Sanders give us the film score. I’ll be perfectly honest, I can’t remember a single track or note from the whole film, so it’s not really worth it. Instead, it leans a lot on contemporary pop or electronic songs. This ultimately contributes to making the art world feel even more plastic and vapid. Knowing what it wants to do and wasting zero time lollygagging before getting to it, Velvet Buzzsaw is a gleefully trashy and scathing, if somewhat slight portrait of profit over art. It’s definitely an interesting next step for Dan Gilroy’s directorial career, if not a totally solid one. He clearly has something to say and a particular way to say it, all while trying to keep it as an entertaining horror flick. I would say more, but honestly, critique can be so limiting and emotionally draining.

“Mowgli: Legend of the Jungle” Movie Review

This is the second movie I’ve seen in less than 10 years where Benedict Cumberbatch plays a character named Khan that a protagonist shouts in anger. That is, thankfully, not the only distinguishing feature for this film. This fantasy adventure drama was originally scheduled to be released in theaters on October 19th, 2018. However, in an unexpected turn of events, the distributors were swapped and it instead received a select theatrical run for one week beginning on November 29th. It then reached a wider audience when it ultimately landed on the streaming service Netflix on December 7th of this year. The film is said to be a more faithful, straightforward adaptation of Rudyard Kipling’s writings, the 9th one overall if I’m not mistaken. Warner Bros. began developing the project as early as 2012 under the title Jungle Book: Origins, intended to be the directorial debut of Andy Serkis. While most of the production occurred back in 2015, after Disney announced and ultimately released their film version first to massive success, the release date kept getting pushed back, partially to also iron out the complex visual effects. Then, the studio decided to offset the movie altogether and sold distribution rights to Netflix, who set it up for an early holiday release. It’s also notable for being the first mainstream Hollywood film to premiere in India, with a special event held in Mumbai. As with all of Kipling’s stories, we follow Mowgli, this time played by Rohan Chand, a young boy raised in the Indian jungle by a pack of wolves. As he comes of age, he is challenged by a ruthless Bengal tiger named Shere Khan, performed by Benedict Cumberbatch, who has a special hatred for mankind. Feeling isolated and unwelcome, the “man-cub” has to come to terms with who he is and face off against the tiger, all while a nearby human village seeks to hunt them all for game. I’ve been interested to see what Andy Serkis could with this story for a few years now, being an enormous fan of his motion-capture work in the Lord of the Rings and Planet of the Apes reboot trilogies, respectively. While I really liked Disney’s live-action revamp from 2016, it still retains the filter of childhood friendliness. Walt Disney famously told his animators to toss out Rudyard Kipling’s stories in the original animation, ultimately the last one before the mogul’s death. So I was curious to see what a more faithful adaptation would look like, even as it swapped studios at virtually the last minute. Mowgli: Legend of the Jungle is definitely an interesting take on the source material, but there’s still a lot left to be desired. Let’s be clear here: This film does follow a lot of the same beats we’re familiar with at this point. What immediately makes Mowgli different from most of the other adaptations is how it’s unafraid to explore the darker, more violent aspects of the jungle. Many of the characters, including the man-cub himself, have visible scars on the bodies, sustained either from other animals or the human hunters that reside close. My issue is that I feel it didn’t go all-in for these aspects, often times struggling to figure out whose audience it is. It’s almost always at its best when dealing with the darker themes of Kipling’s stories and less so when it attempts to give out doses of family-friendly humor. Young newcomer Rohan Chand plays the titular lead role, and he’s apparently very well-suited for it. Incredibly strong-willed but never faltering in his curiosity, it’s quite fascinating to watch as he’s torn between two worlds and never really belongs anywhere. This time around, he’s not the only live-action player; Freida Pinto and Matthew Rhys play a caring village mother and a white colonial hunter, respectively. All of the iconic animals are brought to life with motion capture performance. Christian Bale is stern but soft as the panther Bagheera, Benedict Cumberbatch is a little too showy as the feared tiger Shere Khan, Cate Blanchett is both mysterious and seductive as the giant snake Kaa, and Serkis himself is joyful but off-edge as the big bear Baloo. Meanwhile, on the technical side of things, Mowgli: Legend of the Jungle frequently swings from being fairly impressive to being in need of more post-production work. The cinematography by Michael Seresin employs a surprising amount of practical locations; it’s not all just in a big studio lot. He uses a lot of sweeping shots to capture the vastness of the jungle as well as dramatic push-ins or tracking shots to emphasize tension when needed. It also highlights or heightens certain colors when it’s set in the village, such as green for the surrounding jungle or red for blood or powder. The editing department is a triple duty taken on by Mark Sanger, Alex Marquez, Jeremiah O’Driscoll. While not necessarily overdone, it does feel a little rushed in certain areas or scenes. And of course, there are those motion-capture effects, the primary reason for its numerous delays. On occasion, they looked a tad cartoonish, and in others, they looked uncanny. Serkis’ passion for the project rings truest in this department, as he and his production company did their best to make the animals look as realistic as possible. The musical score is composed and conducted by Nitin Sawhney. It’s a pretty interesting and diverse soundtrack, covering a lot of unexpected ground. The vast majority of tracks are highly orchestral, incorporating swaying strings and soft percussion instrumentation to create the scope. But there are also unique elements such as wooden flutes, trippy saxophones, and discordant chimes in the background. Sawhney also wrote an original song called “Changes,” featuring the vocals of singer Kara Marni. It uses much of the same instrumentation as the rest of the soundtrack, albeit more heavily on percussion. It feels like an appropriate coda for the film, being played during the end credits, and reflects the jungle’s changing nature thanks to the actions of the titular boy. With possibly more potential than the Disney version from 2016, and some memorable imagery throughout, Mowgli: Legend of the Jungle is a compelling visual journey that fails to deliver on its darker promises. Andy Serkis definitely shows he has a capable hand behind the camera, and I’m interested to see what else he can come up with in later years. This was a decent start for him, although it could have been so much more.

