Every Day

Directed by Michael Sucsy

Starring – Angourie Rice, Justice Smith, Maria Bello

The Plot – Based on David Levithan’s acclaimed New York Times bestseller, Every Day tells the story of Rhiannon (Rice), a 16-year old girl who falls in love with a mysterious soul named “A” who inhabits a different body every day. Feeling an unmatched connection, Rhiannon and A work each day to find each other, not knowing what or who the next day will bring. The more the two fall in love, the more the realities of loving someone who is a different person every 24 hours takes a toll, leaving Rhiannon and “A” to face the hardest decision either has ever had to make

Rated PG-13 for thematic content, adult language, teen drinking, and suggestive material

THE POSITIVES

– No matter how ridiculous in concept, I do enjoy a film that takes an idea in plot and can at least have fun with it. There are several attempts at humor when it comes to this spirit inhabiting these bodies that occasionally gave me a light chuckle to the unfolding absurdity.

– Angourie Rice proves that she might be one of those few child stars who makes the transition seamlessly to adult actor. Here, Rice is the dominant focus for the film, and through that majority of time spent with her we are treated to an emotional register for how complicated adolescence can truly be. Everyone else in the film was disposable, but she gave me levels of substance that I greatly appreciated.

– Soft lens kind of cinematography that articulately channels indie romance flicks beautifully. This graduates the source material from a young adult origin to a mature adaptation before our very eyes.

– I am so thankful that the final ten minutes of the film addressed many of the problems that I had with where this romance is going. For instance, what if Rhiannon gets pregnant someday? What if people see her with a new man or woman every day? What if a body is taken over by A that is suicidal? The film not only explores these ideas, but does so in a way that feels responsible to the ending.

– Any chance where I get to hear that 80’s reminiscent sounds of The The’s ‘This is the Day’ is a pleasure-filled delight. This song not only slyly winks at the film’s unfolding events, but also serves as a meaningful way for Rhiannon to distinguish who is A.

THE NEGATIVES

– The film’s beginning almost feels like we’ve stumbled upon a film that has begun with another film already in progress. I say this because much of the initial first few scenes proceed with very little exposition for those of us in the audience who haven’t read the novel. It threw me off because I always expect the introductions to either explain the character’s curse, or at least indulge us in getting to know its main characters, but neither of those happen in this forced beginning.

– This script has several one-off scenes that add nothing of substance to the remainder. Things like Rhiannon’s Mom randomly coming to her room to have a talk, and then deciding against it, could easily be left on the cutting room floor. They are scenes that are never further elaborated on, and feel more like unnecessary padding to push this 90 minute agenda.

– It’s my opinion that this film is following the wrong person. Rice’s performance is solid, yes, but the whole idea of the film is about A, so why does he/she constantly feel like a shadow in his own movie?

– I can appreciate a film that speaks to the spiritual side of love and not the physical side of it, but that theme is slightly difficult to believe when 95% of the bodies that A inhabits are cute teenagers of the Banana Republic catalogue type. Even when it turns out to be a woman, there’s very little physical interaction in the same way that Rhiannon feels when she gets a strapping young lad.

– Does it freak anyone else out that Rhiannon is having sexual relations with people’s bodies without their consent? Quite a tough sell indeed.

5/10

Annihilation

Directed by Alex Garland

Starring – Natalie Portman, Tessa Thompson, Oscar Isaac

The Plot – A biologist’s husband disappears. She puts her name forward for an expedition into an environmental disaster zone, but does not find what she’s expecting. The expedition team is made up of the biologist, an anthropologist, a psychologist, a surveyor, and a linguist.

Rated R (for violence, bloody images, adult language and some sexuality)

THE POSITIVES

– Being a fan of the books, I can thankfully say that Garland follows enough of the outline from that source material while deviating dramatically with the central themes and development for where his characters take us. It was like following the rules without knowing fully where it would go; the most satisfying kind of adaptation.

– Eye-entrancing visuals. There’s plenty to mention here, including the death scenes that are viscerally artistic in the most cinematic of qualities. Aside from this, the film’s backdrops for The Shimmer radiate the same kind of prism magenta that fills the air like a cancer. More on that sentiment in a second.

– The performances are well done without being overly dramatic. Midway through the film, I kept saying to myself how underplayed these characters are from this exceptionally talented cast, but then their pain and personal miseries snuck up on me with each passing reveal, speaking levels to the kind of empathy that Portman, Thompson, and my personal favorite, Gina Rodriguez garner for each other.

– Garland continues his parade front-and-center towards being possibly the very best science fiction director going today. With ‘Annihilation’, he constructs a science fiction slow-burn thriller film for the strongest of die-hards who welcome the chance to immerse themselves in worlds and rules so foreign from anything on this planet. Any great science fiction film makes you believe that anything can happen, and there has rarely been a stronger case for this than this movie.

– As far as the themes ingested into this story, I took away plenty that I grabbed ahold of, and yet plenty that would still require future re-watches to make this evidence concrete. In my opinion, the film is very much about self-destruction on a global and personal scale, and how the comparison in biology between the two help shape the shadows of who we become when compared to the person we once were. It’s interesting how similarly the people and environment react when faced with an event that will inevitably change both of their futures.

