Drive (2011) directed by Nicolas Winding Refn

No matter your stance on the importance of modern, high-octane, action films, I am overjoyed that there are films like this one that still focus on its human characters more than anything. Nicolas Winding Refn's Drive is a fantastic movie that will satisfy anyone looking for a violently fun car flick or a quietly meditative character study. While this film is an absolutely glorious story on its own, I have been made aware of its similarities to Edgar Wright's Baby Driver, or rather, this movie's impact on the latter. The two films are vastly different in tone and substance and I will try to avoid comparing the two entirely but there is so much good in them both in various ways that I find it difficult to fault one for something the other might have done better. Regardless of how it might have influenced Wright or his own film, Drive is a phenomenal movie that stands on its own with a heavy story, gorgeous compositional cinematography, and some unexpectedly fantastic performances from its entire cast.

A nameless, professional stuntman, known only as The Driver (Ryan Gosling), lives his life moonlighting as a getaway driver for the heists of criminals. After he meets and falls for his neighbor Irene (Carey Mulligan), he gets caught up with her husband Standard (Oscar Isaac) in a heist gone wrong that he had no intention of being a part of and must fight to straighten things out for the sake of everything good that he once had. There are a lot of plot and character similarities that Drive and Baby Driver share, but the one thing that stood out to me the most delineating the two from each other is Drive's lack of focus on action and heightened use of subtle tension. It would be very difficult to classify this film as an action movie, especially since it is much more of a fantasy noir than anything. The use of action and violence in this film is very limited; since it is so rare and the audience expects Gosling's character to be a passive voice in the story, when the violence does hit, it hits hard. This is one of the main differences between these two films. Baby Driver is much more of a musical action film infused with Wright's quirky editing sensibilities while Drive is a darkly lit study of this complex man. I make none of these comparisons to pit one film against the other but there is just so much to gather from both that it makes them equally as interesting. The Driver is much more of an active character who goes out of his way to keep his record clean, as opposed to Ansel Elgort's Baby, who is mostly passive and progresses through his story going with the flow. While some might thirst-watch this film solely for Gosling (guilty), I adore his talents and thought he was a perfect choice to embody this nearly emotionless protagonist. His portrayal of this man on the edge of being broken was incredible and makes his character even more interesting when he does finally break. The drama between him and the antagonists of this film makes his development that much more interesting. There are so many scenes that perfectly demonstrate Refn's mastery of tension and his mesmerizing direction only enhanced this already great story.

One typical rule of screenwriting is that less is more and that theme bursts through this script. There is one scene in particular when The Driver is caught in an elevator with Irene and one of his enemies and kisses her before promptly killing the antagonist. It was really at this moment that I realized how effective Refn's near absence of dialogue from Gosling was so important. The Driver knew what had to be done but took his chance with Irene as he knew that she was never going to be able to look at him the same way again. Silent action scenes like this riddle this film and completely rely on its visual storytelling which is as engrossing as the written dialogue is. Such mastery also exists in the film's opening sequences, establishing the location and occupation of The Driver without any unnecessary exposition. The cinematography from Newton Thomas Sigel was absolutely stellar and completely made this film. His use of composition, showing so much with just some simple pans and smooth movements, was incredible and he has proven himself a master of visual storytelling. I could have easily watched this entire film from just close-ups of Gosling and Sigel's subtly invisible use of the camera. The camerawork paired with Matthew Newman's fantastic editing aimed to linger on its subjects and make the audience take in the pain of what The Driver was experiencing. All of these technical elements are what distinguish this film as a true piece of art and that is something that both this and Baby Driver have in immense common. All of the performances in this film were incredible too, including Carey Mulligan, Oscar Isaac, Bryan Cranston, and Ron Perlman. It is quite the ensemble cast that I would have never expected to work so well together. Stylish in many different ways than other car-focused action films, Drive is such a pristine example of how to make an otherwise generic story rev its engines and crash through the slew of forgettable movies.

Drive is as enthralling as it is reflexive on us as people and even though all of us might not be criminals or getaway drivers, there is a heavyhandedness to this film that truly weighs on its audience so well. Much darker in tone and more unabashedly violent than Baby Driver, this film has so many amazing elements going for it to make it really stand on its own as a compelling story. One thing is for sure, though: the two would make for one hell of a double feature.

My Rating: ★★★★½

A Beautiful Day in the Neighborhood (2019) directed by Marielle Heller

As per usual, Tom Hanks is the best part of whatever he's involved with. Marielle Heller's new film A Beautiful Day in the Neighborhood chronicling the impact of the iconic Mister Rogers is... fine, I suppose. There are a lot of things that this film does very well and a lot of things that it quite honestly fails to live up to. I had not heard much about this film, so I was definitely expecting it to be a Fred Rogers biopic and showcase of Hanks' tender talent but was completely blindsided once I realized he was the supporting role. This is not necessarily a bad thing, however, as the story revolving around these characters is perfectly functional as a feel-good film by itself. While Hanks is the obvious standout, I did find the means of storytelling to be a bit strange. Heller is an incredible and heartwarming director but there were some tonal shifts and creative choices made that took me way out of the story. Despite some of these minor issues, this film does its job regardless and will be an obvious contender in February with Hanks leading the charge.

Lloyd Vogel (Matthew Rhys) is a recently new father and journalist who is known as being quite a sadistic and pessimistic writer. His publication assigns him to do an exposé on Mister Rogers (Tom Hanks), the legendary children's show host from the 1960s. While he is initially opposed to interviewing such a nice person, Lloyd eventually learns the many pure and accepting values that Rogers had taught to his audiences decades before. Even though this film lends itself to being very heartwarming and ultimately predictable, I feel like a story about Mister Rogers can only truly operate if it's set within a larger narrative. Morgan Neville's documentary from last year Won't You Be My Neighbor? was such a beautiful case study of Mister Rogers but its main focus was not the life of Rogers himself, but rather his positive impact upon the world. Being one of the most wholesome and accepting human beings to ever live is a difficult reputation to live up to and I feel like if the audience were to learn about Rogers' life they would not be as interested. Evidenced by the documentary and this newest film, Fred Rogers does not seem like an interesting enough person to solely focus on his life. This is why I think a complete biopic was what Heller was trying to avoid and rather focus on his legacy. It was surely an interesting choice to practically sideline Tom Hanks in favor of telling the main story that this film was adapted from but it all honestly worked out for the better. Following Lloyd's story was a better way of going about telling this true story but my only issue is that the plot was a bit of a bore. Lloyd's development as he learns what it means to be kind and realizes he needs to change to be a good father was so bland and cliché. The only aspect making this film stand out was the presence of Rogers serving as an inspiration.

