Rocketman

Directed By Dexter Fletcher

Starring – Taron Egerton, Richard Madden, Bryce Dallas Howard

The Plot – A musical fantasy about the fantastical human story of Elton John’s (Egerton) breakthrough years.

Rated R for adult language throughout, some drug use and sexual content

POSITIVES

– British led cast. Everyone here is on their marks in providing depth to their respective character’s, as well as instilling a sense of value and weight within the story that makes them vital as supporting cast, but it’s clearly the tour-de-force performance by Egerton that everyone will be raving about minutes after they see it. This is not an impression of Elton John, this is Elton John. Taron gives his best performance to date, transforming the look and sound of his familiarity to compliment that of the imposing figure who he’s taking on, and there’s much eye-opening to be complimented about his work in the film. For one, he does all of his own singing, a feat that until the movie ended I had no idea about. While obviously not as strong or passionate as John behind the mic, Egerton has clearly done his homework, establishing the line of variety in genre offerings from John’s catalogue of music that changed with the scenery of pre and post disco influence. In addition to this, Egerton’s psychological delve is one that captures the energy, love, loneliness, and despair of the singer through some of his biggest triumphs and darkest disasters, and Taron’s timely grip on the pulse of the ever-changing dynamic of the character is one that feels earned brilliantly with the tides of the script.

– Breathtaking production value. This is where the film separates itself from other biopics of the genre, as the look and feel of “Rocketman” was made for the big screen. What allows it to spare itself from feelings of TV-movie-of-the-week budget is in the immense scale of choreographed-led musical numbers, practical precision in make-up designs, vibrant boisterousness of costume design, and a feast for fantasy that blurs the line of reality and imagination seamlessly. If every musical biopic had this level of focus and budget expressiveness, then we would be able to emit the fun from all of the raw energy contained inside, but Fletcher knows that John’s story certainly isn’t a cheap one to tell, and it leads to a barrage of lucid surrealism that benefits from the drug-fueled intensity of the cocaine age.

– R-rating. I still don’t comprehend how “Bohemian Rhapsody” could even imagine telling Freddie Mercury’s life story with the limitations set by its studio and the PG-13 tag it was given, but the decision here to travel the adult route with its material pays off in spades for the way it can properly articulate the meat of its material. From the carelessness of Elton’s diverse sex life, to the abuse of illegal drugs and narcotics, to the rapid-fire fury of the English dialogue, everything is covered in vivid detail, giving audiences a no-apologies depiction of a heralded figure for better or worse, and it gave me great appreciation for the screenplay to use Elton’s biggest negatives to craft an enveloping layer of indulgence for the audience, as well as a dramatic layering to the story, which feels far from topical. Nothing ever feels overdone or desperate to fill an R-rating quota, and it keeps the air of honesty to Elton’s engagements on display in the exact manner they took place.

– Wide range of story. As to where most musical biopics only cover a brief sampling of the artist’s fame, “Rocketman” has an appreciation for everything Elton John, as well as Reginald Dwight. Kicking off during his early days as a kid in dealing with two mentally abusive parents, the film eventually takes us through the entire first half of Elton’s immense 40 year career, before settling down during the days in rehab that eventually changed his life for the better. This seems like a lot to cover in nearly two hours of film, but what’s remarkably shocking is how the film gives ample time to each important chapter without alienating the fluidity of pacing that is nearly always smooth in transition. Beyond this, the storytelling tool in narration is one that I found to be very clever, not only for the way it is set-up in the opening scene of the movie, but also for the way it evolves in diminishing wardrobe with every beat of the story. It gives food for thought in the stripped down nature of John starting and ending his career as Reginald, and comforting us with a blanket of clarity as he finally feels comfortable being the man he was born to be.

– Meaning behind the soundtrack. The film has no shortage of Elton favorites to choose from, conjuring up around twenty-five favorites from the musician that take us through the roller-coaster momentum in his trysts with fame, but there’s something more elusive to the way that each song and sequence transition, proving that Elton always used life as a means, and music as a therapy to bind the two world’s. Films make many mistakes in this aspect, because they often depict a popular song being made in the most topically obvious and unintelligent demeanor, but the almost freestyle effort of song writing that John displays feels replicated from the previous scene in a way that naturally harvests from a tortured soul. It was in this area where I learned the most about John that I didn’t previously know before the film, and helps cement an audible reflection to what’s transpiring inside of Elton.

– Passage of time. I hate to bring this film up again, but my biggest problem with “Bohemian Rhapsody” is how it mutilated important dates and events in Freddie’s life for the shaping of the film, but “Rocketman” gives an alluring and poetic design behind the way it collides with the sands of time. No dates or text is featured throughout the film, and even more shocking, huge amounts of time will pass not only for us the audience, but also for John, which results in him feeling like Rip Van Winkle, in that he just woke up from a ten year nap. What’s so cinematically appropriate for this direction is it captures the fragility and sacrifices paid not only to immersing in the live fast lifestyle that booze, drugs, and depression can form, but also in the routine of being a rockstar, which is anything but appealing by this film’s standards. We the audience are merely left to establish a time frame from iconic Elton fashions, as well as the look and feel of the world that changes around him with nuanced subtlty. It proves that the when isn’t nearly as important as the who or the why, and allows us to get lost in the devil of the details instead.

– Backdrop special effects. This is all done on green-screen, but you would never know it because of the impeccable technology associated with visual time travel in the same vein as Marvel’s ability to de-age a particular actor. This gives us time to soak in the glitz and glamor of the Hollywood specter, as the world famous Troubadour bar becomes youthful again, complete with posters in the windows which are no longer present, and an architecture design that reminds people that the location grew just like Elton did once the two were married in rock and roll on that legendary night in August 1970. If this is the direction that production teams are taking us, then soon there won’t be any need for on-site shooting, and while there is an element of tragedy to that circumstance, the believability and texture shading of flawless computer generation will at least help trim production budgets accordingly, all the while articulating past ages in a way that feels far beyond a visual gimmick.

– Juggling of tones. I wasn’t surprised in how much comedy filled the script, but what did surprise me was the landing power of such witty banter all the while the sting of dramatic elements were being felt. These two co-exist simultaneously through Reginald’s loveless home life, to his questioned sexuality in his later years, to the single most romantic non-sexual friendship between Elton and lyricist Bernie Taupin, and what’s more important is that neither are compromised because of the other’s influence on the dynamic of a particular scene. This film took me on an emotional registry of laughter, fear, curiosity, and sadness for the evolution of the story, proving that it would rather appeal to a broader spectrum of audience tastes rather than cater to the limitations and cliches of one respective field.

– Fletcher steals the light. This is the very same director who finished “Bohemian Rhapsody” (There I go again) from the disastrous production that hindered it to finishing as just a decent final product, but with “Rocketman” it’s a fresh and complete start for the man at the wheel. What we learn from his stroke is that he values the human side of the heralded superstar, carving out a helping of audience investment that keeps us glued to the unfolding drama and tension within Elton’s life that is more urgent because of that focus. Likewise, the influential photography breathes a light of audience connection that features John singing to us the audience, instead of the grand scale that we have come to expect in cinematic musicals. It cements a feeling of professionalism and on-screen presence in rendered style that garners a developing visionary in Hollywood, thanks in whole to commanding the stories of two of music’s biggest icons.

NEGATIVES

– Technical inconsistencies. This brought forth two noticeable problems, with the first dealing with the uninspiring levels of cinematography established in interior office scenes. The coloring scheme and textures establish a level of generated lighting that does nothing to compliment the appeal of the scene. Likewise, a continued problem for Fletcher’s editing team remains prominent in this film, as the editing is far too choppy during scenes involving two character’s. It made for some highly distracting scenes during moments of heartfelt resonance, which deemed it necessary to show us the same line of dialogue in as many as three different angles for what I guess is towards the better of understanding the essence of the conversation? Either way, less anxiousness in illustrating these casual scenes.

My Grade: 9/10 or A-

Avengers: Endgame

Directed By Joe and Anthony Russo

Starring – Robert Downey Jr, Chris Evans, Chris Hemsworth

The Plot – After the devastating events of “Avengers: Infinity War”, the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to undo Thanos’ (Josh Brolin) actions and restore order to the universe.

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

POSITIVES

– The evolution of the superhero genre. What the Russo brothers have done here is astonishing. Over the course of eleven years and twenty-two different films, they have helped mature these movies into something that, despite the abnormal feats and character’s, feels very fleshed out and human in its communication to the audience who have remained faithful to them, and none of this more evident than in “Endgame”. This is very much a film that is visually and narratively adult in the way its masterful approaches transcends the genre, and above all else gives us a great technical MOVIE above everything else. It is cerebral, transfixing, profound, and most importantly consequential in helping to keep the weight in stakes higher than it’s ever felt. Considering some of us have quite literally grown up with these films, it’s therapeutic to see that evolution transpired on-screen, and it helps establish “Endgame” as the perfect emphasis on eleven years of continuity, that will most likely never be matched or topped again.

– Happy to be wrong. My biggest fear after “Infinity War” was a clean and convenient fix that would leave our team virtually un-phased from their conflict with Thanos, and thankfully this isn’t the case, as the stakes remain very much gripped with the direction of the Russo’s constant reminder of their powerful antagonist. I won’t spoil anything, but I was left very satisfied with the way Marvel allowed themselves closure on certain characters, all the while teasing the next phase with some fresh faces. It leaves a permanent mark, for better or worse, on this group of superheroes that will keep them from ever forgetting what was lost in the dreaded Infinity War, and keep us as an audience on the edge of anxiety, as unpredictability has finally come into focus in a world that feels as dangerous and unpredictable as our own. It proves that not everything can ever be the same again, and that the fragility of livelihood is something we should cherish each and every day in our lives.

– Fine balance of dramatic and humorous elements. The very amount of laughable moments from richly ironic dialogue, as well as timely physical humor, made for a nice release after the draining that was “Infinity War”, and established early on that this is a return to form for the airy atmospheres that we’ve come to know from Avengers movies. That’s not to say that there aren’t gut-punches in the film, as the entire first act resonates ever so loudly in all of its depressing imagery and newfound disposition’s that the group find themselves on for the first time. What’s vitally important is that neither direction oversteps its boundaries towards the other, and allows enough careful articulation in each to take audiences on a roller-coaster of emotional response like only a flashy, frenzied superhero film can offer. Very few films this year have mastered one or the other, but the testament to the Russo’s brilliance is how they manage to juggle each without it ever compromising the integrity of one or the other, in turn establishing a hybrid subgenre of action, drama, and comedy that perfectly capture the atmosphere of page-turning graphic novels in all of their intrigue.

