Category Archives: Thriller

“Uncut Gems” Movie Review

Have you ever wondered what it would feel like to have a panic attack that lasted for 2 hours and 15 minutes? I present you with the cinematic equivalent.

This street-level crime dramedy premiered at the 2019 Telluride Film Festival to rave reviews and reactions. Following a successful screening at TIFF the following week, it was given a limited release in theaters by A24 on December 13th, 2019, and was expanded on Christmas Day. After a strong showing in specialty theaters early on, it has gone on to gross over $43.6 million at the worldwide box office thus far. This makes it the directing duo’s highest-grossing film to date, and it has one of the best per-venue averages of the year and the biggest single-day intake that the indie studio’s ever had.

Directed by Josh and Benny Safdie, the film had been in development for the better part of a decade with co-screenwriter Ronald Bronstein. It’s been said to be partly inspired by the experiences of their father Albert during his time working in Manhattan. The long-gestating project apparently got enough attention for Martin Scorsese and Emma Tillinger Koskoff to jump on-board as executive producers. Although they always intended a major basketball star to play a big role, the constant schedule changing made them go through Amar’e Stoudemare, Joel Embiid, and supposedly Kobe Bryant before finally coming to an agreement with the National Basketball Association.

Set in spring of 2012, Adam Sandler stars as Howard Ratner, a Jewish-American jeweler in New York City’s Diamond District. As he swims in gambling debts, he takes on NBA star Kevin Garnett as a client, playing a fictionalized version of himself, and shows him a rare black opal from Ethiopia. Garnett becomes so enamored of it that Howard loans it to him, who immediately tries to place bets on both it and the upcoming Boston Celtics games to pay back the loan sharks.

I was a big fan of the Safdie Brothers and the work they did on their previous film, 2017’s Good Time. It was a very gritty, unflinchingly harsh story about New York criminals that wasn’t afraid to go in some very disturbing directions. It also was the film that finally convinced me that Robert Pattinson was a truly great actor worthy of recognition.

Hearing that they would be working with Adam Sandler on their next project made it sound extremely enticing. He’s always been an underrated actor who can really come alive when operating under the direction of some true auteurs, especially now that he’s gotten some major awards season buzz for it. And I can now confirm that not only does Sandler give an incredible performance here but the whole rest of the film is invigorating as well.

Much like their previous NYC-set film Good Time, this is not a film meant for the faint of heart at all. It’s a chaotic ride as we witness numerous reprehensible individuals fall down the rabbit hole of greed and money and the extreme lengths they go to get what they want. Part of what makes it so nerve-racking and harsh is that in nearly every scene, all of the actors are yelling over each other to try and get their points across and it can feel exhausting at times.

That being said, Uncut Gems does manage to offset some of that exhaustion by also sprinkling in some pitch black humor throughout. It mostly comes from perfectly timed or delivered (And colorfully profane) dialogue as well as the utter absurdity of various situations in the film. But thankfully, that absurdity never fully takes over the overall narrative in the film, and it becomes a deeply rattling theatrical experience that will stick with you for a long time.

And the rumors are indeed true: Adam Sandler has literally never been better than he is in this film, and its not close. As Howard Ratner, he gives life and personality to a man who’s essentially a scumbag with few, if any, redeeming qualities. It’s incredibly stressful as we watch him constantly make rash decisions that only contribute to his self-destruction, but his deceptive charm makes it still compelling.

Also, newcomer Julia Fox makes a huge impression as Julia, Howard’s materialistic employee and mistress. She’s extremely petty and heavily relishes in the expensive life that Howard gives her, ranging from a high-rise apartment to gorgeous jewelry. She also recognizes the trouble that he constantly gets himself into throughout the film and gets frustrated with his choices.

Kevin Garnett can now be added to the list of retired athletes who gives a surprisingly great performance. He’s able to find a darker side of his personality and uses it to a great advantage, always looking to win the next game no matter what it takes. He makes almost no attempt to hide his disgust for Howard’s methods and develops a uniquely personal connection with the opal; it makes me hope this isn’t his only film.

