Movies and Whatnot

     Viggo Mortensen plays an Italian-American bouncer that turns into the driver of an African-American classical pianist, Dr. Don Shirley (Mahershala Ali). They tour through the deep south in the 1960s and experience racism and prejudice, and grow a tight bond with one another.

     I know the synopsis sounds a bit bland, but this film is anything but. It’s for sure a feel good Thanksgiving film about the struggles of inequality in the 1960s south, but it works in part to the two leads playing off one another, not to mention the fantastic screenplay written by Nick Vallelonga, Brian Hayes Currie, and director Peter Farrelly.

     Mortensen gives a killer performance as Tony Lip, a man struggling for money and will do just about anything for it. Many would play this part as only rough because some of the things he says are awful to say the least, but he brings a lightness to it without giving his racist mindset sympathy.

     Ali brings a fearless persona to his character. That being said, he is absolutely terrified of what’s to come. You see it in his eyes in a few scenes, and you pick it up in bits of dialogue in the middle of some wonderful car ride bits. It’s terrific performance for the bluntness in his voice, and for the heart it possesses. 

     Linda Cardellini isn’t in the film often, but when she’s in it she brightens the screen. Her character sees that her husband is a bit of a racist, but instead of completely turning a blind eye she quietly confronts him because she knows he knows better. She pulls off the role with grace.

     Many will find the direction Farrelly uses as safe, but his blend of humor and drama sets the film on what it’s really about- a friendship. Green Book is about racism and prejudice, but its main core is friendship and the beauty of that bond. The story can be predictable here and there, and the beginning is slower than the rest of the film, but overall it’s a great film that boasts the best out of its cast.

Release Date: November 21, 2018

Rated PG-13: for thematic content, language including racial epithets, smoking, some violence and suggestive material.

Directed by: Peter Farrelly

Starring: Viggo Mortensen, Mahershala Ali, Linda Cardellini

Written by: Nick Vallelonga, Brian Hayes Currie, Peter Farrelly

Running Time: 2 hrs. 10 mins.

4 stars/5

     It’s been five years since Steve McQueen gave us the gut-wrenching and soul-crushing film that is 12 Years A Slave. This time around, he gives us…a heist caper? Okay, well, here it is everybody.

     Widows, set in Chicago, revolves around women with nothing in common except the dept their dead husbands left for them to figure out. To deal with the turmoil, they take fate into their own hands, and conspire to forge a future on their own terms.

     If you were to ask me how I felt about this film as I walked out of the theater, I wouldn’t know what to tell you; I wouldn’t know what to tell you because it’s the epitome of what it is like to feel completely numb, and then to suddenly feel everything in the end. I love it, but not in the way I adore most films. It’s a different kind of love. There are flaws, but that will be touched upon later.

     Viola Davis is wonderful, as usual. She plays grief and pain, but not in a theatrical sense. It is quiet, It is buried. It is not ready to come out. She is stone faced and hard on most, but you know she is fighting inside. She is fighting, and the more scenes unravel, the more her truth becomes clear. It’s not pretty, but it’s the truth. She played it in a way that touched my soul, and I honest to God don’t believe anyone else could have played it better.

     Daniel Kaluuya gives a frightening portrayal of a man that only wants answers, and wants to kill. It’s all in his eyes, and it’s a stare I don’t even want to see in my dreams. Elizabeth Debicki plays to abused widow, and she plays it to a tee. The first time we see her, our hearts break. Later on, we’re cheering for her. Michelle Rodriguez gives a stellar performance here as a now single mother trying to get her store back. Robert Duvall plays an awful person, but with dignity. Not holding back was the key to his character, and boy did he not. Brian Tyree Henry gives a killer portrayal of a man running for office through the eyes of evil. Cynthia Erivo gives it her all as a baby-sitter/hair stylist turned get-away driver, and with legs faster than Tom Cruise in his earlier days.

     Colin Farrell does a decent job with his character, but the accent goes in and out. From time to time, you will hear bits of his Irish accent. It doesn’t particularly take me out of the film, but it was a little distracting for split seconds.

