“Birds of Prey” Movie Review

Although I could be wrong, this might be the first movie I’ve ever seen where two female characters exchange a hair tie on-screen. It’s a small moment, but it’s also something totally unique to mainstream films that doesn’t get enough recognition.

This superhero crime comedy film was released in theaters worldwide by Warner Bros. on February 7th, 2020. Made for the relatively small budget of around $82 million, it has gone one to gross just over $202 million at the global box office. While this is undoubtedly a big success and could see a sizable profit, it’s been on a slower role than expected. Following the relative underperformance of the opening weekend, the studio changed the film’s title to Harley Quinn: Birds of Prey for some markets. In spite of that, it has amassed some very positive reviews from critics and audiences alike.

Directed by Cathy Yan, the film was one of several DC projects announced after the commercial success of Suicide Squad. The main actress set up her new production company, LuckyChap Entertainment, so that screenwriter Christina Hodson would have more creative freedom in pre-production. The studio had multiple different properties involving Harley Quinn in development, including Gotham City Sirens, but this was the only one with the main actress’s direct involvement. Yan’s hiring, only her second feature overall, also makes her the first female Asian director to helm a theatrical superhero movie.

Picking up a little while after the events of Suicide Squad, Margot Robbie returns as Harley Quinn, a former psychiatrist turned violent criminal psychopath. After the Joker dumps her and ends any connection between the two, she goes on a citywide bender to keep the breakup a secret as it would remove any protections she has. Word of their breakup soon reaches Roman Sionis, played by Ewan McGregor, a ruthless Gotham crime lord in Gotham who goes by the name “Black Mask.” Harley eventually crosses paths with four other women on Sionis’ radar- mob daughter-turned vigilante Helena Bertinelli, burlesque singer Dinah Lance, alcoholic detective Renee Montoya, and street-wise thief Cassandra Cain -and soon find a way to team up and bring him down.

This was one of those potential superhero projects that I was skeptical about when it was first announced, as DC has had many films in and out of development. My best guess is that most of them are still being made but this one was simply the first one to make it out of the gate. But in any case, it’s finally here now, it’s out in the world, and it’s up to us to talk about the ultimate results of it.

Regardless of your opinions on the movie Suicide Squad, it’s hard to deny that Margot Robbie’s Harley Quinn was absolutely fantastic. And hearing that she was gonna headline an all-female team-up movie with various other heroines in an R-rated adventure sounded like a true breath of fresh air for the genre. And lo and behold, Birds of Prey is a really fun time at the movies that inverts a lot of classic superhero tropes.

Make no mistake, this is not a movie either to be seen with the whole family nor taken very seriously. Just the full title, And the Fantabulous Emancipation of One Harley Quinn, illustrates how irreverent it’s gonna get and, credit where its due, Hodson’s screenplay commits to it. The film fully utilizes its R-rating with numerous F-bombs and scenes of bloody violence without becoming immature; to be honest, I don’t know if it would have still worked if it were PG-13 instead.

However, after seeing Birds of Prey, it is fairly easy seeing why the studio changed the name in some markets. Harley Quinn is undoubtedly the protagonist of the story and the other four women are more or less just along for the ride. The script often has trouble finding a good balance between multiple storylines, constantly having to cut back to different timelines to keep the continuity flowing. It’s a little frustrating, but it’s hard to resist the charm of what Yan and company set out to do.

Margot Robbie is the definitive live-action version of Harley Quinn, and no recasting will ever change that. Here, she has her trademark sense of macabre humor and aloofness, more often than not unaware of how much destruction she’s leaving in her wake. While she clearly has zero interest in doing the right thing or helping people who need it, she’s desperate to find a sense of belonging after the only person she’s ever had a connection with has abandoned her.

Meanwhile, the other four “Birds” are absolutely fantastic and fun in their respective roles. Mary Elizabeth Winstead, Jurnee Smollet-Bell, Rosie Perez, and newcomer Ella Jay Basco all fulfill their duties with flying colors and create different and interesting personalities. Basco is particularly excellent as Cassandra Cain, a highly resourceful petty thief who only wants to find a place of belonging, much like Harley.

Ewan McGregor is also fantastic and flamboyant as crime lord Roman Sionis, A.K.A. “Black Mask.” He’s a complete narcissist who has no qualms about torturing, killing, or humiliating others to get what he wants and always tries to become the center of attention iin the room. McGregor is clearly having a grand time in the role and while it may seem a bit over the top, it perfectly suits the villain’s personality.