Top Ten Most Anticipated Movies of 2019

Welcome to to the year 2019, readers! Every year brings a new crop of movies that get my blood pumping for one reason or another. This year is no different, as there are a number of high-profile (And smaller indie) releases that have been holding my attention for months on end now. As per usual, there are so many coming out within the next 12 months that it was kind of hard to narrow down into a ranked list. I could only include 10 on this list, though, so here are several honorable mentions that are also on my watchlist for the year.

Honorable Mentions:

A Beautiful Day in the Neighborhood, Shazam!, The Lego Movie 2: The Second Part, It Chapter Two, Artemis Fowl, The Kid Who Would Be King, Missing Link, Captain Marvel, Avengers: Endgame, Captive State, Aladdin, The Lion King, Alita: Battle Angel, High Life, Velvet Buzzsaw

Let’s see what’s coming out, now.

#10: “The Irishman” (TBA 2019)

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If the last few years have proven anything, it’s that Netflix really wants to be taken seriously in the filmmaking industry. While there are still several directors and producers who are cynical about the streaming service’s merits, they have managed to attract numerous high-profile auteurs due to their emphasis on creative and artistic freedom. One of those auteurs is Martin Scorsese, whose long-gestating project The Irishman was finally given the green light once it got to Netflix. While it technically doesn’t have an official release date yet, most sources seem to indicate that it’s going to be released sometime in 2019. And with the recent theatrical success of Roma, I can easily see this as a window for them to open more of their films in theaters. If for nothing else, I just want to see Al Pacino, Robert De Niro, and Joe Pesci (In his first role in nearly a decade) work together on-screen.

#9: “Joker” (Opens October 4th)

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I can’t quite explain why, but Todd Phillips’ Joker movie has my interest piqued more than any other comic book adaptation coming out next year. Obviously, I’m looking forward to Avengers: Endgame, Captain Marvel, and Shazam!, but this just seems really different from those other films in so many aspects. Based on many accounts I’ve read, Warner Bros. is gunning for a more character-driven, smaller-scale film. Rumor has it that they’ll let get an R-rating, and may even put it into a fall festival next year! Joaquin Phoenix seems like a natural fit for the titular part, reportedly having been terrified by the script he read. And if the set videos prove anything, it’s definitely going to be fast-paced.

#8: “Glass” (Opens January 18th)

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19 years it’s been since Unbreakable first came onto the scene as a brand new superhero movie, but the world was sadly not ready. Now, with a surprise twist at the end of Split, M. Night Shyamalan is officially bringing the story to a conclusion, albeit in a drastically different world than the one it was when it began. Superheroes have absolutely flooded the market in the last 10 years, and it’s both great that Glass is coming out at the genre’s peak, and sad that it took this long. Regardless, it looks like a really cool and intense showdown between the three super-powered beings we’ve come to know, all while wearing its love of comic books proudly on its sleeves. And its use of color looks genius.

