Movie Review - "My Hero Academia: Heroes Rising" (2019)

"My Hero Academia" is a special breed of anime, falling more in line with Western ideals of heroism with the spectacle and wonder that comes with Japanese animation and long term character development. For those unaware, "My Hero Academia" is set in a world where 80 percent of the worlds’ population is born with a unique super power, known as quirks, such as sweat turning into nitroglycerin or being born with engines in your legs that let you run extremely fast. As expected, there are those who use their quirks for personal gain and villainy, praying on those with weaker quirks or no quirks at all. To combat these villains, the world relies on superheroes using their own quirks to protect the innocent. These heroes are so ingrained in their society that they have special schools to train the next generation of heroes, hone their quirks and learn from the wisdom of veteran heroes, including the world’s number one hero, All-Might.

What makes "My Hero Academia" so special is that, despite living up to its opening line of "not all men are created equal" since many are born stronger, faster, or smarter than others through their quirks, while others are simply just more powerful which they feel makes them better, the show never stops being amazingly optimistic and uplifting. Part of it is because of the heroic beliefs the show often projects about being a selfless person and how power should be used to help others. But the bigger example is how we watch this group of high schoolers not only learn how to be better heroes, but better people. Despite having a cast of 20 characters that all have decent amounts of screentime, it does feel like each of them is learning from each other to become the best version of themselves. The best parts of the show are not the ones with big action sequences with lots of destruction, but rather the quiet moments where a character stands up for themselves or breaks out of their comfort zone and sees how that affects their classmates. The show proves that heroism isn’t about being born stronger or faster, but rather being better than the person you were yesterday and sharing that enthusiasm with the world.

All of this is a long-winded way of saying that "My Hero Academia: Heroes Rising" is not only a perfect movie version of the anime, but just might be one of the greatest anime movies of all time. The movie knows exactly what makes the show so great, the characters, and delivers that in droves, while still escalating the conflict to a more personal and hard-fought level that couldn’t be shown on television. In this case, the class of 1-A is tasked with protecting and guarding a small island and its people all on their own, which becomes threatened when an extremely powerful villain, Nine, attacks the island so that he can steal a quirk that would allow him to take over the world through brute force. Without any way of contacting their teachers or the hero society, class 1-A must stop Nine on their own, led by the figure heads of the class, Midoriya and Bakugo.

"Heroes Rising" gives every character a chance to shine, even the ones who have taken more of a supporting role over the last few seasons. Whether it’s a memorable line or heroic moment, or nailing a big blow against Nine or his companions, they all come across as heroes in their own way. But what really sells the movie is the animation and the ending fight, both of which are so beautiful in their scope and impact that I nearly cried at a couple points. The awe of stellar animation and wonderfully built character development between Midoriya and Bakugo is what makes this movie worthy of being the greatest anime movie of all time, right up there with "Dragonball Super: Broly," and the final push where everything clicks is what sends it over the edge.

If you’re a fan of "My Hero Academia" or anime or even just animation, do yourself a favor and give "Heroes Rising" a shot. The movie tells you everything you need to know about the anime, so you’re not missing out on much information. I guarantee that if you’re not a fan of "My Hero Academia" already, watching this movie will make you want to give it a chance.


Final Grade: A

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 - "Klaus" (2019)

"Klaus" is the closest we’ve gotten to classic Disney animated storytelling since "Hercules." The fact that it isn’t Disney makes that even more impressive. But it’s not because of the animation that looks hand-drawn yet is somehow more immersive than that, it’s not even because of the retelling of a fairy tale we’re all familiar with, in this case how Santa Claus came to be – it’s because of its heart, the warmth and compassion it has for the wonder of Santa and a burning passion to share that warmth with everyone and shares its message loud and proud, that selfless kindness is as infectious as it is moving.

Everything we love about Santa is given a purpose here – the reindeer, the cookies, the elves, his laugh, giving bad kids lumps of coal, all of it is given new meaning and often leads to hilarious results. What works especially well is that this Santa (voiced by J.K. Simmons) is paired up with a pampered but hopeless postman (Jason Schwartzman) who is forced to move to the island Santa lives on, a dark, snowy island where two rival families have constantly fought one another for generations. This postman reminds me of Kuzco from "The Emperor’s New Groove" – egotistical and so sure of himself but is thrust into a world he was never ready for and has to make the best of it, leading him to build a strange friendship that becomes the backbone of the movie. And through this strange friendship that neither the postman or Santa fully understand, all of the Santa-isms are given new meaning, but especially the joy of giving back to the world and watching the happiness that springs from that.