– There’s so much range in the unorthodox sound mixing displayed here by designer Niv Adiri. Acting as something much greater than just visually distinguishing us from the outside, Adiri audibly catches your attention by mastering a kind of counterfeit serenity to what makes up the sounds around us. It almost takes a minute to hear the deviated differences from our own air, but the cause for concern will produce in spades for anyone so firmly committed to soaking it all in.

– A very eclectic musical score from producers Geoff Barrow and Ben Salisbury. With enough free range between the worlds of folk and techno that audibly adorn the film, the duo of musicians master a slow change in genre sounds to replicate the change in fear that is taking out in this mental chess game between human and alien.

THE NEGATIVES

– The film greatly suffers from that cliche of immense creatures that apparently don’t make sounds as they approach. While not as humorous as something like the ‘Jurassic Park’ films, it is ridiculous here considering their movements have virtually no sound in The Shimmer to compete against thanks to the lack of human influence.

– While I always appreciate a film that offers a chance for audiences to debate and interpret what they see, I think Garland as a writer remains far too cryptic in his battle for sending audiences home with that final emphasis during the third act that leaves too much open. Far too often, the answer of “I don’t know” fills the dialogue, and it made me annoyed for just how little we definitively answered in 110 minutes.

– Once again, another harmful introduction. The first scene in this film continues my least favorite tradition of giving away spoilers before we’ve even stepped foot into the story. Sure, there’s much more to these answers that we’ve been given, but the well-being of the characters in particular hinders any kind of suspense later on that some of these rare fight sequences could’ve used badly.

7/10

Samson

Directed by Bruce Macdonald

Starring – Jackson Rathbone, Billy Zane, Taylor James

The Plot – A Hebrew (James) with an unusual gift of strength must respond properly to the call of God on his life in order to lead his people out of enslavement. After his youthful ambition leads to a tragic marriage, his acts of revenge thrust him into direct conflict with the Philistine army. As his brother mounts a tribal rebellion, only Samson’s relationship with a Philistine seductress and his final surrender, both to the Philistines and to God, turns imprisonment and blindness into final victory

Rated PG-13 for scenes of violence from battle sequences

THE POSITIVES

– At this point in the game, if religious films can’t even get costume and set pieces correctly, there’s no point in even trying. ‘Samson’ certainly continues this trend with a fine line of dissection between the Palestinians and the Hebrews that visually tell the difference in wealth distribution.

– Perhaps the best introduction scene to one of these films that I have ever seen. It actually felt like there was an attempt to insert some personality into this movie with the inclusion of quick-cut takes from a heist plan, as well as witty banter that actually brought a smile out of me.

THE NEGATIVES

– In retort to that dazzling intro scene, the rest of the film falls into the mundane category of familiarity. For what started on such a high note, eventually grinded into a slow drafting bible tale with none of the confidence in its characters or events to boot.

– The performances are all around laughably bad, but no one can hold a candle to Jackson Rathbone as the evil Rallah. What Eddie Redmayne did in ‘Jupiter Ascending’ can only be described as amplified to eleven with Rathbone’s unintimidating stature and uninspiring line reads that constantly fall short in carving out a meaningful antagonist. On the other side of the coin, James title character is written as an all brawn and no brain kind of hero who is constantly outwitted to the point of cringing in your seat for how easy his predicaments are to get out of. Even the often times over-the-top Billy Zane is in this film and they do nothing with him or his character. Some enthusiasm from Zane could’ve honestly made this sit a lot easier for me.

– God’s power is reduced to being a magical genie who pops up whenever Samson needs him. So if the rules are this easy to master, why not (Oh I don’t know) ask for food and drink for your starving village in the same ways you destroy a brick wall or bring down a stone building with your hands? I guess spectacle matters over livelihood.

– Consistently dropping the ball on establishing dramatic impact. Much of Samson’s adversity is disposed of within a few seconds, even taking out multiple 30 and 50 man armies by himself with ease. This is only in the first half of the film, mind you, so the second half wants us to believe that he will fail against one puny prince who may be the key to silencing this mystical Hebrew. Give me a break.

– Terribly choreographed fight sequences. Much of the reason for Samson being able to take down these huge armies by himself is because these soldiers only approach him one at a time, waiting in a neat and tidy line for their turns to meet their maker. There are many times when they could easily dispose of this one man army, but they would rather dogpile on him than take a knife to his chest when he’s pinned down. STUPID!! If that isn’t enough, the graphic material is so watered down here, free of blood or much graphic violence to really linger with the audience. An all around dry presentation.

– Uneven pacing plagues this film over and over again, turning a modest 105 minute film into what feels like a two-and-a-half hour plunge. Much of this can be blamed on just how much they try to squeeze into this film, limiting a majority of scenes to under three minutes so we can constantly keep moving. Where this harms the fluidity is in the bubbling feeling that this film garners no consistency in momentum for itself in bringing along its audience on the edge of their seats.

