The Lighthouse (2019) directed by Robert Eggers

If nautical nonsense be something ye wish, then boy do I have the film for you. Robert Eggers' The Lighthouse is his newest horror feature that is guaranteed to make you lose your mind. This film is an incredibly well-made tale of madness that features two of the most dedicated and unforgettable performances of the year from its two leads. From choking out a seagull to hallucinogenic, masturbatory sequences of a mermaid, there really is a whole lot to love in this film. While this movie ends up being unintentionally hilarious in many different moments, I feel like it, unfortunately, subtracted from the overall, filthy terror of this world. Thankfully there is enough ambiguity and intricate detail throughout the film that will leave you questioning everything you thought you knew about the sanity of lighthouse keepers.

Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson) are two lighthouse maintenance workers who are dropped off at a remote island for four weeks to take care of the place. While Wake maintains his masculine superiority over Winslow, the two slowly but surely end up bonding, fighting, and literally driving each other insane on the horrific rock over the course of what ends up being much longer than four weeks. Eggers is so deliberate and talented when it comes to transforming these period pieces into abstract horror films and he continues this same mind-bending trend since his debut feature The Witch. His writing and direction are simultaneously mesmerizing and impossible to look at for too long. Eggers' storytelling ability is unmatched when it comes to creating a world for his unusual fantasies to play out in and he does so in this film with two nasty seamen and their battle for male dominance. I really enjoy how detailed and articulate this director is when it comes to bringing every aspect of his story full-circle. Every plot point involving Wake and Winslow's battle for control and eventual spiraling were tied together in the eeriest of ways, which not only creates a terribly squirmy atmosphere but made me fall headfirst into their struggles with them. Eggers' use of anxiety and tension working with the horror of this story is what makes it so special - the madness slowly creeping over you and drowning you in its monochromatic waves. Watching this film almost requires you to take a breather and for that, I would say Eggers succeeded.

I do not necessarily think, however, that The Lighthouse was as enveloping as The Witch in terms of asking its audience to bask in the horror. This was mostly because of its unintentional use of humor in its writing. There are so many scenes throughout this film that had me laughing pretty hard due to how ridiculous they were, such as Pattinson mangling a seagull and Dafoe repeatedly farting. I understand that Eggers' intent was to infuse a wicked sense of reality in these characters but for me, it took away from what could have been a much more insightful look into the descent of these two men. The relationship between the two leads could have been explored much deeper and given more to work with to make their madness a bit more substantial. Luckily, there is still plenty to make this salty story a deeply unsettling one and one whose characters are not afraid to take loads of fantastical risks within its script.

Pattinson and Dafoe are two of the best actors of today and I wouldn't be surprised if they were nominated for their seafaring shenanigans together. Their individual personalities embody these characters as they work so well together and honestly, Winslow and Wake are what I would expect Pattinson and Dafoe to be like in real life. They are both such distinct characters at first which makes them such an interesting pair and they are able to play with and off each other so nicely to carry this entire story. I might not have completely understood what they were saying the whole time due to their heavy accents and nautical dialect but there's more than plenty of context clues to draw from to get engaged in this world. These two characters are what drive this film to be so captivating and I loved how the relationship between the two dips its toes into themes of homo-eroticism and daddy issues. All Winslow wanted was a loving father but the line between idolized parent and misunderstood lover began to become blurred as the two fell into insanity. One thing for sure is that as an audience member, we're never quite sure what it is about these two that makes them so incompatible yet interesting but you are left craving more interaction between them. Along with Jarin Blaschke's stunning cinematography utilized with the silent film aspect ratio, The Lighthouse looks and feels utterly gorgeous.

Robert Eggers has done it again, providing yet another deeply disturbing and theoretical horror film that I expect to be analyzed for years to come. While The Lighthouse might be considered to be a minor step down from his debut feature, the amount of passion that Eggers puts into these projects shines bright like the light that curses this entire film. As compelling in its subtlety as it is beautiful in its technicalities, this is one that will definitely require a rewatch.

My Rating: ★★★★

Parasite (2019) directed by Bong Joon-ho

In what seems to be a week that keeps on giving, I am now 2 for 2 on absolutely excellent 2019 releases. Since its Palme d'Or win at Cannes a few months back, I have been impatiently awaiting this film's release and I am so glad that it exceeded my hype. Bong Joon-ho's Parasite is a stunning thriller that will keep you guessing the entire time as to where the story could possibly head next. This tale surrounding contrasting social classes and the privileges that come with being either wealthy or lower-class is told so elegantly by Joon-ho and he builds this world in such an exquisite manner. Along with its captivating direction and unforgettable performances, this film also contains such a unique blend of comedy that I was not expecting but made the story that much richer. Although I was honestly anticipating a bit darker and jarring of a twist, Joon-ho's storytelling abilities are still unmatched, as this will easily be our next Best Foreign Language Film winner.

All living together unemployed under one roof, the Kim family has learned how to survive in the bleakest of circumstances. That is until the son Ki-woo (Woo-sik Choi) finds a job tutoring the young daughter of the incredibly wealthy Park family. As they begin to form a close bond, Ki-woo eventually gets his entire family jobs working for this one glamorous family until they accidentally get involved in a deadly and unexpected secret. Joon-ho's script and direction throughout this film are incredibly detail-oriented, as he brings such an expert level of storytelling to what could have easily been a B-movie horror premise. Parasite contains such a perfect balance of genre that I was not quite expecting either. While I assumed this was a drama, there was also a surprising amount of hard-hitting humor in the script as well. Thankfully, Joon-ho knows exactly when to manipulate his audience for laughs and when to strike them down the worst. I found the pacing of this film to be amazing, as it avoided the typical three-act structure while still drawing me in more and more. It did not necessarily need that type of structure, however, because of how relentlessly captivating this story was. The excellent tension between the two families and clever use of choreography that was built throughout this film could have not have been done by anyone other than Joon-ho and this absolutely thrilling aspect never let me off my toes.