– Crisp action sequences. This certainly isn’t a film that is overwhelmed with action set pieces, in fact, the near three hour runtime allows enough pacing in anticipation that when it finally does come full circle, we are treated to enough visual fireworks that explode at just the right moment with our patience. The fight choreography is sharp as a tack, with two sides emulating a physical chess match with each move serving value in the fight for control. The editing is precise, instilling enough speed between actors without an over-abundance of them testing our stomach’s. And the variety in camera angles serves well in the battle of telegraphing for the audience, which can sometimes struggle with an area that should be the easiest aspect. Likewise, the set pieces spare no expense, and leave a barrage of debris and smoke flying at the screen that would allow me to recommend audiences spending a little more for the 3D, which has to be completely out of this world.

– Is it worth three hours? This was the biggest concern heading into the film, and for a majority of the scenes I can say that an inflated runtime is definitely needed considering the wide range of character’s and subplots that all need resolved by film’s end. What impressed me was how this film paid ample respect to each respective film franchise, and gave them the kind of closure that you never expect to see in a world run by money and greed, which constantly ask for the next unnecessary installment. As for pacing, with the exception of the first act, which takes slightly more time than I would like in setting up where this chapter is headed, I remained firmly invested for a majority of this film, and only checked my watch once, when the final battle concluded, serving as a testament to the story’s impression on me. There was never a period where I was bored with the movie, and more importantly, the scope involved in the immensity of the script practically demands that this film be treated as anything other than a conventional episodic Marvel installment, granting necessity to the rarity of this lengthy investment.

– Hidden narrative. Marvel apparently does know how to craft a trailer, as the sudden appearance of this plot took shape about thirty minutes into the movie, and remained intact for the better part of the next two hours. It sort of becomes this heist movie, with the remaining Avengers going after something, but not exactly the what or who that you’re thinking of while reading this. What this does is create some unexpected dream conflicts that would usually be impossible, but here are given life in a way that establishes fun, urgency, and most importantly: a underlying layer of tragedy hidden just beneath the surface. When this direction started, I felt that it overlooked a few more important aspects from what “Infinity War” gave us, but as time progressed I found myself feeling less alienated, and more giving in to this refreshing turn that was unlike anything I’ve experienced in the M.C.U to this point, and gave layers to events in the past Avengers timeline that we thought was dead and buried until now.

– The great Alan Silvestri. Music is usually the underlying poke or prod to an audience’s emotional interpretation. It can be manipulative if done wrong, but the work Silvestri has done in this film, as well as the other Avengers films, shouldn’t be underscored when surfing for proper emotional atonement. In “Endgame” Alan takes us through a triumphant nightmare, full of longing and despair, and combining them with the bombastic orchestral accompaniment that echoes in consistency with that of the single biggest war sequence that you have ever seen in film. In a sense, Alan feels like the often overlooked Avenger, but this critic deems him a necessity for the way his absorbing tones feel like an audibly reflective mirror on sometimes cryptic character’s, and if you feel yourself with any kind of goosebumps throughout the film, you will more than likely thank the talented cast, but you should DEFINITELY thank a composer with an immense responsibility of scoring the single biggest movie in pop culture history.

– Speaking of performances, most of the cast hits again in channeling enough heart and endless charisma for their respective character’s, which makes their fantasy interactions with one another all the more of a blessing. There’s still problems, most notably in the work of Brie Larson as Carol Danvers, which continues to feel like the furthest thing from human that Marvel has ever channeled. But the positives are aplenty, as Downey, Evans, and surprisingly Jeremy Renner steal the show. For the first two, it’s the expected command of leadership and bravado that etch out the perfect two protagonist’s for this gifted army, and preserve the level of commitment that each of them have given in their seventh and sixth films respectively. For Downey’s Stark, it’s that fearful and traumatic nuance that gives the film layers that was only hinted at in “Iron Man 3”, and given legs to grow here with timely adversity. However, Renner stole the show for me, as this rogue assassin who is hellbent on avenging what he lost in the finger-snap heard around the world. Clint Barton has always been my favorite Avenger, and “Endgame” feels like the lost opportunity that we finally get to see what he can do front-and-center, and he never disappoints. Barton’s rage and unshaken focus are depicted in ways that we’ve never before seen, and it sheds the shield and allows him to don a side of dangerousness that we’ve never seen from Nick Fury’s secret weapon, leaving me all the more desperate for a Hawkeye movie that should’ve already happened.

– Peak special effects. This is as good as money can buy in 2019, as the combination of aging, de-aging, green-screen digitalization, and capture motion technology, transcend what we see and believe as real, and leaves us astonished at how seamlessly it all fits into the frame of live action realism. Marvel has once again taken actors who are aged in current day, and instilled youth into them to make us feel like they were recruited at the prime of their acting careers to shoot for a film that wouldn’t see the light of day for another thirty-five years. Likewise, the capture motion of Mark Ruffalo giving The Hulk a more distinguished feature for the actor who is living and breathing inside, is a reflection of just how far special effects have come, especially since Edward Norton’s delve inside looked anything but believable in the 2008 Hulk film. Ruffalo can move and interact without his depiction feeling distorted or enhanced, and the familiarity of Mark’s more obvious features is reflected in a way that makes his transformation feel like a legitimate actor under make-up and prosthetics kind of performance, which in turn helps better register when something hurts him. It envelopes a complex inspiration of artifical generation that puppeteers time in a way that we as humans simply shouldn’t be able to, and stands as the measuring stick for technical achievements, which will no doubt win the Oscar that it should’ve had with “Infinity War”.

NEGATIVES

– Problems with a gimmick. I wish I could elaborate more, but it would be a spoiler. Instead I will say that some of the laws and rules established within Ant-Man in particularly doesn’t make sense, and when we are given an explanation for it, the film just kind of winks and nods towards past films in pop culture that also had a similar problem with this aspect, without giving us an answer that ties it all together. That’s all I’m going to say. Literally anything would ruin this movie for you guys, and I’m not about that.

My Grade: 9/10 or A

Climax

Directed By Gaspar Noe

Starring – Sofia Boutella, Romain Guillermic, Souhelia Yacoub

The Plot – In the mid 1990’s, 20 French urban dancers join together for a three-day rehearsal in a closed-down boarding school located at the heart of a forest to share one last dance. They then make one last party around a large sangria bowl. Quickly, the atmosphere becomes charged and a strange madness will seize them the whole night. If it seems obvious to them that they have been drugged, they neither know by who nor why. And it’s soon impossible for them to resist to their neuroses and psychoses, numbed by the hypnotic and the increasing electric rhythm of the music. While some feel in paradise, most of them plunge into hell.

Rated R for disturbing content involving a combination of drug use, violent behavior and strong sexuality, and for adult language and some graphic nudity

POSITIVES

– The perfect introduction. Noe understands that the way we open a film is vitally important to the kind of undertaking that audiences will endure throughout, and there’s no better example than the first five to ten minutes of this film, in which we see each member of the dance team being asked questions about past drug use, as well as suppressed fears, which will inevitably come into play later. Aside from this, the intro transcends what is playing out on screen by what we can identify in the depiction of the television itself that tells us all we need to understand about Noe’s influences in crafting such a unique vision. Video tapes of “Suspiria”, “Possession”, and “Zombie” are just a couple of the familiar titles that popped out at me, and when blended together made for quite the carnage concoction nightmare that Gaspar dishes out to his audience, as an absorbing student of the genre game.

– Gaspar’s one of a kind command in movement behind the lens. As was the case with his breakout smash “Enter The Void”, Noe again instills a sense of cerebral movement and conscience behind the unorthodox directions and angles that allow him to immerse us further in the dynamics of the characters and conversations that eventually come into play with the eventual dissention that comes into focus later on. As to where most film movements go front-to-back and side-to-side, Noe shifts under the characters, horizontally, upside down, and his signature go-to: above them, in order to breed unnerving atmosphere that articulately channels the surreal reality of drug-induced paranoia. It all adds up to a presentation that exceeds the limits of two-dimension cinematography, all to give the visual direction a heart-beating presence of its own in capturing the escalation and intensity of each respective situation.

– Long take photography. Another familiar trope in Noe’s filmography is the use of minimal edits that would otherwise take away from the dramatic tension of the scene or the performances themselves, and “Climax” is certainly the same in this category. For example, the opening ten minutes is a one take, choreographed dance routine, full of swaying dancers moving in and out of frame with these risky moves that could easily miscue or stumble at any moment. Because these are long take scenes, it’s a testament not only to Goe’s confidence in his actors, but also in the developing chemistry between them, for working together as one cohesive unit throughout the five weeks of filming. Likewise, there are several long takes throughout the film, some manipulated and some not, that follow different characters in and out of frame, to cover every corner of the tension growing within. I always give extra points to a director who transcends conventional storytelling edits in favor of these long-winded deliveries of dialogue and interaction that further invest you in the escalation of the madness.

– Committed performances from an immensely gifted ensemble cast. Both physical and emotional acting is to be credited here, as not only are these actors synthetically channeling familiar behaviors and transformations while being under the influence of psychadelic drugs, but also their bodily contortions vividly give off the impression of unforeseen entity possession. What’s incredible is that we as an audience never see any example of what they are tripping out to in their minds, but thanks to Noe’s risky decisions to allow the actors to interpret and manage their own trips, it is something that visually channels the blending of anxiety, panic, and paranoia respectively. It’s one of those examples where if I learned that this cast really was under the influence to properly convey the magnitude of their performances, then I would believe it without question. They truly are THAT believable.

– Humanity grounded dialogue. “Climax” was written from a five page script that Noe decided to keep limited because he wanted the conversations and interactions to feel realistic in terms of what young adults actually talk about. For a majority of it, it’s sex of course, but in a certain few characters, particularly in a brother and sister duo and two childhood best friends, we hear of their ambitions and American dreams associated with joining the group. It builds to the inevitability of confronting what would otherwise be passing mentions in a throwaway conversation, and what’s important is that its mention never feels obvious in the way it is withdrawn by us the audience. This is very much a fine representation of post-teenage interaction in the mid 90’s (The film is set in 1996), and allows this film once more to feel like a documentary instead of a feature motion picture for the form of grounded reality in conversation, that doesn’t have to appeal to coincidence or obviousness like other exposition-heavy screenplays.