There are some incredible creative choices made throughout this film and some that did not sit well with me at all. All of them have to do with Heller's direction and while I think she's a great filmmaker on her own, this film, in particular, had some combative tones. The use of the dream sequence and the slight breaking of the fourth wall left me feeling uncomfortable in the theater and I do not think that they fit this film for what it was trying to go for. This entire movie has a constant melancholy to it and while it fits as the overall tone of Lloyd's story, the dream sequence that he went through came off as goofy more than anything. The best elements of A Beautiful Day in the Neighborhood, however, were Heller's use of production design and Hanks' incredibly touching performance. This film contained many transitions that used sets akin to what Rogers used on his television show and this made me very happy to see. I'm a sucker for innovative ways of telling a story and these transitions definitely solidified the film's target aesthetic. As for Hanks, his performance was expectedly fantastic. His absolute range and the way that he was able to portray such a kind soul with a graceful, stoic manner is phenomenal. I couldn't think of a better actor to cast as this legendary character and Hanks did Rogers nothing but justice. Despite these saving graces, however, these pieces come together to make a film that is not entirely forgettable but one I can't see myself caring enough to watch again.

A Beautiful Day in the Neighborhood is a perfectly harmless film that hits all of the right notes and utilizes Tom Hanks in a gloriously unforeseen way. While I found the majority of the main story to be too dull to get emotional over, there are still plenty of elements that make this movie chock full of love and I would recommend this film as an easy, pleasant watch. However, I would much rather recommend Neville's documentary from last year as well to really see how important of a figure Fred Rogers was and still is to this day.

My Rating: ★★★

Godzilla (1954) directed by Ishirô Honda

Monster movies have come a long way since the 1950s. A long, long way. That does not mean, however, that the newest installments of monsters x and y are necessarily better, as Ishirô Honda's original Godzilla is arguably a genuinely more engaging film than anything that has come out in the past few decades. This movie is not only chock full of culturally significant material for the Japanese people of the time but contains a slew of surprisingly entertaining technical elements. This film is especially interesting to look at nowadays, when the newest Godzilla films may not even be considered Godzilla films. Every new American installment is devoid of what initially made this monster so terrifying and while there are plenty of historical reasons for the absence of this information, it is so compelling to be able to look back at this and view it in a different worldview. And thank god I was able to view the original Japanese version without the extra 20 minutes of unnecessary, Americanized footage.

After many fishing boats and residential homes are destroyed off the coast of Japan, the Japanese military sends out their most diligent officers to investigate the swarm of possible attacks. They discover, however, a two million-year-old dinosaur that was born from the effects of atomic warfare and has resurfaced to wreak havoc on the humanity that created him. With the help of Dr. Serizawa (Akihiko Hirata), Hideto (Akira Takarada) and Emiko (Momoko Kôchi) work to find a way to stop this rampaging beast. This script and Honda's direction are absolutely incredible and make their case for being one of Japan's most important stories ever told. The character of Godzilla is a blatant metaphor for the dropping of the atomic bomb by America and this fuels the plot throughout the film. While no direct references were made, the subtle hints were more than enough to understand the meaning of this film, especially in the emotional court and war room scenes. The script may also rely a bit too much on coincidences and easy plot development but it is nonetheless impactful when put in the context of when and why it was made. What makes this film even more intriguing and quite a bit melancholic is how the writers treated the normal residents of Japan throughout this film and the impact that Godzilla had on their culture. Instead of entirely focusing on the human protagonists' struggle or just pure monster action, a lot of shots and environmental scenes were included for the sake of showing how impactful Godzilla was in the wake of his destruction. The audience saw nameless citizens get crushed or burned to death and this often traumatizing inclusion made this story that much more important. In fact, Godzilla had a better balance of human story and monster story than any other addition into this franchise that I have yet to see. That proves to be vital in telling a story of this magnitude and Honda did not disappoint with his perfect balance of drama.

This film is also an incredible feat from a technical standpoint. Compared to technology nowadays, this film has not aged well but in the context of when it was made and how effective it still is, the remarkability shines. I'm not one to argue whether movies are better with or without CGI because there is solid evidence for both, but one thing for sure is how impressively terrifying one guy in a suit can be. Jokes have been made for generations about monsters in films just being a model or a costume specialist prancing around, but this film has truly set the standard for how to make something so horrifying so realistic. Another aspect of this beautiful film that surprised me was the score from Akira Ifukube. His use of roaring in the instrumentals and background was haunting right off the bat. His music reminded me greatly of what a modern composer would make for one of today's epic blockbuster films. While this film was by no means made for the profit, the music definitely threw me for how perfectly and contemporarily it fit this story. All of the performances in this film were fantastic, especially from Takarada and Kôchi, as they embodied the perfect, almost naive pair of characters that are meant to be the underdogs and save the day. Their relationship is also underscored by some secrets with Dr. Serizawa and this made for some excellent character development.

Godzilla, originally titled Gojira, is such an important part of film history, not only for its critical historical significance but for its modern use of filmmaking techniques. I found myself enjoying this movie a lot more than I probably had the right to and the fact that this infamous character was born out of something so horrific only makes the history of this film that much more interesting. If only us stupid Westerners didn't go out of our way to repurpose its entire meaning.

