tag:blogger.com,1999:blog-74278215948891419562024-03-04T20:09:05.318-08:00Oh, How Spiffing!Movies, music, books, video games, phones, security systems -- You name it, we got it!Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.comBlogger142125tag:blogger.com,1999:blog-7427821594889141956.post-13656277826111560742019-09-11T08:38:00.005-07:002019-09-11T08:38:49.975-07:00It: Chapter Two - Film Review<div class="separator" style="clear: both; text-align: center;">
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It: Chapter Two demonstrates how little director Andy Muschietti had left in his bag of tricks following the first film. It’s got all the same problems as its predecessor - lame, repetitive scares and an overreliance on computer-generated trickery. Add to the mix a frantic, unfocused storyline, which never manages to find its way and an unnecessarily long running length and you’ve got a film that never manages to live up to the charms of its predecessor. It’s a tonal mess, leapfrogging horror for comedy at nearly every and plays plays out many of the same beats as the first film, but without the benefit of that film’s pre-teen cast and their energetic chemistry.<br />
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As I mentioned in my review of the first film, It is my favorite of Stephen King’s novels. While it’s typically labeled as nothing more than ‘the one with the creepy clown,’ people neglect to mention it’s also a genuinely affecting and thoughtful coming-of-age tale. Aside from King’s standard unforgettable scares and terrifying imagery, his story said something profound about the nature of growing up, the importance of friendship and the bittersweetness of leaving your childhood behind.<br />
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There’s an overabundance of narrative and thematic ground to cover in this 1,100+ page tome. While the novel intercuts the grown-up Losers’ story with that of their childhood counterparts’, Muschietti and company opted to split the adult’s portion and the kids’ portion into two separate entities. On paper it seems like a smart idea, but the reality proves otherwise. In King’s novel, the intercutting format allows the reader to rediscover the adult Losers’ childhood memories as the characters’ do. When the two stories are split in two, all it accomplishes is further re-emphasizing information we already know, drawing attention to the repetitive nature of the story. We know how things will play out because we’ve already seen the entire story in the first film and this robs It: Chapter Two of much of its potential for suspense and mystery.<br />
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Somehow three hours feels both too long and not long enough. The first hour’s chaotic pacing and editing finds It: Chapter Two’s screenplay struggling to discover its way. I don’t envy Gary Dauberman, the sequel’s sole screenwriter. He’s tasked with re-introducing no less than seven characters, catching us up with their adult iterations and sending them back to Derry for a showdown with an evil clown. The sheer amount of information thrown at viewers makes it difficult to register the reunion between these characters. We’re supposed to believe these are the same life-long friends we’ve come to know and love, but because we’ve spent so little time learning who they are in the present day, it doesn’t feel like we know them at all. Whereas the source material frames the battle between the Losers and Pennywise as an epic showdown between the forces of good and evil, the film version portrays it as little more than ‘group of kids fights scary monster.’ There’s no sense of the greater stakes and it makes the battle at the center of both these films feel insignificant.<br />
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The film never recovers from the disconnect between the adult Losers and their younger counterparts. While the ensemble is strong, made up of the likes of James McAvoy, Jessica Chastain and Bill Hader, there’s little chemistry between them. Hader, as has already been stated, is the highlight here. His youthful performance brings the energy and humanity It: Chapter Two sorely needs. His interactions with James Ransone’s Eddie provide many of the film’s best moments.<br />
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The remaining cast members, while giving solid takes, are surprisingly stiff and awkward. McAvoy never seems comfortable in the role of Bill Denborough and it doesn’t help that his and Chastain’s ‘romance’ feels shoehorned in. The lack of chemistry between the adult versions of these characters holds It: Chapter Two back from hitting its emotional beats. Every time the film flashes back to the Losers as kids, it reminded me just how well the young ensemble worked as a unit and how much the first film benefited from their involvement. Their presence is sorely missed this time around.<br />
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And then there’s Bill Skarsgard as Pennywise the clown. It’s as if Muschetti didn’t trust that Skarsgard’s take would be frightening enough. At nearly every opportunity, the performance is amplified by hokey computer-generated effects that diminish the work Skarsgard is doing. Maybe it’s just the reality of the situation: the more you see of Pennywise, the less scary he is. Seeing as how we’ve already seen an awful lot of him in the last film and nearly three hours worth of him in this one, it’s no wonder Muschetti struggled to make it work. But the addition of morphing, CGI faces don’t help the cause and, in fact, take away from Skarsgard’s effectiveness in the role.<br />
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Just as ineffective are the goofy, computer-generated monstrosities that pop out of every which corner to terrify our heroes. There are a few genuinely effective scares, such as when Jessica Chastain’s Beverly pays a visit to her childhood home, or a scene in which Pennywise lures a young girl to her demise under the bleachers during a sporting event. The film’s final act also features a number of inventive sequences that give it a much needed jolt. For the most part though, the scares play out in exactly the same way: a disembodied voice lures one of our heroes off to a dark, secluded area where a monster is waiting to pop out and provide the obligatory jump scare. This happens to every single one of the main characters, and it plays out in nearly the exact same way every time. Any potential for terror is diminished by the repetitiveness. It ends up being annoying more than anything else.<br />
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Sadly, It: Chapter Two feels like an obligatory comedown from the unexpected high of the first film, almost as if the filmmakers themselves weren’t sure how to live up to expectations and decided to scrap the whole attempt. Ultimately this adaptation fails because it lacks the emotional nuance and sense of stakes established in Stephen King’s novel. By honing in on cheap scares and cramming in unnecessary subplots, Muscheitti loses the essential heart of the story. His ambitions are admirable, but the final product sinks rather than floats.<br />
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<b><span style="font-size: large;">FINAL RATING: 2/5</span></b>Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-45248686364344784692019-06-25T08:24:00.003-07:002019-06-25T08:48:40.062-07:00Toy Story 4 - Film Review<div class="separator" style="clear: both; text-align: center;">
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There’s no need to fret, Pixar fans. Toy Story 4 is good. In fact, it’s better than it has any right to be. Especially when you consider how perfect a conclusion Toy Story 3 was to this story. Once again, Pixar demonstrates their winning blend of humor, heart and family-friendly excitement paired with the standard gorgeous visuals.<br />
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All that said, Toy Story 4 is also the first in this series to feel inessential. The thematic territory explored here had already been explored to perfection in the first three films. Despite some great new characters (as well as some old favorites) and some intriguing ideas, the film never reaches the same heights as its predecessors. But while it lacks the freshness of Toy Story 1 and 2 and the emotional gut-punch of 3, Toy Story 4 is still solid entertainment from one of the most reliable studios out there.<br />
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This time around, we find Woody, Buzz and the rest of the gang living out their new lives with their new kid Bonnie. Woody’s struggling to find his place in this new environment. He’s no longer the leader and clearly not one of Bonnie’s favorite toys. When Bonnie returns from Kindergarten with ‘Forky,’ a new toy she made out of a spork, some googly eyes and a popsicle stick, Woody takes it upon himself to protect him and ensure he stays by her side.<br />
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This becomes complicated as Forky is resistant to being a toy. He knows he’s trash, like, literal trash, and longs to fulfill his true purpose, making a mad dash for the closest waste bin whenever the opportunity presents itself. When Forky escapes during a summer road trip, Woody gives chase and winds up running into his old flame Bo Peep. During his time with her, Woody discovers there may be potential to pursue another, better life. But is he willing to give up his life with Bonnie and his friends to do so?<br />
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Does any of this sound familiar? You could pick out many of the plot points from the previous Toy Story films: Woody helping a toy realize it’s a toy while they try to get back to their kid (#1); Woody realizing he has the potential to live another life outside of the one he’s familiar with while his friends try to rescue him (#2); trying to figure out one’s place when the life you’ve known is no longer an option (#3).<br />
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There are a few interesting ideas presented here that we haven’t seen before, one of them being that children are essentially gods and can give ‘life’ to toys. But screenwriters Andrew Stanton and Stephany Folsom and director Josh Cooley steer clear of that complex and potentially problematic subject matter. (You can only ponder the nature of existence so much in a family film) Instead, they focus on Woody’s displacement, his feeling that he lacks any purpose in his new life with Bonnie.<br />
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Well, kind of.<br />
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Honestly, the film can't decide if it's about Woody or Forky. About halfway through, Forky takes a back seat to Woody's story. The writers sort of set up Woody’s conflict at the film’s start and there’s an emotional payoff near the end. Overall though, his character arc feels a bit undercooked resulting in emotional beats that lack the impact they need. And what about Buzz, Rex, Slinky Dog and the rest of the gang? Well. They’re there. But there isn’t a whole lot for them to do aside from fretting and worrying. The massive ensemble is just too unwieldy and the characters we know and love end up getting left behind. Buzz in particular doesn’t have much to do, and although the screenwriters try desperately to get him involved at any given point, they’re unable to give him much purpose here.<br />
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Toy Story 4 also suffers from a general lack of conflict. The villain introduced here, Gabby Gabby (voiced by Christina Hendricks), is well-developed. Her ventriloquist dummy henchmen are the stuff of genuine nightmares. But, for reasons I won’t spoil, the threat she presents ends up being more of a minor one. I appreciate the creative team’s attempts to present a different kind of villain, but it robs the film of much of its suspense.<br />
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But while Toy Story 4 may be lacking in the storytelling department, the creative team fills the gaps with superb visuals and colorful new characters. First we’ve got Keanu Reeves’ Duke Caboom, a Canadian motorcyclist and daredevil, who provides nothing but pure joy whenever he’s on-screen. We’ve also got Bunny and Ducky, voiced by none other than Keegan-Michael Key and Jordan Peele. These characters keep things feeling fresh and fun, providing some of the film’s biggest laughs. (They also feel like fodder for a potential Disney+ series down the line.)<br />
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Look, I get it. Toy Story 1-3 are masterpieces. It was only a matter of time before we’d get to one that was just plain ‘good.’ And I get that these films are money in the bank for Pixar. (You’ve gotta pay the bills somehow.) Perhaps Toy Story 4’s biggest accomplishment is that despite being a clear money-making venture, it feels like a genuine, heartfelt storytelling effort as opposed to a cynical cash cow.<br />
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But maybe, just maybe, it’s time to really really close the book on this film series. You got away with it this time, Pixar, but it’s time to let Toy Story go. As this wonderful film series has taught us: nothing is meant to last.<br />
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And that’s okay.<br />
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Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-52835185394802509892019-03-12T09:03:00.002-07:002019-03-12T09:03:42.564-07:00Captain Marvel - Film Review<div class="separator" style="clear: both; text-align: center;">
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<b><i>Captain Marvel</i></b>, the latest entry in Marvel’s Cinematic Universe, provides ample entertainment and a much appreciated ‘Girl Power’ message to inspire the young’uns. It features plenty of 90s references to get your nostalgia senses tingling and an adorable kitty cat, which is an element I will never fault any movie for including.<br />
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It’s also another by-the-numbers superhero origin story that doesn’t strive for greatness so much as it just checks off all the boxes we’ve come to expect from Marvel Studios. You’ve got your generic CG-powered action sequences here, a joke or two (or twenty) there. Throw in some Avengers Easter Eggs to make fans the world over positively wet themselves with glee and, baby, you got a stew going. But it’s a lukewarm stew at best, joining the ranks of such middle-tier MCU episodes as <b><i>Ant-Man, Doctor Strange</i></b> and most of Phase One.<br />
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At the very least, <b><i>Captain Marvel </i></b>is relatively fast-paced and fun. The Writer/Director duo Anna Boden and Ryan Fleck of Half Nelson and Sugar fame try their darndest to spice things up with some weird, non-sequential storytelling pulled straight from the Christopher Nolan screenwriting handbook. In some ways, the zigzagging story helps distract from the fact that there isn’t a whole lot to engage with. It hits all the standard superhero beats, but rarely offers up much inspiration. Since these ‘self-contained’ origin stories tend to fall outside the primary, overarching storyline featuring the characters we’ve come to know and love, they can’t help feeling insignificant in the process.<br />
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As Vers, a.k.a. Carol Danvers, a.k.a. Captain Marvel, Brie Larson is...fine. She’s been great in other roles, but with her performance here, I couldn’t shake the vibe that she’s already over the whole Marvel thing. To be fair, the screenplay doesn’t give her a lot to work with. There isn’t much of a reason to invest in Carol’s personal journey because it’s not entirely clear what that journey is. She might be tough, she might be snarky (a little too snarky, if I’m being honest - some of these one-liners are painful), but she’s not very interesting. Maybe it’s the dull ‘I don’t remember who I am’ trope she’s saddled with, or maybe it’s because she’s able to take on every foe with what appears to be minimal struggle, the latter being especially noticeable during the film’s climax when she demonstrates a full mastery of her abilities without much of a learning curve. Whatever the reason, <b><i>Captain Marvel </i></b>lacks an engaging arc for its titular character. Lots of people around Carol keep telling her how wonderful she is and why she’s such a powerful person. It would have been nice to see a little more evidence as to why, not just a fifteen-second montage of her getting up at different points in her life to stand in for a total absence of character development.<br />
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But let’s be honest. The true star of <b><i>Captain Marvel</i></b> is not Brie Larson. It’s Ben Mendelsohn as the film’s villain Talos. As Talos, Mendelsohn is charming, threatening and, for reasons I won’t spoil, incredibly endearing. Talos’ journey in this film is far more captivating than Captain Marvel’s.<br />
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Oh, and Goose the cat is great too, because...you know...he’s a cat<br />
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Despite the standard plotting, there are some genuine twists and fun surprises as the story plays out that lend <b><i>Captain Marvel</i></b> some much-needed flair. I enjoyed the ‘buddy cop’ angle between Captain Marvel and Nick Fury; Brie Larson and Samuel L. Jackson have solid chemistry and play well off each other. But, as is often the case with these origin MCU entries, the film doesn’t feel the need to do anything more than the bare minimum. The 90s nostalgia gives the film a unique flavor, but the references don’t delve much deeper than the surface. The soundtrack takes great pleasure in milking some of your favorite hits from the decade, but the song selections are a bit on-the-nose. I guess Boden and Fleck are trying to follow the example set by James Gunn’s <b><i>Guardians of the Galaxy</i></b>, but it never gels in the same way. A particular song choice during one of <b><i>Captain Marvel’s</i></b> climactic fight scenes is more cringeworthy than anything else.<br />
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Look, <b><i>Captain Marvel </i></b>isn’t terrible, but it just feels so run of the mill, giving into the worst inclinations of the MCU’s origin stories. What should have been a unique, standalone entry ends up being little more than a less-than-satisfying appetizer for next month’s main event. The film’s tagline ‘<i>Higher. Further. Faster.</i>’ really should have just been ‘<i>High enough. Far enough. Fast enough...to hold you over until </i><b>Avengers: Endgame</b><i>.</i>’Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-896920754586759112018-11-24T07:36:00.002-08:002018-11-24T09:30:27.556-08:00Creed II - Film Review<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> fits the mold of your standard </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> sequel. That is to say it’s bigger, louder and much, much dumber. You’ll be able to predict nearly every move it has up its sleeve because we’ve seen this movie a dozen times already. The carefully crafted, grounded aesthetic of writer/director Ryan Coogler’s </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> has been replaced with the hokey dialogue and bombast found in the series’ weaker entries. If </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky Balboa</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed I</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> redeemed this franchise from the abyss </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky IV</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>V</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> created, </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is the start of its descent down the same path that led to its needing redemption in the first place.</span></div>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> kicks off in high energy fashion with Adonis winning the title of Heavyweight Champion of the World under the tutelage of his mentor Rocky Balboa. Things are still great with his girlfriend Bianca. He’s just proposed to her and they’re about to have their first child. But then along comes Ivan Drago, the evil, one-liner spouting Russian who killed Adonis’ father in </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky IV</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. Drago has been training his son Viktor for a match against Adonis, an attempt to regain his former glory in Mother Russia, a glory lost when Rocky defeated him back in 1985. Naturally, Adonis jumps at the opportunity to avenge his father’s death, but his cocky, headstrong nature estranges him from his friends and family. When Rocky refuses to support Adonis’ decision to fight, Adonis decides to go it alone. You can pretty much figure out what happens from here. Think </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky III</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, but without Mr. T or Survivor’s Eye of the Tiger. So basically, way less entertaining.</span></div>
<b style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></b>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II </i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">suggests some interesting ideas, but never bothers exploring any of them to their fullest potential. Everything about it feels pronounced and obvious, following the well-worn path of superior entries. The screenplay, crafted by Sylvester Stallone and Juel Taylor, is subpar, saddling this otherwise talented cast with some truly embarrassing dialogue. Performances suffer as a result. </span><span style="color: black; font-family: "times new roman"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">As Adonis, Michael B. Jordan is still as likable as ever, packing the role with every ounce of emotion he can muster, but the character isn’t given a worthwhile drive this time around. The same goes for Tessa Mae Thompson, who the screenwriters struggle to give anything worthwhile to do. A particular attempt during the film’s climactic showdown to have her be more involved is just as embarrassing as anything you’d find in </span><span style="color: black; font-family: "times new roman"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky IV</i></b></span><span style="color: black; font-family: "times new roman"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> or </span><span style="color: black; font-family: "times new roman"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>V</i></b></span><span style="color: black; font-family: "times new roman"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. Stallone himself mumbles and stumbles through the role that made him a star forty years ago. It’s difficult not to love Rocky, but the character is reduced to being the standard mentor, spouting lines of wisdom when needed and the angle is already starting to get old.</span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Perhaps the biggest casualty is the Drago father/son storyline. Dolph Lundgren isn't given much more to do aside from scowl and repeat his best lines from Rocky IV. Florian Munteanu follows suit, throwing in some quizzical looks and emotional outbursts for good measure. Their relationship reaches a surprising and touching conclusion, but it comes out of nowhere and doesn't feel earned, undermining the whole thing.</span><br />
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">None of this is helped by newcomer Stephen Caple Jr.’s direction. Caple Jr. had a tough act to follow, and he does an admirable job stepping up to the task, but his directorial stylings feel more pronounced and far less refined. His creative choices are bland and obvious, calling attention to themselves in all the wrong ways. This applies not only to the cinematography and color palette, which is more extreme and stylized, but to the sound design as well, which is extremely odd in places. For instance, there’s a scene in which Bianca and Adonis' mother Mary Anne sit in Mary Anne’s living room and have a conversation about Adonis’ struggles. This is intercut with Adonis training in a swimming pool in a completely different location. The conversation between his mother and Bianca plays over the soundtrack and, for some reason, every time Adonis submerges, the audio becomes muffled as if he’s hearing it from underwater. But they’re not in the same location and he can’t hear them, so why does this happen? I guess because Caple Jr. thought it sounded cool, even though it’s completely unmotivated in any creative sense. It feels amateurish, like a film student showing off without any justification for doing so. The fight scenes and training montage have a spark of life, but you can always expect as much from these movies. Even </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky V</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> had a decent training montage. Nothing about </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II </i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">pulses with the same life as Coogler’s previous effort. </span></div>
<b style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></b>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The story simply isn't up to snuff. There’s no emotional drive. It’s all about the fight, which is never a good sign for a </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> movie. The best films in this series were never about the fight, not really. The first </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is a love story about two lonely people who desperately need one another in order to feel their lives are worthwhile. In that film, the fight is an extension of Rocky’s internal journey with the character striving not to win, but to prove to himself that he isn’t just some bum, that he can stand toe to toe with the greatest and hold his own. These themes are reflected in </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky Balboa</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed I</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">; it’s why they’re so compelling and engaging and, in my not so humble opinion, the best this series has to offer.</span></div>