– Closed-off setting. “Climax” entirely takes place during a freak snowstorm, at this French dance school, during the heart of a decade where technological advances of the modern age don’t exist. What this does is keeps the tension building inside of this no escape, no remorse, story setting to the point of suffocating levels of pressure that only further amplify the fears of being betrayed by someone amongst them. What’s vitally important is that not only is this a big place, full of endless neon colored hallways and bedroom sanctimonies, but the camera’s fluid movements that I mentioned earlier, possess an amazing responsibility in documenting these possibilities, so that us the audience can interpret a character’s direction long before we actually see it. We saw what a particular setting can do for a dance horror film like “Suspiria”, and “Climax” is certainly no different in this regard, combining dread, isolation, and growing anxiety to further enhance the claustrophobia that has damned everyone inside.

– Remixing drug interpretation. It’s refreshingly responsible to see a movie made in 2019 that accurately depicts the consequences associated with psychadelic drugs, and why the use of them is anything but a good time. Anymore it seems that drugs in cinema are a way to further enhance the comical aspect of a flat script, or serve as a convenient plot device in a film that overlooks the lasting effects of such toxins as an afterthought. The presence of these inclusions are everywhere throughout this film, never allowing you a second to free yourself from their confines, and constantly feeding into the thought process that the shield of protection gone from logical people, who lose their identities, is something we can neither control nor contain when it comes to the backlash. Films like these, while extreme in what becomes of their dreary isolation, is something that I believe should be shown to impressionable youths, who could be headed down one dark path if only for the lack of information that particular person receives before doing something that’s deemed “Cool” or “Edgy” by the wrong crowd.

– Above all, a solid dance film. These kind of movies are rarely my thing, but once in a while you will see precise dance choreography and amplifying intensity in a group’s chemistry that will make it impossible not to indulge in. Aside from the detailed introduction dance, which is unlike anything I’ve ever seen in terms of continuity, the interpretive solo dances by these flexibly gifted contortionists were something that astounded me, and reminded me just how far the dancing world has become with a new generation of dancers, who will stop at nothing to invest their bodies into surreal circumstance. The dancing in the film is sinisterly hypnotic, made even more effective when you consider that subliminally they are being controlled by something far greater than them, and it sort of feeds more into the scares of the movie when you consider that the car is running, but no one is truly behind the wheel of control.

– Entrancing presentation in production choices. Everything here is firing on all cylinders. From the neon variety of lighting effects, to the sharp sizzle of musical editing incorporated to these dance scenes, to mental heavy sound mixing, which constantly holds a presence throughout, this film is a theatrical experience that should definitely be seen on the biggest screen if only you can’t make it to a theater to check it out. This is French extremism at its finest, preserving every productional aspect to feed into the rising anxiety of the movie that we can pick up on even while sitting in the comforts of our own home. The constant Electronic Dance Music soundtrack that plays throughout constantly helps elevate the tone, and the echoing distance given to a young character’s screaming panic induced the kind of ringing nightmares that are often overlooked in the tools of tactful sound manipulating. To summarize it in whole, it’s a powerful sensory experience even if the moods you’re feeling are uncomfortable.

NEGATIVES

– Two small nitpicks. My problems with the film are miniscule at best, and I would give this film a 9.5 out of 10 if I were still giving halves, but it is what it is. One problem I had dealt with particular choices made by one character who isn’t under the influence of the drug in the same way everyone else is. I can’t comprehend for a second why this person would do the things that eventually lead to her mental breakdown, and it’s made even more complicated by the fact that we receive so little character exposition or interaction with her up to this point. My second problem is a technical matter that bothered me personally, but probably wouldn’t to the conventional moviegoer. When two characters are conversing, the editing will briefly fade to black and then kick back on with the same two characters. I have two problems with this: the first, is that if the movie is conveying the passage of time, it should use quick cuts instead of fades to black, and two, why even have an edit for a film so engaged in long takes? If it’s cutting to the same two characters, it feels like a noticeable unnecessary distraction to pad out the conversation that makes me question the improv capabilities of the two actors in frame.

My Grade: 9/10 or A

Inception

Directed By Christopher Nolan

Starring – Leonardo Dicaprio, Joseph Gordon-Levitt, Ellen Page

The Plot – Dom Cobb (Dicaprio) is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb’s rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible – inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.

Rated PG-13 for sequences of violence and action throughout

POSITIVES

– One of a kind direction. Before “Inception”, Christopher Nolan already carved his name out as one of the best directors of the current era, but after the distinct imprint that he left on this picture, he became one of the greatest minds of all time, challenging the audience in ways that films often don’t anymore. This is very much a passion project for Nolan, whose pictures envelope the very best in all areas of the technical spectrum, and are only surpassed by a script that is the epitome of a game of mental chess. This film is the very definition of expedition, treating us to an idea that geographically feels galaxies away, yet in reality is something that we ourselves can reach out and touch, and it’s because of this quality that the science fiction in a film feels possible for once, because it is grounded in such reality.

– Art imitating life. Nolan based the roles of the Inception team similar to roles that are used in craft filmmaking, with Cobb being the director, Arthur being the producer, Ariadne being the production designer, Eames being the actor, Saito being the studio, and Fischer being the audience. What this does is mold a team-based exercise for the movie out of something that Nolan knows best, giving what I interpreted as an immersion into the mind of a literary and visual genius. In addition to this, the initials of each character spell out a bigger message to the audience at home. D(om), R(obert), E(ames), A(rthur), M(al), S(aito), P(eter), A(riadne), Y(usef) = Dreams Pay.

– Best of both worlds. There is this prejudice in Hollywood that big budget Summer blockbusters can’t be intelligent and poignant, but “Inception” was really the film that changed this dimming perspective. Combining a monstrous budget of 160 million dollars with a script so expansive in material that it took ten whole years to write, made for the rare breed of Summer releases that challenge the audience in ways that disaster films and monster movies simply never could, and man did it pay off. Every time I watch this movie, I learn something entirely new about it, and it’s in those clever nuances that have since become known as Easter eggs where the film has tremendous value as a two-and-a-half hour film that you actually yearn to watch again and again. As far as heist films go, it is easily the most challenging and most evocative that I have ever seen.

– Sight and sound. There are no shortage of achievements when discussing this film, but the exceptional perfection that is the rumbling texture of the film’s sound mixing, as well as the practical-dominated work of visual effects serve as the strongest duo, for far greater reason than it taking the Oscar in both respective categories. The movie’s audio thrives as this building ball of momentum, constantly mimicking that of the intensity in dream conflicts that builds to a satisfying blow-off without ever decreasing the urgency in the atmosphere. Everything introduced into the dream is always enveloped by this emphasis that engages you with its presence, and it’s even more incredible when you consider that most of the jaw-dropping visuals we’re seeing are done with limited- to-no computer generation. It’s a technical marvel that sheds light on the tremendous confidence that Nolan had in his crew in depicting this world that looks very similar, but feels eerily foreign to our own laws of gravity.

– Tremendous world building. While I do have a problem with some of the inconsistencies of the rules established that I will get to later, you can’t deny that this idea within these dream worlds were treated as so much more than just table dressing to the film’s essential plot. The film takes valuable screen time in explaining the rules, ideas, and consequences within this state of sleep that give it this rich sense of originality when compared to anything else in film history. Likewise, the set designs and backdrops feel vastly different in channeling the deeper levels of tranquility that the team invades, so as not to feel redundantly confusing to the audience keeping score at home. Also, the fine tuning of superb editing allows for great visual definition when it comes to each ever-changing layer of the dream, and kept things from ever feeling convoluted in a film where it easily could’ve been. This is editing that is visually telling us as many as four different stories at once, and never lost its location for the story along the way.

– Hans Zimmer’s best musical score to date. Zimmer has always been one of my personal favorite composers, but the work done here is exceptionally breathtaking in the way it takes command of these impactful sequences. Hans not only treats us to a fine variety of eclectic compositions, but his dedicated influence through a majority of this picture prove that he is working overtime when actors need a break from the frame. The music very rarely ever leaves the picture completely, and Hans even manages to save the best for last, as “Time”, a somberly building track that plays during the film’s emotional finale, may just be my single favorite piece of music not only by Zimmer, but by any composer in any film ever.

– Collective ensemble. I’ve read a lot of disdain for the performances in the film feeling wooden, but to me this couldn’t be further from the truth, as Dicaprio’s Cobb channels a lot of anger and grief in the valuable things lost that I felt his addiction to the past to induce shivers each time he comes at a crossroads to let them go. In addition to this, the banter and engagement of these top notch actors constantly keep things fresh because of their differences in dynamic, especially that of Levitt and Hardy, who feel like they have a complicated past between them that have left them uneasy towards one another. My favorite scenes really are just the ones when these characters interact with one another, proving that if personalities and presence are strong enough, you can’t get enough of their influence on the picture.

– Absorbing cinematography. The shot composition and color illustration in the film serve so much more purpose here than to outline a beautifully intricate film, it also establishes versatility in complexion that mimics each room it invades. Pay close attention to the background lighting or color pallet in each scene, and you’ll get an undeniable sense of how something so distant plays such an unavoidable presence in the foreground. What made it a done deal for me is that the color correction never feels overwhelmingly artificial, instead endearing subtly in a sponge-like quality to harvest the artistic merit in each scene. For a film made in 2010, it could easily stand tall with the 4K definition of a 2019 film.

– That controversial ending. (Light SPOILERS) Like most artistically poignant films, this one has plenty of room for interpretation, during the film’s pivotal closing moments. Many people have their own take whether Cobb is indeed awake or not when he is reunited with his children. My personal take is that there is a wobble on the spinner right before the screen fades to black, therefore instilling the idea that this is the real world. I say this because in the dream world there never was one instance of this even slightly wobbling even a little bit, therefore he must be in the real world. Either way, I applaud Nolan for giving food for thought to the idea that there is no wrong answer, and that either ending could alter the feeling of the film and its characters conclusively. It proves that endings don’t always need clarity to hit you the hardest emotionally, and if done right they can leave plenty of room for incorporated fan feelings, because after all, that is why movies are made in the first place.