My Rating: ★★★★

Marriage Story (2019) directed by Noah Baumbach

Never having been a child of divorce or even a child or marriage, I went into this film expecting to experience something new. Whether that experience is healthy or toxic, I was ready to have my heart built up and promptly ripped out. I now know for an absolute fact that divorce is never something I would want to go through and while this movie reinforces its negative effects, it also makes the initial concept of marriage that much scarier. Noah Baumbach's absolutely phenomenal Marriage Story is a deeply personal film in which his experience with love and separation can be seen bursting out of every scene. What makes this film so extraordinary, however, is the incredibly painful touch of reality solidified by the score and the undeniably greatest performance of the year from Adam Driver. His intense passion paired with Baumbach's legendary writing and direction makes Marriage Story the most hard-hitting film about the loss of love that I have ever seen.

Charlie (Adam Driver), a director emotionally tied to New York and his wife Nicole (Scarlett Johansson), an actress whose fame was partly bred by him, realize that they might not be the most compatible, sharing different goals and desires for their personal lives. When they decide to split up, they must work through the pain of change and coping with their newfound relationship, especially for the sake of their young son Henry (Azhy Robertson) and maintaining the loving family dynamic that they once had. Baumbach is an absolute master of making compelling narratives out of stories and experiences from his own life. While I feel many writers and directors have a tendency to exaggerate their own ego or inflate themselves for their audience, Baumbach is such a humble and honest filmmaker. Each one of his films is so personal to him but they all happen to stand out on their own as well, imbuing with individual style in their storytelling. Marriage Story is no different, with the exception that it's a *bit* more emotionally exhausting than his other films. I originally thought that this film would be an arc of Charlie and Nicole falling in love, marrying, having Henry, and eventually divorcing, but this film avoids that clichéd structure and dives directly into its loveless affliction. Starting this film off with their marriage counseling was such an incredibly clever way of framing this narrative, as not many films entirely focus on the harsh process of divorce. The sincere way that Baumbach writes this film is what really brought out its authenticity. Even through fictionalized characters, it is obvious to see the love Baumbach has for his ex-wife and their family.

This love also transfers over to this film and his way of not making his audience pick sides was incredible as well. Some divorcees might side more with Charlie or more with Nicole, but the best aspect of Baumbach's writing is how he spends so much careful time telling both of their sides, creating such a warm feeling of respect. It is very clear how important it is for him to tell this story and he could not have done it in a better way. Not every divorce ends up being a tragedy with the two sides fighting and bickering for the rest of their lives. Hatred for someone else in a previous marriage is still plausible but seems to be a theme that Hollywood films and even some indie films gloss over and do not pay much attention to, unfortunately. While this movie is the story of Charlie and Nicole's divorce, it's mostly the story of how they work out their love in order to keep their family together. This was such a sweet and inspiring way to tell this story and while it does have its fair share of raw emotion, court scenes, and legal issues for these characters to get through, the heart of this film is with the telling of these two's relationship and how it developed. The way that Baumbach wrote these two characters' relationship also makes for some of the funniest and pure interactions between them. Every marriage, in sickness and in health, has its inside jokes and humorous qualities that will never die, despite the possibility of the love fading away.

The small, minute details of Charlie and Nicole are what makes them so relatable. Outlined in their personal essays at the beginning of the film, they know each other so well that even through a divorce, they can always count on each other to pick up on their individualities and quirks. Driver and Johansson's chemistry throughout this film is wildly palpable and this is only driven by their spectacular performances. Johansson needs to do more indie roles because she was fantastic in this film, but the real standout is Adam Driver's Charlie. Driver has given the best performance of all of 2019 in the course of only two hours and the absolute range of his talent spreads across every heart-wrenching emotion seen in this story. I was physically moved by the powerful impact of his acting and I will be genuinely upset if he doesn't at least get recognition for this moving portrayal of a broken marriage. All of the supporting performances were incredible as well, including Laura Dern and Ray Liotta, Nicole and Charlie's respective divorce lawyers. The cinematography from Robbie Ryan was very clean and effective, but the legendary Randy Newman's score helped tie this entire story together in a heartbreaking bow. Every song was filled to its brim with light piano and mildly whimsical qualities that helped to ground this film with a twinge of lightheartedness. Despite some scenes being incredibly intense, Newman's music gave this story a realistic feeling that everything will eventually be okay.

Noah Baumbach continues to impress me with his fantastic directorial style and tender filmmaking abilities. Marriage Story is one of this year's absolute best films, giving me a story I never thought that I could relate to or enjoy so much. I feel like I've been blessed recently with the opportunities to see such astounding films and this movie has definitely taken the lead for what I want to see win some serious awards. With this film and Scorsese's The Irishman, Netflix is going to be sitting pretty come February.

My Rating: ★★★★★

The Irishman (2019) directed by Martin Scorsese

Due to my own personal preferences and biases that I have gotten better at ignoring, there was almost no way in hell that I would have been able to sit through three and a half hours of a film about the mob. Luckily, however, Martin Scorsese is able to completely shatter my expectations with the amount of sheer passion and entertainment that can be derived from his newest film The Irishman. This movie is not just a showcase of phenomenal talent from the entire cast and crew but an incredibly heartfelt story of getting older and the reflections of a life previously lived. There is so much to adore about this film and it honestly gave me everything that I was hoping for: bloody mob action, subtle but hard-hitting humor, and an intensely satisfying conclusion to this middle man's life-changing true story. Despite my not having seen every film in Scorsese's filmography and recognizing that I still have a lot to learn about him, I venture to say that this could be his final film and a majority of his audience would die happy.