"Klaus" is as lovely as it is imaginative and is just as entertaining for adults as it is for kids. The animation is beautifully colorful and atmospheric, the comedy wonderfully balances good slap stick with witty comebacks and jokes and every character is energetic lively, even the rival families in their seriousness about their on-going war. But I can’t overstate how loving and caring this film is, not just for the story of Santa Claus but for what he stands for, that no matter who you are and what you’ve done, everyone deserves that same joy we all feel when we get a new toy.

Final Grade: A

Movie Review - "The Gentlemen" (2019)

Guy Ritchie’s "The Gentlemen" is about a herd of alpha dogs competing to see whose ego reigns supreme. Everyone in the cast turns up the charisma to win both the approval of competing rival gangs and the audience. From Henry Golding’s suave but explosive Dry Eye, to Charlie Hunnam’s orderly but smug Raymond, to Hugh Grant’s slimey reporter who desires recognition for his storytelling abilities (he recounts everything like he’s writing a screenplay) to especially Matthew McConaughey’s resourceful thug who has gained more power than he had ever hoped and tries desperately to be, well, a gentleman. There is no shortage of likable and explosive characters in this gangster comedy, all of them acting like bloodthirsty lords who wish to be proper and regal.

Though at times, it does feel like these characters go off and wander away from the plot, like someone forgot to herd these alpha dogs. There are many times where the film wanders around aimlessly, like when McConaughey’s character is confronting Dry Eye’s boss or a subplot involving a rebellious teenage girl. It does give Hunnam a chance to be intimidating and McConaughey to show that he can be scary when he wants to be, but these scenes don’t really go anywhere. The biggest problem with "The Gentlemen" is that it’s all style and charm with little direction, letting that style overwhelm the story, especially when it comes to Hugh Grant’s description of the events like it was a glamorous movie that he’s weaving together. At times it is intriguing and even hilarious with the word play and clever insults, but the story never feels coherent and it often feels like there is no story – it’s just gangsters being gangsters. It makes for an entertaining ride filled with odd ball characters that feel larger than life with a unique style of cutting things together like the movie was being made right in front of us, but without a solid story it lacks any real teeth – fun but kinda forgettable.

Final Grade: B-

Movie Review - "Just Mercy" (2019)

This is another instance of why I’m glad that I wait a few days to write my reviews after watching the movie, to give myself time to reflect on what I felt was important about the movie and to see what really stood out. In the case of this film, "Just Mercy," I can now say that not much of this film really stands out – it is your basic legal drama with emphasis on how racist was diabolical in the 80s and 90s. The film offers little of substance and feels very by-the-numbers in its legal cases, feeling like every other courtroom drama out there. Despite the film depicting real life events, in particular Harvard graduate Bryan Steveson (Michael B. Jordan) opening up a legal firm in a small Alabama town for death-row inmates who can’t afford legal support and his attempts to get a man wrongfully convicted of a murder, Walter McMillian (Jamie Foxx), there are few times where the film creates its own identity, instead coming across as a quieter, more reserved "A Few Good Man."

When I walked out of "Just Mercy," there were some elements worth praising, mostly in the acting from Jordan and Foxx, who do quietly show the turmoil that came with the racism and bigotry. However, while Jordan has moments of pain and regret, he spends most of the film being stoic, leaving his acting a lot to be desired. Foxx is good, though the best performance just might be Tim Blake Nelson as Ralph Myers, a convicted criminal whose testimony led to McMillian getting arrested. Nelson nails the criminal with nothing to lose yet is confused by the opportunity to do something good by helping the man he put on death row, like you can see the conflict going on inside his head over doing what he knows is right or doing what he’s been told do his entire life to keep himself clean.

However, the biggest problem is that "Just Mercy" doesn’t have anything to say other than general platitudes – Racism is bad, and everyone deserves justice. It doesn’t get to the root of these problems and lacks any sort of subtlety or nuances. There is an attempt at a larger sense of humanity through the racial divide, but it doesn’t really go anywhere. It just ends up being your fairly generic courtroom drama with some worthwhile performances, nothing to really write home about.