The supporting cast is also great and isn’t afraid to ham it up to match the over-the-top nature of the film. This includes Ali Wong as Montoya’s ex-girlfriend of a district attorney, Chris Messina as Black Mask’s psychopathic killer and right-hand man, Steven Williams as the apathetic Captain at the GCPD, Dana Lee as a friendly restaurant owner in Harley’s building, and François Chau as a rival crime boss threatening Black Mask’s operations. All of them know exactly what to do with their respective roles and get one or two good lines in for good measure.

And from a technical perspective, Birds of Prey showcases a unique style that sets it apart from other films in the genre. Shot by the versatile Matthew Libatique, the cinematography is very colorful and saturated, perfectly in the right tone with its wild protagonist. The film makes use of many different techniques throughout, including sudden dolly-ins and roving swoops during action sequences. Numerous primary colors are enhanced to make Gotham feel like a twisted Wonderland playground for Harley and her friends to mess around in.

The editing job by Jay Cassidy and Evan Schiff is frenetic and highly reminiscent of Guy Ritchie’s style. There are multiple freeze frames throughout the film so that Harley can wryly catch the audience up on a brand new plot point. And for the most part, during action scenes, it’s cut together in a way that’s easy enough to follow but still filled with enough style to feel unique.

Bolstered by committed performances and great visuals, Birds of Prey is a fun R-rated romp that can sometimes be too fluff and flair. Freed from the normal constraints of a franchise blockbuster, Cathy Yan is able to make an impressive studio debut that proves comic book movies have a future in going beyond what’s family-friendly. Even when the film gets bogged down by an unnecessarily complicated script, Margot Robbie and the rest of her crew are more than willing to hold it together with all the charm and charisma that can be afforded.

