Our Friend (2021) directed by Gabriela Cowperthwaite

Sad news to report that my first trip back to the theaters in the year 2021 was more underwhelming than I had hoped. Gabriela Cowperthwaite's Our Friend is a passable but recycled story about caring for someone with cancer. This type of story is one that will never fail to make me emotional, mainly because of personal experience with cancer in my family, but it's one that I just could never fully latch on to. Its characters are mildly interesting, its direction is solid, and the fact that it is based on a true story from an article is enough to draw me in, but I could never shake the feeling that I had seen this kind of film before. This isn't to say that this heartwrenching story shouldn't have been told, but rather that it is a difficult one to approach in the first place. The performances from the whole cast were phenomenal and there is so much heart put into the adaptation of this story but I just think that heart was a bit used up already.

When Matt (Casey Affleck) finds out that his wife Nicole (Dakota Johnson) has terminal cancer, he is at odds with how to manage his personal life consisting of his journalism career and two daughters. Family friend Dean (Jason Segel) steps up to the plate and moves in with them for a few weeks to help get Matt settled back in the routine of his life but ends up staying for much longer than anticipated when Dean becomes a greater friend than they could have ever asked for. Any film that is about cancer in any capacity always has the potential to be a tearjerker regardless of genre. It's a terrifying thing to think about and one that I feel any right-minded person could feel for; which is why focusing this film on the relationship between the couple and their incoming friend is a bit strange. I went into Our Friend expecting most of the movie to be about Nicole's struggle with cancer or how much Dean's help meant to the two but what I got was an examination into the psyche of her husband Matt instead. Not only was I vastly uninterested in the character of Matt right off the bat but I was a bit frustrated with how much Cowperthwaite focused on him. If this film would have been entirely about Nicole and how her fight with cancer affected the people around her or even about Dean coming in to help the family and how it took a toll on him emotionally, that would have been fantastic. While the film with its already too long of a runtime does indeed touch on those things, I was just a bit disappointed when Casey Affleck was given the spotlight. The script by Brad Ingelsby does its best to keep the audience invested in the stakes of this family's story but I have really seen this story before. Nothing about the characters' lives or interests or careers were original enough to make me wholeheartedly engaged but Ingelsby does just enough to make me want to see what happens next.

Cowperthwaite's direction is pretty strange throughout the entirety of Our Friend because while she demonstrates a very strong ability to carry a story, I just don't think she handled it in the best way possible. I never had problems with following along with the story or anything but the nonlinear approach to the film never seemed to serve any purpose. No events were really connected and no purpose to the chronological scattershot of the plot (scatterplot?) was ever shown and after a while, I just began to think that it was a choice made due to the dull nature of the story in the first place. I honestly began to wonder when Nicole would ever die just so I could move on past that part that I knew was coming. Cowperthwaite is a great director, but I just think she needs better or more original material to work with. Thankfully, even though I have seen this kind of story before and the way that it brings out emotions from its audience is nothing new, Dakota Johnson and Jason Segel's performances are just aces. Johnson has been getting some fantastic roles in the past few years and I am so happy to see her career skyrocket past the "one girl from Fifty Shades of Grey" stance. She is able to really nail the complex range of emotions seen from someone with cancer as well as the loving side of her motherhood seen in the flashbacks. Segel is really the standout of this movie, however, as his caring side is put on full display in his character. He is really just a giant, lovable, teddy bear that makes every film he is in miles better, and to see him placed in a suiting role like this just makes sense. Like I said, I wish his story would have been given more focus (enough to justify the film being titled about him) but the scenes he was in were just great to watch. This entire cast works well together and their chemistry is really what saves this movie from being an even more forgettable cancer story.

It's a good thing that I was not expecting to be blown away by this film because sometimes, all one needs is an emotional trip to make sure that they still feel things. Our Friend is great at doing just that and while I was never really astounded by any of the storytelling choices that were made, it is just effective enough to warrant a watch. Segel and Johnson absolutely steal this film more than anything and if more focus had been placed on their subplots, I would have been much more interested. But alas, we got what we got and I am satisfied enough to be able to say that I enjoyed it.

My Rating: ★★★

One Night in Miami... (2021) directed by Regina King

It's hard to believe that this story is based on an actual true occurrence because from hearing the premise, one might think bringing these four legends together for one night might seem forced. However, this is really one of the best ideas for a stage production turned film, and I was genuinely curious as to what this would be throughout its entire runtime. Regina King's directorial debut One Night in Miami... is one of 2021's best movies so far and makes for a fantastic exploration into much-discussed themes like race, class, and white privilege. King is able to bring out some absolutely stellar performances from her cast along with adapting the script into a decently creative cinematic vision. I did have some issues with the direction and the actors' reliance on carrying the energy of the story but regardless of some underwhelming decisions, I can easily see this film entering the Oscars conversation without hesitation.

Civil rights leader Malcolm X (Kingsley Ben-Adir), soul singer Sam Cooke (Leslie Odom Jr.), NFL football star Jim Brown (Aldis Hodge), and renowned fighter Cassius Clay (Eli Goree) all meet up in a hotel room after Clay's success in a fight that night in Miami. As the four of them begin to unravel their reasons for being there, they take a turn into discussing some of the most pressing matters regarding the treatment of black people in America at the time. The script, written by Kemp Powers and adapted from his stage production of the same name, is one of the best parts of this entire film. Powers is able to tackle this story with a concise nature and tie together all of the themes that these icons discuss with grace and without making it seem strange. The fact that at one point in history, these four people actually were together in a room to this degree is captivating to me and I think Powers does a fantastic job of intertwining their morals and backgrounds to make for an interesting story. Seeing Malcolm X, Cooke, Brown, and Clay all agree with many things but also nearly get into physical altercations about other things is so compelling and the different degrees to which they are presented in this film makes for such a solid, bottle-episode premise. Powers is also able to tackle so many different ideas that these men bring up in argument and conversation, including race, position amongst white people, and religion, without ever making one seem less important than the other. Some of the causes that these men fought and stood for may seem more radical than others but Powers' script brings them all together to really give each of them a rich history lesson. My only issue with this story was King's direction in certain spots. This is a fantastic film for her to make her debut on and she proves to be more than capable of handling a story but I never once got a sense of what her individual style could be. Since One Night in Miami... is primarily set in the one location of the hotel room, it never gave King enough opportunity to test out her creative limits and I was just a bit disappointed that King was never quite able to show what I can only assume are her true talents as a director.

Regardless of how few locations and environments she was given to work with, King still succeeds in making the best out of the script and keeping this film as engaging as possible. One of the best parts about her direction, though, is how she is able to squeeze out good performances from every single member of this cast. From the main four men to the supporting cast such as Lance Reddick and Joaquina Kalukango, every cast member gave their all and it was so obvious how dedicated they all were to telling this important and contemporarily relevant story. Ben-Adir, Hodge, and Goree all brought just the perfect amount of charisma, confidence, and charm that their respective characters' personalities demanded but Odom Jr. is who actually stood out the most to me. I can easily see him snatching up a Best Supporting Actor award for this film because he was truly one of the best standouts. I don't know much of his acting work as much as I do his musical career but if there is one thing King is good at, it's blending her cast's talents together in the most effective ways. Not only was Odom Jr. the perfect pick for Cooke because of his actual musical abilities but the emotional range he brings to the role was sublime. I never knew of all the connections these men had to each other before watching this movie but Odom Jr. brings them all together with his character in such a grand way that I could not help but feel impressed by. The cinematography and editing throughout One Night in Miami... were fairly decent and helped to move along the story but more than anything, this movie is built to be a showcase for its actors. This is why it makes sense that it was previously a stage play and I am certain that the black actors involved in the stage production of this were just as committed to the roles. I really loved this film the more it went on and although it lacked a certain kind of luster to make it stand out more creatively, King crafts a movie worth watching by one and all.

