“The Greatest Showman” Review

Songwriters Benj Pasek and Justin Paul have been hailed for their amazing lyrical work on last year’s musical hit La La Land, a film with a stunningly invigorating soundtrack of jazz and orchestral wonder. They’re touted on the poster of The Greatest Showman as being hired to breathe that same amount of energy and toe-tapping to the tale of showman P.T. Barnum. Much like Barnum, they do a stellar job at hoodwinking audiences into attending this spectacle for the promise of an entertaining musical. And while director Michael Gracey certainly delivers music and sequences of grand design, there’s an aroma of a machine to its assembly as opposed to the heartfelt biopic of amazing feats this production was going for.
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“The Shape of Water” Review

The Shape of Water presents the argument of why director Guillermo del Toro should be directing the new crop of Universal monster movies and why he will never be chosen for such an honor. He should be directing those films because he has a playful and experimental vision in both direction and tone for crafting an unorthodox creature feature. He won’t be selected because his ideas are just too out there if Universal wants their monster properties to nab some of that blockbuster cash. I can’t imagine general summer audiences would dig a film where a woman has sex with an amphibian creature in a romantic manner.
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“Star Wars: The Last Jedi” Review

There’s a promising and foreboding line by Luke Skywalker: “This is not going to go the way you think it will.” Indeed, The Last Jedi aims for the unexpected as the dark and revealing bridge film of this latest trilogy. Questions are answered with shocking revelations, characters must make tough calls in their loyalties, and there’s no guarantee anybody will make it out of this film alive. There’s a lot to take in as writer/director Rian Johnson has filled this movie with so much character, mythos, themes and action that it becomes overwhelming at times. He doesn’t waste our time, but he doesn’t give us much room to breathe in his somberly stirring epic that becomes draining by the time those blue credits roll.
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“The Darkest Hour” Review

When Gary Oldman first appears on screen as Winston Churchill, I couldn’t believe it was him. He embodies the historical figure with the right amount of girth, waddling and cantankerous mutterings of a man with the noisy gears constantly grinding in his head. It is such a flawless performance that director Joe Wright lets his camera get in close to notice every detail; the quivering of his lips as he prepares to deliver a speech, the solace he seeks in every cigar, and the look of doubt buried deep within his eyes. Oldman loses himself so deeply in the role that the audience does as well, making for one of his best performances of his career.
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“The Disaster Artist” Review

Tommy Wiseau is a fascinating director. The Disaster Artist begins with interviews of real celebrities talking about him and his film The Room as if he was a genius that had created a masterpiece. This includes actors such as Adam Scott, wishing he could go back in time to be on that set, and directors J. J. Abrams and Kevin Smith who applaud Wiseau. Were they joking or were they serious? Or both? For the knowing crowd at the screening who had all seen The Room, myself included, we started laughing quite early at these statements. This is a film which presents an intoxication of bad filmmaking that is so potent it’s easy to get lost in the ridiculous haze of the enigma that is Tommy.
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“The Meyerowitz Stories” Review

What an astounding recovery for Adam Sandler. His contract with Netflix has led him from making Sandy Wexler, one of 2017’s worst films, to The Meyerowitz Stories, one of the year’s best. I suppose if director Todd McCarthy can go from directing the worst movie of 2015 (the Adam Sandler starring The Cobbler) to the Academy Award winner of 2015 (Spotlight) anything is possible. Yes, Virginia, there is a brilliant Adam Sandler starring movie.
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“The Babysitter” Review

McG’s wild stab at a dark horror comedy continuously misses the mark, struggling to land a laugh like a lousy comedian flopping about a stage slippery with blood. Not only does it fail to garner a giggle, but also becomes embarrassing for how hip this script tries to be, slinging out geeky and topical talk like a grandpa drawing inspiration from a few threads he read online. This is almost like McG’s midlife crisis of a horror film, trying to prove that he’s still the fun director with his fingers on the pulse of today’s youth. His attempt comes off with more cringe than cool, akin to your dad dusting off his bellbottoms and throwing on some Ray Jay Johnson to impress your friends.
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No, It’s a Horror Movie

There’s an old joke about the difference between a film being a horror or a thriller; thrillers win awards. There’s a stigma that seems to come with a horror film where if it turns out to be a brilliant movie, audiences deny the genre attached to it. Two of the most talked about movies this year is Jordan Peele’s Get Out and the theatrical adaptation of Stephen King’s It. Both were incredibly successful films both critically and financially, but I’ve noticed when most people talk about them they treat the term horror as though it were the genre that must not be named.

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“Coco” Review

Pixar’s best-animated films are the ones that can take you someplace different with visuals you’ve never seen before and storytelling that catches you off guard. In other words, it’s the ones that make the adults weep the most, almost embarrassed that they’d have such feelings for an animated movie with the stigma of being strictly children’s entertainment. Being a big fan of animated films and their limitless potential for filmmaking, there’s no shame in admitting I wept for Coco, an animated movie that is surprisingly mature and honest in its drama of family and death.

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“Justice League” Review

Full disclosure: I’m more of a DC Comics man than a Marvel reader. So I was very much anticipating the first big-screen depiction of the Justice League, despite Warner Brothers’ questionable stumbling towards creating a DC movie universe. The bar is pretty low for this film, which is rather disappointing for DC’s first theatrical ensemble picture. Though Snyder’s direction is still spotty and flawed, there are small bursts of hope present, more so than the painfully dark and muddy Batman v. Superman, though not as many as the triumphantly bold Wonder Woman movie.
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