Once Upon a Time... in Hollywood - Review

 

Quentin Tarantino sure does love his revisionist history. That fact shouldn’t be too out of the blue for anyone who has any knowledge of his previous films. “Django Unchained” and “Inglorious Bastards,” two films most argue are Tarantino’s best, are known for injecting a bad-ass good guy wins in the end style to their historically based plots.

He dips his hands into the cookie jar of silver screen history this time with “Once Upon a Time… In Hollywood,” a film focusing on the exploits of washed-up fictional actor Rick Dalton, played with a thick accent and thicker bravado by Leonardo DiCaprio (“What’s Eating Gilbert Grape,” “The Aviator”) and his best friend and stunt double Cliff Booth, played with stone-faced wit and charm by Brad Pitt (“Fight Club,” “Ocean’s Eleven”).

The pair’s bond and friendship serve as the film’s main emotional hook, and they work excellently off each other. The comradery that oozes from their drunken hangouts or drives around Los Angeles feels every bit as authentic as it should. These are two actors simply at the top of their game, chewing through a delightful script and turning it into gold.

Margot Robbie (“I, Tonya,” “The Wolf of Wall Street”), as little as she is used, delivers an ethereal performance as Sharon Tate. The way she floats through each scene, a giant smile on her face and a warm glow about her, makes Tate feel otherworldly, like some unobtainable goddess and succeeds in adding to the film’s over-the-top stylings. The rest of the ensemble is great, with bit-part characters like Julia Butters’ (“American Housewife,” “13 Hours: The Secret Soldiers of Benghazi”) Trudi Fraser, Margaret Qualley’s (“The Nice Guys,” “The Leftovers”) Pussycat, Timothy Olyphant’s (“Deadwood,” “Go”) James Stacy, and Dakota Fanning’s (“Coraline,” “Ocean’s 8”) Squeaky all standing out in a talented and packed roster.

Tarantino has always set himself apart from his contemporaries by creating vivid, fleshed out worlds filled with brash characters and situations and “Hollywood” is no different. It’s set on the death of the golden age of Cinema in 1969. Cowboy stars are in and out of the industry every day, and the delivery of an anxious, drunken former leading man in Dalton is an engrossing one. Even during chunks of the film where not much technically happens, Tarantino keeps the audience’s attention firmly planted on Dalton and Booth.

This could be accredited purely to their performances, but the script is possibly the best of the year as well. Dialogue bubbles with a genuine nature and slides across pop culture and movie references and Hollywood vernacular. It’s one of those films where it’s just a joy to sit and listen to characters talk to each other. One sequence involving a hitchhiker and Booth may just one of the best singular scenes of the year so far.

It’s a good thing too because unlike in most of Tarantino’s other films, there’s not much else to keep audience’s attention here. There’s little to no action here to speak of, apart from a few fistfights. Numerous times, the camera just lingers on a character driving around, following them up and down streets and parking in their garage before resuming the action of the film.

Scattered is the perfect way to describe it. Some sequences go one for minutes at a time, not adding anything to the overarching story, but surviving purely on their entertainment value. This is a supremely enjoyable film, one that is engrossing to watch, yet has so much extra fat that could easily be cut off. The long scenes of characters driving, extended sequences of fictional TV shows, long flashbacks within imagined moments. There are even two scenes, just two, that have Kurt Russel’s character narrating over them for no apparent reason.

It’s the definition of self-indulgent, as many of these moments seem to exist simply because Tarantino wanted to film them. Yet Tarantino walks a fine line; it’s never annoying while you’re watching it, only after the fact when thinking on it.

For as much as Tarantino talked about it, there’s a lack of Manson family in this film. Sure, they’re there as characters and do pop up throughout, but it isn’t the through-line plot that many likely expected it to be. That might just be because there doesn’t seem to be a plot at all. Until the last 45 minutes, the entire film seems to just be a series of loosely connected moments of movie stars having mid-life crises.

This is made increasingly frustrating as the film’s last 45 minutes is unquestionably its best; the pacing picks up to create a tense set of circumstances that finally brings the puzzle-piece nature of the plot to its full potential, complete with an ending that feels both entirely intentional and woefully uncomfortable, that will likely be divisive and debated for years. It’s a shame that puzzle-piece plot thread wasn’t enacted through the entire film.

It’s all still well-acted to a T and has some of the best production design and writing of the year, though. It’s just an irksome issue; if everything in the film is excellent, and the lack of a true plot only really becomes apparent when thinking back on the film, instead of during it, is it something that it should be criticized for?

This leaves “Once Upon a Time… In Hollywood” in a very tricky spot. It is one of the best acted and best written films of the year, with knock-out production values. Brad Pitt could easily see an Oscar for best supporting actor, and yet the at times extreme self-indulgence and lack of any true plot, especially given how much things ramp up in the last 45 minutes, hurts the overall product. It doesn’t detract from the fact that this is an excellent and supremely enjoyable film experience. It’s just a very messy, scattered one as well. 3.5/5

The Farewell - Review

 

There’s been a tendency recently to advertise films as the next big thing. Either the grittiest drama or the most emotionally draining horror, and not even independent films have escaped this marketing tactic. Which is why, even amongst its low budget counterparts, “The Farewell” is so gloriously refreshing.

