Once Upon a Time in Hollywood (2019) directed by Quentin Tarantino

Love him or hate him, it is undeniable that this man knows how to make a wildly divisive movie. Quentin Tarantino's Once Upon a Time in Hollywood is his newest that is certain to stir both controversy and inescapable arguments online. While this film is far from his best and far from the auteur style that he has become known for, there is still a lot to like about this. The performances are fantastic, the world-building that Tarantino has created is mesmerizing, and the soundtrack is amazing. However, I wish that Tarantino would have stuck with creating a film in the style that he is so good at instead of relying on the nostalgia and glory days of film that inspired him to get into the industry in the first place. And be prepared for uncomfortable feet shots too. A LOT of uncomfortable feet shots.

Tarantino's 9th feature finds Rick Dalton (Leonardo DiCaprio), a has-been TV actor in 1969, struggling to find his place at the end of Hollywood's Golden Era. With his best friend and stunt double Cliff Booth (Brad Pitt) at his side, the two attempt to re-evaluate what they want out of their lives and where their careers are headed from there. This film's multiple storylines also chronicle the story of Sharon Tate (Margot Robbie) and her arrival to Hollywood, along with her involvement with the horrific Manson family and their murders. The most interesting aspect of Tarantino's new movie is his obsession with the Golden Age of film. More than anything else, this movie is a love letter to the days of movies that inspired Tarantino to really get his start in the business. If that was the only goal in his mind, then he definitely accomplished what he was going for. The amount of nostalgia and environmental details that went into the production of this film is unbelievable but often gets in the way.

It is made very clear very early on that Tarantino just wants to pay tribute to his idols, but the sheer number of references and unresolved storylines show that he had a bit too much on his plate. This is mostly seen in the many radios throughout this film: they act as a sort of framing narrative guiding the audience through Hollywood and detailing exactly what time period they were in. While this may be a good concept for a Grand Theft Auto game, the novelty of it wore off very quickly. When I first heard about the premise of this film, I was also intrigued as to how he was planning to mix the history of Hollywood's real stars with fictional characters of his own. It is undoubtedly an interesting concept and while I believed he pulled it off to some capacity, there is too much room for ambiguity regarding why he changed history to suit his own story. Because of this, I couldn't understand what Tarantino was going for. Despite that, this film might contain the happiest and most sincere ending of any film that he's ever written.

One thing I never thought I would say about this writer/director is that a film of his would have a lack of direction, but unfortunately, Once Upon a Time in Hollywood massively suffers from this. This practically infamous filmmaker has been known for his use of various plotlines all tying together for an explosive ending, which I was definitely expecting from this story. My biggest issue throughout this movie, however, is that it really did not feel like a Tarantino film. Not because it was strictly linear and not because it relied on some degree of true events, but because there did not ever seem to be a point. Tarantino is a mastermind when it comes to writing dialogue and creating such distinct personalities and motivations for his characters, but I could not feel that at all with this story. As Dalton and Booth stumbled around Hollywood for almost three hours, their stories did not develop at all or go anywhere until the last few scenes. Only in the final confrontation could I begin to see Tarantino's violent and witty style come into play.

I think more than anything, this film is a slice-of-life piece about a pair of aging best friends in the film industry, but I do not think that story was given enough focus. The limited screentime that DiCaprio and Pitt actually shared was wasted by catching up on one another's dull lives, but the separate stories that they went about were not interesting at all. Pitt's character only seemed to be there to initiate the story of Charles Manson (Damon Herriman) and even though he might have been the most entertaining part of this movie, his character did not change at all. As for the writing surrounding DiCaprio's character, it was very hard for me to get invested in his story due to the many levels of it. Dalton was an actor playing many parts but the majority of DiCaprio's screentime was devoted to the recreations of fictional TV shows and western films that Tarantino made up. Because of this, it was difficult for me to even care about Dalton, as he spent this film's entirety as a different character. I began to care about the characters that Dalton played more than the character that DiCaprio played. More of a focus on Dalton's struggle with getting older would have provided a much more interesting narrative, but that was largely abandoned.

The greatest pieces of this movie, however, are everything that went into making it the stylized Tarantino film that audiences expect. The performances, cinematography, editing, and production design absolutely carry this film. Even though he has never been one of my favorite or most revered filmmakers, I adore the style and pure swagger that Tarantino brings to each film that he helms. Especially clear in the cinematography from Robert Richardson and the editing by Fred Raskin, this movie is a masterpiece of visual and nostalgic stimulation. The world that Tarantino builds within this film is excellent and while he may be taking too much advantage over the production design, it was absolutely gorgeous.

The best parts were definitely the performances from DiCaprio and Pitt. DiCaprio provides such an amazing portrayal of this disgruntled actor, bringing along with him such a multi-leveled and energetic presence in every scene that he is in. Pitt is phenomenal as well and I have not seen him in a more comedic role such as this one in a while. As they are both previous collaborators with Tarantino, I was wondering how well their chemistry would play out, but they are truly fantastic together. I was also expecting a much more engaging performance from Margot Robbie, but unfortunately, that's not easy to do so when your character is simply written for historical placement. Although I do believe Robbie brought such an emotional and respectable presence for the late Sharon Tate that was beautiful. Despite the lack of clear storytelling, it is obvious that there is a lot of passion involved in this film, just like many other previous Tarantino joints. He absolutely loves this era of film and to make a story surrounding those golden days provides for a playground that I am sure he had plenty of fun with.

Once Upon a Time in Hollywood reveals itself as one of Tarantino's weakest and most incoherent films. The lack of impactful writing and nervous tension make this film a buddy comedy more than anything else. This change of pace in his style could have been welcome but I could not get behind the lack of conflict in this movie. Thankfully, a mediocre Tarantino film is still much better and more enjoyable than the slew of other cookie-cutter directors. There is still much to enjoy about this story and like most of his movies, I'm definitely due for a rewatch to see if my opinions change.

My Rating: ★★★½

The Art of Self-Defense (2019) directed by Riley Stearns

Jesse Eisenberg continues to both astound and confuse me with many of the roles that he chooses. No matter what kind of character he happens to be playing though, there is no doubt that he puts his all into embodying the peculiarity of these kinds of stories. Riley Stearns' The Art of Self-Defense is a film that I have been relatively excited about for the past few months. There is nothing that intrigues me more than an indie comedy with an evident dark side and oh boy did this movie deliver that. Thankfully, there is so much to love about this film and I enjoyed it way more than I honestly expected, as it touches on various progressive themes while still providing hilarious writing. The Art of Self-Defense is surely one that will be sticking with me for a while and even though there are some obvious reasons why it might not work for some audiences, I adored this film in all of its strangeness.

A simple and reserved man named Casey (Jesse Eisenberg) lives by himself with his dog working a dull, low-level accounting job. When he is out buying dog food one night, he is attacked on the street by a gang of helmeted bikers. Casey then enrolls in a local dojo run by the unusual Sensei (Alessandro Nivola) in order to learn karate and how to defend himself by becoming a "man." Riley Stearns both wrote and directed this dark comedy and everything about its simple plot could not have been executed any better. This film truly has everything that an entry into this genre needs: strange cinematographic choices, a flat plot that somehow remains entertaining, and a barebones score that only adds to the awkwardness of it all. The script for this film is surprisingly perfect. Stearns was able to bring every little detail of this story together in such a plain way that provided for such a satisfying conclusion. Even though this film seems like it was shot in only a few days based on the few locations, it kept me wildly entertained for its entirety. Eisenberg's performance was amazing as well, as he is definitely born for these offputting and clumsy roles. Stearns' script brings all of these elements together, however, as the simple plot worked so effectively to deliver this film's final message. The majority of this movie can indeed be seen and predicted in the trailers, but what I enjoyed most about this story is how straightforward it came off as. There are not truly any deeper meanings behind some of this film's themes but rather they are explored at the surface in an easy-to-follow manner. I believe that is what makes this movie so outstanding; despite the lack of intense thinking afterward, Stearns does not meander around the message he is attempting to get the audience to understand.