One can only imagine what it would be like to be a fly on the wall for the conversations between these four icons on that one particular night and although Regina King's take might be a bit heightened for cinematic purposes, One Night in Miami... is a spectacular vision of that. This film is consistently engaging and really kept me in the minds and lives of these four men - enough so that I actually have been learning more about black icons and historical culture from movies than I ever did in school. I can definitely see a bright awards future for this film coming up soon and one that will hopefully begin to put King's name more on the map.

My Rating: ★★★½

Pieces of a Woman (2021) directed by Kornél Mundruczó

Oddly enough, one of my resolutions for 2021 is to not write as much film criticism. The past three years of running my blog have been fantastic and have led me to so many wonderful sites and opportunities but lately, I have been seriously feeling burnout from the sheer stress of putting out quantities of pieces. I decided that I only want to write about films I see that really stick out and luckily, this year started off right with Kornél Mundruczó's Pieces of a Woman. This film is an absolutely emotional exploration into one woman's psyche and one that features some of the best performances from its leads that I had only been hearing good things about. From the direction to the cinematography to the clever, near lack of editing, this movie might not be the most joyous or celebratory film to start off the New Year with but it is one that really solidifies my feelings of cinema being the highest form of storytelling in our modern world.

Martha (Vanessa Kirby) and Sean (Shia LaBeouf) are a couple living in Boston who are expecting a child together. When Martha starts to go into labor, a midwife that they are not used to comes to help them out but an almost unspeakable tragedy occurs when the baby is born. Months after the untimely death, Martha struggles to live alongside her loss while the drama of her family life continues. This script, written by Kata Wéber, is definitely the highlight of this entire film, as it provides one of the most honest and emotionally powerful depictions of learning to live with loss that I have ever seen. The way that Wéber navigates the emotions and reactions of all of the different characters close to Martha was phenomenal and I was so consistently engaged with the dynamics between them all. What Pieces of a Woman does best, however, is showing how differently people handle grief at this level. Countless movies have done this before, of course, but when it comes to something as personal and heartwrenching as the loss of a newborn child, this film absolutely succeeds. Martha may have been distant and quieter while Sean may have been outraged that actions were not being taken but Wéber's story shows that both of these people are completely justified in their emotional states. People need different timelines for grief and they do so in various ways and this film is just brilliant at showing the contrast between its characters and how they learn to move on. The only issue I had with this film was the direction and pacing from Mundruczó. His direction is entirely solid as he handles the story in such a grounded way but I could not help but feel how badly this movie dragged on. It really did not need to be as long as it was and while there were plenty of interesting subplots and ideas that were explored, so many stretches of this film dragged hard. Just another case of a film that could definitely benefit from tighter editing.

Kirby's performance as Martha is one of the best I have seen in a while and while I mostly know her from the Mission: Impossible and Fast and Furious franchises, she excels in this role much more than I could have ever. She takes this film and really makes it her own as she is able to traverse through the life of Martha with an impactful level of emotion that is rare to see in a performer. She is certain to be a favorite come Oscar season and she really deserves it - the dedication and nuance that Kirby puts into her character are honestly beyond belief. While the controversy and abuse from LaBeouf that has surfaced in the last few weeks is another story, his performance is also fantastic. LaBeouf really shines when he is put in these heavy-handed, supporting roles and he does such a wonderful job of embodying the character of Sean just as well. Watching Pieces of a Woman, I honestly never would have expected the visual storytelling to be nearly as compelling as the script. A film like this almost entirely relies on good screenwriting to engage its audience and while it did a great job of that, I was surprised with how beautiful this movie looked and felt as well. The cinematography from Benjamin Loeb is stunning and draws you into this story more than anything else in the film. The entrancing long takes and wide shots leave so much room for the story to breathe when the audience needs it and I just fell in love with the way Loeb shoots this movie; especially in the first half an hour or so when Martha is preparing to give birth. The nearly 20-minute take of just Martha and Sean in and around their apartment as the baby is getting ready to come was riveting and draws in its audience and never lets them go. Once I was finally able to breathe from that incredibly tense sequence was when I realized how well the cinematography worked for this story. Many could understandably find the camera choices to be corny but I genuinely loved the choices made through Loeb's lens.

Pieces of a Woman is sure to be a smash amongst Academy voters and it rightfully deserves that - a film about a sensitive subject such as this done with such grace and well-intentioned meaning is always a surefire winner. While I might not have been so on board with some of the creative choices made along the way, Mundruczó crafts a beautiful portrait of grief and acceptance that is difficult not to be moved by and one bolstered by the excellent performances from its cast. And what could be better than Benny Safdie hitting a vape for no apparent reason?

My Rating: ★★★½

Gone with the Wind (1939) directed by Victor Fleming

AFI Top 100: #6

I really didn't know how metal this movie was going to be until the main character literally shoots a man point-blank in the face (all I needed was her then promptly saying "and now you are the one who is gone... with the wind"). Victor Fleming's timeless film Gone with the Wind makes it obvious within minutes of its opening why it has become such an incredible classic. From the sweepingly grand production design to the unforgettable performances from the leads, this film is such an expansive epic that it is hard not to find something to love within its nearly four-hour timeframe. Although it is clearly dated due to the side of history that these main characters are on and the way a lot of people of color are treated and sidelined, this film contains one of the most memorable tales of lost romance ever put to screen and one that will open any viewer's eyes as to why it is so important to film history.

During the American Civil War, Scarlett O'Hara (Vivien Leigh) must learn how to rebuild her home life after losing much of it due to the North. When she meets the brash and handsome Rhett Butler (Clark Gable), she must struggle between the newfound romance with him and her desire to build a better life for herself and her relationships. The writing in this film from Sidney Howard and adapted from the original story by Margaret Mitchell is just fantastic and provides a very detailed and expansive look at these characters and their lives during the Civil War. Every character that was introduced throughout Gone with the Wind was written so individualistically that it never proved to be a hard time following their stories. I often have a hard time figuring out who is who and who wants what in long epics like this but Howard does an amazing job of keeping their stories contained and consistently entertaining throughout the entire runtime. The direction from Fleming was incredible as well and it never really felt like a four-hour film because of how great he is at moving this story along at such a manageable pace. Along with this and The Wizard of Oz in the same year, Fleming was really not afraid to show how reliable he was as a director at the time. This writing, however beautiful and relatable it may be, is still obviously a bit problematic for many reasons, and even for Hollywood writers and directors at the time, I feel like this was a bit too much. The main characters in this film are on the side of the Confederacy during the Civil War, which leads way for them to treat people of color throughout this movie as not so human, unfortunately. The fact that Scarlett and Rhett were on the side of the South could have very easily been an interesting subplot to explore with them realizing how badly their side of the war was treating the slaves but I was a bit upset with how the writing fails to utilize that, which did nothing for the story. This is still a beautiful tale of love and loss with deeply rich characters but I also find it important to recognize the potential this film had to be a much timelier and not as offensive look at the characters' morals.