“Joker” Movie Review

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

“Fast and Furious Presents: Hobbs and Shaw” Movie Review

I don’t care what the title for it says, this is definitely a superhero movie. It may have the words “Fast and Furious” in front of it, but that’s honestly what these series has become. This science-fiction tinged buddy action movie was released in theaters worldwide by Universal Pictures on August 2nd, 2019. After snatching the biggest Thursday preview earnings for its two stars, it has gone one to gross over $758.9 million at the worldwide box office. Much of that intake has apparently come in from overseas markets, including the second-highest opening weekend in China this year. Considering that it’s not even a mainline entry in its franchise, that’s a particularly impressive feat. Directed by David Leitch, the film was formally announced a few months after the release of Fate of the Furious, which caused the planned ninth installment to be pushed back. This caused tension with one of the franchise’s mainstay actors Tyrese Gibson, who took to Instagram to publicly complain about it all. In addition, longtime producer Neal H. Moritz sued the studio for breech of oral contract after being removed from the film’s credits. It was subsequently announced that he would no longer have any involvement with the franchise going forward. Dwayne Johnson and Jason Statham both star as Luke Hobbs and Deckard Shaw, a retired D.S.S. agent and former mercenary, respectively. They are both brought on by the C.I.A. to find and take down Brixton Lore, played by Idris Elba, a cyber-genetically enhanced terrorist working for a tech cult known as Etreon. Things are further complicated when Shaw’s MI6 agent sister Hattie, played by Vanessa Kirby is framed for stealing a deadly virus that Lore is after called Snowflake. This sparks a globe-trotting showdown for Hobbs and Shaw to find a way to get rid of the virus safely, bring down Lore and his constituents, and clear their names. I won’t hesitate to admit that I only have a general familiarity with the Fast and Furious series. Before this movie, I had only watched the first two films, plus Fast Five, all the way through, just to have some idea of what this one would be like. Each one somehow managed to be more ridiculous than the last, which I suppose was part of the reason why it’s become so popular among audiences. Since they moved away from the main storyline, I figured I could jump headfirst into this spinoff without having to play catchup too much. And I’ve enjoyed David Leitch’s action work on John Wick and Deadpool 2, so seeing him directing two of the biggest action stars seemed rather enticing. And make no mistake, Hobbs and Shaw is not a masterpiece of any kind and barely feels cohesive at times, but is nonetheless entertaining and diverting. Sometimes, I go into a film hoping to be awestruck by its thematic resonance, wonderful storytelling, and acting. Other times, I go in wanting to see The Rock lassoing a helicopter with a pickup truck’s chain while on a cliffside chase. In no logical world can you allow that to pass by and still complain about the age gap between Deckard and Hattie, so suspending disbelief is pretty much mandatory here. One big bummer is that Hobbs and Shaw could have probably still worked just as well on its own without the Fast and Furious name slapped onto it. Its stars are both likable enough on their own terms to warrant a completely new IP, and this just felt like an attempt at brand recognition. But again, there’s only so much to complain about when looking at the movie as a whole. Dwayne “The Rock” Johnson and Jason Statham have been seemingly building up to starring opposite each other for a while now. If for nothing else, their chemistry and constant bickering are