     Most of the writing done by Gillian Flynn and Steve McQueen is top notch. With that said, some of the scenes aiming for politics don’t do much for the film as a whole. It loses me in certain scenes (the discussion in the Church didn’t seem to serve much of a purpose, and most of the scenes involving what Colin Farrel wants to do in office come off a tad weak). I believe it would have been much better if politics as a whole were not involved, and they just focused on the four women stealing money to pay off debt. I understand it was an attempt to be relevant, but it doesn’t serve a purpose here.

      Sean Bobbitt is the reason McQueen’s films look as beautiful as they do, and this film is no exception. Every scene is framed sensationally. It’s what sucks you into the story from the beginning. There are a few instances that seem like odd choices (there is a scene with a conversation going on in a car as we watch the streets), but the more you think about it it makes sense.

     It’s a non-perfect gorgeous looking film. It could have been better without the political undertone in some scenes, but overall it is both a good time and an awakening.

Release Date: November 16, 2018

Rated R: for violence, language throughout, and some sexual content/nudity.

Directed by: Steve McQueen

Starring: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Daniel Kaluuya, Colin Farrell, Robert Duvall, Cynthia Erivo, Brian Tyree Henry

Written by: Gillian Flynn, Steve McQueen

Running Time: 2 hrs. 9 mins.

4 stars/5

     Overlord follows American soldiers in World War II on D-Day to stop what is happening in Germany in a church. What these soldiers uncover threatens the lives of everyone around them, and makes them take a new course of action in their mission.

     This film has been advertised as a sort of monster horror/war thriller. You are not wrong to think it is, but there are only aspects of those elements sprinkled across the story. Those moments are effective (and a hell of a lot of fun), but that’s not what this is completely. It’s essentially a character study on soldier’s fears during that time of World War II. Screenwriters Billy Ray and Mark L. Smith did a solid job giving us that story, along with all of the elements of horror.

     Julius Avery, who recently gave us Son of a Gun, does a wonderful job making more sense of his craft. He takes the b-horror/action/war/thriller screenplay and splatters it with plenty of gore and practical effects to go around. He made the tone consistent throughout. He does camp well without killing the vibe of what is actually going on, which many directors have a difficult time with. I will say that I would have done without the jump scares that include musical cues because a jump scare should make you jump without it accompanied by a loud sound. There’s a scene in a house where you see the first hint of what these WWII scientists have created, and the visual alone should have been scary enough without the music. With that said, he did a great job.

     The cast here is fantastic. Everyone’s chemistry is on point. Jovan Adepo as Boyce is a fantastic depiction of someone becoming brave. In the beginning, we see him scared out of his wits jumping out of a plane into fire and gunshots. By the end, he hasn’t completely lost his fear but has become brave enough to face what is to come. Wyatt Russell gives us a performance that’s a bit of a departure from what we’re used to seeing him as, and it works to his advantage. He plays the heroic leader of the group that will stop at nothing to get this mission done. 

     We have somewhat of a newcomer in our midst, and the name of the actress is Mathilde Ollivier. She has been in one other feature film titled The Misfortunes of Francois Jane. After watching her deliver a bad-ass performance here, I want to go and watch her in that. She kills it as the girl trying to save her kid brother from the Nazi’s and their experiments. She can be both somewhat of a damsel, but holds her own amid a slew of men firing riffles at one another. It’s already easy to sympathize with her character given her situation, but her empathy shines just as much as the tough exterior she brings to the character, and it all feels natural for her. This can be marked as a great point in her career, and I’m looking forward to seeing more of her in films to come.

     Laurie Rose and Fabian Wagner teamed up to bring us some excellent cinematography. The long shots here are to die for, especially a certain scene towards the end where our hero Boyce is running out of the church among shattering chaos. There are shots where you feel like you’re viewing all of the madness from certain characters, and some shots are just from the point of view of everyone. Overall, it completely works and it’s some of the best I’ve seen from this year.