I'm gaining more and more of an appreciation for Joon-ho's filmmaking the more that I see from him and it's becoming much more obvious to me how smart he is with incorporating themes of class and wealth into his plots in such ingenious ways. Some might even say that this is where his strongest filmmaking abilities lie and I probably could not argue against that. The contrast between social classes and wealth in this film is so interesting and made for my whole enjoyment. Seeing how hard the Kim family's lives were and how smart they had to be to thrive compared to that of the easygoing and carefree Park family made for this film's best dynamic. That does not necessarily make the Park family bad people, however, which is what makes these characters so complex and engaging. I really began to wonder who were the supposed protagonists or antagonists by the end of this film and while it is undoubtedly emotional, it winded me up and threw my expectations into a tailspin. The only aspect of this script that I was a tad disappointed by was the twist in the plot and how dark its story eventually becomes. I have been hearing for months now the hype about how twisted and unpredictable this story turns to and while its dark twist is interesting, I was actually expecting a bit more. It's incredibly effective nonetheless but I kept waiting and waiting for what might happen next. Which is a twist in itself I assume, leading me on and leaving me to suffer in ambiguity.

While its story is executed almost flawlessly, the performances throughout Parasite are what really bring its audience to relation with its characters. Every single performance of the members of the Kim and Park families were fantastic and they all were able to expertly get into the minds of these wildly different people. The way that their familial counterparts interacted and even communicated with each other was fascinating, as even in just the simple ways that they talk to each other were so thought-out and deliberate. The Kim family, from Ki-woo and his sister Ki-jung (So-dam Park) to their mom Chung-sook (Hye-jin Jang) and dad Ki-taek (Kang-ho Song) were all amazing and provided such detailed comparisons to the Park family of Yeon-kyo (Yeo-jeong Jo), Dong-ik (Sun-kyun Lee), Da-hye (Ji-so Jung), and Da-song (Hyun-jun Jung). It's made clear that Joon-ho cares intensely about these characters, as he treats them with such boldness and grace. The cinematography by Kyung-pyo Hong and the entire production design team were also very prevalent in displaying their skills as well throughout this film. This movie, while only shot at two different houses, was absolutely beautiful and every shot looked so meticulously planned out. The sharp and subtle detail in both the camera and mise en scène made for such an elegant, visual experience.

Parasite is one hell of an exciting film and one whose script is bursting at its seams with fascinating ideas. Bong Joon-ho's mind continues to astound me and the way that he is able to take a simple thrilling premise and turn it into an exploration of class privilege is so impressive. He is definitely one of the greatest filmmakers of today and this narrative only proves that point, as I was continually taken aback by this story. I would suggest avoiding the trailers for this one and just going in blind. You'll be thanking me later.

My Rating: ★★★★½

Jojo Rabbit (2019) directed by Taika Waititi

For me personally, one mark of a perfect film is being able to tell an entertaining story while having a relevant message and impassioned direction to fuel it all. Jojo Rabbit is an absolutely astounding anti-war satire that not only lets the audience know of the many terrifying similarities to their own reality but provides one of the most truly heartfelt and touching stories of this year. Taika Waititi is profound at being able to expertly balance the lightheartedness of a child's point of view with the bleakness of the real world that these characters were living in all the while playing a hilarious and imaginative rip of Adolf Hitler. Never would I have thought that I could be relating to a Nazi's struggles, but the way that Waititi develops these characters and tells their stories in the most human ways is unbelievable. Along with being injected with his witty, fantastical style, this film proves that whether you're in WWII or 2019, it's never a good time to be a Nazi.

Jojo (Roman Griffin Davis) is a young German boy during the Second World War who was raised to follow and believe in everything that the Nazi party stands for. All his life, he was taught to be repulsed by Jews and their faith, as any variation in his devotion to his country could lead to disastrous consequences. Along with the help of his imaginary friend Adolf Hitler (Taika Waititi), Jojo finds out that his mother Rosie (Scarlett Johansson) is harboring a Jewish girl named Elsa (Thomasin McKenzie), truly testing his morals and what he always thought to be true. Although not nearly as controversial as some might be led to believe, Jojo Rabbit's script is a thing of absolute beauty. There is no reason at all as to why a movie about a young Nazi should be so heartwarming and heartbreaking at the same time but if there was anyone I would believe could do it, it would be Waititi. Combining the dry, dialogue-heavy comedy of What We Do in the Shadows with the childish wonder of Hunt for the Wilderpeople, this film is an absolutely excellent blend of the kind of storytelling that he does best. Waititi is able to handle these themes of childhood with such grace and also knows how to destroy them by contrasting his characters with the harsh realities of war, particularly one so gruesome as WWII. This blend of comedy and drama was perfect and Waititi is able to balance them with grace. There was also a surprising amount of emotion in this film, especially towards the end, that I did not expect to be so moved by. While I know Waititi is able to tell an emotional story, I really did not think he would hit his audience on this level.

I adore the message that Jojo Rabbit sends its viewers and how Waititi delivers it through this anti-hate satire format. War is horribly atrocious, people need to learn to get along despite their differences and upbringings, and love really needs to conquer all. This is all Waititi wants from this world, as can be seen in the way he treats his characters and tells his stories, and I have nothing but praise for him and his dedication to getting this message across. While there are many parts of this film that are aimed towards directly targeting hate groups in our day and age (the reason this movie was made in the first place), I'm so glad that there were not any direct jabs or on-the-nose humor, but rather subtlety was used so creatively. Waititi's script might be a bit more mainstream, taking fewer risks than his previous directorial outings, but his storytelling ability is effective nonetheless. I did nothing but intensely care for these characters the entire time and the many full-circle gags and touching callbacks only improved my experience. Jojo Rabbit is a completely perfect film for me, as it hit everything that I wanted it to and more. I could completely understand why this type of satire might not work or be appealing to many people but there also has to be a knowingness of its sarcasm to make the satire work on both ends. It's hard to miss, however, because it is done in such an undeniably caring and genuine way that should not be offensive to anyone. Unless, of course, you're a Nazi. Then fuck you.