NEGATIVES

– Inconsistencies with the rules. Some of the glaring problems upon my recent watch involved a few things that crossed my mind as being false, based on the established rules. The first is with the Limbo stage of the dream itself. If Limbo is indeed thought of as the point of no return, why is it so easy for Ariadne, Cobb, and Fischer to escape it by simply killing themselves in the dream? What about Cobb’s incarceration? How was he found guilty when he wasn’t even in the hotel that his wife jumped from? Doesn’t the hotel have cameras showing who went in and out of each room? Wouldn’t they have record of her checking into two different hotel rooms? It seems pretty clear cut to me. Finally are the audience conveniences that make absolutely zero sense in the context of the movie, but are there to forcefully teach the audience about the dream world. Why is Cobb even set up for a water kick when any kind of kick would work in waking him up? Why does it have to be water, and why not a mattress? How come the fall itself into the bathtub doesn’t wake Cobb? I’ll tell you why: So the movie can show water invading a dream. Once again, it only makes sense in the context of speaking to the audience. What about Cobb failing three different times during Saito’s test, and yet he still hires him anyway? What about Cobb’s kids being in America while he lives in other countries? Why not send the kids with Grandpa (Michael Caine) over to where Leo is, so they can be together? I could go into these things for years, but these were the ones that really bothered me.

My Grade: 9/10 or A-

If Beale Street Could Talk

Directed By Barry Jenkins

Starring – Kiki Layne, Stephan James, Regina King

The Plot – Set in early 1970s Harlem, the film is a timeless and moving love story of both a couple’s unbreakable bond and the African-American family’s empowering embrace, as told through the eyes of 19-year-old Tish Rivers (Layne). A daughter and wife-to-be, Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancĂ© Alonzo Hunt, who goes by the nickname Fonny (James). Friends since childhood, the devoted couple dream of a future together but their plans are derailed when Fonny is arrested for a crime he did not commit.

Rated R for adult language and some sexual material

 

POSITIVES

– Jenkins’ impeccable influence in black cinema. What I find so refreshing and commanding about Barry’s touches as a storyteller is in the ability to finely illustrate characters of color in a way that renders them every bit as human as they are relatable. A lesser director neglects to stray far from the confines of subliminal stereotyping, but the people in Barry’s films are enriched with a level of respect and class that sadly black cinema just doesn’t capitalize on enough, and this in turn allows you to comprehend not only the nuance of every character’s personality, but the mentality of what makes each of them vibrantly tick.

– In addition to what I just mentioned the film offers mind-blowing and exceptionally eye-opening commentary on black experiences inside and out of the judicial system. What’s impressive is that it often does this in deep-focus conversation instead of showing us front-and-center, preparing us for what’s to inevitably come thanks to this informative foreshadowing. I was also painted with these strokes of helplessness, paranoia, and especially longing, that made the material blossom with self-indulgence. This is a film tnat takes place in the 70’s, but the contrasts and poignancy to the kind of injustices still going on in our own world in 2019 highlight an unnerving feeling that I simply couldn’t escape, nor did I feel that the audience ever should. It’s moving material to say the least, and offers an underlying pressure boiling beneath this nourishing love story.

– Competency in juggling dual-narratives. The storytelling in “Beale Street” is somewhat a linear structure, in that it is being told in a straight line, however there are actually two different time periods, before and after Fonny’s arrest, that the film simultaneously captures. What’s important is that there is plenty of time distance between both arcs, giving them narrative importance in keeping up the consistency of the pacing. One or two scenes do feel briefly repetitive, but there’s nothing inside that I would ever cut or trim, as I feel like just under two hours was the proper time allowance for this film to thrive on.

– Above and beyond artistic merit. This is a BEAUTIFUL film, complimented by an expansive set of shot composition photography and dreamy cinematography by frequent Jenkins collaborator James Laxton that offer enough experimentation and capture to constantly dazzle. During scenes of intimacy or reflection between our romantic leads, we are treated to POV slow-motion style depictions, with some of the strongest framing that I have ever seen. It gives the intimacy between them a feeling like nothing else exists in their world, as well as a vantage point in the scenery surrounding them that perfectly articulates the different worlds that their respective character’s come from. If you see this film for anything, see it for the images that solidify the team of Jenkins and Laxton as one of the best 1-2 visual combos since Villenueve and Deakins.

– The pulse of the neighborhood itself. This is really what I refer to when I mention that a setting is a respective character in a movie, as the very look and feel of this rapidly changing neighborhood really preserves the heartbeat of the many ideals and adversities locked inside. Throughout the film, we are treated to haunting visuals and unrelated stories from neighborhood citizens that conjure up a complete feeling of what it means to be settled here, and it’s in these feelings where the spirit of a proud but terrifying world reflects with each of them. Jenkins takes his time in capturing the polished colors and abandoned buildings of a once prestigious landscape, and really makes them pop against the ambitions of these two people who are now making a world for themselves.

– Immersive sound design. One thing that bothers me in films is when a scene takes place in what would otherwise be a noisy surrounding, and we only hear the conversation between the characters in our story. That couldn’t be further from what’s going on in “Beale Street”, as this place that is described early on as a noisy one perseveres with its own rhythmic shifts in traffic and population to constantly remind you of its presence. I would frequently close my eyes and let the narration of the characters tell me the story, and each time my imagination came to fruition because of these echoes in the atmosphere that only go away when a movie wants to be completely dishonest with itself and the world it creates. I give this film all of the respect in the world for bringing along the complete picture, and not just the things that are obvious.

– Nicholas Britell’s emotionally picturesque musical score. Britell is given vital free range here to play with feelings and nerves present in the film, and does so with such attention to character atmosphere that really takes us the viewer on a roller-coaster of free range emotion, through the ups and downs of this shaken family. There are many excellent musical takes from the film, but the one that has been on repeat coming through my speakers since I saw the film is “Agape”, a three minute tender sentiment that captures so much of the hope and fireworks associated with falling in love for the first time. I have attached it next to the trailer, up top. The relationship between jazz and classical music thrive in complexity from the different styles of technique pumped into each, and that’s never more prominent than its inclusion into the airy worlds that Jenkins manufactures.

– All of the performances are also well-timed and essential to the importance of scenes, but for my money it’s Layne and King who steal the show. Layne’s got the kind of eyes that weaken you in the knees, and continuously transfer her feeling of emotional registry long before she ever says a word. As for King, it’s a return to form for an entirely underrated actress, who here serves as the glue that bonds this family from falling apart. King gives us no shortage of long-winded dialogue deliveries, and the fire that captures the love she has for those important to her is admirable and conveying in the importance of a Mother’s touch on any family. I hope they both receive Oscar nominations, as the film would lose a lot of its luster without the perfect casting of each.

– My favorite scene. Amazingly enough, the scene that stuck with me the most throughout the film doesn’t have a single character, nor a line of dialogue spoken. It takes place with one of Fonny’s incomplete wood carvings, and the camera continuously revolves around it, illuminated by warm, golden lighting, and to me represented Fonny, in that it and Fonny both have the potential to be something whole and complete. It’s one of these genius moments that cement Jenkins as a genius, but also the importance of hope, which feels like it’s slipping the longer the film goes on. Take time to appreciate scenes like these, because often directors are trying to convey something to us that is anything but beautifully decorated table dressing.

NEGATIVES

– There’s very little to complain about in this film, but small things distracted me from an otherwise perfect presentation. The first is in two big name cameos that lessen the impact of fresh-faced atmosphere from the picture. My problem is that these two are not only obvious, but a bit cartoonish because of the roles they portray, and it just didn’t sit well when everyone else is portrayed and grounded in such realism. The other problem I had is in the film’s attitude lacking the kind of urgency that was so prominent in the novel. While I was firmly invested in Fonny’s on-going trial, the lack of a scene depicting how much prison is changing him could’ve done so much in capturing the essence of time.

My Grade – 9/10 or A-

Vice

Directed By Adam McKay

Starring – Christian Bale, Amy Adams, Steve Carell

The Plot – The story of Dick Cheney (Bale), an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush (Sam Rockwell), reshaping the country and the globe in ways that we still feel today.

Rated R for adult language and some violent images

POSITIVES

– Political commentary of the finest kind. “Vice” is certainly no love-letter to Dick Cheney, nor is it a pulling of the lever execution for what some call the worst thing to happen to the White House. This is a film that lays out all of the facts, for better or worse, allowing the audience to soak everything in with regards to the first man who really re-defined what it means to be a Vice President. Nobody believed for a second that Bush was ever the maker of moves behind his desk, and because of McKay’s air of truth to his story that doesn’t cater to either of the political agendas, we come to understand just how deep Dick’s influence lay with the surrounding courts, parties, and offices in and surrounding Washington D.C. Because of the immense level of detail and information, even someone as politically interested as I am found this movie to be a novel of knowledge that is translated completely to the big screen.

– Perfect tone of atmosphere. McKay’s impeccable direction is only surpassed by his sharp tongue wit of screenwriting that perfectly encapsulates the absurdity of the events being played out before us. Because this is real life, the only way to approach it is to expose it for the hilarity of the situation, and Adam’s precise timing with sarcasm, as well as his tools for the trade technically (more on this in a minute), give a surprisingly feel-good time to such terrible American events that would otherwise leave a rock in your system. It’s a rare look inside of the over-the-top villain we all love to hate in movies, but this time it’s real life, and that is what makes most of the material astonishing in how it’s supplanted.

– Text book editing and technical merit with the film’s presentation. McKay uses plenty of at-the-time references in pop culture, as well as subtle metaphorical digs to expose character’s seedy ambitions. More than that however, the editing of pasted-in stock footage serves as a look inside the mentality of a politician, teaching us that when the light is on, danger lurks. Some examples are that of a fishing pole reeling in its catch to emulate that of Cheney’s sell to Bush to become his Vice President, as well as predators in the jungle who snatch their prey, echoing that of the government monopoly that allowed Dick to quite literally corner every angle of the game. In addition to these marvelous techniques, the film’s credits play with still nearly an hour-and-a-half left in the film, and the intention is something so magnificently brilliant that I just can’t give it away here.