– Clunky dialogue that could double for even softcore pornography. Perhaps my favorite of these lines takes place between Samson and a woman he is courting during the beginning of the third act, in which she tells him that there is no way she could even bond him from leaving. Samson looks at her like he ripped gas and says “You should use the finest rope, that way I couldn’t fight it much” UGGHHHHHH!!!!

– Hallmark Channel level C.G in landscape establishing shots. Thankfully this is about 95% of the computer generation used in the film, but I couldn’t help but wince each time a new scene began.

2/10

Film Stars Don’t Die in Liverpool

Directed by Paul McGuigan

Starring – Jamie Bell, Annette Bening, Julie Walters

The Plot – Based on Peter Turner’s memoir, the film follows the playful but passionate relationship between Turner (Bell) and the eccentric Academy Award winning actress Gloria Grahame (Bening) in 1978 Liverpool. What starts as a vibrant affair between a legendary femme fatale and her young lover quickly grows into a deeper relationship, with Turner being the person Gloria turns to for comfort. Their passion and lust for life is tested to the limits by events beyond their control.

Rated R for adult language, some sexual content and brief nudity

THE POSITIVES

– Subliminal truth in advertising. Intentionally fake backdrops and landscapes are used signify not only that particular starlet era of film, but also that the two leads are the only real thing in the other person’s eyes. Beyond this, the film’s actual setting too plays a prominent role. Liverpool, England has always felt like a town that is frozen in time, depicted here with vintage wartime posters and outdated housing detail that feels aged even for the 80’s. This makes the perfect setting in film for two people trying to clear the hurdle of their dramatic age gap. They too have frozen the scope of time.

– Contrasting interpretations. Interestingly enough, the couple visually transcends their difference in age when alone, feeling like two kids who have their whole lives ahead of them, yet when they are out and about with other people, that blurred vision caters to reality and we see them how everyone else does.

– It’s no surprise that Bening steals the show, but as Grahame she sets back the hands of time, juggling the personality of this tender woman with seeds of pep to grow around her otherwise garden of despair. Through a life of heartache in and out of the business, Bening channels an inhabited child of sorts as this free spirit who lives by her own rules.

– The parallels between love and film seem striking. Both hang their prominence respectively on the importance of age, but it only takes one desirable gig to feel inspired again.

– At times, the camera moves between Turner and Gloria like a dreamy tiptoe through the rise and fall of two kindred spirits. This is a visual representation for love’s first steps, feeling like an infinite honeymoon period that never relents.

– Exceptional slow pan long take shots that made for some of my absolute favorite scenes in the film. In leaving the camera running, McGuigan trusts his dual leads in visually encompassing the kind of pain and heartache that comes with love on the rocks, never feeling shy with getting front and center with such anguish.

THE NEGATIVES

– Rough and jagged transition scenes between two timelines that rarely gets distinguished with confidence.

– While the chemistry of Bell and Bening is certainly there, the film misses out on the chance to sizzle the seduction. At times, it can feel like a rushed and undercooked slab of meat that doesn’t satisfy our palate.

– It’s somewhat appropriate that a film that reminds us of the many actresses that constantly overshadowed Gloria also shelves her as the supporting role to Bell’s narrative command. This is a major mistake because we often only see the problems and don’t get to indulge in falling in love with her the same way Turner does.

– Inconsistent pacing especially during the second half of the film. The plodding alone made me wish that twenty minutes was trimmed from this 101 minute film, but in doing so we would lose what little exposition we fought so hard to gain with these two. This ultimately leaves the script with the feeling of being written into a corner.

6/10

Black Panther

Directed by Ryan Coogler

Starring – Chadwick Boseman, Michael B Jordan, Lupita Nyong’o

The Plot – After the events of Captain America: Civil War, King T’Challa (Boseman) returns home to the reclusive, technologically advanced African nation of Wakanda to serve as his country’s new leader. However, T’Challa soon finds that he is challenged for the throne from factions within his own country. When two foes conspire to destroy Wakanda, the hero known as Black Panther must team up with C.I.A. agent Everett K. Ross (Martin Freeman) and members of the Dora Milaje, Wakandan special forces, to prevent Wakanda from being dragged into a world war.

Rated PG-13 for prolonged sequences of action violence, and a brief rude gesture

THE POSITIVES

– Ryan Coogler’s visual and audible feats in directing that bring to life the technologically advanced world of Wakanda with flare. We’ve certainly seen Marvel astound us with dives into other worlds and galaxies before, but this feels like the first time where they got the flavor of the sizzle complete on every spectrum.

– Behind every great man is several amazing women. There have been films where a female has been my favorite character, but I can’t recall one where my two favorite characters from a film have been of my opposite sex, and that’s completely unintentional. Not only is this a film breathes life into the fight against minority examples in superhero genre films, but also one of female empowerment that invites the ladies along to share in these magnetic personalities.

– Ludwig Goransson’s impeccable blend of 808 drums and percussion edited beats that spin an inspirational movement taking place before our very eyes. Not only does this musical score get your toes tapping, but it also speaks volumes to the kind of consequential landscape that these varying tribes set for themselves.