Based on the book I Heard You Paint Houses by Charles Brandt, The Irishman follows the life of Frank Sheeran (Robert De Niro), a meat delivery driver who gets caught up in the life of the mob when he meets Russell Bufalino (Joe Pesci). After carrying out several hits for them and gaining their trust, Frank eventually works his way up to the infamous Jimmy Hoffa (Al Pacino) and becomes a staple in mediating disputes and serving the needs of everyone. This film is framed through narration by Sheeran as he is in an elderly home recounting his life and everything that happened. The way that Scorsese frames this narrative is so engaging and was a very smart choice to bring all of the plot points together and provide for a solemn and often sorrowful ending. Scorsese is quite obviously one of the most masterful directors in film history and while some might view this film's length and amount of storytelling too extravagant, he has more than enough earned the right to tell this incredible story in its entirety. I will not lie and say that I was completely tuned in the entire time, however, because three and a half hours to anyone is often difficult to get through, no matter the type of film. What I adore about his direction, however, is that it did not feel at all that long and I enjoyed every minute of it. I have seen 90-minute films that dragged on more than this one and the volume of content that Scorsese is able to smoothly incorporate into this film was vastly impressive. This also has to do in part with the iconic Thelma Schoonmaker's editing. Her longtime friendship and creative partnership with Scorsese is no secret and their efforts work unbelievably well together to flow this film from one intriguing scene to the next.

Spanning multiple generations and many years throughout Sheeran's life, this epic tale never seemed like it was off-topic and remained so close to these characters in order for the audience to really feel for them. His balance of drama and humor was fantastic and he is clearly able to translate this cinematic piece from its source material in the most entertaining ways possible. While Scorsese nails the tone of every scene and effectively blends everything together perfectly, my absolute favorite part was the comedy. This might be one of the funniest movies of the year and the way that humor is executed through the dialogue and the visual interactions is fantastic. The Irishman, despite its surface-level appearance as just another mob movie to unknowledgeable moviegoers, is also such a deep and moving story about the pains of getting older and reflecting on the choices someone has made in the past. Told through Sheeran's perspective the entire time, we see a whole different side of the mob through his involvement with these key people, especially Jimmy Hoffa. This leads to a lot of shocking moments and revelations that Sheeran has while telling his story which kept me on the edge of my seat, constantly learning something new about this time period. Everyone at some point in their life wonders what they could have done differently to affect the people around them and the audience gets such a wonderfully introspective look at this theme through Sheeran's eyes.

While Robert De Niro might be a favorite of Scorsese, there is no denying that this entire film is performed brilliantly by its entire main and supporting cast. De Niro, Pesci, and Pacino are all such electric, stupendous actors and they have never been better, especially in their scenes together. De Niro and Pesci in particular shine as their characters' friendship grows throughout the movie. One of the best themes of The Irishman is loyalty and the dedication that Sheeran showed to Bufalino throughout their entire lives is deadly, but even more strangely inspiring. To see De Niro and Pesci play these hardened mobsters that have known each other and done business together practically their whole lives is not just reflective of the actors themselves but made the cohesiveness of the story perfect. All of the supporting performances were fantastic as well, including Anna Paquin, Harvey Keitel, Jesse Plemons, and Ray Romano. The latter two are definitely not who I would have expected to be cast in a mobster film such as this, but they were excellent as their characters. As for Paquin, many people have been complaining that she only has one line in the entire film but to me, the fact that she was able to give one of the most emotional performances as a supporting character while almost entirely nonverbal just amplifies her talent as an actress. The CGI de-aging of these leads in the younger parts of their lives apparently took up most of this budget but I believe that it was both deserved and utilized. The de-aging looked surprisingly natural and thankfully, did not distract from the powerhouse performances from this legendary cast.

The Irishman is a fantastic story of one man getting involved with the mob and changing his life forever. With interweaving subplots and fascinating characters, this film proves to be an epic tale that will go down in history as one of Scorsese's absolute best modern masterpieces. Almost four hours might be a challenge for some people, but I promise that everyone will be greatly rewarded if they are able to stick it out to its grand end.

My Rating: ★★★★½

Columbus (2017) directed by Kogonada

I find quiet, comfort films very hard to come by as it is often difficult to make a soothing movie without a lack of conflict. Thankfully, after hearing so much about this particular film, I can safely say that no other movie has really made me feel at peace with the relative stasis of my current life. Kogonada's Columbus is an outstanding piece of art that meticulously personifies the worries and wonders of complacency and figuring out what each person has been put here on Earth to do. This film provides such an excellent look into these two different characters and the anxieties and hopes that they share about the simplest things in life. The hilarious John Cho takes such a fantastic dramatic turn paired with a powerhouse of an emotional performance from the typically supporting Haley Lu Richardson. Together, they work so fluidly with the mind-blowingly stunning cinematography to make this film one of the absolute best of recent years and perhaps even the decade.

Aspiring architect Casey (Haley Lu Richardson) lives in the small town of Columbus, Indiana, taking care of her former addict mother and working at the local library. When a famous architect that she looks up to falls into a coma, his son Jin (John Cho) flies from Korea into the same small town. As the two strike up an unlikely friendship, they bond over not just architecture but their individual anxieties and the minute peculiarities of struggling with what we as people are meant to do with our lives. Kogonada's incredible script and direction throughout this film definitely elevate this otherwise simple story into becoming instantly mesmerizing. He is a fantastic storyteller who definitely knows how to get into the minds of his audience. The dialogue, in particular, is so refreshing and honestly calming to sit back and see how much I forgot that these two actors were just doing their job and were not actually their characters. While his film absolutely radiates an indie tone, Kogonada is not afraid to use his cast to relish in the rare simplicity of making a lasting friend in a small town. The performances from these two leads also help in bringing out the raw, authenticity of this film. Cho and Richardson are fantastic together and while they are playing parts that are out of their usual realm, the chemistry between these quietly broken people is spectacular. I also appreciated how this film directly addresses the expected romantic tension between Casey and Jin. While they are far apart in age, I never felt any of that in them and Kogonada absolutely succeeds in telling their story distinctly and differently than would be seen in something more mainstream.