Final Grade: C

Movie Review - "I Lost My Body" (2019)

"I Lost My Body" relishes in the bizarre, while also finding a strangely charming and unique idea in that same bizarre-ness. The film is about a young French boy, Naoufel, who recently had his hand severed in an accident. But rather than tell the story from Naoufel’s perspective, the film is told from his hand’s perspective, as it comes to life and desperately tries to make it back home to Naoufel without being spotted. The hand sometimes walks around like a flesh crab, while other times it looks like a little person, giving it a rather curious but hopeful personality that makes it rather lovable. Its journey is interspersed with flashbacks of Naoufel’s tragic life, but also how he always picks himself back up, making him just as likable as his hand, especially since both of them are so optimistic despite everything that’s happened to them.

But what makes "I Lost My Body" even more bizarre are the feelings that it evokes. Most films tend to focus on one of two senses, sight or sound. But "I Lost My Body" is the first film I’ve ever seen that plays on our sense of touch, evoking memories of how it feels to have sand running through your fingers, or holding your hand out of a car window and feeling the wind blowing through it, or even the sensation of trying to catch a fly. There are times where so many of these sensations start to feel tangible, like we’re right there with Naoufel. This is something no other film has tried to do and a point of view that is just as unique as it is charming, and it certainly makes "I Lost My Body" worth a watch.

Final Grade: A-

Movie Review - "1917" (2019)

While "1917" isn’t the first film to claim that it is all one shot (Hitchcock’s "Rope" comes to mind, as well as movies that actually are one take like "Russian Ark"), it is the most technologically impressive film to claim this feat. A film about a pair of young men charging head long into several battles of World War I to stop a massacre before it’s too late is difficult enough on its own, but every big moment in "1917" is done in one continuous shot, giving a larger sense of scale and grandeur, as well as building up the tension as we’re put in the middle of the action with these two, like we’re the third soldier going along for the ride. And while there are certainly moments where the film breaks and a new shot begins, the illusion and atmosphere is never broken as the film puts us right in the heart of such an inhuman struggle.

What sets "1917" above most other one shot films is all the risks it takes. There are so many impressive technological feats, like the long, disgusting walk through No-Mans’ Land as we go through several trenches, a field of barbed wire, passed several decaying bodies and across a body of water like we were gliding on top of it. Or a huge chase scene through a city reduced to rubble while flares light up the night sky. So many scenes that would be wonderful filmed normally, yet are made even more impressive by being one shot. The cinematography and production design is nothing short of a masterpiece here, breathing new life into this small story to make it seem so personal and thrilling.

Final Grade: A-

Movie Review - "The Two Popes" (2019)

If there’s one moment in the 21st century that represents the drastic changing of philosophies and the conflict that brings, it has to be the transition between Pope Benedict and Pope Francis, the first time a pope stepped down in over 700 years. Pope Benedict represented an older, more traditional way of living, one that humanity believed was the proper way for centuries – built on respect and repressing unsightly emotions, which also meant old fashion values against gay marriage, abortion, the poor staying poor and the rich getting richer, and of course the sexually repressed church doing unspeakable things to innocent boys and girls. Pope Francis, on the other hand, represented the opposite of everything Benedict stands for – he lives with the people, realizes that people are changing as fast as the world is and that old fashion values don’t stand for much anymore when they get in the way of positive change.

Their conflict is a fight in all of us – old vs. new, the way the world has operated for centuries against a world more open and honest with itself about its problems. And it is this conflict that bolsters "The Two Popes" to being far more than any other film about the church or the Pope.

Of course it certainly helps that "The Two Popes" has two of the best performances of the year with the titular leads, Jonathan Pryce as Pope Francis and Anthony Hopkins as Pope Benedict as both of them fight each other over their values and themselves over their mistakes and regrets. Any scene with these two is mesmerizingly beautiful, like two Shakespearean masters with more experience than any actors in the world. From the bigger scenes where they confront each other over their beliefs that escalates with each accusation to the quieter moments of them eating alone or talking in a helicopter over Benedict’s gardener, these two never fail to impress.

However, beyond the relevance and the masterful performances, there really isn’t much to "The Two Popes." The pacing is all over the place, especially in the middle of the film when it flashes back to Francis’ past, and most of the machinations of the church go unaddressed, going instead for Pope Benedict’s flaws and what he was blind to. Personal blame is the focus of both of them, Benedict blaming his distance and isolation for what happened to the church, while Francis regrets some of his choice during the Argentinian dictatorship, mostly leaving the problems that the church made out of it. The film addresses the problems, but fails to offer much in the way of a solution.