– Speaking of tribes, the wardrobes all around were very vibrant and full of rich traditionalism that tickles the eyes. What’s even more impressive is that this is not only a film that caters to that historical past, but also one that embraces the future in us all coming together as one tribe.

– Has there been a Marvel film with a collective cast this deep? Boseman was born to play T’Challa, but I can’t help but feel that he is outshined on almost every single scene that he comes into contact with a friend or adversary, relaying just how much meat there is to feast on for everyone here. Lupita Nyongo offers a warm and caring compassion, Danai Gurira amplifies that Michonne burning intensity from ‘The Walking Dead’ to eleven, and my introduction to Letitia Wright as Shuri, T’Challa’s genius sister, is one that I just couldn’t get enough of.

– A special mention for Michael B Jordan as the film’s antagonist Erik Killmonger. Villains seem to be a continuous problem for Marvel films ever since the success of Loki, but here they instill a level of relatability to Erik that had me even questioning what side I should be rooting on. His motivation in seeking the throne is one that works on all accounts mainly because it feels like a superhero origin story with some twists in personality that allows you to see the shades of grey between good and evil.

– It’s impressive how consistent this screenplay changes up the tempo. During the first act, this very much feels like a James Bond spy thriller of sorts. During the second act, our direction is transformed into a science fiction space odyssey that ironically takes place on Earth. And finally during the last third of the film, we get all out war in a fantasy epic that re-defines the rules of what transpires on a battlefield.

– This panther is its own animal. The decision to make this film stand almost entirely on its own without the inclusion of prior Marvel stories or subplots is one that I greatly valued, and proves that the producers had a lot of faith in this film’s capabilities in seducing its audience with something remarkably fresh for such an overflowing genre of films. It really does feel like a movie that set high standards for itself, but achieved each goal because (like the protagonist) it stayed true to itself the whole time.

THE NEGATIVES

– I was honestly unimpressed with a majority of the overall C.G work in authenticity. The backgrounds especially gave me an exhale of disappointment on more than one occasion, especially during daytime scenes where the layers in shadowing weren’t fully realized. To someone else, this isn’t a big deal, but to me, it takes much of the heartbeat away from a film when everything feels like a cartoon or in this case a contrived sequence that strongly lacks the impact of its physical properties.

– Some of the fight sequences are too overly edited for my taste. Thankfully, they aren’t as bad as say ‘Resident Evil: The Final Chapter’, but there were some examples where the inclusion of gunfire during nighttime scenes not only made it difficult for me to stay focused on a character, but also made it that much more of a challenge in registering each crushing blow that I could hear and barely see.

The Extra

– I vow to never watch a Marvel trailer again. Once again, one scene in particular during the beginning of the third act was ruined because whoever cut the trailer is a major asshole and decided to include this compromising visual in the finished two minute piece. This not only took out my suspension of disbelief for the conflict that develops with T’Challa and Killmonger, but also spoiled to me what happened before they ever touched fists.

8/10

The 15:17 to Paris

Directed by Clint Eastwood

Starring – Anthony Sadler, Alek Skarlatos, Spencer Stone

The Plot – In the early evening of August 21, 2015, the world watched in stunned silence as the media reported a thwarted terrorist attack on Thalys train #9364 bound for Paris, an attempt prevented by three courageous young Americans traveling through Europe. The film follows the course of the friends’ lives, from the struggles of childhood through finding their footing in life, to the series of unlikely events leading up to the attack. Throughout the harrowing ordeal, their friendship never wavers, making it their greatest weapon and allowing them to save the lives of the more than 500 passengers on board.

Rated PG-13 for bloody images, violence, some suggestive material, drug references and adult language

THE POSITIVES

– As an experimental director, Clint Eastwood continues to wet his palate with an unorthodox approach to depicting this story. Because of the invasive nature of the angles and approaches to character shadowing, the film feels very much like a documentary that is taking place in real time.

– There was a point in this film where I feared that it would strike at the hot coals of the religious conversation, but thankfully one of the few things that screenwriter Dorothy Blyskal does with confidence is to taste enough of a poignant approach without souring the taste of an audience who came for a particular genre of film.

– It rarely settles for the conventional approach to real life biopics, and whether you like or dislike the film, you must give it respect for instilling some different takes to an overcrowded subgenre.

THE NEGATIVES

– In one word: Scatterbrained. This screenplay is a mess, undermining the terrifying day to the final twenty minutes of the film. Considering the entirety of the trailer is in the train, it’s a major disappointment to see that it means so little to the finished product. In addition to this, there is an attempt to tell the backstory of these three lifelong friends since childhood, but it does so without ever capitalizing on what grows them into a brotherhood.

– There was easily enough material here to push this to the two hour mark, but Eastwood’s newest is a vicious victim of the hack-and-slash by studios without enough confidence in the audience paying to see it.