The performances from the entire cast were absolutely wonderful, including Leigh, Gable, and Hattie McDaniel as the supporting role of Scarlett's maid Mammy. McDaniel was actually the first black person in history to ever win an Oscar and her supporting role proves throughout the movie that it was so wildly deserved. She really carries the stress of the whole story on her character's back and shows it in her performance, which was just astounding. The chemistry between Leigh and Gable was also a strong point of the film, as they are able to get along and simultaneously bicker with ease and their relationship felt so natural. Every up and down that Scarlett and Rhett went through was able to be felt and their performances bring along just that right amount of energy towards each other to make their characters believable. The music and editing in Gone with the Wind were also great and really help to tell the visual story of this romantic tale. However, what stood out to me the most was the cinematography from Ernest Haller. His camerawork was just stunning and constantly made this film better with every shot that he composed. Every shot was just a pure painting and his use of shadows and lighting throughout the film is downright gorgeous. Although his use of backgrounds and sets to set up some of the most stunning sequences were a bit obvious, he uses them in some of the movie's widest and most emotional shots and I adored his variance in camera movements to tell the story. Haller's cinematography truly remains iconic and there were a lot of moments in this film that I recognized from so many other forms of media. All of these visual pieces come together to create one of the most recognizable and important films in cinematic history and the true mark of cultural importance is parody. I have seen so many parodies and references and countless nods to Gone with the Wind that it has really proven itself to be a landmark in epic filmmaking.

Gone with the Wind rocks for a lot of reasons and while I know a much more certified and reliable cinephile could list off those reasons in a more elegant way than me, just know that this movie is definitely worth at least a watch. Leigh and Gable have some of the most exciting chemistry I have ever seen from a classic film couple of this era and their ups and downs throughout this film constantly surprised me. I will always love a movie that can take its war-set premise and actually make it interesting for once and just like Scarlett says: "War, war, war! This war talk's spoiling all the fun at every party this spring. I get so bored I could scream!" Me too, Scarlett. Me too.

My Rating: ★★★★½

Promising Young Woman (2020) directed by Emerald Fennell

Although a movie might appear humorous or satirical on the outside, often the best films are so dark in nature due to their embrace of reality. Emerald Fennell's Promising Young Woman is just that: a darkly twisted look at the way society takes advantage of women. This film is one of the most powerful and needed stories of this entire year and one that I have been waiting to see for months now. Fennell's direction, the dark turns, the performances, and the editing are only some of the best parts about this film and they all work together in such marvelous ways to create a revenge thriller that is not soon to be forgotten. Even though I had some issues with the lack of revenge action that this movie seemed to promise, I was still thoroughly entertained by the fantastic writing and filmmaking prowess that every cast and crew member involved seemed to show.

Working at a coffee shop since dropping out of medical school, Cassandra (Carey Mulligan) is also constantly working to get revenge for a friend of hers from her past. She goes to bars and acts like she is too drunk to walk and when men take her home to take advantage of her, she sets them on the right path. When Cassie meets Ryan (Bo Burnham) and starts to genuinely fall in love with him, she is forced to reconsider her goal and the revenge she is seeking. Emerald Fennell's writing and direction may be what made me most excited about this film but while I still ended up loving it, there were some issues I just could not get behind. My main problem with Promising Young Woman is that it never quite gives its audience the action, excitement, and revenge drama that its trailers so brilliantly advertised. I was expecting one of the most brutal and revenge-fueled thrillers of the year but the unexpectedly slow direction and meticulous character building took me for a turn. Not to say that the choices Fennell made were bad by any means but this is just one of those typical cases of a film not really being what its marketing makes it out to be. I found Fennell's direction very slow and careful and while that could have been good for the characters or their motivations, a lot of this film started to feel empty. I was frankly a bit bored throughout this movie as Cassie begins her investigative revenge and the major plot points definitely take their time to be laid out. However, while I was preparing myself to be disappointed with this film, the third act and the accompanying last fifteen minutes or so were just exquisitely dark filmmaking. This film takes a twist that I could only dream screenwriters and directors had the gall to take every now and then and while I was initially scared of what was to happen to these characters, the ending plays out like clockwork. I loved the cathartic ending of this film and how beautifully Fennell wraps up this story in a powerful, little package.

The socially powerful message that this film carries would not have been executed nearly as well, however, if not for the performance from Carey Mulligan. She absolutely rocks this movie with all of her might and embodies the role of Cassie better than anyone I could ever believe. While I have almost always only seen Mulligan in supporting roles, she truly deserves more leading roles because if nothing else, Promising Young Woman is proof that she can handle that. The way that Mulligan gets into this role and personifies the trauma, distress, and desire for revenge that her character exhibits is just fascinating and she does so in such a subtly powerful way. Mulligan is undoubtedly the best part of this movie and she is able to hoist up the talent around her as well. Bo Burnham is fantastic in his supporting role and while I have been a fan of his comedy and directorial efforts for years, this role is one that I would have never seen him in. His role takes a turn for the type of character that he is playing and I loved seeing the transition in his acting. I don't really think I have ever seen Burnham in a narrative film role before but he takes his character of Ryan and runs with it in ways that I was compelled to keep watching. The technical elements of this film were solid too and while the cinematography was fairly decent, the editing from Frédéric Thoraval was spectacular. This movie is broken up into five different sections of Cassie's revenge plan and the way that they tie together in the end is just masterful. The title cards used throughout this movie to signify the different sections may seem corny at first but their existence is entirely justified by the film's end. I loved how Thoraval cut together this movie and even though no flashy techniques or tricks were ever used, he knows exactly when to linger and when to cut and so many scenes throughout this film are the epitome of perfect timing. While I am still a bit disappointed that this film was not as violent or purifying as I had believed, there is still a lot to love about it and Fennell undeniably crafts one of the most original stories of 2020.

Promising Young Woman is one of the year's best films and one that many (myself included) will be happy to know pretty much lives up to its dark promises. I have had in my head for months now what I thought this movie was going to be (I would still like to see this version) and even though it was not really anything like that, I still loved what I ended up getting. Mulligan and Fennell are an unstoppable force and I loved seeing them tell this story with such ferocity that could not have been done with anyone else. Unfortunately, I don't think this will emotionally reach as many people due to its release plan but its message is clear and told powerfully enough that it deserves to be heard by everyone.

My Rating: ★★★½

Another Round (2020) directed by Thomas Vinterberg

No matter who tries to regulate it or who is opposed to its consumption, alcohol is one of life's greatest bonding substances. It can give people confidence, it can loosen people up, but best of all, it can bring people together. All of this is made abundantly clear in Thomas Vinterberg's Another Round, which is one of the most positive depictions of alcohol that I have ever seen in a film. The way that this movie portrays the consumption of the drug is unabashedly glorious and really focuses on how it brings together this group of best friends. The performances throughout this film are spectacular, the editing is so meticulously timed, and the use of music is just right. Never would I have thought that a film about maintaining a constant level of drunkenness would be this life-affirming but along with the glorious direction from Vinterberg and his warm, welcoming script, he is able to make one of the best films of the year.