While Jojo Rabbit has such an authentically wholesome message, it could not have been delivered as well as it was if not for the performances from the entire cast. Davis is astounding as Jojo and the level of initial nonchalance he has towards Jews is actually quite scary. His development as a character was incredibly well-done, as he actually had a bit of a reverse character arc. Jojo himself started out as a desensitized war child but grew into a caring and understanding, young man. Davis embodies this quirky boy so well and has an amazing career ahead of him. All of the supporting characters were fantastic as well, including Johansson as Jojo's mother, McKenzie as Elsa, and of course, Waititi himself as the goofy caricature of Adolf Hitler. This whole cast has excellent chemistry together and work so well in this exaggerated and fictional slice of Germany. Along with being one of the absolute funniest and most moving films of this whole year, it looks gorgeous as well. The cinematography by Mihai Malaimare Jr. is so characteristic of everything that happens in this film, capturing every oddball moment and physical comedy bit perfectly.

Taika Waititi has done it once again, as he has absolutely never been more in touch with his emotional storytelling abilities than he is with Jojo Rabbit. I would not be opposed to him exclusively tackling political satire from here on out but since I know that won't be the case, I am just overjoyed to see him succeed in such a grand manner with this story. The arguably cheesy and clichéd message that Waititi wants to send might not be the most touching or aspirational thing for some people but this film simply struck me in all the right places.

My Rating: ★★★★★

Raging Bull (1980) directed by Martin Scorsese

AFI Top 100: #4

If there's one thing that Martin Scorsese knows how to direct, it's broken men. Say what you will about the recent discourse over what constitutes "real" cinema, but it does not get much more real than the pounding and brutal storytelling that the Scorsese/De Niro powerhouse can accomplish. Raging Bull is the epitome of this, as it combines an excellent, autobiographical story with masterful direction crafted together with the glue of Thelma Schoonmaker's gorgeous editing. This film is a fantastic look into one man's moral and ethical descent spanning a few decades and how the consequences of his actions affected the rest of his life. While I personally had a hard time getting very invested in the story, it is clear to see how important telling this painful story was, especially to the titular fighter.

Based on the true, autobiographical novel written by the infamous boxer himself, Raging Bull follows the life of Jake La Motta (Robert De Niro), as well as his eventual career and personal downfall. As this revered fighter is busy with the fights he does for a living, he also struggles with maintaining the relationships with his brother Joey (Joe Pesci) and wife Vickie (Cathy Moriarty) as the audience sees the effects of how badly one man's life can spiral. Scorsese once again pairs with screenwriters Paul Schrader and Mardik Martin to adapt this compelling story. Along with the performance from De Niro, this film has a truly unstoppable force of storytelling. I love the framing narrative that Scorsese decided to take with this story. In an almost unrecognizable role, De Niro starts off this film nearly twenty years after the events that made La Motta so famous: the fights, the family, and the foul behavior. After being introduced as an almost standup comic, the film flashes back to his fighting days, along with his first girlfriend Lenore (Theresa Saldana) and their personal struggles together. It was such an interesting take having the audience start off this film directly in the midst of Jake being quite a bad person because it really sets the expectations for the rest of the film. What I enjoyed most was the exploration into how Jake's actions and treatment of everyone around him is what caused his life to go awry. From the very start of this film, I was worried that I would not enjoy it because of how blatantly abusive and overly masculine Jake consistently acted, from berating Lenore to using certain terms and slurs. While this did not ever really change until the very end of the film, I feel as if Scorsese's purpose was for the audience to really see how he was just a sad and insecure man at his core. Once the film flashes forward again to the early '60s, we see an older La Motta dealing with the repercussions of his younger self. While he has been reduced to an average guy, he tries to make amends with his brother and the closure of this film's protagonist is what makes its story so satisfying.

None of Jake's horrible actions are ever justified or deemed rightful, but rather they are used to tell the story of the dangers of having such a violent lifestyle in those times. Perhaps that was not the purpose of La Motta's original novel but the way that Schrader and Scorsese tell it is incredible. This can be classified into the wider category of toxic masculinity but that was not a huge point of discussion in terms of characterization, especially in 1980. The performances from this whole cast are absolutely noteworthy as well, from De Niro's grungy fighter to Moriarty's stoic character. De Niro and Pesci seem to be typecast, particularly in this era of film, as a certain type of broken character but there is no denying that they do it well. De Niro once again proves his chops as a fantastic dramatic actor and Pesci backs him up in the best supporting way possible. The fight scenes and editing throughout this film are also a huge part of what makes Raging Bull such an experience on its own. The sound design and sensory filmmaking that was used as Jake was smashing an opponent's face in or even getting his own pummeled made each punch and each strike so impactful. I could physically feel these fight scenes with how raw the action came out of the screen. Thelma Schoonmaker's impeccable editing was a huge part of this as well. Her lifelong creative partnership with Scorsese continues as she lets this whole, intense world of boxing breathe. The long takes and clever cuts really made me fall into this world and the way Schoonmaker avoids relying too much on quick, action cuts for the fighting is so admirable.

Raging Bull is a very interesting look into Jake La Motta's psyche and how badly his life was turned upside down after his horrible actions caught up with him. While it is captivating as a boxing biopic, Scorsese is able to make it captivating as a typical drama as well. I might not exactly adore Scorsese as much as someone else, but this fusion of personal and work life to make such a compelling narrative is what makes him one of the greatest filmmakers of all time.

My Rating: ★★★½

Zombieland: Double Tap (2019) directed by Ruben Fleischer

Some sequels made today are desperately needed: this one, not so much. Some sequels made today are definitely wanted: this one, very much so. But the rarest thing for a sequel nowadays to be is deserved. Zombieland: Double Tap is the perfect example of a deserved sequel that hits all of the perfect notes. This is a film that audiences have been waiting a decade for and even all this time later, nothing feels different. This, due in part to the original writers and director returning, was the greatest thing about the entire movie. Watching this misfit band of characters and their iconic adventures has been so integral to the horror-comedy genre and this film really just feels like returning home to visit family. The only difference this time around, though, is that there are a few new faces joining said family. This movie is the textbook definition of a good sequel: continuing everything that made the first so great while incorporating some fresh elements to make it stand on its own.