– I can appreciate the decision to cast the actual three men in the roles here, but it fails for two big reasons. The first, their acting is bad even for amateur standards, speeding through dialogue reads with too much monotone and not enough passion. The second, this is a major spoiler to someone like me who never heard of the events on the train before this film. If the real life figures are alive, then I know they make it out of the train alright.

– Jenna Fischer and Judy Greer play two of the moms to the trio of men, and it’s interesting to note that they don’t age even remotely in the 15-20 years that has passed in this timeline focus.

– Unconventional is one thing, but to not even have a remote outline of a three act structure shows how off of the beaten path this film really was. More than anything, this feels like a collection of scenes while the crew was on vacation. I say that because so little that is introduced ever actually leads to something of substance in the bigger picture.

– This film totally drops the ball on dramatic tension, speeding through brief scenes of conflict with a grave feeling of impatience that does it little favors in pulling the audience into the environment. I’ve been bored before in a film, but I didn’t even have a heartbeat for this sluggish deficit of attention.

– Eastwood’s directing stamp is noticeably missing, particularly in the final fifteen minutes that show too much and don’t tell enough to communicate with the audience. Many of these scenes feel void of an edit button, leaving the camera on for far too long to eat away at the scenery that is fading fast.

3/10

Fifty Shades Freed

Directed by James Foley

Starring – Dakota Johnson, Jamie Dornan, Arielle Kebbel

The Plot – Believing they have left behind shadowy figures from their past, newlyweds Christian (Dornan) and Ana (Johnson) fully embrace an inextricable connection and shared life of luxury. But just as she steps into her role as Mrs. Grey and he relaxes into an unfamiliar stability, new threats could jeopardize their happy ending before it even begins.

Rated R for strong sexual content, nudity, and adult language

THE POSITIVES

– This film at least knows that its material is thin, and because of such takes a step back from the two hour flicks of the previous two installments and makes this an appreciated 96 minutes.

– The series continues to be a beautifully shot one, coveting within it a barrage of landscape porn and elegant lighting design in overall cinematography by John Schwartzman. This at least immerses us into this world of rich tastes that visually seduce you in the same way they do Anastasia.

THE NEGATIVES

– Not a single credible performance amongst the bunch. Even Dornan, who proved his worth in 2016’s ‘Anthropoid’, feels in a rush to elude himself from the Grey persona for the future of his promising career. Everything feels very phoned in at this point, never straying far or improvising away from the plot points of a mundane screenplay.

– Because the personalities are so thin with these characters, none of them ever interest me to the point of feeling remote emotion for them. This is why by the third film in the series there is no shortage of infused dramatic subplots to offer something of a spark to keep the audience firmly in grip.

– Speaking of those subplots, the long term writing here is terribly choreographed and minimally discussed in the bigger picture of lagging sex scenes and Ana’s blossoming stupidity.

– There is nothing subtle about the obvious foreshadowing for where this chapter is taking us. I didn’t predict everything revealed in the painfully tacked on final ten minutes, but I knew what direction we were heading because their introductions feel so shoehorned in during a scene where it shouldn’t be deposited.

– Atrocious dialogue. Even for this series, ‘Freed’ still has the capability to make us cringe so hard that you will debate faking a bathroom break just to free yourself from the auditorium.

– The sex scenes have absolutely no sizzle or sensuality to them because of the void in chemistry between the two leads. Credit can be given that this film at least trims the length of each sex scene dramatically, but it’s all for nothing because there is still such an overabundance of them. Even porn collections know how to pace themselves better than this fan fiction dribble.

– Three movies and nearly six hours of screen exposition and I feel like I know very little about Christian Grey, except that he is the world’s biggest douchebag. I was told that the third book reveals much about Grey, but nothing revealed in this film is actually about him when you think about it. Instead, we are treated to more of what female audiences should be vetoing in a ‘Time’s Up’ society.

– Considering the first two films built to the wedding of these two, it’s used as such an afterthought here, speeding through a montage of scenes during the opening three minutes that give so little back to the faithful fans who have been waiting for these moments of indulgences.

– Even the music is offensive. While this soundtrack is an assortment of credible pop artists, their instilled numbers to the unappealing sex scenes conjures up an aura of childish atmosphere that are lyrically so awkward in trying to be sexy. What’s worse is that Danny Elfman scores it with his most invasive approach to date, channeling through the best of his C-side material with such ear-shattering volume, as well as an overall lack of environmental subtlety that spoil what’s coming long before it happens.

2/10

The Cloverfield Paradox

Directed by Julius Onah

Starring – David Oyelowo, Gugu Mbatha-Raw, Daniel Bruhl

The Plot – Orbiting a planet on the brink of war, a group of scientists from many countries test a device to solve an energy crisis, but instead end up face-to-face with a dark alternate reality.

Rated PG-13 for mild profanity, violence and gore, as well as frightening imagery.

THE POSITIVES

– This is a very talented collaborative cast who are put through the ringer of some very basic character development. Where the sun shines is in the hearty humanity of Mbatha-Raw, as well as Oyelowo’s endless intelligence. In them, the film offers two compelling leads to play against typecast of minorities in this particular genre.