what help carry the film through its bloated runtime. Johnson brings all of the muscle and testosterone typically required of his characters and gets to fire off some pretty decent one-liners. Statham, meanwhile, is his usual rugged and agile self, always confident in his next move and never sheds the opportunity to be hard on his new partner. Idris Elba once again plays the role of the villain here as Brixton Lore, as silly of an antagonist as you’d expect. He totally hams the role up, and brings a certain charm to this cyberpunk bad guy who loves big ambitions and bigger flamethrowers. You can tell he’s having an absolute blast with the character, always confident in his abilities and even gloats to the heroes “I’m black Superman!” Mission: Impossible- Fallout and The Crown alum Vanessa Kirby also shouldn’t be overlooked as Hattie, Shaw’s younger sister. She has many moments throughout where she just unleashes a flurry of attacks on unsuspecting bad guys, proving she’s in desperate need of her own franchise to lead. She proves she can more than hold her own than the established action stars at the forefront of the picture and even has some surprising moments of drama. The supporting cast is filled with the likes of Helen Mirren, Eiza González, Eddie Marsan, Cliff Curtis, and Rob Delaney in various roles. Each one feels like they’re filling archetypes rather than actual characters, but seem to be having fun with their roles. There are also a couple of unexpected appearances that are best left unspoiled here, but which mostly feel satisfying. And from a technical perspective, Hobbs and Shaw has enough flourish to match its silliness and large-scale action set pieces. Leitch’s collaborator Jonathan Sela once again handles the cinematography with varying degrees of success. While the frame sometimes seems digitally washed out in colors, it always keeps the action in focus and follows each blow with precision. The camera frequently has some great movements, such as swoops across the battlefield, as Leitch’s superb blocking skills come to light. This meets with the editing job by Christopher Rouse, a veteran of action films such as The Bourne Ultimatum. Like Leitch’s other work, there are no rapid cuts between numerous shots in various set pieces. This is a breath of fresh air in the action genre and is able to keep things interesting during these scenes. The edits are able to capture exactly what it needs to, as highlighted by a creative split-screen intro for the main duo. Although they’re in vastly different places, we get to see how they both operate in their worlds on a daily basis. That being said, it definitely could’ve been trimmed down. I can’t think of any logical reason why this movie runs at 2 hours and 16 minutes, and it just feels like it keeps going on and on. At least a half hour could be shaved right off without a single narrative beat missed and no would be the wiser. Nothing earth-shattering or even very memorable, Fast and Furious Presents: Hobbs and Shaw is a bloated, indulgent but undemanding romp worth at least one ride. David Leitch once again shows his tenacity for behind the scenes magic, but the story and characters still feel secondary. Dwayne Johnson and Jason Statham prove why they’re deserving of more movies starring opposite one another and Vanessa Kirby gets even more of an opportunity to shine as a star. This is just not a movie that should have the “Fast and Furious” brand slapped onto it. I’m reminded of something Hobbs says early on: “I’m what you call a nice, cold can of whoop-ass.” That’s what this film ultimately is: fun, nice to watch, and harmless, but sterile and unambitious.

“Spider-Man: Far From Home” Movie Review

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

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

 

