Mini Mini Reviews #2

“The Omega Man” (1971) – More or less, it’s a lame version of “The Last Man on Earth,” that exchanges all of its subtlety and tension for over the top goofiness and really poor effects. Grade: D+

“Moonstruck” (1987) – A very heartwarming romance with one of the more honest performances out of Nicholas Cage, while also proving how multi-talented Cher can be. Grade: B

“Cleopatra” (1963) – This should be the dictionary definition of extravagant and box office failure. The history behind “Cleopatra” is far more interesting than the movie itself, though that might be due to the four-and-a-half hour runtime. I wouldn’t have nearly as much problems with the film if it wasn’t the longest film I’ve ever watched and nothing about the film justifies that runtime. Grade: C

“The Death of Stalin” (2017) – A nice palette cleanser after “Cleopatra,” “The Death of Stalin” feels like the Russian equivalent of “Dr. Strangelove” focusing on incompetent idiots having to deal with problems they were never prepared for. Great dialogue, wonderful performances, and a hilarious pace that never lets up. Grade: B+

“Cornered” (1945) – A man travels to Argentina to find the Nazi who killed his wife, and the film utlimately becomes more about stopping that same Nazi from controlling some crime syndicate or something. It started out great and Dick Powell’s performance really captures the grief and pain he’s going through, but somewhere along the way the film loses its focus. Grade: C+

“Scoob!” (2020) – One of the best children’s movies in the last year, “Scoob!” is colorful, funny, loyal to the source material, and most importantly, fun. It takes Scooby-Doo to a more personal level than he’s ever been while still having a great sense of humor about it all. The opening is touching and the ensuing sequence where they remake one of the classic Scooby-Doo moments is great to see. Even though it’s aimed for little kids, there’s enough here for older fans of Scooby to enjoy this movie. Grade: B

“A Ghost Story” (2017) – Is it cliche to call this film haunting? One benefit I’ll give “A Ghost Story” is that, in the case of other thought-provoking indie films like “Under the Skin” I’d normally be bored out of my mind with so little happening in the film and even less pontificating. And while there are some annoyingly slow or nonsensical moments in “A Ghost Story,” the film really does drive home how distant, cold and worrisome death can be. It certainly has some bizarre artistic choices, but those choices do lead to a point that makes the whole piece worth it. Grade: C+

“Candyman” (1992) – This is a supernatural horror film way ahead of its time. Much like “The Twilight Zone,” “Candyman” uses myths and legends to talk about issues that plague society, and especially societies that often get unheard, especially in the 1990s. Wonderful writing, spectacular performances, some impressive cinematography, and horrifying effects, this one shows why the myth of Candyman has stuck with us for so long. Grade: A-

“I am a Fugitive from a Chain Gang” (1932) – For 1932, this film is as politically charged and controversial as Hollywood could be, taking a long, hard look at the dehumanization of the criminal justice system and how it defines those who have been in it. This film is brutally honest and horrifying for its time, but surprisingly thrilling, especially due to Paul Muni’s gripping performance as a man caught up in the mechanisms of a corrupt and petty form of justice, and how that changes him from the inside out. Grade: A+

“Horse Feathers” (1932) – Not the best Marx brothers comedy, but this one is certainly worth watching if only for the climatic football game where the brothers go all out. At times, it feels like a cartoon in how energetic and absurd they get. Grade: C+

“Gattaca” (1997) – A thought-provoking piece of speculative fiction, “Gattaca” explores every aspect of how humanity would change if we went all in on the genetic manipulation, both the good and the bad, especially how that would make the best of us possible but also create a new form of descrimination against those who didn’t have their genetics changed. It’s an effective triumphant story, sold by Ethan Hawke’s emotional performance, with some eye-opening world building. Grade: B+

“The Yearling” (1946) – This is your standard, run-of-the-mill boy and his dog story, except that it’s a baby deer instead of a dog, complete with a coming-of-age story about the boy fighting for his home and growing up a little faster than expected. The best part is certainly the boy’s father, played by Gregory Peck, who has the same likable charm we’ve come to admire from him in works like “To Kill A Mockingbird” and “Roman Holiday.” Grade: C

“Murder by Contract” (1958) – This is a barebones film noir about a hitman with a strict code that he adheres to, with a strange sense of superiority that gives him a rather cool edge. Aside from a memorable soundtrack and the coolness of the main character, this is your basic film noir. Grade: C+

“Da 5 Bloods” (2020) – Describing “Da 5 Bloods” as a strange mix of “Do the Right Thing,” “Apocalypse Now” and “The Treasure of the Sierra Madre” would not do this film justice. Much like all of Spike Lee’s best work, this film captures a great pain that is timeless in its relevance, in this case the mistreatment of black soldiers during the Vietnam War and how situations have not improved much since then. Most of this is sold through the tortured performance of Delroy Lindo, a man teetering on the edge of clarity and insanity, and a brilliant fusion of Fred C. Dobbs and Colonel Kurtz. It is eye-opening, impactful, thrilling, visually stunning, and it is Spike Lee in his element. Grade: A

“Underworld U.S.A.” (1961) – If “Mildred Pierce” is the perfect Mother’s Day film noir, then “Underworld U.S.A.” is the perfect Father’s Day noir, about how far one man will go to avenge his old man. What really hits home is that, while we never get to see the father alive, we see just how much he impacts our protagonist (Cliff Robertson) in his day-to-day life, making this a tribute to how much a father influences his son’s life in invisible ways. Grade: B

“San Francisco” (1936) – Aside from the spectacularly executed earthquake special effects and model use that followed that scene, nothing too extraordinary about “San Francisco.” Other than wanting to slap Clark Cable for being the most insensitive, smug, selfish prick on the planet, and that apparently D.W. Griffith co-directed it, which would probably explain why the film wants us to sympathize with the most unlikable man on the planet. Grade: C

“Tokyo Godfathers” (2003) – “San Francisco” could have learned a thing or two from this movie about taking characters that should be unlikable or despised and giving them dimensions, trauma and redemption. Everything about this movie flows together so perfectly, especially the broken homeless family healing each other through actions even they didn’t know they had in themselves. Grade: A-

“A Matter of Life and Death” (1946) – The best way I can describe “A Matter of Life and Death” is as a reverse “Wizard of Oz,” where real life is filled with bright technicolor and new opportunities to explore and love, and the fantastical is shot in black-and-white and is shown to be a dreary, monotonous bureaucracy. If you enjoy “Wizard of Oz,” you should definitely give this one a try. Grade: A-