The perfect execution of this film is only complimented by an unexpected message of misogyny and toxic masculinity. These overarching themes were stretched throughout this whole film and were eventually explored in full, making this movie's characters so well developed and engaging. As Casey learns more and more about Sensei and the type of dojo that he is running, he discovers a deep-rooted belief that men are somehow more capable and ferocious than women could ever be. Even though Casey does not necessarily believe everything that Sensei preaches, he would do anything to learn more about how to protect himself, the original reason for him learning karate. This personal conflict of belief vs. ignorance was so interesting to see and I'm very glad that his character chose the right path at the end, as predictable as it may have been. I also loved how this movie touches on toxic masculinity and shows its audience how dangerous this preference of gender can be. Anna (Imogen Poots) is the only woman at this local dojo and no matter how talented she may be, Sensei refuses to promote her to black belt simply because she is a woman. While this obviously makes for an uncomfortable environment, it was so interesting to see how these characters reacted to the Sensei's blatant misogyny and how they reacted to the shift in power at the end of the film. This is apparent in Casey too, as he proves that he can still be a man even if he is not the best at fighting or standing up for himself. Not every man can be an emotionless rock and this film shows that actually having sensitivity and feelings is perfectly okay. The Art of Self-Defense really is a flawless combination of themes about masculinity and fucked up, shocking plot twists which cement it as the black comedy that 2019 needs.

The Art of Self-Defense is an offbeat comedy that will clearly not fit the tastes of many viewers. While definitely targeted for a niche audience, I think that the people who do see this will enjoy it for its underlying message and humor. I, for one, absolutely enjoyed this movie and the weird way that it went about its plot. With stoically great performances and dry humor to be found in every line of dialogue, this has easily become one of my favorite comedies of the year.

My Rating: ★★★★

Burn After Reading (2008) directed by Ethan Coen, Joel Coen

Time after time and the more films of theirs that I immerse myself in, I find the movies of the Coen Brothers to be absolute treasures. While not all of them stick with me as much as others, this one has definitely become a new favorite of mine. Burn After Reading is an excellent comedy crime film that not only continues the offbeat style of these pair of directorial brothers but even improves on it with the amazing cast and story. I can not believe that this film is not hyped up as much as it should be; the entire story is relentlessly entertaining from beginning to its hilariously clarifying end (with a goofy Brad Pitt taking charge). This absolutely loaded cast of characters and the quick, witty script, also penned by the two, pave the way for such an interesting take on the crime genre and an unforgettable story.

Osborne Cox (John Malkovich) is an ex-CIA agent who, after getting fired from his job, decides to write a memoir exposing many secrets of the organization. When a disc containing all of his private information accidentally lands in the hands of gym employees Linda (Frances McDormand) and Chad (Brad Pitt), they decide to blackmail him but end up getting caught in a hilarious and interweaving web of lies and deceit. After tackling various sub-genres, Burn After Reading reveals itself as the Coen Brothers' take on the crime drama. Injected with their witty dialogue and unbeatably clever humor, this satire on the genre is a hilarious look at how the lives of many different people can come at the strangest crossroads. Every character in this film was connected in one way or another, whether they were working with each other or screwing each other. When this crazed cast ended up colliding, it made for some of the funniest and most iconic scenes I could have asked for. Throughout this movie, the one character who seems to be the glue to hold everyone together, however, is Harry Pfarrer (George Clooney). Clooney plays the distinctively perfect whore that not only cheats on his wife, but with multiple women at the same time. This simple aspect of his character made the audience feel rightfully spiteful towards him but it was honestly necessary to bring this plot together. Clooney's performance was as perfect as his character was horrible and he stole every scene that he was in. Along with him and an absolutely goofy Brad Pitt, this whole cast was fantastic. Frances McDormand, John Malkovich, Tilda Swinton, and Richard Jenkins were all amazing and despite their roles feeling a bit type-cast, at least they knew what they could do best.

No matter what storyline they were tackling, I love how the Coens aim to follow the conventions of the genre and then shatter your expectations by going in the other direction. This is such a classic yet perfect form of storytelling that the Coens have undoubtedly mastered. My favorite aspect of Burn After Reading, however, begins once the head of the CIA (J.K. Simmons) is introduced. Throughout the entirety of this movie and as the events unfolding were getting more frantic and more disorganized, I began to wonder what the point of it even was. The subplots of all of these characters and their motivations begin to get very fuzzy and it became very unclear as to what was happening between them all. However, once J.K. Simmons' character is brought in, he acts as a sort of narrator to tie it all together. Even he was confused as to what was happening and his hysterical performance makes this film completely worth it. I was honestly preparing myself to be disappointed by the film's lack of coherence, but the self-awareness that is infused into the story towards the end makes the movie that much funnier. It almost felt like a subtle jab at Tarantino's trademark, non-linear work, but I absolutely adored the almost meta-narrative that the Coens went for. My only issues with this film are that the characters did not seem to have a satisfying ending at all. I know that Simmons' character was there for that exact reason, but if he was introduced earlier on in the film, it could have led to a much more full-circle and powerful ending. And the fact that Brad Pitt exited from the story in a horrendously shocking way was not welcome at all, as I could watch his hilarious character dance around the screen for another hour.

Burn After Reading is not just Brad Pitt's most energetic and funniest performance, but it might as well be one of the Coen Brothers' best. This film is truly nonstop fun, even when the story takes some turns that you were not quite expecting. Even if you are or are not a fan of the Coen Brothers, I would definitely recommend this film as it provides the perfect blend of endless laughs and surprisingly shocking drama.

My Rating: ★★★½

The Farewell (2019) directed by Lulu Wang

Processing the inevitability of a loved one's death can often be more difficult than the grief itself and no truth is as evident as this in Lulu Wang's exceptional movie The Farewell. Based on a true story and an 'actual lie,' this film is full of every element that makes a familial drama so engaging: interweaving character studies, sweet, naive grandparents, and plenty of food. As tense as it is inconspicuously funny, this story plays out in the exact environment that one would expect. The warm and inviting atmosphere created in this film comes naturally to all people, also due in part to the familiar chemistry between the rising Awkwafina and Shuzhen Zhao. In addition to the phenomenal cast, Wang has truly succeeded in telling a tender story, flawlessly combining her own experience of the cultural particularities of Chinese people with nearly ubiquitous themes about family and loss.

Billi (Awkwafina) is a college graduate who moved to New York from China as a child with her mother Jian (Diana Lin) and father Haiyan (Tzi Ma). Keeping in constant communication with her grandmother Nai Nai (Shuzhen Zhao), Billi wishes that she could spend more time with her in China and gets the chance to when her parents inform her that her grandmother is dying. Although Billi wants to break the news to Nai Nai more than anything, her Chinese family decides to withhold information of Nai Nai's illness until they believe the time is right. Lulu Wang's script and direction are paired together very nicely to create the story of this painfully relatable family. The divisive relationships between everyone in this film who are not sure how or when to let Nai Nai know of her condition make for the most interesting dynamics. The family members throughout this film behave in such honest ways that it can often appear as if you are watching your own family reunion play out. Wang's script does such an exquisite job at squeezing raw emotion out of every shot, as it is also very carefully executed by Anna Franquesa Solano's cinematography. It is clear that every aspect of this production is utterly representative of Wang's story as we get a glimpse into how surprisingly similar families from all around the world can operate.

