Film Review - Tenet (2020)

Man, it's been a while, and wouldn't you know it, we're still in this mess. But, that isn't stopping Christopher Nolan from rolling in with some fresh 70mm prints of his latest work to lead the reopening of movie theaters across the world, paving the way for further exposure..... and disappointment!

I like Nolan, I really do. I haven't seen all of his films, but what I have watched I've liked a great deal, especially the high and emotional tension of Dunkirk and the ingenious gimmick of Memento. Now we have Tenet, a film where time is key, as in time we'll never get back because of how dull it feels.

In all seriousness, the time within the film feels like a total waste. There are some genuinely well done parts of it in regards to plot points I won't spoil here, but for the most part it's crazy potential feels unrealized. We get some cool glimpses of it as I said, but it never goes beyond much that, feeling strangely surface level and ultimately adding up to very little satisfying payoff. It simply doesn't serve as an interesting plot device in most cases, seeming more like it's there to make the film seem incredibly cool as a means to lure audiences in... only to give them something far less compelling than one would hope.

If anything, the time is best done in the action scenes, which are certainly the best part of the film. Nolan still does a good enough job directing some good fights that are pretty and often interesting to watch with the said time aspect, and some very well-done, low key visual effects are present to boot. The score, this time by Black Panther's Ludwig Göransson, rather than Zimmer as is typical with Nolan, does a good job of fitting the mood and adding to the action.

I also must hand it to the cast, they do a good job of selling what they're given. No, not you Kenneth Branagh, you're just awful and horribly miscast. But, John David Washington does a solid enough job of leading the film, with Robert Pattinson making for good support. Though it's Elizabeth Debicki who shines the most here with a well-realized. It's just shame that they're all bogged down by what they have to work with... which is what leads me to the screenplay.

Nolan has always been seen as a better director than screenwriter, but his work for Tenet is just pathetic. All of the characters feel disposable, being incredibly underdeveloped to the point where there is no reason to care for them, with cliches and forced humor galore. They simply serve as a means for their to be a plot, and no interesting character or well-developed emotional depth were given to them in turn.

It worsens an already weak experience by taking what doesn't work to being with and adding another poor piece to it. In turn, everything around is overshadowed by what should be elevating it. Plenty of nicely executed work on the technical side seems put off to the side to satisfy an underwhelming narrative that simply doesn't deserve it. That, my friends, it what we call a true waste of... talent... and a lot of time!

So, there you have it. A Christoper Nolan film that is all show and no tell. It gives you something cool to look at, yet there is hardly anything interesting about it. As a result, much of the film's strengths are hidden behind the deeply undercooked aspects that should've made Tenet a true knockout. But instead we get a film that offers a glimpse at something that could've been truly fascinating, and it lands flat on its face thinking that it's brilliant as it sounds. Such a shame.

Final Grade: C-

Film Review - Hard Eight (1997)

Long before the pudding, oil, and poisonous mushrooms, now acclaimed writer and director Paul Thomas Anderson was rolling dice with some early-on collaborators in his directorial debut, often considered the weakest of his filmography. Character study Hard Eight can't seem to get much of a break, bombing pretty badly on an already small budget upon release and not seeing a ton of additional traction since, despite Anderson's growing acclaim and fandom. So, normally, most who haven't seen it would possibly consider it a growing pain that many great directors have early on, like Stanley Kubrick's Fear and Desire or Martin Scorsese's Boxcar Bertha, but there's far more to Hard Eight than what it may be given.

What's perhaps most noticeable about the film is how much of a stacked cast Anderson was able to accumulate for his first film, with famed comedic actor John C. Reilly, future Oscar winner Gwyneth Paltrow, and cheeseburger loving Pulp Fiction star Samuel L. Jackson all present and giving solid, memorable work. But the name up front in Hard Eight is the lesser appreciated Philip Baker Hall, who is simply incredible here as a fatherly and mysterious gambler in a performance that almost single handedly carries the film with his effective and unforgettable approach.

Notice how I say "almost single handedly" there, because Anderson clearly knew how to make a captivating and unique picture from the very start. The film's is oozing with energy in scenes where characters are working to get things done, creating for ever so satisfying build-ups through sharp editing and use of fantastic score by Jon Brion and Michael Penn. And in other scenes of uncertainty and suspense, tension is created excellently purely through the cast's efforts and dialogue that make sense of the gravity of the situation while still showing how their character's own flaws are crucial to how things are resolved.

Though, as a directorial debut, some issues are inevitable, particularly with some plot points being finished up, albeit not in the most satisfying ways, and the pacing may come off as jarring in the second half. But such problems, while still present, are more forgivable with how the film revolves around Philip Baker Hall's character, Sydney. His personality and deeper character are shown excellently with his interactions with others and his approach to them, demonstrating a softer person beneath as well as a darker side to himself that he prefers to keep to himself at all costs. He makes for an unforgettable lead character that Anderson's later work would be known for and built upon.