“The Loneliness of the Long Distance Runner” (1962) – Certainly the most angsty, rebellious British film I’ve ever seen. It shows a darker, more honest look at the impoverished side of Britain and the hardships that those people carry. Grade: C+

“I was a Male War Bride” (1949) – One of the better examples of a love-hate relationship I’ve seen in Hollywood movies, where both partners (played by Cary Grant and Ann Sheridan) constantly try to one-up each other in the most showoff-y way possible, which gets on the other’s nerves, while always going out of their way to help the other whenever possible. It is odd that the titular plot of the film, about Cary Grant having to pose as a war bride, only comes in the last 40 minutes, but this light screwball comedy still works throughout. Grade: B

“Chariots of Fire” (1981) – On the complete opposite end of the spectrum from “Loneliness of the Long Distance Runner,” this film is all about proper Englishmen and devotion to that prim and elegant lifestyle above all else. Still, the most interesting thing about “Chariots of Fire” was the soundtrack, mostly because the electronic 80s music feels so strange when used for a film set in the 1920s. Grade: B-

“Earth vs. the Flying Saucers” (1956) – What pushes this film above other 1950s sci-fi movies is a few things. Ray Harryhausen’s effects work on the flying saucers breathes new life into something we often take for granted now, the final battle on Washington D.C. still holds up surprisingly well, especially when combined with other effects that aren’t stop motion, and the romance between the two leads (Hugh Marlowe and Joan Taylor) is charming and never overbearing, making the two leads some of the more likable protagonists in any 1950s sci-fi movie. Grade: B

“The 7th Voyage of Sinbad” (1958) – Going in, I thought the only thing of note was going to be Ray Harryhausen’s stop-motion effects, but there are a few other stand out things about this epic fantasy. Namely, Bernard Herrmann’s score is as good as any of his music for Hitchcock’s films, atmospheric and adds a new sense of scope to the many monsters Sinbad must defeat. Still, the Harryhausen’s effects steal the show and take on a life of their own, especially with so many different monsters here, such as a two-headed bird, multiple cyclops, a swash-buckling skeleton, and a fire-breathing dragon. Grade: B

“OSS 117: Cairo, Nest of Spies” (2006) – To be a truly great parody, you have to love what you’re parodying. “Cairo, Nest of Spies” might be the best parody since “Airplane!” because it doesn’t just nail the aesthetic, camera techniques, green screen effects and fight choreography of the James Bond movies, but the views and attitudes of the time period too, putting Bond’s gross misogynistic and insensitive views on full display to show just how out of date they are, without having the dimwitted, backwards spy who doesn’t know any better come across as unlikable. This spy parody blows all of the Austin Powers movies out of the water. Grade: A

Mini-Mini Movie Reviews

I picked a weird time to stop reviewing films. Apparently when this website stops publishing, a pandemic begins.

Over the last two months of silence, I’ve taken on some new responsibilities that have kept me away from film reviews, mostly a new job that allows me to work from home. And while I’ve been focusing all of my attention on that job, that didn’t stop me from watching the occasional film, including over 20 films I’d never seen before.

And while I don’t quite have the time to write full length reviews on all of them (including some that I watched over two months ago), I do feel like I should give my thoughts on all of them, even if it’s just one sentence on each. So I’m going to try something new by offering you some mini-mini-reviews. I’ll try not to make this a regular thing, but can’t make any promises.

“Paprika” (2006) – Imagine if “Inception” was animated by Miyazaki and was more of a psychological thriller about making literal dreams into reality, and throw in some anime insanity and you’ve got “Paprika.” Grade: B+

“Falling Down” (1993) – All it takes is one really bad day for some people to snap, and “Falling Down” pushes the envelope of how one man going on a rampage against the society could be any of us, pulled together by an off-the-wall performance from Michael Douglas. Grade: B+

“Crime Wave” (1954) – “What do you want? Christmas every day?” is one of the greatest and most quotable movie lines that no one talks about. Grade: B-

“Red Dragon” (2002) – A much scarier depiction of Hannibal Lecter than “Silence of the Lambs,” while never shying away from what makes him such a likable villain in the first place. Grade: B

“Monkey Business” (1931) – Aside from “Duck Soup,” this might be the best Marx Brothers film, with many memorable slapstick moments and gags that play so well with everyone stuck on a cruise ship. Grade: B



“Sanjuro” (1962) – Not the best Kurosawa film, and certainly a downgrade from its predecessor, “Yojimbo,” but it is serviceable as a lighthearted period piece about rival feudal gangs trying to seize power. Grade: C+

“Address Unknown” (1944) – If the Twilight Zone had been made in the 1940s, I could see the plot of this movie being an episode – how, with the right motivation, anyone could have been convinced to see the same views as the Nazis. Doesn’t work as well today, but at least it was killer cinematography. Grade: B

“Your Name” (2016) – This one gets confusing, going from a lighthearted comedy about supposedly random body swapping to a convoluted tale about time travel and spirituality. Beautifully animated and the characters are quite likable, just don’t think about it too hard. Grade: B

“Beyond a Reasonable Doubt” (1956) – One of the most twist-and-turn filled film noirs I’ve ever seen, this one constantly kept me on my toes, having you love and hate pretty much every single character. Grade: B+

“Lone Wolf and Cub: Sword of Vengeance” (1972) – Far more violent than I ever expected it to be and filled with a lot of odd creative choices that had me scratching my head. Grade: C-

“Night and the City” (1950) – The main character is one of the most detestable, loathsome people I’ve ever seen in a movie, and yet is somehow quite charming in his passion and enthusiasm, so convinced of himself that you can’t help but love him. One of the strangest but most watchable dynamics of any film noir. Grade: B+

“Collateral” (2004) – One of the more effective thrillers in recent memory, with a brilliant cast, a sharp script that hits every moment perfectly with its atmosphere, and never a dull moment. Grade: A

“Exorcist III: Legion” (1990) – The most underrated psychological horror film ever made, “Exorcist III” even surpasses the original “Exorcist” in many ways, with a wonderful crime piece that’ll keep you guessing, pitch perfect atmosphere, scares that are worth it every time and some wonderfully creepy acting from Brad Dourif, who could be the villain in every movie ever and I wouldn’t complain. Grade: A-