The supporting cast is rounded out by a capable troupe of character actors, many based in New York City. Idina Menzel as Howard’s fed-up wife, Judd Hirsch as his wealthy and religious father-in-law, Eric Bogosian as the brother-in-law mobster he owes the most money to, Lakeith Stanfield as one of his disgruntled assistants who grows an admiration for Garnett, and Mike Francesca as a local bookie and restaurant owner. All of them are unhinged and brilliantly directed in their individual roles; and that’s not even mentioning the various non-actors that appear as themselves.

And from a technical point-of-view, Uncut Gems shows the Safdie brothers further developing their cinematic style. Shot by Darius Khondji, the cinematography is presented via a grainy 35mm format that fits the gritty, grimy look of Manhattan they seem to thrive in. The camera is mostly done in a handheld, cinéma vérité not unlike their previous efforts that makes us feel like a fly on the wall. It also creates a unique color palette that helps to create an atmosphere.

Meanwhile, Bronstein and Benny Safdie also prove to be capable editors as they cut together a true banger with each scene. Considering how much the actors scream and yell over each other, there’s an impressive continuity between each shot. It also does a great back and forth between different locations for various scenes to establish a tension.

Daniel Lopatin, A.K.A. Oneohtrix Point Never, continues his collaboration with the Safdie to provide the instrumental film score. Just like his work in Good Time, it’s an absolute banger that leans heavily on electronic synthesizers and percussion. Several tracks are more ambient in nature to build the atmosphere of New York City as something almost otherworldly. Other times, the tracks are more bombastic and visceral to match the energy with which Howard is trying to hustle. The opening credits feature a psychadelic coloscopy that establishes the tone for the rest of the soundtrack.

Holding absolutely nothing back and never letting up from the first scene to the last, Uncut Gems is a relentless and brilliantly performed examination of truly depraved characters. Benny and Josh Safdie have crafted yet another exquisite portrait of a New York CIty so far removed from the glamorous view often seen in movies and aren’t afraid to explore how dark their characters can get. It also benefits from being anchored by a career-best performance from Adam Sandler that shows once and for all that he is a great actor when given the right material to work with.

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“Jojo Rabbit” Movie Review

Imagine your imaginary best friend being the caricature of a famous (Or infamous) world leader. Like you’re just going about your daily routine and a dumbed-down Justin Trudeau or Emmanuel Macron suddenly comes in and starts giving obviously bad advice to you. That thought is both disturbing and intriguing all at once.

This satirical period black comedy-drama initially premiered at the 2019 Toronto International Film Festival. Despite some polarizing responses from critics, it managed to win the coveted Grolsch People’s Choice Award. After screening at other festivals such as Fantastic Fest, it was later released in select theaters by Fox Searchlight on October 18th, 2019. After making a killing by selling out theaters early on, it gradually expanded to more cities each week, grossing about $25.2 million against a production budget of $14 million. And while it’s generally had mixed reviews among critics, it has proven to be popular among audiences and casual moviegoers alike.

Written and directed by Taika Waititi, the film is loosely based on the book Caging Skies by Christine Leunens. The director apparently felt so strongly about the project that he put his live-action Akira adaptation on hold and dropped his stop-motion animated feature to work on it. He claims to have done almost no research outside the source material and used his own personality as a reference point in several areas. It was originally reported that, sometime after Disney acquired Fox, executives were extremely uncomfortable during an early test screening.

Set towards the end of World War II, newcomer Roman Griffin Davis stars as Johannes “Jojo” Beltzer, a 10-year-old boy who passionately supports Nazi Germany. Although his single mother Rosie, played by Scarlett Johansson, encourages him to find more empathy, his devotion to the Third Reich is so big that his best friend is an imaginary, idiotic version of Adolf Hitler, played by Taika himself. After a weekend away at a Hitler Youth camp goes awry, he comes home to discover that his mother has been hiding a young Jewish girl named Elsa Korr, played by Thomasin McKenzie, in a cupboard upstairs. Initially frightened, Jojo is convinced by imaginary Adolf to gather more info about the Jews from Elsa, and his long-held beliefs start crashing down as the Allies close in.