Zombieland: Double Tap takes place years after the events of the first as Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone), and Little Rock (Abigail Breslin) have become their own sort of dysfunctional family. Traveling around the country from landmark to landmark, they settle in the White House until Little Rock meets a pacifistic boy from Berkeley and they run off in search of a safe haven. Determined to rescue her, the three set out on another undead adventure across the apocalyptic American wasteland. This movie, or even the first Zombieland, might not exactly be everyone's cup of tea, but they have really become my guilty pleasure at this point. Whether it's because of the nostalgia of seeing the first one with my dad as a kid or just the lovable atmosphere, I will always be entertained. The element of this film that makes it so easy to jump into, whether or not you've even seen the first, is its reliability. The quality of the two films is indistinguishable, mostly because of the passion for this world from the returning writers and director. Ruben Fleischer might not be an outstanding or notable filmmaker, but he is definitely able to transition these stories together without missing a beat. In terms of its script, this is such a perfect sequel because it adds new faces, new locations, and has just the right amount of callbacks from the first without being too repetitive or annoying about it. Fleischer and his crew know exactly what makes these characters and their stories so lovable and they are not afraid to capitalize on that in this sequel. While the script itself is generic and doesn't have much to say about anything, it really doesn't need to. Zombieland and Zombieland: Double Tap just evoke pure joy and despite their slight forgettability, you couldn't ask for a better franchise of undead comedy.

With reliability and a fanbase large enough to support it, however, comes an unavoidable feeling of laziness in regards to the plot. Having nothing to say in your film leads the way to clichés and in this film's case, it hit them all. It's only been a day or so but I've basically forgotten about the majority of what happens throughout this movie. Which is in no way a bad thing, as that occurs with many other, much worse films. It's just that I have come to be so comfortable with this world that it just felt a bit throwaway at times. This story was practically a cut and paste of the first film, just with different dialogue, developed humor, and different characters. That said, the new additions to this world and their overall chemistry are undoubtedly fantastic. Eisenberg, Harrelson, Stone, and Breslin make such an excellent team and their closer bonds in this film as compared to the first is so evident. This led the way for some great relationships between the characters and better-developed motivations for them too. The absolute standout, however, has to be franchise newcomer Zoey Deutch as the preppy Madison. I adore Deutch in all of the films she does, as she always has such radiant energy about her. From the trailers, however, I was worried that her character would be overly archetypal or reliant on dumb humor. Thankfully, her performance outdid any of my previous expectations. While the character of Madison was indeed annoying and purposely so, Deutch surprised me with how dedicated and charismatic she stayed for this film's entirety. Her character was almost required to make this movie work and her integral performance fulfilled that completely. Throw in some expectedly great comedic writing and another (yes, another) cameo from Bill Murray and this film turns out to be one of the most solid sequels of this year.

Zombieland: Double Tap is another entry into this hilarious world that I will not soon forget. Even though it is structured and executed as a near carbon copy of the first, there is no denying that audiences will adore this new addition. I loved seeing these characters and this world again and there will be no stopping me from seeing the inevitable third one upon its release. Let's just hope that it doesn't take another ten years.

My Rating: ★★★★

Popstar: Never Stop Never Stopping (2016) directed by Akiva Schaffer, Jorma Taccone

A whole lot can happen in 3 years: entire cultures can change, the landscape of music can evolve, and people can be much different than their former selves once were. One thing that has proven to be the same, however, is how ridiculous and often disgusting the lifestyles of famous musicians can be. Popstar: Never Stop Never Stopping is an incredible mockumentary about this very subject and one that does so in the most hilarious ways possible. Told through interviews with famous musicians and the downfall/rebirth of its fictional pop megastar protagonist, this movie is a fantastic satire of this grossly commercialized industry. Even though it is obvious as to who wrote and produced this film due to its silly and sometimes nonsensical storytelling, this film is as hilarious as it is endlessly quotable. Accompanied by an original story, soundtrack, and performances from the three legendary stars of The Lonely Island themselves, this movie is a fantastic testament to not just the dangers of self-righteousness, but how the power of friendship can overcome anything.

Conner (Andy Samberg), Owen (Jorma Taccone), and Lawrence (Akiva Schaffer) have been best friends since they were kids, capitalizing on their friendship through their pop group The Style Boyz. After the band has a nasty breakup, Conner decides to go on a solo career. While initially successful, he experiences the ups and downs of a popstar's career as his life spins hilariously out of control. Samberg, Taccone, and Schaffer are a powerhouse of comedic talent when they work together on a project and this film is no different. The absurd eccentricities that they are able to channel into whatever it is they write are the most prevalent part of this entire story. While it plays out as a great satire of the music industry, there's also this layer of exaggerated reality that is so trademark of The Lonely Island which makes this film so enjoyable. It's not even that it's an endless dumb comedy, it's very clever in how it makes fun of celebrities while also being self-aware of the genre that it is a part of. Every character was hilarious in their own way and just like the band in real life, Samberg, Taccone, and Schaffer play parodies of themselves, which leads to some fantastic comedic moments. And of course, no comedy film of this magnitude could hold itself up without a massive amount of cameos. There are so many different musicians and comedians playing musicians that play a part in telling Conner's story that are used perfectly. From Questlove to Justin Timberlake to the king of comedy music himself "Weird Al" Yankovic, Popstar: Never Stop Never Stopping utilizes this loaded cast with the utmost creativity.

This film works exceptionally well as a mockumentary and having three actual comedy musicians be the ones to parody the music industry was an amazing choice. It was an incredible style to choose for this medium and for The Lonely Island to adapt their ideas into a film. While the story generally works throughout, the biggest flaw that I had a hard time getting over was the lack of an interesting plot. The story is hilarious, don't get me wrong, but there was absolutely nothing new about the arc for this protagonist and proved itself to play out very generically. Since Popstar: Never Stop Never Stopping did not really have that interesting of a plot, this film pretty much entirely relies on its music and the chemistry between Andy, Jorma, and Akiva. The soundtrack is incredible and while the song's contents themselves might seem a bit silly, it's ridiculous fun at its finest. Thankfully, if you're watching this film, you should know what you're getting into and shouldn't really expect any outstanding screenwriting past its comedy elements. And once again, the cheesiness of this film and its message were unremarkable but work so well. This movie is just an ode to the power of everlasting friendship and the way that it is executed is extremely simple, but endlessly entertaining nonetheless.