<b style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></b>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">And what do all these movies have in common? The main character loses the fight. This presents a dilemma for any sequel. What angle is left except for the main character to win? And if winning the fight is the main thing driving everything that happens, it’s not nearly as interesting. Every other </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rocky</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> sequel is about besting bigger and badder opponents to the point where it descended into cartoon territory. </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II </i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">follows suit, and if you think my bringing this up is at all spoiling </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II’s </i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ultimate outcome, you clearly haven’t seen one of these movies. </span></div>
<b style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; caret-color: rgb(0, 0, 0); color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"><br /></b>
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<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">It all boils down to this:</span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i> Creed I</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> was made because a talented filmmaker had something meaningful he wanted to say. </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed II</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> was made because </span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b><i>Creed I</i></b></span><span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> made money. Might I suggest throwing in the towel before things get any worse? </span><br />
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span>
<span style="background-color: transparent; color: black; font-family: "times new roman"; font-size: 11pt; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><b>Here's how I'd rank the series overall:</b></span><br />
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<ol>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Rocky</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Creed</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Rocky Balboa</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Rocky III</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Rocky II</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Creed II</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Rocky IV</b></span></span></li>
<li><span style="font-family: "times new roman";"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;"><b>Rocky V</b></span></span></li>
</ol>
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Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-6037551333406791652018-11-20T08:22:00.001-08:002018-11-24T07:36:47.038-08:00Fantastic Beasts: The Crimes of Grindelwald - Film Review<div class="separator" style="clear: both; text-align: center;">
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<b><i>Fantastic Beasts: The Crimes of Grindelwald</i></b> is the cinematic equivalent of a rainy day: it’s cold and grey and it made me long for a nap. Now let’s be clear, I do enjoy watching a rainy day from time to time, but I’d prefer to watch from inside with a warm drink in hand and a pair of pink, fluffy slippers on my feet. (Yes, they have to be pink, and yes, they have to be fluffy.) <b><i>The Crimes of Grindelwald </i></b>isn’t something I appreciated watching, nor is it pink or fluffy. In fact, this movie is more like being stuck outside in the downpour, ruining my pink, fluffy slippers in the process. This is something I cannot forgive.<br />
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This is all to say that <b><i>The Crimes of Grindelwald</i></b>, which from here on out I will refer to by its acronym ‘<b><i>CoG</i></b>,’ a fitting descriptor as these movies aren’t so much interested in telling a story as they are in serving as a cog in Warner Bros’ money making machine, is a miserable viewing experience and further indication that this prequel series is in dire need of a revamping or, better yet, a complete dismantling.<br />
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Just so you know where we stand, I wasn’t a fan of the first <b><i>Fantastic Beasts</i></b> either. In my review, I called it ‘a plodding, tonally inconsistent mess’ and noted the glaring absence of either an involving storyline or compelling characters. Those complaints apply tenfold to <b><i>CoG</i></b>. At every turn, author turned screenwriter J.K. Rowling fails to craft a compelling story from a number of disparate pieces. Remember when Warner Bros. announced this new series and <a href="https://deadline.com/2013/09/warner-bros-j-k-rowling-team-for-new-harry-potter-inspired-film-series-585122/"><span style="color: blue;"><b>Rowling stated it wouldn’t be a sequel or a prequel to the <i>Harry Potter</i> series</b></span></a>? My guess is Rowling originally wanted to tell a fun, standalone story, but Warner Bros. got greedy and forced her to connect this series more explicitly to <b><i>Harry Potter</i></b>, hence the awkward, jumbled storytelling and clashing tones. <b><i>CoG</i></b> feels like a whole lot of filler and you feel the strain of Warner Bros’ decision to turn<b><i> Fantastic Beasts</i></b> from a trilogy into a five-film series every step of the way. Did we really need to know Nagini’s origin story? No. No, we didn’t, but for some reason it’s included here and it’s just as pointless as you’d imagine.<br />
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Rowling throws multiple plotlines, characters and Potter references into the mix, but despite the overwhelming amount of things on screen, nothing seems to actually happen. Everything in <b><i>CoG</i></b> is disconnected, every character motivation is independent of what seems intended as the driving story. Most of the film’s runtime consists of stern, serious looking characters sitting in bland, nondescript rooms, wearing bland, nondescript outfits and talking and talking and talking. There’s a lot of talk of Grindelwald leading his followers into battle against the wizarding community and a great deal of discussion regarding the true identity of Credence (Ezra Miller), which seems to be a topic of large concern. Maybe all this would matter more if Rowling gave more attention to the characters most directly affected by and involved with the story, but for some reason she opts instead to focus on Newt and his companions, making them the primary players even though they have very little, if any, personal connection to what happens here. The story functions outside of their involvement, making it all the more apparent how little they matter in the grand scheme of things.<br />
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It would help if these characters were likable in the slightest, but they’re not. They’re as bland as the oddly colorless Paris portrayed in the film. Eddie Redmayne continues to play Newt Scamander as emotionally disconnected from everything and everyone around. He’s incapable of making eye contact with anyone, and I’m not sure if Redmayne intended to portray Newt as if he’s on the spectrum, but that’s exactly how it comes across. This would be fine, except it has zero bearing on anything that happens in the story and isn’t reflected in the script or the way other characters interact with him. Newt lacks a compelling motivation and his general disinterest in everything happening makes the prospect of following his character through three more films extremely unappealing.<br />
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The supporting cast returns too, though they aren’t given much to do except stand on the sidelines. As Newt’s best friend Jacob Kowalski, Dan Fogler flails about, making odd noises and giggling at random moments, which I guess is supposed to be funny? Katherine Waterston looks like she’s either on the verge of tears or in need of a decent nap. Probably both. She and Newt are supposed to be madly in love, but there’s a glaring absence of chemistry between them. And then there’s Alison Sudol’s Queenie, who is saddled with one of the film’s more nonsensical character arcs. To her credit, Sudol gives it her all, but it doesn’t make it feel any less ridiculous.<br />
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The new characters don’t fare much better. The most prominent is Leta Lestrange (Zoe Kravitz). She and Newt have some kind of past relationship that’s barely hinted at and for some reason she’s decided to marry Newt’s brother Theseus (Callum Turner). There’s no explanation as to why this is, though, to be fair, an explanation probably wouldn’t make me care anyway, so why bother? There’s also Johnny Depp’s take on big baddie Grindelwald. He’s weird in his special Johnny Depp way, but he makes a minimal impression. To be fair, Rowling’s screenplay doesn’t give him much to do, so it’s not entirely his fault, but having him in this role still seems like an odd misstep.<br />
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And then there’s Jude Law’s performance as Albus Dumbledore, which provides the only genuine spark of life in this entire enterprise. (It’s a toss-up between him and that adorable cat-dragon thing) Even with his limited screen time, it’s clear Law is the right man for the job. The brief time we spend with him, which includes a stop-in at Hogwarts, is the only time the film manages to conjure up any magic or delight. This has more to do with the familiar setting and elements than the storytelling itself. The soundtrack takes great delight in recycling the soaring <b><i>Harry Potter</i></b> theme in this moment and it’s a sad reminder of the days when this franchise was something to celebrate. More and more, this series is shaping up as an epic showdown between Dumbledore and Grindelwald. When <b><i>CoG</i></b> focuses on these characters and their relationship, it manages to find its footing, however wobbly it might be. Why, then, does Rowling and co. insist on bothering with the story of Newt and his blank slate companions? They are by far the weakest element of these films and, seeing as how they have so little bearing on what happens in these stories, the easiest to jettison.<br />
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Now. Let’s talk about David Yates, shall we?<br />
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Watching Yates come into his own as a director during the latter half of the <b><i>Harry Potter</i></b> series was a delight. With each entry, he became more and more confident as a director, peaking with his work on <b><i>Deathly Hallows</i></b>. With <b><i>Fantastic Beasts</i></b>, it’s the complete opposite experience. We’re watching the disintegration of Yates’ talents as a filmmaker. The ability to construct a coherent narrative or frame a shot with even a touch of inspiration is long gone; his action sequences are borderline incoherent and he demonstrates such a lack of understanding regarding the basic principles of visual storytelling you can never tell what’s happening.<br />
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To make matters worse, Mark Day’s editing hasn’t improved either. Following Yates’ example, Day continues to demonstrate a seeming disregard for the basic rules on how to string scenes together in a way that makes a modicum of sense. One moment characters are talking in a room, the next, they’re standing in a completely different location with no logical connection as to how they got there. This happens CONSTANTLY, and yes, I need to use CAPS to emphasize how bad it is. That’s what <b><i>CoG</i></b> has reduced me to.<br />
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To be clear, this isn’t storytelling. It’s placeholding. And sure, you could blame the original <b><i>Harry Potter</i></b> series of doing the same, but at least with those we were spending time with characters we loved and there was a semblance of excitement and magic, that it was all leading to a worthwhile conclusion. <b><i>Fantastic Beasts</i></b> has nothing to offer except the threat of three more movies, and that may be the greatest crime of all.Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-41775134571167714372018-08-01T08:49:00.001-07:002018-08-01T09:05:12.930-07:00Mission: Impossible - Fallout - Film Review<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I’ll be honest: this is one of the toughest reviews I’ve ever had to write. The urge to just type ‘WOW’ in all caps over and over again is proving difficult to overcome. I’ll do my best to give you, the ever-supportive reading public, a critique worth your time. This is my mission, should I choose to accept it. Let’s hope I don’t self-destruct in five seconds.</span><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Are there any film franchises out there that can claim their sixth entry as their best? Over the past two decades, </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Mission: Impossible</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> has proven the rare example of a series that gets better and better as it goes along. With </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Ghost Protocol</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, director Brad Bird infused it with new life and now, with </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, returning writer/director Christopher McQuarrie and producer/star Tom Cruise have raised the bar for the action genre as a whole. They should have just called it </span><b><i><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Mission: Impossible - </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Stand</span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">out. </span></i></b><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">At the film’s outset, things are grim for the IMF (That’s Impossible Mission Force, for you uneducated heathens out there). Ethan Hunt and his team are tasked with intercepting three plutonium cores in order to ensure they don’t fall into the wrong hands. Naturally, things go awry when Hunt makes a split decision that saves the lives of his friends but costs them the plutonium. It ends up getting snagged by The Apostles, a sinister organization comprised of members from the now defunct Syndicate group, which was dismantled in </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rogue Nation</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. It’s up to Hunt and his team to recover the plutonium before The Apostles can utilize it for their nefarious purposes. You know, world domination, explosions, chaos and mass destruction - all that standard bad guy stuff.</span><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">From the get-go, </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> contains a welcome element of grim intensity previous entries in this series have lacked. That’s not to say those films weren’t effective or that </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> is all doom and gloom. It’s just that McQuarrie, the only director to return for a second </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Mission</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, has done an excellent job crafting a stronger set of stakes this time around, upping the ante and making the resulting thrills all the more potent. But while </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> may have more of an edge than McQuarrie’s previous effort </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rogue Nation</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, its fun quotient is still off the charts, managing to top </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rogue Nation’s</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> highest highs with ease. All other puny action movies are left to sputter in the dust. </span><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">That </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> is such a successful effort is a pleasant surprise. I’ll admit I wasn’t rooting for McQuarrie’s return following </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Rogue Nation</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, which I enjoyed, but found a bit by-the-numbers, especially following Bird’s revitalizing and inventive </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Ghost Protocol</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. I’ve also been a fan of this franchise’s revolving door of directors, which gave each entry a unique stylistic stamp. Whatever reservations I had about McQuarrie’s return have been wiped clean by the resulting product. In fact, with </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, McQuarrie is elevated to the calibre of Great Action Directors of the 21st Century. There are sequences here that are simply unparalleled, made all the more breathtaking by the knowledge that the majority were done practically. In a cinematic landscape overwhelmed with admittedly awesome but undoubtedly cartoonish computer-generated action, </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> sets itself apart and we, the audience, are the lucky saps who get to soak in all of these delights from the vantage point of of our (hopefully) comfortable theater seats while we munch away on candy and popcorn.</span><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">With one epic set piece after another, the danger is losing sight of the characters and stakes. Somehow, miraculously, </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> thrives in this area, organically tying in storylines and characters from previous films in a way that enriches the plot, anchoring its intricate, criss-crossing happenings with surprising, but welcome emotional weight. We’ve got the return of all our favorite cast members, Simon Pegg, Ving Rhames, Rebecca Ferguson and Sean Harris, plus an excellent turn from Henry Cavill as August Walker, the brutal assassin with a killer mustache. </span><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">But while the supporting cast is superb and undoubtedly a crucial element regarding this franchise’s success, the star of the show, as always, is Tom Cruise, and God bless his monumental dedication to his craft. In the realm of big-budget action, Cruise is without peer. Throughout </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Fallout’s</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> two-plus hour runtime, he seems intent on raising the threshold for action stunts so high, no other movie star not named Jackie Chan would dare attempt to match them. That HALO jump sequence? Yeah, that’s Tom Cruise skydiving from an ACTUAL AIRPLANE. That wince-inducing moment where he comes up short in a leap from building to building? Mr. Cruise actually broke his foot when he hit the building wall, delaying the shoot for months. (And yes, they used the actual shot this happened in, including the aftermath in which Cruise limps away like a total BAMF because he knew this was the only take they’d be able to get) And how about that breathtaking helicopter chase scene? Turns out, Cruise learned how to fly a helicopter to make the sequence as believable as possible, performing stunts that would give even the most seasoned stunt pilot pause. Cruise is so devoted to his craft, all you can do is watch in utter shock and delight and cheer him on. Don’t try to fight it. Just let it happen.</span><br />
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<span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">If it isn’t already clear, I adored this movie. In a franchise filled with monumental highs and minimal lows (for shame, Mr. Woo), </span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Mission: Impossible - Fallout</i></b></span><span style="color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> might just be the best yet. No other summer blockbuster this year comes close. Few action pictures this century come close. Accept this mission with all your being and make sure to buckle up. </span></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-17400489991388519772018-04-04T10:23:00.002-07:002018-04-04T11:59:19.051-07:00Ready Player One - Film Review<div class="separator" style="clear: both; text-align: center;">
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A few years ago, my friend Richie recommended I check out Ernest Cline’s debut novel <b><i>Ready Player One</i></b>. He described it as a nerdy 80s-loving fanboy’s dream come true. “It’s like someone wrote a book FOR US.” He wasn’t wrong. Cline managed to tap into the 80s nostalgia craze that’s been sweeping the nation as of late (Oh hai, Stranger Things!) and craft a fun, throwaway novel filled to the brim with pop-culture references tailor-made to delight anyone that’s ever played a video game or seen a movie from the prolific decade that gave us the likes of hair metal and leg warmers. But its never-ending supply of movie, music and video game references is piles of icing on a cake that wafer-thin. Take those out and you’re left with little more than a familiar plot with a main character who solves every problem thrown his way without batting an eye. The book’s fine, but it’s not much more than that.<br />
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Steven Spielberg’s much-anticipated adaptation could be described the same way. It’s eye-candy bombardment with little-to-no substance. Nevertheless, I enjoyed it far more than I expected. While it doesn’t shy away from filling the frame with countless visual references and familiar characters designed to make you scream and shout, “OH! THAT’S THAT THING I LIKE!” seeing them on-screen versus having them described to you in obnoxious detail makes the experience feel less pandering. The weaknesses inherent to the source material - the simplicity of its story, the predictable emotional beats and the lack of legitimate stakes - hold the film back from being anything more than a decent time at the movies, but at least it's not a slog to get through.<br />
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The story takes place in a not-too-distant future where the world has gotten so crummy, the majority of its citizens have taken to spending most of their time in a gargantuan virtual world known as the OASIS. Created by James Halliday, the OASIS is like a cross between the mind-bending acrobatics of The Matrix and the colorful visuals of Tron if both those worlds were centered around fun and games and an ‘anything goes’ mentality. Halliday’s recent death triggered an epic contest where the winner stands to gain full control over the OASIS in addition to a number of other prizes. In order to find this Easter Egg, however, one must first discover three keys Halliday has hidden in his robust virtual world.<br />
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Wade Watts is our hero - a 'pure at heart' Halliday aficionado and lover of all things 80s. While he wants to find the keys as much as anyone else, he loves the OASIS more for the adventure and the friends he’s made rather than a desire to win absolute control over everything. When he stumbles on a sinister corporation’s plot to win Halliday’s contest in order to rework and commercialize the OASIS for financial gain, Wade and his friends will stop at nothing to prevent this from happening.
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As Wade, Tye Sheridan is tasked with playing the blandest of bland lead characters. He does an admirable job, instilling Wade with an endearing, nerdy quality that makes him instantly likable. In Cline’s novel, Wade’s constant reference-dropping made him feel like an obnoxious know-it-all. His ability to solve any problem thrown his way killed any potential suspense the story had to offer. Sheridan’s wide-eyed portrayal makes Wade come across as goofy and adorable more than an annoying genius. As depicted on screen, Wade is just a nerdy kid who stumbles on the right answers at the right time with a little help from his friends.<br />
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One of these friends (and the obligatory love interest) is Artemis, one of the OASIS’ legendary top players. In Spielberg’s adaptation, Artemis is given a more active role in the story, another wise storytelling decision. Olivia Cooke in the role is one of the film’s highlights. She makes a far more interesting protagonist than Wade. Ben Mendelsohn is appropriately menacing as the film’s primary villain Nolan Sorrento, the head of the evil corporation bent on winning Halliday’s contest and ruling the OASIS. His scenes with T.J. Miller’s i-R0k offer some of the film’s biggest laugh-out-loud moments. Even thought the cast spends most of their time as cartoonish digital avatars, they still do a bang-up job.<br />
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Perhaps the most disappointing aspect of Spielberg’s adaptation is its lack of edge, its seeming disinterest in ascending above the rest of the pack to achieve something more memorable. Why attach a filmmaker like Spielberg if you weren’t going to shoot for the stars? His crowd-pleasing, fast-paced sensibilities are on full display, but frankly it feels like this could have been directed by anyone. That special quality Spielberg brings to his best works gets little chance to shine, replaced by one familiar CGI set piece after another.<br />
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<b><i>Ready Player One’s</i></b> candy-coated sensibilities also prevent the film from developing real-world stakes. When things go wrong in the real world and people die, the consequences are hardly felt by any of the characters. Little excitement is generated beyond the ‘gee-whiz’ thrill of the colorful action and visuals, but there’s hardly any risk It’s not all that dissimilar from the sequences in the OASIS.