Even with a shakier reputation than most of the films from Paul Thomas Anderson, Hard Eight is no bad bet, as it offers an engaging and fascinating experience as one would expect from one of the best working today. One can only hope that its love grows overtime, hopefully to the point where it actually gets a Blu-Ray release, but for now at least a great film is still before us.

Final Grade: A

Film Review - Clue (1985)

It's usually not a good sign when a movie is based off of a game, and most would certainly assume the same with Jonathan Lynn's Clue, based off the classic board game and brining over its characters such as Mr. Green, Mrs. White, and, of course, Rich Uncle Pennyba–err, I mean Professor Plum. However, Clue's origins were just a red herring, as while this is undoubtedly a game, it's one that uses it to its full advantage.

The film is hilarious all the way through, mostly in part thanks to the cast. The entire ensemble undoubtedly had a blast here; everyone makes the most of every moment and are entirely aware of the film's nature, particularly Tim Curry who brings to life a butler as zany and entertaining as they come. Simply put, Clue is made what it is thanks to the efforts of its cast.

But that isn't to shame the rest of the film, as its comedic efforts on its own work wonders. It doesn't take itself seriously in the slightest, trading mystery for comedy. This admittedly does take away for what could've made for some great whodunnit elements (apart from maybe the end), but it doesn't kill with cluelessness in the studio, not at all. It takes the situations and setting it's given and works with it in ways that allow for its antics to ensue. Every moment offers more than a good laugh with how they are made with the idea of keeping entertaining tension at hand.

However, the film is somewhat lacking in story development, with the screenplay setting up part of a story and having other parts somewhat interrupt it. But this can be forgiven because the writing still achieves what it sets out to do, making up for some underdevelopment with an intriguing enough mystery that is helped by how humor is mixed into the equation. It's not a perfect screenplay, but the areas where it does work do so quite well, and embraces the wackiness at hand more so.

Ultimately, what was initially met with mixed reception and poor box office numbers has rightfully earned its title as a cult classic. Where it lacks a fully intriguing mystery, and makes up for in the humor and cast chemistry that is among the best of its time for a comedy. It's possibly the best adaption of any game out there, which may be a low as a bar as they come, but Clue is a diamond in the rough worth anyone's time. Now, if you excuse me, I'm gonna go home and... watch a movie, I guess.

Final Grade: B+

Film Review - The Ballad of Buster Scruggs (2018)

Perhaps the most unique of the Coen Brothers filmography, The Ballad of Buster Scruggs is unlike anything else the beloved writing and directing duo have made before while still retaining what makes them great. It makes new territory for them, not just in that it's a Netflix film and, to the dismay of Quentin Tarantino, their first film shot digitally rather than on film, but it's also an anthology film, taking six different stories set in the west in which people die, a lot.

Being an anthology film is both the high and low point of the film. It's to its advantage since it has multiple stories as it creates for a great sense of rewatchability, but also makes for a gap of dissatisfaction. Not that any of the stories are bad, but as with films of this nature, some just aren't as good as the others for one reason or another, and just leaves a bit of a desire to see more be done with it. However, that rewatchability prevails here, as each story is still quite good.

It opens and ends with the two best stories of the bunch, with Tim Blake Nelson giving a hilarious and quotable performance that is easily his best in the first namesake story, and Mortal Remains featuring some of the best writing the Coens have ever put to screen. But this isn't to discredit the other four, with Tom Waits absolutely killing as a prospector in All Gold Canyon, The Gal Who Got Rattled offering a slow-paced but rather compelling look at social-discomfort, and the bizarre but truly fascinating Meal Ticket giving a limbless Dudley Dursley his time to shine (no, seriously). Even Near Algodones, maybe the weakest of the bunch, gives an enjoyable perspective on fairness, and who can ever forget a line like "PAN SHOT"?

And throughout each, the western aesthetic shines, with great sets and costumes to boot and a simply wonderful score from Carter Burwell to suit the mood. And although the digital cinematography as previously mentioned does show a bit too much at times, for the most part it beautifully captures the nature of each segment.

But the handling of each message behind the stories is what makes The Ballad of Buster Scruggs shine. Each one is has its own theme relating in some way to death and it tells of it in humorous, endearing, and heartfelt ways that makes it effective and endearing. It helps make it as memorable as it is, and gives for more to reflect on as any film from the Coens does.

This may not be the most consistent Coen Brothers film, but it is easily one of their most memorable for the characters and storytelling that it presents. It's by far one the best films Netflix has distributed, and it left me 99% satisfied... give me John Goodman and we'll discuss that other 1%.

Final Grade: A-

Film Review - Boys State (2020)

States from across the country gather up a multitude of 17-year-old boys to participate in Boys State, in which they work to form two separate political parties and work against each other to create a government similar to what's seen in the United States, if not better (which isn't difficult).

This documentary, simply titled Boys State, records just that, teenage boys from Texas acting as politicians to help their new party reach the top. It serves as not only a compelling look at some of the boys' efforts, but also as an interesting examination of political appeal.