Worried that his life and career are becoming too stale, high school history teacher Martin (Mads Mikkelsen) tests a theory with his friends Tommy (Thomas Bo Larsen), Nikolaj (Magnus Millang), and Peter (Lars Ranthe) that humans must maintain a constant blood alcohol level of at least 0.05%. As the three of them go about their lives consistently tipsy, they begin to push the limits of what they can do as their social and professional lives are at stake. Thomas Vinterberg's script is such a positively awesome double threat throughout the entirety of this story because while it is primarily about the real danger of modern alcoholism, it's also about the friendship and bonding that the substance can bring. This film's portrayal of alcohol is so welcoming and warm that it makes for an atmosphere almost as fuzzy as your body when you actually drink. I loved how Vinterberg takes the idea of alcohol throughout all of his characters and incorporates it in their lives somehow. Every character felt completely fleshed out and fully developed, which is a rare thing for a drama of this capacity. Alcohol plays such a large part in telling these characters' stories and the way it courses through not only their blood but through their social lives is written wonderfully. Seeing these characters go through trials and tribulations with their relationships, jobs, and each other is fantastic to see, and writing them as almost trials of this experiment is genius on Vinterberg's part. One of this film's greatest strengths, though, is that it was produced and written in Danish and Swedish. The European attitudes towards alcohol are obviously much laxer and more understanding than that of America and this film proves that a story like this could never be told positively if it were an American-produced movie. I just adored the positive outlook on alcohol and how it makes for a fantastic environment at times. I am so grateful that this film exists to tell this story and in such a positive light above all else.

I am ashamed to say that I have not seen much with Mads Mikkelsen before but his performance in this film is just beyond anything I could have expected. He proves to be one of the best and most underrated actors of his generation and I was completely enthralled seeing him in this role. I could never take my eyes off of him (not just for thirst reasons) and his character continued to be more and more captivating scene after scene. Mikkelsen portrays some of the most astounding emotions for this kind of character and I loved seeing how well he embodied those feelings. The supporting performances from Larsen, Millang, and Ranthe were just as phenomenal and they are all able to play their characters with identifiable ease that is hard to come by amongst cinematic performers. The charisma and energy that they all share is just great and their chemistry together on screen is what truly makes this story feel believable. Along with Vinterberg's writing and direction that bring these characters together to form this positive story, the editing from Janus Billeskov Jansen and Anne Østerud cuts their stories together in the most compelling ways. Chronological time in this film exists in such an interesting way because the editing never quite lets the audience know exactly how much time has passed during this group of friends' experiment. Instead, the editing lets the performances and direction tell those details, and the way Jansen and Østerud let the story play out by itself is just fascinating. The use of title cards, graphics, and hard cuts to silence are all so effective but one of the greatest moments in this movie are its final 10 or so minutes. By the time this story has begun to come to a close and its characters are seemingly wrapped up, Another Round takes a turn for the better. Even after an unfortunately sad plot point that occurs right in the film's third act, the uplifting and undeniably upbeat ending of this film felt so deserved. This is one of the most cathartic endings I have ever seen and thankfully, it did not feel forced or unnatural in any way. I will not spoil anything because audiences just need to experience this astounding ending by themselves but all I will say is that the combination of Mads Mikkelsen, jazz ballet, and a wonderfully original song makes for one of the most satisfying moments in 2020 cinema.

I am still sitting in disbelief as I try and process how much I unexpectedly loved this film but regardless of my personal reaction, Another Round is one of the greatest movies of this entire year. Vinterberg has crafted one of the most welcoming depictions of alcohol in the history of cinema and the way he revolves his entire script around this idea was just fantastic. Just like many others, I have bonded with my friends time after time over alcohol; even though I would never aspire to reach the level that these characters did, though, I was very easily able to connect to the themes of friendship, loss, and struggles for self-confidence. But most importantly, booze.

My Rating: ★★★★★

Ma Rainey's Black Bottom (2020) directed by George C. Wolfe

I think we can all agree that it's about time we start bullying anyone who says that we need more film adaptations of stage plays and this is just one shining example of why. George C. Wolfe's Ma Rainey's Black Bottom is a fairly mediocre movie containing many pieces of what would potentially make a favorite of mine (jazz music, great performances, Chadwick Boseman) but really fails to bring them all together in a satisfying, cinematic way. The elements that did stand out, including the high octane energy of the whole story and the brilliant performances from these two powerhouse performers, are just fantastic and really held this whole film together. However, I could not help but shake the theatrical atmosphere of the film's source material for the life of me and while that could have been a good choice, it never quite worked for me. Even though I was not too on board with a lot of what Wolfe was trying to sell me, I can still see and appreciate why this film is getting so much acclaim.

Ma Rainey (Viola Davis) is a renowned jazz singer known as the "Mother of the Blues" who is trying to record a new album with a white-managed studio. When she goes into the studio to record, she must deal with her management, artistic differences, and a brashly ambitious trumpet player named Levee (Chadwick Boseman) that challenges her every move as the two fight for creative supremacy. This script, written by Ruben Santiago-Hudson and adapted from the stage play of the same name by August Wilson, is a bit lacking when it comes to really delving deep into its characters. The premise that a jazz singer and her horn player are at odds can make for a lot of fantastic tension and I believe that this conflict really only works best on stage. If I were to have seen this film in a live, theatrical setting, I would have appreciated the story a lot more but seeing this tale play out on a screen just did not quite do anything for me. Santiago-Hudson tries his hardest to adapt this story into an exciting, jazz experience but the lack of background and knowledge of these characters makes me care about them a lot less. This is a shame because the two leads and the supporting band all have interesting enough backgrounds to explore but Santiago-Hudson never really goes there beyond the standing conflict between them all in the studio. Wolfe's direction does not do this story any favors either because it felt like it was stuck in a weird sense of staginess that it never dared to escape. If a filmmaker is going to adapt a stage play into a film, I truly believe that they should either dive headfirst into making the film seem as much like a play as possible or go the complete opposite direction and make the film an entirely new approach. Ma Rainey's Black Bottom felt like it was smack dab in the middle of those two and because of that, felt very awkward in its blocking and scene staging. Extended sequences throughout this film felt like they were done in one take and honestly, some 1917-esque shooting techniques would have made this film a lot more engaging theatrically.

The late and undeniably great Chadwick Boseman is the definite highlight of this entire film and his performance alone deserves all of the recognition that it is getting. He embodies this role of Levee better than anyone, including me, could have ever imagined. The charisma and energy that Boseman brings to his performance is astounding and really cements him as one of the most talented performers of our day and age. Even though I was only mildly invested in Ma Rainey's Black Bottom, I am so glad that this film could have been Boseman's last. Not only does he make it his own and steal every scene that he occupies but he really gives the role his all and it functions as an astounding reminder of his late talent. The performance from Davis as Ma Rainey was just as awe-inspiring and her turn as the great jazz singer is mesmerizing to watch. She practically disappears into her role and makes her titular character's presence incredibly known. Both of the leads' performances were great and the supporting cast, including Colman Domingo, Glynn Turman, and Michael Potts were all great as well but I can't help but feel the lack of timelessness to this story. I guess that I am just tired of seeing black performers almost exclusively play roles where their characters are experiencing some kind of oppression or racial conflict because this film did nothing to go against that. Yes, these stories will forever be important to the culture and memories of us all as a people but I am just exhausted of seeing them used as Oscar bait. There are so many genuinely interesting and original black stories out there being made every day and I just wish that studios would give more voices a chance. However, any excuse for Boseman and Davis to flex their talents and for me to listen to some absolutely incredible jazz is always a good time and for that, I am glad that the musicality and technical prowess that this film showed was so prevalent. I don't think this will be one of my favorites of this year for any reason but it was definitely not a complete waste of my time.