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Speaking of which, I have to give credit where credit is due. The OASIS is a visual effects masterwork. The film’s exciting visual moments take place in this digital playing field. I was concerned the switch to the virtual world and reliance on CGI characters would create a disconnect, but it ended up reinforcing the universe all the more and never once took me out of the experience. There are some wonderful visual references and one extended sequence involving a re-creation of iconic scenes from Stanley Kubrick’s <b><i>The Shining</i></b> is a particular standout.<br />
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It all leads up to your standard, computer-generated BIG BATTLE SEQUENCE that will boggle your senses and leave you completely unmoved, a standard for many blockbusters in this day and age. It concludes with a sappy, hamfisted ‘put down your phones and go outside’ message that seems fitting for the times, but insincere based on what’s come before. (After all, none of these people would have met without the OASIS in the first place.)<br />
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<b><i>Ready Player One</i></b> won’t ever be mistaken for one of Spielberg’s finest moments, nor do I expect it to be remembered much in the coming years, but it is undoubtedly an enjoyable ride. I’d say I was disappointed it wasn’t anything more than the sum of its parts except I didn’t expect it to be. While it’s undoubtedly an improvement on its source material, it reinforces how little of substance there is to it. If you’re already a fan of the novel, you’ll have a good time; if you just want a fun, fast-paced blockbuster, you should walk away happy. If you want an engaging, involving experience that will blow your mind, you might be off staying home and playing video games instead.Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-43236442744991774382018-03-01T06:54:00.000-08:002018-03-02T09:52:42.033-08:00Shawn Eastridge's Top Ten Favorite Films of 2017 (and all those other ones too)<div class="separator" style="clear: both; text-align: center;">
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<b><span style="font-size: large;">The Oscars are happening this Sunday! And what better excuse to scrounge together a list of my favorite 2017 films. Sure, it might be a bit late to post this, but it's my blog so DEAL WITH IT! Here, at long last, are my Top Ten Favorite Films of 2017.<br /><br />Before we get started, here are the films I missed still haven't seen, but hope to get around to seeing some day:</span></b><br />
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<li><b><i>DARKEST HOUR</i></b></li>
<li><b><i>THE FLORIDA PROJECT</i></b></li>
<li><b><i>GERALD'S GAME</i></b></li>
<li><b><i>GOOD TIME</i></b></li>
<li><b><i>THE GREATEST SHOWMAN</i></b></li>
<li><b><i>HOSTILES</i></b></li>
<li><b><i>I, TONYA</i></b></li>
<li><b><i>JUMANJI: WELCOME TO THE JUNGLE</i></b></li>
<li><b><i>THE KILLING OF A SACRED DEER</i></b></li>
<li><b><i>KINGSMAN: THE GOLDEN CIRCLE</i></b></li>
<li><b><i>LOGAN LUCKY</i></b></li>
<li><b><i>MOLLY'S GAME</i></b></li>
<li><b><i>T2: TRAINSPOTTING</i></b></li>
<li><b><i>WONDER</i></b></li>
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<b><span style="font-size: x-large;">THE TOP TEN</span></b></div>
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<b>10. <i>LADY BIRD</i><br />(Directed by Greta Gerwig)</b></div>
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<b><i>Lady Bird</i></b> has no shortage of enthusiasm and spunk and it’s got the heart to match. Greta Gerwig’s directorial debut makes a lasting impression thanks to sharp writing and excellent performances from its cast led by Saoirse Ronan and Laurie Metcalf. Gerwig does an excellent job balancing zany humor and characters with sincere emotion and modesty.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihG0twseAa38IIfGi2Kkp0ZgOSFdxF3N4j_DUUpUIJk1HtJ705PkWKiXEWI51XHhyqnphfP-BwSDmcGf6kpVyAd2NPU6K9CG6VQVz3rghh6L-x32zXh1U5MN0GLFhZm5f8v4K5gC_YVD6d/s1600/The-Shape-of-Water.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="1050" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihG0twseAa38IIfGi2Kkp0ZgOSFdxF3N4j_DUUpUIJk1HtJ705PkWKiXEWI51XHhyqnphfP-BwSDmcGf6kpVyAd2NPU6K9CG6VQVz3rghh6L-x32zXh1U5MN0GLFhZm5f8v4K5gC_YVD6d/s400/The-Shape-of-Water.jpg" width="400" /></a></div>
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<b>9. <i>THE SHAPE OF WATER</i><br />(Directed by Guillermo del Toro)</b><br />
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Guillermo del Toro is one of the greats and has gone far too long without this kind of acclaim and awards attention. Not only has he crafted some of the most imaginative and beautiful works of cinema this century (<b><i>The Devil’s Backbone, Pan’s Labyrinth, Crimson Peak</i></b>), he’s made some of the most crowd-pleasing and heartwarming entertainments (<b><i>Hellboy 1&2</i></b>). <b><i>The Shape of Water</i></b> is the second of his English-language films to demonstrate his more thoughtful, ‘arthouse’ sensibilities. It works as both a culmination of his own career, which favors a running theme of acceptance and appreciation of ‘the other,’ in addition to being a love letter to the movies and movie monsters in particular.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieuxLU_3cQhaUq2cWxJbHLGQduh7QqEVvCzGwKeMv8kYRkGjrj0s7yq-43r3edkEAGKWrCsBznq1IhZfbe8buCbdoj41CqE3jlzgniuiTCv8iZ5XNF90jgcuLwq3OVCNSZGd0rs-_4swct/s1600/Baby-Driver.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="1118" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieuxLU_3cQhaUq2cWxJbHLGQduh7QqEVvCzGwKeMv8kYRkGjrj0s7yq-43r3edkEAGKWrCsBznq1IhZfbe8buCbdoj41CqE3jlzgniuiTCv8iZ5XNF90jgcuLwq3OVCNSZGd0rs-_4swct/s400/Baby-Driver.png" width="400" /></a></div>
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<b>8. <i>BABY DRIVER</i><br />(Directed by Edgar Wright)</b></div>
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No one can make a kinetic action film like Edgar Wright and <b><i>Baby Driver</i></b> is further proof. It’s a fast-paced, hilarious and gripping crime thriller/musical (yes, you read that right), and maybe, JUST MAYBE, the most fun I had at the movies in 2017. Not to mention that glorious soundtrack, which, thanks to Wright’s direction and Paul Machliss and Jonathan Amos’ editing, becomes just as integral a player as the actors.</div>
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<b>7. <i>LOGAN</i><br />(Directed by James Mangold)</b></div>
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Logan is the rare beast that transcends its genre trappings to become something more. It’s brutal, bloody and easily the best of the three Wolverine films, though to be honest that’s not saying much. What is saying much is James Manigold has delivered a superb send-off for the much beloved character and Hugh Jackman has never been better.</div>
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<b>6. <i>GET OUT</i><br />(Directed by Jordan Peele)</b></div>
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Jordan Peele’s first feature chucks him right to the forefront of Exciting New Directors. It’s one of the most assured directorial debuts I’ve ever seen. With its intelligent view on the country’s racial divide paired with iconic imagery, heart-wrenching thrills and a raucous sense of humor, <b><i>Get Out</i></b> is an instant horror classic that I am more than happy to welcome into my annual Halloween viewings.<br />
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<b><br />5. <i>CALL ME BY YOUR NAME</i><br />(Directed by </b><span style="text-align: left;"><b>Luca Guadagnino)</b></span></div>
<b><i><br />Call Me By Your Name</i></b> is a beautiful coming-of-age romance that captures in vibrant detail the joy and sadness that goes hand in hand with young, unbridled and passionate love. Everything about its setting and premise screams ‘pretentious,’ and yet it side-steps these descriptors, coming across as genuine and sincere in its emotions. Sometimes achingly so. Couple all that with those gorgeous Italian vistas (expertly captured by Sayombhu Mukdeeprom’s cinematography) the excellent soundtrack and the incredible performances and baby, you got a stew goin’. Timothée Chalamet might not walk away with the Oscar come Sunday, but he sure did walk away with my heart. (And don’t even get me started on the Armie Hammer snub. We’ll be here all day.)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8k4bMuG8FeTOcK5NgGgPYqhGoJ_U5Fka-8-twTPG99uKhyF4zPTE9VD4dOJTjFSZf7yac8HYSeJCk5jZAFYDYID50hUy099Dhede4WH4xtU9BcM188OskKquKHU8I3hEF68rPMpYzCQ6/s1600/BR-2049.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1029" data-original-width="1544" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY8k4bMuG8FeTOcK5NgGgPYqhGoJ_U5Fka-8-twTPG99uKhyF4zPTE9VD4dOJTjFSZf7yac8HYSeJCk5jZAFYDYID50hUy099Dhede4WH4xtU9BcM188OskKquKHU8I3hEF68rPMpYzCQ6/s400/BR-2049.jpg" width="400" /></a></div>
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<b>4. <i>BLADE RUNNER 2049</i><br />(Directed by Denis Villeneuve)</b></div>
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You say, “<b><i>Blade Runner </i></b>sequel,” and I respond, “Terrible idea.” But that was before I found out Denis Villeneuve was attached to direct backed by renowned cinematographer Roger Deakins. Throw in Ryan Gosling for good measure and my interest is piqued. What’s more impressive than the team assembled to create this 35-years-later sequel is that it would manage to hold a candle to Ridley Scott’s ground breaking 1982 classic. Not only does <b><i>Blade Runner 2049</i></b> earn its place as a worthy follow up, it manages to craft a more compelling character drama, deepening its predecessors' themes while paving its own way. An incredible accomplishment that will no doubt be analyzed and scrutinized in the years to come, joining the ranks with <b><i>Blade Runner </i></b>as one of the great cinematic works of our time.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk5yE7jL2vmVt-DHeC_fLHDEuNTUNvDZA4pbeRLQZrfBvFc4t2LC1LITZKDyyMDDuTzAHskssrduTTv1MFA4Vh3PNEJ6gT8AlWG9H0AdzlVegdcD8D63Mze9bcS3l2hFhptD_u96HnboYa/s1600/War-for-the-Planet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="1200" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk5yE7jL2vmVt-DHeC_fLHDEuNTUNvDZA4pbeRLQZrfBvFc4t2LC1LITZKDyyMDDuTzAHskssrduTTv1MFA4Vh3PNEJ6gT8AlWG9H0AdzlVegdcD8D63Mze9bcS3l2hFhptD_u96HnboYa/s400/War-for-the-Planet.jpg" width="400" /></a></div>
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<b>3. <i>WAR FOR THE PLANET OF THE APES</i><br />(Directed by Matt Reeves)</b></div>
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A powerful conclusion to one of the best film trilogies this side of <b><i>The Dark Knight</i></b>. Writer/Director Matt Reeves pulls out all the stops for a thrilling and emotional finale featuring what may be Andy Serkis’ finest performance to date. <b><i>War</i></b> may be dark and tragic, but it is also stunning and emotional, daring in its subject matter and vastly more intelligent than most effects-laden blockbusters. So impressive is the effects work here that I never once thought of the apes as anything other than flesh and blood creatures occupying real space in their environments. I’m still giving the edge to <b><i>Dawn of the Planet of the Apes</i></b>, but I applaud Reeves and co. for committing to their somber tone and seeing this trilogy through to its satisfying and masterful conclusion.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7l8ifKoF9U2so2Q6ouuQnAKWXbYzFj-v2iFJcbPQUTyqbK1rjMib6VK0vSpMey8zvBrRXYhumzMnkR76Dm29QMR-vSnUh0FlmWU8pTj4oDHq40T7DWuzS-OP4KXr7n8EpQhehiAJkUCK/s1600/Twin-Peaks-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="839" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7l8ifKoF9U2so2Q6ouuQnAKWXbYzFj-v2iFJcbPQUTyqbK1rjMib6VK0vSpMey8zvBrRXYhumzMnkR76Dm29QMR-vSnUh0FlmWU8pTj4oDHq40T7DWuzS-OP4KXr7n8EpQhehiAJkUCK/s400/Twin-Peaks-2.jpg" width="400" /></a></div>
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<span style="font-weight: bold;">2. </span><i style="font-weight: bold;">TWIN PEAKS: THE RETURN</i></div>
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<span style="font-weight: bold;">(Directed by David Lynch)</span></div>
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No, I’m not trying to add fuel to the fire of the debate that is the whole ‘Is <b><i>Twin Peaks: The Return</i></b> a TV Show or a film?’ thing. I know some critics have argued in favor of the latter, spurred on by David Lynch and Mark Frost’s insistence that the new season was written as a single entity and filmed as such, and that’s fine. (If you must know, I error on the side that insists it should be seen as television) </div>
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But, here’s the thing: I don’t do a favorite TV shows list and I needed to profess my love for <b><i>Twin Peaks: The Return</i></b> SOMEWHERE. So here we are. </div>
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With this much-anticipated third season, Lynch and Frost took full advantage of the creative freedom offered by Showtime and created something that blew the doors wide open on what television, and visual storytelling in general, could be. Week after week I never knew what to expect. All I knew was I was in for a treat that would engage and challenge me in a way few other films or shows ever have. By the time the series reached its baffling, mind-boggling conclusion, I knew for certain it would go down as one of the most unforgettable viewing experiences I’d ever had.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTBjTX-1lJvJSMxyRR7bCMw0KnChqAFzc-NYbc48z4fhQQNh0IJvtm7UxYdzL54Waa519dnIowP61eY3cWvoO5aiEpIA9eOORScjrmlf4gEAbT3r9BvjhVy7B7tWhNIw6xhPeSePfJxD0/s1600/Dunkirk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTBjTX-1lJvJSMxyRR7bCMw0KnChqAFzc-NYbc48z4fhQQNh0IJvtm7UxYdzL54Waa519dnIowP61eY3cWvoO5aiEpIA9eOORScjrmlf4gEAbT3r9BvjhVy7B7tWhNIw6xhPeSePfJxD0/s400/Dunkirk.jpg" width="400" /></a></div>
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<b>1. <i>DUNKIRK</i><br />(Directed by Christopher Nolan)</b></div>
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<b><i>Dunkirk</i></b> is a cinematic triumph of the tallest order and one of the finest examples of the artform I’ve ever seen. Throughout his career, Christopher Nolan has always displayed a mastery of his craft, but never has he produced such a strong, visually oriented narrative. It’s as if everything in his career was leading to this distilled example of the medium’s power. His insistence on using practical sets, props and effects only adds to the experience. I had the immense pleasure of attending the 70mm IMAX presentation and the experience was overwhelming. This may, in fact, be his best film yet, which, when you consider a filmography that includes the likes of <b><i>Memento</i></b> and <b><i>The Dark Knight</i></b>, is a major accomplishment. Honestly, this one joins the ranks with <i style="font-weight: bold;">Mad Max: Fury Road</i> as one I could watch on repeat, I love it so dearly.</div>
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But beyond its undeniable technical achievements, <b><i>Dunkirk</i></b> succeeds as a celebration of the human spirit, our capacity for compassion, our struggle to survive against all odds and our willingness to put ourselves in harm's way for the greater good. Another modern classic from one of our greatest living filmmakers. </div>
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<b><span style="font-size: large;">That's our show, folks! Thanks for tuning in. And for those interested, here are the other movies that either missed it by *that* much or just weren't very good. See you next year! (Or technically this year?)</span></b></div>
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<b><span style="font-size: x-large;">THE OTHER TEN</span></b></div>
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<b>11.<i> THE BIG SICK </i>(Directed by Michael Showalter)</b></div>
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<b>12.<i> COCO </i>(Directed by Lee Unkrich)</b></div>
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<b>13.<i> STAR WARS EPISODE VII: THE LAST JEDI </i>(Directed by Rian Johnson)</b></div>
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<b>14. <i>JOHN WICK: CHAPTER 2 </i>(Directed by Chad Stahelski)</b></div>
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<b>15. <i>THE MEYEROWITZ STORIES (NEW AND SELECTED) </i>(Directed by Noah Baumbach)</b></div>
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<b>16.<i> THREE BILLBOARDS OUTSIDE EBBING, MISSOURI </i>(Directed by Martin McDonagh)</b></div>
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<b>17. <i>OKJA </i>(Directed by Bong Joon-Ho)</b></div>
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<b>18. <i>THOR: RAGNAROK </i>(Directed by Taika Waititi)</b></div>
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<b>19. <i>WONDER WOMAN </i>(Directed by Patty Jenkins)</b></div>
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<b>20.<i> A GHOST STORY </i>(Directed by David Lowery)</b></div>
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<b><span style="font-size: x-large;">HONORABLE MENTIONS</span></b></div>
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<li><b><i>AMERICAN MADE </i>(Directed by Doug Liman)</b></li>
<li><b><i>DETROIT </i>(Directed by Kathryn Bigelow)</b></li>
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<li><b><i>FATE OF THE FURIOUS </i>(Directed by F. Gary Gray)</b></li>
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<li><b><i>GUARDIANS OF THE GALAXY VOL. 2 </i>(Directed by James Gunn)</b></li>
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<li><b><i>IT </i>(Directed by Andrés Muschietti)</b></li>
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<li><b><i>IT COMES AT NIGHT </i>(Directed by Trey Edward Shults)</b></li>
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<li><b><i>MOTHER! </i>(Directed by Darren Aronofsky)</b></li>
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<li><b><i>THE POST </i>(Directed by Steven Spielberg)</b></li>
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<li><b><i>SPIDER-MAN: HOMECOMING </i>(Directed by Jon Watts)</b></li>
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<li><b><i>STRONGER </i>(Directed by David Gordon Green)</b></li>
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<b><span style="font-size: x-large;">BIGGEST DISAPPOINTMENTS</span></b></div>
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<li><b><i>ALIEN: COVENANT </i>(Directed by Ridley Scott)</b></li>
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<li><b><i>BEAUTY AND THE BEAST </i>(Directed by Bill Condon)</b></li>
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<li><b><i>THE DISASTER ARTIST </i>(Directed by James Franco)</b></li>
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<li><b><i>PHANTOM THREAD </i>(Directed by Paul Thomas Anderson)</b></li>
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<li><b><i>POWER RANGERS</i> (Directed by Dean Israelite)</b></li>
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<b><span style="font-size: x-large;">THE WORST OF THE BUNCH</span></b></div>
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<ul>
<li><b><i>BAYWATCH </i>(Directed by Seth Gordon)</b></li>
</ul>
<ul>
<li><b><i>JUSTICE LEAGUE </i>(Directed by Zach Snyder)</b></li>
</ul>
<ul>
<li><b><i>THE MUMMY</i> (Directed by Alex Kurtzman)</b></li>
</ul>
</div>
<br />
<div>
<br /></div>
</div>
</div>
</div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-83442364268253197882018-02-09T08:06:00.001-08:002018-02-17T07:10:44.719-08:00Black Panther - Film Review<div class="separator" style="clear: both; text-align: center;">
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<br />
<b>**WARNING: MINOR SPOILERS WITHIN**</b><br />
<br />
There’s no denying the cultural significance of a film like <b><i>Black Panther</i></b> in today’s blockbuster landscape. It’s the first film in the Marvel Cinematic Universe to feature a predominantly black cast. Just this fact alone marks <b><i>Black Panther</i></b> as a singular entry in this franchise and a major achievement in its own right, and with the excellent writer/director Ryan Coogler at the helm, a strong ensemble led by the likes of Chadwick Boseman, Lupita Nyong’o and Michael B. Jordan, stunning visuals and an expansive, believable world, it stands as one of Marvel Studios’ most unique offerings yet.<br />
<br />
That’s the good news.<br />
<br />
The bad news is it still succumbs to the standard Marvel movie weaknesses: all-too familiar story beats and an underdeveloped villain. Plot-wise, it feels like bits and pieces of movies we’ve seen before, a little James Bond here, a little Lion King there (no joke). But while the predictable plotting and simplistic character beats hold <b><i>Black Panther</i></b> back from true greatness, they can’t quell the overall entertainment value and delight of Coogler’s unique vision, a vision which adds further, much-appreciated variety to the MCU.<br />
<br />
I won’t go into the plot too much since there’s still a week to go before the film is officially released, but I’ll offer a brief summary. In the aftermath of his father’s murder (recalled in a brief flashback), T’Challa a.k.a. Black Panther returns home to take his rightful place as Wakanda’s new king. But while T’Challa would prefer to keep his people and resources safe by cutting them off from the rest of the world, a force from outside Wakanda’s borders threatens their very existence and a dark secret from the royal family’s past could bring about their kingdom’s destruction.<br />
<br />
<b><i>Black Panther</i></b> takes its time doling out information at the start, building its expansive world and setting the stage for events to come. It’s a bit slow and plodding with little action or excitement, but Coogler combats this by filling the frame with colorful visuals and endearing characters to keep us engaged. It’s one of the few films in the MCU that has a strong visual identity, its striking production design and effects work feel unlike anything we’ve seen in this universe before. Wakanda teems with life, beauty and culture; it’s a living, breathing world you totally buy into.<br />
<br />
Things pick up when the story transitions into its fast-paced second act, and from that point on the awesomeness rarely lets up. The action sequences are exciting and engaging, with some amazing fight choreography. One sequence in particular, which features a fluidly moving camera ascending between two levels as it follows multiple fight scenes without a single, visible cut, is an astonishing achievement. This is followed by another of the film’s highlights, a breathtaking car chase through South Korea’s fluorescent cityscapes, featuring Black Panther’s superhuman acrobatics as he leaps and flips between cars and buildings like a total BAMF. As with most of these movies, <b><i>Black Panther’s</i></b> third act devolves into the standard CGI action climax we’ve come to expect, but Coogler has done such an excellent job getting us to that point and ensuring we’re invested in these characters it doesn’t hinder its effectiveness.<br />
<br />
Rounding out <b><i>Black Panther’s</i></b> greatest assets is its phenomenal ensemble. As the titular hero Chadwick Boseman does an excellent job conveying the character’s nobility and conflict. Lupita Nyong’o plays the love of his life, dishing out sage wisdom and ass-kicking in equal measure, and few things are more enjoyable to watch than Danai Gurira of Walking Dead fame twirling a spear and wiping out the baddies. Andy Serkis and Martin Freeman also make a welcome return, reprising their roles from Avengers: Age of Ultron and Captain America: Civil War respectively and giving us the Bilbo/Gollum reunion we’ve all been waiting for.<br />
<br />
The ensemble’s standout, however, is newcomer Letitia Wright as T’Challa’s younger sister Shuri. She serves as the film’s ‘Q,’ developing new weapons and technology for her older brother. Many of the film’s highlights and biggest laughs involve their sibling squabbling and interactions.<br />
<br />
This brings me to perhaps my biggest beef with <b><i>Black Panther</i></b>: its villain, Erik “Kill Monger” Stevens. As Erik, Michael B. Jordan gets a lot more to work with than the standard Marvel villain. His motivations are strong, personal and much more human than your average ‘take over the world’ schemes….even though that ends up being his ultimate goal. But you understand <i>why</i> he feels this way.<br />
<br />
The problem is we don’t spend enough time with Erik to get a real feel for who he is. He’s not introduced as the film’s true antagonist until about halfway through the runtime and by that point we’ve spent so little time with him, it feels like an odd left turn, unmotivated by the events leading up to it. Jordan’s performance is good, but one-note. Erik is angry, brutal and aggressive without much room for nuance or subtlety. It’s easy to understand what he feels and why he feels that way, but it’s harder to empathize with his brutal methods. As portrayed, he comes across more as a scorned, angry teenager than someone with genuine grievances. It undercuts what would otherwise be one of the stronger villains in the land of Marvel and it’s a shame that Coolger and co-writer Joe Robert Cole couldn’t interweave Erik’s storyline more organically into the rest of the film.<br />
<br />
<b><i>Black Panther</i></b> works in so many ways and feels so creative and full of great ideas that you can’t help but wish it felt a little more original in the storytelling department. It’s a reminder that it’s possible to recognize the cultural significance of a product while also acknowledging that it falls short in other areas. That being said, <b><i>Black Panther</i></b> is one of the stronger solo hero entries in the MCU, succeeding as an exciting action/adventure that carves out a new section for this expansive universe to play in. It contains moments that will take your breath away and more than make up for its weaker tendencies.<br />
<br />
But perhaps Coogler’s greatest accomplishment here is that he was able to dive into the well-oiled machine that is Disney/Marvel and create something that feels like a sincere expression of his own heart, a product that feels epic, but also has something important to say. In that regard, <b><i>Black Panther </i></b>is more than just a movie - it’s a celebration of a culture that has for far too long been marginalized and under-represented in these kinds of movies. I can’t imagine how exciting it must be for a young black boy or girl to finally get to cheer on superheroes that look like them.<br />
<br />
It’s about damn time.<br />
<br />
And for those interested, here’s where <b><i>Black Panther</i></b> fits into my MCU rankings:<br />
<br />
<ol>
<li><b><i>The Avengers </i></b></li>
<li><b><i>Captain America: Winter Soldier </i></b></li>
<li><b><i>Captain America: Civil War </i></b></li>
<li><b><i>Iron Man </i></b></li>
<li><b><i>Thor: Ragnarok </i></b></li>
<li><b><i>Iron Man 3 </i></b></li>
<li><b><i>Guardians of the Galaxy Vol. 2 </i></b></li>
<li><b><i>Black Panther </i></b></li>
<li><b><i>Guardians of the Galaxy </i></b></li>
<li><b><i>Spider-Man: Homecoming </i></b></li>
<li><b><i>Captain America: The First Avenger </i></b></li>
<li><b><i>Avengers: Age of Ultron </i></b></li>
<li><b><i>Ant-Man </i></b></li>
<li><b><i>Doctor Strange </i></b></li>
<li><b><i>Iron Man 2</i></b></li>
<li><b><i>Thor: The Dark World </i></b></li>
<li><b><i>Thor </i></b></li>
<li><b><i>The Incredible Hulk</i></b></li>
</ol>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-51917172476544472462017-10-06T12:01:00.001-07:002017-10-07T14:27:17.542-07:00Blade Runner 2049 - Film Review<div class="separator" style="clear: both; text-align: center;">
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I was a senior in high school the first time I saw Blade
Runner. I’d received the bare bones Director’s Cut DVD as a Christmas present
from a friend (This was before 2007’s robust Final Cut release) and I’d caught
an awful cold that left me exhausted and somewhat delusional. <o:p></o:p></div>
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For some reason, I thought this was the appropriate state of
mind to watch this dark, disturbing and cerebral film. <o:p></o:p></div>
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For two hours I sat there and watched Ridley Scott’s visual
masterpiece, totally zonked and fading in and out of consciousness. Blade
Runner is a tough enough pill to swallow when you’re not suffering from a
massive head cold, and in this neurotic state of mind, I had no clue
what to make of it. It’s a reaction not all that dissimilar from that of
audiences back in 1982 when the film was first released.<br />
<br />
But in the years
since, film fans and critics have re-examined Blade Runner and come around to
its groundbreaking and influential style, going so far as to call it a
cinematic classic. It’s a film that gets better and better each time you watch
it. I can attest to this personally. While my first viewing was
less than satisfactory, I discovered a lot more to love the second time around.
By my third viewing, I’d determined it was one of my all-time favorites.</div>
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<o:p></o:p></div>
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I bring up this story because my experience watching Blade
Runner 2049, the 35-years-later sequel, was very similar to my experience
watching the original for the first time, minus the outright dislike. <o:p></o:p></div>
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Like its predecessor, Blade Runner 2049 isn’t interested in
playing nice with the audience. Its methodical pacing (almost too methodical at
times), limited emotional connection and lack of action sequences seem
tailor-made to defy audience expectation and test the attention spans of those
accustomed to the standard 21st century blockbuster. Its plotting is clunky and
scattered, pointing in every which direction like a compass in constant motion
seeking out Magnetic North. It doesn’t cover any visual or thematic territory
that the original hadn’t already touched, and at 163 minutes it’s way too long.