As far as pun-based, surface-level comedy goes, The Lonely Island absolutely has that genre on lock. Popstar: Never Stop Never Stopping is the perfect outlet for this band to transfer their immense and hilarious comedy from their music to the big screen in the truest fashion that they know: making fun of themselves and the type of music that dominates today's culture. Riddled with cameos and gut-punching jabs at the smallest parts of our society, this film is an excellent, if also hilariously exaggerated, look at how fame corrupts.

My Rating: ★★★½

20th Century Women (2016) directed by Mike Mills

Narration always sucks in movies. Up until yesterday, I had yet to see a modern film that actually utilizes narration in an original and interesting format. That is, of course, until I finally got around to watching 20th Century Women. This film is an absolutely gorgeous and simple story that excels in personal filmmaking in the best ways possible, including its use of narration to guide its story. With all of the perfect marks of an A24 film, this movie contains some of the most genuine and progressively-relatable characters ever written. These characters would not be as relatable, however, if not for the excellent performances from its entire cast. Not a single person turns in a weak performance, making this potentially dull story much more engaging. I count it as a win when I get lost in the performances because becoming these characters is what this entire cast does best. Along with a smooth script and direction from Mike Mills, this film is not one to soon forget.

In southern California, 1979, a woman named Dorothea (Annette Bening) and her son Jamie (Lucas Jade Zumann) live quietly with their housemates Abbie (Greta Gerwig) and William (Billy Crudup). As Jamie grows up and begins acting out a bit and becoming his own person, Dorothea gets help from the younger women in their lives to help guide and teach him how to behave. Along with the help of Jamie's friend Julie (Elle Fanning), he learns what life is like from other people's points of view. Mike Mills' direction and script for this film make for one of the most tender and endearing experiences ever. The dynamics between these characters are what make this overall story so engaging. While the audience not only gets to focus on Dorothea's struggle with being an older woman raising a younger son, there is also a huge focus on the contrast between generations. This made the way for such excellent dialogue between them all and really just felt like Mills was telling a story to a group of friends about his childhood rather than making a movie. Because of that, this film radiates authenticity and catharsis as it purges these emotions from the characters one by one. Every single character is completely fleshed out as we get glimpses into their individual lives, as well as their interactions while living with each other. This telling of their stories is furthered by the clever narration throughout the story, telling the audience what their lives would be like in the future. As this film is set in 1979, the narration told their stories in the future tense, which made for such a compelling narrative. I thought this aspect was incredibly smart and helped me to understand where their stories were going much deeper.

This film is a very simple one yet is told so elegantly. Countless movies have tackled the subject of generational and gender differences but the genuineness of Mills' storytelling makes this film seem like completely new material. This also has to do with the traditionally beautiful cinematography from Sean Porter and how effective it is. I also really adored how this film, set in the late '70s, was told in a modern way through its filmmaking and this created such an interesting atmosphere for its characters. The performances from every one of these artists were fantastic. Bening, Gerwig, Fanning, Crudup, and Zumann had unbelievable chemistry together and made up one of the best makeshift families I have ever seen. What I loved most about these people was how inviting they all seemed with each other and how not much context was needed to show how they all cared for each other. While there were, of course, dramatic points of conflict to drive the narrative, the movie really finds its strengths in relying on these characters, gorgeously and carefully written by Mills. The combination of all of these mesmerizing roles just made for one of the warmest films ever. I could get lost in southern California in 1979 and find comfort in knowing that I was being taken care of by these characters. More than anything, though, 20th Century Women is a simply told but gorgeous drama that incorporates comedy and pure emotion in the most lighthearted fashion.

20th Century Women is a fantastic and tender film that touches the audience's hearts with each and every character and through each and every performance. While some people might relate to the movie more than others, the way this story was told and the vessels that it was told through is undeniably beautiful. I would absolutely recommend this film as a perfect look at how to properly raise your son in the '70s (in case anyone was planning on doing that soon).

My Rating: ★★★★½

Little Monsters (2019) directed by Abe Forsythe

Lupita Nyong'o is one of the greatest working actresses of today and film after film, she continues to impress me with the layers that she can bring to even simple characters. Abe Forsythe's Little Monsters is the perfect example of this, as Nyong'o once again plays a role that, at first, seems very unconventional of her. This film is a delightfully simple horror-comedy that is effective in all of the best ways possible. An excellent cast, original premise, and great world-building all lend themselves to making this film so quirky. It's very difficult to top the balance of genre that Shaun of the Dead perfected so many years ago, but this movie comes pretty close. I loved how much unexpected fun this cast had in this world and many of its creative choices were extremely interesting. Thankfully, the good elements of this movie are bright enough to outshine where the direction and script could have been better. Regardless, it is almost impossible not to at least have fun with this one. (It's even out on Hulu later this week!)

Dave (Alexander England) is a down-on-his-luck musician who, after getting broken up with by his girlfriend, moves in with his sister Tess (Kat Stewart) and nephew Felix (Diesel La Torraca). Upon meeting his nephew's kindergarten teacher, known to the students as Miss Caroline (Lupita Nyong'o), Dave decides to chaperone the class trip to a local farm. Things go awry, however, as a zombie outbreak occurs and the two of them struggle to keep an entire class full of 5-year olds alive. One thing about this film that really stood out to me was a point in the script in which an army general casually responds with "oh, it's zombies again, sir." While multiple other laid-back jokes like these were played out by the military characters, it really helped to build this world. Not many, if any, zombie films portray their story in a world where outbreaks can be just like the flu. Little Monsters, however, plays with its Edgar Wright-esque world like that in the greatest ways. These characters seem to be used to zombies, which makes the innocence of childhood and survival themes much more prominent. Forsythe's script makes these interesting themes instantly relatable by giving his characters such distinct personalities that are difficult not to love. The contrast between keeping cool with the students and being a tough leader definitely made way for Nyong'o's standout performance as well. It is so refreshing to see her try her hand at something like comedy and she absolutely nails it. Nyong'o takes a teacher trope and amplifies it into an incredibly engaging character. Along with England's decent character development and an excessively profane kids show host named Teddy McGiggle (Josh Gad), these characters help to elevate this basic story into something greater than it has any right to be.