From its opening moments, the film does a great job at getting the viewer to be compelled by these boys. It's quick with showing who the main ones it follows are, and tells you everything you need to know about them, while also giving off hints of the challenges they'll face along the way. It does a great job of developing their personalities so they can give the audience a reason to root for them on their election journey.

And the energy seen in these boys is wholly entertaining. The ways they gain their credibility among their piers can be a treat; from using joke issues to keep those they need to impress most engaged, to having memes be their primary source of campaigning, it's hard not to find enjoyment in their efforts to make it big and their various interactions with one another.

Those interactions are grounded firmly in advancing their own political agenda. Much of this even involves covering up what they really believe, as the majority of the boys are conservative, meaning that some are forced into pushing for causes they dislike, effectively illustrating the complications of appealing to others. And, fortunately, it never becomes preachy, finding a nice middle-ground making it clear that these boys all have their own beliefs that they still respect while trying to still make it big.

The way they treat each other shows the power of this more so, with attacks each side throws at the other finding mixed results, with some succeeding with how their party finds justice in the decision, and others failing with ones that seem purely like moves to advance it. But in the end, it all goes back to how the boys connect to each other, showing how they grow to appreciate one another despite their disagreements and how to respect them also.

Boys State in the end makes for a great watch as both a coming of age and politically insightful experience that knows what it is and has a fun time with it. I understand that not everyone will find young men talking about politics to be particularly enjoyable, but it stills makes for a strong look at a program that's gotten people politically involved for years.

Final Grade: A-

Film Review - The Two Popes (2019)

For a film with subject matter that is so focused on faith, it's surprising that subtle approach to that is almost no where to be seen. The Two Popes has exactly this problem, an intriguing premise and message that becomes overshadowed by questionable filmmaking.

Right off the bat, the cinematography is mind boggling, having an idea of how to represent the meaning of a moment that becomes lost thanks to ludicrous camera focusing and shakiness. The editing doesn't help much, as it feels lost by how much it tries to cram into one scene, especially in the film's first scenes. The way The Two Popes is made simply fails to work for what it aims for, and doesn't seem to realize this; if anything it glorifies it and makes these issues more distracting from the plot.

Thankfully, some of the greatness is reaches for is achieved thanks to great performances. Jonathan Pryce as Pope Francis is a wonderful guide for the film, having the heart and passion needed to bring the character to life. Hopkins is also gives a rather effective turn as Pope Benedict XVI, with the regret and tiredness he carries with him being effortlessly projected into his performance, creating for a powerful performance. The two really carry the film, especially with their chemistry.

There is some genuinely compelling moments between them that save the film from the terrible fate of being (gasp) below average. The bond grows between them becomes fascinating with how they deal with their disagreements and explorations of their faith. This is especially true for Pryce's character, whose backstory offers an interesting insight on regret.

Unfortunately, the screenwriting never allows it to reach its full potential. It feels lost in how to bring to life these situations. It either comes off as overblown in a representation of the gravity of a moment, or tries to pack too much into one scene, especially in some of the film's earlier moments. Had this film had a different screenwriter, it's possible that may of these issues wouldn't have been present, and that the plot would've been much more focused.

The Two Popes ultimately comes off as frustrating, because it has glimpses of a great film, but those are unfortunately never fully realized because it never gets past its approach to filmmaking and writing. Even with two very strong performances that help bring to live some of this greatness, it can rid of the distractions it carries throughout its runtime.

Final Grade: C+

Film Review - Little Women (2019)

No other film this year had me feeling the way I did like Little Women did as I left the theater. Having basically no knowledge of the storyline of the book it's based on and very much liking, but not quite loving the writer and director's (Greta Gerwig) previous film Lady Bird, I expected to have about the same feelings here; but little did I know that one of the most delightful and characterized films of the year awaited me.

Gerwig's work is astounding. Her direction is brimming with so much liveliness and emotion that it's impossible not to love. But her screenplay is what's to love; it feels so true to the time it takes place while feeling so incredibly modern also. It's written with so much passion poured into its message, and especially shines with developing the people it follows.

Every character is astounding. Each of them remarkably distinct from the other and unforgettable. They all have at least one scene that can break your heart, and are impossible not to like (except for one, who's barely in it and is made apparent early on). It certainly helps that the cast is as wonderful as it is, the standouts being Saoirse Ronan helming the lead as Jo March who is as ever as ever to root for and Florence Pugh as Amy March, offering maybe the best performance in the film.

The way the film is made brilliantly draws you into it. The cinematography beautifully captures the nature of each scene offering a gorgeously crafted view of the sisters' situations, and the costumes and sets recreate capture the 1860s of the U.S. effortlessly. Then Alexandre Desplat is at the top of his game here, with some of the best music he's ever composed that I'm probably listening to as this is being read. The editing will take a bit of getting used to with how it goes back and forth with time places, but it makes the March family's story very effective once one figures it out.

Just watching the four March sisters continue with their everyday lives is endlessly captivating. They're endlessly likable; even when they act selfishly, they easily win you back with how they try and connect to each other and their friends. They all feel like our own sisters by the end, perhaps the best possible for a film to create a lasting impact on everyone watching it.