– Best ensemble cast of 2018. Not only do these not feel like spirited impressions, but each of the big name actors lose themselves whole to the characters they portray, giving me several moments during the film when I had to remind myself who played them. None of this is more evident than that of Bale in the title role. Christian has already won the Oscar, he just doesn’t know it yet, or maybe he does. Maybe it’s his confidence that allowed him to emulate Dick’s very speech patters, to his quivering lip, to even the way the man walks. Every year there’s always that one transformational performance that drops your jaw in how creepily concise it is, and Bale’s storied career will always come back to this heralded revelation, no matter what the man does for the rest of his life. Amy Adams is also brilliant as Lynne, Dick’s longtime significant other. Beyond being just an arm piece for our main character, Adams proves early on that behind every powerful man there’s an even more powerful woman, outlining Lynne as someone who picked up the slack when Dick couldn’t because of failing health concerns. Steve Carell, Sam Rockwell, Lily Rabe, and even Tyler Perry also bring their best to their respective characters, immersing themselves in such a way that removes doubt of familiarity from these accomplished actors and brings light to just the character gracing us with their presence on our screens for one more day.

– A greater understanding. One of my favorite aspects with “The Big Short” was how it related the housing and stock market terminology and structure with these creative instances of celebrities translating them for a wider audience. Something similar is done here, and once again it doesn’t feel dumbed down or catering with its inclusion. One such instance this time involves a restaurant dinner scene with Dick and pals reading from a menu that has some honest-but-appalling bureaucratic descriptions. It’s something that once again caters to the sarcasm of the humor level, all the while providing us information to actually give us a candid look inside of the moves being made in the ivory tower.

– Surprises with the pacing. I simply couldn’t believe that just over two hours had passed in watching this film, as the rapid fire developments and variety of material constantly kept the film interesting, and more importantly: elevated. What I mean by this is the stakes continue to rise higher, until this feels like no one will get out alive, and by that point the devastating blow can come from any direction that has long since been set up. This all keeps the film moving along smoothly, avoiding the hiccup of a first act that sometimes feels a bit scatter-brained and disjointed in picking up proper momentum. But once the familiar administration comes into play, it makes up for those forgetful first 30 minutes in spades, taking the audience through an education lesson on those we invest our trust in every day.

– A wide spanning of Dick’s entire life and career. If you’re someone like me who loves when a story doesn’t just begin and end on the meat of the material, you’ll enjoy “Vice”. The film begins in Wyoming, where Dick and Lynne meet, fall in love, and begin their push to make something of themselves. It’s funny when you consider the most influential V.P of all time began as a way to impress his wife, but that’s what we get here, and it’s in that unabashed ambition where we get a protagonist who we can sink our teeth into and possibly give us the only time when we the average people can relate to someone so obstructed by opportunity. Far beyond this though, it goes through the highs and lows of his life accordingly, never leaving out one event in the unconventional rags-to-riches story that is promised.

– Brilliant gimmick with the narrator. I again cannot spoil this intelligent aspect of the movie, but I can say that Jessie Plemons voices and appears on screen several times as the narrator to Cheney’s story. What is his connection to Dick, Lynne, or anyone associated with them? That is where the true element of surprise takes form, making for one of the more shockingly fitting twists that I have seen in quite some time. I’m not someone who particularly enjoys narrators or narration in a movie, as I feel it often takes away from the immersion of the story itself, but I can promise you that it’s all building to something devilishly constructed, and may be the single greatest metaphor for McKay’s style of diabolical cynicism that tends to be a character in all of his films.

– Flawless make-up and prosthetics. When a film has over two hours to work with, the make-up team can properly span the aging process fruitfully, and that is what we get here with Dick’s familiar balding grey hair and wrinkled face. When the film begins, we still see Bale because it’s basically just him with a little weight gained on, but as the story expands through different decades, the aging feels every bit as timely as it does transformative, diminishing Bale trademarks in favor of this conjuring of the former Vice President. The make-up itself feels believable and never too over-the-top to turn aging into a cinematic gimmick.

NEGATIVES

– Sometimes during the film, it feels like important details are missing from anyone who isn’t Dick, and that void leaves exposition holes as big as the sun. One such instance involves W’s rise to power from being a fall-down drunk college boy. One second he’s insulted by everyone in the Republican party, then the next scene he’s running for president. What’s missing that evolved him as a front runner? This isn’t the only time the movie treats us like we should already know these details, skimming over the evolution of the world outside of its central protagonist. It might be acceptable to some people because this movie isn’t about them, but I think Bush’s story plays as prominently for Cheney’s opportunistic persona if we know all of the facts of his road as well. They are conjoined for the rest of their time on Earth, so why does the movie try to distance them as much as possible?

My Grade: 9/10 or A

The Favourite

Directed By Yorgos Lanthimos

Starring – Olivia Colman, Emma Stone, Rachel Weisz

The Plot – Early 18th century. England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne (Colman) occupies the throne and her close friend Lady Sarah (Weisz) governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant Abigail (Stone) arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing and Abigail sees a chance at a return to her aristocratic roots. As the politics of war become quite time consuming for Sarah, Abigail steps into the breach to fill in as the Queen’s companion. Their burgeoning friendship gives her a chance to fulfill her ambitions and she will not let woman, man, politics or rabbit stand in her way.

Rated R for strong sexual content, nudity and adult language

POSITIVES

– A trio of award worthy performances. Most films are fortunate enough to contain one breakthrough performance that earns its film recognition, in the form of word of mouth, but “The Favourite” is fortunate enough to have three, a testament to Lanthimos’ tight grip on his characters. Colman adds enough dimension and complexity to this Queen that reaches much further than her being just another spoiled recluse of royalty. There’s an air of sadness and loneliness to her that makes her engaging, despite her endless riches that no audience can relate to. Weisz also marvels as this sternly plotting right hand woman to the Queen’s operations. She does so with very little physical interaction and no yelling during her long-winded threats, and it’s all capped off by Rachel’s cold measuring stare that lets you know an idea is always brewing behind this exterior. The show stealer for me however, is definitely Emma Stone, channeling a transformative performance that adds yet another layer to the young starlet. Abigail knows how to get what she wants, and her sponge-like perception to soak up the boundaries in every situation is what makes her every bit as cunning and deceptive as her counterparts in power.

– The fine use of natural lighting throughout the picture. Aside from Yorgos’ expected cold, greying cinematography that feels more appropriate than ever during 18th century England, the presentational aspect of dimmed lighting and lustrous shadows provides much artistic integrity to the creativity in every shot. This unflinching darkness enveloping these auburn reds and sunlight orange tapestries tend to follow these character for the entirety of the film, visually conveying the ulterior motives behind every act of kindness that only serve as table dressing. This decision articulately channels the cold and insensitive surroundings of the immense mansion, and gives way to filters of colorful expression that never compromise the focus of any shot.

– Lanthimos, the master magician of the lens. In his previous films “The Lobster” and “The Killing of a Sacred Deer”, Yorgos used unorthodox camera angles and gimmicks to emit this layer of unsettling atmosphere that really allows the audience to immerse themselves in the interpretation, and we thankfully have more of the same here. Particularly in the use of fish-eye lens, the occasional inclusion feels foreign to the rest of its visual counterparts, allowing us these moments of valued focus to soak up the ever-changing scenery. Aside from this, Yorgos’ movements of the camera are always smooth and patient, never settling for handheld camera work that would otherwise distract from the artistic integrity of the portrait being painted before us. This tells me that this is a man who knows the best bang in every aspect of shooting a film, and “The Favourite” is easily his most technically ambitious film to date.

– A sensational game of cat-and-mouse. The rivalry between Abigail and Sarah in the film is easily the sell of it all for anyone who has seen the trailers, and it more than delivers on its pitch thanks to a combination of unpredictability and consequence that constantly raises the stakes. This provides plenty of examples of psychological and physical displays of power between them, and the film is wise enough to constantly keep them leveled evenly, so as not to sway the audience’s decision for who the Queen is better off with, one way or the other. There are many times during the film when the balance of power switches and unforgivable actions takeover, and it forced me to switch my opinion several times for these two dueling dames, providing emphasis for a circumstance so complex.

– Chapter title screens. The entirety of the 115 minute film is divided into these eight devilishly delicious sections, each numbered by Roman numerals, and supplanted with a pulled cryptic quote from somewhere in the film’s dialogue. Many films have been doing the storybook approach lately, but why it works so well for this story in particular is the ambiguity and double meaning of the quotes themselves, to constantly keep you guessing in terms of where this story will take us. There is nothing mentioned in text that ever remotely serves as a revealing spoiler, preserving the quality to constantly keep us guessing while giving importance to the value of episodic storytelling.

– Accuracy in wardrobe and costume design. Mark my words, “The Favourite” will earn an Oscar nomination in the wardrobe department, and the reason for this is the collection of rich Bohemian gowns and expressive makeup design that durably channel the era of England that it’s depicting. With a series of elegant dinner parties and Parlament courts under the roof of this royal mansion of frequent guests, we learn that no cent is spared in the fashion sense of production design, and more importantly it all stays consistent with the respective time period (Take notes “Robin Hood”).

– One thing that I love about Lanthimos’ tones in his films is his ability to channel this comfortable blend between comedy and drama that breeds a subgenre of its own. Considering the shocking and dramatic pull of the material inside of these twists and turns, I wasn’t expecting to laugh half as much as I did. This dry, caustic kind of wit is made for someone like me, who has always seen the charm in English humor that is otherwise considered strange to my territory. The expressionless deliveries of some of these lines occasionally require double takes to let the punchline reach the heights of the quiet surrounding it, and the lunacy of royalty while eating and dancing is more than approached on to give ridiculous emphasis to something that should otherwise be considered prestigious.

– Johnnie Burn and William Lyons riveting use of classical music. There’s a strong compromise here of soft time-honored pieces combined with modern day production quality that gives new life to the music that adorns the film, and makes for a racketing of tension to flow freely into each scene. There is one such number that got a bit derivative for how long its same three tones are repeated throughout the scene, but everything else is delivered with such thunderous volume and echo to make it feel like the music plays throughout the house, instead of just accompanied in post production incorporation.

– Thought-provoking in the way it incorporates provocative subject matter with historical figures of yesterday. I don’t want to give too much away, but a revelation about the Queen happens thirty minutes into the film, and changes the complexion of this cousin rivalry moving forward. What I liked about this aspect was how it’s approached in terms of its shock factor towards its delicate time period, acting as a sort of weakness for her character during a time period when such personal ideals were anything but progressive. Where it crosses over to psychological for me is thinking about the possibility that many royal figures were just like Anne in this movie, in that they died with their own kind of secrets in their minds.