Having seen What We Do in the Shadows, Hunt For The Wilderpeople, and Thor: Ragnarok prior to this, I can say I really like Taika Waititi’s unique style of filmmaking. Many have said that he’s the New Zealand version of Wes Anderson, but I believe that he has an artistic voice that’s wholly his own. Seeing him make the full swing to blockbuster filmmaking with Ragnarok and still make it his own personal vision also demonstrated his ability to reach out to the masses in a satisfying way.

When I first heard about what his next film would be, it felt like risky material but one he could surely pull off. The initially polarizing response between critics and audiences also convinced me that it could be a potential conversation starter in the best way possible. And I’m happy to report that Jojo Rabbit is exactly the kind of anti-hate, antiwar satire what I was hoping for.

I feel like in someone else’s hands, this story would have turned into a complete misfire on several fronts. But thankfully, Taika knows exactly how to handle the subject matter, finding a delicate balance between the absurdly funny and the upsettingly real. The tone is very fluid and manages to create unexpected empathy for the characters as they’re all trapped in an unfair system.

I also don’t really agree with the criticism that Jojo Rabbit is too flippant towards its depiction of Nazi Germany. As this story is told through the perspective of a pure-hearted child, it only makes sense that the world around him is shown in an unconventional manner and creates a great tragic irony. Plus, there is perhaps no better time in history than the now for people around the world to laugh in the face of bigots and fascists.

Waititi has a penchant for finding fantastic child talent and Roman Griffin Davis is no exception here. As Jojo Beltzer, he has an enormous amount of enthusiasm for what he believes is a righteous cause and is unafraid to loudly voice his opinion. But as the film goes along, he gradually starts questioning everything he’s stood for and tries to find a good explanation for why his perceptions have been so wrong.

Opposite him for most of the film, the young Thomasin McKenzie gives yet another excellent performance as Elsa Korr. From their first scene together, it’s clear that she holds total power over him and doesn’t hesitate to embellish stories of Jewish people to him. But it soon becomes clear that aside from Jojo and Rosie, she’s completely alone and has no idea what the outside world is like anymore.

Scarlett Johansson, Stephen Merchant, Rebel Wilson, Sam Rockwell, Alfie Allen, and newcomer Archie Yates round out the wonderful supporting cast here. All of them swing brilliantly from deadpan hilarity to deadly serious with surprising ease and confidence.

But the best of the bunch has to be the director himself, Taika Waititi as the imaginary version of Adolf Hitler. He plays it up absolutely perfectly, using his own self-deprecating personality to portray the notorious leader with a decent German accent. As the plot rolls by, he gradually becomes angrier and more confused by Jojo’s open-mindedness and is much more convincing than I anticipated. And to top it off, it’s hard to think of a bigger middle finger to the head of the Nazis than to have him played by a Polynesian Jew.

And from a technical point of view, Jojo Rabbit showcases Taika Waititi developing his cinematic voice even further than before. Shot by the underrated Mihai Mălaimare Jr., the cinematography is very deliberate and precise in its movements and placement. The fullscreen view uses a lot of wideshots that either remain still or move around in the scene to keep its eye of the characters. These techniques are able to capture the comical absurdity of various scenes beautifully while also providing some Expressionist exposition on the setting. The use of slow-motion and saturated colors also brings out the unique personality of the film.

Tom Eagle’s editing job also does wonders to help elevate the storytelling. It very much knows when to cut away to the punchline and when to give an actor space for their own dialogue scene. It also frequently reminds viewers of its bleak setting by keeping deeply upsetting imagery just out of reach from the frame. There are also a handful of montages throughout that highlight Jojo’s unwavering nationalism, including an opening one which mixes him getting ready for camp with real newsreel footage of Hitler in huge crowds. They can be by turns both ironic and intriguing.