Still, "The Two Popes" isn’t without merit. The conflict is relevant to our divisive world and the lead performances some of the best of the year. It is a fine picture that gets its points across and delivers a solid emotional punch when it needs to.


Final Grade: B-

Top Ten Films of 2019

As we reach the end of another year, and even another decade as well, it is time as always to look back at what this year of cinema had to offer. From “Glass” to “Little Women,” from “Midsommar” to “Scary Stories to Tell in the Dark” and from “Avengers: Endgame” to “Godzilla: King of the Monsters,” 2019 gave us many memorable films for one reason or another. So much so that it does feel fitting to do a top ten of all the best films. 

The question I always like to ask at the end of every year is whether it was a good year for cinema or not. And with how many outstanding films that were released this last year, how can you not say it was a great year? While there are always going to be bad films every year, and believe me 2019 had some real stinkers (especially in the live-action Disney department), the standout films in 2019 will be remembered for decades to come. This is the year where Netflix told some of the most complex and genuine stories of the year, while foreign cinema was just as powerful as Hollywood, who also started taking more chances with their big blockbusters with films like “Spider-Man: Far from Home” and “Shazam!” to give new stories a bigger, bolder light than we ever expected. This was one of the more outstanding years of cinema and these are just some of the best films to celebrate 2019. 

Number Ten: “The Farewell”

Touching, heartfelt, and one of the most honest movies of the year, “The Farewell” is so effective because of the silent wars it wages. The war between the generations, the war between cultures, and the war between happiness and reality. All of them are brilliantly captured in the quiet turmoil of Awkwafina’s performance as she grapples with telling her grandmother that she’s dying despite the rest of her family wanting to keep it a secret from her so that she’ll be happy for the rest of her limited days. Nothing is overt or cliche and it ends with an emotional gut punch that puts a totally different spin on a wonderful sentiment. 

Number Nine: “Once Upon a Time in Hollywood”

This is Tarantino at his most reserved and most reflective of his favorite fairy tale – Hollywood. “Once Upon a Time in Hollywood” has some of the best production design of the year, perfectly capturing the feeling of 1960s Los Angeles down to the radio DJs between songs, while sucking us into the personal anguish and regrets of Leonardo DiCaprio and Brad Pitt, though that is certainly helped thanks both of them turning in wonderful performances with even better chemistry. 

Number Eight: “The Irishman”

“The Irishman” is the capstone to Scorsese’s grand epic look at the lifestyle of gangsters, and it hits harder than any of his other movies. What starts out like all of Scorsese’s gangster films, complete with rapid-fire montages of violence and great musical cues, eventually turns into a reflective look at what a life of crime leads to and Scorsese sitting down with himself to ask whether all of that fun was really worth it or not. It honestly does feel like Scorsese’s entire career has been leading up to this one movie, and boy does he stick the landing. 

Number Seven: “1917” 

Certainly the most technologically impressive film of the year, “1917” is the most immersive and gripping cinematic experience of 2019. Filming everything like it’s one long take and from the perspective of two soldiers trying to prevent a massacre breathes new life into this small but thrilling piece, making every little moment feel as tense as the last, while also bringing a kind but honest humanity to its characters as we see the war through their eyes. The camera makes the audience often feel like they’re an angel watching over these two men it makes for the best cinematography of the year.

Number Six: “Marriage Story”

“Marriage Story” is the most honest film of the year- personal, funny, but very devastating in its portrayal of all the heartache that comes with divorce. The acting is the main reason this film works as well as it does, with Adam Driver and Scarlett Johansson both turning in career defining performances. The bottomless empathy for everyone involved makes this so heartbreaking when you realize this is all someone’s fault but neither is deserving of the blame, while also creating so much compassion for these characters that it makes the film so rewarding. 

Number Five: “The Lighthouse”

Much like “1917,” the cinematography in “The Lighthouse” tells such a visually-rich story that is impossible to ignore. But one thing “The Lighthouse” has over “1917” is two of the greatest performances of the year with Robert Pattinson and Willem Dafoe and their descents into madness. Robert Eggers creates a claustrophobic, other-worldly mood that dominates the film like a black aura, while Pattinson and Dafoe work beautifully off each other to make the most visually striking thriller of the year. 