As the film itself says, the plot is based on a true “lie,” and writer/director Lulu Wang pulls from real-life experiences to write a powerful family drama. At times, it's difficult to see which genre “Farewell” would belong in, but that’s not so much a sign of tonal problems as it is a sign of Wang’s brilliant script and deft directorial work.

Instead of allowing this tale to be confined to the restraints of comedy or drama, she instead lets the story breath in that happy middle ground that so closely resembles real life. Most scenes are joys to watch, simply to become better acquainted with the cast of characters Wang and her team have brought to life.

Awkwafina (“Ocean’s 8,” “Crazy Rich Asians”) delivers a star-making performance as the film’s lead, Billi. Her role is fairly understated, but she knows exactly when to deliver the emotions in exactly the way a scene requires. The balance between burnout mid-30s loser and loving favorite grandchild is maintained precariously, and it should set Awkwafina at the front of many best actress lists for this year.

Meanwhile, Zhao Shuzhen is the definition of a scene-stealer as Billi’s grandmother Nai Nai. The wit she brings to each scene is a highlight and she proves to be endlessly charming throughout. Tzi Ma (“Rush Hour 3,” “The Man in the High Castle”) and Diana Lin (“The Family Law”) also do wonderful work as Billi’s father and mother, respectively, delivering honest and tough portrayals of parents trying so hard to do what’s best for the family.

Everything in the film is shot with a gorgeously simplistic style by Anna Franquesa Solano (“Buck Run”) and underscored by top-shelf musical compositions from Alex Weston (“H.”). The production design and level of detail in this tale are all top-notch, as the entire film glows with a kind of familial warmth that is rarely achieved, even by the best films.

The genre-bending that goes on throughout the runtime of “The Farewell” may end up being the film’s weakest aspect. The real-life tonal balance that is maintained here is excellent, but it results in a film that is less startling, rock you to your core experience, than it is an extremely well-made piece of comfort food cinema.

While there are themes of familial love, where one truly belongs and growing with or against tradition, none of these themes takes over the film. Rather, they fill out the background and character’s motivations and allow the centerpiece of the film to remain warm and caring. This doesn’t mean these themes are worth thinking about or are done poorly though.

It’s just clear that “The Farewell” knows what it is from the start; this isn’t a deep, heady drama with gallons of melodrama and long shots meant to give the audience time to ponder. This may actually be the exact opposite of that. This is a frequently amusing, wonderfully told familial tale. One with stellar performances from the entire cast, and scene stealers around every corner. Sure, it may be film comfort food. But that’s entirely different from junk food. This is warm, healthy, good for you, comfort food that will leave you smiling and wanting to share the recipe with the world. Comfort food just like grandma used to make. 4.5/5

Alita: Battle Angel - Review

 

After multiple release date delays, years stuck in pre-production hell, and multiple directorial changes, “Alita: Battle Angel” has finally made its way into theatres. An adaptation of the classic manga series and a passion project for director Robert Rodriguez (“From Dusk Till Dawn,” “Sin City”) and co-writer/producer James Cameron (“Titanic,” “Avatar”), does “Battle Angel” live up to its long and impressive pedigree?

It would be hard to summarize the basic plot of “Alita,” although, not for an expected reason. While the first act feels incredibly truncated, the rest of the movie feels overly long, like its try to stuff four movies worth of ideas into one. Its easy to imagine a two-and-a-half-hour or three-hour version of this film with far better pacing and plot structure.

As it stands, there’s a very standard story of revenge, independence, and love, with a sports subplot thrown in for good measure. It feels very choppy, almost like important scenes were shot, and then cut out at the last minute for time. There’s a lack of explanation for this world, and while it doesn’t require a textbook’s worth of information, it definitely needs more worldbuilding that the few short scenes given here.

While it might not be explained well, the world does look incredibly gorgeous. Practical effects and sets blend almost seamlessly with the computer-generated ones. Bright sunlight streams through sequences that radiate with color and neon screens. The sequences during a sport called “MotorBall” are especially impressive and wildly entertaining.

Alita herself, a full computer-generated character, manages to straddle the line between too real and not real enough. From the intricate carvings on her arms to her rubberized skin, gleaming with sweat during her many fights, the realism is staggering.

Visuals can only go so far though, so it’s a good thing Alita has an actress as talented as Rosa Salazar (“Bird Box,” “The Maze Runner: The Scorch Trials”). She is the film’s highlight, imbuing Alita with a wonderful optimism and kick-ass attitude that draws audiences in almost immediately. Her acting range also means that in the smaller moments, where Alita reflects on who she is, there is no tonal shift. You may not see her real face, but Salazar still commands the screen.

The supporting cast, however, is a mixed bag. Christoph Waltz (“Inglorious Bastards,” “Django Unchained”) does about as well as he can with an underwritten father figure for Alita, and his wife, played by Jennifer Connelly (“Labyrinth,” “Requiem for a Dream”) just seems like the writers forgot about her halfway through production.

Mahershala Ali (“Moonlight,” “Spider-Man: Into the Spider-Verse”) fairs just barely better than Connelly, as the bland villain Vector. Keean Johnson (“The Fosters,” “Nashville”) meanwhile does a relatively fine job as Alita’s love interest Hugo, even though the film completely betrays his character arc by the end.

Out of everyone though, Ed Skrein (“Deadpool,” “Game of Thrones”) is clearly having the best time. While his villainous Zapan isn’t the most interesting character in the film, Skrein completely delivers a cheesy, over the top committed bad guy who’s just fun to watch be bonkers.