Even if you try to dislike Little Women, you'll love it. Even if you didn't care for Lady Bird, you'll love this. Even if you don't think Little Women will be your thing, it'll definitely be your thing. It's something impossible not to like, which easily reserves its reputation as what will be a classic.

Final Grade: A

Film Review - A Beautiful Day in the Neighborhood (2019)

What's advertised as a standard look at Mr. Rogers' life is actually an in-depth look at what he valued and how he changed lives. This is because A Beautiful Day in the Neighborhood is one of the boldest and most inventive biopics in years.

It's less about Mr. Rogers and more about the reporter interviewing him, Llyod Vogel, both of which are portrayed beautifully by Tom Hanks and Matthew Rhys. Its exploration of Vogel's struggles and how his new friend approached it is encaptivating; it's understanding heartbreaking because of its relatability and how it invites the viewer to understand our own feelings.

The film's direction and writing is so fresh compared to what's been expected nowadays for its kind. It effortlessly recreates what Mr. Rogers' show told its audience and how it communicated with them. No one else could have captured his warmness like director Marielle Heller has, as it's easy to tell how well she realized his teachings. And the screenplay wonderfully compliments her vision, acting as if an episode of the show is being filmed, meaning that the film is filled with warmness and sincerity, moment by moment.

And when I say that it's like an episode of the show being filmed, I meant that to the very bone. Miniature cities fill much of it, beautiful piano music is frequent, and Mr. Rogers even dedicates about a minute of screentime to pure silence just so those watching it can sit and think. It's one of the most purely-made films of the year.

It may be pretty simple all things considered, but regardless even those looking for something more thought-provoking will find it's down to earth storytelling undeniably comforting. A Beautiful Day in the Neighborhood succeeds not only as a story of Mr. Rogers' impact, but also as a sincere message to moviegoers everywhere.

Final Grade: A-

Film Review - Knives Out (2019)

Murder mysteries are almost like a lost art nowadays. The genre is almost universally loved, yet for some reason they are hardly common in today's media. Fortunately for us, Rian Johnson loves a good mystery as well and, having just made himself better known in the industry (for better or for worse for himself), he's now crafted exactly the kind of whodunit we've wanted with Knives Out.

Knives Out is a revival of this genre, taking what's loved about it and adding even more to it to keep it fresh and original, making for a blast of a viewing experience.

Far away the biggest pro the film has going for is its brilliant screenplay. Johnson's writing is seamless, packed with spot-on comedy, brilliant clues and twist to add to the mystery, and relevance that hits home with current issues in fitting and completely necessary ways.

The big reveal can be considered questionable and even predictable (for reasons I won't go into in order to avoid spoilers), which admittedly does take away from some of the mystery aspect, but the rest is so well-tuned that I can't help but forgive it.

The cast and the characters they play also do a great job of leaving a lasting impression. I do feel that some of them are pretty underused, but even they are unforgettable because of how distinct they are from everyone else and have at least one one-liner that I guarantee will become frequently quoted as time goes by, because Chris Evans sure does wanna cookie.

But the two stand above the rest are Ana de Armas as Marta, the nurse of the victim, Harlan Thrombrey (Christopher Plummer, who's also great!) and Daniel Craig as the detective hired to investigate, Benoit Blanc. Armas gives easily one of the best performances of the year, offering an intriguing and heart-filled portrayal that effortless leads the film. Craig's work is then endlessly entertaining; you can tell that he had the time of his life while making this, with a priceless accent and scene-stealing dialogue, I can see why he wants to do more of these films with Johnson. (Seriously, please go forward with this Rian).

The Thrombrey family as a whole is fascinating, because even with some of them being underdeveloped, the more that's learned about them, the more the film's themes grow. The more each of their possible motives build and how they become increasingly more menacing to the viewer, satisfyingly making them like them less and less as the runtime continues. It makes you want to know everything about the family and their connections to Harlan, which is exactly what a film like this should do.

And why is the score for this film not being talked about more? It brilliantly sets the mode from the very beginning and onwards, fitting in with the mystery style effortlessly and leaving a nice tune to repeat in your head again, and again, and again, and..... oh dear...

So much of the production in this film is incredibly impressive. The Thrombrey house where most of the story is set is instantly iconic, sprawling with details that jump out and explain what this place is and who the person that owns it is like. And the cinematography couldn't fit the murder-mystery more than it does.

This is unquestionably one of the best edited films of the year as well. It makes the pacing feel so fast that you'll really question whether it really is 130 minutes. And the flashbacks that occur throughout (not spoiling anything here) are aided by quick transitions that coincide with the film's present time ever so smoothly.

Knives Out is such a cleverly made film all in all; even though some aspects of the story don't entirely live up to expectations, it's forgivable overall because of how great the rest of it is handled. This is one of the most memorable and well-characterized films of the year that I can certainly see myself liking even more in the hopefully-near future.