Wanting to leave somewhere that doesn't feel like home and wanting to stay somewhere that seems too distressing to abandon are such obviously different feelings for one person to have but this film presents this dynamic in the most beautiful way. Through the characters of Jin and Casey, these experiences prove to be universally true. Their relationship develops as they display these characteristics and the resulting conversations between them about what they want from their current situations are phenomenal. All Jin wants is to sort out his relationship with his father and all Casey wants is to maintain the balance in her life with knowing that going to school will better it. Leaving what they are comfortable with for what is best for them is this film's best theme, though, which I find extremely satisfying due to their reversal of narrative at the end. I also adore how Kogonada took a basic premise of two strangers forming a friendship and turned it into such an honest exposition of the yearning for something that people often think they don't deserve. Casey not wanting to leave for college due to the fear of leaving her mother alone is realistic but so earnest and heartbreaking. Everyone can relate to wanting to pursue their passions but not being sure how to go about it without disrupting their current life. This film happened to hit me hard at this point in my life, as I'm currently at a crossroads with what to do. For years, I have been relatively sure of my path but this might be the first time that I have ever had doubt in my passions. Kogonada does such a good job of embodying this anxiety about the future, especially through Richardson's Casey, and her character is one that I actually feel was written just for me. I don't necessarily see that as selfish, however, because of all the reviews I have read of this film, everyone seems to get hit by something different (and for varying reasons). If a filmmaker is able to get distinct messages across to their audience while simultaneously telling a beautiful story, then they have most certainly done their job right.

Elisha Christian's solitary cinematography with Kogonada's breathable editing makes this film the gorgeous experience that it deserved to be. This film is an undeniably complex narrative wrapped by its very pleasant storytelling and the almost minimalist use of movement and framing through the camera helps to tell that. The constant theme of architecture helped to establish the environment throughout this film, as these characters explored the city and saw themselves in these pieces of art. Nearly every shot was still and slightly off-center from its subjects and this dissymmetry fuels the plot. No one's life can be acutely perfect and this theme of mild misalignment fits these characters charmingly. I also loved Kogonada's editing and how his use of entire scenes in one still shot drowned me in its beauty. Despite Casey and Jin's friendship growing throughout this film and me sitting next to one of my closest friends while watching this, no movie has ever made me feel as alone as this has. Which I say not to receive pity but because the story is so isolated, making me really focus on the similarities to these characters. Everybody has life choices that they regret or wish they had done differently but this film shows its audience how it is not bad to want something else entirely. Just like Casey felt alone in not wanting to leave her mother, I felt alone in resonating with her conflicts, and sometimes not even the simple pleasures of making a friend can change that. The sound design in this film is so crisp and perfectly representative of this all too, as it is nearly quiet during its entirety. This not only created such a sensory experience but helped me fall in love with this little town and all of its personal struggles.

Columbus is such a muted reflection on self and personal motivation that has easily become one of my new favorites. This film might not exactly strike the same cords for others that it did for me, and that's perfectly fine. But there's something extraordinarily comforting about knowing there are people out there, fictional or nonfictional, that struggle with the same debilitating inner conflict that I often do. And to see this perfectly represented in such a simply gorgeous, brilliantly performed story is more than enough to completely win me over.

My Rating: ★★★★★

Free Fire (2016) directed by Ben Wheatley

One of my favorite cinematic collaborations between an artist and studio from films of this decade has been between Brie Larson and A24. While only having been in three of their films, the pairing proves to be a powerhouse of talent, despite this film being a huge change of pace from her Oscar-winning role in Room. Ben Wheatley's Free Fire is an excellent shoot-'em-up film and the perfect vehicle for Larson to show off her darkly comedic side. Surprisingly, this film doesn't completely capitalize on the inclusion of her but plays with its entire cast in an endlessly entertaining way. Set in only one location for its entire duration, this movie never ceases to be a joyride of backstabbing, gun-blasting action along with its clever wit. Its entire cast is incredible and the simple, tight script makes for one of the most rewatchable stories of recent years. Going into this film, it is quite easy to predict that something will go wrong, but there is no denying that its straightforward and hilarious execution makes it all the more enjoyable.

Set in crime-ridden, 1970s Boston, foreigners Chrissy (Cillian Murphy), Frank (Michael Smiley), and some of their men are in America for a discreet arms sale. Exchanging with Americans Ord (Armie Hammer), Vernon (Sharlto Copley), and their henchmen, they are hoping that the sale will go smoothly but when complications arise, realize that will not be possible. Mediated by the unnervingly calm Justine (Brie Larson), the warehouse eventually devolves to chaos as the two gangs turn against each other and turn this one location into their own personal shooting range. Cheap comparisons are usually never a good thing to rely on, but the similarities that this film shares with Tarantino's Reservoir Dogs is incredible. Both of these movies never stop being entertaining despite their limitation of one location and while the iconic filmmaker's 1992 film revolves around the aftermath of a heist gone wrong, this film directly deals with the blaringly loud action of the gunfight itself. This film's script, written by Amy Jump and Wheatley himself, is so exciting and gives so much life to this story and all of its characters. Free Fire is a very basic premise for a film: set up an arms deal, have the two sides disagree over something, and result in an enthralling shoot-'em-up that will leave the most devoted fans of action satisfied. This plot is so excruciatingly simple but completely effective when it rather focuses on the humor and its characters. Despite many of the henchpeople looking and sounding alike, the characterization of each one made them so unforgettable. Justine's no-bullshit attitude, Ord's smooth-talking demeanor, and Vernon's ridiculously campy quirks are just some of what makes this cast so fantastic. The standout, however, is Vernon's henchman Harry (Jack Reynor), a total wild card who is simultaneously unrestrained with his mouth and trigger finger. Reynor does a great job playing a flagrant asshole and along with the rest of this cast, brings so much to the table when it comes to making their interactions and subplots delightful.

A film about a gunfight wouldn't quite be complete without guns and luckily, this film has plenty to deliver. The action scenes (which are practically everything past the first twenty minutes) are fantastic and provide for such a thrill ride, making you feel like you're constantly on your hands and knees and never letting you safely get up. The biggest thing that I got from Free Fire that made me enjoy it more than I probably should have is the fact that I knew a lot of these characters were going to die. I already had those expectations and when the consequences began to get more intense, my main wonder wasn't who was going to die but rather who was going to make it out alive. This made way for some excellent tension between the characters, as well as so much surprising comedy. There is an unescapable playfulness to this entire film due to its dialogue and the relationships between these gang members and the tone of this story is what makes it so glorious. The nonstop quips back and forth between the characters and Ord's reckless motivations are incredibly hilarious. Every character in this film is funny in their own right but another element that made it feel so genuine was its real-time, almost improvised plot. The comedy and plot choices throughout this movie honestly could have been ad-libbed and I would not have known the difference. While this is an obvious turn-off for many people looking for a stronger story arc, this film knows exactly what it is and is not afraid to play around with some of the tropes of the genre. Thankfully, this film was only an hour and a half long and while this made the struggle for power between these characters and the ending shot so unbelievably satisfying, it also left me begging for more.