“Shazam!” Movie Review

Alright, not going to lie here: After watching both this and last year’s Instant Family, I’m seriously considering adopting foster children. I had never even thought about it before, but now I would love to give it a try someday. I’m being totally serious. This superhero comedy film was released in theaters around the world by Warner Bros. and New Line Cinema on April 5th, 2019. Made on a production budget of around $80 million, the film has managed to gross over $361.5 million at the worldwide box office. This partially came from a $3.3 million total made from advanced screenings setting up by Fandango two weeks earlier. It has also received some of the best reviews in the franchise and a sequel is already in the early stages of development at the studio. Directed by David F. Sandberg, maker of the horror films Lights Out and Annabelle Creation, the project had initially been in and out of development hell since the early 2000s. After many stops and starts throughout the decade, Warner Bros. finally put it on its release slate in 2014 with Dwayne Johnson attached as the potential villain Black Adam. He eventually departed the project for a future solo film, and remained credited as an executive producer. This also marks the seventh overall installment in the constantly evolving DC Extended Universe. The story follows a young orphan named Billy Batson, played by Asher Angel, who’s been in and out of foster homes for most of his life. After moving into a group home that includes disabled comic book nerd brother Freddy Freeman, played by Jack Dylan Grazer, he later is visited by a mysterious wizard named Shazam. This wizard is looking for someone who is pure of heart to take his place and transfers his immense powers over to Billy, who transforms into an adult played by Zachary Levi. Quickly becoming an internet sensation, his powers and exploits gain the attention of Mark Strong’s Dr. Thaddeus Sivana, who’s been tracking the wizard’s powers for decades. I’ll be honest here, for the longest time I didn’t actually think this movie was going to happen. Sure, there was the persistent news that The Rock was playing the main villain, but that is about as consistently supporting as saying Channing Tatum’s Gambit movie is actually going to happen now. In any case, the film is here in theaters now, and it’s here to stay for at least a little while. The trailers for this movie were very funny and lighthearted, but there was still a skepticism within me about it. Although I haven’t seen Sandberg’s debut Lights Out, I was legitimately creeped out by the short film that inspired it. And while horror directors in the past have adapted well to the superhero genre, such as James Wan or Scott Derrickson, since he only had two other movies under his belt, I wasn’t entirely sure if it would stick the landing. Shazam! is far and away one of the best films in the DCEU and perhaps one of the most fun entries in the genre as a whole. Like some of the best superhero movies, this one is primarily concerned about what it means to be a hero, rather than just big action spectacle. Billy is not pure of heart, so he has to learn how to use his powers responsibly and for the betterment of others. Since he’s only 14 years old, this is hard for him to realize, especially when Freddie helps him become a YouTube star and they initially use the powers for whatever they want. I was actually surprised by how much Shazam! had to say about masculinity and what it means to be a “man.” This is something that Dr. Sivana constantly struggles with understanding because of his very harsh upbringing, and also leads to some pretty terrifying imagery. The film occasionally strains with balancing this delicate tone, but for the most part it’s done pretty well. I can’t think of a living actor better fit to play the adult Shazam than Zachary Levi. As a big fan of his work on the show Chuck, his boyish charm and bumbling charisma make him perfect for the titular role. It star Jack Dylan Grazer is equally perfect as his foster brother Freddie Freeman, a massive comic book aficionado. It’s clear that while he sees the potential good that this can bring about, he also wants an opportunity to do something worthwhile and prove he’s not just a sad kid in crutches. The two of them have incredible chemistry together throughout the film, making for one of the most watchable duos in superhero movies recently. Mark Strong, consistently typecast as villains, is noticeable as the big baddy Dr. Thaddeus Sivana. He’s given a rather disturbing and dark prologue at the beginning, which sets up all of the confusion and obsession his character has to deal with in the story. I had partially expected him to be an intentionally over-the-top villain, but his backstory and characterization surprised me. Meanwhile, Billy’s foster family is filled with both new and familiar talent. Cooper Andrews and Marta Milans are warm and empathetic as the parents, Grace Fulton is caring yet conflicted as the college-bound older sister, Faithe Herman is extremely effusive and lovable as the youngest of the bunch, Ian Chen is honestly hilarious as the residential tech wizard, and Jovan Armand is shy and reserved as the middle child. Each one feels alive and brings a different aspect of the family to like. The technical aspects of Shazam! show that it’s a film which Sandberg has total fun working within. Maxim Alexandre, known mostly for shooting horror movies, handles the cinematography with a rather balanced aesthetic. Whether it’s highlighting the vibrant, popout colors of the titular hero’s suit or the more nightmarish look of the villain’s henchmen, the personality is always definite. It goes surprisingly well with Michel Aller’s editing, which manages to keep both the pacing and tone consistent throughout the 132 minute-long runtime. There’s one particularly amusing “training montage” set to Queen’s “Don’t Stop Me Now” where Freddie takes videos of Billy testing his powers. The way it moves between first-person shots is quite funny and engaging. Benjamin Wallifisch, one of Warner Bros. and Hans Zimmer’s most promising proteges, provides the instrumental score. Much like the rest of the film, it feels like an appropriate throwback back to an era of blockbusters that weren’t afraid of their source material. With jovial bells and percussion, there’s a certain childlike wonder to the main theme. It also helps that horns and strings manage to come in and out of the melodies that makes it sound like a classic. The best way I can describe it is if John Williams decided to compose for his long-awaited Superman follow-up. Shazam! is a colorful and light-hearted dose of old-fashioned superhero fun. Despite his horror background, David F. Sandberg proves that he’s quite capable of making the genre his own. Not to mention the pitch perfect casting of Zachary Levi and Jack Dylan Grazer which makes the connection feel extremely tangible.