There’s no better way to describe the film as a whole. It has a sort of spit-fire spirit, mixed with a white-hot sense of style and bizarrity that makes it a simple fun time, even as the plot disintegrates around it. Alita herself basically carries the film thanks to her spirit.

It’s goofy and nonsensical, but also incredibly sincere, with a rock-solid emotional core. It’s characters genuinely care for each other, even though they may not be terribly well written. It does end in a kind of anti-climactic way, clearly setting up a sequel but just barely providing enough emotional resolution and third act confrontations to classify as an ending.

That manages to life “Alita: Battle Angel” just above mediocrity. It’s sense of action, gorgeous visual style and wonderful characters and beating heart at its core don’t surpass the plot and structural failings, but they at least make them tolerable. Not a great film, “Alita: Battle Angel” definitely doesn’t win the day. But damn if she doesn’t put up a fight. 3.5/5

Spider-Man: Far From Home - Review

 

How does one follow the end times? Well, director Jon Watts (“Cop Car,” “Spider-Man: Homecoming”) and writers Erik Sommers (“The LEGO Batman Movie,” “Ant-Man and the Wasp”) and Chris McKenna (“The LEGO Batman Movie,” “Ant-Man and the Wasp”) decided to follow the end times with a vacation, taking one of the Marvel Cinematic Universe’s smaller scale heroes on a globe-trotting adventure with “Spider-Man: Far From Home.”

Tom Holland (“In the Heart of the Sea,” “The Lost City of Z”) continues to be his charming self as the MCU’s version of Peter Parker. Holland has cemented himself in the role now, thanks to successful supporting roles in recent Avengers films and his own solo feature. He’s almost reached Chris Evans or Robert Downey Jr. status, with the personality of his Marvel hero becoming almost inseparable from his real-life personality, apart from his British accent.

This isn’t a bad thing though as, like with the previously mentioned Evans or Downey, it makes his chemistry with the rest of the cast flow that much smoother. Whether it’s chatting with his best friend Ned, played by Jacob Batalon (“Every Day,” “Spider-Man: Homecoming”) or acting adorkably awkward around his crush MJ, played flawlessly again by Zendaya (“euphoria,” “Spider-Man: Homecoming”), Holland’s charisma and chemistry are effortless.

Double for Jake Gyllenhaal (“Prisoners,” “Donnie Darko”), who is clearly having a blast as Quentin Beck aka Mysterio. This is nothing short of an actor loving the role they’ve been provided, giving a terrifically fun performance in more ways than one. To say any more would be to spoil what is the biggest and best character in the entire film.

Samuel L. Jackson (“Pulp Fiction,” “Attack of the Clones”) returns as Nick Fury, doing his typical thing as the secretive one-eyed leader, and Cobie Smulders (“How I Met Your Mother,” “They Came Together”) reprises her role of Agent Maria Hill as well. Thankfully, Watts managed to give her more to do in this film than in the entire last decade or so of the MCU. The same goes for Jon Favreau’s (“Iron Man,” “Chef”) Happy Hogan who, in addition to some great scenes with the disappointingly sidelined Marissa Tomei (“The Wrestler,” “The Big Short”), gets the most exercise he may ever have seen in an MCU film.

Where this film shines is in providing a natural point of growth for Peter’s journey after the events of “Homecoming” and the previous Avengers films. Whereas most of the MCU sequels have blown up the scope of their stories, “Far from Home” still keeps it as small scale as it can. Even when the bigger action scenes and threats are taking shape, it still feels like something a friendly neighborhood Spider-Man can handle on his own.

This, in turn, helps everything feel far more natural for these high school age kids. While much of the simplicity of the High School setting is gone, the intricacies of the friendships still play a huge role here. Not as big as in the previous movie, but they’re still essential.

The larger scale of this film does mean that most of the more practically done sequences from “Homecoming” have been eschewed in favor of larger, more CGI laden scenes. They’re still excellently done, with some great execution and a heavy lean towards multiple viewpoints throughout.

However, Watts can’t maintain peak control of the entire film. The first act, mostly until Mysterio arrives, contains some uneven pacing and weird edits that make it the weaker chunk of the movie. It also contains the largest chunk of jokes that don’t all really work. They’re fine, most get at least a slight chuckle. But the comedic moments that really shine, don’t pop up until the latter half of the film.

By the time the third act comes around, though, the film has done a full swan dive into the deep end of the weird pool in the best possible way. Some of the sequences, or “nightmares,” are incredibly well done and perfectly balance the emotional weight with the bonkers nature of what’s happening.

“Far from Home” also manages to balance its tone remarkably well. Especially on the heels of “Endgame,” Watts and his crew have delivered just the right balance of amusement and threat to make this a solid viewing experience. This is made even more impressive as the darker themes of truth and the perception of it come into play, yet still don’t feel out of play with the rest of the film. It may not be the same emotional gut punch as the past few Marvel movies, but it's still able to resonate when it needs to. The third act revelations that come into play pop up more as moments of obviousness than profound revelations, but they get the job done effectively nonetheless.