Ma Rainey's Black Bottom is a serviceable film but works to send off Chadwick Boseman in the best form possible: a grand performance in what may be one of his best roles. This film is really nothing I feel like I would need to revisit because I knew exactly what it would be within the first act or so and frankly, I am a bit disappointed that this was not as marvelous as I had believed it would be. I loved the performances from its leads and the classic, jazz atmosphere that Wolfe is able to build but as a whole, this movie was just fine. Which is all it really needed to be.

My Rating: ★★★

Lawrence of Arabia (1962) directed by David Lean

AFI Top 100: #7

Well, this was certainly a much more boring film than I would have expected for being one of the most renowned American classics of all time. David Lean's Lawrence of Arabia is a bit of a struggle to get through: not only because of its unnecessarily extended story but because of its slow direction and how little I cared about the protagonist. One of the things that gets pounded in your head from the moment that this film starts, though, is how absolutely beautiful this movie is, so much so the point that I feel like these filmmakers were just basking in it. I can clearly see why this film has become such a classic over the last 60 years but its dated choices and genre setting clearly puts it as a product of its time. While I can appreciate everything that this movie has done for the art of epic filmmaking and boosting the careers of its cast and crew, I just had a really hard time getting into this one.

T.E. Lawrence (Peter O'Toole) is an English lieutenant known for his comedic side and lighthearted approach to life. His military decides to send him to Arabia to unite and lead the contrasting Arab tribes during WWI in order to fight the Turks in that particular country, while he must also grapple with so many different people, conflicts, and faces of war while he tries to accomplish his expansive mission. This script, written by Robert Bolt and Michael Wilson, adapted from the autobiographical writings of T.E. Lawrence himself, is one of my main issues with this entire film. The hero's journey is typically supposed to take an audience through conflict, drama, and renewal for a certain character, all the while making viewers care for this protagonist. This can and has obviously been played with for countless movies and almost every film plot has this idea of a "hero's journey" in some way. What Lawrence of Arabia doesn't do, however, is make me even care about the titular hero. Discussions about the white knighting of this movie aside (which there are plenty), I just could not get into the character of Lawrence at all or what he was trying to accomplish. This film takes such a long time to establish the motivations of the characters and what their end goal even is that I constantly found myself asking what was going on. Perhaps I am just not big-brained enough to understand the political and mental implications of Bolt and Wilson's script but as much as I tried, I could not get invested in what they were trying to sell me. The character of Lawrence is an iconic, historical figure that deserves to have his story told but maybe not in a film that is upwards of 4 hours long. There was simply not enough conflict that Lawrence went through or personal drama which made me even care about his journey in the slightest. This definitely fits the approach of these kinds of epic war films, however, because as popular as they were at the time, I really don't see them being able to be successful nowadays. I'm honestly surprised that this film has become such a classic because, with other films of the time like Ben-Hur and Spartacus, both of which are vastly more exciting and entertaining, I just can't see Lean's film competing.

The direction from Lean is far too spacey and as much as I hate checking the timecode as to not ruin a film's experience, I couldn't help it with this movie. I can not come up with a single reason as to why this movie had to be more than, say, two and a half hours but stretching this story into almost four was one of Lean's worst mistakes. Not only did it test my patience even more but I just genuinely do not think this script has enough solid substance to constitute the overly long runtime. Lean lingers on some scenes throughout this film for way too long and I was just so utterly bored in stretches of this movie that I found myself losing touch with what was going on. The pacing from Lean is just not my style and I had a hard time feeling for anything these characters were going through but if there is one thing for certain, it's that Lean and cinematographer Freddie Young know how to shoot a movie of this scale. A film this epic in size almost requires vast cinematography to capture that feeling and these two do it extremely well. I was in awe of this whole film and nearly every shot could be a painting. If nothing else, Lawrence of Arabia is a technical masterpiece and one that really deserves that title because of its camerawork. The long, sweeping shots of the arid desert paired with some incredible close-ups (that are so unafraid to make the audience drown in Peter O'Toole's eyes) made for such an amazing visual experience and one that makes it clear how beautiful it must have been to see this in theaters upon its release. The lead performance from O'Toole was also fantastic and he embodies this character with such an energy that I could not help but fall in love with him. The humor and lightheartedness that Lawrence displays throughout the movie were spectacular and O'Toole was the perfectly charming leading man to helm this character. So many of this film's pieces are wonderful and the way they work together makes it clear why this movie has such a legendary reputation attached to it. Even though I could not get into the story as much as I desperately wanted to, I can not deny that this whole, visual story was a treasure in itself.

More like BORE-ence of Arabia, am I right? Anyway, now that I've gotten that out of my system, I just want to reiterate how utterly dull this entire experience was for me. David Lean's Lawrence of Arabia is a technical masterpiece and one that looks and sounds better than any other film I have seen from this era. I was constantly astounded by its beauty but appearance can really only go so far when there is not enough material to match and I could definitely classify this film as style over substance. I tried my hardest to at least enjoy myself watching this movie but it only proved to be harder and harder with each passing minute.

My Rating: ★★★

Standing Up, Falling Down (2020) directed by Matt Ratner

Having middlebrow expectations for a film like this is something that is honestly very important to keep in mind and I'm glad that I did because if they were any higher, I would have been disappointed. Thankfully, Matt Ratner's Standing Up, Falling Down lived up to everything that I thought it would be while I enjoyed myself every step of the way. From the performances to the cute story to the predictable but nevertheless emotional plot points, this little film is one that I'm glad I ended up finding time to check out. I may never have experienced any profound impact from its story nor will I honestly remember much of what happened throughout the film but I am happy regardless knowing that I spent 90 minutes very well. And of course, anything that Ben Schwartz stars in, I will happily support because that man's career is one of the most interesting things to me and I love being able to see him thrive in different areas.

Standup comedian Scott (Ben Schwartz) moves back in with his parents after not being able to sustain a career in Los Angeles. It's back home where he meets Marty (Billy Crystal), a dermatologist who is a bit more off-the-rails than one might think. While the two of them strike up an unlikely friendship, they also bond over their successes and failures as both people and to the family around them. This script, written by Peter Hoare, is very very solid and I really enjoyed every little decision that he made. The plot beats might be a bit expected and hit on the emotions that anyone could expect about a friendship-based story like this one but Hoare does it very well. I really liked the distinct personalities that he gives to Scott and Marty and these two characters are able to play off of each other very well. Writing Scott as the younger but somehow more put-together character in the relationship between him and Marty was an interesting choice and while Scott was never too great on his own feet, the things that the characters learned from each other were just saccharine. Both Scott and Marty were such genuine characters and really felt a lot like people we all know, whether it be the person with the failed entertainment career, awkward drunk, or anything else. There was never anything outwardly wrong with the story Hoare writes but a good handful of the subplots were never fully explored. Standing Up, Falling Down ends on a sweet note but leaves a lot of small questions about the characters unanswered. This film also brings up plot points incredibly quick without any prior explanation. These are my only little gripes with the movie, as it could have used more logical reasoning but it still worked overall. Ratner's direction is honestly nothing too extraordinary but he makes it clear that he is able to handle this story in such a short and sweet way that I, for one, could never complain about. Honestly, all movies should be 90 minutes or less and if there's one thing that this film does right, it's that it never tries to be more than it needs to.