<o:p></o:p></div>
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And yet, despite these shortcomings, It is an undeniably
fascinating viewing experience and one of the more intriguing and
unconventional blockbuster releases of the 21st century. Director Denis
Villeneuve has churned out some of the best films released in this past decade
(Prisoners, Sicario, Arrival), but this is a crowning achievement of another sort.
He’s managed to take a sequel no one thought they wanted and produced a
singular vision that is both worthy of its predecessor’s legacy whilst
impressively carving out a niche all its own. Even if it misses the mark in
some respects, that’s still an extraordinary accomplishment.<o:p></o:p></div>
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Without getting too buried in the details, I’ll give you a
very basic plot rundown (if you’d rather go in completely blind, you’ll want to
skip the next couple paragraphs): <o:p></o:p></div>
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Ryan Gosling is ‘K,’ a Blade Runner tasked with
bringing in or ‘retiring’ older Nexus models that have gone into hiding. During
one of his assignments, K comes across information that could significantly
alter the course of the future for humans and replicants alike. I don’t think
it’s a spoiler for anyone who’s seen one of the film’s amazing trailers or
posters to also inform you that Harrison Ford’s Deckerd character will show up
at some point and play a role in these proceedings. Exactly how he gets
involved and what the extent of his involvement is, well, I’ll leave that to
you to discover.<o:p></o:p></div>
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<span style="font-family: Lato; font-size: 16px; text-align: justify;">Part of what made the original <em style="position: relative;">Blade Runner</em> so powerful was its ambiguity. It asked many questions but provided few answers. You may or may not appreciate <em style="position: relative;">Blade Runner 2049's</em> answering some of those lingering questions, but in the process it asks and answers even </span><span style="font-family: Lato; font-size: 16px; text-align: justify;">more</span><span style="font-family: Lato; font-size: 16px; text-align: justify;"> along similar lines: the nature of humanity, love and what it means to have a soul. It’s intriguing for sure and there's plenty of ambiguity left over, but would have been far more powerful had some of the answers been a little less explicitly stated.</span></div>
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The film also suffers from a wealth of subplots, as if
Villeneuve and screenwriters Hampton Fancher and Michael Green couldn’t decide
what to focus on. Some of the best storylines are frustratingly underdeveloped,
especially the one involving Tyrell stand-in Niander Wallace. (Here’s something
I never thought I’d say: I wanted more Jared Leto in this movie. It’s one of
the film’s most intriguing) <o:p></o:p></div>
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One of the more successful subplots involves love interest
Joi, wonderfully portrayed by Ana De Armas. K’s relationship with Joi anchors
the film with a sorely needed emotional connection. <o:p></o:p></div>
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As with the original film, Blade Runner 2049’s strongest
aspects are its visuals and sound design. Ridley Scott and Jordan Cronenweth’s
visual work in Blade Runner resulted in what is arguably the best-looking film
ever made. That’s quite the standard to live up to, but if anyone would be up
to the task, it’s legendary cinematographer Roger Deakins. <o:p></o:p></div>
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And boy oh boy, is he ever. <o:p></o:p></div>
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In a career spent crafting some of the most striking visuals
in recent cinema history, Deakins has gone above and beyond here, delivering
some of his best work. The visual effects mesh beautifully with his aesthetic,
resulting in one of the most fully-realized and believable worlds
since...well...Blade Runner. Maybe the movie gods will finally see fit to gift
this incredible talent with the Academy Award that has so unfairly eluded him
for his entire career. <o:p></o:p></div>
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Likewise, Hans Zimmer and Benjamin Wallfisch’s haunting
score, paired with the incredible sound design, provides a bleak, otherworldly
backdrop that unsettles and captivates in equal measure. I can’t wait to pick
up a copy for myself.<o:p></o:p></div>
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Ryan Gosling’s performance as K is another of the film’s
highlight. Gosling is, like Deakins and Zimmer, a master of his craft. He has
played everything from charmers (La La Land) to cold-blooded hitmen (Drive) and
even creepy boyfriends with impressive depression beards (The Notebook). Here
he’s tasked with taking a relatively blank slate character and making us
empathize with him, and he does so with such effortless finesse, you want to
kiss the man. <o:p></o:p></div>
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Er...did I say ‘kiss?’ I meant to
say…uh…Well...no...actually, on second thought, I did mean to say ‘kiss.’ (Call
me, Ryan)<o:p></o:p></div>
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And Harrison Ford...I don’t want to say too much for fear I
might give something away, but I was really impressed with his work here. I was
afraid he might phone it in, but as with his reprisal of Han Solo in The Force
Awakens, Ford gives his all, delivering an emotionally complex and touching
performance.<o:p></o:p></div>
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Blade Runner 2049 is such an unconventional effort in this
modern age of blockbuster cinema, I’m genuinely amazed Warner Bros. allowed it
to be released as is. I have to extend major kudos to the studio for standing
behind what is sure to be a divisive product. But despite its heady nature and
methodical (sometimes to a fault) pacing, there is plenty here to engage and
captivate patient, thoughtful audiences. I sincerely hope it makes a profit; we
need more of this brave and challenging brand of mainstream filmmaking. <o:p></o:p></div>
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And much like my experience with the original Blade Runner,
I have a feeling I could grow to appreciate this sequel more and more as time
goes by. Whether I’d go so far as to someday call it one of my favorite films?
Eh, that’s less likely. But who knows? Stranger things have happened.<o:p></o:p></div>
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...like a good Blade Runner sequel.<o:p></o:p></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
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Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-73997279791534615012017-09-12T07:29:00.000-07:002017-09-14T07:31:14.791-07:00It (2017) - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKhFsZYHA4iebcpknhRQbpiMmh-tjOtdBQfOZWwF6ksAYFljNfMEYBuD3tAofscvPfoQ3VBG7wCvS8z0_VW_ahkMnpcgXfQaKJKFQbFnSFkR1CgXmuK0eL3OExACwCaLrCfFq0R_z81exO/s1600/it-film-2017_orig.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="399" data-original-width="960" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKhFsZYHA4iebcpknhRQbpiMmh-tjOtdBQfOZWwF6ksAYFljNfMEYBuD3tAofscvPfoQ3VBG7wCvS8z0_VW_ahkMnpcgXfQaKJKFQbFnSFkR1CgXmuK0eL3OExACwCaLrCfFq0R_z81exO/s400/it-film-2017_orig.jpeg" width="400" /></a></div>
<b><i><br /></i></b>
<b><i><br /></i></b>
<b><i>It </i></b>works on so many levels that I’m more than a little bummed I can’t say I loved it. (Loved ‘It’? The use of the word ‘it’ in this review is going to get confusing. Let’s just move past that and get on with it – oops, there it is again. And again. Oh no. Help.)<br />
<br />
Let me be clear: I did enjoy the film.<br />
<br />
Everything involving the kids, their friendship and their personal struggles is gold. But the Pennywise/horror stuff? Not so much. That’s nothing against Bill Skarsgård who is excellent as the ancient evil being that haunts the town of Derry, but the scares as orchestrated by director Andy Muschietti become repetitive and tiring. Each horror sequence is structured the same way: kid sees something creepy, goes off to investigate on their own, something terrifying jumps out at them, Pennywise shows up to add the obligatory punctuation mark to the sequence. What’s fun and scary at first becomes dull and tiring. I wanted the scares to cut deeper and be more cerebral and creepy instead of being bombarded by loud noises and shots of Pennywise lunging at the camera.<br />
<br />
I’ll give Muschietti this much though: his interpretation does recognize the source material’s core strength: the Losers Club and the coming-of-age elements. When I first read <b><i>It</i></b> a couple years ago, I was surprised to discover a poignant, thoughtful and affecting story about growing up and bidding childhood farewell. It’s a beautiful novel and my favorite of Stephen King’s works. I was concerned the new movie would jettison this more thoughtful angle in favor of ‘oooo, here comes the scary clown.’ And while the ‘scary clown angle’ is present and borders on the cusp of obnoxiousness, Muschietti includes enough of the kids and their friendship to add additional layers to his adaptation.<br />
<br />
Where <b><i>It </i></b>triumphs is in the quieter moments: the kids swimming and joking at the water hole, riding around on bikes exploring the town and being there for each other in their moments of need. I found myself genuinely moved by these characters and their interactions and I can’t praise this ensemble enough. You always take a risk when your cast is made up of kids. There are few things more grating than a bad child performance and with a movie like It that relies so heavily on its young actors, that can make or break the deal. Thankfully <b><i>It </i></b>features one of the finest young casts I’ve seen with newcomer Sophia Lillis being the standout as the Losers Club’s only female member.<br />
<br />
It might not quite reach the high bar of modern horror classics such as <b><i>The Babadook</i></b>, <b><i>It Follows</i></b> or <b><i>The Witch</i></b> (<b><i>The VVitch</i></b>?), but it’s head and shoulders above the more recent substandard offerings of the genre. I’m excited to see what the inevitable sequel, which will focus on the grown up versions of the Losers Club, has to offer. I think Muschietti has the chops to pull it off if he tones down the more generic tropes associated with the genre and focuses more on the characters and their bond with one another.Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-82016171844705773882017-07-17T08:49:00.003-07:002017-07-17T08:49:57.277-07:00War for the Planet of the Apes - Film Review
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<style>
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mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpqRFTZYkcL9Jnjf3xgiRM6x-7lyPp3Nc2NepoiLfhaGpZS1diOMArPyoq0hC9PqBnlSob3c13lCYeqgA6EaRNSlLHn32-Vg332bnMpkMihDOBQmJLZuhEu5mrFDtAOdLY6_8a1hFDdWF/s1600/War-for-the-Planet-of-the-Apes-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEpqRFTZYkcL9Jnjf3xgiRM6x-7lyPp3Nc2NepoiLfhaGpZS1diOMArPyoq0hC9PqBnlSob3c13lCYeqgA6EaRNSlLHn32-Vg332bnMpkMihDOBQmJLZuhEu5mrFDtAOdLY6_8a1hFDdWF/s400/War-for-the-Planet-of-the-Apes-poster.jpg" width="400" /></a></div>
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These new <b><i>Planet of the Apes</i></b> movies are something of a
miracle. What started as a franchise reboot no one wanted has inexplicably
evolved into one of the great cinematic trilogies of this day and age. Starting
on humble ground with Rupert Wyatt’s 2011 <b><i>Rise of the Planet of the Apes</i></b> – a
film far better than it had any right to be – the franchise reached a new level
of cinematic excellence when director Matt Reeves took the reigns for the
sequel <b><i>Dawn of the Planet of the Apes</i></b>. <b><i>Dawn</i></b> is, in my not-so-humble opinion,
one of this past decade’s masterpieces. I’d even go so far as to say it belongs
on the same pedestal as Christopher Nolan’s <b><i>The Dark Knight</i></b>.<o:p></o:p></div>
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<b><i>War for the Planet of the Apes</i></b> might not reach <b><i>Dawn’s</i></b>
heights, but it concludes this trilogy with finesse, ending on a note both
exciting and emotionally satisfying. And as any good franchise should, it
leaves the door wide open for sequels should 20th Century Fox opt to continue
with this series. (Spoiler alert: they really should.)<o:p></o:p></div>
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It’s been two years since the events of <b><i>Dawn</i></b>. Caesar and his
ape tribe hide out in the woods, pursued by human soldiers intent on wiping
them out for good. This conflict reaches a boiling point when the soldiers
attack at night while the apes are off guard, leaving the tribe weakened and
determined to find a new safe haven. For reasons I won’t spoil here, Caesar
takes the attack personally and makes it his mission to take out the soldiers’
leader, known only as The Colonel.<o:p></o:p></div>
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So, it’s a revenge story. There are complexities, sure, and
intriguing ideas to boot, but there’s nothing as rich or effective as <b><i>Dawn’s</i></b>
offerings. Part of this is the lack of a compelling villain. While Woody
Harrelson is terrifying as the Colonel, his motivations are relatively
straightforward, rendering him something of a one-note caricature.<o:p></o:p></div>
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Compare this to Dawn’s Koba, undoubtedly one of the great
villains in modern cinema. Koba had strong motivations for the heinous acts he
committed and his relationship with Caesar offered up difficult moral questions
with no easy answers. Likewise, Koba brought out the best in Caesar from a
character development standpoint. This time around, Caesar is single-minded in
his quest for revenge, and it’s not nearly as compelling as his journey in
Dawn.<o:p></o:p></div>
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But enough about what doesn’t work. Let’s talk about what
does. Director Matt Reeves once again shows a knack for crafting beautiful
character moments to go hand-in-hand with stunning effects work and visuals.
Once again Andy Serkis steals the show with his finest performance to date.
(Blah, blah, deserves an Oscar, blah blah) The motion capture effects have
reached a whole new level. Never once did I look at the apes and think, ‘Wow,
this computer-generated imagery is off the charts.’ I fully believed they were
flesh and blood, occupying the same space as their human counterparts and the
gorgeous scenery. Michael Giacchino’s somber, elegant score provides a somber
and fitting backdrop.<o:p></o:p></div>
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Reeves has done something truly remarkable with this series.
In an oversaturated era of franchise filmmaking, he’s made a singular creative
effort, uncompromised by corporate demands. Where most modern blockbusters go
for pizazz and fireworks, these films have gone for the heart and soul. That
Reeves manages to close out this trilogy with any degree of satisfaction is a
major accomplishment. Quibbles aside, <b><i>War</i></b> cements this rebooted series as a
tale for the ages, taking this franchise to all new heights.<o:p></o:p></div>
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<b><i>Interested in hearing my ranking of the entire </i>Planet of the
Apes <i>franchise? Check out the <a href="http://www.thenerdparty.com/missingframes/episode-18-planet-of-the-apes-franchise">latest episode of Missing Frames</a> in which I join
my wife Sarah for her first ever viewing of the classic series.</i></b><o:p></o:p></div>
<!--EndFragment--><br />Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-31517260846203567502017-07-08T07:27:00.000-07:002017-07-08T07:27:36.409-07:00Spider-Man: Homecoming - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9n-ZZFG_d9t1osTQKJTFMmQkyT_yFQmGwZHk4DwIdPEEWY5qS6obICqCI1qPeMb8A3Gfm7kigX2_MzqKJOpjg9Cl-xV0zwaUirbsLzm1E75k8_o8SyM3Vi1n-oGo_3n_asr0Y5B7WnIN9/s1600/Spider-Man-Homecoming.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9n-ZZFG_d9t1osTQKJTFMmQkyT_yFQmGwZHk4DwIdPEEWY5qS6obICqCI1qPeMb8A3Gfm7kigX2_MzqKJOpjg9Cl-xV0zwaUirbsLzm1E75k8_o8SyM3Vi1n-oGo_3n_asr0Y5B7WnIN9/s400/Spider-Man-Homecoming.jpg" width="400" /></a></div>
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<i><b>Spider-Man: Homecoming</b></i> is the sixth <i><b>Spider-Man</b></i> film released
in the past 15 years and the second attempt to reboot the franchise with an all
new cast and creative team. You’d think at this point the character would have
lost his appeal, but it speaks to the brilliance of Stan Lee and Steve Ditko’s
original creation that he hasn’t. And it’s to the credit of Marvel Studios,
director Jon Watts and the film’s SIX screenwriters (including Watts) that
<b><i>Spider-Man: Homecoming</i></b> feels like a breath of fresh air. <o:p></o:p></div>
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But most of all, it’s thanks to Tom Holland, the youngest
actor to portray the character in the franchise’s history. In Holland we have,
for the first time, a Peter Parker/Spider-Man who actually feels like a
teenager, complete with all the angst and turmoil that would entail. Beyond
just wanting to see Spidey succeed and save the day, you actually fear for his
well being because at the end of the day he’s just a kid. Holland is a delight,
endearing and sweet as Peter Parker and hilarious and enthusiastic as his
web-swinging alter-ego. <o:p></o:p></div>
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<b><i>Spider-Man: Homecoming’s</i></b> greatest strength is the way it
scales things down. The comparisons to John Hughes’ films are fitting. This
time around the name of the game is fun, and it’s in the high school scenes
that <b><i>Spider-Man: Homecoming</i></b> really shines. The young supporting cast is just
wonderful, with newcomer Jacob Batalon being the standout as Peter’s best bud
Ned. Zendaya is another wonderful addition as the snarky Michelle. Holland’s
scenes with them provide some of the film’s biggest highlights and I sincerely
hope when the inevitable sequel comes around, we get to spend more time with
the kids. <o:p></o:p></div>
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Honestly, the weakest elements of the movie are the main
villain and the need to connect it to the Cinematic Universe. Not that the
Vulture isn’t a good villain. Michael Keaton is excellent in the role and
genuinely terrifying. There are some great scenes between him and Holland that
evoke genuine shivers. It would have been nice, however, to get a bit more
development and genuine understanding of his motivations - he always talks
about how he’s doing what he does for his family, but in this case, a little
bit more ‘show’ and less ‘tell’ would have gone a long way. <o:p></o:p></div>
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I also understand the need to showcase Tony Stark to prove
to general moviegoing audiences that this new Spidey franchise is part of the
overarching Cinematic Universe, and Peter’s relationship with Tony provides a
solid arc for Peter’s character. It’s just that because of this franchise
building mentality it feels like this Spider-Man doesn’t have as much room to stand
on his own and carve out his own niche. <o:p></o:p></div>
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If there’s one realm in which <b><i>Spider-Man: Homecoming</i></b> left me
feeling truly dissatisfied it’s in the lack of an emotional arc for Peter’s
character. <o:p></o:p></div>
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<b><span style="font-size: large;">I’m going to get a bit spoilery here, so just a heads up:<o:p></o:p></span></b></div>
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I know Uncle Ben was mentioned ad nauseum in previous films,
and I understand wanting to move away from that direction, but Uncle Ben is THE
reason Peter does what he does. I found it more than a little odd that Uncle
Ben is never mentioned once, other than vague allusions. I don’t need this
iteration of Spider-Man to get as angsty as the Tobey/Raimi version, but the
character needs more of an emotional core.</div>
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<b><span style="font-size: large;">**END SPOILERS**<o:p></o:p></span></b></div>
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<b><i>Spider-Man: Homecoming</i></b> isn’t strong enough to dethrone Sam
Raimi’s <b><i>Spider-Man 1</i></b> and <b><i>2</i></b>, but it is undeniably fun and loaded with lovable
characters and great action. It’s a promising start for this new franchise
within a franchise and as long as Marvel keeps the character grounded and
focuses more on his emotional struggles it could be something really special. <o:p></o:p></div>
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And just to follow up on my series ranking article, here’s
my revised ranking of the <b><i>Spidey</i></b> films:<o:p></o:p></div>
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<ol>
<li><b><i>Spider-Man 2</i></b></li>
<li><b><i>Spider-Man</i></b></li>
<li><b><i>Spider-Man: Homecoming</i></b></li>
<li><b><i>The Amazing Spider-Man</i></b></li>
<li><b><i>Spider-Man 3</i></b></li>
<li><b><i>The Amazing Spider-Man 2</i></b></li>
</ol>
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<b><span style="font-size: large;">FINAL RATING: 4/5</span></b><o:p></o:p></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-30146634182943987492017-07-05T06:16:00.001-07:002017-07-05T06:16:20.311-07:00Okja - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbPle1fQDtGyfOcZ-IzrDQupb8zlaWFxK3JYsWpDAQPNub00sGdwDnb14OvLAM5UNjxabd-m2ywG297buxZs8IcW_5bvi-ujjHxjnnecgiEdRXEsTOzs3uJ9XLeFQnPm3k71BpRjlwgy-s/s1600/Okja.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="960" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbPle1fQDtGyfOcZ-IzrDQupb8zlaWFxK3JYsWpDAQPNub00sGdwDnb14OvLAM5UNjxabd-m2ywG297buxZs8IcW_5bvi-ujjHxjnnecgiEdRXEsTOzs3uJ9XLeFQnPm3k71BpRjlwgy-s/s400/Okja.png" width="400" /></a></div>
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I’m not sure which demographic Netflix is hoping to attract with its latest original film <b><i>Okja</i></b>. On a surface level, it resembles family-friendly fare such as <b><i>E.T. the Extra Terrestrial </i></b>and <b><i>Babe</i></b>. In reality, it’s more at home alongside its brilliant director Bong Joon-ho’s other works, such as <b><i>The Host</i></b> and <b><i>Snowpiercer.</i></b><br />
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That is to say it’s not at all ‘family-friendly.’<br />
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But regardless of the tonal confusion, <b><i>Okja</i></b> is more than worth your time, especially if you’re a fan of Joon-ho’s other works. It’s beautifully shot, frequently hilarious and emotionally devastating. Only Bong Joon-ho, who’s made a career out of juggling conflicting tones with finesse, could end up crafting such a satisfying final product. Not only is this another worthy entry in his filmography, it’s further evidence that Netflix is planting the flag as the go-to place for an artist’s creative vision to flourish.<br />
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Okja is one of twenty-six superpig genetically engineered by the Mirando Corporation to revolutionize the food industry. Each of these superpigs was sent to different areas around the globe to be raised in a ‘natural’ environment. The superpig that demonstrated the most growth would be dubbed the winner of the Mirando Corporation’s superpig competition.<br />
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Flash-forward 10 years. Okja, soon to be dubbed the best and biggest of all the superpigs, is living with her family, a young girl named Mija and Mija’s grandfather. Mija and Okja have grown up together, developing an incredible bond. Together, they explore South Korea’s gorgeous mountain scenery and embark on all kinds of adventures. But when the Mirando Corporation arrives to claim its prize, Mija will stop at nothing to get her best friend back, traveling from Seoul to New York City, making new allies and enemies along the way.<br />
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Any of <b><i>Okja’s</i></b> faults are easily wiped out by what does work: its sense of humor, Joon-ho’s stunning visuals, aided this time around by cinematographer Darius Khondji of Seven and Midnight in Paris fame, and the wonderful cast, led by Ahn Seo-hyun’s brilliant, steadfast performance as Mija. Jake Gyllenhaal and Paul Dano are the standouts of a strong supporting cast. Gyllenhaal is absolutely hilarious, giving a madcap turn as television personality/zoologist Johnny Wilcox. Dano gives yet another perfect performance as Jay, the kindhearted soul leading the Animal Liberation Front who aids Mija in her quest to rescue Okja.<br />
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The effects are extraordinary. The Okja character herself is a marvel of computer generated wizardry, capable of generating empathy and emotion with a simple glance. I never once thought of her as a special effect, so seamlessly does she blend with the action around her.<br />
<br />
Okja contains political and social commentary out the wazoo, but although it doesn’t align with any particular viewpoint, it never outright condemns any of them either. Rather, it shines a light on the complexities, the beauty and ugliness of them all, and lets the audience be the judge. Even those with the best of intentions, such as the Animal Liberation Front, are susceptible to corruption when their ultimate goals are threatened.<br />
<br />
No one is innocent, it seems. No one, that is, but Mija and Okja, whose love for one another will keep them going even through their darkest moments. Their story may be perpetually on the verge of being overwhelmed by the numerous plot points and characters, but Joon-ho and co-writer Jon Ronson wisely keep Mija and Okja at the center of everything. Amidst the commentaries on capitalism and political activism, it’s the love between these two that propels the story onward.<br />
<br />
One can’t help feeling that was exactly Joon-ho’s intention. Amidst the political ins and outs and corruption found in nearly every facet of society, it’s all too easy to get distracted. We tend to forget about the things that really matter and why they matter. <b><i>Okja</i></b> is a powerful reminder of exactly that and it is a film you don’t want to miss.<br />
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<b><span style="font-size: large;">FINAL RATING: 4/5</span></b><br />
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Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-28413431360574090052017-07-01T18:36:00.003-07:002017-07-01T18:36:37.413-07:00Baby Driver - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghC20JsNXuwrqW7-uLiAeeRaJ5q_ywjCBBzlaO1RQPTNCzDtcCp8YwPlpCCquM1wGH-pZ9T86qOr08JKCugddDcIgvTVnw-HAHAcWCpxTerjJEdi-CUnnUAQPa0a4QVOo8EtmE_FkVcxFO/s1600/Baby-Driver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="830" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghC20JsNXuwrqW7-uLiAeeRaJ5q_ywjCBBzlaO1RQPTNCzDtcCp8YwPlpCCquM1wGH-pZ9T86qOr08JKCugddDcIgvTVnw-HAHAcWCpxTerjJEdi-CUnnUAQPa0a4QVOo8EtmE_FkVcxFO/s400/Baby-Driver.jpg" width="400" /></a></div>
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I can safely say I’ve never seen anything like Edgar
Wright’s latest exuberant effort <i><b>Baby Driver</b></i>. Sure, you can pick out its
influences, as with any of Wright's other films, (in this case, Walter Hill,
William Friedkin, George Miller, etc.) but Wright meshes and melds genres with
his own unique sensibilities, spawning a final product both familiar and
unmistakably distinctive. Its action sequences will wow you. Its soundtrack
will delight you. Its performances will draw you in and hold you close while some
of the most insane car stunts you’ve ever seen unfold before your very eyes.