The character of Miss Caroline, while performed beautifully, should have been given the main spotlight as our lead protagonist. The audience is set up to feel for and follow Dave's story the entire time and I feel like Nyong'o was woefully misused as a supporting character when she's on the poster for God's sake. I feel like a lot of this comes from Forsynthe's direction and lack of focus on what kind of story he was trying to tell. While Little Monsters nails the horror-comedy combination, it can't quite strike a balance between the two. The transitions between genres felt far too jarring and the pacing was completely out of wack. After watching this film in a theater with a pitiful amount of other people during its one-night run, it became pretty obvious to me as to why Hulu bought and is distributing it. This entire movie (which was shot more than two years ago!) is shot just like a TV movie, from Lachlan Milne's cinematography to the quick and unassuming editing by Jim May and Drew Thompson. It is a rarity that I find a film is better suited for a smaller, television screen than in a theater, but Little Monsters was indeed that rarity. I feel as if the small-scale environment of this story made the production of the movie feel smaller as well, which only minimized my enjoyment of what could have been a more impressive technical prowess. Luckily, it's hard not to simply enjoy yourself with this movie and the Q&A after my screening solidified that the cast and crew did just that.

Little Monsters is a fun if also mildly forgettable zombie film that shows off Nyong'o's talents more than anything else, despite weak direction and lack of focus. It is so amazing to be able to live in the era where she can experiment with her roles and now that she's dipped her toes into comedy, I can't wait for more. Paired with her scene-stealing performance and amusing script, this movie is a solid addition to the playfully naive zombie-comedy genre.

My Rating: ★★★½

Inglourious Basterds (2009) directed by Quentin Tarantino

Quentin Tarantino just loves messing with history, creating his own idealized version of how key events and time periods should have played out. And I think we should let him. Inglourious Basterds is the perfect example of this, as Tarantino plays with major historical events in France during one of the world's nastiest eras. This film is an absolutely incredible alternate look at the WWII era and what it would have been like given there was a team of Jewish soldiers on the prowl killing Nazis. Containing all of the trademark violence and superbly dark humor that we have come to expect from Tarantino, this movie reveals itself as so much more. Vengeance has always been a pivotal theme in Tarantino's films but none of them have really embodied that idea more than this. Excellently written and performed by such an astounding cast, Inglourious Basterds is an endlessly entertaining story that only adds to the director's near-perfect filmography.

Once upon a time during WWII in deadly, Nazi-occupied France, a man named Aldo Raine (Brad Pitt) leads a group of clever, Jewish soldiers called the Inglourious Basterds whose primary goal is to kill and scalp Nazis. When Raine finds out that some of the Nazi party's biggest leaders will be meeting at a theatre, the Basterds work together with the theatre's owner Shosanna (Mélanie Laurent) to plot a plan to burn down the theatre and kill them all. If there was one thing that I would ever want Tarantino to channel his furious rage into, it would be writing a film about killing Nazis. Which is probably the best form of catharsis possible to someone writing a piece of fiction. This really is a feel-good movie more than anything, with the hope that you as an audience member can sympathize with getting revenge on people with Nazi tendencies. Tarantino, in nearly all of his films, has vengeance of some kind as their underlying theme. He takes this theme, however, and puts it on the forefront of Inglourious Basterds, which was the greatest possible choice he could have ever made. It was such a great, if also a bit primal, feeling seeing these characters so passionate about enacting revenge on these despicably evil people. I loved Tarantino's writing in this film as well, as he converges a couple different plotlines and uses an almost prologue of sorts to deepen his story. The plot of the Basterds working their way up to kill Hitler's right-hand man Hans Landa (Christoph Waltz) worked well alongside the plot of Shosanna getting revenge on Landa because of her childhood trauma. The way that they ended up colliding was basic but extremely effective screenwriting. I also, frankly, could not see any deeper meaning behind what Tarantino was trying to say throughout this film but that is exactly what makes its simplicity so beautiful. Fuck the Nazis.

Tarantino's direction in this film is superb as would be expected. While it might follow a basic, chronological structure, the utilization of the chapters and the way he paces this story is amazing. Just like usual, he takes plenty of time in each scene to establish the characters and their individual characteristics, all while providing some unforgettable dialogue and powerful atmospheres. Everything else going into the production of this film is amazing. It's difficult to find a single element of a Tarantino film that was not meticulously thought-out, but at this point in his career, he has mastered his signature breed of storytelling. The performances from the entire cast carry the plot so much too. Brad Pitt, as always, gives a wildly charming and energetic performance and the charisma that he brings to leading the Basterds is fantastic, embodying a perfect lieutenant. Every single one of the Basterds were great in their own right as well: Donowitz (Eli Roth), Hicox (Michael Fassbender), and Stiglitz (Til Schweiger) were all solid and made their characters so strangely likable. Laurent was particularly fantastic too, bringing a lot of emotion and depth to her character of Shosanna by enveloping the many years worth of rage. My favorite roles in this film, ironically, came from two of its worst antagonists: Hans Landa and the lovestruck Fredrick Zoller (Daniel Brühl). These two played their evils in such different ways but were both excellent performances regardless. I also really enjoyed the cinematography from Tarantino's long-time partner Robert Richardson. Since Kill Bill: Vol. 1, he has been able to perfectly encapsulate Tarantino's vision in the most mesmerizing ways possible. There's something about Inglourious Basterds that really elevates it to be one of Tarantino's best. Perhaps it's because he is best at storytelling when he is either incredibly mellow or incredibly angry and the utilization of the latter makes this movie so much better than it has any right to be.

Inglourious Basterds has definitely made its way up as one of my favorite Tarantino films and this first watch absolutely blew me away. While Pitt and Waltz completely steal every scene that they inhabit, the rest of the cast works so well together that it's painful. Whether they are portraying some of the vilest people in history or the team who assembled to hunt them down, this cast paired with Tarantino's stylistic filmmaking makes for a perfect combination.