The performances from Ben Schwartz and Billy Crystal are really what liven up this film and elevate to a whole other level of watchability. The story itself is great and I could relate so much to a lot of the feelings felt by these main characters but those feelings were made even greater by these two actors. Crystal was expectedly great and practically brings a light to every movie that he is in with his energy and charisma. He is also able to really lock down the dramatic side of his character while embodying the struggles of an older man left to deal with the life he wrecked. As good as Crystal is in this film, I was really taken aback by Schwartz. He has been one of my favorite comedians and artists since his days on Parks and Recreation and I have continued to follow his career with awe because of how diverse his work seems to be. While he typically ventures more on the comedic side of storytelling, it is just wonderful to be able to see him flex the rest of his talents. In fact, I don't think I've seen much dramatic work from him before but Standing Up, Falling Down was really such a grand exhibition of the rest of his talents. Schwartz is so much more capable than I previously believed of spearheading a film in a lead role and this movie just goes to show how great he is in all kinds of genres of storytelling. I also liked how surprisingly brash this movie was with its use of humor. Perhaps that comes from these two leads being masters in their humorous fields but the comedy throughout this movie was actually downright funny. Combining Schwartz's obvious love of classic, cultural nostalgia (I am wholeheartedly convinced that the Howard the Duck gag was his idea) with Crystal's classic, comedy tropes prove to be such a great pairing and one that I never would have predicted could have worked so well.

Standing Up, Falling Down is one of 2020's littlest surprises yet one that I still found myself enjoying from start to finish. Schwartz and Crystal are just magic together and I could have watched them get high and talk about their crumbling lives for hours on end. I genuinely enjoyed this movie more than I should probably give it credit for but if there's one thing I like doing, it's supporting independent filmmakers. It's so nice having one of these little movies that are practically impossible to not enjoy and having the added bonus of the cast and writing is just a delightful thing.

My Rating: ★★★½

Black Bear (2020) directed by Lawrence Michael Levine

Writer's block is one of the worst mental conditions possible for a creative and never would I have thought that a filmmaker could write and direct a story that so accurately portrays that. Lawrence Michael Levine's Black Bear is a fantastic pseudo-thriller that is not at all what you would expect. I went into this film with a general idea of its premise (and the fact it featured Aubrey Plaza did not hurt either) but left with such a wide perspective on how someone could materialize the idea of writer's block. With some absolutely stunning performances from its leads and different styles of editing and cinematography that course through this film's veins, I was entranced by every minute of this. Its darkly comedic and deeply psychological take on such a seemingly innocent thing is what makes this film so compelling; while the twists Levine takes in this story will undeniably turn audiences off, I was mesmerized by what he was trying to say and could not take my eyes off the screen during the entirety of this incredible movie.

Allison (Aubrey Plaza) is an indie filmmaker who is traveling to a secluded cabin in upstate New York to clear her mind and get a fresh start on writing her new film. Her hosts, domestic couple Gabe (Christopher Abbott) and Blair (Sarah Gadon), are initially thrilled to have her but as the first night goes on, the tension and hostility between them all escalate as the line between reality and fiction begins to blur. There will be mild spoilers regarding the plot structure ahead so be warned if that is not something you want to read. It is practically impossible to talk about this film without at least mentioning its biggest perplexity. Part one of this film begins with Allison at Gabe and Blair's cabin and the story continues for about 40 minutes until a terrible accident occurs. Part two then immediately kicks off, as the same actors are placed in the same cabin as the same characters but their roles are entirely reversed and they all seem to be working as part of a film crew. This incredulously massive shift in the plot took me by complete surprise and even after the film ended, I was still reeling on what exactly had happened. Black Bear takes no prisoners with its jarring twist and it is one that I initially hated due to how unexplained everything was. There are many films that are ambiguous for ambiguity's sake and while I was fearing that this film was going to venture into that realm, I was so surprised at how it all came together. The writing and direction throughout this film from Levine are just spectacular and I was so engaged with every line spoken from the actors' mouths. Whether or not Levine is actually a great writer or I was just laser-focused on where the film was going is still up in the air but no matter what caused my attention span to spike, it accomplished it very well. His direction is fantastic, though, and while the first chapter of this movie was uneasy right off the bat, it continued to be so until the beginning of chapter two. The second chapter is very hectic and is able to hit a lot more comedic beats than the first but Levine still transitions between the two with ease. The story takes some big risks that might not pay off for everyone, as it still has me thinking about it, but if there is one certain thing to say about this puzzle-box of a film, it's that it will inspire some discussion for a long time to come.

While the tangible plot of this film is very difficult to initially get invested in, once you do, it is all worth it. Levine's writing also does a great job of manifesting writer's block into a physical idea. The appearances in this film from the titular black bear are meant to signify Allison's writer's block and eventual completion of her film's idea. This is a very abstract take on the idea of writer's block but I feel like Levine did such an amazing job of putting that frustrating mental state to the screen. And it would not have been portrayed so excellently either without the performances throughout this film. Plaza, Abbott, and Gadon are all amazing in their roles and their dark, mystifying presences really add to the general discomfort of the film. Plaza in particular is just the perfect casting for this type of story. Her trademark, deadpan style of humor fits the character of Allison to a tee and really helps to bring out the darkness of her character. Luckily, that is not the only side of Allison the audience sees and we are able to see Plaza embody the more emotional and mentally heavy side of her character just as well. Plaza is absolutely a powerhouse talent and just brings another layer of mysterious talent to whatever role she occupies. The cast throughout Black Bear all work together to make it so incredibly interesting and baffling at the same time but I also really loved the shift in technical methods. The first chapter of this film is shot and edited in a very distinct tone but clearly shifts as chapter two begins. The cinematography from Robert Leitzell and editing from Matthew L. Weiss were phenomenal and while chapter one was slowly paced but deliberately timed, chapter two was much more frantic, almost in a documentary style. I loved this change of technical form in both the camera and post and it really goes to show how much detail down to every last cut Levine wanted to include in his puzzling but deliciously good time of a film.

Black Bear is one of the most puzzling movies I have seen in years but one that really pays off the more you ruminate on it. Only watching this film once might be a viewer's biggest mistake but besides that, who wouldn't want to watch two more hours of Plaza and Abbott? I really wish I could say that I recommend this movie but in all honesty, I can not. This film takes such a niche, unique approach at physicalizing writer's block and while I ended up loving the existential take on its story, I'm afraid that the majority of people will not.