NEGATIVES

– For my money, the film feels slightly uneven after the incredible pacing and blow-for-blow battle for leverage during the first half of the movie. Once this angle runs out of gas, the second half, and more particularly the third act, is left to close things up in ways that don’t feel satisfying, conclusive to the progression of the narrative itself, nor believable for the Queen considering what we’ve been taught about her. I understand the point of the film’s closing shot intention accurately enough, but it loses so much steam by the redundancy of the final act that you wish it would just cut to the chase already. It stretches out for what feels like miles, and serves as the only point during the film when I wasn’t having a blast.

My Grade: 9/10 or A-

Spider-Man: Into the Spider-Verse

Directed By Bob Persichetti, Peter Ramsey, Rodney Rothman

Starring – Shameik Moore, Jake Johnson, Hailee Steinfeld

The Plot – Miles Morales (Moore) comes across the long-dead Peter Parker (Johnson). This Peter Parker is not from his world though; he’s from somewhere else in the multiverse. With Parker’s guidance, Miles will become Spider-Man: and through that he will become part of the ever-expanding ‘Spider-Verse’.

Rated PG for frenetic sequences of animated action violence, thematic elements, and mild adult language

POSITIVES

– Comic book magazine come to life. There have been films classified as a comic book movie endlessly before, but “Into the Spider-Verse” is the rare exception that actually lives and breathes by this definition. Aside from the breathtaking cinematography that literally transfers the backdrops and landscapes of the comic book accordingly, the movie also brings with it some unique traits in personality that sets it above its kin of the genre. As an animator turned director, Persichetti instills on-screen text that reacts to sounds, on-screen text boxes that serve as the narrator inside of Morales’s mind, three-cut perspectives that radiate that side-by-side feel of a comic book dynamic, and of course the wind range of animation from each respective Spider-Man in the film, that cohesively bonds to feel smoothly in the same film or in this case universe.

– Entrancing visuals in animation. Everything from the variety of ever-changing set designs, including but not limited to a cyberpunk inspired 2018 New York, to the texture of the animation itself, feels every bit as authentic as it does transcendent of the screen, carving out that layer of comic book euphoria that takes precise expertise to competently master it. Sometimes the animation feels straining, like watching a 3D movie without the glasses, but it’s all intentional, as it echoes the vibes perfectly of comic book pages that sometimes lose a little bit of that focus in being the victim of a copy of a copy. But when it’s smooth in depiction, “Into the Spider-Verse” is not only the most beautiful comic book movie of all time, but easily the most beautifully textured film of the year for the knockout presentation that constantly raises the bar with each passing minute.

– Transformative voice acting from a well rounded cast. Shameik Moore is brilliant as the film’s central protagonist, vocalizing the combination of immaturity, fear, and daring nature that we’ve come to expect in the character, from Miles big screen debut. Moore himself is 23 years old, but excels because of a softer and gentler side to vocalizing that easily allows him to immerse himself in this teenage nerd of sorts. Likewise, Nicolas Cage is delightfully meditated as my favorite Spider-Man offering: Spider-Man Noir. His voice is unmistakable, but the smooth deliveries in the manner that only Cage can deliver makes him perfect for the role, and carves out a second animated role of the year (Teen Titans Go To The Movies) that should provide a rebirth for one of America’s most celebrated actors. Jake Johsnon steals the show as Peter Parker, and does so by giving us an older, depressed side to Peter that movie fans aren’t used to seeing. Johnson’s dry delivery and constant undercutting of Miles made for some of my favorite exchanges of the movie, and carved out a dynamic in chemistry between them that had me begging for more films between just these two characters.

– Like most Spider-Man movies, there is a twist midway through the film, and it couldn’t have come at a better time. Between weak underwriting of the antagonists, as well as a story that was starting to lose steam, this reveal comes and sort of adds fuel to Miles’s fire, serving as the catalyst to motivate him to become who he’s destined to be. This twist actually did throw me off, and reminded me repeatedly of the one thing that comic books do better than telvision shows or movies, and that is the capability to make something so small feel so devastating to everyone enveloped in the unraveling narrative.

– Thunderous sound design. Although the narration deliveries are a bit mumbled and hard to hear throughout the film, the rumbling intensity of character perspectives allowed the audience several takes to investing themselves into the shoes of the character. One such example is early on in the film during a ride to school between Miles and his father, and we are treated to the faint sounds of cars whizzing by. Sounds small in effect, but I can’t tell you how many movies bumble this sound design repeatedly, taking something so honest as influence of environment and wiping it away to constantly remind us of studio interference. This of course isn’t the only aspect of this impactful sound scheme throughout, but just an example of how much time and effort went in to establishing an environment and seeing it all the way through to the finish line of the scene’s progression.

– Patience in storytelling. What I appreciate about the story inside is that it never feels rushed or forced to approach the same kind of familiar tropes that so many of these films are about. As much as this is a coming of age story for Miles, it’s also a family drama, and the elements of both of these slow cook, giving time to each to boil to the top once they’ve reached their respective intensities. Likewise, I also appreciated Miles growing into his capabilities as Spider-Man, instead of being great at them right away. This drives me nuts constantly in Spider-Man films because no one should be able to master these gifts without practice, and Morales’s story finally gives us insight, as well as concentration into the one who accepts these responsibilities.

– Doesn’t try to be something that it’s not with time allowance. So many superhero films are encroaching on that two-and-a-half hour mark with very little reason, but “Into the Spider-Verse” stays confidently firm at 108 minutes because that is how much story it has to tell. Because of this, the pacing feels smooth, never giving us an obvious moment of downtime or lag to the progression of the movie, nor the bottling of momentum that never manages to lose even a single drop. I was very much consistently invested in this story and characters, and this feeling gave off the impression that I was being re-introduced to the superhero genre all over again.

– The more you know. The film will appeal to fans young and old of Spider-Man all the same, but if you have followed this legendary character with more dedication, you will be rewarded for your years and dollars invested. Throughout the film, we are treated to an endless offering of inside character jokes, surprising cameo appearances, and a post credits scene that pokes fun at a certain meme that is all the talk of the comic book community. Aside from this, the humor is above average, and more importantly does so by providing observation at the honest, awkward moments of life, instead of catering to a set-up and delivery that can otherwise grow tiresome.

– Thrilling action sequences and set pieces that add to the intensity of the scene. Much of the fresh consistency comes from the variety of villains that adorn the film, but two sequences in particular stood out as fantasy in possibility that remind us why animated is the way to go for comic book lore. One such scene takes place with Peter and Miles swinging throughout the woods of what feels like an endless forest, giving us several intelligent uses of the web that a city setting just can’t accommodate, and the other is the film’s climax fight high above the city limits, at crossroads of the many universes we’ve been told about. Both of these scenes are great for their super quick arsenals of choreography that exchange like dance partners, but the true beauty and consequences of the latter gave us a finale with a familiar antagonist that fully realizes the Miles transformation.

NEGATIVES

– For my money, I could’ve used more development in the relationship between Uncle Aaron (Voiced by Mahershala Ali) and Miles. We’re constantly told what Aaron means to Miles, but rarely shown it, and I could’ve used a few more scenes to flesh out and truly feel the drama of something that goes down between them. Even if this is nit-picking at this point, this stands out like a sore thumb as the film’s most noticeable weakness, and I could’ve used a couple more scenes to magnify Aaron’s importance to the script and give the movie enough reason to reach for that two hour runtime.

My Grade: 9/10 or A

Green Book

Directed By Peter Farrelly

Starring – Viggo Mortensen, Mahershala Ali, Linda Cardellini

The Plot – When Tony Lip (Mortensen), a bouncer from an Italian-American neighborhood in the Bronx, is hired to drive Dr. Don Shirley (Ali), a world-class Black pianist, on a concert tour from Manhattan to the Deep South, they must rely on “The Green Book” to guide them to the few establishments that were then safe for African-Americans. Confronted with racism, danger-as well as unexpected humanity and humor-they are forced to set aside differences to survive and thrive on the journey of a lifetime.

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

POSITIVES

– The powerful dynamic between the two leads that keeps your attention throughout the film. There are very few scenes when Mortensen and Ali aren’t sharing the screen together, and that dependency speaks volumes to the confidence that the script writers had on their unshakeable chemistry, which is appealing in any and every way you can imagine. Besides their impeccably witty banter that I couldn’t get enough of, and firm grasp that each actor had on their character, the duo each do a positive service to the other, like how Tony breaks down decades old levels of racism in how he was brought up, and Don adapts to the cultures and experiences that have eluded him in his classical music upbringing. Each character opens up the eyes to the other, and it’s refreshing to see two older male leads who work better as a team than they do solely.

– Speaking of those two men, the performances from them are more than deserving of Oscar consideration, and consistently keep pace with each character’s evolution. For Mortensen’s Tony, he’s every bit naive as he is disgusting, and it’s in the unabashed nature of the latter that keeps the former in the range of childhood innocence. He says some pretty offensive things, but you get the feeling that he doesn’t know any better, and Viggo’s charisma is constantly on display. For Don, it’s a classier side of Ali that we unfortunately haven’t seen until now. Mahershala keeps Don bottled up for most of the movie, restrained by the confines of countrywide racism and isolation, as a result of his astonishing talents. Ali continues to build lengthy presence on screen, and his designation as the straight man to Tony’s mayhem never limits him to playing second fiddle.

– In seeing the trailers, I designated this as just another road trip film, with sprinkles of racist tribulations thrown in, and I couldn’t have been more wrong in that assumption. Sure, the elements of that subgenre are certainly there, but they’re only an outline to cater to a much bigger picture. The film’s meaty material guides us through elements of racial stereotypes, police brutality, and obviously the cultural divide between the north and south. This film takes on so many subplots, and yet it succeeds at stirring the pot of conversation in every single one of them. Eventually, it even evolves into one hell of a Christmas movie, during the emotionally stirring third act that warmed my heart in ways that only the Christmas classics have done. I haven’t felt this emotionally satisfied from a film in quite some time, and its important subject matter makes it very time appropriate for our particular age.