“Wicked Woman” (1953) – The most memorable part of this film noir is the opening theme song, performed by a guy who sounds like he’s melting. Grade: C+

“Gentlemen Prefer Blondes” (1953) – One of the best performances from Marilyn Monroe and one that perfectly blends music and comedy, only being outclassed by “Singin’ In the Rain” in that category. Grade: A-

“The Candidate” (1972) – I feel like this one was building up towards its final moments, where the whole picture becomes clear as a farce about people wanting to be politicians for power and fame and nothing else. Other than that, quite forgettable. Grade: C

“Victor/Victoria” (1982) – This one was a lot funnier than I thought it would be, though I should have expected as much when it was made by the same guy who directed “The Great Race.” Lots of great moments for Julie Andrews and Robert Preston. Grade: B

“Superfly” (1972) – “I’m Your Pusherman” is a surprisingly addictive song that this movie loved to death. Grade: B-

“Fallen Angel” (1945) – It makes for a fascinating companion piece with “Beyond a Reasonable Doubt,” as both are about Dana Andrews being convicted with a crime they may or may not have committed, while someone else may be pulling the strings of the crime. Grade: B-

“Dark City” (1998) – Perfectly blends together film noir and science fiction without ever feeling overwhelming, with some wonderful production design of philosophical questions that were better addressed in this movie than they were in “The Matrix.” Grade: B+

“Lone Wolf and Cub: Baby Cart at the River Styx” (1972) – Now this was more like it – still ultraviolent, but puts that violence to good use without ever coming across as grotesque or raunchy. Just a good ol’ samurai facing impossible odds and that’s really all I asked for. Grade: B-

“42nd Street” (1933) – Back when musicals were more of a spectacle than a story, “42nd Street” stands out for its elaborate dance numbers, unique cinematography and fun songs. I can see why this is often regarded as the first really great musical. Grade: C

“7 Faces of Dr. Lao” (1964) – You know, I could get behind the whole mystery comedy aspect of the movie with a mysterious stranger coming to town and using his powers to make everyone’s lives better, but then they had to make almost half of the film a western about land disputes and fighting the old west with newspapers. You know your movie is strange when the western aspects are weirder than one guy playing seven different roles, including Medusa, Pan and a talking clay-mation snake. Grade: C+

“The Crimson Kimono” (1959) – A surprisingly progressive film for its time, setting the tone for the buddy cop genre that would come 30 years later and discuss the trouble that come with interracial couples a decade before “Guess Who’s Coming To Dinner” would do the same thing. Still, it’s more of a police procedural than a film noir with some bold editing and camera techniques that makes this stand out from all the other films during this time period. Grade: B-

My Favorite Films of the 2010s

It’s strange to think that we now live in the far off future of the 2020s. But with that new and strange future waiting for us, we also leave behind a decade filled with some of the best movies we have ever known. While there are a lot of negative and overwhelming things about the 2010s that we’ll always remember, whether we want to or not, I believe it is safe to say that this past decade was one of the best for cinema. It allowed the widest range of filmmakers to tell their unique and awe-inspiring stories that forever changed the landscape. From “Get Out” and “Moonlight” to “Lady Bird” and “Roma,” this was the decade of imaginative storytelling.

For me, I got to see far more wonderful movies than I can count. Not only did I get to see nearly every major release in my small town from 2014 onward, but this was a decade that significantly expanded my world view and tastes in cinema, allowing me to see pictures I would have never expected and now I can’t imagine a world without movies like “Spotlight” or “The Social Network.” But there are so many of those stunning films that forever changed cinema that it’s daunting to even narrow them all down to one list. 

So rather than talk about the best movies that changed the decade and movies forever, I’m going to stick with what I know and talk about the movies that changed me. The movies that I will remember forever from the 2010s and ones that I could watch again and again. I also couldn’t do any of these films justice with a short description here, though I do have full length reviews for nearly all of them elsewhere on my blog, so links to those will be included for each of them. These are not necessarily my picks for the best films of the decade (though some of these would be on that list too), but rather these are my absolute favorite and most memorable films of the 2010s (in no particular order…except for the last one).

“The Artist” (2011)

Out of all these picks, “The Artist” is the only one I haven’t talked about at length. But to get to the heart of it, “The Artist” is cinema at its purest. Raw, emotional, visual storytelling at its finest, celebrating how beautiful and tragic cinema can be by crafting a tale that hasn’t been told for nearly 80 years. It’s one thing to make a silent movie in 2011, but it’s another thing entirely to make about the story of how silent cinema faded and the lives that were crushed by that transition. At times, it evokes the whimsy and energy of “Singin’ in the Rain,” while other times the tragedy of being lost in an ever-evolving world like Norma Desmond in “Sunset Boulevard.” It is a timeless tale about why we love movies so much and why they’ll always be relevant, a love letter not just to silent cinema but cinema in general. 

“Her” (2013)
http://gotengoxgodzilla.blogspot.com/2014/01/the-hopper-8.html

Simple, yet innovative. This is a science fiction piece that understands technology in cinema is not just fiction, but can be relatable and logical yet still fascinating and imaginative. I found myself just as invested in the futuristic Los Angeles as I was in the romance between Theodore and Samantha, finding a love story set in a world not too different from our own. A world where technology might have advanced further than us, and has replaced us in many capacities. Yet “Her” finds a middle ground where humans and technology make each other more desirable. That we wouldn’t be complete without the other. With the same quirky, off-the-wall craziness you can only get out of a Spike Jones film, “Her is one of the most creative and heart-warming films of the decade. 

“La La Land” (2016) and “Whiplash” (2014)
http://gotengoxgodzilla.blogspot.com/2017/01/movie-review-la-la-land-2016.html
http://gotengoxgodzilla.blogspot.com/2015/02/movie-review-whiplash-2014-does-he-want.html

After a lot of consideration, I’ve come to the decision that I cannot decide which of Damien Chazelle’s masterpieces I love more. So rather than pick one, why not just include both in one spot? Though both films do tell me the same thing – that the musical is not dead. Chazelle’s take on the genre uses music more as an emotion or a state of mind that is complimented by a passion for why music, moving music, needs to be shared with the world. In “Whiplash,” this is taken to its most extreme through J.K. Simmons’ character and his anger at a world that doesn’t share his enthusiasm for music and can’t understand why his students don’t care about it as much as he does. While in “La La Land,” that passion is splashed all over the screen through vibrant colors, long shots of stunning choreography that demonstrates why musicals are beautifully unique without ever sacrificing that same harsh reality that “Whiplash” started. While both films are joyous in their own way, they never sugar-coat anything and often show just how cruel and unforgiving the world can be, but also why that passion is something worth fighting for.