“Avengers: Endgame” Movie Review

**While this review will be completely spoiler-free, I’m going to be under the assumption that everyone reading it has already seen Infinity War. Proceed at your own discretion.**

And to think, 11 years ago, this entire saga started in a cave, with a box of scraps. It’s truly jaw-dropping to see how far it’s come since then. But I’m extremely glad to have seen it all the way through. This epic superhero film was released in theaters around the world on April 26th, 2019, a week ahead of its previously scheduled release date. Within its first couple of weeks, it has already grossed over $2.189 billion at the global box office, and is very likely to make it as the highest grossing movie of all time. It’s broken a handful of box office records and is sure on its way to shatter some more in the coming weeks. Numerous movie ticket websites such as Fandango and Atom Tickets consistently struggled to keep their servers operating, and ended up selling the most amount of pre-release tickets for a film within a few hours. Once again directed by Anthony and Joe Russo, the film was shot back-to-back with its predecessor Infinity War. This marks the 22nd overall installment in the Marvel Cinematic Universe, and has been promised to be even more of a culmination than its predecessors. While most all of the MCU films have maintained a certain level of secrecy about the plot, the producers and marketing team for this one went extremely far out of their way to ensure nothing got out. This included filming fake scenes that were purely used for trailers, a practice which some took issue with. According to numerous sources, only one member of the principal cast was given the entire screenplay to read. Picking up 23 days after the end of Infinity War, the remaining heroes of the Avengers are still reeling from the destructive victory of Thanos. Soon, they realize that they might have a legitimate chance to undo the damage done by his snap, which ended half of all life across the known universe. So they set out on a quest to recover the Infinity Stones to hopefully bring their loved ones back. And… that’s it. That’s quite literally all I can get into here without spoiling anything else about the plot. The Russo Brothers actually sent out a joint letter on Instagram asking fans to ruin anything for the people who haven’t seen the movie and out of respect for them, I won’t say another word about the actual plot. Obviously, like so many other fans and cinephiles, I was wondering how Marvel and the Russos could possibly follow up Infinity War, a film I found highly entertaining despite feeling a little unsatisfying. This would arguably become an even bigger culmination than that film, the sum of 22 films over the past 11 years. No other film in history has had such a Herculean task to achieve, let alone take on. Would it reach the stars or crumble in our hands? The simple answer is yes, yes it can; Avengers: Endgame exceeds all expectations one could possibly hold for it. The best way I can describe it is that this feels like the series finale for a T.V. show that I’ve been watching for the last decade. It has a certain sense of finality that most superhero films don’t have, really bringing a lot of character arcs to a strong thematic close. If I were given the job of writing the screenplay, I couldn’t possibly have done a better job at wrapping it all up. Of course, Disney and Marvel still have numerous projects coming down the pipe in the coming years. But as the wrap-up to 11 years worth of stories and characters, Endgame couldn’t have been more fulfilling and awesome. The Marvel mountain will never peak this high ever again. Quite literally everyone who’s ever been in an MCU film to date appears in this movie one way or another. All of them have grown immensely comfortable in their roles to the point where it’s hard to imagine anyone else playing them. Of particular note are the Original Six Avengers- Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, and Jeremy Renner. All of them have gone through incredible journeys since the first installment and getting to see them all reunited is so emotional. The end credits even include the actors’ signatures next to their names. Downey Jr. and Evans are especially amazing as Tony Stark/Iron Man and Steve Rogers/Captain America, respectively. As the defacto leaders of the team, both feel a deep shame from having failed the people they love and struggle to reconcile with the new world. And despite the faith-shattering fallout the two of them had in Civil War, they realize that their mission goes beyond any hard feelings they harbor for one another. Also noteworthy is Karen Gillan as Thanos’ cyborg daughter Nebula. In the previous films, she had never really impressed me or stood out as a character very much. But here, she’s given a full, interesting arc where we get to witness her reckon with past misdeeds and how to try and redeem herself. And at this point, there’s no real need to espouse how Avengers: Endgame is because all parties involved know exactly what they’re doing. Whether it’s lighting, sound design, art direction, or costumes, quite literally everything here works. The visual effects especially, as it took nearly 10 different companies- from Industrial Lights & Magic to Framestore -to bring the complex visuals to life. They’ve already accomplished making a fully CG character like Thanos look photorealistic, but adding more to that and keeping all of the realistic detail is unparalleled. It also has some of the best editing in the franchise done by Jeffrey Ford and Matthew Schmidt. When the mission becomes split up, we are able to cut between multiple scenes of the heroes working on their parts. This keeps the pacing aloft without having to getting muddled by exposition or constant action scenes. But when there are action scenes, they are so beautifully crafted and fluid that you can tell everything that’s happening. Without any. Rapid. Cuts. Once again reprising duties from Infinity War, Alan Silvestri provides perhaps one of the best superhero scores of the last to decades. By calling back to various themes and motifs from throughout the MCU, it feels like it’s really bringing everything full circle. The use of massive choirs, brass, and strings for new tracks is enough to induce goosebumps in any viewer. Of particular mention is the track titled “Portals,” which blends the classic Avengers theme song from the first movie with an exciting intro and outro. I’ve given the MCU heat for not having lots of memorable music, but this soundtrack truly feels like a fitting culmination to everything that’s come before in this franchise. In all seriousness, there is so much more I could write about this movie, that I WANT to write about this movie. But for now, this spoiler-free take is all that’s going to out right now. I’ll wait a little bit longer to write a spoilery review with my thoughts on various scenes or things that happened. Somehow bringing together 11 years and 22 movies worth of stories and making it all meaningful, Avengers: Endgame is an emotionally resonant journey, and one of the most satisfying feature films I have ever seen. This was the epic payoff to an unprecedented cinematic gamble that will rarely, if ever, find its equal. The Russo Brothers truly did the impossible and brought Stan Lee’s unbridled vision to life on the big screen. My only wish is that he had stayed alive long enough for it to come before his eyes like the rest of us. If this truly the endgame for most of this universe, than I am so happy to have taken this road, even through the bumpier installments. I love it, 3000.