– Unorthodox introduction. There are no opening credits or title card in the film. This is done as a way to immerse audiences into the action of the opening scene, and ultimately makes them forget that they’re watching a film. I would like to see more movies taking creative stances like this one, as I feel too much is hung on the conventional introductions that have otherwise become stale in films. With more emphasis on the transcendence of real life, the film can blend into the real story taking place at hand. Beyond this, some of the real life Vallelonga family members are extras during family dinner scenes.

– Peter Farrelly’s strongest work to date. Yes, it’s the same guy who wrote the ear jizz scene in “There’s Something About Mary”, but this is Peter’s welcoming parade into the world of compelling drama and hearty lessons, that audiences can take home with them. What’s most impressive is Farrelly’s ability to incorporate the same kind of comedic material that exists in his previous movies, and balances it with the dramatic pulse in material that adorns the film, and none of it ever misses a step. This keeps the optimism firmly in the air of a consistent tone for the film, and it’s an example that no director in Hollywood should ever be written off before the project is finished.

– The look and feel of 1962 is represented fruitfully with an earnestness to captures that radiates. There wasn’t a single aspect of the vintage automobiles, three piece suits, or throwback hotel interiors that didn’t sync up, and it’s great to see a film that captures the beats of its respective era by properly channeling the vibes of everything prominently familiar about it. Visually, this is an America we’re no longer accustomed to, and it gives food for thought for the picket fences format, in that the most disturbing things are happening in the most ideal looking backdrops.

– We’ve seen this kind of story before, but what transcends the material of the cliches within this screenplay, is the poignancy of it being based on a true story. These were two men who remained best friends until their dying days, only months apart from each other, and the film does a strong enough job of juggling the expectations of a real life story with the entertainment value of a screenplay, only changing about the story what wouldn’t have otherwise translated well on-screen. It’s also got great adaptability as a crossover favorite for mainstream audiences, highlighting a similar track to some recent best picture winners that previously started off as just independent buzzworthy cinema.

– Contrary to what you’re seeing on-screen, Mahershala Ali does not play the piano, but the film does a great enough job in camera manipulation and sound editing to properly attain this believability. Kris Bowers, the film’s musical composer, doubles as Ali in his piano sequences, and in particularly hand close-ups that attain the movements of a reputable pianist superbly. When Ali is obviously in frame, the audio from the piano is muted and replaced with Bowers masterful work, carving out times when I really did question whether Ali took classes as a pianist, leading up to the film.

– One aspect that a lot of road trip movies forget about is properly channeling the distance in miles to properly articulate the distance from home, and thankfully “Green Book” doesn’t fall under this same spell. In addition to its over two hour run time, the majority of which is spent on the road, the film takes us through a variety of landscapes and cultures to echo that of the melting pot known as America. This is a film that takes its time in illustrating the perils of isolation on the road, making the months feel like years, and the appreciation of things absent from sight that much more meaningful once the reunion takes center stage.

NEGATIVES

– There’s a subplot twist that happens with Shirley’s character midway through the film, that I wish the movie would’ve further elaborated on. In addition to people’s prejudice against him as an African American man, this would’ve only further enhanced the fight against that hatred, and for a scene that changes much about the way we view Shirley, it’s quickly disposed of, to never be mentioned again. This is the one example when a character needed further fleshed out. I could’ve also used more time devoted to Shirley’s estranged brother, who is occasionally brought up to represent Don’s loneliness.

My Grade: 9/10 or A

Boy Erased

Directed By Joel Edgerton

Starring – Lucas Hedges, Nicole Kidman, Russell Crowe

The Plot – Tells the story of Jared (Hedges), the son of a Baptist pastor in a small American town, who is outed to his parents (Kidman and Crowe) at age 19. Jared is faced with an ultimatum: attend a conversion therapy program – or be permanently exiled and shunned by his family, friends, and faith. “Boy Erased” is the true story of one young man’s struggle to find himself while being forced to question every aspect of his identity.

Rated R for sexual content including an assault, some adult language and brief drug use

POSITIVES

– As effective of a film as you’re going to get. Part of the reason that I have enjoyed Edgerton as a screenwriter thus far, is the real life issues in our own world that are often misunderstood and presented with clarity when given the proper time and commentary to enhance the wisdom of his audience, and “Boy Erased” measures up to this in spades. There were many parts in the film that angered me for what so many endure because of who they want to love. There were many parts that made me laugh because of the silliness of Christian ideals when brought into contact with anything that soils the sanctity of what they deem ideal. There were also many parts when I indulged in Jared’s struggle, and wanted to hug him for everything he went through. If you’re looking for a film to invest yourself in, this one will hook you from the moment the first shot goes up.

– Edward Grau’s personality behind the lens. Not only is the film shot beautifully, in all of the soft colors of atmosphere that soak in the very serene and status quo of the American household, but also the examples of gay interaction are shot with such respect and intimacy for those engaged in it, giving the sequence the same kind of structure and merit that we expect every time we see a man and a woman exude levels of passion towards each other. Grau’s scope understands that these are people above everything else, and his tight, informative angles highlight LBGT relations in a way that very few films have succeeded at, sadly.

– Edgerton as a director. “Boy Erased” for me was a much bigger improvement for Joel than his previous movie “Loving”. Not that I hated that film, but one thing missing for me was the proper atmosphere and weight involved in the battles that his protagonists were going through, and that couldn’t be further from the truth for this movie. Just something as simple as a dinner table scene centered around this family grips us with such a feeling of confining anxiety, and the way Edgerton makes sure to focus on the little things, like lack of eye contact, or parental facial registry, goes a long way in accurately articulating Jared’s feeling of isolation for who he really is. Joel masters this, and does it by writing, directing, and starring once again in his picture, and it’s clearly evident that this man is not easily jaded or rattled by overwhelming responsibility.

– Moving performances all around the table. What I love about the work of the three main stars is they’re each given ample timing and patience for the proper moment to take over a scene, and prove their level of depth as long-accomplished actors. Kidman’s love is often her dilemma, often toeing the line between father and son in the same way she now finds herself between love and hate. Crowe’s commitment to this preacher character feels very synthetic, and while he never requires a long line of dialogue to feel award worthy, his intimidating stature as a man of god first and a loving provider second is something that constantly feels unnerving the more you unravel about his character. Hedges is a revolution, plain and simple. This young star continues to take on characters who are every bit as expansive as they are honest to the moviegoers watching at home, and his on-cue delivery for watery eyes and bottled up emotional registry are something that he unleashes like a superpower, giving us frequent goosebumps for the occasion.

– There’s a kind of post-90’s familiarity to the setting, even though the film never mentions when it takes place in. From the soundtrack giving us songs by rock band Seether or soul singer Troye Sivian, or the inclusion of the Sega Genesis classic video game “Mortal Kombat”, the film has an enriched center of culture that surprisingly keep it undated for all of the same reasons it rightfully should be. What’s even more impressive is that none of these things feel out of place or forced upon us, instead generating an outline for teenage sights and sounds that put the fun in nostalgic ambiance.

– As for the musical score by Danny Bensi and Saunder Jurriaans, there’s a surprisingly overwhelming feeling of horror tones used for the occasion that appropriately set the mood for what’s transpiring at this disgusting place of gay conversion. Considering the material is every bit as horrifying and shocking in the revelatory sense, the dual composers take advantage of such a feat, echoing these ominous and rattling instrumentals with the kind of ferocity to really make them stand out. There were many times during the film where I felt like I was indeed watching a horror movie, and the composition, that was slightly leading towards this, all but confirmed the suspicions of the devious activity that was taking place. Sometimes the biggest evils are the ones right within the characters of our society that we deem acceptable, and this realization plays hand-in-hand with such a damp delivery from Bensi and Jurriaans.

– Which brings me to my next point: this film carries with it a great sense of urgency and importance. Edgerton never allows anything to feel counterfeit, instead placing all of the pieces together and letting them play out, so the audience gauges their own response from it. At the end of the film, we are reminded by some pre-credit stats how this disgusting practice still takes place today, and for something that feels so prehistoric is actually prevalent now more than ever. This is alarming, but provides a great message supplanted between nearly two hours of film, and that is to love and embrace our children for who they are, not what they are.

– Visually rendering for the real life people the story is based on. A credit picture reveals to us the likeness of these trio of characters, and considering you have some familiarly good looking actors like Crowe and Kidman, the props and wardrobe department busted their asses in bringing the similarities between these two sides closer to light. Part of the thing that bothers me in movies is when an actor doesn’t feel right for a role because of the immense differences in their physical appearances, but the casting agent here deserves great credit for drafting so respectfully close to the story.

– The film does feature a scene that many moviegoers won’t appreciate, but it should be commended for its brutal honesty and tastefulness in shot composition that leaves much to the imagination. This is again a nod to Edgerton for knowing what little and big he requires out of each individual scene, and for my money the scene felt necessary, but also positively restrained for how bad it really could’ve gotten.

NEGATIVES

– Violent time jumps that can sometimes rattle the transition between scenes. This happens a lot during the first act of the film, when Jared’s past and present day narratives feel like they’re on a converging course. My problem is that it’s done in such a way that feels like a nagging distraction, often taking a few minutes to figure out where in the story we are placed before that connection continues forward. Likewise, the four year time jump towards the end of the film felt unnecessary, and takes us out of the unraveling drama during the time when it feels at its most intense.

My Grade: 9/10 or A

Beautiful Boy

Directed By Felix Van Groeningen

Starring – Steve Carell, Timothee Chalamet, Maura Tierney

The Plot – Based on the best-selling pair of memoirs from father and son David (Carell) and Nic Sheff (Chalamet), “Beautiful Boy” chronicles the heartbreaking and inspiring experience of survival, relapse, and recovery in a family coping with addiction over many years.

Rated R for drug content throughout, adult language, and brief sexual material

POSITIVES

– An intimate and paralyzing depiction of drug use. It’s no secret that drug addiction doesn’t just hurt the person engaged in the activity, it also hurts those loved ones surrounding the taker, and “Beautiful Boy” targets this effect with a lot of focus on those supporting characters who otherwise wouldn’t have a lot of weight to the unfolding narrative. In particular, it’s the flushed faces of the two child siblings in the film that emotionally drained me, giving way to a thought process from within of two innocent people born into a world where they will be subjected to pain that they have zero control over. It’s a conscious reminder that addictions are like a black hole, in that they take down many people uninvolved, and shape those we love into shadows of their former selves.