Final Grade: A-

Film Review - The Irishman (2019)

People always say that you should pick your friends wisely. They help you get through tough times and are there to pick you up when you need it. Need someone to give you a ride to the airport? Well, they may not like it, but hey they're your friend so why not! And, if you're especially lucky, those friends can be more than you think. This means that you now have better protection, more respect, and a growing relationship that only gets stronger, just like a certain Irishman.

The Irishman follows the life of Frank Sheeran who made friends with the right people who held him closely in return. It reveals his connections with them and how they have with him all his life in one of the decade's most expertly crafted films.

It is an epic in every sense of the word, cramming decades of Sheeran's life into three and a half hours. But, not a single second of it is wasted. Every scene adds on to the last, building upon the themes that slowly but ever so satisfyingly appear as the story continues. The pacing makes it feel like the fastest three hours ever thanks to some of the best editing of the year.

The CGI used to de-age the actors to signify this passage of time is something that easily could've been incredibly distracting. Thankfully, it gives Robert De Niro his youth back effortlessly and doesn't distract from the story at all. 

Speaking of the actors, The Irishman is superbly acted, with the standouts being the big three advertised for it: De Niro, Pacino, and Pesci.

Robert De Niro's titular role as Frank Sheeran is a marvel (ha!) to witness. He tells the audience of his character's development better than anyone else ever could, as his vulnerability becomes ever more apparent in one of the most heartbreaking characters in a film from the 2010s.

Al Pacino and Joe Pesci are equally plausible and are at their best in years. Pacino portrays the charismatic and ice cream-loving Jimmy Hoffa with more energy than anyone else in the film, energy that becomes increasingly more impatient with its business partners. Pesci's work as Russell Bufalino, on the other hand, is more of the opposite, offering a more restraint character who often steals the moment with the quiet but thunderous impact he leaves the viewer with. Both of them are simply remarkable and deserve the awards recognition that they're likely to receive.

The real star, however, would be the one and only Martin Scorsese in his defining of cinema here. His direction is flawless, giving the film a personality and groove that would be impossible for any other director to replicate. It's perhaps the most personal he has been in his filmmaking ever.

Other aspects of The Irishman are so well done that it is almost unbelievable. The production gone into recreating the era(s) of Sheeran's time is out of this world, with sets and costumes that seem authentic (people who are into cars will love this). The cinematography is also incredibly impactful with countless unforgettable and haunting shots that perfectly tell the story.

The writing that Scorsese and the actors are given to work with is, unsurprisingly, phenomenal as well. It's fully aware of the situation it deals with, offering a strikingly realistic take on it with the seriousness of it all never being downplayed with enough great humor in there as well to ease the pain.

This film is mobster to the core, but it's tackling of the realities of the mafia business are remarkable. It shows just how deep it was through Frank Sheeran. How it got the best of his friends. How it impacted those who weren't even involved with it. How it ate up his life and filled him with regret and loneliness.

The Irishman feels like it was meant to last forever. It's like Scorsese kept watching back to back while in the editing room to make sure that everything was in place. It will easily go down as the film Netflix is best known for and one of the finest cinematic achievements of the decade.....as well as the film that grossed under $3 million with a nearly $160 million budget.

Final Grade: A+

Film Review - The Lighthouse (2019)

Allow me to begin by asking a simple question: what causes insanity? Immediate answers would say something such as a traumatic experience or mistreatment from others. I, however, offer a differing response, as it is clearly, in all cases, caused by Willem Dafoe's farting.....either that, or being stuck on rock with no one but a farting Willem Dafoe.

That opening is the best way for me to describe The Lighthouse, as it is a grim, haunting film about isolation that also is able to fit a laugh in there, making it one of the year's best films and easily one of the finest horror films of the decade.

It is a bit strange to praise it as horror, though, since the film itself isn't necessarily too scary. Despite this, it nails its bone-chilling story and atmosphere flawlessly.

It's shot in a black and white, 1.19:1 aspect ratio, making it pretty apparent from the start that this is going to be something special. It beautifully matches the ongoing mystery and tension that builds throughout the story and alone defines what this film is.

The sound design is also, without a doubt, the best of 2019. It creates the feeling of isolation that the characters are filled with perfectly. And the score by Mark Korven is one that will stick with viewers long after seeing it.

But the big push that the film gets comes from its performances. The Lighthouse is a two-man show between Robert Pattinson and Willem Dafoe, one being further proof that you can recover from being in Twilight and the other being another excellent addition to the filmography of one of the greatest actors of our time.

Pattinson's descent into madness is so captivating and convincing that it almost made me forget about Joaquin Phoenix in Joker. Then Dafoe is doing a terrific job as usual, offering a brilliant turn as an aging, and quite funny at times wickie. Both of which are deserving of awards recognition regardless of what category they are placed in.

The interactions between their two characters is also a marvel to witness. The more they get to know one another, the more unpredictable their actions towards one another gets. One minute they could be having having a great time with some drinks (they drink a lot in this film), the next they could be at each other's throats. It's fascinating to see how they deal with each other and try to get the other to mess up.