“Captain Marvel” Movie Review

Hands down, this film features one of the greatest fictional cats ever put to film. However the rest of the film turns out, I’m just really happy that I got to fall in love with a cat on-screen for the first time ever. This sci-fi superhero adventure was released in theaters around the world on March 8th, 2019. Despite being the 21st overall installment in the rapidly expanding Marvel Cinematic Universe, it has grossed over $990.6 million at the worldwide box office, including a massive haul from overseas markets. This makes it the fastest and highest grossing film led by a female actress and the second-highest global debut for a superhero film yet. And while it has received mostly positive responses from critics and audiences, it initially suffered an attempted pre-release review bomb on Rotten Tomatoes and IMDb from male users. This forced both websites to change their policies for the future. Co-written and co-directed by Anna Boden and Ryan Fleck, makers of Half Nelson and Mississippi Grind, Marvel Studios had been trying for many years to get a female-fronted superhero movie off the ground, with multiple characters tossed around as possibilities. Nicole Perlman and Meg LaFauve were initially hired to write the screenplay, but producer Kevin Feige eventually brought on Geneva Robertson-Dworet to overhaul it as it started to take definite form in 2017. In addition, this is the first prequel in the franchise, and two principle actors had their faces digitally de-aged by nearly two and a half decades. Set in 1995, Brie Larson stars as Vers, an extremely powerful member of an elite intergalactic team called Starforce working for the Kree Empire. In the midst of their ongoing war with shapeshifting aliens called the Skrulls, Vers accidentally gets separated and lands on Earth. There, she begins to realize that she might have had a past life as an Air Force pilot named Carol Danvers, and quickly becomes acquainted with low-level S.H.I.E.L.D. agent Nick Fury, played once again by Samuel L. Jackson. Soon, they discover that the Skrull are planning to potentially blend in with and take over the planet and try to find them before it’s too late. Watching and anticipating this film, I couldn’t help but feel reminded of last year’s Black Panther. After spending over 10 years and nearly two dozen superhero films starring a white guy named Chris, Marvel finally passed the baton to a demographic that is sorely overlooked in the genre. Also like Black Panther, this was the unfair victim of pre-release bashing by extremely fragile people (Re: men) who felt threatened by something like this. Although I haven’t yet seen Anna Boden and Ryan Fleck’s acclaimed indie Half Nelson, I did enjoy their Southern gambling movie Mississippi Grind. And the stellar casting and 1990’s setting made it sound even more intriguing, even if the some of the marketing material wasn’t very impressive. Overall, Captain Marvel doesn’t rank quite as highly with the other MCU films for me, but it’s still undeniably entertaining and a great step forward for inclusion. Something I appreciate about the latest slew of films in this franchise is how thematically ambitious they’ve gotten. I’ve seen this film in theaters twice now and both times, I noticed different things in the story that resonated. No, it’s not the ’90s references, (Which, thankfully, avoid nostalgia porn) but how it explores the day-to-day sexism that women have to deal with. Whether it’s some random guy asking her to smile or her own superiors saying she’s too emotional for the job, there’s a certain connection to the real world that was previously missing in the MCU. Even though the story itself is a familiar origin story we’ve seen dozens of times over, its the specificity given to the characters that counts. Following an Oscar win and numerous impressive roles in various films, Brie Larson is perfectly cast as Carol Danvers/Vers/Captain Marvel. It’s previously been stated that she is the most powerful character in the MCU, and it’s easy to see why. She’s incredibly headstrong and fierce with both her powers and mind, frequently torn between following orders and doing what’s right. The digital de-aging for Samuel L. Jackson is no joke, as he looks uncanny to his appearance in films from the same decade it’s set in. While he is more idealistic in this era, he still is able to see the bigger picture and is willing to bend rules to get the job done. On the more cosmic end of things, Jude Law knocks it out of the park as Yon-Rogg while Ben Mendelsohn is great as the Skrull general Talos. Both eschew typical elements of the tough mentor and villain archetypes, respectively, bringing something a little unexpected to the film. Other roles are taken up by Gemma Chan, Annette Bening, Lashana Lynch, Rune Temte, Algenis Pérez Soto, a de-aged Clark Gregg, and both Djimon Hounsou and Lee Pace reprising their roles from Guardians of the Galaxy. Some fair better than others, (Bening feels particularly disinterested) but Lynch particularly impresses as Maria Rambeau, Danvers’ best friend in the Air Force. I’m not sure if she’ll return for future installments but I hope she does because she was so compassionate yet badass. And even though this is their first studio blockbuster, Captain Marvel shows that Boden and Fleck are still able to retain a somewhat personal touch behind the camera. This is the 4th MCU film to be shot by Ben Davis, who’s been more into the cosmic sensibilities of the franchise. The cinematography is very clean and slick with a wide-ranging color palette that encompasses the diverse creatures and worlds that the story visits. Elliot Graham and Debbie Berman also edit the film’s action scenes rather nice. Although it gets in danger of being too choppy, for the most part it keeps everything comprehensive and easy to follow. There is a musical score that goes along with the film that’s composed by Pinar Toprak, the first woman to compose for the franchise. Like many of the recent Marvel films, this score is actually memorable and noteworthy in many different tracks. The main theme is distinctive in its fusion of classic “hero” music and more contemporary riffs with other instruments. One of the most noteworthy instruments is the synthesizer, which plays chaotic melodies over numerous tracks and creates a real sci-fi atmosphere. The soundtrack also licenses a number of female-centric songs from the 1990’s many of which are played appropriately with their respective scenes. The best one used is “Just a Girl” by the ska-punk band No Doubt, which plays at a pivotal point in the climax. The second time I watched it, I could hear a woman in my theater softly singing along to it, which made it even more of a joy. Utilizing its setting to its advantage, Captain Marvel is an enjoyable intergalactic romp with an extremely powerful lead character. They have more work to do on their handling of action scenes, but Anna Boden and Ryan Fleck have successfully transitioned over to studio blockbuster territory with this movie. While it may not be as involving or fresh as other entries in the MCU, it still manages to keep you entertained for 2 hours and has great setup for Brie Larson’s future with the series.