“Spider-Man: Far from Home” is an excellent adventure for New York’s friendly neighborhood wall-crawler. While its start is a little rocky and it’s not as downplayed as the first, it still excels in delivering an enjoyable summer movie experience with tons of great chemistry and charm. Tack on some intriguingly dark underlying themes and some true shakeups for the entire MCU by the end, and it’s easy to see why Spidey’s latest is another, albeit shakier, super adventure. 4/5

Toy Story 4 - Review

 

Few series carry levels of expectation like “Toy Story.” Despite seemingly astronomical amounts of hype and skepticism before release, all of the previous three films have managed to exceed expectations to create what is truly only of the greatest film trilogies ever made. And now we have a fourth.

After what was a perfect ending, even down to matching the first film’s opening with the ending frames of “Toy Story 3,” there’s a lot to be skeptical about with this new instalment. Thankfully, Pixar once again crafts a wonderful story, though not necessarily for the reasons one might think.

Whereas the previous three films all featured journeys of some kind, “4” is mostly self-contained, existing for a majority of its runtime in the same location. This, and a lack of a cut and dry antagonist, leaves this entry feeling like the slowest and most anticlimactic of the bunch.

However, it also feels entirely intentional. This is the most Indie-like film Pixar has ever made. There are races against time and a few tense sequences, but most of the film focuses on characters talking about their roles and relationships. It’s a very talky movie, so don’t be surprised if younger ones find it difficult to sit through.

It still delivers massive amounts of charm and humor though. Tom Hanks (“Forrest Gump,” “Cast Away”) continues to deliver the goods as Woody, equally matched by his space-man costar Tim Allen (“The Santa Clause,” “Galaxy Quest”). Aside from Jessie, though, most of the supporting cast is pushed to the side so the newer toys can shine. And shine they do, thanks to excellent vocal talent in the form of Keegan-Michael Key (“Don’t Think Twice,” “Keanu”), Jordan Peele (“Keanu,” “Get Out”), Christina Hendricks (“Mad Men,” “The Neon Demon”), and Keanu Reeves (“Bill and Ted’s Excellent Adventure,” “John Wick”). But none steal the show more than returning player Annie Potts (“Toy Story,” “Ghostbusters”) as Bo Peep.

Her storyline makes genuine sense in the context of the rest of the film and the overarching plot of the entire series. Woody’s arc is also extremely down to earth and will stand as one of the few family films that clearly is speaking directly to the parents. Because so much raw emotion and investment involves from these characters, it means that when things get tough, the tears start to flow very easily.

Forky, though, seems as if he was chemically engineered to counteract those tears. He is wonderfully adorable and charming, and Tony Hale’s (“Veep,” “Arrested Development”) performance helps cement him as a new Pixar staple.

However, not everything is buttoned up nice and tightly. A minor plot point with Woody and Hendricks’s Gabby Gabby feels a bit half baked, and the lack of a true climax could leave some feeling cheated. However, in the context of the film and its place as more of an epilogue as opposed to a final chapter, these issues become easier to swallow.

Visually, this film completely blows the competition out of the water. Sequences in the rain and with bright neon carnival lights are jaw-dropping, as well as tiny details like dust and reflections. This is one of the most incredibly gorgeous films to come out Hollywood period in a very long time.

Randy Newman’s (“Toy Story,” “Monsters Inc.”) score and musical work isn’t as strong as in the past, mainly because it’s so on the nose, (A song that says “Don’t throw yourself away,” as a character literally tries to throw themselves away) and there’s a lot of reused cues and work from previous “Toy Story” films, but it still works well here.

“Toy Story 4” might possibly be one of the most bittersweet and melancholy films Pixar has ever made. It wonderfully brings the stories of so many beloved characters to an end, and with the new Pixar creative heads saying they will not be focusing at all on sequels, it’s a worthy epilogue.

And that’s the best way to approach this film. “Toy Story 4” is an epilogue, meant to cinch everything up and provide closure for some of these characters. It’s a bit rocky in its subplots and lacks a true climax, especially in comparison to the previous films. But it is without a doubt one of the most heartwarming films of the year and manages to deliver a satisfying, if sad, ending for a truly beloved franchise. Everything gets tied up with a nice and neat Bo. 4.5/5

Rocketman (2019) - Review

 

There are a fair number of comparisons to be made with “Rocketman” to last year’s “Bohemian Rhapsody.” The crossover in directors and characters, both centering on gay musicians with drug problems considered to be legendary musicians, and both featuring extravagant costumes.

However, while those comparisons are apt, they’re virtually skin deep, as “Rocketman” is everything “Rhapsody” wanted to be; clever, stylish, a bit cliched, and an all-around wonderful film.

Taron Egerton (“Kingsman: The Secret Service,” “Eddie the Eagle”) shines as Elton John, a wonderful interpretation of the musician. While there are moments of uncanny similarities in the costuming, mannerisms, and vocal work, most of what makes Egerton’s performance so excellent is the focus less on mimicry and more on emulating the emotional states of the performer throughout his long career.

Some of the supporting cast are merely one-note representations however; Richard Madden (“Game of Thrones”) makes Elton’s former manager and boyfriend little more than an evil scowling antagonist, and Bryce Dallas Howard (“Jurassic World,” “The Help”) shrieks through a thick accent as Elton’s mother, not really doing much of anything other than being a hag.

However, that doesn’t mean they’re all thinly portrayed. Stephen Graham (“Snatch,” “Tinker Tailor Soldier Spy”) manages to make his representation of music producer Dick James quaint and enjoyable while it lasts, and Jamie Bell (“Billy Elliot,” “The Adventures of Tintin”) is absolutely doing some of the best work of his career as Bernie Taupin.