It’s pure entertainment from start to finish.<o:p></o:p></div>
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The soundtrack is a key character in <b><i>Baby Driver</i></b>, not unlike
films such as <b><i>American Graffiti </i></b>(another cinematic effort with cars at its
center). Wright has designed <b><i>Baby Driver</i></b> to function as a musical of sorts in
addition to a comedic crime thriller. You see, our main protagonist Baby,
played with charm and finesse by Ansel Elgort, has a unique condition. He has a
perpetual ringing in his ears, the result of a car accident that took the lives
of his angelic mother and abusive father. He drowns out the constant hum with
his music, which also spurs on his expert driving abilities.<o:p></o:p></div>
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It’s a spectacular concept, one that Wright executes
flawlessly. Few movies can get away with wall-to-wall music, but the song
choices are so on-point and so well integrated, it might just be one of the
finest examples of how to pull it off. Wright takes the concept a step further
by having action sequences play out in rhythm to whatever song is playing on
Baby’s iPod. It’s a brilliant, energizing touch.<o:p></o:p></div>
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<b><i>Baby Driver’s</i></b> heart comes from Baby’s relationship with
waitress Debora (another enchanting turn from Lily James). Their romance isn’t
particularly complex or even all that original, but the strong performances
make it work. Watching them bond through their mutual love of music, making
song recommendations to one another, might not be ‘thrilling’ in the same way
the film’s car chases are, but these scenes do provide their own special brand
of excitement.<o:p></o:p></div>
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Elgort and Allen might lead the pack, but man oh man, this
is one of the best supporting casts I’ve ever seen. You’ve got two, count ‘em,
TWO Jon’s: Bernthal and Hamm. Jamie Foxx giving a terrifying performance as a
vicious crew member. Eliza Gonzalez as a fierce, machine-gun toting badass. And
topping it all off is Kevin Spacey as the team’s leader. They delight in
reciting Wright’s magnificent dialogue and their banter is frequently
hysterical.<o:p></o:p></div>
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The screenplay is tight, trimmed to its bare minimum. Not a
single scene is out of place or unnecessary. Everything enriches the story and
characters. You could call it simplistic, sure, but you’d be undermining just
how much of an accomplishment it really is. And when it comes down to it the
plot details are just the foundation for Write’s creative instincts to
flourish, providing just enough to keep the exhilarating action moving forward.<o:p></o:p></div>
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(As a miscellaneous sidenote, I have to mention how much of
a kick it is to see the city of Atlanta used so prominently in the film. My
wife and I just moved here and <b><i>Baby Driver</i></b> has given us a major sense of pride
in our new hometown.)<o:p></o:p></div>
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If you’re a fan of Wright’s work, you do not want to miss
this, and if you haven’t had the pleasure of seeing one of Wright’s films, <b><i>Baby
Driver</i></b> is the perfect introduction to one of this generation’s greatest
filmmakers. Don’t miss it.<o:p></o:p></div>
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<b><span style="font-size: large;">FINAL RATING: 4/5</span></b><o:p></o:p></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-584898187209870692017-05-25T18:38:00.000-07:002017-07-01T18:43:07.639-07:00My Introduction to the World of Star Wars - Celebrating the 40th Anniversary<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyaki9RkOBRTQAdKxlXGq65JDEfk-e-jZVOLK4dDdBFCCD_qqj4ShXm9TOvILP1Nu4adaIQdhr_L91lkY6jj3_i50It1uMpDp26syuP5uC4kAZR1kM_pcJvuPSK9YBcB6I-eNNbzdVy7b/s1600/Star-Wars-Return-of-the-Jedi-Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyaki9RkOBRTQAdKxlXGq65JDEfk-e-jZVOLK4dDdBFCCD_qqj4ShXm9TOvILP1Nu4adaIQdhr_L91lkY6jj3_i50It1uMpDp26syuP5uC4kAZR1kM_pcJvuPSK9YBcB6I-eNNbzdVy7b/s400/Star-Wars-Return-of-the-Jedi-Poster.jpg" width="400" /></a></div>
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I was six years old the first time I saw a <b><i>Star Wars</i></b> movie.
My mom had invited some friends over for a movie night. The movie they’d
selected was <b><i>Return of the Jedi</i></b>. I had no idea what a ‘Jedi’ was or where one
might be returning from, but these things didn’t matter. From what I could
gather, it had spaceships and lasers and I loved both of those things almost as
much as I loved the Power Rangers.</div>
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<o:p></o:p></div>
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But right off the bat, I could tell there was something
different about this movie. Something about the way my mom and her friends
discussed it - the hushed awe, the sense of wonder - indicated it was special.
Usually, I wasn’t allowed to attend these movie nights. My mom would always
shoo me off to bed so the ‘grown ups’ could have their ‘grown up talk.’ But
when her friends learned I’d never seen a <b><i>Star Wars </i></b>movie (“What kind of mother
are you?!”) I got to stay up late and hang with the adults. I felt so cool. <o:p></o:p></div>
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Once the popcorn and the sodas had been divvied out, they
fired up the movie. I sat on the floor, scooting as close to the TV as I could
without getting scolded. The infamous pre-title disclaimer faded in: ‘A long
time ago in a galaxy far far away…’ My mom’s normally talkative friends became
eerily silent. <o:p></o:p></div>
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BOOM. The words ‘<b><i>STAR WARS</i></b>’ appeared on screen in that
iconic yellow font, blasting off into the furthest reaches of outer space. The
explosive opening notes of John Williams’ iconic theme exploded from the crappy
television speakers. The opening scroll began: ‘<b><i>Episode VI RETURN OF THE JEDI.</i></b>’
<o:p></o:p></div>
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I suddenly understood with stunning clarity the meaning
behind the term ‘knock your socks off.’ It had only been a few seconds, but in
those few seconds everything changed. My six-year-old brain, so limited in its
experiences, could somehow detect I was experiencing a rite of passage. I knew
I was watching something unlike anything I’d seen before. <o:p></o:p></div>
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For the next two-plus hours, I was utterly captivated.
Everything about <b><i>Return of the Jedi</i></b> was the coolest thing I’d ever seen. The
lightsabers, the space battles, the droids, Darth Vader, even the Ewoks! (Hey,
I was six.) I cheered on the heroic Luke Skywalker as he rescued his pals from
the clutches of Jabba the Hutt; I let out a chorus of ‘ooo’s’ and ‘awww’s’
during the speeder bike chase. I specifically recall watching in horror as
Emperor Palpatine blasted Luke with electricity near the film’s conclusion. My
mom’s friends did nothing to alleviate the tension, making comments like,
“Ooooh, he’s gonna die!” I remember being sadder than I’d ever been in my
entire life. Luke can’t die! I thought. He’s the hero! I love him! I just about
lost my mind when Darth Vader tossed the Emperor into that never-ending pit of
machinery, saving his son and conquering the Dark Side.<o:p></o:p></div>
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Best. Movie. Ever.<o:p></o:p></div>
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For a long time <b><i>Return of the Jedi </i></b>was the only <b><i>Star Wars</i></b>
film I had access to. My mom had recorded a TV version that started 30 minutes
into the movie. I wore that tape out and eventually she hid it from me because
I was spending more time watching <b><i>Return of the Jedi</i></b> than being outside with my
friends. Eventually I got around to seeing the other two films in the Trilogy
and I loved them just as much if not more so. I saw the Special Editions in
theaters and collected all the action figures my feeble $10 a week allowance
would buy. When <b><i>The Phantom Menace</i></b> was released in 1999, my mom let my brother
and me skip school so we could all go see it together. <o:p></o:p></div>
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<b><i>Star Wars</i></b> has had an undeniable impact on my life. In fact,
I could cite <b><i>Star Wars</i></b>, along with Christopher Reeve’s first two <b><i>Superman </i></b>films
and <b><i>Back to the Future</i></b>, as the reason I became so passionate about films and
storytelling. It’s given me and countless fans the world over so much joy,
sparking our imaginations in ways few franchises are capable of. Hardly a day
has passed since I first watched <b><i>Return of the Jedi </i></b>that I haven’t discussed
<b><i>Star Wars</i></b> in some capacity.<o:p></o:p></div>
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So on this, the 40th anniversary of the original <b><i>Star Wars</i></b>’
theatrical release, I want to say thank you to George Lucas for creating this
wonderful world that has brought me and my friends and family so much joy
through the years. To Kathleen Kennedy, for taking up the reigns and steering
the franchise to all-new heights. To the countless actors, filmmakers and
storytellers who have expanded upon this world in such brilliant fashion. It’s
a great time to be a <b><i>Star Wars</i></b> fan. I can’t wait to see what Rian Johnson has
in store come December.<o:p></o:p></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-38465782639697733262017-02-26T10:50:00.001-08:002017-02-26T12:30:01.295-08:00Shawn Eastridge's Favorite Films of 2016 Part 3: The Top 20<b>We made it!...this far. Now we come to it at last: the great 'Favorite Films' list of our time. Well, no, I wouldn't go that far, but these are the movies that I personally believe went above and beyond the call of duty in 2016. Let's push off, shall we?</b><br />
<br />
<b><br /></b>
<br />
<div style="text-align: center;">
<b><span style="font-size: large;">THE ONES I MISSED</span></b></div>
<div style="text-align: left;">
<ul>
<li><b><i>ELLE</i></b></li>
<li><b><i>FENCES</i></b></li>
<li><b><i>THE HANDMAIDEN</i></b></li>
<li><b><i>I AM NOT YOUR NEGRO</i></b></li>
<li><b><i>JACKIE</i></b></li>
<li><b><i>LIFE, ANIMATED</i></b></li>
<li><b><i>LOVING</i></b></li>
<li><b><i>NOCTURNAL ANIMALS</i></b></li>
<li><b><i>SHIN GODZILLA</i></b></li>
<li><b><i>SILENCE</i></b></li>
</ul>
<div>
<b><i><br /></i></b></div>
<div style="text-align: center;">
<b><span style="font-size: large;">TOP 20 FAVORITE FILMS OF 2016</span></b></div>
<div>
<b><i><br /></i></b></div>
<div>
<b><i><br /></i></b>
<b><i>First off, a special mention for a little diddy that got knocked off my list at the last second by another film. Let's take a moment to pour one out for...</i></b><br />
<b><i><br /></i></b></div>
</div>
<div style="text-align: center; text-indent: -24px;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitKqyY-SiQRKKJMg4182EeMtugXRodViPOK-MDhETJ6gQ8hm6cpfUN9JOu1bLXqkdPPNyvGHfmIxveI-dgmNkgF8YJAxFpghE_HuIaNWvd_7NDUu-ImLGEUiorVvZHDx2HXl2jji4NItOt/s1600/Deadpool.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitKqyY-SiQRKKJMg4182EeMtugXRodViPOK-MDhETJ6gQ8hm6cpfUN9JOu1bLXqkdPPNyvGHfmIxveI-dgmNkgF8YJAxFpghE_HuIaNWvd_7NDUu-ImLGEUiorVvZHDx2HXl2jji4NItOt/s400/Deadpool.jpg" width="400" /></a></div>
</div>
<b style="text-indent: -0.25in;"><br /></b>
<br />
<div style="text-align: center;">
<b style="text-indent: -0.25in;"><i>DEADPOOL</i></b></div>
<div style="text-align: center;">
<b style="text-indent: -0.25in;"><i><br /></i></b></div>
<span style="text-indent: -0.25in;">After years and years of pushing for a film that did R-rated justice to
this much-beloved character, Ryan Reynolds efforts have paid off in spades.
<b><i>Deadpool</i></b> was some of the most fun I had in a theater in 2016. It’s hilarious,
exciting and a welcome change of pace from the standard superhero
fare, even if it ends up relying on the genre’s tried and true tropes more
often than it would like to admit.</span><br />
<span style="text-indent: -0.25in;"><br /></span>
<br />
<div style="text-align: center;">
<span style="text-indent: -0.25in;"><b>AND NOW ON TO THE MAIN EVENT</b></span></div>
<span style="text-indent: -0.25in;"><br /></span>
<span style="text-indent: -0.25in;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUcVwPkTGXz07DzcMpaRfbONjsB6jPdyu9KewprxLarzyJgQAN1M9eAiUQ5FuGqpKALnm4kNL2xG415MUZ59yoUIPfd9bSFD-Y5vsNF9jZL4iGSgfIJrZ2JGs_qTnTaeH5ATFFKiKYu-Pa/s1600/Moana.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUcVwPkTGXz07DzcMpaRfbONjsB6jPdyu9KewprxLarzyJgQAN1M9eAiUQ5FuGqpKALnm4kNL2xG415MUZ59yoUIPfd9bSFD-Y5vsNF9jZL4iGSgfIJrZ2JGs_qTnTaeH5ATFFKiKYu-Pa/s400/Moana.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>20. <i>MOANA </i></b><br />
<b><i><br /></i></b></div>
Disney Animation continues to churn out the hits, and while <b><i>Moana’s </i></b>storybeats and characters are a little too familiar, it still succeeds overall thanks to incredible animation, a great soundtrack and wonderful voice performances.<br />
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<b>19. <i>ZOOTOPIA</i></b></div>
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<b><i>Zootopia </i></b>manages to tell a fun and engaging story while effectively slipping in a fitting social commentary in a way that doesn’t feel overtly preachy or obnoxious. Easily one of 2017’s best animated efforts.<br />
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<b>18. <i>POPSTAR: NEVER STOP NEVER STOPPING</i></b></div>
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No movie released in 2016 made me laugh as hard as <b><i>Popstar: Never Stop Never Stopping</i></b>. Andy Samberg and the Lonely Island team have outdone themselves.<br />
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<b>17. </b><b style="font-style: italic;">STAR TREK BEYOND</b></div>
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<b><i>Star Trek Beyond </i></b>is a wonderful homage to the <b><i>Original Series</i></b> and a fitting 50th anniversary tribute, regaining the sense of optimism and character building that has made this universe so special.<br />
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<b>16. <i>HIDDEN FIGURES</i></b></div>
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I was expecting this to be a simple, safe effort made exclusively for the day-time television crowd, but <b><i>Hidden Figures </i></b>is much, much better than that. Though, yes, it does carry many of the traits associated with that specific audience, it is a sincere effort that rings emotionally true. The trio of leading ladies - Taraji P. Henson, Octavia Spencer and Janelle Monae - are marvelous.</div>
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<b>15. <i>THE EDGE OF SEVENTEEN</i></b></div>
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One of the funniest and most genuine films released in 2017, Kelly Fremon Craig’s coming-of-age effort has shades of <b><i>Juno</i></b>, but it’s far less obnoxious. Hailee Steinfeld and Woody Harrelson are a pure joy together.<br />
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<b>14. <i>MIDNIGHT SPECIAL</i></b></div>
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Jeff Nichols’ excellent foray into the world of sci-fi may have been forgotten in the wake of his more Oscar friendly work <b><i>Loving</i></b>, but it is another worthy addition to his repertoire.<br />
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<b>13. <i>HELL OR HIGH WATER</i></b></div>
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<b><i>Hell or High Water</i></b> is just plain ol’ great moviemaking. On every level – technical, story, performance, etc. – it is a rousing success. Chris Pine and Ben Foster are spectacular - Jeff Bridges too, but, you know, that's pretty much a given by this point.<br />
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<b>12. <i>THE WITCH</i></b></div>
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Absorbing, hypnotizing and ridiculously terrifying, <b><i>The Witch</i></b> is gorgeous moviemaking and one of the best horror films of the decade.<br />
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<b>11. <i>10 CLOVERFIELD LANE</i></b></div>
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Perhaps the most underappreciated film of this bunch, <b><i>10 Cloverfield Lane</i></b> is an expertly crafted thriller and a remarkable debut for first time feature director Dan Trachtenberg. Don’t even get me started on John Goodman – that man is a national treasure.<br />
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<b>10. <i>DON’T THINK TWICE</i></b></div>
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Hilarious and thoughtful, Mike Birbiglia’s latest effort takes a look at the world of improv comedy and what happens when you have to accept that success might not ever come your way.<br />
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<b>9. <i>HUNT FOR THE WILDERPEOPLE</i></b></div>
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An absolute delight. Taika Waititi’s superb comic and cinematic sensibilities combined with Julian Dennison and Sam Neill’s magical chemistry make this one of the finest efforts of 2016. Can’t wait to see what Waititi does with <b><i>Thor: Ragnarok</i></b>.<br />
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<b>8. <i>A MONSTER CALLS</i></b></div>
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An incredible film that deals with the power of storytelling as a means to process grief. <i style="font-weight: bold;">A Monster Calls </i>is further proof that director J.A. Bayona is a major rising talent. His greatest challenge will be in making me care about what happens in <b><i>Jurassic World 2</i></b>, but if this one is any indication, I have faith he can pull it off.<br />
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<b>7. <i>LA LA LAND</i></b></div>
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Who doesn’t love a good musical? Especially one starring Ryan Gosling and Emma Stone directed by Damien Chazelle, the man behind 2014’s brilliant <b><i>Whiplash</i></b>. <b><i>La La Land</i></b> harkens back to the good ol’ fashioned days of fun, heartfelt musical-making. I get people's complaints about it not having much going on beneath the surface, but it is so endearing and so lovable that only the most stonehearted cynic will walk away unimpressed.<br />
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<b>6. <i>CAPTAIN AMERICA: CIVIL WAR</i></b></div>
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So many heroes, so many storylines, so much action, and yet the Russo Brothers, once again, deliver one of Marvel Studios’ best offerings yet. <b><i>Civil War</i></b> features some of the best action sequences and most poignant character moments of the entire series.<br />
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<b>5.<i> MOONLIGHT</i></b></div>
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I can only read so many reviews written by straight, white males about how <b><i>Moonlight</i></b> is one of the definitive statements on the black, queer experience before I want to jump off a bridge, but <b><i>Moonlight </i></b>rises above these pretentions. Barry Jenkins delivers a deeply felt, beautifully shot work of art.<br />
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<b>4. <i>THE NICE GUYS</i></b></div>
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<b><i><br /></i></b></div>
Ryan Gosling and Russell Crowe make one of the best odd couples that have ever graced the silver screen, backed by the master of the ‘odd couple’ genre Shane Black.<br />
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<b>3. <i>ARRIVAL</i></b></div>
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<b><i><br /></i></b></div>
Haunting and beautiful, <b><i>Arrival </i></b>is a stunning piece of work which further cements the reputation of Denis Villeneuve and one of Amy Adams' best performances yet. A science-fiction masterpiece.<br />
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<b>2. <i>EVERYBODY WANTS SOME!!</i></b></div>
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<b><i><br /></i></b></div>
When it comes to celebrating all the ordinary moments that make life so special, Richard Linklater is without peer and his ‘spiritual sequel’ to<b><i> Dazed & Confused</i></b> is no exception. <b><i>Everybody Wants Some!!</i></b> perfectly captures that rush of freedom that comes with going off to college for the first time and the realization that every avenue offers a means to better discover who you truly are.<br />
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<b>1. <i>MANCHESTER BY THE SEA</i></b></div>
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<b><i><br /></i></b></div>
The fact that this one knocked a Richard Linklater movie out of my top spot should be enough of an indicator of how incredible it is. The best compliment I could pay any movie is that I didn't want it to end, and after 2 hours and 20 minutes, that's exactly how I felt about <i style="font-weight: bold;">Manchester by the Sea</i>. I would gladly have sat in the theater for another two hours just to make sure all the characters in this movie ended up okay. It is an extraordinary and beautiful work, brimming with optimism and hope despite its devastating subject matter. Casey Affleck delivers one of the best performances I’ve ever seen and Kenneth Lonergan’s screenplay and direction are masterful in their subtlety and nuance.Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-45204156354764818362017-02-25T14:04:00.000-08:002017-02-26T08:22:38.437-08:00Shawn Eastridge's Favorite Films of 2016 Part 2: Honorable Mentions<b>And the adventure continues! Here are the 2016 releases I thoroughly enjoyed, but didn't quite make it to the final cut. </b><br />
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<b style="mso-bidi-font-weight: normal;"><i>Doctor Strange</i><o:p></o:p></b></div>
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Another solid effort from Marvel Studios. Its mind-bending
imagery makes up for the standard origin story fare and Benedict Cumberbatch is
a welcome addition to the Marvel family.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Finding Dory</i><o:p></o:p></b></div>
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Way better than I would ever have expected. Ellen Degeneres
shines in this unnecessary, but surprisingly solid sequel.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Hail, Caeser!</i><o:p></o:p></b></div>
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Even a lesser Coen Brothers movie is still worth watching,
and <b><i>Hail, Caeser! </i></b>is no exception. Featuring an extraordinary ensemble cast,
the Coens’ trademark humor and a delightful, madcap sensibilites, <b><i>Hail, Caeser!</i></b>
is another solid notch on the belt of this incredible filmmaking duo.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Hardcore Henry</i><o:p></o:p></b></div>
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This is the kind of film you only need to see once, but
should experience <i style="mso-bidi-font-style: normal;">at least</i> once, especially
if you’re in an inebriated state of mind. <b><i>Hardcore Henry</i></b>, a film that takes
place solely from a first-person perspective, is sheer madness and energy. It
doesn’t make a lick of sense and it’s consistently stupid, but it’s a whole lot
of fun. Sharlto Copley is a wonderful addition.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Kubo and the Two
Strings</i><o:p></o:p></b></div>
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The animation intrigued me more than the actual story, but
<b><i>Kubo and the Two Strings</i></b> is an imaginative, unique effort. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>The Lobster</i><o:p></o:p></b></div>
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One of the more bizarre movies I’ve ever seen, and one I’m
not sure I could say I enjoyed, but the craft on display is unmistakable, as is
the quality of the lead performances from Colin Farrell and Rachel Weisz. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Pete’s Dragon</i><o:p></o:p></b></div>
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Nobody asked for a remake to the bizarre 1977
live-action/animation hybrid <b><i>Pete’s Dragon</i></b>, and yet here it is, and it’s far
better than it has any right to be. Bojan Bazelli’s cinematography and David
Lowery’s direction make up for the well-trod thematic territory. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Rogue One: A Star
Wars Story</i><o:p></o:p></b></div>
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<b><i>Rogue One</i></b> suffers from a lack of interesting characters or a
strong through line for much of its runtime, but it comes together for a superb,
crowd-pleasing finale.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>The Shallows</i><o:p></o:p></b></div>
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Blake Lively vs. Evil Shark. No more. No less. Lots of fun and very
suspenseful. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Swiss Army Man</i></b><br />
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Like <b><i>The Lobster</i></b>, <b><i>Swiss Army Man </i></b>will go down as one of the
more bizarre things I have ever seen committed to film, but <b><i>Swiss Army Man</i></b> is
far more charming. Daniel Radcliffe and Paul Dano are a joy to watch and should
try to be in as many movies together as possible.</div>
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<b>That's that! Stay tuned for Part 3: My Top Favorite Films of 2016</b></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-89053453054939850672017-02-25T13:29:00.005-08:002017-02-27T08:47:13.950-08:00Shawn Eastridge's Favorite Films of 2016 Part 1: Biggest Disappointments and Worst of the Bunch<b>Oscar day is nearly here, the perfect excuse for me to finally, at long last, roll out my favorite films of 2016. But as has been the case in previous years, before we can get to the best, we've got to trudge through the worst. Here are my biggest disappointments and least favorites of last year's releases.</b><br />
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<b><span style="font-size: large;">BIGGEST DISAPPOINTMENTS</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4DZeqS9mSkAgN81xJpzpQuHRaJ8NQR7rKOGjxpFvbdhyQipRAE9czysYqCWSSaodUWevQeXpdBjlrmmHgdSleBFwmNBjCseGjO8KDHnQsl8B_Cc4jezUOOvo8OPh9MXfh7b2uYnMzXAtK/s1600/Captain-Fantastic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4DZeqS9mSkAgN81xJpzpQuHRaJ8NQR7rKOGjxpFvbdhyQipRAE9czysYqCWSSaodUWevQeXpdBjlrmmHgdSleBFwmNBjCseGjO8KDHnQsl8B_Cc4jezUOOvo8OPh9MXfh7b2uYnMzXAtK/s400/Captain-Fantastic.jpg" width="400" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Captain Fantastic</i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
Let's start this list off with a bang, shall we? Not gonna lie, I hated this movie. Hated the characters. Hated
the story. Hated. Hated. Hated. Hate. Ed. Not even Viggo Mortensen can elevate
this underdeveloped nonsense, which is liberal, hippie garbage of the most
pretentious order. Hated.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Fantastic Beasts and
Where to Find Them</i></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
A <b><i>Harry Potter</i></b> prequel penned by none other than J.K.