     If you’re in the mood for an insane roller coaster ride filled with war and elements of horror instead of holiday cheer this season, this is what I suggest seeing. It’s hilarious, horrifying and a blast.

Release Date: November 9, 2018

Rated R: for strong bloody violence, disturbing images, language, and brief sexual content.

Directed by: Julius Avery

Starring: Jovan Adepo, Wyatt Russell, Mathilde Ollivier

Written by: Billy Ray, Mark L. Smith

Running Time: 1 hr. 49 mins.

4 stars/5

For those of you who read and genuinely enjoy my film reviews, I’m back. I’m sorry I’ve been away for a while. I have been seeing plenty of films, but writing these reviews took a back seat for a while because exciting things have been happening. Once you work on films yourself, critiquing them almost seems like a disservice. With that said, I have decided it is important for me to still critique and analyze film. There are plenty of reasons for that, but the main reason is to keep talking film. No matter if the movie is good or garbage, they should all be explored. I just might do it differently now.

     Based on real events (and set in The Conjuring universe), we are presented a jolty but not so terrifying look into the happenings of the Vatican with the demon Valak, disguised as an evil Nun. We have your Priest that is haunted by a past, and a Novice on the threshold of her final vows, go to this castle. As they solve the mystery of what happened to the hanging Nun, they slowly uncover a darker presence.

     The Conjuring universe is a strange one to say the least, and that’s not because of all of the insane demonic ventures that happen within these films; it’s from a film perspective. The main films (Conjuring 1 and 2) are both fantastic pieces of horror cinema that has likely given nightmares to plenty young teenagers, and even some adults; these prequels, however, start off…meh. After the first outings, they get better. The Nun, on the other hand, is the least awful of the prequels (the first ones, not the sequels to the prequels). It’s nothing good, but it’s also not terrible.

     When you have a demonic creature from a past film, it’s hard to make it scary again; this was evident in the first Annabelle outing; that doll was the thing of nightmares in The Conjuring, but only silly in the first prequel. With Nun, it’s not so much as making that damn Nun scary again (when it’s Bonnie Aarons’ time to shine, so to speak, she is pure fright), but the story. The entire mystery of this evil spirit was much more interesting than the supposed “beginning” of anything that actually happened. Yes, I’m sure in reality it was horrifying, but the way the story is written here it borderlines on silliness and relies too much on jump scares. It was as if Corin Hardy wanted to go with something much darker in his direction, but he couldn’t hide the fact that Gary Dauberman (writer of the two Annabelle films and It) was going for something a little more campy with some terrifying moments splashed in there. I believe it could have worked better that way, but that’s creative differences for you. It messes with narrative structure, and I can’t emphasize more how important it is for a director and writer to plan the intention of the tone and structure more. 

     What saves this film from going into the “bad” category for me are the fantastic performances by this wonderful cast. Demian Bichir is excellent as the Priest, giving empathy to a character that we’ve seen before and could have been borderline ridiculous. Taissa Farmiga shows us again why she is a star waiting to shine as the Novice. She plays by far the most interesting character in the lot, and she serves the role well as she struggles with what is real and only an evil facade created by the creepy Nun. Jonas Bloquet plays the least interesting character here, but his flirty charm and humor certainly makes up for it. Bonnie Aarons is glorious and terrifying with as little screen time she is given as the nightmarish Nun with the Marilyn Manson makeup.

     While plenty of this film won’t keep you up at night, it certainly has its moments. Sequences with a boy with a snake coming out of his mouth, and anything to really do with the Nun are scenes you may see in a Bravo Most Terrifying Movie Scenes list one day.

     The acting is outstanding, but unfortunately that doesn’t make up for the mediocre writing and directing that went along with it all. This is a film that should have been absolutely horrific, but instead of coming in with a bang it whimpered in the end.

Release Date: September 7, 2018

Rated R: for terror, violence, and disturbing/bloody images.