READ THE FULL REVIEW ON CINECCENTRIC

My Rating: ★★★★½

The Lion King (2019) directed by Jon Favreau

I'm sorry Simba, but I definitely can not feel the love tonight (I'm sure I'm not the first to make that joke but I don't care). Disney's hyper-realistic remake of The Lion King is quite the utter disappointment and an unfortunate slap in the face to the visionaries who made the original such an emotional and masterful piece of animation. While I do not agree that this updated version is as horrible as many are making it out to be, there are certainly not that many redeeming qualities about this film to even validate its existence. Despite the loaded voice cast and talent that radiates from each of them individually, there is such a large disconnect between the characters in this film and the emotions that they were trying to convey, which made the original so impactful. As much as I tried to enjoy this, the only element that will really stick with me is the obviously impressive animation that Disney has somehow convinced audiences to be live-action.

Young cub Simba (JD McCrary) is born into the wondrous and beautiful world of Africa and learns that one day when his father Mufasa (James Earl Jones) is gone, he will become king. After being wrongfully accused of Mufasa's death by his uncle Scar (Chiwetel Ejiofor), Simba runs away and grows up outside of the kingdom with his newfound friends Timon (Billy Eichner) and Pumbaa (Seth Rogen). Upon learning that Scar has laid ruin to the kingdom, adult Simba (Donald Glover) now decides that it's time to take back his throne and restore power and peace to his home of Pride Rock. If you've seen the original film or have ever even heard the basic story of this movie, then you know exactly what to expect out of this remake. The plot is exactly the same, much of the dialogue is simply recycled, and besides the pacing of the story, nearly every element is a carbon copy of its original. I do not mind when Disney makes live-action adaptations of human characters, such as Cinderella, Mulan, or even the Maleficent films. Those stories can be easily translated from their animated predecessors while still providing at least something new for the audience to experience. My main issue with this movie is its complete lack of originality with its deadbeat, animal characters. Other than lines of dialogue and some humor here and there that was changed, this movie plays out just like the far superior 1994 version, only Disney makes it much harder to even relatively relate to this drab story.

The most glaring visual issue that I have with The Lion King is its inability to express any emotion. Pride, triumph, and especially sorrow are some of this film's most prevalent themes - whether it's what a certain character is feeling at a particular time or what the tone of the film is attempting to achieve. There is no room in this film for the animals to express any of the emotions that make this story so grand and memorable. The "live-action" stylistic choices of the animation are the obvious cause of this problem. Because of this, I did not feel for Mufasa's death scene at all; one of the saddest and most iconic losses in film in the past few decades and in this version, I could not care less. Perhaps it is my selfishness as a human, but I only saw it as the circle of life running its course instead of a close character that I felt for. Disney is clearly utilizing this film to show off its cinematic muscles with the dazzling animation and on that front, they are doing great. The animation is undeniably gorgeous and it is an absolute visual spectacle for its entirety. But I truly believe that rather than relying on the party trick of expensive CGI, that they should try investing in new writers to pen original films. This might actually bring the company more critical success, as they slowly but surely inch towards the monopolistic, money-machine that they have unfortunately become.

The playfulness that also comes with "Hakuna Matata" and "I Just Can't Wait to Be King" is absent and can really only be shown with more cartoonish animation; any other attempt at this simply fails in comparison. Not to mention that this scene was shot incredibly awkwardly and captures absolutely none of the original charm and lighthearted qualities. However, despite this film's complete lack of style and heart, the voice acting was decent and the new versions of the songs were sung with a lot of passion. It's difficult not to sound great with the likes of Donald Glover and Beyoncé, but the true standouts of this film were Billy Eichner and Seth Rogen as the comedic duo Timon and Pumbaa. Eichner and Rogen were excellently cast in these roles and there is honestly no other actors that I would even consider to embody these hilarious characters. Hans Zimmer also returns for the score and it was fantastic as expected. His work on the original and this remake has definitely evolved over the course of 25 years and his flawless artistry has only improved.

The Lion King is not nearly as majestic as one would expect. While I do believe it's worthy enough to show younger audiences who are accustomed to today's culture of live-action remakes and animation, there is nothing redeeming about this movie for audiences like me who remember the power of the original. This remake is not only dry and forgettable but will make you realize the pure charm that the days of 2-D animation once held.

My Rating: ★½

Labyrinth (1986) directed by Jim Henson

Jim Henson may have been world-renowned for his work on Sesame Street, The Muppets, and Fraggle Rock, but many darker projects of his often get overlooked. Labyrinth is one of these, as his directorial and creature work are things that many have simply forgotten about or not stayed with them. Perhaps it is due to the overwhelming star power of David Bowie being attached to the film, but besides his inclusion, I have actually known nothing about this movie up until now. I would also like to preface this review by saying that I have absolutely no personal connection to this film. I faintly remember watching it as a kid, but growing up on the music of Bowie makes this movie grab my attention the most. Despite Labyrinth's lack of coherent direction and frankly disgusting special effects, I can still see why this movie would hold such a special place of nostalgia in so many audiences' hearts.

Labyrinth is the fantastical story of Sarah (Jennifer Connelly), a teenage girl who after being left to babysit her little brother Toby (Toby Froud), wishes that goblins would come and take him away. Her wish gets fulfilled as Jareth (David Bowie), King of the Goblins, arrives in her house and steals her baby brother. Giving her only 13 hours to rescue him, Jareth sets Sarah out on the adventure of a lifetime through a complex and magical labyrinth in order to prevent her brother from being permanently turned into a goblin. Since I have never been very accustomed to this film, watching this for the first time in a while has really opened up my eyes on so many different aspects of this production. Being a student and having a more knowledgable mind has definitely aided me in my ability to analyze why films were made when they were made and Labyrinth might be one of the most shining examples. The massive cult following behind this film will never falter, but I was, unfortunately, greatly let down by this movie. At this point in our culture, this movie almost seems to know that it would entirely rely on nostalgia, because if any kind of story like this were released today, it would be a complete bomb. Terry Jones' script, based on Jim Henson and Dennis Lee's story, is atrocious and gives little to no personality or characterization to any of the major characters, less the goofy monsters throughout the movie. The dialogue is very lazy and makes this adventure seem more like an easygoing romp through an unscary environment. Connelly's performance in this film, even though she might have been young, was very unconvincing. While it is often hard to show authenticity with green screens all around, I was honestly expecting much more effort.

The most glaringly obvious element of this movie that has certainly not aged well is its use of special effects. An estimated budget of $25 million in 1986 is a very generous amount of money and with that kind of funding, one would expect that as much work would be put into the environments as the quirky characters throughout this film. However, there is so much blatant green screen in this film and the keying done by the editor, John Grover, is painful to see. Even though this technique was still relatively new and special effects were not as crisp as they are now, I was definitely hoping for something much cleaner than what was in this film. So many beautiful shots of the creatures and the landscapes of the kingdom were ruined by an oddly placed fairy or monster that would stick out like a sore thumb. It is almost as if this film is a strange kid's fantasy taking place in a McDonald's play place - very childish and grubby at the edges. Jim Henson's work as director of this film also proves why he is much better suited for the practical effects department. His creative mind works beautifully when it comes to designing and dreaming up creatures, but his direction in this movie is horrible. The way that the movie is paced and how the plot unravels is very choppy and lackluster, making me not care about this story at all. Luckily, Henson still brings his magical brain to create some of the most memorable and creepy characters. Hoggle, Ludo, and Didymus, along with the hordes of evil goblins, looked great and his stylistic talent was evident in each and every one of them.

Thankfully, this movie is also saved and made watchable by Bowie's parts in this production and the pure heart that is seen by its filmmakers. The late and legendary David Bowie, known for his space rock and genre-shattering music, actually gives a decent performance in this film as the evil King of the Goblins. Even though he did not frankly need much to go on to become a peculiar character, his presence made for some of the most entertaining scenes. Bowie also provides the soundtrack to this movie; while not every song exactly fit the tone of the scenes they were in, it is impossible not to dance along. There is so much heart and passion seen in this movie and even though its execution might not have been the greatest, it is clear to see why people adore this film so much. The mystical atmosphere and inspiring message are everything that a child's mind could possibly dream up. Labyrinth may not be a necessarily great film, but it is difficult to criticize something that is so near and dear to many childhoods.