Rowling herself – what could possibly go wrong? A great deal, apparently.
<b><i>Fantastic Beasts and Where to Find Them</i></b> suffers from both an identity crisis
and a lack of compelling characters. Its performances are dull; David Yates' direction
is stale. That we have to sit through four more of these movies feels more like
a threat than something to look forward to.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Ghostbusters (2016)</i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
Can someone explain to me why we needed this movie?
<b><i>Ghostbusters (2016)</i></b> isn’t particularly bad, but it is by no means particularly
good either. Its biggest failing is that it’s not very funny, despite the
involvement of a talented cast. Leslie Jones stands as the best of the bunch,
the only actor here who feels like an actual character instead of a shallow comedy
routine. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i>Hacksaw Ridge</i><o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
A Hallmark movie for dads and grandpas. I think Mel Gibson
legitimately gets off on absurd levels of violence, but he goes overboard into
cartoonish territory here. Andrew Garfield holds things together despite a laughable southern accent with his sincere portrayal of Army Medic Desmond
Doss. Doss’s story is incredible, there’s no argument there. I just wish this
effort had been more worthy of his accomplishments.<o:p></o:p></div>
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<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Jason Bourne</i><o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
I’m a huge fan of <b><i>The Bourne Trilogy</i></b>, so when Matt Damon and
Paul Greengrass announced a sequel, I couldn’t have been more excited. What a
shame that their first effort in nearly a decade is so lackluster. Everything
that transpires in <b><i>Jason Bourne </i></b>carries the weight of a heavy, disinterested
sigh. Everyone is going through the motions and the final result is perhaps the
worst thing Greengrass has ever produced. <o:p></o:p></div>
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<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Sing Street</i><o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
It actually pains me to include this one here. <b><i>Sing Street</i></b> doesn’t do
anything overtly wrong, as most of the films on this list do. I loved the music
and the young cast is excellent, but story-wise the film never finds its focus
and its young adult-style romance is undercooked. The entire thing rang false
to me, which is a shame because I really wanted to enjoy it.</div>
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<b><i>X-Men: Apocalypse</i></b></div>
<div style="text-align: center;">
<b><i><br /></i></b></div>
I keep forgetting this movie exists. It’s by no means the worst <b><i>X-Men</i></b> film
of the bunch (I’m looking at you, <b><i>X-Men 3</i></b>), but it is overblown and overstuffed
with plotlines. I wish Bryan Singer had chosen to focus on the young students
(Cyclops, Jean Grey, Nightcrawler) and their development instead of shoehorning
in the whole Apocalypse storyline in such an unsatisfactory way. It’s like
Singer’s need to compete with Marvel Studios’ action-packed efforts caused him
to forget his biggest strengths as a storyteller.<o:p></o:p><br />
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: large;">THE WORST OF THE BUNCH</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><br /></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl9sCLOsdq7XMDcofcf_VGRD3Z_oP2MU5AXwUpsMK_3NDbv-VIrtZivfTJhn1HCZODGr3TcNwTn-V4A0C7x9UH8wI7SFCoa5b8iamV94BSMKrXO_H2oDKGxXlugnvfFoH1mn7_ZgN-n_fK/s1600/BvS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl9sCLOsdq7XMDcofcf_VGRD3Z_oP2MU5AXwUpsMK_3NDbv-VIrtZivfTJhn1HCZODGr3TcNwTn-V4A0C7x9UH8wI7SFCoa5b8iamV94BSMKrXO_H2oDKGxXlugnvfFoH1mn7_ZgN-n_fK/s400/BvS.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<b><br /></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Batman v Superman:
Dawn of Justice</i><o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
I’ve already spoken ad nauseum about <b><i>BvS: Dawn of the Death
of Cinema,</i></b> so I’ll keep things brief: this movie sucks. Like, it really, <i style="mso-bidi-font-style: normal;">really</i> sucks. It’s an insult to Batman,
it’s an insult to Superman, it’s an insult to the talent involved and it’s an
insult to filmmaking in general. I can’t wait to see Zack Snyder’s
studio-influenced, ‘make it funnier!’ take on the <b><i>Justice League</i></b>. It’ll be a
glorious shitstorm. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsubObv-7UHU3ySFcHBDXDeIRCpT43Vn4nR3gWsqeIpnrnGUTLsYoc2I1gwm4hyphenhyphenOi1CIafXewH-uRhvlqbTeADnWWjuPm1OfefhNRyqQqVjtP7cLBAYe0Yd8xn0rR9TFVtF5-GRkHLRKD/s1600/Central-Intelligence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsubObv-7UHU3ySFcHBDXDeIRCpT43Vn4nR3gWsqeIpnrnGUTLsYoc2I1gwm4hyphenhyphenOi1CIafXewH-uRhvlqbTeADnWWjuPm1OfefhNRyqQqVjtP7cLBAYe0Yd8xn0rR9TFVtF5-GRkHLRKD/s400/Central-Intelligence.jpg" width="400" /></a></div>
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<o:p><br /></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Central Intelligence</i><o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
I’m paraphrasing here, but I’m fairly certain there’s a line
in <b><i>Central Intelligence </i></b>where someone says, “Can we just go home already?” I
recall turning to my wife in the theater and saying, a bit too loudly, “Yes,
PLEASE. Can we?” Central Intelligence is garbage. It is one of the least funny ‘comedies’
I have ever seen in my life. Not even Dwayne ‘The Rock’ Johnson’s charm and
stunning good looks could save this mess. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP88NBvUxe_kcAXzfU9ZUnu_HcWfFOvR9zL4OeXVe0LTKwQ4PCqneBX1nXuX9ep53Ou9RiBmZ1GNFig0VcaGMSGkajXkHf3H9dqKnMt4U-hq2Qsy3QZ6_BA1HgBsWYkO1bOQVSAsluLutK/s1600/Collateral-Beauty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP88NBvUxe_kcAXzfU9ZUnu_HcWfFOvR9zL4OeXVe0LTKwQ4PCqneBX1nXuX9ep53Ou9RiBmZ1GNFig0VcaGMSGkajXkHf3H9dqKnMt4U-hq2Qsy3QZ6_BA1HgBsWYkO1bOQVSAsluLutK/s400/Collateral-Beauty.jpg" width="400" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Collateral Beauty</i><o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
What is this movie? I saw this with my dear friend, the
talented and dashing Matthew Schott, and at nearly every moment we turned to
each other, expressions of sheer bewilderment on our faces, and asked, ‘What
the hell is happening?’ It is a disaster of epic proportions and I am shocked
it found its way to the big screen with such a shoddy screenplay. I encourage
anyone interested in screenwriting to take a gander at this film. It is a
MASTER CLASS in what not to do when writing your script, or really for <i>anything</i> regarding good filmmaking.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-2MER3A0PmjyAfzYFRNROB5JMPGY8S0IRTfOE3g4FDyH4Pn3QO_Ve5QoNsnjH-L5-xRjHHpzBkVRumcaHn-wVByvtt-tytbkg6lbVpS9mRHHdhOwJ-bizhkl0tsXoDOX8vad90mVVT-1k/s1600/Independence-Day-Resurgence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-2MER3A0PmjyAfzYFRNROB5JMPGY8S0IRTfOE3g4FDyH4Pn3QO_Ve5QoNsnjH-L5-xRjHHpzBkVRumcaHn-wVByvtt-tytbkg6lbVpS9mRHHdhOwJ-bizhkl0tsXoDOX8vad90mVVT-1k/s400/Independence-Day-Resurgence.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Independence Day:
Resurgence</i><o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
If one pointless sequel could have done with a bit more
shameless referencing of its predecessor, it would be <b><i>Independence Day:
Resurgence</i></b>. This movie is so dumb, but it lacks the self-aware absurdity that
made the original <b><i>Independence Day</i></b> such a delight. If <b><i>Resurgence</i></b> had recognized
just how stupid it was and embraced it whole-heartedly, it would have been far
more entertaining. Instead, it’s just another bland, lifeless, effects-driven
blockbuster.<o:p></o:p></div>
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<br /></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFTOuSNgvD3fYayjVvUJigGsGbudZZqyA5G-2W-eJMw5s6FVE1Tz67RA15huBH3eAsBAibQ0qG50858x3j5rjbzMVTlz2OE4viaUXkLOxsyzLxX15fWYLNVjO-MzF1_u8MSZVgUuvgokzF/s1600/Sausage-Party.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFTOuSNgvD3fYayjVvUJigGsGbudZZqyA5G-2W-eJMw5s6FVE1Tz67RA15huBH3eAsBAibQ0qG50858x3j5rjbzMVTlz2OE4viaUXkLOxsyzLxX15fWYLNVjO-MzF1_u8MSZVgUuvgokzF/s400/Sausage-Party.jpg" width="400" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><i>Sausage Party</i><o:p></o:p></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
If the thought of obvious sexual references involving food
and cartoon characters with potty mouths appeals to you, then jump on board.
Once I realized that was all <b><i>Sausage Party</i></b> had going for it, I quickly checked
out. The film is painfully unfunny and its attempts at social relevance are embarrassing
and juvenile. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeAJa7UdB3_EldVIwhjfeE8ryTxFW-qEX3Llhyphenhyphenu6xZWiRmSSybDetZnCF1HTKZvqf1FFJ0O-bChVKCaQMuWyNnqRWagTdyrX18SN7WbTzWHKCezzmhpn-JIsZfPsKC01SIavtbjLJeonVH/s1600/Secret-Life-of-Pets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeAJa7UdB3_EldVIwhjfeE8ryTxFW-qEX3Llhyphenhyphenu6xZWiRmSSybDetZnCF1HTKZvqf1FFJ0O-bChVKCaQMuWyNnqRWagTdyrX18SN7WbTzWHKCezzmhpn-JIsZfPsKC01SIavtbjLJeonVH/s400/Secret-Life-of-Pets.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>The Secret Life of
Pets</i><o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
<div class="MsoNormal">
Basically <b><i>Toy Story</i></b> only way less funny and
far more annoying. <b><i>The Secret Life of Pets</i></b> has absolutely nothing going for it. That's all.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT20q78gWAto8enjIGohvdQoqm_pRntyJi8tPsIXsJCJwSWMnpy6_I116o_V_q5LLZM7Vejs_M-0vilQfdiX7WMwVCvSKsOal_BnVYsMjtPHJvXCMu283nmybncWFUJnN6P7-UtLFYYLj9/s1600/Suicide-Squad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT20q78gWAto8enjIGohvdQoqm_pRntyJi8tPsIXsJCJwSWMnpy6_I116o_V_q5LLZM7Vejs_M-0vilQfdiX7WMwVCvSKsOal_BnVYsMjtPHJvXCMu283nmybncWFUJnN6P7-UtLFYYLj9/s400/Suicide-Squad.jpg" width="400" /></a></div>
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<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i>Suicide Squad</i><o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;"><i><br /></i></b></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
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<b><i>Suicide Squad</i></b> is better than <b><i>Batman v Superman</i></b> in one
respect: it is absolutely insane. It has this manic energy that propels its
nonsensical plot forward with such zest that all I could do was laugh and
laugh. Oh, don’t get me wrong, it’s still a terrible film, but at the very
least I was more entertained by its terribleness than I was with <b><i>BvS’s</i></b>. Will
Smith and Margot Robbie are the only members of the cast who turn in anything
resembling a worthwhile performance. Jared Leto’s performance as ‘Not-Really-Joker-Just-A-Creepy-Mobster’
is painful. <o:p></o:p></div>
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<b>There you have it, folks! Part 2 and 3, detailing my Honorable Mentions and Top Favorites will be coming either today or tomorrow. Stay tuned!</b></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-60781280890741355312017-02-14T06:55:00.000-08:002017-02-14T06:55:00.000-08:00The Lego Batman Movie - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOQSyY1ZsLuSiYRPSvpGFuB0pUGT1hRdaAkZ7BV0xu5sRzS3NrOVZWyEYu71e7LYYk9N8pnUNEsZvFlNtL2mXhrgMt-3GtZ3f-QRxIKPq5gvpa8_Ro7YeNmB4XHQug5iyJbw7l_EuLDWD/s1600/Lego+Batman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOQSyY1ZsLuSiYRPSvpGFuB0pUGT1hRdaAkZ7BV0xu5sRzS3NrOVZWyEYu71e7LYYk9N8pnUNEsZvFlNtL2mXhrgMt-3GtZ3f-QRxIKPq5gvpa8_Ro7YeNmB4XHQug5iyJbw7l_EuLDWD/s400/Lego+Batman.jpg" width="400" /></a></div>
<br />
I don’t think anything could have prepared me for how much I loved 2014’s <b><i>The Lego Movie</i></b>. It’s one of the best animated features I’ve ever seen, a winning combination of unique animation, intelligent humor and heartfelt storytelling. And seeing as how Will Arnett’s Lego Batman character was one of its biggest highlights, it came as no surprise to anyone when Warner Bros. announced a new entry in the Lego series focused on the character. Does <b><i>The Lego Batman Movie</i></b> live up to the high bar set by its predecessor? The short answer is ‘no.’ The longer answer is ‘no, but it’s still a whole lot of fun.’<br />
<br />
Things kick off in splendid fashion with an extended action sequence in which Batman saves Gotham City from the clutches of his Rogues Gallery for the umpteenth time. After he basks in the adoration of a glowing public, he returns home to celebrate.<br />
<br />
Alone.<br />
<br />
Needless to say, Batman’s home life is far less fulfilling than his crimefighting one. He lazes about in his giant swimming pool, feasts on microwaved lobster meals and carries on conversations with a massive portrait of his dead parents. Alfred, his ever-faithful butler, recognizes and points out the crucial element Batman is missing from his life: a family.<br />
<br />
Batman’s world is turned upside down when he accidentally adopts Dick Grayson, a high-spirited, eager-to-please young orphan. After Dick discovers the batcave (with a little help from Alfred), he leaps at the opportunity to aid Batman in his never-ending battle for justice. And it’s not a moment too soon. The Joker has a sinister plan up his sleeve and Batman will need all the help he can get in taking the Joker down and saving Gotham City once more.<br />
<br />
I’ll give <b><i>The Lego Batman Movie</i></b> this much: if nothing else, it kept me laughing. Every time my interest began to drift, a perfectly-timed one-liner would pull me right back in. The bad news is my interest drifted far more often than not. Where <b><i>The Lego Movie</i></b> felt like a work of genuine passion and blazing originality, <b><i>The Lego Batman Movie</i></b> feels a bit more calculated, less a genuine creative effort than an attempt to bank off its predecessor’s success. And while I can appreciate <b><i>The Lego Batman Movie’s</i></b> valid attempts to make the character fun again, it does so at the expense of developing a genuine emotional center. The continuous onslaught of jokes makes it difficult to connect with the material. It’s as if the filmmakers were concerned slowing the relentless pacing down for a few minutes would lose the audience. It’s not to say the film doesn’t have heart; there’s no question it does. It’s just difficult to feel genuinely invested in such a hyperactive film.<br />
<br />
But the moments that work tip the balance in the film’s favor. There are tons of great Easter Eggs and subtle references for Batman fans, and even though I wish the creative team had delved a bit deeper into examining the character, I can’t fault them for making a clear effort to celebrate his legacy. And something else that should come as a surprise to no one, the casting is superb. Will Arnett makes a welcome return as the Dark Knight with Michael Cera filling in as the enthusiastically optimistic Boy Wonder and Ralph Fiennes serving as the indispensable Alfred Pennyworth. Rosario Dawson and Zach Galifianakis are excellent in their respective roles as Barbara Gordon and the Joker, and the film is full of fantastic cameos from many familiar faces that I won’t spoil here. <br />
<br />
<b><i>The Lego Batman Movie</i></b> is a consistently hilarious effort, providing solid entertainment for Lego and Batman fans of all ages. It might be something of a step back for this budding franchise, but it’s still inventive and funny enough to rise above its shortcomings. That being said, the manic, ADD-esque energy levels these films demonstrate may be starting to wear out their welcome. It’s charming enough…for now…but if the Lego creative team wants to keep people invested in future films that won’t be able to rely on an established character such as Batman, they’re going to need to start devoting some serious time to going beyond the flashy animation and zippy punchlines and not being afraid to give us something to invest in.<br />
<br />
<b><span style="font-size: large;">FINAL RATING: 3/5</span></b>Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com1tag:blogger.com,1999:blog-7427821594889141956.post-76348303083651483262017-01-02T15:30:00.000-08:002017-01-02T15:30:21.922-08:00La La Land - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUrnxWeJoTlb9Md9XdIpSZpLfDXkdnKnZnVvw24v5qd0GOF3kw-XgOQ2Q4PPsCEGWsVv56zyZajJ3FF65ik_Rc8cPfNM8bIVV3hG-xwCtKaWrkKwjS9p9__AcfNGRYHZ57kaSypItXwZYJ/s1600/la-la-land.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUrnxWeJoTlb9Md9XdIpSZpLfDXkdnKnZnVvw24v5qd0GOF3kw-XgOQ2Q4PPsCEGWsVv56zyZajJ3FF65ik_Rc8cPfNM8bIVV3hG-xwCtKaWrkKwjS9p9__AcfNGRYHZ57kaSypItXwZYJ/s400/la-la-land.jpg" width="400" /></a></div>
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<b><i>La La Land</i></b> is about as close to pure delight as you can get
when it comes to a moviegoing experience. From its opening song and dance
number to its final scene, it will put a smile on your face that will seldom
falter, even in the moments that break your heart. It succeeds in nearly every regard, working as both a throwback
to the classic musicals of yesteryear and a genuinely touching romance. <o:p></o:p></div>
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Ryan Gosling and Emma Stone play Sebastian Wilder and Mia
Dolan, two dreamers trying to make ends meet in the city of Los Angeles. Mia is
an aspiring actress working as a barista in a studio lot coffee shop. She hops
from audition to audition, working tirelessly to achieve her goals, but with
little success. Sebastian is an inspired pianist with an obsessive love for jazz.