Michael Giacchino, one of the most prolific and versatile composers of our time, provides the instrumental film score. It’s a highly unique one, especially for its genre, yet it beautifully fits the tone of the story. The use of light instruments such as plucked strings and the glockenspiel give off the feeling of a children’s fairytale. Flutes, low brass, and militant snare drums also make a welcome addition to the soundtrack as they bring back the feeling of wartime. What’s truly fascinating is how it also uses a recorder in some parts to reflect the childlike perspective of Jojo.

It also features the German versions of a handful of popular songs to contextualize what is happening. The first is “I Want to Hold You Hand” by The Beatles in the beginning, which plays well into showing the obsessive fanaticism among youth in that time period. The other one is David Bowie’s “Heroes,” which plays during the final scene and over the end credits. It really hammers home the theme of love conquering all even in the face of a great monstrosity like bigotry and fascism.

Taking huge swings at a tough subject matter and making no apologies for it, Jojo Rabbit is a fearlessly funny and heartfelt story about one of the darkest chapters of human history. Taika Waititi never shies away from the disturbing aspects of the story but utterly refuses to give in to the cynicism that would be so easy. The humor and touching moments have a genuine earnestness that’s hard to shake, and the spot-on cast help seal the deal.

Our imaginary friends don’t always know best, especially if they encourage scary actions or emotions from us. And it may sound cliché and overdone in the year of our Lord 2019, but to quote one of the characters of this film, “Love is the strongest thing in the world.”

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Top Ten Most Anticipated Movies of 2020

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

Honorable Mentions:

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

Now, let’s get on with it, shall we?

#10: “Soul” (Opens June 19th)

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

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

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

#8: “Mank” (TBA 2020)

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

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

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

#6: “Cherry” (TBA 2020)

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

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

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

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

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

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

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

#2: “Tenet” (Opens July 17th)

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

#1: “Dune” (Opens December 18th)