Number Four: “Uncut Gems”

I’m still in shock that “Uncut Gems” was as intense as it was and that Adam Sandler was capable of delivering one of the best performances of the year. The whole movie has this strange magical spell – it takes what should be awful, some of the worst people you can possibly imagine, and makes it impossible to look away from their lives spiraling out of control. It is mesmerizing as it is disgusting. This year was filled with unforgettable cinematic experiences, and this look into a despicable man trying to make it big in the world like it’s all some game to him is one of the better ones. 

Number Three: “Rocketman”

This was certainly the biggest surprise of the year for me. I went in expecting another “Bohemian Rhapsody” and got a “La La Land” style fantasy musical with the greatest performance of the year from Taron Egerton as Elton John. “Rocketman” uses all of Elton’s music to wonderful effect, not only serving as a best-of soundtrack but using the music to tell the story of his life, especially the joy, confusion and turmoil that comes with fame and the loneliness of stardom, made even more devastating through Egerton’s masterful performance. The whole thing feels like a grand musical from the golden age of Hollywood, made even more personal because it is Egerton belting out every song.

Number Two: “Parasite”

No movie this year had me more hooked than “Parasite.” It is the most unpredictable movie I’ve seen in a long time, defying genre conventions and telling the most unique story of the year. It is part-comedy, part-thriller, part-social commentary while twisting between all of these tones so effortlessly and often to present a story I never would have guessed. “Parasite” makes me feel like a kid again, watching a movie for the first time and have absolutely no clue where its going, masterfully crafting its story to so unpredictable that nobody but Bong Joon-ho could figure out what’ll happen next. 

Number One: “Dolemite Is My Name” 

I could say a million reasons why “Dolemite Is My Name” is the best film of the year – it’s a love letter to Blaxploitation movies, one of the better depictions of the hardships of filmmaking especially for a crew with no money or experience, Eddie Murphy puts everything out there and gives the most charismatic performance of the year, and it is the funniest damn experience I’ve had in awhile, fully engrossed in its own ridiculousness. But there’s one main reason why “Dolemite Is My Name” is here above films like “Parasite” and “The Irishman” – its bliss in the search for happiness. Eddie Murphy is so convinced that he has something special that he knows this has to be shared with the rest of the world, and that joy for life is so infectious that it goes beyond the other characters and to the audience. There’s so much love in this movie – a love for cinema, a love for comedy, but most importantly a love for yourself. Despite all of the hardships and challenges, that never stops Eddie Murphy from wanting to shine as brightly as he does on the movie screen. It is the most uplifting and joyful movie of the year, which is why it’s my pick for the best film of 2019. 

Honorable Mentions: 

”Ad Astra”

”Spider-Man: Far From Home” 

”Avengers: Endgame”

”Little Women”

Movie Review - "Cats" (2019)

Coughing up a hairball is more pleasant than being tortured watching “Cats.” 

I can’t recall a more inept or poorly conceived film in recent memory than “Cats,” with the most butt-ugly visual style, laughable or nightmarish special effects, and devoid of any life or intelligence. If you put a real cat in charge of this production, I’m sure it would have done a much better job of capturing the essence of what it feels like to be a cat, instead of this joyless mess. 

“Cats” is like attempting to put together a thousand-piece puzzle, only to quickly realize that the pieces you’ve been given belong to a dozen different puzzles that don’t fit together at all – it is exhausting, unnecessarily chaotic without any semblance of reason, and above all else infuriating. There is no sign of a coherent story, just random ugly “cats” that sometimes sing about how it sucks to be a “cat,” and these actors are given no room to breathe or emote so we never really learn anything about these “cats.” Some “cats” only get one or two scenes, like a James Corden “cat” that loves to eat and nothing else, or a “cat” who works on a train and sings about how much he loves trains. While other “cats” that do get more scenes always wear the same expression throughout the film, like Francesca Hayward who always has a look of dull surprise. There is no connection, no empathy for any of these “cats” – they are all blank canvases we have to watch for two hours. 

If I could describe “Cats” in one word, it’d be “embarrassment.” There was certainly talent behind the screen. Tom Hooper has proven that he can direct good movies with “The King’s Speech” and even some segments of “Les Miserables.” Acting-wise, you’ve got vetern actors like Judi Dench and Ian McKellen, as well as some powerful singing voices with Jennifer Hudson, Jason Derulo, and Taylor Swift. Even Idris Elba is given a chance as the “villain” of the “cats.” With all this great talent and people who seem to know what they’re doing, it’s all the more saddening that this is the film we got. The scenes with actors like Dench, Elba and McKellen are the more painful to watch, because there is no dignity or character to be found here – they’re so bad that even furries don’t want anything to do with this movie. 

