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

Movie Review - "The Invisible Man" (2020)

One thing I learned early on while writing film reviews is to embrace your own ethnic and gender backgrounds and what makes you you. If you’re a mostly conservative reviewer and you watch a film with a mostly liberal agenda, that gives you a unique perspective when it comes to the views of that film. Personally, I give a film like "The Accountant" more praise than others because it is one of the few films to have an autistic main character and addresses what it really feels like to have autism, something I have to deal with every day.

I bring this because I had a similar reaction to "The Invisible Man" as I did with "Get Out" – delving into fears and bigotry that I can’t comprehend. As a white male, there’s a hidden subtext in both of those films that makes the terror that the main characters feel like something many people have gone through, but is something I’ve never experienced. In the case of "Get Out," it was about the fear of racism unhinged by modern society and what privileged individuals might do to others who look different than them. With "The Invisible Man," it is the fear of women speaking up against men having too much control over the world without any accountability, and dreading that others refuse to see or acknowledge what that could mean, like that worry is invisible to everyone else.

These fears that reflect real life worries make both movies more powerful in their subtlety, message and endearing performances. Even if I don’t fully understand how devastating these fears can be to some, both films make it clear that they’re as real as you and me and need to be addressed.

But of course, the other common point between "Get Out" and "The Invisible Man" is that, even if you remove all of that, you still have a gripping, atmospheric thriller that never lets up.

"The Invisible Man" is a modern remake of a classic Universal horror film, though the original 1933 version is far more comedy than horror. This version dives headfirst into what an invisible person could really do in today’s society, detailing the life of Cecilia Kass (Elizabeth Moss) as she leaves her abusive and controlling husband Adrian. She’s been planning this for some time, but Adrian has always been so manipulative that she fears what he would do to her if she left. But while she’s hiding at a friend-of-a-friend’s house, Cecilia learns that Adrian not only killed himself but left her five million dollars as he was one of the world leaders in optic technology, on the condition that she not commit any crimes and prove that she’s mentally stable. Just when everything seems great though, a bunch of strange things start happening around her friend’s house, including a missing knife and finding Adrian’s phone in the attic. The more Cecilia digs into it, the more she believes that Adrian isn’t dead and is stalking her without being seen.

The story is a fractured and misleading tale about two broken people. The main focus is on Cecilia, her years of abuse and manipulation haunting her like a ghost, making her constantly look over her shoulder, worrying that she’ll never be able to get away from being controlled. When she starts to believe Adrian is stalking her, all of those fears come to life and her paranoia causes her to start ruining her own life, making you even wonder if there even is an invisible stalker and she’s making all of this up.

But Adrian’s side of the story cannot be overlooked, after all the movie is named after him. One thing is made clear about Adrian from the beginning – control. He doesn’t feel safe or content with life unless he is in control of every little detail, including what his wife wears, eats, and thinks. And if he can’t have that control, then he’ll take any action necessary to regain control, especially if that means manipulating control to show that things would be better if he was in charge. This is shown in many ways, like Adrian stealing Cecilia’s laptop and writing a nasty email to her sister through her email account, or making it look like Cecilia hit her friend’s daughter. Everything is a mind game to Adrian and he wants to show that he is the most dominant and in control.

Together, this creates a wonderfully tense dynamic that plays on Cecilia’s fears and Adrian’s quest for control that never lets up. Even moments of a long shot down an empty hallway are terrifying, using negative space better than any movie in recent memory. And it’s all because of the basic carnal desires of these two leads – one that wants love and another that wants freedom, but both ultimately desire peace of mind in their own ways.


Final Grade: A

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

Movie Review - "Bull Durham" (1988)

"Bull Durham" is not only the greatest baseball movie of all time, but might also be one of the greatest sports movies of all time. Despite my love for sports and movies, sports movies are often tedious to watch because they’re so predictable and formulaic. If you’ve seen one comeback story about the underdog like "Rocky," then you’ve watched 95% of sports movies. But then you get a film like "Bull Durham," which looks at baseball like it was a religion, a way of life, a fun life that can be as quick as a fast ball or as leisurely as a nine-inning game on a warm summer day. And not just in the way to watch baseball but how it encourages patience, focus and intensity into our everyday lives, but especially into the way we make love. It honestly believe that baseball has all the answers to life as Susan Sarandon molds young baseball players not just into fine men but fine lovers. It plays with its sport better than any other sports movie, creating this shrine to baseball as a mental state and why people love the game so much.

Writer and director Ron Shelton once described "Bull Durham" more as a western than a sports movie, and I can see why he would think that through Kevin Costner’s character. Costner plays an aging veteran baseball player who reluctantly comes to town to coach a rising star (Tim Robbins), who has a chance to make it to the majors if he can learn to stop being such a hothead. Robbins and Sarandon find Costner mysterious, full of wisdom and a love for the game but little love for himself. He’s rough and rash but wants nothing more than to make the game he loves so much a little bit better, even if that means he gets shafted for the majors. Just replace the wide-open plains of the old west with a baseball diamond and bullets with an equally fast baseball and you’ve got yourself the most unique and hilarious sports film you’ll ever see.