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

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

“Parasite” Movie Review

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

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“Knives Out” Movie Review

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

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“Highlander” Movie Review

After watching and reviewing a slew of critically acclaimed “classics” for My New Year’s resolution, I decided to have a bit of a change of pace. And I honestly couldn’t be prouder of the decision. This fantasy adventure film was originally released in U.S. theaters by 20th Century Fox on March 7th, 1986. It was eventually brought to theaters in the U.K. about 5 months later on August 29th of that year by the now-defunct EMI Films. Made for the budget of around $19 million, it failed to recuperate that with a final box office intake of just $12.9 million. It also didn’t help that critical reviews for the film at the time ranged from dismissive to outright panning it. Despite this, it later found some newfound success when it was released on home media, becoming something of a gem with a huge worldwide cult following. It also, for some reason, spawned a franchise that included four sequels, an animated film, and a T.V. spinoff. Directed by Russell Mulcahy, the screenplay was originally written while screenwriter Gregory Widen was an undergrad student at UCLA, and sold it for $200,000. The original concept was apparently much darker and more violent but was watered down after the studio brought Larry Ferguson and Peter Bellwood to rewrite several drafts. Filming was apparently a grueling process for all involved, particularly with getting locations figured out and the logistics of certain shots. Beginning in Scotland 1536, Christopher Lambert stars as Conor MacLeod, a warrior and patron of his family clan. After apparently dying on the field of battle, he discovers that he is one of a group of immortals that can only be killed by decapitation. Fast forward to 1985, Conor is living in New York City under the alias Russell Nash and learns that his lifelong enemy The Kurgan, played by Clancy Brown, has found him. Knowing that their confrontation could decide the fate of the universe, Conor remembers all his teachings and prepares for the final battle. If that premise alone doesn’t automatically scream the 1980s, then I honestly don’t know what does. It was a time when the industry, while heavily commercialized and influenced by the Reagan Era, still churned out original blockbusters at a steady rate. Even if all of the movies from that decade weren’t great or even good, it’s cool to see something so admittedly bonkers get bankrolled by a major studio at the time. This was one of those movies that I had always heard a weird response about, with just as many people proclaiming it a genre classic as there were those who denounced it completely. It had been in my Blu-Ray collection for many years, but now I finally had the chance to sit down and watch it myself. Make absolutely no mistake; Highlander is objectively a bad movie on several fronts, but I just couldn’t help but be totally entertained by it. In my personal experience, there are two different types of “guilty pleasure” movies to watch. There are the ones that are so atrocious that they’re hilariously fun to watch with a crowd, and then those that you love even with the full knowledge that it’s not good at all.  The 80s had plenty of both types, and I consider this film to be among the latter category. I also feel like Highlander is a movie that could only really have worked if it were made in this specific time frame. If they had made it today, (And apparently, there are efforts to try and reboot it) it would have taken everything way too seriously and tried to find some sort of thematic resonance. And while there is a glimpse of looking at immortals cursed to walk the Earth forever, it’s really the zany silliness that makes the movie what it is. Christopher Lambert is not a good actor and his performance as Conor MacLeod in this film is iconic in a different way. As stoic as a statue of William Wallace, he can either go too far into a scene or not far enough depending on the emotional requirements. It’s also arguable that no other actor could’ve portrayed him like this, especially with all of that luscious hair. In more positive notes, Clancy Brown seems to be having the time of his life playing The Kurgan in this film. The future voice actor for Mr. Krabs chews up how overtly villainous and contemptible his character is, covered in many scars and undesirable clothing. Aside from an epic voice and a litany of swear words, he also gets credit for uttering the film’s most iconic line, “There can be only one!” Sir Sean Connery is also noteworthy as Juan Sánchez Villa-Lobos Ramírez, Conor’s immortal mentor during his early days. The only one in the film with a convincing Scottish accent, it’s both perplexing and amusing trying to figure out what background his character is supposed to be. As he rides through the gorgeous hills with a flamboyant costume in tow, he espouses some observations on the values of love for men like them and just hams it up the best he can. Roxanne Hart, Beatie Edney, Alan North, Jon Polito, Sheila Gish, and Hugh Quarshie round out the relevant players in the supporting cast. There’s a decent variety of performance here, with some playing it straight and others going all-or-nothing. I wouldn’t put these actors up as the most memorable roles of the decade or even their careers, but for what it is, they do a fine job. Meanwhile, the technical aspects of Highlander are a mixed bag, ranging from good to jarring. The cinematography by Gerry Fisher bares a sort of sheen of plasticity found in many films from the era. Many colors are weirdly washed out, but come bursting out in bits and pieces such as Juan’s extravagant outfits. It often trades big, swooping landscape shots for many intimate medium or close-ups to try and bring it back to the characters. With only one exception relatively early on, most of the shots are consistent in style and quality as it moves from scene to scene. Speaking of which, the editing job by Peter Hoeness can be highly inconsistent. The transitions from scenes in the present day to 16th-century Scotland are pretty clever and subtle for the most part. But during the fight sequences, the cuts between multiple, drastically different shots is bizarre at best and incomprehensible at worst. A couple of battles even take place mostly in dark shadows as if to hide the stunt doubles, which is a shame because a number of them are decently choreographed. But the incorporation of practical sets and effects is mighty cool and at least feels like an attempt at authenticity. The soundtrack is noteworthy because it reeks of the 1980s in the best way possible. Immortal British rock band Queen write a handful of songs for the film, which eventually were composited into their album Kind of Magic. The two most notable songs they contributed are “Princes of the Universe” and “Who Wants to Live Forever.” Both feature the band’s typical, synth-heavy sound from the decade, while Freddie Mercury’s inimitable vocals fit perfectly for the grand scope of the adventure. Although the former song discuss the cosmic implications of the main story and characters, the latter is more of a somber love ballad for Conor’s doomed attempts at mortal romance. Iconic in ways both genuine and ironic, Highlander is a shamelessly cheesy adventure with entertaining yet unreached potential. Although it definitely leaves much to be desired and could easily find more meat with its premise, Russell Mulcahy and Gregory Widen still managed to create an original mythology that finds a great place in its crowded era. Christopher Lambert may not be able to act well, (Or at all, really) but Conor MacLeod is a hero worth rooting for who gets the chance to go head-to-head in a swordfight against Mr. Krabs. I mean, is there anything else you could possibly ask for?