No filmmaker could ever come close to the amount of imagination that Henson had with him when it comes to using practical costumes and puppets for his creations. The various, offbeat monsters and goblins that appeared throughout Labyrinth made for this film's most entertaining aspect, as well as the passion that radiates from its visionaries. But unfortunately, even a decent performance from David Bowie is not enough to make this movie anything more than a distant, cinematic memory for those who are not attached to the hip by nostalgia.

My Rating: ★★★

The General (1926) directed by Clyde Bruckman, Buster Keaton

AFI Top 100: #18

The silent days of film saw the likes of so many fantastic writers, directors, and actors, but only a few have been as influential in comedy as Buster Keaton. The General is a perfect example of the culmination of his skills, as this quick but effective film showcases Keaton's absolute hilarity in every aspect of his filmmaking. There is no piece of this movie that is not carefully thought out and the physical gags create such a spectacle in which I can only imagine would have blown audiences away at the time of its release. Along with the incredible humor and a perfect slapstick performance from Keaton, this movie was also able to handle multiple subplots in such a divine way. Perhaps I have gotten spoiled when it comes to relying on dialogue for situational comedy, but the way that this film utilizes subtlety in its humor is unlike anything I have ever seen.

In the midst of the Civil War, Johnnie Gray (Buster Keaton) is a railroad engineer who attempts to enlist in order to impress Annabelle Lee (Marion Mack), the daughter of an army captain. After being declined to fight, his treasured locomotive and Annabelle herself get stolen by Union forces. Using any means he can, Johnnie tracks down the soldiers who stole them and gets caught in a larger battle than he ever could have imagined. A story as potentially dramatic as this one could have made for a great war film of the time, but since Keaton and his directorial partner Clyde Bruckman were involved, they made it a great comedy instead. Especially since this film is based on a true story of the time, any other director might have taken the chance to make a stoic, silent drama, but I am so glad that Keaton and Bruckman were given control. While I have seen clips of silent films before, I have never actually sat down to view an entire feature. Thankfully, this was my first one as I enjoyed this film much more than I actually thought I would. The comedy in this film works so genuinely well with a perfect blend of physical and situational humor. Some may argue that this movie is just 78 minutes of Buster Keaton doing crazy stunts on a train and I honestly can not argue that. What makes it so entertaining and riveting to watch, though, is that it is all completely authentic. In a time when CGI and special effects were obviously not an option, Keaton relied entirely on physically shooting everything in real-time. The fact that this crew shot the stunts and used an actual, moving train for this entire film seems absolutely ludicrous, but that is what makes this movie so impressive. I honestly found myself speechless at some of the stunts and shots that they pulled off. Along with the perfect timing and coincidental humor of the other gags too, the humor in this movie is undeniably great.

Keaton and Bruckman's writing in this film is fantastic as well. Despite being a silent film, there were still uses of graphic cards to show some of the important lines that these characters were saying. What made this first silent experience so interesting to me, however, is that even though not every single line that characters spoke was shown on graphic cards, they were not really needed. The way that Keaton expresses emotions and inflections in his movement are all that the audience needs to understand exactly what is happening. I also adored how there were multiple subplots going on throughout this film at the same time without it losing its simple qualities. The characters were well-developed, the stories were all tied up in the end, and this simple plot has a very satisfying ending. Keaton and Bruckman told a whole and complete story without needing to rely on excess dialogue or hearty explanations. The simple utilization of cinematic silence and how these filmmakers worked around that makes every element of this movie so fantastic. My one issue that I have with this story is its cultural context. The main protagonists in this film are all part of the Confederate side of the Civil War, as it was Union soldiers who stole Gray's locomotive. It's a bit dicey to attempt to get the audience to root for these Confederate forces, especially knowing that only a few decades before this film was released, they had lost the war. I understand that this film is based on a true story and that back then there was not much, if any, awareness for cultural sensitivity, but it's important to analyze now. It's critical to understand that those kinds of details did not matter back then and that the spectacle of the story is what audiences were mostly there for. However, this movie is such an effective entry in the silent genre and is an undoubtedly entertaining story, no matter what era you view it in.

Buster Keaton and Clyde Bruckman's The General is a spectacular silent film that manages to stay entertaining for its entire duration. While that may just be my 21st-century self talking, I am surprised that I have enjoyed my first silent feature this much. Despite some issues with the context of the story which may seem not so suitable nowadays, Keaton portrayed so much excellent comedy in a dialogue-free setting, which is truly something to marvel over.

My Rating: ★★★★½

The Beach Bum (2019) directed by Harmony Korine

In one of the most bafflingly relaxing films of this entire year, Harmony Korine has... umm... done it again? The Beach Bum is one movie that I was not sure what to expect from and I still haven't fully processed. Korine's stoner comedy is full of mismatched characters, fantastic music, Matthew McConaughey truly in touch with himself, and weed. Lots and lots of weed. Throughout the course of this film, I learned to absolutely adore the style that Korine has established and the script that he wrote. A perfect mix of existential atmosphere and laid-back humor, this movie is surely one that I will not soon forget. Despite the lack of general direction, I can see why this story has resonated so strongly with cult audiences. And one thing for certain is that even though this film is ridiculously bizarre, I had a much better time watching this than I have most other movies this year.

In the humid bowels of Florida lives a man by the name of Moondog (Matthew McConaughey), who truly lives life by his own rules. His free spirit and easygoing personality are reflected in his writing, as he has been tasked with publishing a new novel of his famous poetry in order to claim a large inheritance. With the help of a vast cast of characters and their offbeat happenings, Moondog sets out to get inspiration for his writing through any means possible. There is so much to love about this pot-fueled adventure, both written and directed by the peculiar Harmony Korine. His script is one of the best parts of this film, as it makes for a perfectly simple adventure for this weird creature of a man to stumble through. Whether or not he meant to make it this way, this movie comes off as a stoner's version of The Odyssey. The exact details might not be there, but the way that Moondog adventures through Florida from one character to the next while trying to attain one little goal is very reminiscent of Homer's epic novel. The Beach Bum might actually be more entertaining, however, as the pure heart and absurd shenanigans that occur throughout this movie are so quintessentially perfect for its tone. This film will definitely not be for everyone, but the way that the offbeat humor and music work together in every scene makes this story memorable as hell. Besides Korine's pleasant and simply fun script, Matthew McConaughey is what really brings this film together. His performance as Moondog is surely out there, but there is no denying that he was born for this role. McConaughey has never been more McConaughey than in this film and I am very glad that Korine was able to bring out his genuine side to make for such a crazy character. In fact, all of the casting in this film is great, from Isla Fisher as Moondog's wife Minnie to Zac Efron as Flicker, an absolute vape god. None of the performances in this film are really standout, but they really didn't need to be; the fact that they all had so much fun making this indie comedy is cinema enough to me.

Audiences will always have different sensory reactions to certain films, but one universal mood that Korine has absolutely nailed in this film is relaxation. The Beach Bum is such a strangely comforting movie and despite the dangerous and often life-threatening events that Moondog goes through, I could not help but to sit there and breathe easy. As this protagonist is venturing around Florida looking for ideas for his newest poetry novel, he encounters so many different things that would make a sober man shiver. Since this movie is from Moondog's point of view, however, everything is truly taken with a grain of salt. We see through the eyes of Moondog and those eyes do not sense anything as being out of the ordinary. This direction practically rid me of my anxiety for an hour and 35 minutes and even though the general storytelling was a bit lackluster, that is exactly what you would expect from a comedy of this subgenre. I rode this wave of carelessness the whole time all while knowing that Korine would spit me out in the end without a scratch on my back. Another aspect of the film that helped this atmosphere was the framing narrative of Moondog's poetry. Each piece that he wrote applied to a various part of his adventure; perhaps it was just McConaughey's voice, but there is something so sweet and calming about the way Moondog viewed life. Above the directorial surface, however, there are prevalent themes throughout this movie that help enrich it on a whole other level. As Moondog confronted many different people, many of them turned out to be Miami's most wealthy. This never swayed this character's opinions of people, though, as money truly meant nothing to him. Seen even more so in the flashy spectacle of an ending, this movie reveals itself to also be a huge "fuck you" to capitalism as it provides comfort in a time when stress should be taking over. Just like Moondog, Korine does not care whether or not you paid good money or even have a strong opinion of his work. He just takes what life gives him and has a good time with it.