– Responsible in its informative stance. When I watch a film about dysfunction of any kind, I like to see a script that takes the time to educate audiences on the feelings and consequences from within. I myself have never done drugs, but the film gave me a layered outline in terms of the effects, as well as the abysmal success rate in curing the disease. What’s even more credible is that it doesn’t ever feel forced or compromising to the scene, treating us instead like Carell’s character, who at the same time is learning about the enemy by getting as close to it as he can.

– A story like this only works if you are invested into the characters, and far beyond some calculated performances that I will get to later, the film tugs at the heart by guiding us through multiple timelines of this family, that include Nic’s character as a younger boy. In comparing and contrasting these respective eras, Groenigen forces us to look deep to the child inside, touching us with this unshakeable feeling of innocence being erased. Beyond this, the similarities in appearance between Chalamet, Kue Lawrence, and Jack Dylan Grazer might be the single most believability in aging process that I’ve ever seen.

– A couple of Oscar worthy performances. Carell and Chalamet are names you’re going to be hearing at the Academy for decades to come, and what’s so captivating about their work here is that they aren’t transforming into a historical figure, or donning loads of makeup to become someone they’re not, instead they are two HUMAN characters whose realness is their most striking quality. For Carell, it’s in his hauntingly stirring facial registries, as well as the gentleness and love he invests into the single most important person in his life. For Chalamet, it’s the ability to play someone so vulnerable, yet conniving when it comes to seeking what he needs to satisfy the craving. It’s evident to see the differences between his Nic as a typical teenager and as what this needle has done in drawing out someone who beyond facial likeness we don’t even recognize. Together, these two are every bit as convincing as they are dedicated to their respective roles, and “Beautiful Boy” gives us these moments of goosebumps because of the mountain of chemistry that they share through the many ups and downs of life.

– Cinematographer Reuben Impens single best work to date. I thought 2016’s “Raw” reveled in the subtlety of color scheme to the graphic material, but it’s his work here that proves he is growing as a master of the lens. In addition to the gorgeously dreary Northern California countryside to catch our attention with all of its firns and mountainside curves, Impens is able to visually seduce us with some soft, serene coloring in atmosphere that metaphorically emits the somber tapestry in such a depressing narrative. Atmosphere is an aspect to filmmaking that doesn’t get enough credit outside of the world of horror, and the benefits of someone as talented as Reuben force you to pay attention during scenes of downtime between the thunder.

– Divisive ending. Coming out of my theater, a few people were moaning at the lack of answers and clarity from a mostly ambiguous ending, but for me it worked in relating the never-ending battle that one endures in shaking addiction. Without spoiling anything, there’s only two honest ways that addiction can end, and I commend a movie’s bravery for leaving us with a final image that, although not satisfying in terms of Hollywood endings, does relate the struggle and uncertainty with sobriety.

– Patient camera work that articulately captured the moment. I commend the editing in the film for sticking with some unnerving long takes during one-on-one conversation scenes, giving us the opportunity to soak in more of the facial souring and building gut-punch within our stomachs that the film so chalantly tampers with. It’s easy to overlook these kind of important sequences if an editor is over-zealous in their work, cutting the heat of the moment in half with far too many cuts, but the work here is commendable, and never looks away from what transpires, no matter how awkward or unpleasant it feels.

– Non-linear storytelling that captures the psychology of the two male leads. What I love about this element of flashing back so frequently, is that it offers us context whether it be in the form of an object or a location, where the two men have shared time. This also gives food for thought, in that we are given a series of possible leads into Nick’s rising habit, offering a conversation starter for what moviegoers could think are the elements of enabling that make it more possible. This angle of storytelling can feel a bit abrupt, especially during the first act of the movie, when the desire to overuse this aspect does feel slightly repetitive, but it slows down and eventually settles in to the pacing of the story, working together with the mounting weight of the film’s progression.

– It’s interesting that even through a screenplay that stays committed to the perils of drug addiction, the film rarely felt repetitive or derivative to me. I think a lot of this is in the constant raising of the stakes through each trial of tribulation that David combats throughout, feeling like he’s pulled in deeper by Nic’s betrayals as the film progresses, but the other thought is in storytelling that constantly keeps the pacing at bay. To say I was firmly locked into this film is the understatement of the year, and it’s a major example of all of the ingredients working together to make something exceptionally nourishing in its poignancy.

NEGATIVES

– Not a fan of the film’s musical score. I have tried to search far and wide for the composer for this film, and have gotten nothing in return. I can only assume that he/she is remaining incognito because of the jarring and instrumentally inconsistent tones in the film, that don’t match the mood or the tempo of the story. Some of these numbers feel like they belong in a horror movie, while others could be background music for the soft piano of “Murder She Wrote”. It simply didn’t work for me, and serves as the only glaring negative because of how distracting it felt every time it popped up.

My grade: 9/10 or A

The Hate U Give

Directed By George Tillman Jr

Starring – Amandla Stenberg, Regina Hall, Russell Hornsby

The Plot – Starr Carter (Stenberg) is constantly switching between two worlds: the poor, mostly black, neighborhood where she lives and the rich, mostly white, prep school she attends. The uneasy balance between these worlds is shattered when Starr witnesses the fatal shooting of her childhood best friend Khalil (Algee Smith) at the hands of a police officer. Now, facing pressures from all sides of the community, Starr must find her voice and stand up for what’s right.

Rated PG-13 for mature thematic elements, some violent content, drug material and adult language

POSITIVES

– A one woman wrecking crew of a performance. Stenberg has impressed me in films like “Everything, Everything” and even being one of the few bright spots in “The Darkest Minds”, but this is really the first time with her that I have felt shaken by a performance. Starr’s strength and perseverence are her greatest feats, but it’s in Stenberg’s wide range of heart and fragility for the things going on around her that make her irresistible as a protagonist, and it provides the first step in an inevitably bright future ahead for this leading lady.

– Two films for the price of one. Often in these modern day depiction films, you will be subjected to either a poignant conversation piece that ignores the qualities of a budget Hollywood production, or you will get an eclipsing piece of cinematic drama that sidetracks on its intelligent material, but “The Hate U Give” never restricts its boundaries, giving us a free-flowing narrative with expanding characters on top of commentary on racial and law abiding divides that never shies away. In whole, this is a film that satisfies both ends of the spectrum with audience motivation, and certainly brings with it a sense of staying power that is anything but easily forgettable.

– Above all else, a responsible film. What is so intriguing about Tillman’s directing when combined with Audrey Wells all-inclusive screenplay, is that this is a movie that gauges output on every side of the layered debate between law and citizen, as well as black and white that so much of the movie centers on. It’s refreshing because in this story there are characters of both color who are both good and bad, racist and not, who conjure up a unique perspective that doesn’t have to be cut-and-dry to sell its narrative. Particularly in offering the audience valued minutes to understand a cop’s perspective could forcefully sink the film for the majority of audience going to see the film, but Tillman feels obliged in understanding that these men and women in uniform aren’t just another evil villain, they are every bit as frightened and non-communicative as the people they instill justice upon.

– Enticing photography and overall cinematography by Mihai Malaimare Jr. Beyond just his ability to shoot a beautiful canvas, complete with these alluring roaming movements of the camera capturing the very essence of the town, it’s Mihai’s subtle erasing of color in his scenes of the past that really channel the absence of love and light from the sequence, as well as these soft, tender moments between black families that you unfortunately don’t see too often in films. This allows us the audience to adapt to this family smoothly, whether you relate to their trials and tribulations or not.

– The film also does an articulate job of outlining the two worlds around Starr, as well as the two sides she displays (Black and White), that she unfortunately must endure every day. Considering she is a black student who is going beyond typical territory lines at an all-white Catholic high school, It’s interesting to see the dynamic comparisons that she shares with friends of and opposite of her color that force her to abide by being someone she isn’t. These are perhaps the most interesting scenes of the movie to me, because it hints at even the slightest things like speech patterns and social media postings having an effect on subliminal racism.

– Free range of emotional resonance. It’s rare anymore that a film will take you on a roller-coaster of release that endures so many different emotions, but I tell the truth when I say “The Hate U Give” left me reeling from the surreal imagery and events that this movie threw at me. I laughed during scenes of release, I cried for Starr’s growing disposition against an enraged society, I feared for the victims who in this case are the only survivors, and I roared during scenes of intoxicating inspiration. It would be difficult to think of another film that has had this kind of influence over me in 2018, and it serves as a testament to Starr’s story, in that it struck so hard with a middle aged white male who couldn’t be further from this girl.

– At just over the two hour mark, this is a film that takes its time with many of the storytelling arcs, and this is no more prominent than during the film’s opening act. These incredibly touching and precedent-setting thirty minutes take their time in getting to the meat of the story, because it wants you to not only get to know these people, but also take stock in the surrounding neighborhood they’re selling. This feels very much like a neighborhood family that bleed as one, and that sense of unity is something that develops cohesively throughout the film, bringing to light a feeling of values that hit close to home. It was refreshing to see “My” neighborhoods depicted, and not for the bad reasons that stereotypically supplant themselves in big screen focus.

– A fictional story that transcends this label by touching on all too familiar material. Once in a while, a film will come along that is deemed to have “Perfect timing”, and that couldn’t be more accurate than this film. Far beyond just being entertained by a movie, the best ones should make you think and even resonate closely for replicating a world not far from our own, and “The Hate U Give” has this benefit in spades. Films like these need to be supported for their abrasive covering, if only for the way they challenge the status quo, and no current film deserves success more because of it.

– Media manipulation. You’ve heard this term a lot recently. Usually it’s in the right or left’s slandering of political stratosphere, but Tillman uses it to subtly whisper how outlets depict the black community, often reaching for the craziest looking citizen in the bunch to sell their narrative. Not only is this greatly important to what is transpiring in this film, but it also offers an illuminating light to news junkies who overlook these sort of vivid intentions as nothing more than coincidence. The news coverage here is immensely important, and the way that he channels it feels every bit as sharp as it does revealing.

NEGATIVES

– For my money, the ending is a bit too neat and tidy to be taken at truth value. I don’t feel like Tillman’s picture is reaching for a solution measure with the on-going conflict, but the one given in this film is far fetched at best, conjuring up the one single instance in the film where this whole thing actually felt like a movie. Because of this, the film’s suffocating tension just kind of slowly omits away in the closing moments, feeling like it never ends on the single moment that strikes the loudest.

9/10