My Rating: ★★★★

Sound of Metal (2020) directed by Darius Marder

A lot of movies look really pretty. A lot of movies have creative sound design. And a lot of movies might feature a standout performance that makes the overall bland story worth the watch. However, very rarely does a film absolutely shatter my expectations regarding how well every single one of its technical pieces come together. Darius Marder's feature directorial debut Sound of Metal is one of the most gripping looks at disability ever put to screen. While the writing and direction were downright phenomenal, the lead performance and the sound design that revolves around his character stole every second. Never before have I seen a film so uniquely utilize sound and it could not have been better suited for a story like this. Although this film spoke to me perfectly in this time of my life, as I have been studying sound design for a few semesters, it is hard not to be utterly engaged in this story: so much so that this might just be my favorite film of the entire year.

Drummer Ruben (Riz Ahmed) and his singer girlfriend Lou (Olivia Cooke) are part of a small, heavy metal group touring across the country. When Ruben suddenly starts to lose his hearing and go deaf from all of the extended damage to his ears, he must grapple with leaving behind the musical world he once knew and coping with a new world of silence that seems inevitable. The writing and direction throughout this whole film is something on an entirely new plane of filmmaking and I was constantly astounded by the storytelling choices that were made. Director Darius Marder wrote this film with his brother Abraham Marder and the creative fluency between them is just palpable. Compelling from beginning to end, Sound of Metal wastes no time getting right into the central conflict of this story and takes its lead character on such an incredible and emotional journey. Being a heavy metal drummer is something never taken very lightly and placing Ruben in this role and promptly having him leave it is so decimating to his personal work ethic but it makes this film so interesting. Deaf people and heavy metal drummers seem to be on the opposite ends of the audio spectrum and this made Ruben's transition so, so powerful. He was taken on such an interesting journey that never felt out-of-place or ridiculous.

In fact, one of the greatest things I loved about this film was its examination of feeling like you are a burden to the people that you love. People with disabilities can often feel that way and the writing did such a great job of showing how Ruben dealt with that. Every aspect of the writing of this film felt so authentic and it was never cheesy or exploitative of deaf people but rather approached their disability with grace in a genuinely understanding way. The film also does a wonderful job of contrasting Ruben's desire to fix his problem vs. the deaf community's acceptance of what life has dealt them and this made for such a great inner conflict for our protagonist. Marder's direction was so great for this and while this film starts off with a raucous bang, it beautifully transitions into mostly silent scenes for the entire film without ever managing to lose its steam. The "moment of stillness" motif that pulses throughout this film is such a great, personal thing to include when talking about the subject matter and I just adored how Marder tackled it overall.

Riz Ahmed's performance as our lead character is out of this world and his range of acting talents is put on full display here. When hearing about the premise of this film, one might think that the lead character would be very angry and full of resentment towards the world, spending the entire runtime as a grouchy asshole who continuously destroys the life around him. However, while there are definitely those moments of ire that Ruben feels, Ahmed's performance as a whole is so versatile and genuine that I found it hard to believe that he wasn't actually deaf. On top of Ahmed learning the drums and sign language months in advance for this film, his full-bodied performance throughout the movie just goes to show how talented of an actor he is, as he can really make his characters appealing to any audience. I genuinely felt bad for Ruben at multiple points throughout Sound of Metal and while the writing had a lot to do with that, Ahmed was the biggest catalyst. He really embodies this character's struggles and emotional turmoil/handling of the situation better than I would have expected and he just dominates this film. Along with some excellent, supporting performances from Olivia Cooke and Paul Raci, the simultaneous frustration and embrace of fate shown by these actors and actresses were amazing and their dedication to the emotional side of this story was stupendous.

The cinematography and editing were solid too but the sound design is what really makes this film stand out amongst the rest of its technicals. The many different perspectives of Ruben's hearing are what made up this sound design in its entirety and the focus on making the film sound like what he hears was just a masterful choice. Going back and forth between an able-bodied listener and Ruben's changing perspective was just magnificent and it really puts one into his shoes to make one feel as if they are experiencing what he is at that moment. The use of bass boosting, scratchy audio, and pure silence only touch the surface of techniques that these brilliant sound designers used to make the audience feel Ruben's pain and I was so enthralled by every choice they made. Just like in many films, this movie capitalizes on the knowledge of how powerful silence can be. Throughout many moments of this movie and especially in the final shots, silence plays such a deeply emotional part that I could not help but be blown away by. Sound of Metal just goes to show how impactful filmmaking can be when there obviously exists that personal touch. This masterpiece of sound design not only manages to ground its story in an emotional state but it brings along its audience in the most spectacular forms possible.

Sound of Metal is exactly what I'm looking for in cinematic storytelling: a grounded and emotional story with meticulous technical details to really enhance the film's experience. I went into this movie with very high expectations after hearing so many raving reviews and this does not happen often but my expectations were actually surpassed. I already see myself rewatching and studying this film over and over again and Marder's use of sound to make this already riveting story even better just proves how masterful he already is at his craft. It's quite a shame that this was a streaming release because this film deserves the theatrical experience more than any other movie of this entire year.

My Rating: ★★★★★

Butch Cassidy and the Sundance Kid (1969) directed by George Roy Hill

AFI Top 100: #73

Sorry, Easy Rider. Sorry, Midnight Cowboy. Sorry, The Wild Bunch. But there is only one classic film from 1969 that I have genuinely enjoyed from start to finish and that would be George Roy Hill's Butch Cassidy and the Sundance Kid. I don't know if it's something wrong with me but I had yet to find a film released in that year often hailed as a classic that I wholeheartedly believed until now. This film is such a fantastic take on the western genre and one that is almost wholly responsible for creating the buddy comedy. The performances from Paul Newman and Robert Redford are incredible, the cinematography and color choices are wonderfully creative, and the humor blends with the adventure better than most modern films I have seen. I may have had a bit of a problem with some of the direction and pacing throughout the film but all of the previously mentioned elements work together to make one of the most exciting and accessible westerns of its era.

Infamous outlaws Butch Cassidy (Paul Newman) and the Sundance Kid (Robert Redford) run a group of criminals called the Hole-in-the-Wall Gang in the early 1900s. As the two of them lead this gang into pulling heists of local trains, the authorities start to catch on and along with their girlfriend named Etta Place (Katharine Ross), the three of them know what they have to do - escape to Bolivia. Based upon the real story of these outlaws, this script, written by William Goldman, is just wonderful and fluently combines comedy into the biographical aspects of the characters' stories. Mostly based on true events, as stated in the film's beautifully serene opening sequence, this movie takes the legends and stories of these outlaws and puts them to screen in such a fresh way that I was not expecting. I am glad that this movie never really fell into the tropes of the western movie and instead of playing off of stereotypes, it was a genuinely unique and interesting take on the genre. Goldman's writing was fantastic, full of humorous one-liners and some amazingly dramatic moments, and this plot never really slows down, which was incredible. The only issue I had with this movie was the direction from George Roy Hill. Since the writing, performances, and technical aspects practically dominate the movie, I could never really feel a distinct, visual style from Hill. Any classic western director could have helmed this and I honestly would have believed it but I specifically had a problem with Hill's pacing. The film itself was so hilarious in many parts and so dramatic in many other parts but combining those two pieces were often times awkward. There are stretches of nothing happening throughout this film that definitely could have been hurried a bit more and many moments of strange silence that offset the humorous tone Hill was trying to establish. While he did well with making Butch Cassidy and the Sundance Kid a great mix of comedy and drama, I still think that the audience could have done without certain scenes in order to really get the story moving.