 

“The Lego Movie” (2014)
http://gotengoxgodzilla.blogspot.com/2014/02/movie-review-lego-movie-2014.html

There were a large amount of noteworthy animated movies over the last decade – “Inside Out,” “How to Train Your Dragon,” “Spider-Man: Into the Spider-verse,” “Kung Fu Panda 2,” “Zootopia,” “The Wind Rises,” “Kubo and the Two Strings” just to name a few. But none of them made quite as much of an impact on me as “The Lego Movie.” As strange as this is to say about a film meant to sell tiny bricks of plastic that are a pain to step on, “The Lego Movie” might have been the most creative, heartfelt, nostalgic and visually-striking film of the decade. Say what you will about some of the best cinematography of the decade, none of those movies were made up entirely of legos. But beyond the vast cast of characters that seems to cover nearly every franchise in existence and makes it all feel connected, what makes this so important is the twist near the end and the message that comes from it. No other animated movie hit me nearly as hard as that moment when you find out who has really been pulling all the strings and how it fits right at home with the imagination of legos. I didn’t know that I ever wanted a movie about yellow bricks that has Batman, Shaquille O’Neal and Charlie Day playing a crazy astronaut obsessed with spaceships, but now I can’t imagine a world without “The Lego Movie.”  

 

“Mad Max: Fury Road” (2015)
http://gotengoxgodzilla.blogspot.com/2015/05/movie-review-mad-max-fury-road-2015.html

This film still blows me away. So much is conveyed with little dialogue and visually-rich imagery, creating this hellscape built on madness and cars. It is not only the most high-octane movie of the decade, but also the most authentic action movie of the decade too, with little CGI and epic level action sequences that would make David Lean blush with jealousy. This is what every action movie should aspire to be like – beautiful, detailed in its simplicity, deliciously hand-crafted and satisfying. Any day with “Mad Max: Fury Road” is a lovely day indeed.

“The Martian” (2015)
http://gotengoxgodzilla.blogspot.com/2015/10/movie-review-martian-2015-best-mars.html

As time has passed, the more I have fallen in love with “The Martian.” I’d describe it now as a comedy that laughs in the face of certain death and takes delight in the small moments of happiness, anything to remind us why it’s wonderful to be alive. Despite films like “Gravity” or “Interstellar” taking giant leaps for exploring the universe in new and creative ways, it’s the heart and honesty of “The Martian” that wins me over every time. Matt Damon gives the best performance of his career, perfectly capturing the highs and lows of having a planet to yourself while refusing to succumb to the dread of dying and working towards another chance to live. “The Martian” is as uplifting as it is hilarious, striking the perfect balance between crisis and serenity. 

“Nightcrawler” (2014)
http://gotengoxgodzilla.blogspot.com/2014/11/movie-review-nightcrawler-2014.html

If I had to include one gritty and unsettling film from the 2010s, I’d certainly go with the irresistible “Nightcrawler.” Jake Gyllenhaal’s performance might be my second favorite of the decade, as a man so engrossed in his own uncaring and unsympathetic world that he has to go out to prove his worth in any meaningful way. The way he treats others like his pawns or tools yet how it plays so well into the world he creates for himself and the “Man bites dog” mentality of journalism is so highly captivating. Watching this man try to conquer the world in his own way is a treat all on its own, especially once he starts to succeed at it. 

“Parasite” (2019)
http://gotengoxgodzilla.blogspot.com/2019/12/movie-review-parasite-2019.html

While I tried to stay away from more recent films that haven’t had as much time for reflection as the other films on this list, I keep coming back to Bong-Joon Ho’s immensely captivating genre-bender. Not only is the film able to effortlessly bounce between being a thriller, comedy and social commentary, but it is the most unpredictable experience of the decade. With each scene, it feels like the film could spring off a million different ways, always keeping the audience guessing as to which path it will take, and yet Bong-Joon Ho often picks none of those million possibilities and goes off in a completely different and yet still fascinating path no one could have expected. “Parasite” makes storytelling as creative and original as it was when we first heard stories and reminds me why cinematic storytelling can be so fun in the first place. 

“Shin Godzilla” (2016)
http://gotengoxgodzilla.blogspot.com/2016/10/movie-review-shin-godzilla-2016.html

I tried desperately to think of a movie that I loved more than “Shin Godzilla” from the 2010s, and I could only come with a few movies, and certainly no other kaiju films. When I think of a modern monster movie, one that portrays a honest depiction of what would happen if there ever was a giant monster running around, “Shin Godzilla” captures that perfectly. The dread and uncertainty of a creature that defies all the laws of nature and the cold reality that scared, tired and confused men are in charge of dealing with that creature is terrifying in its own right. Democracy was not meant to handle a nearly indestructible monster that destroys everything in its path. And even beyond that, this version of Godzilla is the most terrifying since the original monster, leading to monster scenes that are just as intense and gripping as the scenes with the government, and helped by wonderfully dynamic cinematography. Lastly, there’s the national identity of Japan on full display as the film makes Japan the main character with its demeanor, ideals and fears bared for everyone, leading to a climax that is triumphant as it is exhilarating.  

“The Shape of Water” (2017)
http://gotengoxgodzilla.blogspot.com/2018/01/movie-review-shape-of-water-2017.html

Despite everything else being in no particular order, “The Shape of Water” is, without a doubt, my favorite movie of the 2010s. From the opening scenes of finding joy in the small moments of happiness like the smell of chocolate in the air to tap dancing after watching in on TV, to the transparently wicked Michael Shannon soaking up every minute he has a chance to assert his authority, to the hauntingly beautiful dream dance sequence that brings me to tears every time, there is no shortage of wonder and awe in this movie. But what really brings it all together is Sally Hawkins giving my favorite performance of the decade, so raw and emotionally gripping as she acts her heart out in every scene without ever saying a word. She commands the screen, not like Michael Shannon’s intensity, but through her vulnerability. “The Shape of Water” is joy in its purest form, capturing the majesty and imagination that cinema can offer without ever shying away from the darker, more horrific sides of that imagination that leads to powerful emotional moments that I’ll never forget. And it is because of Guillermo del Toro’s passion for filmmaking, passion for the fantastical and passion for life that makes “The Shape of Water” the most rewarding movie of the decade. 