Who knew that an indie film with Matthew McConaughey as a creature from another dimension could be so anxiety-reducing? The Beach Bum has truly provided everything that I could have asked for. While this film is definitely not geared towards a good majority of audiences, I found the strangest comfort in watching Moondog as he adventured through the weirdest parts of Florida. From the wealthiest of the upper class to the absolute bottom of the barrel, everyone can learn a thing or two from McConaughey about how to simply chill out and let life run its course.

My Rating: ★★★½

Rocky (1976) directed by John G. Avildsen

AFI Top 100: #57

From the opening shots of the gruesome fight to the legendary training montage to the final, emotional embrace, it is clear that this film is a story of redemption. John G. Avildsen's sports classic Rocky is a fantastic and crowd-pleasing story of how one man, despite the faults in his life, can overcome them to make who truly matters happy: the people closest to him in his life. Sylvester Stallone's iconic role may not be one of the best performances I've ever seen (it can be quite bad, actually), but the way that his script and his character embodies this story is remarkable. After finally seeing this, I can honestly say that I'm a bit underwhelmed by this overall film but I can still plainly see the powerful impact that this movie has. Paired with Bill Conti's majestic score, this film is truly a triumph in sports filmmaking.

Rocky Balboa (Sylvester Stallone) is a small-time boxer in a poor part of Philadelphia. When famous fighter Apollo Creed (Carl Weathers) decides to pull a publicity stunt by challenging him for the championship title, Rocky decides to train and pull himself out of the rut that he has become known for. Along with his newfound relationship with Adrian (Talia Shire), Rocky tries to prove to the people all around him that he's more than just a low-level athlete. There is so much obvious passion that has gone into this film to make it the memorable and iconic story that it has become. Penned by Stallone himself, the way that this script is written almost seems manufactured to provide for an emotionally satisfying ending. Even though it may seem like lazy writing, it is undeniably effective storytelling. Having an underdog rise through the physical and social ranks past what people thought was possible for him and having him rise up to the challenge of taking on a previously superior enemy is such a classic tale of a hero. And even though this lead protagonist may not have officially won in the end, the audience can see that he has gone through quite the ordeal and has changed himself for the better. The development that Rocky goes through in this film is honestly nothing special at all, but it's simply the pure heart that was seen that makes this movie so special. Perhaps this was one of the first sports-centered films that had a story that was easy enough to follow along with, but the way that it was told is certain to appeal to anyone. This story is also only bolstered by the score from Bill Conti, whose music in this film has become immeasurably legendary; at this point, "Gonna Fly Now" has become nearly synonymous with victory.

Putting aside the fact that this film is crafted to make people feel good, there are a lot of unremarkable pieces of this story that audiences seem to dismiss. Sylvester Stallone's performance and script both have a lot of issues, despite him being the central aspect of this entire production. I have never thought of Stallone as a traditionally good or trained actor and, unfortunately, this film did not change that opinion of mine. His performance in this movie is frankly horrible and even in his younger days, I could never once tell what kind of emotion he was supposed to be displaying. The delivery of his lines was so awkward and the only time he actually seems to shine is when he is in the ring. My main issue with this character is that it seems like Stallone simply wrote himself into the screenplay, along with his constant blabbering about his past and talking up his egotistic self. There was absolutely nothing redeeming about the first half of this film, as it wasted time for an entire hour setting up unimportant subplots that would never get resolved and introducing characters that I had a very hard time caring about. Rocky's relationship with Adrian was one of this film's most critical themes, but I could not see at all why she would even care about him. Despite sounding clichéd, he treated her like an object of affection to win and I could never really see why their relationship made sense. Besides Stallone's often half-assed script, these problems with the storytelling also stem from Avildsen's direction. While the first half was painfully slow and did not do much for the characters, thankfully the second half makes up for it. Once Rocky's true motivations are revealed and his arc has a purpose is when this film becomes the most interesting. I just wish that it would have been the focus for this film's entirety, making the story of Rocky much more refined.

Rocky may be one of the most classic and widely-referenced films ever, but pop culture does not do this story and its message nearly enough justice. Despite an often weak script and performance from Stallone and poor direction from Avildsen, the emotional effect that this movie has is undeniable. And it's practically impossible not to cheer as soon as this film's legendary trumpets chime in.

My Rating: ★★★★

Hearts Beat Loud (2018) directed by Brett Haley

Catching up on yet another film that I missed from last year, I was pleasantly surprised by Brett Haley's Hearts Beat Loud. There is so much to love about this film and the wholesome energy that is created from it. This film is another entry into a very generic genre, but the pure heart and chemistry that radiated between these two leads is undeniable and made for such an easygoing experience. Nick Offerman and Kiersey Clemons star and while their performances are doable and the script is fine, there is not much else that really gives this movie a reason for existing. A film without conflict may not always be the most interesting, but sometimes that is just what audiences need. Even in a film seemingly sponsored by Spotify, there is much joy to be found in the loving relationship between these two and the story they shared.

Frank (Nick Offerman) and Sam (Kiersey Clemons) are a pair of father-daughter musicians with different goals in mind. While Frank is sad about having to close down his record shop and Sam is stressed about moving away to UCLA for med school, they start writing and recording songs together and end up going viral online with one of their songs. Confused about what lies in her future, Sam struggles to decide whether to stay in New York with her dad and girlfriend Rose (Sasha Lane) or pursue her previous passion of becoming a doctor. Brett Haley and Marc Basch's script provides the most joy throughout this entire film. The two characters of Frank and Sam are so well-written and even though their motivations and development throughout the movie are painfully typical, one can not help but love their relationship. The chemistry between Offerman and Clemons is very plain to see and this made for such a loving and obviously caring dynamic between the two. None of this film's conflict stemmed from Frank being a bad father, but rather him trying to unsuccessfully instill his dream in his daughter. This is what the majority of the plot revolved around and even though it might not have been the most creative writing, it fit this story flawlessly. I also really enjoyed how Sam and her girlfriend were presented as gay characters without that characteristic being a part of the film's conflict. It is always refreshing to see those characters normalized in film, as not making any kind of deal about it always suits them much better. The chemistry between this cast is very apparent and it is also obvious that they all cared so much about this story. I love how passionate every cast member seemed and I felt like they all had a truly warm time making this film. And of course, any movie is made better by a surprise performance from Toni Collette (which I was given NO warning for!).

In addition to Hearts Beat Loud's adorable relationship between the leads, the music in this film is one of its strongest elements. I had not heard any songs from this film, but the indie-synth score that riddled every scene was such a perfect and powerful choice. It accompanied the story very well, creating a friendly and accepting environment for these characters to interact in. My only issues with this film are that it seems to lack any type of message and there is nearly no written conflict that kept me truly engaged. The ending of this film sees Sam leaving for college while still making music with her dad, despite the literal previous scene between the two in which Sam seems almost swayed on staying. This switch of direction threw me for a bit of a loop and while I was never expecting for Sam to give up her dreams of becoming a doctor, I wish her motivations for the conclusion of this film would have been more concise and sensical. I also wanted more from this story's conflict. The only real, dramatic struggle happening in this film was whether or not Sam wanted to move away for college. The script would have been much more interesting if there were different aspects of her situation thrown at her instead of just meandering around for an hour and a half until she made her decision. While this movie teeters on the edge of family drama and slice-of-life, the characters just did not seem to change at all. Despite Sam's decision at the end, I did not feel any sort of revelation for these characters' stories. However, even though there may not have been a memorable or plot-altering conflict involved, it is nearly impossible not to fall in love with the cute and familial aesthetic of this entire film.