Along with the wholly original take on this genre, the performances from the main cast and all of the technical choices made throughout this film were just delightful. Newman, Redford, and Ross are all spectacular in their roles, and the chemistry that they all share was so grand - especially between Newman and Redford. Their characters may have been the typical "brains and brawn" dynamic but this movie was really responsible for creating this buddy-comedy genre as well. The two of them prove to be just magic together and make for easily some of the funniest scenes I have ever seen from a film of this time. The two of them were hilarious but Ross's presence as the grounded plot-device character was just as important and while she could be easily dismissed as one of the stereotypical, forgettable women characters, Ross elevates Etta into being just as important. Since Butch Cassidy and the Sundance Kid is based on true events (or so we know), the translation from real life to the silver screen was done beautifully and incorporated some fantastic, creative choices. The transitions throughout this film were great and the use of sepia-tone film for the prologue and transitions were gorgeous. I also very much enjoyed the "real" footage style that Hill opted to use for Butch, Sundance, and Etta's travel to Bolivia. Since there are no known stories or evidence of how they got there, Hill's creative liberties went into full play, as he makes that entire sequence just splendid. The cinematography from Conrad L. Hall was also a big part in making this film stand out from the rest of its often bland genre. His use of movement in the camera was incredible to see and the way he pans and zooms for the sake of the film's many comedic moments were such great choices. Hall is able to tell a funny, visual story through the use of his camera, and being able to do that alone made some of the best gags in the entire film. The more and more that I got through this film, the more and more I realized how special it was going to be and almost every element of this film was executed to make the overall experience unlike any other western I have seen.

George Roy Hill's Butch Cassidy and the Sundance Kid is one of the best westerns I have ever seen and combines comedy with its dramatic plot in such a way that I was genuinely engaged the whole time. Newman, Redford, and Ross are all fantastic together and I adored the unique way that the film was shot. Not only is this film one of my dad's favorite movies, but I am so glad that when I watched it with him that I actually loved it from beginning to end. This movie will definitely be in my mind whenever someone asks for a western recommendation and I really believe that anyone who says the western genre is boring should do themselves a favor and check this out.

My Rating: ★★★★½

Hillbilly Elegy (2020) directed by Ron Howard

I'm not quite sure when people are going to realize that Ron Howard is not a very mindful director but hopefully, this film will be an absolute wake-up call. Hillbilly Elegy is one of the most mindless and insufferable movies made this entire year and one that will, unfortunately, be a favorite among Oscar voters come 2021. This film has no real sense of purpose and no real sense of what it wants to say and goes about this nothingness in the most morally circumventing fashion. Not only was Howard the vastly wrong choice to helm this story but almost every technical piece seems to have worked against him when bringing this story together. The performances are shoddy and cheap, the editing actually breaks up any semblance of pace that was trying to be established, and the cinematography was just plain boring. There are some genuinely good films out there with real stories to tell about growing into success out of a hard life in the South but this movie is definitely not one of them.

J.D. Vance (Gabriel Basso) is a Yale law student who is brought back to his Appalachian hometown when he finds out that his mother Bev (Amy Adams) is in the hospital. After coming back, he is forced to reevaluate and reassess the generational relationships he left behind, including with his grandmother Mamaw (Glenn Close) and sister Lindsay (Haley Bennett). Let's start right off the bat: if there is one thing I thought that this movie could at least execute, it would be competence. Putting the questionable morals and work ethic of Vance aside, there is nothing stopping this film from just being a bland, competent, success story with enough dramatic plot points and performances to warrant a good film. That is what Hillbilly Elegy really could have been and even though we all would have forgotten about it within weeks, Howard and screenwriter Vanessa Taylor take this story in such a dissatisfying direction. Based on the autobiography from Vance himself, this film tries its hardest to be a portrait of American life from the perspective of an Appalachian family and while I'm sure his book covers that to some degree, this film had absolutely nothing to say. Apart from blatantly and cheaply inserted scenes showing how life is like in the South, this movie says nothing about the kind of home Vance grew up in. The writing surrounding his relationship with his mother and grandmother was so broken and there was never a sense of purpose to their interactions. There is plenty of family and drug-related drama to keep this film moving but the constant dogpiling of plot points further confused me. No real reason for Bev's drug addiction was ever explored, no real reason for the maternal abuse was ever explored, and no real reason for Vance's academic success was ever explored. Taylor never writes plot points that make sense together and it feels like she just took bullet points from Vance's novel and loosely structured them into what she thought would be a passable story. The main issue with films like these is not even that they don't have anything new to say but that they refuse to take a stance on anything. Howard and Taylor had a lot of opportunities to critique Vance's upbringing and how it made him into who he is today but they instead go the safe route of saying absolutely nothing.

Ron Howard is really just showing his weaknesses at this point and while there are plenty of excellent films throughout his body of work to be proud of, movies like Hillbilly Elegy are starting to take over what he is known for. His direction throughout this film is incredibly misinformed and more scattershot than it should have ever been. There never seems to be an order to the movie and for something as easy as a three-act structure, it never even felt like that was attempted. Every dramatic and supposedly climactic scene would escalate to a ridiculous, unexplained level and then de-escalate like nothing had happened. This happens an ungodly amount of times throughout the already too-long film and there was nothing for this drama to build towards. The editing from James Wilcox contributes to this aimless form of storytelling because the flashback scenes contrasted with the current day scenes never had any real reason to be connected. Editing is supposed to take scenes and drive a story forward but I never felt that with this movie. And like I said before, Howard never tries to take a stance on this often riveting story of Vance. He could have used his novel as an opportunity to criticize Vance's upbringing and how it created him into the public speaker and venture capitalist that he is today but instead opts to go the emotional route but fails immensely. Howard is almost known at this point for his "nice-guy" sense of filmmaking and this general tone was not the right choice for the direction of the story. He never chooses what he wants to do with the film and never lets his audience know what he thinks of Vance and dancing on this middle ground does nothing for either the audience's appreciation for the subject matter or for Howard's talents as a filmmaker. The performances from Adams and Close were pretty abysmal and it honestly hurts me just to type that. They are both some of the most talented and respected actresses in the game for many reasons and it is such a shame to see them go all-out for an offensive and meaningless script such as this one. Both of their performances just felt so plastic and over-the-top and perhaps that's because the rest of the film didn't match up to their talents but it made them appear even worse. Basso and Bennett were *fine* in their roles but something about the energy Adams and Close exuded just never sat right with me. Along with the casual, unwarranted racism and unnecessary amount of screaming, Hillbilly Elegy is just a magnificent failure at anything that has made Howard's previous work at least adequate to the average audience member.

The last thing I would ever want to say about an Amy Adams and Ron Howard collaboration would be that it's superficial but oh god was this superficial. Hillbilly Elegy has no reason to exist outside of its original, novel format, and I feel like if anything, this movie is a warning to any venture capitalists out there who think their story is anything special. Audiences don't want to see your whiny upbringing. Audiences don't want to see your current vanilla life with nothing worthy of complaining about. And above all, audiences do NOT want to see the magnificent talents of Amy Adams and Glenn Close wasted on a script like this.

My Rating: ★½