My Rating: ★★★★½

Joker (2019) directed by Todd Phillips

From adults fighting their fears to Gotham City's Prince of Crime, 2019 really is a great year for clowns. Joker has been one of the most controversial films of this entire year and one whose discourse I will be damn glad to stop being a part of. But since this film is out now in theaters, what better time to get this over with as its impact is undoubtedly in full swing. Joker, despite its unnecessary and baseless accusations of inciting violence, is actually an incredibly interesting story of one man's descent into madness. Todd Phillips is by no means a notable filmmaker: in fact, his writing/directing contributions to this film are its absolute weakest parts. Many recent comments Phillips has made have really cemented my opinions on him as well but putting aside him and the ugly way that the media has been contributing to this movie's controversy and you've got a story that's as powerfully elevating as it is a near carbon copy of its inspirations.

Arthur Fleck (Joaquin Phoenix) has always been disregarded by society, a misunderstood loner who feels like he always gets the worst of things. As he struggles with Pseudobulbar affect, a condition that causes uncontrollable and involuntary laughing and has a particularly bad string of days, he eventually gives in to his primal urges and embraces his psychotic side. Inspired by and modeled after a few Scorsese classics such as The King of Comedy and Taxi Driver, this standalone supervillain origin story is mildly interesting on its own as a character study of one man being pushed to his limits. Despite it practically stealing much of its plot from the aforementioned films, I really do not think that Joker warrants the discourse that it's created at all. If this film's script were any amount of original or more thought-provoking then maybe, but Phillip's script is solely an exercise in putting the rage of a 15-year old into the struggles of one the most iconic comic book characters. This was undoubtedly one of the weakest-written scripts for such an interesting character with endless possibilities to explore. The character of the Joker is supposed to represent pure anarchy and everything that glass-half-empty kind of people find wrong with our culture. This iteration, however, focuses on self-pity and how mental illness can apparently lead to mass violence, which was incredibly frustrating. The biggest issue, however, is that there was not nearly enough substantial or engaging writing to make any of these points valid. We're not really supposed to root for the bad guy, but your job as a screenwriter is to make the audience understand where they are coming from. Phillips completely missed the mark with this, but if that is what his immature mind was going for, however, then he definitely succeeded.

Phillips really had no idea what he was trying to say with this film and the paper-thin writing only confirms that. What I did enjoy, however, were many of the creative choices made to tell this story. While I easily predicted the many nods to the DC universe and slight touches on Batman's origin story, I really enjoyed how gritty and standalone this film felt. This was the best portrayal of what a grimy yet authentic version of Gotham City might actually be like. Joker definitely feels like a complete movie on its own without having to rely on sequels or spinoffs and the third act absolutely slaps. I wish the entire film could have been like the last twenty minutes or so, which would have led to making the story overall much more captivating. The use of violence in this film is actually very dispersed as well and I'm actually surprised by this part of the writing. Joker by no means caused me any will to enact violence upon anyone but it does still struggle with making Arthur seem like a villain until he decides to embody this chaotic evil. When Arthur's violence does arise, however, it hits very hard and those moments were underscored by such an intense performance from our lead.

The absolute saving graces of this film are the performance from Joaquin Phoenix and all of its technical pieces. Phoenix takes Phillips' underwhelming storytelling and completely elevates it beyond what I expected. This film would not even be passable without the sheer talent of Phoenix and he definitely gives this character more life than is honestly deserved. Everything from the legendary laugh to his carefully chaotic delivery was as entrancing to watch as it was executed. Phoenix has always been a phenomenal actor and I'm really glad that he was the one to carry this entire story. The other supporting performances were decent as well, such as Zazie Beetz as Arthur's love interest and a criminally underused Robert de Niro. Lawrence Sher's cinematography and Hildur Guðnadóttir's orchestral score were also critical in making this movie extremely impactful. If nothing else, there is no denying that Joker is a gorgeous and mesmerizing film due to the flourishing camerawork and the unsettling creepiness of the music. And despite a wildly inappropriate and misused needle drop of Gary Glitter during the pivotal transformation scene on the stairs, the score completely envelops this world and made me uncomfortable in the most effective ways.

No matter the amount of toxicity flowing through its veins, I'll stand by my statement that Todd Phillips' Joker is a solid film. Whether you as an audience member get more from the aesthetics and performance or relating to the titular antagonist, I just really, really hope it's not the latter. If Phillips had any idea what he was trying to say with this movie, I might have been a bit more engaged. However, a film that is as insufferably divisive as this is, without a doubt, a perfect representation of the intolerable insanity happening within the broken mind of Arthur Fleck.

My Rating: ★★★

Raising Buchanan (2019) directed by Bruce Dellis

One of the greatest parts about the film industry is getting a look into the local scene for wherever you are and realizing that it's actually a relatively small world. A friend and colleague of my dad named Bruce Dellis is also a screenwriter/director and recently had the limited release of his film Raising Buchanan. Completely shot and produced in and around my hometown of Phoenix, Arizona, this film is a pleasant and offbeat comedy that works in all the right places. Its peculiar premise might be a bit offputting but because of this film's writing, it is not difficult to get engrossed in. The performances only add to how effective this movie is, as there are some excellent and relevant, comedic callbacks all throughout. Despite a minor issue with some pacing due to its editing, Raising Buchanan is an incredibly humorous and fun story that I am fortunate to have a close connection with.

Ruth (Amanda Melby) is a down-on-her-luck and seemingly aimless woman who lives with her roommates Meg (Cathy Shim) and Holly (Jennifer Pfalzgraff). When they start to get desperate for money to pay their rent and Ruth's dad's medical bills, they decide to steal the corpse of former President James Buchanan (Rene Auberjonois) and hold him for ransom. What they don't expect, however, is how little anyone seems to care about him or their mission. Dellis' script for this film is what elevates this very simple and weird plot to a force of comedic power. While anyone could read this film's synopsis and rightfully think how offbeat its premise is, that is where its strongest aspects actually lie. This story does not have any right to be as entertaining as it is, as Dellis flexes his comedic muscles in every single scene. This film is riddled with a strange feeling of incredibly dry comedy and while some jokes may work for some and not work for others, there is no denying that his screenwriting and full-circle ideas are written fantastically. The use of callbacks and one-liners in the script were hilarious as well and hit me very hard. Paired with his effective direction, it is clear that Dellis had an exact idea for the way that he wanted to tell this amusing story. I loved how much I genuinely cared about these characters by its conclusion, especially Ruth, who had such a solid and satisfying arc.