– Legitimate frights that feed to the very modern day ‘Black Mirror’ influenced audiences who crave nightmare worlds being brought to life.

– A dual narrative between orbit and land that seeks the importance of both. As to where most science fiction in space films leave the latter behind, this script understands the value in both to the progression of the revealing points.

– Bear McCreary’s enthralling musical tones. While only a stud previously on television scores like ‘The Walking Dead’ and ‘Battlestar Galactica’, McCreary dedicates his single best feature film score to date, pushing the urgency long after the uneven twists have peaked creatively.

– For a Netflix film, the movement of the camera angles and pursuing shots offer a subtle, yet commanding focus on where to keep your attention at all times.

THE NEGATIVES

– It doesn’t take a genius to see how thin the Cloverfield folklore is squeezed here. Once again, this feels like a script for an entirely different film that was re-written last minute to cater to a popular franchise. I never thought I’d say this, but this sequel needs more influence of its predecessors.

– The continuing problem that I have with this series is that I’m left with even more questions with each passing chapter. This is OK temporarily to get the next one over, but I can’t escape this inevitable feeling that the questions that arose from the original film more than ten years ago will be left forgotten.

– While not the worst I’ve ever seen, the computer generation in effects work can be boldly compromising to the live properties around it, giving scenes an unwelcome cartoonish layer that totally took me out of the terror. The eye ball scene in particular looked so unappealing that its movements never feel authentic enough to take seriously.

– There never feels like enough capitalizing on the intoxicating ideas that the first act introduces. The final minutes, which have previously been the peak of the previous two films, peters away enough momentum, and will have you checking your watch for the first time all film.

– Smart people making stupid decisions part……….umm. Certainly nothing new to space settings, but the choices made by scientists here continue to insill laughter in me when I really shouldn’t be.

5/10

Hostiles

Directed by Scott Cooper

Starring – Christian Bale, Rosamund Pike, Wes Studi

THE PLOT – Set in 1892, Hostiles tells the story of a legendary Army Captain (Bale), who after stern resistance, reluctantly agrees to escort a dying Cheyenne war chief (Studi) and his family back to tribal lands. Making the harrowing and perilous journey from Fort Berringer, an isolated Army outpost in New Mexico, to the grasslands of Montana, the former rivals encounter a young widow (Pike), whose family was murdered on the plains. Together, they must join forces to overcome the punishing landscape, hostile Comanche and vicious outliers that they encounter along the way.

Rated R for strong violence and adult language

THE POSITIVES

– What a breathtaking cinematic scope that cinematographer Masanobu Takayanagi helms beautifully. Western genre films are all about these immense landscape depictions that stretch out as far as they eyes can see, and ‘Hostiles’ certainly doesn’t lack this feature in the mesmerizing establishing shots that articulate the Northwest Passage on a big, beautiful screen.

– The Oscars screwed up. How Bale or Pike didn’t get nominated for their dedicated work is beyond me. Pike is my personal favorite, commanding a woman whose transformation after the devastation of loss left me riddled with goosebumps. Bale as well goes through a transformation of his own, but for toeing the line of a life that looks different now that he sees the glass as half full.

– Cooper doesn’t get enough credit for his writing. Here, he exerts himself endlessly as a master storyteller in supplanting us with the important details that paint an ever so vivid picture in understanding the different shade of characters that adorn his film.

– Not for the weak. This film surprised me time and time again with its endless string of brutality and consequential aftermath, but none the more appropriate for setting the tone than the opening ten minute scene that left my jaw hitting the floor with impact.

– Composer Max Richter constructs perhaps an even more dire musical score than even his work on ‘Shutter Island’. What’s more ironic here is not necessarily the pieces themselves, which are all stirring violin-instilled ranges that pay ode to the classic western genre of films intently, but how subtle their influences are. The accompanying music echoes lowly in the background, choosing to never overstep the boundaries of an audience absorbing the ever-changing range of scenery.

– There are many themes throughout the film, but the two important and resonating ones that I found were “When is killing appropriate?” and “How does killing change a person?”. These two directions make up so much of Cooper’s script, and does so in a way that pays homage to the centuries old oppression of Indian tribes, while opening up a poignant approach to modern times with those we deem as different.

– For a 130 minute film, much of the movie blows by and is paced smoothly because of my emotional attachment to the uncertainty of these characters and their dangerous journey ahead.

– The budding romance between Bale and Pike’s characters is certainly evident, yet never used in a way that feels familiar in how Hollywood depicts the emergence of romance between them. To me, I sensed more of a spiritual bond between them, bringing to life a chemistry that unravels as something much more important than bed buddies.

THE NEGATIVES

– Far too often, the film caters to a tell-and-not-show approach with many of its death scenes. I counted three instances when we’re told something that wasn’t shown on screen, and these were important details that bridged the gap in understanding what we’re seeing in front of us.

– The first half of the film is definitely the better half. There’s no more evidence of this than the final twenty minutes in which a new antagonist pops up out of nowhere to give in to that desire of a final shootout. Not only do I think this was unnecessary, but it feels like tacked on dramatic effect to make up for disposing of an original enemy so early in the film.