Final Grade: A

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 - "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 - "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 - "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 - "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 - "The Seven Year Itch" (1955)

I don't know why I would ever doubt Billy Wilder. Despite this not being mentioned on many of his best films list, "The Seven Year Itch" is still just as vibrant, witty, satirical and sexually charged as all of his comedies. It is raunchy without ever needing to be censored, funny while only needing two key performers (Tom Ewell and Marilyn Monroe), and its due to Wilder's brilliance of turning a phrase like no one ever could and impeccable comedic timing.

The idea of pairing up a lonely but married man with the most vivid imagination with...well, Marilyn Monroe leads to some of the most creative, bizarre comedy to ever come out of the 50s. It certainly helps that Monroe gives the best performance of her career here, as well as the best outfits she ever got to wear, including the famous subway-grate dress. Ewell constantly going over the top and over-thinking every little detail is paired so well with Monroe's simple, dim-witted approach that it sets the standard for many romantic comedies to come.

Final Grade: A- 

Movie Review - "Das Boot" (1981)

There's a scene early on in "Das Boot" where a young German boy reflects on the French girl that he proposed to before departing to serve on a Nazi U-boat - the boy knows that they'll both be shot if the Nazis found out about their love, and it's tearing him apart. That's the emotional strength of "Das Boot" - men who learn that the values and strength of the Nazi regime won't bring you love or happiness, and their struggles with that lesson despite everything they've worked for. This is not just one of the best films to depict living in a submarine and the claustrophoic and deadly environment that comes with it, but one that shows good men serving an evil cause and the lengths they go to in order to keep their humanity intact.

Final Grade: A-

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 - "Parasite" (2019)

Part of the reason I feel "Parasite" is one of the best films of the year is due to my inability to place it in a genre. Bong Joon-ho continues to push the boundaries of what we should expect out of movies by creating a slow-burn that peels back so many layers between the rich and poor to show that we're not different at all. It certainly isn't like "The Host" or "Snowpiercer," since the high-concept ideas of those sci-fi movies is replaced with several broken family units trying to cling to any chance they can to live. But what I loved most was how despicable and rotten each character acts, greedily consuming whatever they can no matter what that does to other people, and yet they're all so well-acted with just enough humanity that I can't hate any of them - they're all despate people who don't have anything to lose, and we're along for the ride, making for one of the more barbaric yet dazzling cinematic experiences of the year.

Final Grade: A 

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+

Movie Review - "Pather Panchali" (1955)

Much like "Rashomon" opened the world to Japanese cinema, "Pather Panchali" introduced the rest of the world to Indian cinema, showing a vastly different and unforgiving look at the world from the innocent perspective of a child that would otherwise probably go unlooked. Films like "Pather Panchali" are the reason to watch foreign movies, the entire world is filled with as much wonder as there is tragedy. Every type of people has a story to tell, and film offers quite possibly the most human way to experience those stories.

The film follows the Roy family, who lives in a run down shack of a home, where the father (Kanu Banerjee) is not making ends-meet and only has a slim hope of success as a writer, but only if he leaves his family for several months. This leaves the mother (Karuna Banerjee) to fend for her children, Durga (Uma Dasgupta) and Apu (Subir Banerjee), with nothing but her wits and will, all while the rest of the village is convinced that Durga is thief and her aunt (Chunibala Devi) leeches off her very little food and supplies.

Yet under all of this, there is a honest sense of hope and optimism that permeates throughout the movie. The children take ever opportunity to savor every moment of innocence, while the parents seem to genuinely enjoy watching their children grow and enjoy themselves despite their less than ideal home. This is certainly helped due to most of the actors being a real family who live in similar squalor when the cameras aren't rolling. It paints a harsh but uplifting view of India that was daring and bold for 1955. Hell, it would still be bold if it was filmed today.

"Pather Panchali" is certainly the most important Indian film of all time. Its honest depiction of the impoverished is striking and soulful. It is one of the rare films that transcends cultural and language barriers and speaks to anyone on a loving, passionate level.

Final Grade: A 

Movie Review - "The Lighthouse" (2019)

Robert Eggers has certainly established that he is a master of establishing creepy moods. Moods that are engrossed in their mysterious style that they're almost inviting, like you want to know why this world is as weirdly fascinating as it is. I had no clue what was happening during Eggers' "The Witch," but its world was so unique in its old fashion archaic style that I didn't really care about the plot and wanted to explore more of this subtly haunting world supposedly filled with witches.

Eggers newest film, "The Lighthouse," works much in the same way, but is certainly bolstered by a pair of strong, raw performances from Robert Pattinson and Willem Dafoe. The mood is palpable, set on a small island surrounded by a restless ocean and fog with only a worn-out lighthouse and a fog horn that sounds for sailors that never come, all photographed in beautiful black-and-white cinematography with an aspect ratio that makes everything feel a little more cramped. What follows is a slow descent into madness, where Pattinson and Dafoe exchange old timey sailor yarns and attempt to show their authority over the other, often leading to disastrous results where the other lashes out like a frightened sea creature caught in their lobster trap.