“The Irishman” Movie Review

Let me just start this review by saying that this whole “Marvel isn’t cinema” debate is completely futile and overblown. People can love whatever they love or hate what they hate as long as they have legitimate reasons for it and as long as they don’t bemoan others for not feeling the same way. Now, let’s gladly and respectfully move onto this film. This epic crime drama premiered as the opening night selection for the 2019 New York Film Festival. Although the major chains refused to screen it, it received a limited theatrical release starting on November 1st, 2019, in which it reportedly made around $5 million against a production budget of $159 million. It was later dropped on the streaming service Netflix on November 27th to high anticipation from cinephiles. Directed by Martin Scorsese, the film, based on the book I Heard You Paint Houses by Charles Brandt, has been in development since at least 2007. The three main stars were always in mind for their respective parts, but it didn’t gain much traction until Steven Zaillian signed on as the screenwriter 8 years later. Originally set up at the director’s regular distributor Paramount Pictures, the film was subsequently dropped due to its climbing budget. When other studios proved to be hesitant, Netflix scooped it up for around $105 million and essentially blank-checked the entire project upfront. Allegedly based on a true story, (More on that later) Robert De Niro stars as Frank Sheeran, a World War II veteran and teamster or truck driver. After performing some crimes on the side to provide for his family, he becomes acquainted with and employed by Russell Bufalino, played by Joe Pesci, the head boss for the Northeastern Pennsylvania crime family. When the banks won’t give the Mafia loans to build casinos and hotels, they seek out help from Jimmy Hoffa, played by Al Pacino, president of the International Brotherhood of Teamsters labor union. As Frank rises through the ranks and serves as muscle over the decades, he becomes torn between his loyalty to Jimmy and Russell as their relationship becomes severely tested. Martin Scorsese, for me, is one of the few directors whose name being attached is reason enough for excitement. I had heard talk of this particular film for years, and not many movies make it out of development hell. So hearing news that it was finally being made with the promised cast was almost like a dream come true for me and others. Hearing that it would be released on Netflix saddened me a little as I wouldn’t be able to see it in a theater. Nevertheless, I eagerly awaited the director’s return to the gangster genre after so many years. And I must say, The Irishman just about lives up to the tremendous hype and is a stellar addition both to the director’s canon and the streaming service’s output. If you sit down and watch this hoping to see another version of Goodfellas or Casino, you’ll be surprised by how slow and contemplative it is. It makes sense why it took so long to make because it’s more a film about older men wrestling with the violence and pain their line of work has brought to others. It’s nice to have someone who follows orders without question, but what happens when that person suddenly is confronted with its consequences? What if it’s too late for reconciliation? It should definitely be noted, however, that the real-life Frank Sheeran, who died shortly after the book was published, was likely full of it. Numerous experts and writers have discredited several of the film’s claims about history, particularly in relation to its approach with the infamous disappearance of Hoffa. But if you watch it more as a piece of historical fiction rather than a true-story drama, it’s very powerful and even surprisingly funny in parts. After a string of hit-or-miss roles, Robert De Niro delivers a powerhouse performance in his 9th collaboration with Scorsese. As Frank Sheeran, he has no problem dealing out violent crimes on behalf of his superiors and remains passionate about union efforts throughout the country. He’s a real man’s man, never allowing people to see his true emotions, and watching him internalize them all is very devastating as he comes to terms with his actions. In his first movie with the director, Al Pacino is almost just as amazing as Jimmy Hoffa, a brazen and foul-mouthed leader of the International Brotherhood of Teamsters. Although he doesn’t