Hearts Beat Loud will not have a strong place in my memory anytime soon because of how forgettable it is. However, it really doesn't need to be as this film only presents itself as a relaxing breath of fresh air. I loved the story and dynamic that these two leads shared together and even without much interesting conflict, I enjoyed all 97 minutes of my time with them. And a karaoke scene with Toni Collette is just the cherry on top of this delightful, cinematic sundae.

My Rating: ★★★

Taxi Driver (1976) directed by Martin Scorsese

AFI Top 100: #52

There are so many classic films that I still need to see and yet I never quite know what they are even about. Martin Scorsese's Taxi Driver is the perfect example of this. I am unfamiliar both with the work of Scorsese as well as what this film even entailed, so seeing this for the first time was quite the experience. Taxi Driver is a peculiar noir film that invokes the same woozy feeling that one gets when faced with uncertain moral decisions. Centering around a character who is faced with confronting these demons, this film is very stylistically 1970's in the most evident ways possible. While that may not always be for the best when it comes to its script, I adore and respect the style that Scorsese has set with this movie. With incredible performances from young Robert De Niro and Jodie Foster and an ominously repetitive score, this film is one that I will not soon forget.

After being honorably discharged from the Marines, veteran Travis Bickle (Robert De Niro) returns home to New York to find the city he grew up with infested by corrupt politicians, gangsters, and slum lords. Along with getting a job driving a taxi, he decides to arm himself and singlehandedly clean up the streets that he roams to restore the city back to its former glory. Paul Schrader's script and Martin Scorsese's direction are two massively powerful creative forces that have come together to create this iconic film. While they both work in harmony extremely well, there are many parts of this film in which their incompatibility begins to show. My main issue with how this script and direction present themselves is that they seem to rely on each other a bit too much at times. When the script is lacking, Scorsese seems to step in and create a surreal city for Travis to experience; when the direction is lacking, Schrader's sharp dialogue saves the scenes from becoming a visual mess. The pairing of these two aspects are very impactful but only work in specific scenes. Tone problems make up the majority of my personal issues with this movie, as the film bounced from harsh and gritty to more comedic and adventurous. Taxi Driver could have either been more of an action film as Travis and his toxically masculine persona clean up the city or it could have been more of a personal drama in which he is dealing with PTSD and his inner demons. This film characterized both decently well, but the balance between them was absent.

It is never easy to come home to where you grew up and face the fact that nothing is the same. Change is inevitable no matter how hard you fight it, but the hardest fighters are the ones who get remembered. The character of Travis is a very troubled and mentally unstable individual due to serving in the war, but his constant fight throughout this film is one worth rooting for, despite the lack of development. He is a very inspirational and truly goodhearted person, even though some of his actions throughout the film may say otherwise. This character is my absolute favorite aspect of this movie solely due to how many layers he has. The way that Schrader characterizes Travis as a veteran fighting his personal demons by inheriting a new, almost vigilante persona is such an interesting take on the character that could have gone in any direction. While this type of character has almost become an archetype for gritty stories like this one, I believe that Robert De Niro did it best. De Niro's performance in this film is unmatched and one can tell that he put his whole being (and possibly sanity) into embodying the problematic Travis. The only issues that I have with the writing of this protagonist's story are that some of his choices do not have much reasoning behind them. In scenes such as when he broke up with Betsy (Cybill Shepherd) or when he decides to assassinate presidential candidate Palantine (Leonard Harris), there is not much rationale to support why he did what he did. Travis fighting his personal demons was interesting and all, but I wish there was more of a dynamic between his past to support who he was in the present.

Taxi Driver is not only a fantastic character study but has some incredible technical elements as well. Many of the supporting performances in this movie are stellar, including preadolescent Jodie Foster and mild-mannered Cybill Shepherd. These two definitely stole the scenes that they were in, especially the former. Being only 14, Foster's character of Iris was another troubled person who was just looking to go back to how it used to be. She was practically enslaved as a sex worker and the way that Foster took in this character and thankfully humanized her was amazing to see. Michael Chapman's cinematography was dark and stunning, but Bernard Herrmann's score is what really helped to bring this movie together. This renowned composer and his lethargic, saxophone-fueled score made this movie the definition of noir. I loved how it set the tone for each scene as it began, but I wish that the music in this film had a bit more variety. The same main theme was used so many times that it actually started to make me sleepy, which is also due in part to its sleazy and dirty atmosphere. Despite that, all of these pieces work together to make one of the most stylistic '70s films that I have ever seen.

I'm still not quite sure if I enjoyed Taxi Driver or not, but one thing for certain is that the kinds of bold choices the story takes are what have cemented it into Renaissance-era film history. I loved the gritty, New York atmosphere that this story was built into, but I just wish there would have been more character development and sensical writing put into this script rather than relying on the spacey tone that Scorsese has created.

My Rating: ★★★½

Midsommar (2019) directed by Ari Aster

Anthon St. Maarten once said that "There are only two kinds of people who can drain your energy: those you love and those you fear." However, sometimes those two sources of pain can come from the same person. Ari Aster's sophomore directorial outing Midsommar is, more than anything, an exercise in why not to put up with unhealthy and toxic relationships. Utilizing the same slow-burn style and uneasy dread that was seen in last year's Hereditary, this film tackles a whole other form of horror in a bright, folk setting. With some incredible performances and a score that will make you shudder, this film is not without its problems but will undoubtedly make you sick to your stomach.  And despite the film's mildly disappointing ending, there is no arguing that Aster is one of the most talented and knowledgable horror filmmakers of today.

Dani (Florence Pugh) and her boyfriend Christian (Jack Reynor) have been together for almost four years, but even when things get rough in their relationship and Dani suffers through a horrendous personal tragedy, they decide to stay together. In order to make her boyfriend happy and hopefully give herself a break, Dani tags along with Christian and his friends on a trip to rural Sweden for a pagan, mid-summer festival. However, the festival is (somewhat obviously) not what it seems as the group of friends' trip begins to descend into gruesome and existential madness. At this point in time, Aster has absolutely proven himself a connoisseur when it comes to style in his horror films. He brings along the same slow and eerie tone to Midsommar that he did with last year's Hereditary and while there are many comparisons to be made, they each stand out in their own, unique ways. The best aspect of this film is unquestionably its script, also written by Aster. This film combines horror and humor in the smoothest ways possible. While the incoming dread of the evil village in which they're staying creeps up on these characters, the comedy that is utilized throughout is fantastic. What I enjoyed about it most was that it was not the typically written comedy that is meant to ease the audience's tension. The humor throughout Midsommar is merely conversational and purely comes from the characters' unease rather than our own. Thankfully, all of their interactions felt natural, which is what brought more authenticity to its characters and their development.

Reality can often be much scarier than any nightmare we could dream up and this proves itself as the main theme of Aster's new film. Whereas Hereditary focused on the horror of family, Midsommar attempts to break down the dynamic between friends and romances. The majority of this script focuses on the relationship between Dani and Christian and how horribly, emotionally manipulative that he was towards her. Even though his actions were subtle as he pretends to be the nice guy, he is sneaky in the ways that he gets Dani to stay on his side. This dynamic made for the most interesting aspect of the script, as Aster focuses on telling the terrifying story of how a couple's relationship crumbles. Even though he still masters the pagan, ritualistic horror that was occurring in the village, the scariest part of this story is its reality. This movie is an exercise in toxic relationships and honestly reveals itself as a cry to people who are questioning whether to stay with their shitty boyfriends. The scene that I adored the most was towards the end after Dani had discovered Christian's infidelity with one of the village girls and she sat in a circle with the other women, all bowing down to her power as the new queen. This scene absolutely radiated catharsis and was the best way for this story to come to its climax as Dani finally purged her emotions and rid herself of Christian. Even though Aster's script is fantastic and blends this brightly-lit horror with clever humor, I still had some issues with the ending of this film. While it is indeed horrifying and slowly but tensely built to, I could not feel the same impact that Hereditary had on me. Aster's first feature brought together all of the film's twists and details together in such a powerful way that had me completely shook. Midsommar, however, has a very predictable ending that suits the character choices perfectly but does not feel nearly as satisfying; the entire 2 hour and 27-minute runtime leads exactly where you would expect.