This has been a decade of so many wonderful movies that I’m sure there’s a bunch that I missed or left out or possibly some that I didn’t even see. So if you have any of those, be sure to let me know what your favorite movies of the 2010s were!

Movie Review - "Dolemite is My Name" (2019)

There's a moment early on in "Dolemite Is My Name," where Rudy Ray Moore (Eddie Murphy) explains how he ran away from his backwards unapologetic father to get to Hollywood. Moore explains that his father would always tell him that he'd never be as good as him and that he'd never amount to anything and should just settle on falling in line. This is a man who has been told to settle his entire life, to fall in line and accept that he isn't destined for greatness, if not by his father than by those trying to put him down. And yet, being surrounded by all these great artists that Moore looks up to, it is impossible for him to understand why he can't have that same greatness. Even if he's been told "no" his entire life, he refuses to let one word get in his way.

This is the emotional core of "Dolemite Is My Name," and a brilliant one at that. Whether trying (and failing) to invent himself as a singer, a shake dancer, or a comedian, Moore takes each step in stride and with a positive spin on each career attempt. He is so intoxicated by the hope of Hollywood that he refuses to let a little thing like failure get in his way. And as Moore's career finally starts to take off with his own unique persona of Dolemite, something he can claim as his own, people start to finally notice him to the point that he goes on tour and even plans to make a movie, even if he has to do everything himself.

Some might describe "Dolemite Is My Name" as a black "Ed Wood," and that would be an apt description. Both films have a love for cinema and its worldwide appeal, and feature an optimistic protagonist that wants nothing more than share his love with others. But what separates "Dolemite Is My Name" from "Ed Wood" is that search for an identity near the beginning of the film, something that turns Rudy Ray Moore into Dolemite that gives this film an even greater punch. Moore doesn't just believe in the magic of cinema, but in the magic of creation. In his eyes, that is a gift that only few people ever get, and its a gift that must be shared.

"Dolemite Is My Name" is the most uplifting movie of the year, giving everyone who has ever been silenced a voice. Eddie Murphy is brilliant and honest in every scene, nailing every comedic moment as well as the dramatic with just enough ego to be charming. Despite being as much of a blaxploitation film as the original "Dolemite," this is one that transcends the cultural barriers with its comedy, honesty and hunt for identity in a difficult world.

Final Grade: A+

Top Ten Favorite Films in My Lifetime

Today marks my thirtieth birthday, a day that I've been giving a lot of thought for quite some time. Despite my youth supposedly coming to an end as I make the march towards middle-age, I can't help but feel young. Maybe it's because I live my life without regrets, or because I always do everything in my power to make the most out of each day, but I'm at the point in my life where age is a good thing, like I'm maturing like wine.

But I certainly feel like part of this perspective comes from watching movies and gaining new perspectives on life and myself through a camera lens. Cinema has played a massive role in my life so it's only fitting that I take a look at some of the films that have come along since I've been alive. This works out almost perfectly to encompass three decades of cinema (1990s, 2000s and 2010s). With so many films that have left an indelible impact on me as a person to choose from, I've decided to keep this to just my personal favorite ten that have left the biggest marks on me, the ones that I'll always come back to and remind me of what it was like when I was thirty.

Number Ten - "Adaptation." (2002)

It pains me to admit that I've rarely talked about how brilliant "Adaptation." is on so many different levels and how it perfectly captures the crisis that comes with creativity. The film is a biopic about its own writer, Charlie Kaufman, going through the most difficult experience of his life as he attempts to adapt an unadaptable book and to make a story where there is no story, and the story he creates is him trying desperately to create a story about the book he's trying to adapt. No one could ever attempt something like this besides Kaufman, and it's brought to screen with that same love for passion, uniqueness and originality through the confused and fun performances of Nicholas Cage and Meryl Streep. It is the prime film example of life imitating art imitating life imitating art that still blows my mind just thinking about how everything comes together.

Number Nine - "Goodfellas" (1990)

Gangster films are the ultimate tragedies, with the highest of highs and the lowest of lows. Martin Scorsese has always excelled at making those highs as enthralling and mouth-watering as possible, like being a gangster is the greatest thing in the world, while never detaching itself from reality so far as to sympathize with these criminals so that there ultimate fall hits even harder when they do crash back to our reality. "Goodfellas" is the greatest gangster film of all time because that power is lavishly explored through multiple decades of long takes and loving narration. At times, it almost feels like we're watching aliens with no empathy or understanding of humans other than greed and power, especially Joe Pesci's foul-mouthed trigger-happy gangster that only loves his mother, which only makes the more human moments of realization and betrayal stand out so much more.

Number Eight - "her" (2013)

More than anything else, I adore "her"'s depiction of the future. Sterile, but imaginative. It is distant enough from our own world to wonder how we got here, while still innovative enough to create a fun world with endless possibilities. In a time where every depiction of the future is grim and desolate, "her" is a shining example of how A.I. can be just as witty and passionate as us. It is comforting without every losing its joy for life, showing our evolution as a charismatic love to learn more about ourselves, captured perfectly through the love between a man and an A.I.

Nubmer Seven - "Shin Godzilla" (2016)

I couldn't help myself, this is everything I wanted in a modern-age Godzilla movie. The monster is not only terrifying, imposing and captured in the best possible light, but the worlds' governments react with the chaos and confusion that would come with a giant monster rising from the ocean. It is both parts political thriller and kaiju film, bolstered even further with its sense of national identity so that it's not just a few stuffy politicians reacting to Godzilla, but all of Japan. Even if it didn't have loads of call backs to the Showa series through its music and sound effects, "Shin Godzilla" would still be the best monster movie in the last decade because of its love of monsters and the modern bureaucratic response to such an abomination of life.

 

Number Six - "The Lego Movie" (2014)

Who would have thought a brand-name movie about yellow bricks would hit me this hard? I can't think of another movie that makes me feel like a kid again quite like "The Lego Movie." It is one of the most creative, witty and bizarre movies I've ever seen, but then again you have to be to have your main characters be Batman, a pirate, an astronaut and a cat-unicorn-hybrid while fighting Will Ferrell. Just thinking about how everything unfolds so perfectly makes me giddy, while the comedy still makes me laugh to this day. Everything about this movie still feels fresh, certainly helped by the unique look and design that makes "The Lego Movie" timeless and forever relevant, especially with that twist ending.