Directed by: Corin Hardy

Starring: Demian Bichir, Taissa Farmiga, Jonas Bloquet, Bonnie Aarons

Written by: Gary Dauberman

Running Time: 1 hr. 36 mins.

2 ½ stars/5

     An ex-con and his adopted brother run from vengeful criminals, the FBI, and soldiers possibly from a different world with a mysterious gun as their only protection.

     Every now and then comes along a film that doesn’t try to be anything different. It could be a hot mess and have a few questionable things here and there that will turn some people off, but still somehow works. No, this film is nothing profound. In fact, parts of it are a bit predictable, and it could have been a much more intelligent film if it had gone through a couple more drafts. It works, though, because of the chemistry between the two brothers. Their relationship isn’t always the center of the films attention (it should have), but it’s fun to watch nonetheless.

     Newcomer Myles Truitt and Chris Pratt-look-a-like Jack Reynor (personally I find Jack to be a better actor) are wonderful together. When the story is focused on their relationship, this film shines. If the world lets it happen, Truitt could becomes a great actor, and at this point we just need more Reynor. He’s charming, especially in this.

     James Franco does a decent job. He isn’t incredible like he has been in the past with films such as The Disaster Artist or Spring Breakers (his character in that film is basically the comedic version of his character here), but he’s fine. His character is the main villain, but besides being bad and urinating in front of the cashier at a convenience store he isn’t given much to do. Dennis Quaid is given the role of an angry father who doesn’t understand why his son is the way he is, and only wants to protect his step-son. It’s nothing spectacular, but he puts on an enjoyable performance. Lastly, Zoe Kravitz plays a sort of a love interest. We’ve certainly seen her in more interesting roles as of late, but with the material I understand why she would want to take on this role. She does it justice, and that’s all one could hope for. 

     It is clear that multiple people wrote and directed this film. Jonathan Baker and Josh Baker wrote and directed this, along with writer Daniel Casey. One wanted to create an on-the-run family drama, and the other had their mind set on a modern day sci-fi adventure. Both elements work, but at times they don’t mesh well. There are times I would have liked to see more of the family drama rather than the sci-fi, and at the end I wanted to see more of the sci-fi. It doesn’t ruin the story by any means, but as I said earlier with a few more drafts it could have been better, and the direction would have been crisp.

     There are a few scenes here and there that are not fantastic, and the plot steers and in plenty of other directions it doesn’t seem to know where it’s going. That said, this is certainly not a bad film. It’s not a great one and has a few sketchy elements, but it’s an enjoyable experience that I think plenty of people can take in and find something to like.

Release Date: August 31, 2018

Rated PG-13: for gun violence and intense action, suggestive material, language, thematic elements and drinking.

Directed by: Jonathan Baker, Josh Baker

Starring: Myles Truitt, Jack Reynor, Dennis Quaid, James Franco, Zoe Kravitz

Written by: Jonathan Baker, Josh Baker, Daniel Casey

Running Time: 1 hr. 42 mins.

3 ½ stars/5

     Sorry to Bother You takes place in an alternate-universe version of Oakland. Cassius Green (LaKeith Stanfield) has recently become a telemarketer and is struggling with sales. After ruling out many options of sales, he finds within himself the key to the success he so desperately needs….his white voice. Riding high on success and being promoted to “Power Caller,” he enters of world he soon realizes he wants no part of.

     This is Boots Riley’s debut feature, which is amazing. It is a first film that tries plenty of ideas (you never know, there is always the possibility of being the final film), but it works. He has written a screenplay that will make you explore plenty of uncomfortable themes, but will make you laugh at the same time. A black man using a white voice to sell products is just the beginning. There are infinite ideas that this art-house stoner comedy explores, but without spoiling anything I must stop there.

     LaKeith Stanfield was in Jordan Peele’s debut, Get Out, last year. This year, he is in Riley’s debut, and he is fantastic in this. He gives this role his all in the best of ways by going for all the ridiculous nature of the film and breathing air into a character that could have been incredibly cringe-worthy. Tessa Thompson continues to be awesome as the performance-art/protesting genius that is Detroit. She brings hilarity and empathy to someone who is already wicked cool. Armie Hammer is gut-busting and creepy. You’re not supposed to like his character, and you don’t. That being said, I wanted to pick his brain and have multiple conversations with his character.