He takes what work he can, playing in restaurants that insist he stick to their
uninspired playlist rather than demonstrating his true talent. He dreams of
opening a jazz club where he can play the music he loves unencumbered by anyone
else’s demands while also reminding people why jazz is such an integral music genre.
When the two finally meet, it sparks a relationship that inspires both to
pursue their dreams with renewed vigor. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Perhaps one of the most impressive things <b><i>La La Land’s</i></b>
writer/director Damien Chazelle manages to pull off here is a tone that is
utterly sincere. There’s no winking at the camera, no cynicism – the film is an earnest and loving homage to an all-too-rare genre in today’s cinematic
landscape. His direction is inspired. While many modern attempts may have
chosen to utilize flashy editing and fancy cuts to hide their stars’ lack of
musical talents, Chazelle’s camera’s gaze rarely falters. He relies on long, unbroken takes to emphasize the talents of his two leads and it is an absolute
joy to watch Gosling and Stone engage in what are essentially live performances. The
cinematography and production design successfully evokes the big, colorful
aesthetic found in so many old musicals.</div>
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<o:p></o:p></div>
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But a musical is only as good as its soundtrack and, thankfully, Justin
Hurtwitz’s, combined with Pasek and Paul's lyrics, is one of the year’s best. The songs are catchy and frequently
stunning, infused with big band jazz elements and heartfelt ballads that'll give you chills. Stone and
Gosling have strong voices and the charisma to match, and while Mandy Moore’s choreography
(no, not <i style="mso-bidi-font-style: normal;">that</i> Mandy Moore) is simple
and old-fashioned, it’s also efficient and gives the pair plenty of
opportunities to stretch their dancing chops.<o:p></o:p></div>
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If there’s anything I could find fault with about the film, it’s that
Chazelle’s earnest screenplay is almost too simplistic. While in some
ways that works for the mood and tone he’s going for here, there’s a prevalent
feeling he doesn’t actually have much to say or add to the genre. His
characters are likable enough, but they aren’t particularly complex and don’t
go much deeper than their surface-level motivations.<o:p></o:p></div>
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Let me put it another way: yes, <b><i>La La Land</i></b> is a successful
musical throwback, but has the outpouring of love the film’s received been
because of its actual quality or because it reminds people of much better films
from the past? If <b><i>La La Land</i></b> had been released back in the 50s or 60s, would it
be remembered as a classic today, or would it have been lost in the midst of
its superiors?<o:p></o:p></div>
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But perhaps it isn’t fair for me to take such a pessimistic
approach when viewing <b><i>La La Land</i></b>. Because, quite frankly, even if its nostalgia
milking accounts for much of its appeal, it’s also a damn good movie with two
marvelous performances at its center. And even though I want to be cynical
about its overall appeal, whenever it comes to mind, I can’t help but smile.
And what’s so bad about a movie that just wants to make people smile?<o:p></o:p></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</xml><![endif]-->
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table.MsoNormalTable
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mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
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<b><span style="font-size: large;">FINAL RATING: 4/5</span></b><o:p></o:p></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-76961623512398015232016-12-21T18:45:00.000-08:002017-07-01T18:47:22.705-07:00The Lord of the Rings: The Fellowship of the Ring - 15 Years Later<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEr0uKAJW3o1alSb4C7f0iw4Ch4Tk1F_AajjUCSBUzFoMGMVF0wJOSM4ElLSeESrBseed5ifaTDn6Q9bQmgkUhenhMxV2H4-Ye14oUfDorwbqknNXIDSbkU5BeJYD9i0AAOlaCwil-YLCh/s1600/Fellowship_of_the_Ring_Poster_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="917" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEr0uKAJW3o1alSb4C7f0iw4Ch4Tk1F_AajjUCSBUzFoMGMVF0wJOSM4ElLSeESrBseed5ifaTDn6Q9bQmgkUhenhMxV2H4-Ye14oUfDorwbqknNXIDSbkU5BeJYD9i0AAOlaCwil-YLCh/s400/Fellowship_of_the_Ring_Poster_02.jpg" width="267" /></a></div>
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I was a 15-year-old freshman in high school and I knew
little of the world J.R.R. Tolkien had created. I’d read <b><i>The Hobbit</i></b> for a book
report a couple months prior and I was only about a quarter of the way through
the first part of Tolkien’s trilogy, but I was by no means a huge fan. While I
enjoyed the books, I found Tolkien’s sprawling, descriptive text to be overwhelming;
it was difficult to wrap my head around his world and characters. (I recall
reading the scenes with Tom Bombadil rescuing the Hobbits and instructing them
to frolic naked in the fields while he gathered new clothes for them and
wondering how in the world that would translate to the big screen.) The film
was on my radar, but not nearly to the extent that the first <b><i>Harry Potter</i></b> film
had been the previous month.<o:p></o:p></div>
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So, on the Friday after its initial release, with little to
no expectations, my dad, brother and I sat down in a dark theater to watch the
first chapter in Peter Jackson’s long-awaited adaptation of Tolkien’s
masterpiece. And while I might never know the joy and wonder of seeing the
first <b><i>Star Wars</i></b> film in theaters back in 1977, I imagine my first viewing of
<b><i>The Fellowship of the Ring</i></b> is the closest I’ll ever get to that
experience. Never before had I been so utterly captivated by a cinematic world,
so involved with its characters, so thrilled by their adventures and struggles,
so terrified by the villains, and so affected by its story. For 3 hours, I was
transported and in total awe of the accomplishments of this incredible cast and
crew. Not one moment rang false; everything felt real, like it actually
existed. I even bought into the characters that were obviously
computer-generated because Jackson and his crew had done such an effective job
rendering a believable, lived-in universe and integrating practical and visual
effects.<o:p></o:p></div>
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By the time the lights came up, I felt exhausted, emotionally
drained and completely exhilarated. I’d never experienced anything like <b><i>The
Fellowship of the Ring</i></b> in all my life, and to this day, few moviegoing
experiences come close. It elevated my love and appreciation of cinema and
inspired me to learn more about the art of filmmaking. I ended up seeing it
three more times in theaters and, by the time <b><i>The Two Towers</i></b> came around, I was
there for its midnight release (my first ever!) as well as <b><i>The Return of the
King’s</i></b>. (The latter remains the single greatest movie experience I’ve ever had
in a theater.)<o:p></o:p></div>
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Watching <b><i>The Fellowship of the Ring </i></b>15 years later, being
twice as old as I was when I first saw it, I’m struck by just how well it holds
up. It works on every level and its special effects still give modern day
attempts a run for their money. More importantly, I'm impressed by how well it
maintains the integrity and spirit of Tolkien’s original work, while
simultaneously infusing it with an urgency and energy necessary to make its
story work on the big screen. It is, without question, one of the great films
of all time. And while I love its two sequels, <b><i>The Fellowship of the Ring</i></b>
remains my favorite of the trilogy, simply because it was such an unexpected
gift.<o:p></o:p></div>
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Do you remember the first time you saw <b><i>The Fellowship of the
Ring</i></b>? Does it stand as one of your favorite moviegoing experiences? Tell us all
about it on <a href="http://www.twitter.com/joinnerdparty">@joinnerdparty</a> or reach out to me directly: <a href="http://www.twitter.com/yayshawndorman">@yayshawndorman </a>and
let’s celebrate the 15th anniversary of this monumental achievement in cinema
history!<o:p></o:p></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-75296450429461270512016-12-18T13:51:00.001-08:002016-12-19T05:43:43.935-08:00Rogue One: A Star Wars Review (SPOILERS)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UlQeQhs58oWFbVh8kJN2zbC8gHrKNSEfPPSn_hUHkjFZAwzIsq0vy9naQI7PiuaD0RzjuMU7Tcg-nqHRNV-BBzwcxnVy61xU9ZZODRVyLuX6-bU6LFgwXQGznn7571TlMT_qjp4FZn7M/s1600/Rogue+One+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UlQeQhs58oWFbVh8kJN2zbC8gHrKNSEfPPSn_hUHkjFZAwzIsq0vy9naQI7PiuaD0RzjuMU7Tcg-nqHRNV-BBzwcxnVy61xU9ZZODRVyLuX6-bU6LFgwXQGznn7571TlMT_qjp4FZn7M/s400/Rogue+One+1.jpg" width="400" /></a></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<br /></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<div class="p1">
<span class="s1"><b><i>Rogue One: A Star Wars Story is such a BIG
movie, I needed to call in the big guns to review it. Richie Pepio joins me for
an extensive discussion of the film. We chat about what we liked, what we
didn't like, what we wanted to see more of and conclude with our rankings of
the Star Wars Saga.</i></b></span><span class="apple-converted-space"><b><i> </i></b></span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b><i>FAIR WARNING: If you have not yet seen Rogue
One, proceed no further. This review spoils EVERYTHING. I'm throwing up so many
spoiler tags, you don't even know what to do with yourself. And now that we've
got that out of the way, let's get to it, shall we?</i></b></span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>Fan service is irritating. It's the
shiny set of keys the studio dangles in our face to keep us from questioning
why a sequel, prequel, threequel, or NyQuil exists. And this movie has more fan
service than a nest full of gundarks - it’s a one-size-fits-all piece of wish
fulfillment made for every type of fan, from the casual viewer to the red-eyed
3am commenter on a message board for TheForce.net. We don't even need this
film. I mean, it's ironic that everyone's making a big deal out of this movie
not having an opening crawl - because the introductory scroll in the original <b><i>Star
Wars</i></b> basically summarizes what happens here. "It is a period of
civil war. Rebel spaceships, striking from a hidden base, have won their first
victory against the evil Galactic Empire. During the battle, Rebel spies
managed to steal secret plans to the Empire's ultimate weapon, the DEATH STAR,
an armored space station with enough power to destroy an entire planet." …
There. That’s the entire plot of the movie - a logline written in 1977 that
took nearly 40 years to get made. It's crazy George Lucas even
"liked" this movie, according to <b><i>Rogue One</i></b> director
Gareth Edwards, because the WHOLE point of the opening scroll in <b><i>A New
Hope</i></b> is to keep this sequel/prequel from EVER happening! Come on!</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">So, considering all of this (fan service, cameos,
winks, nods and all), I loved it. Why, Shawn, do I like <b><i>Rogue One</i></b>
so much?</span><o:p></o:p></div>
<div class="p2" style="text-align: center;">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>Richie, I'll tell you exactly why you
like <b><i>Rogue One</i></b> so much. It's because Disney knows the way to your
wallet. And mine too, for that matter. Really though, if there's one company
that knows how to milk a product for all it’s worth, it's Disney. The downside
is that they'll be churning out <b><i>Star Wars</i></b> and <b><i>Marvel </i></b>movies
long past the point where they're any good; the upside is these franchise are
currently in their 'golden age.' Not every movie is a home run, but, for the
most part, they're solid base hits.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">For its majority, <b><i>Rogue One</i></b> is one
solid base hit after another. It has the advantage of not needing to be the
first good <b><i>Star Wars </i></b>movie in over 30 years. <b><i>The Force
Awakens</i></b> took the brunt of all that pressure and anticipation head-on
and emerged victorious. Now that fans are on Disney's side, <b><i>Rogue One</i></b>
gets a bit more wiggle room, though it never outsteps its bounds <i>too</i>
much. Stunning visuals serve a script that never manages to fully shake the
shackles of the many board room meetings that shaped it, but its clunky first
two acts give way to a resounding, masterful finale that makes the whole thing
worthwhile. I just wish the rest of <b><i>Rogue One</i></b> had lived up to those
last 30 minutes. Did you get that vibe too?</span></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>Oh yeah, totally. I appreciated the
changes it brought to the structure of <b><i>Star Wars</i></b> as we know it.
The visual style took the gritty cinema verite-elements of <b><i>A New Hope</i></b>
and went grittier. And they get a gold star (war) for trying to make an
ensemble movie in the first half - I think <b><i>Rogue One</i></b> jumps too
much between worlds in the beginning to be fully successful at it (and I was a
little jarred by the use of text to name the planets - because <b><i>Star Wars</i></b>
usually just assumes we know that information/will figure it out later; what is
this: <b><i>Guardians of the Galaxy</i></b>?!?), but I thought it kept things
interesting.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">The movie opens on Jyn's story and then focuses on
her over the other characters as the story progresses. But I appreciated a <b><i>Star
Wars</i></b> movie that steered away from the same old hero's journey that
we're used to. As you say, the clunky first two acts move onto something
greater, and while <b><i>The Force Awakens</i></b> has better characters and
stronger emotional beats, this movie has a more satisfying climax. I'd choose
the <b><i>Force Awakens</i></b>' lightsaber fight between Rey and Kylo Ren over
a lot of the action sequences in this film, but <b><i>Rogue One</i></b> used
every moving part of the story in a more active and less derivative way. The
X-Wing dogfights were more investing, the gunfights were better choreographed,
and... Vader.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>Yes!! I was nervous about Vader's
inclusion here, that it wouldn't be anything more than a glorified cameo. And
while it is certainly that, it felt less shameless than it could have. And his
Sith Lord murder rampage near the end was worth every penny of my $15 ticket.
All the cameos here were a lot of fun (Red Leader, Gold Leader) with the
exception of Grand Moff Tarkin. Tarkin's face is 100% CG, and no matter how
advanced face-capture technology becomes, I will never not notice it. I admired
the filmmakers' commitment to having Tarkin play an active role - more so than
I would have expected - but that doesn't make it any less creepy.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">All that jumping around the galaxy at the beginning
was a little off-putting, and I'm glad I'm not the only one who felt that way
about the planet titles. It was almost as if the filmmakers realized they were
jumping around too much and while the text helps orient the audience, it also
calls attention to just how much we're jumping around.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">I loved the ensemble cast element too, but I wish
the characters had gotten more breathing room. There have been all kinds of
rumors regarding Tony Gilroy's level of involvement with script rewrites and
whatnot. I wonder how much of <b><i>Rogue One's </i></b>relentless,
forward-moving plot is due to his involvement or if it's the miscellaneous
character beats he contributed. Either way, I wish there was more of the latter
and less of the former. I felt moderately interested in everything going on,
and <b><i>Rogue One</i></b> is relatively entertaining, but I didn't feel truly
engaged until the end. Part of that is Jyn as a character - she felt
underdeveloped. The same goes for Captain Andor. It's like their character
beats and growth were left on the cutting room floor in favor of the action.
Nothing against Felicity Jones and Diego Luna, who are both solid actors. I
just wish they'd been given more to play with.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">I thought everyone else was great though: Donnie
Yen's Zatoichi-inspired blind Force warrior; Jiang Wen and his awesome hair and
giant gun; Riz Ahmed as the ex-Imperial pilot looking for redemption; and of
course Alan Tudyk as K-2SO, the obligatory comic relief robot. All of their
characterizations are stronger than the two characters we end up spending the
most time with.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">As for your comparison between <b><i>The Force
Awakens</i></b> and this film, I couldn't agree more. <b><i>The Force Awakens</i></b>
is a more successful storytelling venture overall, but I really wish I could
have taken the fan-pleasing, emotionally satisfying conclusion of <b><i>Rogue
One</i></b> and exchanged it with <b><i>The Force Awakens' </i></b>more generic
‘we have to destroy another Death Star’ climax. (Love that lightsaber battle though)</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>Yeah, the ensemble complemented each
other really well. Although, in my opinion, Alan Tudyk's droid and Donnie Yen's
blind monk were, by far, the standouts from the supporting cast. Everybody
shines when they're given the chance, but there's not much room for the other
actors to make their marks here and, to me, the Jyn/Cassian relationship was
the anchor of the movie. I get that <b><i>Rogue One</i></b> is forcing us -
almost manipulating us - to care about Jyn's character. They hit all of the
stereotypical notes meant to tug at our heartstrings (missing parent, reluctant
hero, shot at redemption), and I’m usually turned off by that
manipulation when it feels assembly-line manufactured. Yet, because the
whole film is rooted in this kind of agreement between fans and filmmakers that
Lucasfilm is just going to give us a dream-casserole of all the leftover bits
and unused ingredients from the <b><i>Original Trilogy</i></b>, I didn't mind.
I was rooting for Jyn and Cassian to succeed and, while I wasn’t weeping at the
end, I was still really invested in their cause and left wanting more (too bad
that's not going to happen)...</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>Can we also talk a bit about Ben
Mendelsohn and how awesome he is as Imperial Military Director Orson Krennic? I
recognized him as one of the most unbearable bit players from <b><i>The Dark
Knight Rises</i></b> - that guy with the lisp who whines all the time before
Bane hugs him to death. I would never have guessed he could be so effective as
a <b><i>Star Wars</i></b> villain. Well, I mean, he's an effective villain, but
once Tarkin takes over, Krennic kind of fades into the background.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>Holy crap - I didn't make the
connection that Krennic's the hug-death guy from that <b><i>Batman</i></b>
movie we love to hate. He's much better when <i>he</i> gets to wear the cape.
I'll be honest, I was a little underwhelmed by his presence. I thought the
performance was fine, but to me he ended up taking a backseat to Tarkin - which
was a HUGE surprise for me. I had a feeling we were getting a Grand Moff Tarkin
cameo (Lucas owns the life rights to every character actor from the 1970s), but
I was shocked he had such a supporting role. It took some getting used to, but
I actually didn't mind him being here, even if the facial-CGI technology isn’t
convincing. It's leaps and bounds better than the prologue to <b><i>X-Men 3 </i></b>and
Jeff Bridges in <b><i>Tron Legacy</i></b>, but it still reads as incredibly
fake. If <b><i>Rogue One</i></b> had the film quality of, say, a movie shot in
the 1970s, it could probably sneak by unnoticed, but here his face sticks out
like a sore-thumb (on a dead actor). I will say, if we compared the <b><i>Rogue
One</i></b>-Tarkin to the computer generated characters in the prequels, the <b><i>Rogue
One</i></b>-Peter Cushing effect wins.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">(What are the ethics of using a deceased performer
if you own the rights to these actors' likenesses? Isn't it a little weird? If
I wanted Meryl Streep to be in the new Han Solo movie and she turned it down,
could I just buy the rights to <b><i>Death Becomes Her</i></b>, CGI her into my
movie, and call it a day?)</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">As for the other cameos, the Red Leader and Gold
Leader footage in the X-Wing fight really worked for me, and the appearance at
the end of a certain princess, while weird, was the icing on this photoshopped
cake. Although, when the camera was leading us down the corridor of the Tantive
IV (Princess Leia's ship from the beginning of <b><i>A New Hope</i></b>), I had
this sinking feeling: "I hope that rebel soldier doesn't take those plans
to the cockpit." Then we were in the cockpit. "I hope we don't see
Princess Leia." Then we see her from behind. "I hope she doesn't turn
around." And she does. But because it's just for a split second before
jumping to the credits, it somehow didn't kill the moment. Sure, her face looks
like she's on a heavy dose of computer-generated sedatives, but 1977 Carrie
Fisher was weird in a <i>good</i> way. Fake animated faces make me more
uncomfortable than, you know... a normal human face... yet for the sake of this
movie, it works.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">And Vader was successful overall. His intro in the
lava palace was beautifully constructed (and speaking of lava palace - this is
the same castle that George Lucas envisioned as Darth Vader's home back in the
rough draft of <b><i>Empire Strikes Back</i></b>! The nods to the earlier
versions of <b><i>Star Wars</i></b> scripts, with the references to Kybur
Crystals, the ancient texts of "the Whills," and the original version
of "may the Force be with you" - "May the Force OF OTHERS be
with you" - were all amazing touches. But back to Vader...) We see him in
a state of vulnerability, emerging from a bacta tank, life support systems
working overtime, and it's creepy, hellish, and perfect. Once he's in the suit,
it's a little odd adjusting to old Vader in this new environment. Maybe it's
all the details and art direction invested in the newer characters of these new
movies, or maybe it's the look of the old Sith Lord's costume under the
scrutiny of 2016's high resolution cameras, but he seems a little less imposing
in his conversation with Krennic than he was in the <b><i>Original Trilogy</i></b>.