#7: “Midsommar” (Opens August 9th)

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It’s honestly kind of problematic for me to say that I’m “excited” for a new movie by the same guy who made Hereditary. I honestly couldn’t blame anyone who still hasn’t recovered from that feverish nightmare, but writer-director Ari Aster already has another film coming down the pipe. This time, it involves a violent pagan cult in Amsterdam. Described as an “apocalyptic breakup movie,” A24 has reportedly constructed a 15-building village to bring his twisted vision to life, so it’s definitely worth keeping tabs on for the end of the summer.

#6: “John Wick 3: Parabellum” (Opens May 17th)

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The set photo above is easily enough to have me already pumped to the max about the supposed trilogy capper for Lionsgate’s surprise action franchise. I’ve absolutely loved these movies not just for their incredibly well-choreographed and shot action scenes but also for the unique world that has been built. John Wick 3: Parabellum seemingly promises to further blossom that world as we getting to see not only more assassins, but also introduces a society of NINJAS. Need I say more?

#5: “Us” (Opens March 15th)

It’s safe to say that after the phenomenal success of Get Out, including an Oscar win for Best Original Screenplay, Jordan Peele knows exactly what he wants to do and how to do it. He’s lined up quite a few projects as a producer with power that it’s somewhat easy to forget he’s stepping behind the camera once more next year for a new horror movie. The trailer for Us looks incredibly enticing, as it sees him tackling more high-concept material with a larger budget this time around, along with some impressive casting choices. I’m curious to see what sociopolitical topic Peele will be satirizing this time, but based on the imagery shown thus far, he’s cooked up yet another original triumph.

#4: “Ad Astra” (Opens May 24th)

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Having seen We Own the Night, The Immigrant, and The Lost City of Z, I’m now convinced that James Gray is one of the most underrated filmmakers working in America. He has a certain classical touch that seems to permeate across multiple genres. I’m incredibly curious to see what he has cooked up for Ad Astra, an original sci-fi epic apparently inspired by the novel Heart of Darkness. It centers on a slightly autistic Army engineer who goes on a space voyage to find his father, who was last heard heading for Neptune about 25 years earlier. Not only does boast stars like Brad Pitt and Tommy Lee Jones, but also Christopher Nolan’s recent muse Hoyte Van Hoytema is handling the cinematography.

#3: “Knives Out” (Opens November 27th)

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With nary a poster, trailer, first-look image, or even proper synopsis in sight, it says a lot that I’m putting Knives Out this high on the list. It has been described by several sources as writer-director Rian Johnson’s modern-day take on a classic Agatha Christie whodunit murder mystery. It’s far too rare that we can get a movie as simple as that these days. Not to mention, it has a stacked cast including Daniel Craig, Lakeith Stanfield, Chris Evans, Don Johnson, and even Jamie Lee Curtis. It’s really intriguing to see what Johnson has in store for a smaller-scale story like this after helming a huge blockbuster like The Last Jedi. Speaking of which…

#2: “Star Wars Episode IX” (Opens December 20th)

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It feels super lazy for me to include a Star Wars movie on a list like this, but I just can’t help it. As per usual, any and all details of what might be going on in this sequel trilogy capper are being kept under lock and key. We do know that newcomers include Richard E. Grant and Keri Russell have joined the cast, Billy Dee Williams is reprising his role as Lando Calrissian, and the plot will take place one year after The Last Jedi, perhaps one of the most divisive films of the decade. What makes it all the more enticing is that it is planned to be the final installment of the Skywalker Saga, which has spanned decades now. Of course, Disney has more Star Wars material planned to come down the pipe, but to see the story finally reaching a real conclusion is kind of like taking one last trip to your old hometown before saying goodbye.

#1: “Once Upon a Time in Hollywood” (Opens July 26th)

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You’re going to have to work extremely hard to make me not feel excited for a new movie written and directed by Quentin Tarantino. While he has gone through some pretty rough patches recently- severing ties with Harvey Weinstein, the Roman Polanski audio, Uma Thurman’s revelatory Kill Bill story -the auteur still has plans and has no intention of slowing them down. His 9th feature film- and supposedly his penultimate one, if what he says is true -legitimately sounds like a passion project he’s been working towards his whole career. It’s going to be set in Hollywood 1969 as a Western T.V. actor and his longtime stunt double struggle to make it in a changing film landscape, and also happens to involve the infamous Manson Murders. Featuring an absolutely sprawling ensemble cast packed with movie stars and said to be close in style to Pulp Fiction, Once Upon a Time in Hollywood sounds like an epic in the making.

Do you agree with my picks? What are your most anticipated films coming out later this year? I’d love to hear your thoughts in the Comment section, and as always, if you like what you see here, be sure to Like this post and Following my Blog for similar content. Happy New Year, everybody!