fully appear until about an hour into the film, he creates a lasting impact with a dichotomous obsession with gaining more power and standing by his union members. It’s almost a Shakespearean tragedy because he’s a man who refuses to compromise his views or ambitions, even when threatened by multiple different parties. Joe Pesci arguably does the best job of the bunch as Russell Bufalino, the calm and calculating head of the Philadelphia crime syndicate. A far cry from his earlier, volatile roles, he has a certain wisdom and weathered experience that makes him a menacing figure in the criminal underworld. Pesci reportedly turned down the role 50 times before saying yes, and if this is truly his last film performance, he does it with such grace and thoughtfulness. The expansive supporting cast is an ensemble worthy of the director’s reputation. This includes Bobby Cannavale as a brutal enforcer for Russell and his organization, Ray Romano as his pragmatic attorney cousin, Jesse Plemons as Jimmy’s loyal foster son, Stephen Graham as one of Hoffa’s biggest union rivals, Harvey Keitel as an elderly Don acquainted with the main trio, Sebastian Maniscalco as the unpredictable hitman “Crazy Joe” Gallo, and Jack Huston as the relentless attorney general who tries to take down Hoffa and the mob. There’s also been much discussion on Peggy Sheeran, Frank’s daughter played by Anna Paquin and Lucy Gallina, respectively. She has very few lines of dialogue, with Paquin only speaking about 7 words total as an adult in the film. While some have criticized it for this, I would argue that it works really well because her silence says much more than anything she could put into a sentence. And just looking at the technical aspects, The Irishman shows that Scorsese’s still got it at the ripe old age of 77. Shot by his recent muse, Rodrigo Prieto, the cinematography is impressive as it moves from decade to decade. Many of Scorsese’s classic camera techniques are found throughout the film, including his penchant for swooping push-ins and careful tracking shots. This makes it feel like one of his older films in the best way, as we get to see every detail of each scene captured tremendously. There are also a couple of scenes told from the POV of a static wide shot, which makes sudden acts of violence both anticlimactic and shocking at the same time. As expected, Thelma Schoonmaker’s editing job is simply immaculate. Despite its mammoth runtime of 3 hours and 29 minutes, it moves along at an even clip thanks to her understanding of pacing. The film often cuts back and forth between different timelines to help create a context for the themes. Huge swaths of the film are just scenes of the characters sitting down and talking, and Schoonmaker cuts them in a way that makes it interesting to watch. This includes two pivotal phone calls between Frank and Hoffa early on and towards the end of the film as it moves between their two environments. And now we get to the much-discussed visual effect of digitally de-aging the central trio of actors. This was one of the primary reasons for it taking so long to develop and one aspect of the film I was somewhat worried about. However, unlike other recent examples of the technology, the work done here by Industrial Lights & Magic is pretty convincing. Although it takes a few minutes to get adjusted, and there is one shot in the first hour that remains a little jarring, you quickly fall into it as the actors really sell their behavior throughout the decades. In fact, it became a little hard for me to figure out what their “true age” looked like after a while. With a well-balanced tone that’s equal parts energy and melancholy, The Irishman is a fantastic and somber meditation on the cost of loyalty and a great swansong for its genre. Although not quite his best, Martin Scorsese still shows impressive maturity and wisdom in a passion project that feels like the natural culmination of his career’s work. De Niro, Pacino, and Pesci are all wonderful in some of their best work as we see them work towards their own self-enrichment until it’s far too late to realize the damage left behind. I don’t know if we’ll ever get another film like this again, but if this is the end of the road on gangster films for most of the people involved, it was a hell of a ride. Or to quote Russell Bufalino, “It’s what it is.”

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