The Lighthouse in its entirety is a brilliant vision of one Robert Eggers', director and co-writer, come to life.

His direction is noteworthy alone for the fact that he was able to get as something as difficult to make as this made, but mainly that his focus on each scene is so clear in its purpose and meaning to the story.

Eggers' writing with his brother Max Eggers is nothing short of brilliant. I've already talked about how great the characters are, so nothing more needs to be said there. But the themes he dives into are something that can spark endless discussion. I won't go into detail about them here for the sake of avoiding spoilers, but keep in mind that it isn't shy about touching on deep subjects.

Not just that, but Eggers made this easily the funniest film of the year. Bits of comedy are sprinkled throughout the runtime and don't distract from the insanity happening at all. If anything, it makes it better, offering a comedic way of executing a rich scene.

I honestly find it difficult to criticize anything in The Lighthouse. In fact, I find it more difficult to believe that I didn't talk about everything that's great in this film. It's such a flawlessly crafted, impeccably acted, and insane work of cinema that can not be missed. It certainly won't be for everyone, but for those who it is for, you've got something special to see along with plenty of farting to watch.

Final Score: A+

Film Review - Joker (2019)

If Batman is considered the hero Gotham City needs, then there is not doubt in my mind that the Joker considers himself the one it deserves. Especially if Todd Phillips' take on the character's origins is close to what the creators of Batman had in mind when they first envisioned him.

Joker is dark and depressing film detailing the clown's life before his turn to a life of crime. It is a comic book movie, but it's quite the departure from the ones that most people see today. It's violence is sparse yet brutal, the score is pessimistic and discouraging, and there is no hero, it's only the antagonist as he slowly falls victim his chaos.

As a result, Joker is very much a one man show since no one is there to support Arthur Fleck (the soon to be Joker) for the most part. It's also the "make or break aspect" of the film, because if the lead performance couldn't win over its viewer, then it would easily be terrible.

Fortunately this isn't the case, as Joaquin Phoenix gives a phenomenal performance which perfectly chronicles Arthur's growing impatience with the world around him and his desire to do evil. He also gets bonus points for nailing the Joker's laugh. Simply put, Phoenix's performance alone is what makes this film worth watching, and will easily be up for awards throughout the year.

Joker's message it what makes the film falter in areas, however. The Joker is supposed to be a force of pure evil, yet the film can't decide if he's that or a poor abused puppy dog. It's unclear whether it wants us to feel sympathy for him or to despise him in the end because it seems like he's is the victim considering how he's treated. But it also tries to make it look he's dong something for the common good of most of Gotham? It can't quite decide which side to take. No wonder the internet has been a trash heap since this movie released!

The film's connection to the Batman lore also feels forced. I won't go into any spoilers, but most of the scenes involving the Wayne family could've been cut and the film still would've been just as effective as it is. In fact, the Waynes as a whole possibly could've been replaced and there would've been little to no change.

On a technical achievement, this film truly shines, especially with how it captures Arthur's character. The previously mentioned score is unforgettable and perfectly fitting of his deteriorating life, making it one of the best of the year. The cinematography matches his spite for his home city and those around him seamlessly.

The production value and effort put into the art direction shows, as the representation of Gotham is solid and the look of the Joker here is spot on, costume, makeup, and all! The editing is flawed, as there are times when it tries to help convey a deeper message but ultimately feels a bit off, but this isn't an issue for the most part and it actually works well for the most part.

Even with the film's drawback in storytelling, it gets by not just because of Phoenix but because of how the film uses him. Watching his further breakdown into madness is fascinating, particularly with his interactions with those around him. And the scenes where he is simply dealing with himself are made by his performance, as watching him accept his insanity is a revelation. It's portrayal of the Joker is spot on, even with the confused message it this might be the best representation of him yet.

Joker does fall short of conveying a clear message, but Phoenix as the Joker alone makes it worth watching as he perfectly understands what the film wants of him, and uses it to help make this an overall effective film that isn't perfect, but still hold the competence and understanding of who the Joker is to succeed.

♪ "Send in the clowns." ♪

Final Grade: B

Film Review - The Dead Don't Die (2019)

Zombie films are an interesting topic to me. There was a time when they were among the most popular of the horror genre, thanks to the late and great George A. Romero who launched the idea of zombies into fame with Night of the Living Dead. Since then, zombies have spread into TV shows such as The Walking Dead, one of the most popular shows ever, video games such as Death Road to Canada (I know that there's more notable examples of zombie games but that game really rules (no this is not a sponsored)), and more. Zombies in the film industry, though, have seemingly become less and less relevant over time, especially throughout this decade with a few exceptions here and there.

Then comes in The Dead Don't Die, a dark comedy from the mind of beloved indie filmmaker Jim Jarmusch and with the inclusion of an all-star cast. It's unlikely that this film would've fully revived zombie films, but it certainly could've offered a clever and fascinating take on the topic. Unfortunately.... it doesn't do that either.

The Dead Don't Die is an underwhelming satire that admittingly shares an important message, but it not only fails to create something interesting out of it, it can't manage to be entertaining either.