Number Five - "Nightcrawler" (2014)

As time has passed, I've fallen in love with the brutal honest of "Nightcrawler"'s depiction of success. Where "Adaptation." was hopeful and passionate, "Nightcrawler" is desensitized to the American Dream, where success only comes to those who want it hard enough, especially in an endangered profession that is journalism. The film is often disturbing, but always rings true to its message of how "Man Bites Dog" is a far more alluring headline than "Dog bites Man." Jake Gyllenhaal has never been as commanding or sinister as he was in "Nightcrawler," always coming across as a man who'd do whatever it takes to succeed in a world that does not care for him.

Number Four - "Ed Wood" (1994)

On the opposite end of the spectrum from "Nightcrawler," we have "Ed Wood," the greatest film about filmmaking. There's a contagious love for life and movies throughout, all perfectly captured in Johnny Depp's charismatic performance as Edward D. Wood Jr., a man so blinded by the spectacle of cinema that he thought it (and he) could do no wrong. Yet beyond a love for movies, there's a genuine optimism that permeates through Depp and Martin Landau's role, both making the most of the time and opportunities they have, a passion that all artists can truly appreciate. It speaks to me, not just as a love letter to one of the best worst filmmakers of all time, but also of how to face the challenges that come with any passion - with an open-mind and a kind heart.

Number Three - "Fargo" (1996)

If I could have, these last three films would all be tied for first place. They are not just perfect movies, but timeless classics with characters that have helped shape my own personality. Take for example, Marge Gunderson from "Fargo," the contemplative, curious, feisty cop who will stop at nothing to make a better world for her child, even if it means copious amounts of fast food and a cute Minnesotan accent. The framing of Marge within the world of "Fargo," filled with greedy, ugly, weak men clawing for something they can call their own and watching them fail due to their own incompetence, makes Marge and her husband sharing little moments of love and affection the most heart-warming and uplifting experience in the last twenty years. The balance of dark comedy, authentic Minnesota charm and Marge's determination despite everything going against her makes "Fargo" not only the Coen brothers' best film, but one of the best films of the last few decades.

Number Two - "The Shape of Water" (2017)

When I think of fantasy, "The Shape of Water" is now the first thing that comes to mind. It is filled with wonder and awe, without ever losing an ounce of humanity, taking the good people with the bad people. It makes the more fantastical moments far more breath-taking, and the moments of quiet realization and love so much more touching, while the angry outbursts of men losing control over something they never had so much more satisfying. It certainly helps that this film boasts the best performance of the decade with Sally Hawkins giving the most raw, passion performance without hardly uttering a word. Guillermo del Toro's sympathetic re-imagining of "The Creature from the Black Lagoon," has a tremendous love for the beauty of life that is hard not to love every affection moment of this wonderful fantasy.

Number One - "WALL-E" (2008)

"WALL-E" is one of the best examples of science fiction, a quiet, contemplative look at where mankind's over-reliance on our tools would eventually take us and how much our own tools would start to mimic us. Some will see this as Pixar's cute take on sci-fi, but I see it as their masterpiece, a visually breath-taking film with a joy for life, all while the silence is even more powerful than words could ever be. Not a single moment is wasted in "WALL-E," whether its exploring a world filled with trash as a single robot tries to find meaning to it all, creating a wonderful companionship between its two robot leads that becomes (oddly enough) the emotional core of the film, showcasing the vast beauty of the universe, or building off the themes of "2001: A Space Odyssey" in the most touching way. I love everything about this movie, and it only gets better every time I watch it.

Movie Review - "Enemy" (2013)

 While the tale of finding someone who looks exactly like you is no stranger to fiction, "Enemy" still manages to feel like a unique concept. Most tales like these would explore how amazing it is to have a doppelganger, in stories like "The Prisoner of Zenda" and "The Prince and the Pauper," but "Enemy" takes the opposite approach and how having someone out there living their own life with your face would cause an identity crisis and show just how little control you have over your own life.

Both versions of Jake Gyllenhaal's performance as Adam and Anthony are striking and haunting, hitting that perfect note of fear and curiosity over meeting a stranger who could be living your better life and the unending paranoia that follows such a discovery. Gyllenhaal gives one of the best performances of his career, selling every excruciating moment of self discovery that Adam and Anthony experience. "Enemy" reinforces just how versatile of an actor Gyllenhaal is, and how no one tells a more personally horrific tale quite like Denis Villeneuve.

Final Grade: A

Movie Review - "Under the Skin" (2013)

Independent movies often feel like the closest cinematic attempts at art - films that are less concerned with dazzling or thrilling audiences, and more focuses on making them think, showing life or society or the human condition from an angle that would be otherwise impossible. As such, I think it's fair to give independent movies a bit more patience and understanding than a big-budget blockbuster as it develops these foreign concepts right before our eyes.

But that patience does have its limits. And "Under the Skin" crossed that limit multiple times over.

To say that "Under the Skin" is slow would be an understatement. The film moves at a painful pace, where I'm convinced that the filmmakers were testing the audience to see if they'd walk out of the theater after so little happened. It was more enjoyable to listen to a ticking clock than it was to watch an alien interact with humanity at a slow pace than slow motion.

Granted, I was onboard with the movie for the first 40 minutes or so, trying to piece together why Scarlett Johansson is luring men with her charms into a black abyss where they're consumed and Scarlett does the same thing many times, with varying degrees of success. There is very little dialogue and lots of scenes of Scarlett staring off into space while she tries to understand "the human." But the film continually tested this patience, repeating the same style of scenes three or four times with only minor changes, turning the intrigue and mystery into tedium and boredom. This is eventually replaced with Scarlett doing her best deer-in-the-headlights impression as she eats cake, tries to have conversations and watch television, all while the pace somehow goes from glacial to absolute zero. I swear that the last third of the movie is just Scarlett looking like she's watching a better movie going on behind the camera.

I get what Johnathan Glazer was going for, an unsettling, unpredictable life form going through baby steps of an entirely different civilization and their customs of eating, conversation and pleasure. It is not just foreign to this woman, it is other worldly. It's an alien attempting to be like us and an alien's interpretation of what humans must be like without ever directly giving her thoughts.