While the star of the show is Egerton and his emotional representation of Elton, that emotional aspect is also where the film shines the brightest. Thanks to its premise, as a fantastical jukebox musical of Elton’s greatest hits, the films is admitting from the start that it isn’t going to strictly follow the facts. However, it does fill that space in with something far greater: emotional resonance.

Instead of portraying Elton’s life as precisely as possible, director Dexter Fletcher (“Eddie the Eagle”) and writer Lee Hall (“Billy Elliot,” “War Horse”) opt to focus on getting the emotional state of Elton and his situations across. If some characters or moments need to be mixed around in order to make this work, they make that sacrifice, and it ends up being a stronger film for it.

It also helps that the cinematography from George Richmond (“Eddie the Eagle,” “Kingsman: The Secret Service”) is excellent, meshing wonderfully with the extravagant costumes and musical choreography. It creates living breathing representations of the songs that Elton made so popular, delivering a toe-tapping and visually astonishing experience.

It doesn’t avoid every bump in the road, however. Clichés are still rampant throughout, and while they are accurate to the broad picture of Elton’s life, it does still deliver the beats of drug addiction, bad relationships, bad parents, etc. But it does still manage to freshen them up a bit thanks to the format. It’s also wonderful in that, there are moments throughout the film where Elton himself admits to not regretting his moments of drugs or lunacy.

What this means is that Fletcher and his crew aren’t satisfied with showing a dumbed down version of their subject. This is a very frank movie, blunt with its subject and its material, wrapped up in fantastical flourishes. That doesn’t save it from its clichés, but it certainly helps.

Overall, this is an emotionally satisfying story, with great performances that manages to get the point of Elton’s life across, even if it sacrifices some accuracy. It’s still clichéd and has its share of hammy performances, but its just as glorious and flashy as you’d expect a movie about Elton John’s life to be. If people want a beat by beat accurate retelling, go read an autobiography. Instead, some here to find an impressively shot and emotionally authentic experience. 4.5/5

Godzilla: King of the Monsters - Review

 

What does a filmmaker owe their audience? Sure, the argument can be made that people who decide to buy a ticket to “King of the Monsters” know what they’re getting themselves into. They want to see big monsters fight, so why bother trying to do more? This kind of an excuse is why genre films have languished in the realm of laughability for decades and why the few that do break out (“Godzilla (2014),” “Mad Max Fury Road,” “Logan”) make such an impact.

It’s because of this preconceived notion, that movies like this are supposed to serve their target audience and simply stop there, that makes it difficult to review a film like this. Because yes, it delivers on exactly what it should, but it could have done so much more.

“King of the Monsters” follows two groups of characters both with vested interests in these large Kaiju, but smartly still keeps things focused on three leads. It helps to avoid too much confusion and prevents everything from spiraling into a bloated ensemble piece. Kyle Chandler (“Friday Night Lights,” “Super 8”), Vera Farmiga (“The Conjuring,” “Bates Motel”), and Millie Bobby Brown (“Stranger Things”) are the human leads, and their talent fluctuates throughout.

While Chandler is fairly middle of the road, delivering lines of strength and stupidity with equal conviction, Farmiga stumbles through even the better lines, delivering a performance that is bizarrely overacted in its subduedness. Bobby Brown rises to the top of the entire cast, as she continues to prove her talent. The last 30 minutes are a testament to her ability to do heaps while being given very little to work with.

The supporting cast around them fair well enough, and some even have the most developed arcs in the film. Sally Hawkins (“The Shape of Water,” “Paddington 2”), Charles Dance (“The Imitation Game,” “Game of Thrones”), Thomas Middleditch (“Captain Underpants,” “Silicon Valley”), Aisha Hinds (“Widows,” “Bad Times at the El Royale”), and O'Shea Jackson Jr. (“Straight Outta Compton,” “Ingrid Goes West”) all are given barely anything to work with. Some are either used for seven minutes of screen time at most, or seem to be wandering around with no idea what to do.

Thankfully, the film’s strongest emotional connections come from Ken Watanabe (“Godzilla (2014),” “Inception”) and Zhang Ziyi (“Memoirs of a Geisha”). Not only do they manage to give some of the more emotionally driven performances, but Watanabe’s scene with Godzilla in the third act is the emotional climax of the film. They also manage to deliver some of the much-needed context of the film’s events without it feeling like forced exposition.

That exposition is needed though because, even for those who have seen the previous 2014 film, most of the integral characters are brand new. The arcs for Chandler and Farmiga’s characters stem from the events of the 2014 film despite not being in the previous film, and most of the characters who were in the previous film are either killed off or relegated to the sidelines.

This means that, while most of the conflicts make sense within the world, they don’t have the weight director Michael Dougherty (“Krampus (2015),” “Trick r’ Treat”) seems to want them to have. They aren’t devoid of importance, since the events do involve city destroying Kaijus, but the importance on an individual level just isn’t there.

Thankfully, while it stumbles with its cast and its bloated importance, there are still plenty of things that “King of the Monsters” gets right. This is a truly gorgeous film. The visuals pop with flair and color, and the fights feel joyous, even as buildings are collapsing. It feels like the people choreographing these sequences took joy in their work, and if they did, it shows.