8/10

Maze Runner: The Death Cure

Directed by Wes Ball

Starring – Dylan O’Brien, Kaya Scodelario, Thomas Sangster

THE PLOT – In the epic finale to The Maze Runner Saga, Thomas (O’Brien) leads his group of escaped Gladers on their final and most dangerous mission yet. To save their friends, they must break into the legendary last city, a WCKD controlled labyrinth that may turn out to be the deadliest maze of all. Anyone who makes it out alive will get the answers to the questions the Gladers have been asking since they first arrived in the maze. Will Thomas and the crew make it out alive? Or will Ava Paige (Patricia Clarkston) get her way?

Rated PG-13 for intense sequences of sci-fi violence and action, adult language, and some thematic elements

THE POSITIVES

– There are a few surprising cameos both within the realm of this film universe, as well as real life celebrity that raised my respect of reputation for the film. I won’t give anything away, but my favorite character in this trilogy makes a triumphant return and steals more than a few scenes.

– Big budget set pieces. There’s a ringing feeling throughout the film that no dollar was spared in the visual backdrops (Both C.G and non), giving Ball’s conclusion to this series a grown-up action genre presence that has matured along with the characters fittingly.

– The action sequences are very imaginative and rattling with each passing scene. If it is destruction that you crave, let The Death Cure be your anecdote.

– O’Brien’s commitment to at least seeing the series through. Most stars, once they become a big name presence, forget about the roles that made them (See Lawrence, Jennifer), so it’s nice to see Dylan still being a noble contributor and finishing with gritty personality what he started with green earnestness.

THE NEGATIVES

– While I dug the action sequences, the film is littered with them to a fault. As to where ‘The Scorch Trials’ was plagued with too much exposition and not enough action in between, this film is the exact opposite, exhausting me to tears by the repetition in setup that wears itself thin quickly.

– Speaking of exposition, this script picks and chooses what gets highlighted for its audience. Some things that don’t feel remotely important by the end of the movie are given long-winded explanations, while those key details that bridge the gap of understanding for audiences feel lost in the shuffle.

– The film could’ve used an introduction recap in refreshing the previous two films for people like myself who see over 200 films a year and can’t quite remember every detail from Y.A series that rub together. Without it, this only feeds into the hardcore fans who have stuck by this franchise this long and await a payoff that never comes.

– Urgency yes, vulnerability no. Believe me when I say that you never fear for our protagonists a single time once you’re about a half hour into the film, and the reason for this is because there is a laughably tedious routine each time they get in the slightest bit of trouble that sees them escape the jaws of death in the most silly of ways, making it feel like it was planned like such.

– Watching this film with an avid fan of the books gave me a stunning comparison. She revealed to me that this film is about 7% on par with the events of the book, casting a huge drop-off from the book versus film comparison of the original Maze Runner, which she said was 75% alike. This ultimately means that fans of the books might feel alienated with a series they’ve come to know and love.

– My biggest problem with the series overall is what mazes that risk the lives of youths have to do with testing their intelligence. Surely there are less maniacal ways to test their strongest muscle. Perhaps a math challenge??

4/10

Phantom Thread

Directed by Paul Thomas Anderson

Starring – Daniel Day-Lewis, Vicky Krieps, Lesley Manville

THE PLOT – Set in the glamour of 1950s post-war London, renowned dressmaker Reynolds Woodcock (Lewis) and his sister Cyril (Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love.

Rated R for adult language

THE POSITIVES

– Radiohead’s Johnny Greenwood with another truly mesmerizing musical score for his friend, Anderson. Greenwood always feels like he has his hands on the pulse of the films he accompanies, but it sounds like his piano-dominant numbers breathe life and narration into the picture, following along our group of characters through their rocky tribulations that heighten our experience. He’s simply needed more here than ever before.

– The trio of performances by Lewis, Krieps, and Manville that all bring their best game to the forefront. If this is Lewis’s rumored final film, then he goes out on top, breathing life into the workaholic Woodcock that depicts a man burdened by his passion. Together with Krieps, the film’s couple feels like the most honest depiction of love on the screen that we have seen in a long time, channeling a kind of childish bickering between them that gives the audience plenty of innocent giggles. Krieps herself has such rendering facial expressions that she could play her part without ever vocalizing a single word.

– Anderson is impeccable as a triple threat, commanding the camera, screenplay, and helming the luxurious cinematography for the first time. On the latter, Paul uses soft, dreamy backdrops to accentuate the vibrancy that the fashions that adorn. This makes the work of Woodcock pop that much more to the naked eye, and blossoms what I feel is Anderson’s best feature of the irreplaceable work that he takes on.

– Costume designer Mark Bridges and his elegant styles that immerse the film with such first class tastes. Bridges uses layers to sell his gifts to the audience, and if there’s any film that appreciates his artistic vision, it’s one that values and depicts what goes into the perfect dress.