Along with how offbeat this story was, one of its most obvious elements making up the plot is the dynamic between Ruth and Buchanan, as she sees him in her head as an almost imaginary figure. The relationship between the two not only provided a lot of moral and developmental lessons for Ruth but historical lessons for the audience as well. I definitely learned a lot more about this disgraced president than I ever thought I would and that aspect of the script was incredible. Their dynamic was absolutely hilarious and the way that Buchanan's dialect and traditional views contrasted that of Ruth's modern and more progressive views was amazing. This particularly comes from the performances from Melby and Auberjonois, as their chemistry was undeniable. They both completely embodied these strangely-fitting characters and made way for some of the best scenes throughout this film. One of the best standout performances, however, came from Cathy Shim as Ruth's roommate Meg. Her comedic timing and delivery of some of these one-liners made this film shine immensely bright and brought an entirely new level of comedy to it. Bret Kalmbach's cinematography was great too, suiting every scene very well, from his use of handheld camera for the comedy to still shots for the drama. I have to give props to this entire cast and crew, of course, as they all were part of the making of such a wildly enjoyable movie.

This film works on just about every level that it's supposed to and I was so happy to find that every piece came together to create a pleasant, funny piece of cinema. The one minor technical thing about Raising Buchanan that I had an issue with, however, was the editing. Dellis wrote, directed, and also edited this film all by himself and while that can be crucial to an indie filmmaker like him in order to fully communicate his vision, I feel that a separate editor should have been hired. Perhaps it was budget constraints or just personal preference, but seeing a film from someone else's eyes while editing can often be very refreshing and this new perspective can bring a whole other level of expertise to a film. There were many moments throughout this film that almost missed their mark with the timing of the jokes due to the editing. While the gags themselves were written well, I feel that the editing made their impact a bit too awkward at times. I understand how frustrating giving handing that responsibility to someone else could be, but I feel that through the eyes of another editor, the film could have been tightened up a bit more. Other than this small, personal issue of mine, there is no doubt that this story is a fantastic and responsibly-made film.

Raising Buchanan is a simple but wildly entertaining film that I found myself relentlessly laughing at. Perhaps it was because of the offbeat and enjoyable weirdness of it or perhaps my experience was heightened because of my personal connection, but regardless, this film is absolutely incredible. Support independent filmmaking!

My Rating: ★★★★

Sophie's Choice (1982) directed by Alan J. Pakula

AFI Top 100: #91

There is a reason why films revolving around the sensitive subject of World War II do not get much attention or recognition today: because all of the ones worth our time were released decades ago. Sophie's Choice is yet another Holocaust-focused drama that contains some incredible, career-defining performances and an emotional story that seems to know exactly what it's doing. Stories of this genre about the war have never quite interested me because I have frankly learned all that I need to care about in middle school, but when a film like this comes along, it makes me appreciate the art about that time period even more. Coming off as more of a romantic drama than a period piece, this film brings a thankfully fresh story to the horrific nature of WWII in what otherwise would have been a much duller movie.

World War II was a horrible and egregious time for cultures around the world, but one concentration camp survivor named Sophie (Meryl Streep) has luckily found life after the war. While she lives with her boyfriend Nathan (Kevin Kline), a young man by the name of Stingo (Peter MacNicol) moves in with them and begins to challenge everything that Sophie knew to be true about love and life after one of the biggest atrocities in history. Adapted from the novel of the same name, Sophie's Choice is brilliantly written but, unfortunately, slowly and mindlessly directed by Alan J. Pakula. This script is painstakingly beautiful and tells the story of Sophie trying to sort out her love life between the two most important men in her life. Cut with monologues initiating flashbacks from her time in the concentration camps, the subject matter of this film is undoubtedly intriguing but can get jarring the way that it was told. Pakula's script is amazing and while I have not read the original novel, I am certain that he did its poetic beauty justice. However, unless a film is downright exploitative, it's a bit difficult for a war film of this magnitude not to be emotionally charged to some degree. I was expecting to be at least moved by a touching story and in that case, Sophie's Choice absolutely did its job. What I had an issue with, however, were the harsh and blatant transitions between many of the scenes, which hurt its tone extremely bad. Cutting from a softspoken and reminiscent monologue from Streep to an upbeat and brightly-lit carnival scene completely blindsided me, especially without any seemingly relevant purpose between the two. I suppose that these horribly-transitioned scenes were supposed to juxtapose each other for dramatic effect, but I just could not feel that from Pakula's direction or the way he paced out this story.

Pakula's screenwriting abilities are unmatched, however, as he brings a romantic side to this film that made it the most enjoyable. Seeing how Sophie was stuck between these two men and could not move past an abusive boyfriend because of her past was so telling of this character. It was incredibly interesting to see the dynamic between Sophie and Stingo as she desperately wanted to leave Nathan, but was physically and mentally unable. This speaks on not only the dark consequences of peoples' troubled pasts but how disgusting and strong the power of manipulative men can be. Accompanied by an almost clichéd tragic ending, this love story was so powerful, if also just a bit mediocre. The performance from Meryl Streep as Sophie was what made this aspect of the film so astounding. While Kline and MacNicol were solid and provided a great foundation for the protagonist, Streep plays off of them so well and makes her character the most relatable and emotional piece of the movie. Seen not only in her monologues but in her playful and dismissive exchanges with Nathan, every ounce of movement and inflection in her voice is carefully and beautifully done. This, among many other of her films, are why I assume many people call her the best actress of her generation. Her Polish accent was also executed tastefully and added another layer to making her performance so captivating.

Sophie's Choice is a mildly interesting film with a mediocre story that's elevated by a moving performance from Streep. If anyone else had been cast in this titular role, I honestly do not think that this film would be as renowned as it is today. I very much enjoyed the romantic spin on the war genre but I am so burnt out of these types of films that I can not ever see myself voluntarily watching this again in the future.

My Rating: ★★★