Liberal color usage also helps give this film a distinct look. It is dark for much of the film, but instead of a dark black, Dougherty and cinematographer Lawrence Sher (“The Hangover,” “War Dogs”) flood the film with dark whites, blues, yellows, and greens. Much like how the 2014 film utilized the color red for excellent visual results, here the usage helps liven up what could have been a massively dull film to look at.

Bear McCreary’s (“10 Cloverfield Lane,” “God of War (2018)”) score is a bass thumping delight, with choral singers blaring their voices at almost any chance given. It could easily make this overblown or monotonous, but somehow it all works. Trumpets blare with an overblown joy, and even a bizarre original song over the end credits manages to stick the landing.

Quite possibly the most impressive success the film has is with its pacing. Not one moment drags or slows down, whether it involved giant monsters or not. And while it fumbles in its characters arcs, rarely do any of them actually feel boring or annoying, thanks in part to the work done to make it clear to the audience that these are characters who deeply care for each other. It helps to explain some of the typical monster movie stupidity that happens in the latter half, and while it isn’t necessarily understandable, these emotional connections are still believable.

It’s also important to note that, while it deals with world-ending catastrophes and god-like creatures, it never feels macabre, thanks to the sheer joy that the people working behind the film, and the film itself, takes in telling this overblown and destructive tale.

“Godzilla: King of the Monsters” is an almost incredibly uneven film. It has solid pacing and believable emotions throughout, but most of the performances are corny or underutilized and the plot is just incredibly confusing. However, the excellent visuals and overall production design on display, Millie Bobby Brown’s performance, and the sheer joy on display here make it well worth the time. It sure isn’t perfect, but it’s a Kaiju fans dream come true and the ultimate summer blockbuster. 3.5/5

Booksmart - Review

 

Sometimes, even the best films in a genre can lack that special something that makes them truly stand out. As good as movies like “Blockers,” “America Pie,” “Superbad,” “The 40 Year Old Virgin” are, most are capable of providing laughs and that’s about it. They’re well-remembered, but lack a spark to be true classics, as funny as they may be.

Olivia Wilde’s (“Tron: Legacy,” “House”) directorial debut does has that spark, though. It has the laughs, the spark, and a hell of a lot more, and the combination of all these elements is what helps turn “Booksmart” into an absolute instant classic, one of the best comedies of the decade, and assuredly one of the best films of the year so far.

The chemistry of Kaitlyn Dever (In a role almost the complete opposite of hers on “Last Man Standing”) and Beanie Feldstein (“Lady Bird”) as best friends Amy and Molly is incredibly fleshed out and real. The two bicker and banter back and forth in a way that shows the nuances and ticks that can only show up when two people have known each other for as long as they have. Not only that, but their arcs and well realized and remarkably deep. The attention given to their characters assures that they never become one dimensional, and it helps give a lasting impression.

With such strong lead characters, it would be understandable if the supporting cast fell flat. However, one of the biggest strengths of “Booksmart” is its ensemble, filled with characters who all shine whenever they’re on screen. This isn’t just because of their comedic timing, as many are given small mini arcs that help to fuel Amy and Molly’s own arcs. The cast is peppered with the likes of Jason Sudeikis (“Horrible Bosses,” “Saturday Night Live”), Jessica Williams (“The Daily Show,” “2 Dope Queens”), Eduardo Franco (“The Package,” “American Vandal”), Noah Galvin (“The Real O’Neals,” “Assassination Nation”), Skyler Gisondo (Vacation (2015),” “Santa Clarita Diet”), Mason Gooding (“Ballers”), Diana Silvers (“Ma (2019)”), Victoria Ruesga and many more.

Gisondo is a wonderfully charming awkward kid as Jared, and both Silvers and Ruesgand make the absolute most out of limited screen-time as Hope and Ryan. Williams is kick-ass teacher Ms. Fine, whom the class idolizes, and Franco is wonderful as lovably spaced out soccer player Theo. Gooding is also wonderfully charming as Nick, a seemingly airhead class VP.

However, the queen of stealing scenes throughout the entire film is Billie Lourd, as the completely bizarre and trippy Gigi. She practically glides through each scene with a crazed drug fueled anarchistic energy that would make her mother, Carrie Fisher, immediately proud. She serves as a weird kind of soothsayer and also source of the some of the film’s most bizarre humor and sequences. She’s without a doubt one of the singular best elements of “Booksmart.”

Lourd’s out-there performance, and the rest of the wonderful characters, wouldn’t exist without the sharp script. Writers Katie Silberman (“Isn’t It Romantic,” “Set It Up”), Emily Halpern (“Trophy Wife”), Sarah Haskins (“Trophy Wife”), and Susanna Fogel (“The Spy Who Dumped Me”) have written a tight and consistently funny script that has some of the most varied and effective humor in recent memory. For every joke about Susan B. Anthony or feminism, there’s one about masturbation and various kinds of drugs. It’s incredibly funny, balancing a wry sense of smarts with a warm crudity. However, thanks to the effort put into building Amy and Molly’s journey, it manages to be a great story that would succeed event without its copious amount of jokes.

Wilde also directs this film with a clear style with a heavy emphasis on lighting and musical cues. She and cinematographer Jason McCormick (“Lemon”) make heavy of warm ambient lighting and the bright Los Angeles sun to create a comedy that is as well shot as it is written. One sequence in a pool is particularly well shot and is the standout cinematic sequence from the film. The score from Dan the Automator helps to infect the film with a beating synth heart, and the song selection is a great mixtape of comedy classics from the 80s, 90s and beyond.