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.

“Aquaman” Movie Review

In this movie, there’s a giant, ancient Kracken voiced by Dame Julie Andrews hanging around in the deep sea. If that doesn’t let you know what kind of movie you’re in for, then I really don’t know what will. This superhero adventure film was released in theaters worldwide on December 21st, 2018, marking the sixth official installment of the DC Extended Universe franchise. Against numerous expectations, the film has managed to gross over $978 million worldwide at the box office, against a budget of around $170 million. Much of that intake comes from overseas in places like China, beating out other films in its genre recently and easily becoming the highest-grossing entry in its franchise. It also broke pre-sale ticket records for the service Atom Tickets and also made a lot from pre-screenings seen by Amazon Prime members. Directed by James Wan, the same man behind Saw and The Conjuring, Warner Bros. had planned for a long time to bring the titular character to life. Aside from a canceled T.V. show on the W.B., the studio hired Will Beall and Kurt Johnstad to write two separate scripts on dual track but only one would be selected. Beall’s edition was ultimately chosen, with David Leslie Johnson-McGoldrick attending to some rewrites. It was ultimately pushed back from its originally planned release date for the summer of 2018, but that doesn’t seem to have harmed it too much. Taking place about a year after the events of Justice League, the story follows Jason Momoa as Arthur Curry/Aquaman, a half-human half-Atlantean warrior keeping the Seven Seas as safe as possible. Heir to the throne of the underwater kingdom of Atlantis, he is reluctantly drawn into a conflict where his half-brother Orm, played by Patrick Wilson, is attempting to mount a massive invasion of the surface world. Arthur must find the courage to claim his rightful place beneath the ocean and lead his people towards peace. I still remember when I was a young child that Aquaman was considered something of a joke. A blonde man in a green-and-orange jumpsuit communicating with underwater creatures is inherently hard to take seriously for a lot of people. It wasn’t until the last few years that he was reinvented as a total badass and turned out to be one of the most powerful characters in DC Comics. I’ve always been curious to see what a feature-length movie would look like centered on the Atlantean Prince. James Wan’s horror background on great movies like the original Saw worked well, but I wasn’t sure if his sensibilities were fit for a swashbuckling high-seas adventure, as he has described it. At the end of the day, Aquaman has many problems with it, but it’s still surprisingly entertaining and diverting. My main issue with it is how the film feels too conventional for its own good a lot of the time. This is supposed to be an absolutely weird world we discover, packed with crazy monsters and whatnot. While there are certainly some designs and concepts that are really out there, the overall story structure is one we’ve seen so much and strangely doesn’t have much problem flowing through it. I’d actually respect Aquaman more if it went all-in on its balls to the wall ridiculousness, with nothing held back. It runs at 2 hours and 23 minutes, but there’s nothing in the plot to convince me that that runtime is justified. But hey, we do get to see a whole fleet of underwater humans using laser sharks to fight an army of sentient crab people. And in some ways, that’s good enough. Jason Momoa is pretty inspired casting for the titular hero, a far cry from his brutal role as Khal Drogo on Game of Thrones. He has incredible charisma and physical strength befitting of the hero, cranking out numerous cheesy one-liners like a good old action star. He uses his half-Native Hawaiian background to the fullest advantage to internalize the struggle of someone torn between two worlds. Amber Heard is mostly able to subvert the trope of being a damsel in distress as Mera, Arthur’s primary Atlantean ally. Her bright red hair and green suit reminded me heavily of Ariel from The Little Mermaid, although this time, it definitely felt like she had more control of her agency. Wan’s frequent collaborator Patrick Wilson is also noteworthy as the main villain Orm. While his motivations and craziness are pretty typical for a comic book villain like this, Wilson does a good job at containing a lot of it but can’t quite make it memorable enough. Other players include Temuera Morrison and Nicole Kidman as Arthur’s long-separated parents, Willem Dafoe as his conflicted mentor, Dolph Lundgren as the King of a vital underwater nation, and Yahya Abdul-Mateen II as a bitter and violent sea pirate with a major grudge out on the titular hero. Some are able to leave better impressions than others, but I can’t quite say that anyone was actually bad in their roles. Meanwhile, the technical aspects of Aquaman are pretty damn sweet to swim through. Robert Zemeckis’ longtime cinematographer handles the camerawork here, to some nice results. The camera almost always feels like it’s roving around or exploring the unique world with a certain fluidity. Although, it gets kind of cheesy as there are several shots where the actors make obvious poses. Kirk Morri’s editing job works well to move between the action scenes with enough cuts to keep it engaging without making it incomprehensible. The biggest thing propelling this film are the visual effects. Containing just under 2,300 VFX shots, the environments underwater, particularly the Kingdom of Atlantis, are actually quite beautiful and vibrant. The work done by Industrial Lights & Magic and a handful of other production companies isn’t too shabby, as there are convincing movements of characters underwater. Very few scenes take place on the surface world, so it can become a little obvious after a while. But in fairness, it is rather easy for me to see why the director was mad the film didn’t make the Best Visual Effects shortlist. Rupert Gregson-Williams composed and conducted the instrumental film score, and it’s one of the better ones from a superhero film this year. A surprising number of tracks involve synthesizers for its backbone, especially the main theme for our hero and when we first see Atlantis. It infuses pretty well with conventional instrumentations like trumpets, strings, and electric guitars to get an “out-of-this-world” feeling. Also, for some reason, the film ends with an orchestral pop ballad called “Everything I Need” by singer-songwriter Skylar Grey. It utilizes deeply booming percussion and repetitive piano chords as its main medley. But aside from Grey’s lovely vocals, it’s an entirely forgettable song that just doesn’t really fit with the rest of the soundtrack. Neither terribly awful nor remarkable enough to be superior to many other entries of its genre, Aquaman is a colorful and enjoyably diverting high-seas adventure that never fully takes advantage of its weirdness. James Wan is surely capable of a superhero epic behind the camera, and you can tell he and the cast had a fun time making it. It is refreshing since it doesn’t forcibly setup a big teaser for the next Justice League, as the DCEU is still on course correction. But there’s still something a little unsatisfying about the whole thing. Oh well.

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)

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)

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)

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)

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)

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)

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)

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)

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)

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!