Midsommar, similar to its directorial predecessor, stands out so vividly against the slew of horror films, which is also in part due to its incredible performances, cinematography, and score. The overall production design behind this film is stupendous and it is obvious that Aster's budget had gone up after the cult success of last year's hit. Florence Pugh and Jack Reynor are the absolute standouts throughout this movie as their acting truly shows the incompatible differences between them and their relationship. Pugh was particularly fantastic in this film, nailing every little detail of her character and how a genuine person would respond in that kind of situation. Her slow descent into madness because of her relationship and the village shows how well-written she was and how by the end of the film she was done putting up with everything. The supporting cast was fantastic as well, including William Jackson Harper, Will Poulter, and Vilhelm Blomgren, who were all great in their roles. Their characters may not have had the most supportive outlook on Dani and Christian's relationship, but their interactions made their respective characters stand out so well. Pawel Pogorzelski's cinematography in this film was absolutely gorgeous. As he went from the darkness of a family's house to the blinding white of a Swedish village, he was still able to incorporate so much fantastic camerawork to make every shot beautiful. The most haunting technical aspect, however, was The Haxan Cloak's score. His music choices were terrifying and although they may have been subtle, are paired along with the direction so fluidly. The spectacle that is the last ten minutes of this film would not have been nearly as shuddering if not for the chilling finale's score.

Ari Aster's Midsommar may have slightly let me down due to its straightforward, uneventful ending, but the creeping tension and atmosphere of this film is a horror lover's dream (or nightmare). I absolutely loved the themes throughout this movie and how they were disguised as a folk horror film. I can not wait to see what subgenre of horror Aster decides to tackle next, as I'm sure he will accomplish it with existential style and fantastic terror.

My Rating: ★★★★

Yesterday (2019) directed by Danny Boyle

Yesterday, all my troubles seemed so far away, but then this film came into theaters and brought them back. Yesterday is an unintentionally cute but wildly forgettable film that can practically be seen in its entirety through its trailers. With a creative idea that could have gone in any number of directions, director Danny Boyle fails to even stay on one path, losing his footing too many times. Despite the great cast and a number of expectedly catchy song renditions, his film's script and inability to choose a tone ultimately make it dull, repetitive, and clichéd. Marketed as the 'feel-good movie of the summer,' Yesterday admittedly does a great job at making the audience smile - as long as they are only there to mindlessly sing along to an empty premise of a film.

Jack Malik (Himesh Patel) is a part-time teacher and struggling musician who fails to make a name for himself, even with the help of his best friend and manager Ellie (Lily James). When the world goes dark and he accidentally gets hit by a bus, Jack wakes up in a world where The Beatles had never existed. Knowing that this is his chance for stardom, he decides to make a career out of "writing" and singing the entire discography of the legendary band but finds himself in over his head. The film's script, written by Richard Curtis and based off of a story by Jack Barth, is where the majority of its problems lie.

READ THE FULL REVIEW ON CINECCENTRIC

My Rating: ★★

Spider-Man: Far from Home (2019) directed by Jon Watts

Marvel should just stop here because this may as well be the perfect iteration of any Spider-Man comic that audiences will ever see. Spider-Man: Far from Home is an absolute joyride from start to finish, perfectly topping off this first decade of superhero films from the unstoppable force that Disney/Marvel have become and getting audiences ready for the next generation. Introducing some new characters and building upon previously established ones, this movie is a true encapsulation of this character in his most naive and purest form possible. However, with great power comes a mediocre story and while every aspect of the plot may be simple and predictable, I believe that is what actually makes a Spider-Man movie so enjoyable. Despite some glaring issues with the writing, there is no doubt that people will love seeing yet another adventure with their favorite web-slinger.

Taking place right after the events of Avengers: Endgame, Spider-Man: Far from Home follows a post-Thanos Peter Parker (Tom Holland) as he is finishing his last year of high school and going on a class trip to Europe; all while ignoring his responsibilities and commitment to become the "next Iron Man." Peter tries to simply enjoy himself and spend time with his crush MJ (Zendaya) but finds himself involved in an international fight to prove himself to the ranks of Nick Fury (Samuel L. Jackson) and newcomer Mysterio (Jake Gyllenhaal). This movie, more than anything else, is fan service for dedicated watchers of this franchise and lovers of its comic book lore. That is not necessarily a criticism, it is just how the majority of Chris McKenna and Erik Sommers' script came together. The introduction of fan-favorite character Mysterio and the romance between Peter and MJ are two things that seem quintessential in any Spider-Man film but are things that audiences will finally be able to see with Holland's iteration of Peter Parker. The writing throughout this film can seem very generic at times and a lot of the humor is low-hanging fruit, but I believe that is what makes Spider-Man films so fantastic.

The plot may be a bit dull or simplified, but it is nearly impossible to not have fun with these characters and seeing the childish take on this universe is very refreshing compared to the dark tone that the previous few entries have had. Even though the twist about halfway through this film is wildly predictable, I think that more than anything, audiences deserve a simple film that they can enjoy to take their minds off of where these movies might be heading next. That's not to say, however, that fans will be disappointed about not getting a tease for the future of Marvel, because the two post-credits scenes definitely set that up, if only slightly ambiguously. Along with an amusing plot and Easter eggs to follow along with, this film has some of the best action sequences in a Spider-Man film. Even though they might not quite reach the brutal grittiness of Sam Raimi's original trilogy, the smooth action and incredibly exciting visual effects make this one hell of a blockbuster. The scene, in particular, as Peter is navigating Mysterio's illusion-filled building may be one of the most well-choreographed and gorgeous action scenes ever. This is one of the most colorful and culture-packed entries into the MCU and the way that Peter adjusts to these different situations while still maintaining his goofy persona is incredible.

One of the biggest themes of this film is struggling to live up to others' expectations as we follow Peter fighting with how to live up to the legacy of Tony Stark. As this was one of the film's most prominent aspects, so many scenes were geared towards showing how Peter's actions were reminiscent of a young Stark. Happy Hogan (Jon Favreau) could plainly see this too, in a few very emotional scenes that paid some fantastic tribute to the late hero. These callbacks in the writing were amazing and definitely help to establish this new leader for the Avengers. Some elements of this film that I did not enjoy, however, were the relationships between Peter, MJ, and Mysterio. Since the early days of Spider-Man comic books, Mysterio has always had a close relationship with Peter before becoming a villain. While Gyllenhaal's performance in this film is great, his character suffered from the same problem that many Marvel villains have: severe underdevelopment. There was not nearly enough time in this film to develop a friendship between the two and because of that, some choices that Peter made did not exactly feel deserved. Same as in the case with MJ, as her relationship with Peter, while expected to happen eventually, was not given enough time for a satisfying resolution. I feel that Spider-Man: Homecoming is mainly to blame for this, as they did not even attempt a spark of romantic interest between the two. This made MJ and Peter's relationship good for fans of the comics, but not exactly sensical in regards to how she was previously treated.

Spider-Man: Far from Home is not the most groundbreaking or genre-shattering superhero movie ever made, but it does not need to be. The idea of Spider-Man is the balance struck between childhood and heroism and that is what makes this character so unmatchably lovable. Audiences will definitely need this welcome hug after the events of the previous Avengers film and I would strongly recommend that Jon Watts and Tom Holland be the ones to give it to you.