Eggers' mood remains the driving force though, as if the fog and blinding light of the lamp is playing some sort of spell on these two men, bringing out the worst in them. What starts out as simple attempts to not give in to loneliness turns into a power struggle, the two fighting over who does the chores and who gets to watch the lighthouse at night, the thing both of them were sent here to do. This transition is slow but not without its own rewards along the way, as hallucinations and possibly powers beyond their mortal control start to plague their minds, as if we're going mad along with these men. That maddening mood of repetitiveness and isolation on this rock, serving no real purpose, is brilliantly captured by Eggers.

Overall, "The Lighthouse" is a beautifully and uniquely captured look at madness and paranoia. The cinematography is like nothing I've seen before, the chemistry between Pattinson and Dafoe is volatile in all the best ways and Eggers' world is so perfectly sculpted that it drives the whole picture, answering all the necessary questions while still making you question reality and fantasy.

Final Grade: A 

Movie Review - "Suspiria" (1977)

"Suspiria" is a vibrant, methodical nightmare, crafted by a master of cinematography and color. It tells the tale of Suzy Bannion (Jessica Harper), who has moved from New York to a prestigious European dance academy, where every student or teacher she meets is more foreboding than the last. As the night comes though, more tragedies befall the academy, including maggots raining down on the students and murder, all while the teachers and headmistress start showing their distaste for Suzy. One of Suzy's friends, Sara (Stefania Casini), can't figure out how she keeps hearing footsteps in the middle of the night, and starts to suspect that these murders aren't mere coincidence, but the work of witches.

"Suspiria" owes a lot of its inspiration to German expressionist movies, with many scenes where light and shadow are used to brilliant effect, along with haunting camera angles, especially as it nears its terrifying climax. The film is has a slow but satisfying buildup as information is gradually fed to the audience, building up the dread, all while the horrifying atmosphere hangs over every scene, dripping like a slimy haunted house - it doesn't always scare you, but it makes you feel like something terrifying could happen at any moment. It is a visual feast, with the strangest uses of colors I've ever seen, but each used so well that it compliments the strange mystery of the dance academy. As far as Italian horror movies go, "Suspiria" is the best one I've seen to this day.

Final Grade: A-  

Movie Review - "Ad Astra" (2019)

"Ad Astra" is a rare cinematic experience that simultaneously captures the grandeur and awe of the universe, while proudly showcasing the wonders of mankind. There's an overwhelming sense of optimism while exploring the galaxy, a belief that there's someone out there that shares our sense of wonder and love of exploring and wants to share that as much as we do, not unlike most "Star Trek" series.

The visuals push these beliefs even further, from the opening shot of our own galaxy panning down to our blue marble, to the vibrant colors of our solar system. "Ad Astra" goes the same route as "2001: A Space Odyssey" by capturing how different yet majestic space can be, especially in contrast to our ships and scope. The film also takes time to showcase just how much humankind has evolved, with commercial flights to the moon and a radio tower that reaches up past Earth's atmosphere to contact alien races. Practical progress is both respectful and grand, and always cinematic.

But while "Ad Astra" looks and feels like a spiritual successor to "2001," there's another classic film that it parallels even more - "Apocalypse Now."

The film follows Roy McBride (Brad Pitt), a major in the U.S. Space Command, following a series of electrical storms that are happening more frequently and threaten all life on the planet. His superiors believe they've found the source of the storms - a long forgotten spaceship on the outer edge of Neptune, led by Roy's father (Tommy Lee Jones). The superiors lost contact with his father nearly 20 years ago and now believe he's gone insane and now threatens all life if he can't be stopped. Roy is tasked with contacting him and eventually doing whatever it takes to stop his father before it's too late.

Sound familiar? Just replace the Vietnam War with space, and you've practically got the same plot.

If that weren't enough, Roy provides a narration throughout the film, recounting everything from his relationship with his father to his constantly changing feelings on his superiors and what the human race has accomplished in space, very much like Martin Sheen's narration throughout Francis Ford Coppola's movie. There are many small vignettes scattered throughout the film, small journeys to show the size and scope of what we do out in space, especially when Roy reached other stations on the moon and Mars, or even traveling between planets.

Yet the similarities to "Apocalypse Now" are never overt or on-the-nose. The style of the story feeds perfectly into the world building and progression of Roy's frustration with the world, his father and himself. While "Apocalypse Now" is depressingly negative and horrific, "Ad Astra" is overwhelming optimistic about what we will accomplish and that we'll share this knowledge with the universe. There's a deep emotional love for who we are and that our existence is more than we'll ever believe.

I would describe "Ad Astra" as if "Star Trek" wanted to retell "Apocalypse Now" - mysterious, but surprisingly uplifting, wondrous without ever losing its human edge, and always deeply personal. Add in some aesthetic choices from "2001," especially its ideas of how we'd act and behave once space travel is common enough for everyone to do it, and you've got the best sci-fi movie since "Gravity."

Final Grade: A