James Earl Jones' noticeably aged voice doesn't help. The guy's a legend and
can still pack a punch behind those booming vowels and consonants but there
were certain times when it seemed like he was fighting through a yawn. Give
this guy another breathing apparatus! Or at least take some Imperial tax
dollars and buy his facemask a new filter - FORCEDAMMIT!</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">... Ultimately, it's all nitpicking, because I was
very happy to see him back in action. Especially the ending - the chase scene
gave goosebumps and his relentless pursuit carried the momentum perfectly into
the opening of the original <b><i>Star Wars</i></b>. <b><i>Rogue One</i></b>
works overtime to undo the scars <b><i>Revenge of the Sith</i></b> left on this
character and it redeems him for a new generation.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>It's great that we can finally use the
term '<b><i>Star Wars Prequel</i></b>' in a positive light. While <b><i>Rogue
One</i></b> can never fully undo the damage of Lucas's <b><i>Prequel Trilogy</i></b>,
it still satisfies in all the ways we wish the Prequels had. And you're right
about Jyn and Cassian. While I never felt fully invested in their characters
for a good chunk of the runtime, by the film's conclusion I realized I really
did care about them. Their final moments together are really beautiful and I
have to give credit to Disney/Lucasfilm for allowing this story to reach its
depressing, but necessary and satisfying conclusion.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">It's funny you mention a 'sinking feeling' regarding
the Rebel ship escaping and the Death Star plans 'baton toss' that takes place
as Vader annihilates the Rebel soldiers. I felt exactly the opposite. I was so
thrilled and excited by what I was seeing and that desperate attempt to get the
plans away before Vader recovered them was sheer brilliance. Even though we
know the Rebels succeed, I was still on the edge of my seat. And then when we
discover we're on the Rebel ship from the opening of <b><i>A New Hope</i></b>,
I just about lost my mind. And with all my talk about how off-putting Tarkin's
CGI face was, I have to say, I <i>loved</i> seeing Carrie Fisher's Princess
Leia. It just worked for me, and I'm sure part of it is because she's only on
screen for a brief time. With the Prequels, every attempt to connect the new
trilogy with the <b><i>Original Trilogy</i></b> made me roll my eyes; here, it
really works because the filmmakers have treated the material with care and
respect.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">Speaking of filmmakers, how about that Gareth
Edwards? I loved his film debut <b><i>Monsters</i></b>, which he wrote,
directed, shot and did the special effects for, and I admired his <b><i>Godzilla</i></b>,
though I'm not over the moon (or space station) for it. Here, he does such an
excellent job with the visuals. He really has this impeccable sense of scale:
everything feels BIG and EPIC. That space battle at the end will go down as one
of the series' finest, if not <i>the</i> finest. It's got a lot to live up to,
but the emotional stakes blend perfectly with the excitement of seeing the
classic X-Wings taking on those Star Destroyers for the first(?) time.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">It's all punctuated by Michael Giacchino's score. I
know we're both big fans of the composer's work. How did you feel about the first
<b><i>Star Wars</i></b> score that wasn't composed/conducted by John Williams?</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>Oh no, I didn't have a sinking
feeling about the space battle, I was just worried we were about to end such an
entertaining movie on a poorly imagined CGI face. And although I dreaded the
last couple of seconds leading to the Princess Leia reveal, I thought she
looked surprisingly good. Or at least, good enough to drive the point home.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">Again, I actually loved the "baton toss.”
Following Vader down that corridor was the highlight of the movie. I just
worried that fake Carrie Fisher might take me out of it. Thankfully, I was
invested through the end credits.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">As for Gareth Edwards, I think he knocked it out of
the park. We don't yet know how much the film changed during reshoots, and at
this point we don't really need to know. I'm the kind of person who loves
what-if scenarios, and if the movie sucked, then I probably would’ve complained
that they ruined it in reshoots or something, but here, I'm sure it's a better
movie because of the additional photography.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">And let's talk about the cinematography for a
second... they nailed it. In addition to the muted colors, the shots were
perfectly focused during intimate moments, frenetic during battle scenes, and
there wasn't a drab visual in the movie. My favorite location may be Jedha -
it's an all too familiar war-torn desert city, and the atmosphere is depicted
perfectly. The contrast between the rustic ancient city and the gleaming star
destroyer hovering overhead is a striking edition to the album of classic <b><i>Star
Wars</i></b> visuals.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">And it's funny, I remember us having a conversation
about the music sometime last year. Alexandre Desplat - great composer - was
set to score the movie, and I was a little disappointed that Michael Giacchino
wasn't attached because <b><i>Star Wars</i></b> seemed right up his alley.
Through a weird turn of last minute events, he ended up leading the <b><i>Star
Wars</i></b> orchestra, and although it doesn't have as many memorable themes,
the music was engrossing from when it jolted us from the opening "A long
time ago..." into the first shot in space.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">What did you think of the visuals? And how did this
compare to other movies?</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>Visually <b><i>Rogue One</i></b> is
perhaps the most grounded and bleak a <b><i>Star Wars</i></b> movie has ever
felt. The war-torn imagery carries an ever-present sense of impending doom -
you really feel the overpowering might of the Empire in those beautiful shots
of the Star Destroyer on the horizon of Jedha and the Death Star blotting out
the sun during its approach. The sequence of the AT-AT's storming the beach
against the Rebels is filled with one jaw-dropping shot after another; the
execution regarding the combination of practical and computer effects is
top-notch. And while I think the standalone shots here are more impressive than
the overall visual style, I'm still mighty impressed with Edwards' direction
and Greig Fraiser's cinematography. I wish the storytelling had been as
compelling.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">And you know, as bummed as I was about Desplat getting
the boot, I have to admit I was excited about Giacchino's involvement. <b><i>Rogue
One's</i></b> score isn't as immediately memorable as <b><i>The Force Awakens</i></b>',
but it successfully serves this film's story in a satisfying way. I can't wait
to revisit it.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>FINAL THOUGHTS, RATINGS AND SERIES RANKINGS</b></span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>So, we've come now to the end of our
extensive discussion. What are you final thoughts and what should our ranking
system be?</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>In a normal ranking, I would give it <b>4
out of 5</b>. We could rank out of seven underwritten characters-- if so, I
would give <b>5.5 out of 7</b> underwritten space rogues.</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>SHAWN: </b>Okay, great. Personally, I enjoyed <b><i>Rogue
One</i></b> overall, but I didn't find it to be the rousing success last year's
<b><i>The Force Awakens</i></b> was. I just wasn't as invested in its
characters and found the storytelling to be less involving and cohesive. But
everything comes together for its final 30-40 minutes, which are some of the
best in the entire <b><i>Star Wars</i></b> saga.</span><span class="apple-converted-space"> </span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">My final rating is <b>5 out of 7</b> underwritten
space rogues; my normal rating is <b>3.5 out of 5</b>. My series ranking is as
follows:</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b><i>1. The Empire Strikes Back</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>2. Star Wars</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>3. The Force Awakens</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>4. Return of the Jedi</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>5. Rogue One</i></b></span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1">And coming in at a DISTANT 6, 7 and 8…</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b><i>6. The Phantom Menace</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>7. Revenge of the Sith</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>8. Attack of the Clones</i></b></span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b>RICHIE: </b>Man, ranking the series is
difficult... <b><i>A New Hope</i></b> and <b><i>Empire</i></b> are
interchangeable to me, it just depends on my mood. And I loved <b><i>Force
Awakens</i></b>, even though I was pretty disappointed that the second half of
the film recycled much of the plot of the original. And unlike <b><i>Force
Awakens</i></b>, my view of <b><i>Rogue One</i></b> keeps getting better in
retrospect. It'll be interesting to see how our rankings evolve after <b><i>Episode
VIII</i></b> next December... OK! Since I'm on a <b><i>Rogue One</i></b> high,
and this movie ends where the original <b><i>Star Wars</i></b> begins, I'm
going with the following:</span><o:p></o:p></div>
<div class="p2">
<br /></div>
<div class="p1">
<span class="s1"><b><i>1. Star Wars</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1"><b><i>2. Empire Strikes Back</i></b></span><o:p></o:p></div>
<div class="p3">
<span class="s1"><b><i>3. The Force Awakens</i></b></span><o:p></o:p></div>
<div class="p3">
<span class="s1"><b><i>4. Return of the Jedi</i></b></span><o:p></o:p></div>
<div class="p3">
<span class="s1"><b><i>5. Rogue One</i></b></span><o:p></o:p></div>
<div class="p1">
<span class="s1">...</span><o:p></o:p></div>
<div class="p3">
<span class="s1"><b><i>6. The Phantom Menace</i></b></span><o:p></o:p></div>
<div class="p3">
<span class="s1"><b><i>7. Revenge of the Sith</i></b></span><o:p></o:p></div>
<div class="p3">
<span class="s1"><b><i>8. Attack of the Clones</i></b></span><o:p></o:p></div>
<div class="p2">
<br /></div>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<div class="p1">
<span class="s1">I'm adding <b><i>Rogue One</i></b> to my next <b><i>Star
Wars</i></b> viewing marathon and I'll be watching in <a href="http://www.nomachetejuggling.com/2011/11/11/the-star-wars-saga-suggested-viewing-order/"><span class="s2">Machete Order</span></a>. Start with <b><i>Rogue One</i></b>, follow
it up with the original <b><i>Star Wars</i></b> and <b><i>Empire</i></b>, then
take a machete to the prequel DVDs, and close out with <b><i>The Force Awakens</i></b>.</span><o:p></o:p></div>
</div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com0tag:blogger.com,1999:blog-7427821594889141956.post-36129928298442785022016-12-01T09:11:00.001-08:002016-12-02T08:13:05.639-08:00Moana - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB8dgsrPUu7KYKkpPeNxps90wN2P5PomJnV6NzvYKitkAkS57hsIdgEg9fz76gcz1lzwuQyppYtSctenNT7jOE3cIcs_2e9io2WO7jbSkRqCAOhgCv0FfHNmPoTtsn8sVcKvBENybGKYz7/s1600/Moana.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB8dgsrPUu7KYKkpPeNxps90wN2P5PomJnV6NzvYKitkAkS57hsIdgEg9fz76gcz1lzwuQyppYtSctenNT7jOE3cIcs_2e9io2WO7jbSkRqCAOhgCv0FfHNmPoTtsn8sVcKvBENybGKYz7/s400/Moana.jpg" width="400" /></a></div>
<br />
With its latest effort <b><i>Moana</i></b>, Disney continues to prove they are without peer in the field of animated features. It is a delightful film, full of humor, heart and stunning animation. While its story beats are familiar, <b><i>Moana</i></b> is an overall success, managing to overcome any potential shortcomings by excelling in nearly every other respect.<br />
<br />
Ever since she was old enough to walk, Moana has sought adventure beyond the island where she and her family reside. Her father, the island chief, tries to quell this desire, but as she grows older, Moana only grows more and more restless. When her home’s food and water supply begins to diminish – the result of the demigod Maui stealing the heart of the goddess Te Fiti nearly a millennium ago – the ocean chooses Moana to restore Te Fiti’s heart, finally giving her the chance to explore beyond the strict confines placed on her by her father and to save the island and her people.<br />
<br />
<b><i>Moana </i></b>takes a bit to get going. We spend a good chunk of time on the island while the plot is carefully laid out. Once Moana embarks on her quest and runs into the demi-god Maui, played by the consistently charming Dwayne Johnson, things really kick off in spectacular fashion. The voice actor ensemble does an excellent job, with Auli’I Cravalho making her film debut as the voice of the title character. Co-directors Ron Clements and John Musker and their team of animators successfully capture the magic of Polynesian mythology, and the gorgeous scenery is some of the studio’s most incredible thus far. The screenplay by Jared Bush (<b><i>Big Hero 6</i></b>, <b><i>Zootopia</i></b>) does an excellent job honoring this mythology, expertly weaving it in and out of the story, which is always involving.<br />
<br />
The film also benefits from a great soundtrack. Lin-Manuel Miranda, who is currently riding the Hamilton wave of success, composed the score and co-wrote the songs with Opetaia Foa’I, of the New Zealand Oceanic group Te Vaka, and Mark Mancina, who arranged a number of songs for another Disney animated classic: <b><i>The Lion King</i></b>. Needless to say, you’ll be humming these songs all the way to the store to pick up your own copy of the soundtrack.<br />
<br />
<b><i>Moana’s</i></b> overall sense of familiarity is really its only weakness, but this should not dissuade anyone from seeing it. It is a beautiful film fit for all ages and fits in comfortably with the rest of Disney Animation’s impressive roster.<br />
<br />
<b><span style="font-size: large;">FINAL RATING: 4/5</span></b><br />
<div>
<br /></div>
Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com1tag:blogger.com,1999:blog-7427821594889141956.post-83760482252594230882016-11-23T08:48:00.003-08:002016-11-23T09:05:41.846-08:00Fantastic Beasts and Where to Find Them - Film Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh58kcZ_Yzv7eU23_40iLd0cQy_clUhLU_57XgKjGNjbiw1R-UC076b99un6LbPsf8xU5iyPxScssrFV21FKABYVA44DWNQbqXuda7uTSO1E-5PwglC0-zbOT2Cb8AarhlYJ7IDFTzBFKar/s1600/fantastic-beasts-where-find-them-posters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh58kcZ_Yzv7eU23_40iLd0cQy_clUhLU_57XgKjGNjbiw1R-UC076b99un6LbPsf8xU5iyPxScssrFV21FKABYVA44DWNQbqXuda7uTSO1E-5PwglC0-zbOT2Cb8AarhlYJ7IDFTzBFKar/s400/fantastic-beasts-where-find-them-posters.jpg" width="400" /></a></div>
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I imagine Warner Bros (WB) studio execs, along with
countless <b><i>Harry Potter</i></b> fans around the globe, practically wet themselves with
excitement when J.K. Rowling agreed to pen a spinoff series. For fans,
this marked a more-than-welcome excuse to return to Rowling’s universe. For WB,
this was an opportunity to rake in the dough and help them compete with
Disney’s flourishing <b><i>Marvel</i></b> and <b><i>Star Wars</i></b> franchises. As for me, I couldn’t have cared less.</div>
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<o:p></o:p></div>
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Let me set the record straight: Yes, I’m a <b><i>Harry Potter</i></b> fan. In fact, I absolutely <i>adore</i> the series. I love the books, the films –
I even spent my honeymoon in Orlando at Universal’s Wizarding World of Harry
Potter. Despite all this, I wasn’t the least bit interested in this spinoff
series. 'Why,' you ask? First of all, Rowling had already told her story and she’d done so
beautifully; and under the expert tutelage of producer David Heyman, the film
adaptations followed suit. The<b><i> Potter </i></b>series had concluded in glorious, satisfying fashion on both page and screen - so, why would I want more? </div>
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But while I was skeptical, I trusted in Rowling. Her involvement lent the new
spinoff an aura of credibility and I hoped that this new story would not only
enrich the legacy she had created, but would give me ample reason to hop
on-board for future entries in the new franchise. Besides, when has the creator of a series going back to do a
prequel series ever gone wrong?</div>
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<o:p></o:p></div>
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<br /></div>
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…<o:p></o:p></div>
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…oh no…<o:p></o:p></div>
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Sadly, <i><b>Fantastic Beats and Where to Find Them</b></i> contains all the
negative connotations the term 'prequel' evokes. It is a plodding, tonally
inconsistent mess. Its story and characters are uninvolving and it lacks the
compelling, emotional core that made the <b><i>Potter</i></b> franchise such a joy. It
was bad enough that we were going to get a trilogy of these films, but
now we’re getting FIVE of them?! I solemnly swear Rowling and WB are up to no
good. <o:p></o:p></div>
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For the most part, <b><i>Fantastic Beasts</i></b> follows the exploits of
Newt Scamander (Eddie Redmayne), an awkwardly eccentric wizard with a penchant
for bizarre magical creatures. He travels to America from England on a personal
trip and during a stopover in New York City, all manner of chaos ensues when
the creatures in his trunk get lose and begin wreaking all kinds of havoc on
the city. Along with muggle/No-Maj Jacob Kawalski (Dan Fogler), an aspiring
baker with ambitions of opening a shop in the city, and Tina (Katherine
Waterston) a recently-demoted auror looking to regain her position, Newt
scampers about, attempting to recollect his creatures before the less thoughtful authorities do.<o:p></o:p></div>
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Intercut with this relatively lighthearted affair, is a dark
and gloomy plot involving an orphanage and an abusive mother who runs an
anti-witch/wizard cult out of it. Her adopted son Credence (Ezra Miller) is
secretly working with the U.S. Magical Congress and having regular meetings
with Auror Percival Graves (Colin Farrell) to help Graves uncover information
about a mysterious and destructive force that has appeared in the city. These
scenes are shot in the most melancholy way: dark lighting, grey colors, and
are totally at odds with the brighter, more colorful scenes involving Newt.<o:p></o:p></div>
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But wait! There's more! Undercutting all of this nonsense is some major teasing of the evil wizard Gellert Grindlewald, who <b><i>Potter</i></b> fans will
remember as something of a precursor to Voldemort. While Grindlewald doesn’t
play much of a part here, it's clear his role will be greatly expanded in the inevitable sequels. This means we have to
deal with the whole ‘tune in next time!’ vibe that so many franchises use and abuse these days.<o:p></o:p></div>
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Needless to say, <b><i>Fantastic Beasts </i></b>suffers from something of an identity crisis.
Is it a lighthearted, magical romp through 1920s New York? Is it a dark,
depressing glimpse at prejudice and discrimination? Is it a teaser for future
films in this new franchise? It tries to be all of the above and fails in every
respect. </div>
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Rowling, who has in the past proved quite adept at balancing multiple
plots and characters, demonstrates none of her usual talents here. The opposing
tones are a jumbled mishmash and feel entirely at odds with one another.
Despite her best attempts, the two main storylines: Newt’s attempts to recover
his creatures and Graves’ investigations of an evil monster, feel detached and never coalesce into a satisfying whole. The mood swings treacherously back and forth between scenes of wonder and delight to moments that are utterly depressing and feel incredibly out-of-place.</div>
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Even worse, the film
is overflowing with plotholes and nonsensical occurrences. Typically, Rowling
does an expert job of crafting a tightly-wound story with explanations for
each magical occurrence and plot point. Here though, nothing makes sense and so
many instances are left unexplained or unjustified. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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While many of <b><i>Fantastic Beasts’</i></b> faults are due to Rowling’s mediocre
script, director David Yates’ inconsistent abilities do nothing to help
alleviate those shortcomings. Yates, as you may recall, directed the final four
<b><i>Harry Potter</i></b> movies. While his debut, <b><i>Order of the Phoenix</i></b>, demonstrated his
lack of experience with big-budget filmmaking, he came into his own as the
series went on, finishing strong with the masterful <b><i>Deathly Hallows</i></b>. Here,
Yates seems to have abandoned whatever lessons he learned from his work on <b><i>Potter</i></b>. His direction is
uninspired and workmanlike. Additionally, the film's editing is atrocious. Editor Mark Day, who worked with Yates on the latter four <b style="font-style: italic;">Potter </b>films demonstrates a complete lack of understanding regarding how to put scenes together in a coherent manner. There are so many points where we leap from one occurrence to another without explanation or justification. It would take far more fingers than two hands can account for to tally up the number of
moments I muttered, “What the hell is happening??” in a state of utter confusion</div>
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To make matters worse, the special effects carry that awful, artificial CGI sheen. Everything looks fake, even the city. In the <b><i>Potter</i></b> films, CGI work and practical effects merged beautifully to create a living, breathing world. This New York looks more at home in Peter Jackson's <b><i>King Kong</i></b> remake. The creature design is relatively uninspired as well. There's nothing here that you haven't seen in a dozen far better movies, <i style="font-weight: bold;">Harry Potter</i> included. <o:p></o:p></div>
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Perhaps <b><i>Fantastic Beasts’</i></b> greatest flaw is in its lack
of interesting or memorable characters, another area Rowling usually excels in. Here,
they serve hardly any function and feel as under-developed and dull
as Rowling’s lackluster plotting. Newt’s character is the primary example. He
spends the majority of the film stumbling around, refusing to connect to any of
his human companions. He doesn’t seem very interested or invested in anything
going on around him, aside from his computer-generated magical creatures. When
your main character doesn’t care about anything or anyone, it
makes it very difficult for the audience to get involved, and Redmayne’s
awkward demeanor isn’t charming enough to hold interest or garner empathy. He’s
just a weird dude who can’t connect to the people around him and it makes it very difficult to connect to him on any level, emotional or otherwise.</div>
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Truthfully, it’s difficult
to connect to <i style="mso-bidi-font-style: normal;">any</i> of these characters. They’re about as simple-minded and surface-leveled as
can be, and none of them play much of a role in the unfolding plot events – not
even Newt, who’s supposedly our main character. As aspiring baker Jacob
Kowalski, Dan Fogler does a quality job pulling off the whole ‘everyman’ vibe,
but his comic timing lacks finesse. He spends most of the time stumbling around
and making silly noises to fill in the awkward silences, but aside from being a comic foil, he's never fully fleshed out. </div>
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The same goes for Waterston’s
Tina and her sister Queenie (Alison Sudol). As Queenie, Sudol becomes the
embodiment of every NYC flapper girl cliché; her put-on accent is atrocious.
Waterston fares better, but her character is about as boring as can be and she
can only do so much with the underwhelming material. Not even Colin Farrell or
Ezra Miller, typically fine actors, can rise above the shortcomings of Rowling’s
script. Honestly, they're so detached from everything that happens, I keep forgetting they were even in this movie, hence their
last-minute inclusion in this paragraph. <o:p></o:p></div>
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<b><i>Fantastic Beasts</i></b> ends with the promise of more to come, which, come to think of it, feels more like a threat than anything else. It is a disappointing effort in every respect, recalling the
worst elements of both George Lucas’s <b><i>Star Wars Prequels</i></b> and Peter Jackson’s
<b><i>Hobbit Trilogy</i></b>. I can only hope Rowling decides to jettison this lame cast of characters in favor of a more interesting one next time around. And while there’s great potential to Grindlewald’s story and his relationship with Albus Dumbledore, this mess of a movie shows no indication of it. Warner Bros may be satisfied with the piles of money this is sure to bring in, but if they want to keep fans invested, they're going to have to work just a tad bit harder to keep them coming back for more.<br />
<br />
Until then, I'll always have Orlando...<br />
<br />
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<b><span style="font-size: large;">FINAL RATING: 2/5</span></b><o:p></o:p></div>
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Shawndormanhttp://www.blogger.com/profile/05654144722055732119noreply@blogger.com2