My Rating: ★★★½

Cabaret (1972) directed by Bob Fosse

AFI Top 100: #63

The legendary Bob Fosse's Cabaret is an extraordinarily colorful and fun musical that is full of life; at least when the dance numbers are happening. This film practically has two different narratives going on at the same time and while they paired together decently well, I don't think that one was given enough screentime to make the other very worthy. And while I can not speak about this film's faithfulness towards the original theatrical production, I can say that I tried my hardest to enjoy this. Even though this movie is full of devoted performances and catchy musical numbers, the lackluster love story and one-dimensional characters made this film incredibly forgettable.

Brian Roberts (Michael York) is a British scribe who has just arrived in Berlin post-WWI, as the Nazis have slowly begun making their way into everyday life. Roberts then meets Sally Bowles (Liza Minnelli), an American singer and performer at an underground nightclub that entertains the likes of everyone as they pass through the city. Striking up a complicated romance, the two attempt to navigate their relationship while the tense, warlike state on the outside rages on. From the very first scene of this film, Bob Fosse's style can be seen quite evidently. The twisted cinematography, the perfect editing, and the suggestiveness of the performances all lend their hand to creating the spunky atmosphere of this Berlin nightclub. As the audience is simultaneously introduced to the film's two lead protagonists, it is clear to see that the two have almost nothing in common, except for their desire to avoid the current social circumstances. Once Roberts and Bowles meet, however, it is basically love at first sight when they decide to share an apartment together. Their unlikely romance, unbeknownst to me, is the main aspect of this film's plot, as it flashes between their relationship and musical sequences at night. One of the most potentially interesting things about this film is the distinct contrast between the carelessness of the dancing and the attempted drama of their relationship, but I could not tell which one was supposed to be my main focus. Despite the dance numbers' fantastic choreography, they just did not fit in well with the tone of the story that was simultaneously being told. Throughout this film, there were also flashes of the violence and gore that the Nazi party was causing on the streets of Berlin in order to remind the audience of the dire state the city was in. However, I wish the film would have either leaned more heavily into the Nazi aspect to give the story more tension or left it out entirely and focused on the romance. This uncertainty made the experience very dull for me.

While the love story between Roberts and Bowles is not given nearly enough substance to be interesting, it is made even more confusing by the addition of Maximilian von Heune (Helmut Griem). This man is introduced into their relationship in order to add more drama in-between Brian and Sally, but he only ends up ever becoming a part of them both. As all three of them end up sleeping with each other and Maximilian ends up leaving anyway, it does absolutely nothing for the leads' romance. Max was a sizable element of the plot in the second and third act but I honestly feel that without his subplot involved, there would have been more time to develop the actual plot and make the audience feel for these two characters. I was also a bit disappointed with the lack of LGBTQ+ themes throughout the film. One would think that a film with the inclusion of drag performers and bisexual men would touch on those themes a bit more, but that was abandoned for the more cookie-cutter story. Ignoring the script penned by contributions from four different men, I did very much adore the editing, musical numbers, and their performances. David Bretherton's editing came off as very modern and fast-paced, despite the low number of various shot types throughout this film. I truly felt like I was watching a modern-day comedy with how well-paced this film was and along with Fosse's solid direction, made this whole experience technically incredible. But when someone thinks of Cabaret, they frankly do not think of the editing or the love story or even the wild colors: they remember the music. The numbers throughout this film were dazzling and the performances from the whole cast were so lively and ruthlessly energetic. Especially from Minnelli, as she gives one of her greatest and most dedicated performances on all fronts; her acting, singing, and dancing along to the intricate choreography made for one of the best on-screen charismas ever.

Bob Fosse's Cabaret is a critical film in musical adaptation history, but the script was too bland and mismatched for me to become invested. Although this movie was done incredibly well with its direction and fast-paced, creative editing, there is nothing else about this story that ever really stuck with me (less the hilarious "screw Maximilian" exchange).

My Rating: ★★★

The Party's Just Beginning (2018) directed by Karen Gillan

An incredibly surreal look at how various people deal with the loss of a loved one through available methods, I don't quite know what I was expecting with this film. Karen Gillan's feature directorial debut The Party's Just Beginning is an intensely dark and poignant story of a young woman struggling to accept the circumstances she has been put in. Written, directed by, and starring Gillan herself, I was pleasantly surprised at the inescapable indie tone and smooth storytelling that she has accomplished, as depressing and touchy as the film's topic may be. With some excellent performances and extremely sensory production design, I actually very much enjoyed this film as Gillan genuinely proves she is much more than a type-cast, redheaded, ass-kicker.

Liusaidh (Karen Gillan) is an obsessive drinker who goes out nearly every night in order to forget about the suicide of her best friend Alistair (Matthew Beard). Armed with her belief in meaningless sex and bottomless fries, Liusaidh struggles to get through one of the coldest times of the year in her hometown while carrying the weight and stress of her current situation. Gillan wrote, directed, and starred in this all on her own and while its premise may seem very simple or reminiscent of a college short film, it reveals itself to be much more than that. I loved Gillan's script and how she wrote this cast of characters. The interactions that they had together all carried some kind of weight when it came to Alistair's unfortunate passing. Even though this film has a limited set of characters, each one played such a pivotal role in the telling of Liusaidh's story. Her mother (Siobhan Redmond) and father (Paul Higgins) were very distant and detached from dealing with their daughter, Liusaidh's on-and-off boyfriend Dale (Lee Pace) helped her cope with her situation, and Alistair's boyfriend Ben (Jamie Quinn) was, unfortunately, one of the story's biggest antagonists. Even though this film is about the life and dealings of Gillan's character, the plot revolves around Alistair. The way that Gillan frames this narrative helps it stand out as incredibly interesting as well. The audience sees Alistair commit suicide right from the beginning of this film, but the way that Gillan utilizes flashbacks and hallucinations make the story appear linear. This created the shocking ending of how Alistair's story came to an end and despite seeing it multiple times throughout the film, the twist still managed to shock me. Gillan's writing and sorrowful direction make this experience feel like a strange fever dream in the most impactful way possible. This is a very strong directorial debut as Gillan is truly able to bring her audience into Liusaidh's distorted state of mind.

Suicide, depression, and alcoholism are never easy subjects to attempt to tackle in a film, but I believe that Gillan has done so perfectly in her complex character of Liusaidh. As this movie's main theme is dealing with the suicide of a close friend, Gillan does not take that subject lightly. I could painfully feel every emotion that Liusaidh felt, especially after everything that she and her best friend had gone through, and thankfully Gillan did not sugarcoat any of her character's emotions. Losing someone that close can be absolute hell and Gillan was unafraid to show the harsh realities of people's coping methods, even through Liusaidh's drinking and sex. The character of Liusaidh was also simultaneously full of self-deprecation, carelessness, and humor, further proving how complicated and non-typical each person can be without resorting to stereotypical dialogue. This movie, as surreal in its viewing as it is, can be very difficult to watch at times, especially in the consistent flashback scenes of Alistair's death. However, this experience was a bit numbed by the film's wildly sensory production design. The use of music and the film's audio design was intense. Perhaps it was because I watched this film on my laptop with headphones, but the way that Gillan created this atmosphere was unbelievable. The sound mixers and editors deserve most of this credit too, as they truly helped the audience get in the often blurry head of Liusaidh. My only issue with this film was its resolution and the message it was trying to convey. While the movie purely focuses on coping with death, the ending seemed a bit too ambiguous. Liusaidh did not seem to develop at all past the first half of the film and her carelessness led to a lack of passion for her character. While this was undoubtedly the point of the film, I wish that the writing would have introduced Liusaidh to some semblance of closure.

The Party's Just Beginning is a powerful directorial debut from Karen Gillan that is not your typical take on depression and alcoholism, but proves itself to be a very original story. Gillan has done fantastic on all fronts of this film and despite the conclusion being a bit too open-handed, I can't wait to see what kind of story she decides to tackle next.

My Rating: ★★★½