Now, that particular spark, that special sauce, that one aspect mentioned before that sets this movie apart? Well, it’s the theme of the movie, of course. Built on the classic fear of missing out, Wilde and her writers have crafted a story unique in exactly what it wants to say. In fact, the film pulls a complete 180 from its opening, turning a seemingly cynical “be better than those lesser than you” into a wonderful conclusion about perceptions and stereotypes.

It’s even thought provoking at times, especially in the ways it throws its main characters under the bus at times. It’s not afraid to show how messed up even their perceptions of life can be, and the ability to treat its leads as real people, as opposed to sacred cows who can do no wrong, is refreshing. So many other films of this genre, like the much referenced “Superbad,” have characters that do learn things, but don’t really change. “Booksmart” throws this idea out the window and commits the most radical shift the genre has seen in recent years: treat its characters like people.

What this leaves audiences with is one of the most radically funny and wonderfully poignant stories of friendship, drugs, queerness, and underage drinking ever brought to the big screen. Carried by its completely game cast, and elevated by legitimately smart film making techniques, “Booksmart” may very well be a shift for the entire genre. Even if it isn’t, it will remain a genuine crowing achievement that passes with flying colors. 5/5

John Wick: Chapter 3 - Parabellum - Review

 

The John Wick series is one of two things: professionalism and consequences. You’d be hard-pressed to find action films so meticulously obsessed with justifying the events that take place within their world, that aren’t based in some other reality. This series, that Keanu Reeves (“The Matrix,” “Bill and Ted’s Excellent Adventure”), director Chad Stahelski (“John Wick,” “John Wick Chapter 2”) and writer Derek Kolstad (“The Package (2013),” “John Wick,” “John Wick Chapter 2”) created, seems determined to be as elaborate and detailed as possible, in both its action and its mythology.

Really, that’s the easiest way to describe what makes “John Wick” different; the films are steeped in a rich mythology following a globe-spanning organization of assassins. There’s the chain of hotels known as The Continental, where it is against the organization's rules to kill one another, even if your target is sitting right in front of you. Most of the transactions play out using golden coins and blood-soaked emblems. At one point in “Chapter 3,” John presents Anjelica Huston’s character with a Rosary proclaiming it to be his “ticket.”

Truly, Reeves is the ticket that sells this entire series. He delivers lines and actions in a way that no actor could, and yet, the details he has woven into Wick’s life and background make him all the more lovable and charming. One moment after he brutally murders a dozen men on motorcycles, he’s enthusiastically petting the dog he hasn’t seen for days. It’s a great small example of how this series takes what could be simple characters and events and makes them memorable with ample attention to detail and world-building.

It’s this kind of world-building that makes these films so engrossing. If it was the same story, but without these overblown accoutrements, it would be far less engaging. Reeves and the team behind this series clearly know this, and “Chapter 3” spends a lot of time continuing to flesh out this world.

This further fleshing out introduces the standout character for “Chapter 3”; the Adjudicator, played with a grim swagger by Asia Kate Dillon. The fact that their character is never even given a name adds to the mystery of the world and the members of the “High Table” that they serve. The Adjudicator also comes to deliver consequences to many of those who have helped John in the past. These are some of the most engrossing sequences in the film, managing to stand toe to toe with the dance-like action scenes because of their deathly serious nature.

Speaking of deathly serious, the action in “Chapter 3” continues to escalate from the previous instalments. By now, most have likely heard of the series’ unflinching approach to violence. If someone gets shot, the camera will very rarely turn away, instead showing the impact of every gunshot, knife throw, and sword slash like few films would. The light touch of reality also continues to set the series apart, as the violence is accompanied by gore, but not to fetishistic levels. It’s probably as much as would be seen if someone was shot in the head, knifed in the eye, etc.

While there isn’t much done to freshen up the action, that’s because Stahelski and his crew have more or less perfected their style of doing things. Everything hits with an impact like no other, whether it be Wick killing someone in a library, on horseback, or even the third act's obsession with reloading. Most of this has to do with the intricate choreography throughout the film, and the heavy use of practical effects and general realism. Cinematographer Dan Laustsen’s (“The Shape of Water,” “John Wick Chapter 2”) work here walks a thin line between a stylish and a matter-of-fact presentation of the film’s violence, and it allows even the film’s slower points still manage to pack a punch.

Slower points? Yes, unfortunately. That’s one of the areas wherein “Chapter 3” starts to show the “Wick” series growing a bit tired. Though, it’s not for lack of effort. The middle of the film just slows down a bit too much. Wick’s journey in Casablanca and across a desert is still excellently shot and well-choreographed, but it feels plain compared to the vents that come before and after. Halle Berry (“X-Men,” “Monster’s Ball”) and Anjelica Huston (“The Royal Tenenbaums,” “The Addams Family”), who are introduced in this middle of the film also feel a bit out of place with the rest of this world, as if they were written as extended celebrity cameos than essential characters.

However, while not being as satisfying action-wise, the middle of “Chapter 3” also contains some of the richest story moments and examples of the previously mentioned consequences. It’s also the chunk of the film where the supporting cast is allowed to shine the brightest.