The problem is that this drags on and continually repeats itself far more times than it needed to. It gets to the point where it stops saying something and says nothing, especially when you just have your alien standing around doing literally nothing more than anything else.

While "Under the Skin" is certainly unsettling and even heart wrenching at a few points, I wanted to pull my hair out by the end of this movie. Nothing aggravates me more in movies than a film that feels it is so self important that it can just show people standing around for most of the runtime and call that "art." Even if the film wanted to say something profound, that means nothing if you can't keep my interest.

Final Grade: D+

Movie Review - "Megamind" (2010)

"Megamind" fits right in with many of Dreamworks' animated movies through its themes of never judging someone based solely off appearances or even first impressions. In this case, "Megamind" is a deconstruction of superhero stories through a relaxed, almost meditated, look at whether good or evil is something you're born as or if it is something you choose to be.

Will Ferrell as Megamind just might be his most charismatic role, loving the supervillain lifestyle while hitting every emotional high note when he tries to find his purpose after getting what he wants. The film remains as inventive and witty as we've come to expect from superhero movies while doing action sequences and shots that can only be done through animations, especially near the climax. "Megamind" is creative, thoughtful, funny and offers a different superhero experience than anyone expects.

Final Grade: A- 

Movie Review - "The Master" (2012)

I'm often hesistant to write a negative opinion on a critically-acclaimed art-house film such as "The Master," since I fear that it would just come across as me not understanding the deep message of the movie and how I just don't get it. But it's not that I don't get what P.T. Anderson's "The Master" wants to say, it's that I don't care. "The Master" never really did anything to draw me in, or immerse me in this strange cult that the titular Master (Phillip Seymour Hoffman) runs, or do anything to make me care about this drunk (Joaquin Phoenix) trying to turn his life around. While Anderson's style is often trippy and thought-provoking, especially in the many trips through Phoenix's past, every character is either unlikable or brainwashed, but almost always unenthusiastic, aside from Hoffman. The standout scene is Hoffman delving into the depths of Phoenix's mind and watching him slowly open up to him, watching that conversation unfold like taking the bandage off an old wound. It's a rather unpleasant movie with gorgeous cinematography, but a lackadaisical pace and filled with characters that are often infuriating. For a modern arthouse film, it is servicable.

Final Grade: C

Marvel Cinematic Universe: From Worst to Best

I think it's safe to say that no one has had quite an impact on the film industry at the moment like Marvel studios. Since 2008, they've now released twenty movies in their shared universe, typically releasing three movies every year, with each film building off the the events of the last to make a shared cinematic universe that everyone is trying to copy now. They're films are some of the highest grossing movies of all time, and they're single-handedly keeping superheroes as the most popular genre at the moment.

Everyone has seen their movies and eagerly wait for their next entries to see where they'll take their dramatic, funny and always entertaining movies next. So now that Marvel studios has released exactly twenty of their own movies, I feel now is a good time to look back and countdown all of them from their worst to their best.

Keep in mind that I'll only be looking at the entries in the Marvel Cinematic Universe, not every movie Marvel had a part in. Which means no X-Men movies, Spider-Man movies with Tobey Maguire or Andrew Garfield, and unfortunately no Deadpool films. With that said, these are how I would rank all of the MCU movies.

Number 20 - "Iron Man 2"

As a direct sequel to the first film in this cinematic universe, "Iron Man 2" takes everything that made the first film likable and charming and makes it obnoxious. This film is loud, irritating, makes the least amount of sense of any Marvel film and has the worst pacing of any film in this series. It doesn't really have a lot going for it, especially when the lasting image of this film are the annoying conversations between Downey Jr. and Paltrow talking over each other. Easily the worst film in the series.

Number 19 - "Thor: The Dark World"

Not as annoying or irritating as "Iron Man 2," but this films' crime is that it's so boring. The characters are dull, the plot is forgettable, the way it uses the other nine realms of Asgard is lame, and it feels like nothing is accomplished. The only saving grace of this film is Tom Hiddleston's always great performance as Loki and how he's given a chance to do way more than he did in "Thor." Speaking of which...

Number 18 - "Thor"

Like "The Dark World," this one is just forgettable. It is better due to the heroic character arc of its lead, and many of the scenes with Thor learning to live on Earth are funny in that "fish out of water" style. Beyond that, there is nothing worthy to be seen in "Thor."

Number 17 - "The Incredible Hulk"

This one now feels like the black sheep of the cinematic universe and is often forgotten among the many other super heroes. It also didn't help that Ang Lee's "Hulk" was always on people's minds and that Edward Norton didn't want to keep playing the Hulk after this movie. For the time, this film had great special effects and it made good use of the Hulk's size and scope. But there was really nothing else going for it.

Number 16 - "Doctor Strange"

In the grand scheme of this universe, "Doctor Strange" doesn't really have much going for it outside of its stunning visuals and the odd journey its title character goes through. It is impressive at times, but other moments are just so bland and predictable that it makes for an average blockbuster.

When the best character in your film is a piece of clothe, you know you goofed on a few things.

Number 15 - "Iron Man 3"

Some people really hate this one because of how it mistreats the comic origins of its villain. I always overlook that and instead remember "Iron Man 3" for making me laugh so hard. For a long time, it had the best sense of humor of any Marvel film and loving most of the film as a result - it basically sent the standard for how comedy in Marvel would be handled in the future. But beyond this, the plot is nonsensical and full of holes, and the climax leaves a lot to be desired. Not the strongest Iron Man tale, but far from the worst.

Number 14 - "Ant-Man"

Now we've reached that films that are just...fine. Perfectly serviceable summer blockbusters that were a lot of fun while I was watching them, but had no reason to watch them again after my initial viewing. "Ant-Man" did everything right, especially in scale and storytelling, but didn't leave much of an impact on me. The film did it's job and gave us a unique superhero with a very similar personality to many of the other Marvel leads. It wouldn't be until his next film that we would get a better taste of his personality.

Number 13 - "Avengers: Age of Ultron"

The best way I can describe "Age of Ultron" is that it is a sequel to an experience. Rather than being it's own thing, it tries to replicate something that cannot be topped and captured again. Even though "Age of Ultron" is, in many ways, an improvement over "The Avengers" in terms of storytelling, tension, dialogue and character dynamics, everything it does tries to be "The Avengers" all over again. It just doesn't feel as genuine this time around.