Free Fire is one of the most simple yet purely fun films that I have seen in recent years and its premise is more than enough to satisfy my cinematic needs, all while not overstaying its welcome. I love Brie Larson, I love the bottle style, and I love all of this film's impressive technical aspects to make one room seem boundless with storytelling potential. Despite some of the supporting characters blending together and some being more prevalent than others, Free Fire packs more than enough firepower to keep its audience on their toes.

My Rating: ★★★★

Ford v Ferrari (2019) directed by James Mangold

Few things in this world are more exciting than the dirty, rapturous feeling of being in a racecar going almost 200 miles per hour. While not everyone has physically done that before, this cinematic experience will make you come damn close. James Mangold's Ford v Ferrari is an excellent and thrilling true story that puts its audience in the drivers' seat and doesn't let you unbuckle until it's over. I grew up in a family where racing and the history of cars was very important, but I knew practically nothing about this story going in. I was very pleasantly surprised to get not only one of the most fun theater experiences of this year but to learn a very critical milestone about the history of American racecars. With expectedly fantastic performances from Matt Damon and Christian Bale and pitch-perfect storytelling from Mangold, this movie is one that will please crowds of any genre, any age, and will leave them catching their breath.

For six years from 1960 to 1965, Ferrari has won a race in France known as the 24 Hours of Le Mans. When the Ford Motor Company fails to buy out Ferrari after they go bankrupt, they decide to build an American racecar of their own to compete with the undefeated Italians. To do so, they enlist the help of Carroll Shelby (Matt Damon), revered driver and manufacturer of the Shelby Cobra and Ken Miles (Christian Bale), an English engineer who is known to be absolutely ruthless and clever on the track. Together, they work with Ford to get a shot at taking down Ferrari at Le Mans. The script throughout this film is incredible, providing a very entertaining story that is so successful at making you feel for these characters and their fight to win. I could definitely tell from the opening scene with its narration that this was a James Mangold film. Whereas something like Logan inserts the western genre and its dynamics into a superhero film, Ford v Ferrari inserts the western genre into American racecars. At its core, this movie is a racecar western with two clear sides of good vs. evil and this constant theme throughout Mangold's films is fascinating. Other ones that exist so prevalently are hard work, dedication, and the intense drive to beat their enemies and show the world the American way. My favorite aspect of the entire film was seen in how Shelby and Miles really crave competition more than anything. If Ferrari isn't there to compete, then they don't see much of a point in building their car. They know that without someone worthy to compete with, their victory would not be as sweet. This element of the script fascinated me the most and was a very original take on a sports film such as this. Even though the characters don't have much of individual arcs and the way this true story was told was fairly standard, it was interesting regardless to see how they all played into the overall narrative of pushing Ford to build the fastest and most powerful car in the world. 

More than anything, Ford v Ferrari is an astounding look at the history of American car racing and the struggle to keep up with technology in the 1960s. This time period was one of the most culturally influential and important decades of the last century for America for so many different reasons and this film explores a big part of that. But of course, when you're watching a film about racing, one should rightfully expect some roaring, adrenaline-fueled action sequences. Which this film absolutely delivers, as it proves to be probably the best action film of the year. The racing scenes throughout this movie truly make you feel like you are sitting in the passenger seat and these exhilarating scenes are such pure fun. There's really no reason why anyone would need to go to a racetrack to get the exterior feelings of having your core rattled by these machines when you could simply go to a theater and get the same experience plus a solid story. The sound design and Phedon Papamichael's cinematography definitely helped with this experience, enhancing each and every shot that the cars would zoom by or rev their unstoppable engines. What I enjoyed most is how they were also able to depict such strong feelings of anxiety and loneliness while some of these drivers sat behind their wheels going ungodly speeds. Damon and Bale's performances also help to carry the flow throughout this film and their chemistry is incredible. They are both such wildly talented, fantastic performers and it was obvious to see how much passion and research they put into telling this down-home, American story. It was also nice to see Bale utilize his normal voice for once and I feel like it definitely made him all the more comfortable as well.

Ford v Ferrari is exactly what I wanted it to be: a perfect balance of fantastic racing and compelling story. Knowing almost nothing about racecars going in, I'm so glad that I was able to still enjoy myself going out. This movie is the perfect thrill-ride that 2019 needed before it ended and I would not be surprised or upset if Damon and Bale snatch up a nomination for their incredibly solid performances. One thing is for sure, though: if every modern race was shot like this film, I would be watching a whole lot more NASCAR.

My Rating: ★★★★

Rattlesnake (2019) directed by Zak Hilditch

There are boundless opportunities in the genre of horror to create something unique. Whether it's a creative choice in some motifs throughout a film or just something so outright wacky that is hard to forget, pretty much anything and everything has already been done. Which is why an original take on an existing trope is so much fun to watch. Netflix's new horror film Rattlesnake takes what could have been a solid short film and stretches it out by its coiled tail to a dreary, hour and a half movie. This story does not do anything wrong by any means, as it does have its mildly thrilling scenes and plays its story by the numbers, but it's the lack of creativity that kills me. It is painfully obvious that this streaming conglomerate has an abundance to spend on throwaway films like this, but I do love how they are able to use their money to give a bigger platform to rising filmmakers. I don't know what else I was expecting from Rattlesnake, but it's time for another review of the latest, abysmal, wildly forgettable, Netflix original horror film.