It is very rare that we get such a big mess like “Cats.” It is poorly executed at best and abysmally thrown together at worst, all on a budget that would suggest that there’s something of value. I have no clue how a film that was made for over $200 million could be as ill-conceived as this, but Hollywood continues to impress me, even on this kind of level. While I know next to nothing about the Broadway musical, I can still tell you this film isn’t worth anyone’s time or money. The only reason worth seeing this is because you want to see how bad it really gets, like I did. And even then, you’d have to be stupidly drunk or insanely high to get anything out of “Cats.” 

Final Grade: F

Movie Review - "Uncut Gems" (2019)

Who would have thought that a film starring Adam Sandler and a former NBA star would be a contender for best film of the year? 

“Uncut Gems” is a surprise on every level, creating this despicable, awful human being that ruins everything he touches and somehow making the audience give a damn about him conning everyone, even cheering for him at times. Sandler’s portrayal is vibrant and energetic, yet slimey and animalistic, always strutting like a peacock who thinks he owns the forest despite all the predators that would devour him without a second thought, and he loves every moment of his game, practically getting off on his success and letting everyone know it. 

Yet, there’s a vulnerability that he shows in his quieter moments, where he struggles to sell a gem he bought for $100,000 for much more than its worth feels insurmountable. Despite all odds, there’s a persistent gut feeling throughout “Uncut Gems” where you’re watching a man so absorbed in his own world that you want to see him get what he desires, even though he’s irredeemable and treats his family like his jewelry. 

This is the kind of magic cinema was made for – taking the filthiest of humanity and making him as grandiose as a superhero. He certainly seems himself as one. It plays to both sides so well, with his family knowing full well just how he’d sell them off if he could (especially his wife, played by a quiet yet fiery Idina Menzel), while others are caught up in his power rush as much as he is (in particular his girlfriend, played by a loving yet conniving Julia Fox). All while this cosmic force seems to be at work, pushing many characters to aspire to be more, including Sandler but especially Kevin Garnett who proves that he’s just as good at acting as playing basketball. This all creates the most unforgettable movie experience of the year, and one you shouldn’t miss out on. 

Final Grade: A

Movie Review - "Bombshell" (2019)

 

When it comes to addressing the pain and indecision of sexual harassment in the work place, “Bombshell” is effective and doesn’t pull any punches. It is smart about where this behavior comes from and the stigma it brings to those who have to bare it in front of their coworkers and put their careers on the line. Margot Robbie and Charlize Theron’s performances are wildly captivating for their vastly different portrayals, one baring her soul to the audience in all of its raw rage, while the other weighs that pain against her career and success and what all that truly means to her. 

 

However, beyond this hard-hitting talk of sexual harassment, “Bombshell” plays everything far too dramatically. The film opens up with how many of the scenes didn’t really happen and were added for “dramatic effect.” I can’t remember any film that outright says this and throws its authenticity out before the opening credits are finished. At no point did I feel this story deserved my attention. It felt like a TMZ report that made a big deal about a cheating celebrity – it’s certainly bad, but we’re probably making a lot of it up our heads. The only thing of merit in “Bombshell” are the performances of Robbie, Theron and Nicole Kidman, all three bringing their usual ferocity and charm to the picture and give the sexual harassment segments life. Other than that, this is a forgettable film told way too close to the news breaking to be balanced. 

 

Final Grade: C

 

Movie Review - "Little Women" (2019)

Whether you’ve never heard of Louisa May Alcott’s “Little Women” or you believe Hollywood has adapted this story more than any tale (Hi mom), there is an undeniable relevance in Greta Gerwig’s modern take on this story of four sisters trying to find their place in the world. Gerwig uses its post-Civil War setting to reflect on the state of the world from their perspectives – cold, brutal and dominating, especially for women. And through the performances of Saoirse Ronan, Florence Pugh, and Emma Watson, a love for life blossoms as well as a love to share that love with their siblings and others.