Number 12 - "Captain America: The First Avenger"

Now we move onto the ones that I thoroughly enjoy, starting with quite possibly the best superhero origin tale. Right from the beginning, our lead shows us his charm, compassion and likability that would become his defining characteristics, with some of the best scenes being little moments to prove that he's not trying to be a great soldier, but a good man. This whole movie is like if Captain America made a movie, cutting out the nitty-gritty and leaving only that which the filmmakers feel is important. Certainly one of the more underrated Marvel films.

Number 11 - "Ant-Man and the Wasp"

We come to the most recent Marvel film, one that won me over with its charm and likability. I appreciate the smaller-scale character driven piece, especially since it was a palette cleanser after "Infinity War." I ended up loving every character in this film, which is a testament to the writing and acting throughout.

Number 10 - "Iron Man"

For a long time, this was my favorite. It was the one to start it all and introduced us to Robert Downey Jr.'s unparalleled acting abilities. But then time passed and we got better made superhero movies. Tales that had better character arcs, and much better climaxes. It showed that "Iron Man," while still a solid entry in the shared universe with great acting and writing, is weaker compared to films will see later on this countdown.

Number 9 - "Spider-Man: Homecoming"

The most realistic and authentic of the Marvel films, "Homecoming" was more of a treat than I initially gave it credit for. The comedy felt genuine, the dialogue was fresh and witty without being over-the-top, and Tom Holland plays the best Spider-Man to date, perfectly balancing the line between the comedy and drama of being Spider-Man while still learning how to be the best hero possible. It is as refreshing and honest as we've gotten from Marvel.

Number 8 - "Guardians of the Galaxy Vol. 2"

While I initially thought of this one as little more than a funny summer blockbuster that was another sequel to an experience, I thought more about "Guardians Vol. 2" and how it blurred the line between really funny scenes throughout with very intense and emotional moments. This thread is forever connected because of the theme of family and how each character has a different interpretation of it. This is far more than a funny summer blockbuster and it deserves all the credit it gets.

Number 7 - "Black Panther"

I know this one is special for a lot of people, and for very good reason. It is a game-changer in terms of what it is saying and what it represents, while still remaining as thought-provoking as a superhero film can get. For me, watching "Black Panther" was like a gateway to vast and diverse culture that I wanted to see even more of. I respect this film for what it accomplished and what it was trying to say, while still being a whole lot of fun.

Number 6 - "Thor: Ragnarok"

Speaking of fun, here is the most balls-to-the-wall insane entertainment of any Marvel movie. It is uproarious, thrilling, charming and so crazy that it's hard not to crack a smile just thinking about it. The whole film never takes itself too seriously, unlike the previous Thor films, and just has as much fun with Asgard as it possibly can, leading to some of the coolest sequences of any superhero movie.

Number 5 - "Avengers: Infinity War"

The most ambitious and epic movie out of this universe. Everything about this film felt big without sacrificing the smaller character driven moments. The pacing is stellar and everything about it felt satisfying while keeping the fun-loving Marvel style. This film is what ten years of development leads to, and it did not disappoint.

Number 4 - "The Avengers"

When I think of Marvel movies and what they're capable of doing, "The Avengers" is typically the first thing that comes to mind. It was an event when it came out and felt like more than just a normal film-going experience. No body have ever made a movie quite like "The Avengers" at the time, and it still hasn't been topped by anyone except by Marvel. This has become the standard for summer blockbusters now with it walks that tight rope between tense character-driven drama and witty comedy. It may seem small now compared to "Civil War" and "Infinity War," but "The Avengers" is still just as mind-blowing today as was in 2012.

Number 3 - "Captain America: The Winter Soldier"

Now we get the truly great Marvel movies, the ones that transcend being just summer blockbusters. I wish I could say all three of these last ones are a tie for number one, but instead I'll place "The Winter Soldier" here because it not only works as a wonderful political thriller, with some of the best action sequences in the entire cinematic universe, especially the highway fight scene, but because of struggle to find the difference between right and wrong in a world that is constantly evolving. The fact that it's Captain America that undergoes this struggle makes it even more interesting as we watch him personally struggle with his beliefs against the rest of the world. A simple yet highly effective movie.

Number 2 - "Captain America: Civil War"

Now take what "The Winter Soldier" said about the difference between right and wrong in an ever evolving world and add in a personal yet passionate conflict between its leads, and you have the most human portrayal of superheroes I've seen in a long time. It is amazing how well this film works on so many levels and never stops being entertaining for even a moment. The acting, the writing, the pacing and tension is solid throughout, but the relationships are the star of this film, especially with how brutally real they feel. It's one of the few Marvel films that made me think about what these heroes were fighting for and what they were doing to the world at large, all while still being thoroughly entertaining.

Number 1 - "Guardians of the Galaxy"

This may come as a surprise to some, since I wrote off "Guardians of the Galaxy" as little more than a dumb popcorn flick in my initial review. But the more I thought about how different this film is from every other Marvel film, and as they released more superhero tales, the more I looked back on this film and realized how smart, witty, emotional and stunning this film can be. On paper, this film should not work - every one of these characters are assholes, while four of the five main cast members aren't human, one of which can only say three words. Yet through clever writing, unbelievably captivating performances, an unparalleled soundtrack and the best world building of any Marvel film, we get a gem amongst some already awe-inspiring movies.

But the main reason "Guardians of the Galaxy" is my number one is because it was a risk. Marvel had no idea if this film was going to win people over. Unlike their other products with heroes that everyone knows about and could turn a profit even if they made a bad movie, only die-hard comic book fans knew who Star Lord, Rocket and Groot were. Marvel took a huge chance by doing a story that, not only didn't contain any previously established characters, but was filled with characters that were far from heroes. Hell, two of it's characters were a CGI raccoon and living tree! But despite all of the odds, this is the most memorable, fun and heartwarming film that Marvel has ever released.

With Marvel dominating the film industry at the moment, as well as how many companies conduct their business, it's safe to say that their movies aren't going anywhere, especially since "Black Panther" and "Infinity War" are in the top ten highest grossing films of all time while still being critically praised. These films keep finding new ways to tell fascinating and surprisingly complex stories that seem to keep getting better over time. As long as people enjoy people becoming more than what they are, Marvel will always have a special place in our hearts.