Easily the biggest issue is Jarmusch's writing. I have no doubt that his past work is great (this is the first film of his I've seen), but this film has easily the most stale dialogue I've seen all year so far. It feels as repetitive and boresome as ever. Lazy would be the best way to describe it as many lines are actually repeated, possibly as an attempt at symbolism, but most of the time it just comes off as awkward. The comedy in particular is where it struggles, offering a couple of decent laughs but often than not it fails to be clever.

I feel bad for the cast attached to this. The performances are actually the best thing about the film, with Bill Murray and Tilda Swinton being the standouts. Yet for some reason, the majority of the actors had to read their lines in the most monotonous voice possible, making the dialogue even more problematic than it already is. Other than that, most of the cast was at least decent and clearly doing what they can with what they're given.

Despite the actors giving their best effort, the characters they're playing are pretty forgettable. They either have not nearly enough screen time to leave a lasting impact, thus being wasted (poor Steve Buscemi), or fail to be interesting at all, especially the children at the juvenile center in the town where the film takes place, who add literally nothing to the film. The characters fully rely on the actors playing them to make the viewer care about them.

The film on a technical level isn't nearly as bad but is still problematic. The editing is questionable throughout, with some effects added in feeling like something that could've been done with iMovie and the cinematography is far from terrible, albeit bland. The makeup work, however, is rather impressive and make the zombies feel pretty realistic, it gets a point for that at least, as opposed to at least sixty subtracted ones so far. The music is decent as well, but if I have to hear Sturgill Simpson's "The Dead Don't Die" ONE MORE TIME.....well, let's just say that I'm as tired of it as Bill Murray was in this.

So right now, it's apparent that a lot of this films problems are due to Jim Jarmusch. As I said earlier, I'm sure his other films are of quality, and if that is the case then he just didn't care for once and put as much effort into this as a high school student would put into an assignment that was finished just minutes before it was due.

This is easily best seen with the last ten to fifteen minutes of the film, which I won't spoil here. However, I will say that it feels like he had no idea how to end it, so he just decided to use whatever he thought of and slap it in there, making for a unpleasant combination of it's failed comedy and poor character development.

The Dead Don't Die does show potential, and I do feel like it could've been something special considering how well liked the earlier films from Jarmusch are and the cast that he had to work with here. But instead of giving it his all, he just decided to force this out as a time waster. And a time waster it is, as it's a waste of time for Jarmusch, the cast he had, and the people who watched it. When you waste Tom Waits and Steve Buscemi's time, that's when you know you made a bad movie.

Final Grade: D

Film Review - Once Upon a Time in Hollywood (2019)

In a time where everything ever to exist is owned by Disney, especially in the film industry, it's good to see an original film out there doing well at the box office, and one about the times before Mickey Mouse's monopoly no less. Once Upon a Time in Hollywood (and I refuse to write it with an ellipsis) is one of the few non-major IP films out there that would get the attention of most audiences, thanks to how universally praised Quentin Tarantino's past films (Pulp Fiction in particular) have been received. And with such a wider audience Tarantino has, he's been able to craft his most expensive film to date, and with his budget, he's created his most ambitious work yet.

This late 1960s callback is not only the most technically impressive piece of Tarantino's career, but it is also a remarkable look at a fictional actor's life and the world around him.

That actor, in particular, is Rick Dalton (Leonardo DiCaprio), a famed TV star fearing his fall trying to regain his confidence. DiCaprio could not be more perfect as Dalton, as he brings to life his struggles with confidence in such a comedic and enduring way that no other actor could've done as well as him.

In fact, all of the characters and performances are pretty much spot on. Every one feels perfectly casted, and regardless of how long they are in the film. Even characters with shorter screen times, like Marvin Schwarzs (a fictional agent portrayed by Al Pacino) and Bruce Lee (Mike Moh) are able to leave an impression because they don't waste a moment on screen, and fully embrace their character.

Brad Pitt, who plays Cliff Booth, is also worth noting, as he gives easily his best performance. His role as Rick Dalton's stunt double is one he was born for. He brings so much attitude to Booth, bringing to life the tough sidekick as anyone would've wanted.

The final widely-advertised performance in the film I haven't talked about yet would be Margot Robbie as Sharon Tate, who is certainly good, but Tate's character feels a bit wasted. Her style seems to be portrayed perfectly, but throughout the film very little is told about her outside of her stardom, and it feels like she is there purely to compare her to Rick Dalton. But even then this doesn't take away from how great the characters are in this film overall.

It is also undeniable that this is easily the best recreation of 1960s Hollywood to date. The sets and costumes are all spot-on and brimming with old-school L.A. charm. The actual movie sets in the movie (set-ception as one might say) showcase this best, as they separate themselves from the rest of the film entirely and make you feel like you're now watching a classic western.

And the scenes where those western sets can be seen are among the best in the film. They explore Rick Dalton in unexpected ways and give DiCaprio some of the best moments of his career, and are shot beautifully as a homage to those old westerns.