With Gerwig’s own take on the importance of identity guiding this movie though, it becomes surprisingly timeless and heartfelt. Rather than going all in on how women can be so much more than house makers and raising children, there’s a great love and pride for those that make this sacrifice. Gerwig not only romanticizes the past, but looks ahead to a bright future where anyone, not just feisty, artistic women, should look towards their own personal successes rather than what that dominating society might tell you. 

Final Grade: A-

Movie Review - "Star Wars: The Rise of Skywalker" (2019)

The key to Star Wars has always been the joy in its simplicity. While other works in the franchise like "The Mandalorian" or "The Last Jedi" often challenge this notion, the core of Star Wars has revolved around the battle between good and evil, both external in the conflict between the Jedi and the Sith and internal between characters like Anakin, Luke and Rey fighting their own battle between the dark and the light. And yet the series always feels so massive and elegant in its fantasy, taking that conflict and making it universal. Star Wars is the ultimate entertainment fantasy because of how primal and fierce these conflicts become.

It is because of this overpowering joy that the final entry in the Skywalker saga, "The Rise of Skywalker" feels so satisfying. There is never a dull moment in this movie, as it basks in the same basic feelings as the first film, with the shrinking rebel forces fighting a losing battle against the imposing and all encompassing First Order with no hope in sight. For the first time since watching "A New Hope," that feeling of dread and futility on a universal scale is overpowering. Yet there’s a sinister atmosphere that makes the First Order exciting and it’s all thanks to the return of the Emperor, who continues to manipulate everyone like they’re nothing more than his pets, especially Kylo Ren (Adam Driver) and Rey (Daisy Ridley). The way the Emperor is reintroduced is bone-chilling while still carrying the maniacal evil the Emperor has always had in spades, and it’s made even more terrifying when we see what he’s been up to since we last saw him "Return of the Jedi."

More than any previous Star Wars film, "The Rise of Skywalker" feels like the pulp sci-fi serials that it was based on, especially "Flash Gordon." Many scenes have our heroes desperately going around the universe, searching for clues and people that’ll get them closer to finding the location of the Emperor while the First Order and Kylo Ren are hot on their trail. Each segment often feels like its own little movie, with vibrant locations such as an iceberg floating in space and a desert planet celebrating its big festival (think "Midsommar" without the drugs and only slightly less murder) as well as unique characters who create some wonderful character moments for Poe (Oscar Issac) and Finn (John Boyega). Each of these scenes offers something of value, whether great visuals, some stunning non-CGI effects, captivating action sequences or some touching character moments, including the best moments ever for C3PO. It has been quite a while since Star Wars has felt as grand or suspenseful as this, with each piece contributing to the overall adventure without ever taking itself too seriously.

The only thing holding "Rise of Skywalker" back is that the movie and J.J. Abrams have to "fix" the problems of "The Last Jedi," taking a lot of time to set fans minds at ease before creating its own identity. Looking back on "The Last Jedi," there are some things that I wish had been done differently, specifically the fates of Luke and Leia, but the film certainly had an idea in mind about developing Rey, Poe and Finn into more three-dimensional characters while building up its themes of handling failure and living up legends. It is not a perfect movie by any stretch, nor is it close to the best Star Wars, but it was the most complex. Yet these filmmakers feel like most of "The Last Jedi" was a mistake that has to be erased or forgotten, even down to some characters like Rose getting cast aside or characters like Poe unlearning what he found about leading in the last film. The film spends so little time addressing what happened in "The Last Jedi" that almost hates the film and wants the audience to feel the same way. These revisions and quick hand-waving of important development in "The Last Jedi" does lessen the impact of the overall trilogy, though not enough to ruin this movie.

As a sci-fi, fantasy epic, "Star Wars: The Rise of Skywalker" is everything I wanted it to be – non-stop entertaining, emotional, grand and the most visually rich film in the series. As an end to this nine film saga, it completes everything a story of this size set out to do while never straying too far from its core values in the inner and outer battles between good and evil. It encapsulates everything fun about the franchise and reminded me why Star Wars is one of the best movie series of all time.

Final Grade: B+

 

 

Movie Review - "Marriage Story" (2019)

"Marriage Story" is like an honest, heartfelt version of "Gone Girl," minus the kidnapping and murder - a tale of two emotional, vulnerable individuals that we see every possible side of, especially what's wrong with them, leading to an emotional roller coaster with many peaks and valleys that paints both parties in this marriage (Scarlett Johansson and Adam Driver) as neither good nor bad. There's a spell around this movie, the way it uses empathy and love during the moment most think love must end in a divorce.