Katrina (Carmen Ejogo) and Clara Ridgeway (Apollonia Pratt) are a mother-daughter pair on the road to start their new life. When they get a flat tire in the middle of nowhere, Katrina changes the tire while Clara accidentally gets bit by a rattlesnake. Seeking immediate help and worrying about the life of her daughter, Katrina takes Clara to a lone trailer, where she finds someone to help, but at the cost of making a deal with the devil. Sound spooky? It's not. It's one of the biggest and most familiar tropes within the horror genre to have the lead characters get stuck somewhere, encounter possible tragedy, and have to deal with the supernatural in order to get out. This film follows those exact beats to a tee and does not dare to take any semblance of risk while telling its story. One might also think that the rattlesnake from the beginning of the film would have a lot to do as a motif with guiding this lead character, but one would be wrong. The snake is merely a gateway into the typical, robe-wearing, Satan-worshipping cult that requires a sacrifice to maintain the "good" that they have done. I am so exhausted of seeing plot devices like these in horror films and while many modern horror films rely on those same tropes, at least they provide something new. Great cinematography, an outstanding breakout performance, perhaps a connection to a larger universe. There is a world of possibilities to explore when drafting a horror film such as this one, but why take bold risks when you could easily satisfy audiences with the mediocre and predictable content that they really want. 

I will try to keep this review nice and short, but even if I was intensely passionate about this film, there would not be much to write about. Every aspect of this story's production was incredibly bland and there is little to no substance for me to even begin talking about. This film does not ever attempt a message at a deeper level other than a mother's undying commitment to protecting her child, but that was just enough to keep the story afloat. Nothing is particularly horrible, though, as the cinematography, editing, and overall design work just fine. There is just not enough imagination to make this movie escape its dull execution. Some elements of this film that I did enjoy, however, are its performances and the mother-daughter dynamic that was the focus of this movie. Ejogo and Pratt are both solid in their roles as Katrina and Clara and I applaud them for making the most out of what they were given. You can always tell when a cast is giving their all to telling a story and at least Ejogo was not boring to watch. Her characters' relationship with her daughter came from a place of pure love, one that she would do anything for and this drive kept the film going, but that's about it. It's films like these that make people believe I am too harsh on movies or that I'm not fun to be around during movies. I can't always promise that I will love every film I see, but it's hard to just let them be when generic, overplayed stories like this are still being funded. I really don't want to constantly shit on everything that Netflix puts out because they do spend their money relatively wisely on fantastic new content. And I don't want to be so pessimistic about the state of their new releases, but I suppose that I require a dip into the pond of less-than-talked-about films every once in a while to keep my standards in check. Hence, Rattlesnake.

Rattlesnake is a complete and utter waste of time, abandoning any hope for some originality. In fact, if you're deciding to waste your time on something, make it something else. While I appreciate Netflix spending money on up and coming storytellers, it hurts more than helps them. If only their choices didn't give them a reputation of putting out mediocre trash, I would have much stronger opinions about their slew of original content. I'm just tired.

My Rating: ★★

Knives Out (2019) directed by Rian Johnson

The murder-mystery genre may be way past its expiration date, fading away with the likes of Agatha Christie and mystery authors galore, but thankfully Rian Johnson is here to reinvent the genre and revitalize it for our current day. Knives Out is a spectacularly fun and relevant mystery film that will keep you on the edge of your seat for its entirety. With its razor-sharp dialogue and satirically hilarious performances, it is impossible to not at least have fun with this. While this movie is rife with political topics and pop culture references, Johnson does an outstanding job of balancing its painfully authentic reality with what the story needs in order to stand alone as a fantastic mystery tale. Even though I had some minor issues with its pacing and style, Knives Out proves its effectiveness as a guessing game, making its audience constantly reevaluate what they think to be true. About halfway through this film, you might be able to figure out who did it but I can guarantee that this film will keep you guessing as to why until its very end.

Upon the untimely and apparent suicide of wealthy mystery author Harlan Thrombey (Christopher Plummer), his entire family reconvenes for his funeral and will reading and once again clash as families do. Among the invited is renowned Detective Benoit Blanc (Daniel Craig), who is hired to investigate whether it was actually a suicide or if there was any suspected foul play. Evaluating possible motives and sorting out family drama amongst the hostile Thrombey clan proves to be one of the biggest challenges, as the investigation is on to find out who's responsible. Knives Out is the best whodunnit made in years and its incredibly entertaining, airtight script only solidifies that. This is definitely one of the best experiences I have had seeing a movie this year, as the perfect balance of mystery and sheer hilarity from Johnson was amazing. There's no better way to bring this genre into the 21st-century than with plenty of pop culture references and relevant family and political themes. There is a surprising amount of political material throughout this film that was done insanely well; it does not entirely take a stand on either side but mostly exists to ground this story in reality. Johnson is not afraid to remind his audience that crazy people exist on either side of the aisle and his inclusion of these elements was very refreshing. Along with how unnervingly passionate people can get about politics, Johnson makes sure to show how delusional the modern American family can be. He does such a great job of making this family appear realistic by grounding their individual beliefs and personalities with such care. It is so clever to focus on how dangerous people, even your own family, can be in the face of financial inheritance and wealth, despite their masks of love and acceptance. All everyone wants in this story is money and the theme of greed rears its ugly head in the smartest ways. This film is so effective as a mystery as well, tricking you into believing one thing and then completely twisting you in the other direction. Whether you are looking for just a fun time or a deeper meaning, this movie has enough to satisfy fans of any genre.