Yes, the movie is unsurprisingly host to some amazing cinematography. From perfect centering that effortlessly captures someone's moment to gorgeous scenery shots, Robert Richardson has once again proven that he is one of the best photography directors working today.

The editing is solid, giving each scene enough time to breath and staying true to the style of the film wonderfully. However, it does feel like some scenes have been given too much time to breath and run a little too long, and they could've used some more cutting there to make film feel a little quicker, per-say.

As for Quentin Tarantino's work here, his writing is what would you would expect from him. You get sharp, realistic dialogue with the perfect mix of comedy, attitude, and make the film all the more engaging.

His direction is just as credible. He has a clear focus on his actors and where to take each scene, helping make the film the character-driven piece that it is and making it work all the more.

With an excellent cast, top-notch production value, and excellent writing, Once Upon a Time in Hollywood is the kind of high-budget film we need nowadays. One that's original, has heart, and offers plenty of reason to come back to it in the future. It's not the best work Tarantino has put out there, but it certainly is another great offering from him.

Final Grade: A

Film Review - The Dark Crystal (1982)

It’s no secret that Jim Henson was the master of puppetry. He took it to new heights with his shows Sesame Street and The Muppet Show, both of which were and still are cultural phenomenons, giving the act of tying some string to some cloth and waving it around a whole new meaning. Indeed, Henson’s work stands out as the best in terms of puppetry out there. However, none of his other films or shows, including what was made following his passing, could top his craft seen in The Dark Crystal.

The 1982 film, directed by Henson and his friend Frank Oz, is perhaps the most impressive work of Jim Henson’s career. Every puppet, set, and prop was made just for the film's world known as Thra, and the effort put into it shows.

Everything in The Dark Crystal feels real. The puppets are all brimming with personality. Each one feels unique to their own character, as their design alone perfectly tells the viewer who they are. The sets are equally remarkable, being packed with so much detail that they always feel real, even with the age they show nowadays.

Sets and puppetry aren't the only places where this film shines on a technical though, as it also boasts some nice cinematography. There are many shots which perfectly capture the wonder of many of the world Henson has created. One shot that stood out from the rest was when the main character, Jen, enters the lair of Aughra (who I'll touch on a little later). The way it reveals the lair and captures Jen's amazement of what he is seeing is simply beautiful and is easily burned into the viewer's mind.

The score is also used wonderfully. It's the kind of score that really sneaks up on you, as in it there aren't a whole lot of instances where the score is the key feature of what makes a scene stand out, but when it gets it's moment to shine, like during the previously mentioned scene in Augrha's lair, oh boy, it's good.

At this point, it's clear that this is a technical achievement, with some of the most impressive visual effects of the 1980s. But.....that's kinda where it ends for the most part.

As visually beautiful as it is, The Dark Crystal can't escape its hollow storytelling.

The is especially apparent in its characters. Most of them feel rather forgettable because of how bland they are. The majority of them are generic and seem just like every other character. 

This is most obvious with the main lead Jen, one of the last Gelfings left in this fantasy world. His personality is severely lacking. He has no wit nor charm, and the film is built around his adventure. It makes it all the more difficult for it to become engaging when your main character is one-note.

It's a shame too because when the movie does have good characters, it does manage to be more interesting. And those actually interesting moments can be seen with Aughra, who Jen meets early on because she has an investing personality, one that easily separates her from everyone else in the film. Characters like her are able to make something far more entertaining out this, and I wish there was more of that here.

The pacing is problematic as well, as mostly seen in scenes housed by the Skesis, a villainous group of vulture-like...uh...creatures. One moment that best showcases this is when they are dining and discussing Jen, but before they actually start discussing that, we see them just eating and being served for a little too long. It's scenes like this that showcase how the pacing can be unnecessarily slow or have too much of a focus on the visuals.

World-building in The Dark Crystal kind of goes both ways. On one side, it beautifully shows off the different creatures and regions of this world, but on the other doesn't go too in-depth with it. We are introduced to a good number of species, yet we never learn much about most of them, which makes it hard to find a reason to care for them. 

The same can be said for the world of Thra in general, as we see so much of this fascinating world, but little is told about it and it's more upbeat past, which makes it difficult to find a reason to be more invested in the world.

It's easy to compare this movie to The Lord of the Rings. They both share a fantasy setting, involve someone going on a dangerous journey to take an object from one location to another and have many unique species in each that can be compared to one another. In Tolkien's work, however, it works so much better because it's characters all stand out with memorable personalities, it never feels like it dwells on for too long for as long as each novel/film is, and has impeccable world-building.

I feel that if The Dark Crystal had been split up over two or three films, similarly to how The Lord of the Rings was, it would've been able to develop it's characters and world much more, making for something far more engaging. Fortunately, this may be the case soon as it's getting a TV show, The Dark Crystal: Age of Resistance, which is coming to Netflix very soon and looks promising, so maybe that can make this world more investing. But for now, we just have a film that is undoubtedly impressive on a technical level, that just feels like it could've been something so much more.

Final Grade: C