     All of the writing, editing (done by the wonderful Terel Gibson) and acting here are phenomenal. My one little knit-pick is a love triangle that doesn’t exactly take off, but I’m looking past that to give praise to a film that deserves praise. It’s weird and laugh-out-loud funny with a vital and important message surrounding it. This is something you need to experience, and I’m sure you’ll enjoy all of its crazy trippy nature.

Release Date: July 6, 2018

Rated R: for pervasive language, some strong sexual content, graphic nudity, and drug use.

Directed by: Boots Riley

Starring: LaKeith Stanfield, Tessa Thompson, Armie Hammer, Terry Crews, Steven Yeun, Jermaine Fowler

Written by: Boots Riley

Running Time: 1 hr. 45 mins.

4 ½ stars/5

     After the Incredibles family gets into trouble for fighting crime (again), they are forced to live in a motel. Once Winston Deavor gets in touch with Mr. and Mrs. Incredible, as well as Frozone, about a proposition, they take it. With that said, for the first few missions Mr. Incredible juggles taking care of the kids and Jack-Jack while Elastigirl saves the day time and time again.

     I have noticed that Pixar definitely has their own little formula. For a select few of the films, it can grow tiring (Cars, anyone?). With that said, the formula definitely works here. The film is a blast from start to finish. I hate describing a film this way, but I was never bored. It’s nothing but a fun ride with a wonderful message about family and dedication.

     Brad Bird did an outstanding job with The Incredibles fourteen years ago, and he almost nails it just as awesome as the last. My one complaint is the villain, The Screenslaver. It’s a brilliant concept, but it’s predictable from the beginning on who it is. With that said, the writing is breezy and sharp, and every bit of direction is snappy and fast.

     The animation here grew better over the years. The stands of hair and the fabric of everyone’s clothes is so detailed and life-like that it all feels extremely real. It’s animated enough, though, to go well with the 60s feel (just like the first one).

     The animation is crisp and clear, voice acting outstanding, direction and writing wonderful, and all in all almost just as fantastic as the first film. The villain could have been slightly more clever, but it’s a fun ride for the entire family that you can watch over and over again.

Release Date: June 15, 2018

Rated PG: for action sequences and brief mild language.

Directed by: Brad Bird

Voices: Craig T. Nelson, Holly Hunter, Sarah Vowell, Huck Milner, Samuel L. Jackson, Bob Odenkirk, Catherine Keener

Written by: Brad Bird

Running Time: 1 hr. 58 mins.

4 stars/5

     Once a family loses their matriarch, a grieving family uncovers family secrets that haunt them and leads them to tragedy and doom.

     There are plenty of horror films I find intriguing, scary, creepy and fun. Hereditary, on the other hand, terrified me. It’s not a horror film filled with jump scares and music deciding on your emotions towards certain events. The score is there, done masterfully by Colin Stetson, but it’s not there to help you decide how to feel. It just is what it is, and that’s the beauty and creepiness to it.

     This is Ari Aster’s first full-length feature, and he has given us a brand new horror classic. It is not one that will give you the obvious scares right off the bat, but a film that will linger in your mind long after the end credits. He understands the importance of delving through the grieving nature of these characters and their pasts before jumping into the real horror of the unfortunate situation. I will not say certain things done in the screenplay because I went in unknowing of most of what I was about to see, but it will haunt you, break your heart, make you grieve with the the family, make your heart drop and terrify you. It’s a slow burn that delivers.

     Toni Collette gives a masterful performance as Annie, a woman who feels like much of what has happened in her past is her fault. She can come off as selfish, but she brings empathy and humanity to the character. She could have easily been unlikeable, but instead you feel her as she weaves through the madness unfolding.