– The screenplay hints that every beautiful gift that is bestowed upon someone can in turn be a curse that renders them lost in their work. This gives our protagonist a kind of man-becomes-monster kind of feel, in that it’s great to see him work, but we know it’s a cancer of sorts to his own well-being.

– I greatly appreciated that this film never took the low hanging fruit that was quietly hinted at especially during the second act. There are enough twists and turns that keep this sometimes redundant screenplay infused with the spark needed to get through the dry spots, and it gave the film enough momentum to carry over into hour two.

– There’s a kind of awkwardness in the idiosyncrasies that surround Woodcock’s lifestyle and routines that value this as anything BUT a casual 20th century love tale. Once we delve deeper, we come to understand the reasons behind this abstract man that stands before us.

– One of the messages that I took away from the film was when you’re in love with someone, you must tailor yourselves to each other. There’s further argument that opposites may attract, but those opposites must learn how to merge together to create something beautiful for all to adore. Sounds like one of Woodcock’s creations, eh?

– Because of so many seamless tonal shifts, there’s more uncertainty as to where this film is headed. There are times of laughter, sadness, and even horror that spring to life, and all of it feels like the necessary ingredients needed for the mental game of chess in the finale that will leave you frozen in your seat.

THE NEGATIVES

– It’s a small problem, but I almost wish that the film would’ve explored the secrets that Woodcock stitches in every creation a bit more. I just feel like to bring it up and use it very little for the remainder of the film makes it either a lost opportunity or a pointless conversation piece.

9/10

Forever My Girl

Directed by Bethany Ashton Wolf

Starring – Alex Roe, Jessica Rothe, John Benjamin Hickey

THE PLOT – The film tells the story of country music super-star Liam Page (Alex Roe) who left his bride, Josie (Jessica Rothe), at the altar choosing fame and fortune instead. However, Liam never got over Josie, his one true love, nor did he ever forget his Southern roots in the small community where he was born and raised. When he unexpectedly returns to his hometown for the funeral of his high school best friend, Liam is suddenly faced with the consequences of all that he left behind.

Rated PG for thematic elements including drinking, and for adult language

THE POSITIVES

– The musical soundtrack of original and unoriginal offerings by Brett Boyett actually isn’t half bad. It’s no secret that this critic isn’t a fan of modern day country music, but Boyett’s feeling for stirring b-side ballads make more than a few of the songs featured in the film earworms, long after you’ve left the theater.

– Whether intentional or not, the film did give me a few laughs which kept this film from ever feeling like it dragged, or that I was having a truly terrible time.

– Pure for the whole family, leaving much of the provocative pull of the book on the shelf to cater to a fraction of the audience that the film will pull in.

THE NEGATIVES

– As a screenwriter, Wolf has a very clouded vantage point of framing that had me scratching my head more than a few times. Liam is a dirtbag of a protagonist, yet we’re supposed to forgive him for leaving his bride to be at the alter because every character in the film does in a matter of seconds? Besides this, the film’s perception of fame is one that seems to come from a child’s mind, complete with music montages of fans chasing after Liam, as well as an over-burdening publicist who doesn’t feel human because she works for big bad Hollywood.

– In addition to Liam’s charming sentiment, he’s an alcoholic that never confronts his problem. For whatever reason, the film chooses not to explore this obvious direction that burdens him throughout the film, leaving much doubt in my mind that the film’s obvious happy ending will be anything but.

– The actors are terribly directed. Even Rothe’s shining star gets a noticeable downgrade here, lost in the sea of beautiful faces that live and breed by the ideal of all style and no substance. Love or hate me, the little girl played by Abby Ryder Fortson might be the single worst child performance that I’ve ever seen. Not that Fortson is terrible as a young actress, but her speech patterns and deliveries never sound remotely authentic to opposite children her age. It’s cute to hear her say something intelligent at first, but soon it becomes a nagging persistent problem with your immersion into the film.

– Roe and Rothe have about as much chemistry as a brother and sister experimenting. The two only kiss once in the entire film, and the fact that this unaffectionate, awkward plunge is the take that they went with, leaves you searching for any kind of passion to prove why they belong together.

– Every point of exposition feels rushed, leaving very little to resonate with the audience in terms of obstacles that they can get behind. If everything is settled and solved this easily, how can you ever expect any kind of dramatic tension to keeping audiences so involved in the story?

– Production mishaps. There is some terrible A.D.R with the actor’s mouthed wording that supplants a theory in my mind about the production. One scene in particular turns an obviously mouthed “Asshole” into “Jerk”, making me wonder if this was originally a PG-13 offering. If this isn’t enough for a full point, consider also the many times that extras both adult and children are caught looking at the camera in plain view. No care was taken at all in fixing these bumbling blunders.

– The air of Nicholas Sparks feels evident in Wolf’s writing. So much so that the beautiful countryside visuals and overall peaceful existence of these characters ever keep them from a taste of complication that keeps them on opposing sides. Because their reunion is more a speed bump than anything else, Wolf felt desperate to instill some third act adversity that could’ve been a very valued piece of exposition early on. As it stands, it just feels like a desperate ploy that quite literally comes out of nowhere.

3/10