Like previously mentioned, Asia Kate Dillon is a supremely entertaining and solemn menace, paired excellently against the likes of Ian McShane’s (“Deadwood,” “John Wick”) hotel manager; Winston, Lance Reddick’s (“Bosch,” “Destiny 2”) concierge; Charon, Laurence Fishburne’s (“The Matrix,” “School Daze”) Bowery King; and Huston’s Director. Those with roles from past Wick films continue to deliver excellent work on par with the previous portrayals of their characters, with Reddick’s concierge continuing to be a scene-stealing delight.

The only other major new cast members are Jason Mantzoukas (“The League,” “The House”) seen briefly as a henchman of the Bowery King; the Tick Tock Man, and Mark Dacascos (“Hawaii Five-0,” “Iron Chef America”) as gleefully exuberant assassin Zero. His performance is easily alongside Dillon’s as one of the films most memorable characters. The ease with which he slips back and forth between steely-eyed violence to fanboying over meeting John Wick is entertaining and a bizarre kind of wholesome.

“John Wick Chapter 3” may slow down during its second act and have a few characters who feel out of place, but the only reason these small issues stand out is because of the high level of quality afforded to the rest of this film and the previous two. This is still an incredibly engrossing and thrillingly choreographed series, obsessed with its own world and mythology and constantly fleshing itself out. Come for the action, stay for the consequences. 4.5/5

Pokémon Detective Pikachu - Review

 

There are two ways to judge a movie like this: either compared to the general culture and craft of films as a whole, or to the specific category of video game movies. That body of work hasn’t exactly set the world on fire…ever. Sure, there are box office hits like “Rampage (2018)” or “Warcraft,” but you’d be hard pressed to find a game adaptation that the general populous would agree on as being good.

Writer/director Rob Letterman (“Goosebumps,” “Monsters vs. Aliens”) and his team of writers; Dan Hernandez and Benji Samit (“The Tick (2017),” “One Day at a Time (2017)”), Derek Connolly (“Safety Not Guaranteed,” “Kong: Skull Island”) and most notably Nicole Perlman (“Guardians of the Galaxy,” “Captain Marvel”) have delivered a video game movie that is, at the very least enjoyable and good.

Breaking down exactly what that means is where the trouble sets in, because as enjoyable as it is, “Pokémon Detective Pikachu” has an incredibly rote plot. It is made more enjoyable thanks to the dialogue throughout and the chemistry between Ryan Reynolds as Pikachu and his human companion Tim Goodman, played by Justice Smith (“Paper Towns,” “The Get Down”). The pair not only play off each other well, but their growing friendship is portrayed extremely well and is immediately believable.

The supporting cast is also surprisingly excellent; Kathryn Newton (“Blockers,” “Three Billboards outside Ebbing, Missouri”) is a charmingly aggressive wannabe reporter paired with an anxious Psyduck. Chris Geere (“You’re the Worst”) and Bill Nighy (“Pirate Radio,” “Love Actually”) are well performed, if a bit bland, as a father son duo of corporate leaders, though Nighy gets some especially cheesy good material in the later half of the film. Ken Watanabe (“Inception,” “Letters from Iwo Jima”) is good, though his role is almost little more than a cameo. Special shout out to a silent performance by Suki Waterhouse (“Assassination Nation”) than ends up turning into one of the film’s weirdest and best moments.

That is where “Detective” is at its best; the times where the film gets weird. Yeah, it may be comprised of every detective film plot known to man, with every cliché known to man, but the writers are clearly not afraid to spice things up with the weirdness inherent in the source material. There’s a hell of a difference between an interrogation of a small-town thug and a Pokémon mime.

At the very least, this film is worth a view thanks to the top-notch production across the board. Not only do the Pokémon have a look that manages to perfectly blend the cartoony nature of the games and a real-world aesthetic, but the entire look of the film feels as though it was pulled right from the games. The sets have a warped look to them, accentuated by the heavy use of bright colors, giving a true sense of life to this fantastical world. This is only helped thanks to some great camerawork from John Mathieson (“Gladiator,” “Logan”) and a thumping score from Henry Jackman (“Kick-Ass,” “Wreck-It Ralph”).

It is fun to spend time in this world, when the plot isn’t grinding to a halt. A few sequences in the first half of the film seem to exist just to have characters explain parts of the plot, forcing everything to slow down and hurting the pacing as a result. Thankfully, this disappears in the second half, but it doesn’t forgive the problems in the first.

Pacing problems, plot problems; all of that aside, it’s hard to describe this film as anything but charming. The effort that has gone into bringing these creatures and world to life is evident constantly. Not once does it feel like a corporate product and that might just be the film’s biggest surprise; it has heart and soul.

“Detective” feels as though it is built on the very foundation of charm. Every frame seems tailored made to induce even the tiniest bit of smiles; whether it’s Pikachu flipping his empty coffee cups over like empty shot glasses or the many, many, cool Easter eggs and plot twists throughout. The cast, the world, the visuals, every bit of it is chemically engineered charm.

Be warned though, this is still a Pokémon movie through and through. If you’re not already familiar with the concept, there’s very little explaining that goes on to get you up to speed. It’s not impossible to enjoy without outside knowledge, but it’s definitely tailored made for those already indoctrinated with Pocket Monster fever.

Completely and unabashedly weird, “Pokémon Detective Pikachu” is a joyful mess. Its poor pacing and routine plot are accompanied by an almost unnecessary amount of charm from the cast and world, and a sheer sense of love and dedication to its source. material. It’s not perfect, but it is enjoyable. For a movie based on a video game, it is unquestionably super effective. 3.5/5