It is through the many subtle gestures and silence of Driver and Johansson's performances that this film comes to life, as well as their unbridled love for their son. It is often heartbreaking and devestating, and yet it will put it all back together again through its comedy and honesty. If there is any film that perfectly encapsulates the difficult of love and its bottomless rewards, that film is "Marriage Story."

Final Grade: A

Movie Review - "Queen & Slim" (2019)

Before I watched "Queen & Slim," I read a review about how there's an oversaturation of movies that negatively portray the black experience and how that needs to stop. The point was that, while this has led to some of the best films of the last few years, including "Fruitvale Station," "12 Years a Slave" and "Moonlight," that there are so many imitators ("The Hate U Give," "Black and Blue," "Waves") that it portrays an atmosphere of how terrible it is to be black and that there's nothing that can be done about it, especially since films that positively portray this are far fewer (the only one he could cite was "Black Panther").

While I don't fully agree with this sentiment, since these empathetic, culturally diverse films have given a new voice to cinema that it desperately needed, we have gotten to a point where films like "Queen & Slim" have become predictable in their modern tragedy, making the impact feel a bit hollow and forced at times. Even though the film is well acted, especially by Daniel Kaluuya and Jodie Turner-Smith, it often does feel like it is going through the motions of similar films, whether that's "The Hate U Give," or "Bonnie and Clyde." So maybe there is a point about too many films that negatively portray the black experience - even if the films are good, some diversity would be welcomed.

Final Grade: B- 

Movie Review - "The Irishman" (2019)

If "Goodfellas" is Scorcese at his most passionate, then "The Irishman" is Scorcese at his most mature and honest. There's still a deep-seeded love for gangsters and the power they wield, but there's even more reflection on how they got that power and if it was truly worth it. This is all perfectly encapsulated in the quiet, contemplative performances of Robert De Niro and Joe Pesci, while complimented by Al Pacino doing what he does best by chewing the scenery to beautiful effect as the loud-mouthed Jimmy Hoffa. And while the runtime is nearly three-and-a-half hours, there isn't a single wasted scene, every moment lasting exactly as long as it needs to in order to give us the most introspective look at gangsters we've ever seen. "The Irishman" is smart, well-paced, funny and has three of the best performances of the year, making it the best gangster film since "Goodfellas" and one of the best films of the year.

Final Grade: A

Movie Review - "Knives Out" (2019)

Who would have thought that a whodunit murder mystery would be the perfect genre for Rian Johnson? Maybe its because Johnson wanted to get as far away as he could from "The Last Jedi," or it could be that Johnson always loved subverting the audiences' expectations, and no other type of movie does that more effectively than an old-fashion murder mystery.

As such, "Knives Out" excels at its unpredictability, making every character so vile and filled with rage and hate that violence could erupt at any moment, perfectly portrayed in every performance from an ensemble cast, such as Toni Collette, Jamie Lee Curtis, Michael Shannon, Chris Evans and Don Johnson. And yet, there's a surprising refreshing sense of humor throughout the film, where over analysis often comes across as incompetence, especially from the two leads played by Ana de Armas and Daniel Craig. The framing device makes "Knives Out" even more unique, as many flashbacks play out after the questions but before the answers so that the lies and personalities hit that much harder. "Knives Out" is a whodunit that is worthy of standing next to the other great murder mysteries and one that will certainly hold up over repeat viewings.

Final Grade: A-

Movie Review - "Frozen II" (2019)

As a 30-year old male, I can safely say that "Frozen II" left no impression on me. It does the job that it's supposed to for the little kids - give them new catchy songs, provide loads of comedy and fantasy and more of the same family love that "Frozen" brought us. But outside of even more Olaf (Josh Gad) and his hilarious extenstial crisis and recap of the events of the first film, this is just more of the same, though with even less direction and focus. Many of the subplots feel disjointed or have nothing to do with the main plot, like Kristoff (Jonathan Groff) trying and failing to propose to Anna (Kristen Bell), even Olaf's crisis doesn't really add anything to the story outside of some great comedy. Although, nothing is done incompetently (outside of Kristoff's 90s boy band song that feels out of place) and the characters are still just as charming and likable as ever, so "Frozen II" is at least a passable family experience.

Final Grade: C+