    Newcomer Milly Shapiro is absolutely fantastic as thirteen-year-old Charlie, an outcast amongst everyone. She gives this everything she has, and I’m excited to see what else she can do in future films. Here, she is haunting with a stare that will bring chills down your spine.

     Pawel Pogorzelski makes us pay attention with his cinematography. On a technical aspect, it is gorgeous and creepy. With the storytelling here, it is perfect. He has plenty of wide shots that may not seem to important, but there are certain scenes that make you look closer. There could be a shadow or a person creeping in the background that you don’t see at first. I guarantee you if you notice, it will bring chills down your spine. I’m still shaking just thinking about it.

     My one nitpick is with Ann Dowd’s character. Don’t get me wrong, Dowd does a wonderful job as Joan, a woman Collette’s character confides in from time to time, but doesn’t always completely make sense. Yes, I see the tie end at the end, but in the middle with what is revealed, I couldn’t help but think the film still would have been outstanding without that little aspect in the screenplay.

     It’s a slow burn, but it’s one that brings chills down your spine. Trust me when I say that this film will linger with you for the rest of your life in the most terrifying and best ways. 

Release Date: June 8, 2018

Rated R: for horror violence, disturbing images, language, drug use and brief graphic nudity.

Directed by: Ari Aster

Starring: Toni Collette, Alex Wolff, Gabriel Byrne, Milly Shapiro

Written by: Ari Aster

Running Time: 2 hrs. 7 mins.

4 ½ stars/5

     After being granted parole from prison, Debbie Ocean (Sandra Bullock) gathers up eight other women to steal a necklace work hundreds of millions off the neck of material girl film star Daphne Kluger (Anne Hathaway).

     I want to start off by saying that the entire cast here is fantastic. Sandra Bullock is wonderful and sly as Danny Ocean’s sister (yes, this is a reboot, not a remake). Cate Blanchett gives us her best bad-ass act as Lou. Rihanna is chill and fun (not particularly a far cry from the real her) as the hacker Nine Ball. Mindy Kaling is sweet as Amita, the girl only trying to get away from her mother. Awkwafina is awesome as Constance, the girl who can steal anything off of you without you noticing. Sarah Paulson, of course, is outstanding as Tammy, a mother now living in the suburbs trying to stay away from her past. Helena Bonham Carter gives us her best frightened british girl act as fashion designer Rose Well.

     The real MVP here is Anne Hathaway. She sort of plays off the image she’s been given by the media (particularly after her Oscar win from 2012). She proves to us time and time again that she has better comedic chops than most actress’s in Hollywood today, and can sinks into a character better as time goes on. It may not seem like a far cry, but I highly doubt Hathaway is a snotty materialist.

     With all my praise to this fine cast of actress’s, I can’t help but think this should be better. The screenplay barely does anything for the men (except for James Corden as the charismatic detective). We have the former lover, but he barely does anything to truly serve the story despite the revenge being based around what he did to Ocean.

     The story starts off slow, and doesn’t seem to go anywhere grand once it kicks in. Sure, there are fun times to be had here. The Met Gala scenes are mostly enjoyable, and the chemistry between all the women here is infectious from time to time. Once they’re doing their own thing, however, it feels as if nothing is happening. It’s as if they paced back and forth in the office desperately attempting to get this screenplay finished in the nick of time, but the easy pay off shows they spent too little time on it.

     Gary Ross does what he can with the material, and the cast certainly gives it their all; the execution, however, lacks substance. It can be breezy and fun (also good looking), but unfortunately we are presented a film with too little of laughs and not enough suspense to make us believe the heist could go wrong. It’s okay, but honestly should have been much better.

Release Date: June 8, 2018

Rated PG-13: for language, drug use, and some suggestive content.

Directed by: Gary Ross

Starring: Sandra Bullock, Cate Blanchett, Helena Bonham Carter, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, James Corden

Written by: Gary Ross, Olivia Milch

Running Time: 1 hr. 50 mins.

2 ½ stars/5