Knives Out has an absolutely enormous cast of characters and they are what make this film so grand, as each role was chosen and performed masterfully. Each member of the Thrombey family was so unique and well-developed in their own, original ways and the performances from everyone were magnificent. I love how this whole cast embodies a different, almost archetypal type of character, from the self-made woman Linda (Jamie Lee Curtis) to the hip and very online aunt Joni (Toni Collette). From the playboy, bad boy Ransom (Chris Evans) to the alt-right, incel Jacob (Jaeden Martell), every character in this film is someone we have experienced before in real life, which makes this family as a whole so painfully believable. The very energetic, fast-paced dialogue from this whole cast is what keeps this film moving and what I love most is that the words these characters speak are much more than what you would expect from their respective archetypes. They all had their reasons for why they wanted their grandfather Harlan dead, which makes the many subplots and differing storylines so engaging. Through these characters, we also get so many comedic, memorable punchlines: everything related to today's popular culture, from Baby Driver to hitting a Juul. Out of the whole cast, however, the performance that I loved the most was the unexpected Ana de Armas. I was not quite sure how she fit into the family at first and I was definitely not expecting her to be this film's lead but she takes control of this story in the most captivating ways. Simultaneously naive and powerful, her role as Marta (Harlan's personal nurse and best friend) was such an amazing focal point for this narrative and de Armas is clearly able to handle her own. Her performance is absolutely stellar and while on one hand, she had the most emotional role of the whole cast, she is also able to handle the many layers of her character with such genuineness and elegance.

The only issues that I had with this film were its overall style and pacing. The direction and script from Johnson were incredible and keeps you paying attention to every minor detail, but this film is not nearly as stylish as I was led to believe. From its trailers, it seemed like Steve Yedlin's cinematography and Bob Ducsay's editing would only enhance the overall entertainment aspect, akin to what Game Night did for studio comedies last year, but the technical elements of this movie did not work too well for me. There was nothing wrong with the creative choices that were made, but I think that more could have been done to make this a visually more exciting film. It was interesting to set up this story through testimonials and flashbacks, but I felt like the pacing of many scenes also hurt the narrative. I started to lose focus a lot when these scenes went on for too long and I think that better pacing of the story would have kept me on my toes a bit more. The production design though? *chef's kiss*

Rian Johnson is such a versatile filmmaker and Knives Out is his shining example. This murder-mystery is unadulterated fun and surprisingly one of the most hilarious films of this entire year. With an unbelievably creative, tight script and a cast who seems to be having as much of a blast as I did, Johnson has clearly made one of the most original and exciting films of 2019. Trust no one, be suspicious of everyone, and never underestimate the cruelty of your own family.

My Rating: ★★★★½

Good Time (2017) directed by Benny Safdie, Josh Safdie

Further celebrating his tremendous, indie success of the last few years, I decided to finally give in and immerse myself in what seems to be everyone's favorite Robert Pattinson performance. Benny and Josh Safdie's Good Time is an excellently tense and stylish thriller that showcases exactly what makes their individual directorial style so unique while providing a powerful lead performance from Pattinson himself. Very tense direction, clever dialogue, and offbeat choices for its cinematography also make this film stand out from the rest of the slew of forgettable thrillers, despite this movie not taking many risks with its overall plot. This film attempts to tackle a few different themes throughout its runtime but more than anything, proves that no bond is greater than that of these two brothers. There were many parts of this story that lulled and while this film might not be my favorite heist thriller ever, I sure had a good time watching it (this is probably not the first time this joke has been made but you can't stop me).

Connie (Robert Pattinson) and Nick Nikas (Benny Safdie) are two criminal brothers who are on the run after robbing a local bank. When Nick gets caught, Connie has to navigate the strange and dangerous underworld of New York City in order to get the money and resources to get his brother back. This story reads as a very generic crime thriller, making the audience feel for these characters and ultimately ending with a lesson learned of some sort. What I love most about Good Time, however, is that while it might have come off as typical on paper, it takes that premise and mixes it up with the Safdie brothers' idiosyncratic filmmaking style. The mesmerizing direction from this pair of filmmakers is incredibly stylish and the way that they are able to build New York in their own style from the ground up is very impressive. Their use of world-building is especially important because as they lead this main character through the strangely neon streets, it guides him on an almost spiritual journey through his life and himself in order to get his brother back. Without this transcendent vision of New York that Benny and Josh had created, this film would not have been nearly as flashy, drawing you in with every last frame. The absolutely clever dialogue that existed in every word out of Pattinson's mouth was fantastic and the way that this fuels the interactions and adventure with Nick was amazing. Benny and Josh's unadulterated energy radiating from this film doesn't stop until the credits end and this aspect of its direction was fantastic.

All of Good Time's technical elements were executed beautifully and while the peculiar, stylistic choices that the Safdies made might not work for some people, it was just weird enough to work for me. Especially in Sean Price Williams' cinematography, as it basically broke every rule of how you are supposed to shoot an action-thriller such as this one. His reliance on close-ups and tight shots during the most exciting and brutal sequences contrasted with his use of single take, wide shots during the car chases were phenomenal. This strange use of the camera takes a bit to get used to, but the boldness of making these cinematographic choices is undeniable. Pattinson and Safdie's performances were also incredible and I have especially not seen the former as unhinged as he was throughout this story. I love crazy, blonde, Robert Pattinson and he wants the world to know that they should too. My issues with this film, however, are that its story can seem to be a bit unfocused at times and the inescapable feeling of the lazy plot. This film followed Connie as he tracks his brother down, but he just simply went from place to place without the use of any callbacks or references to connect these plot choices. Personally, it felt a bit messy and led to me feeling like the plot was a bit too generic as well. Thankfully, the audience has the Safdie brothers' hallucinogenic direction to fall back on that carries the mildly feeble script. Even for a film with this memorable and nearly avant-garde directorial style, because of this lack of motivated screenwriting, it did not have much to say either.

Good Time is a film that I will be thinking about for a while; not just because of the strange zoom in upon Robert Pattinson's entrance in the first scene, but because the film as a whole was not at all what I was expecting. The Safdie brothers know exactly how to balance exciting drama and unanticipated comedy so well and they brilliantly prove that throughout this nonstop adrenaline ride. I can't wait to see the wonders they do with Adam Sandler in December.

My Rating: ★★★½

Honey Boy (2019) directed by Alma Har'el

It takes a lot from a filmmaker to drudge through their troubled past in order to craft a tender, coming-of-age story, but Shia LaBeouf has proven that he can do just that. Honey Boy is an incredibly raw look at LaBeouf's life as a young actor and how his alcoholic, criminal father supported him in his childhood. This story has a lot of heart to offer its audience through an often hard-to-watch narrative that is as real as it is meticulously sweet. My biggest concern going into films that are both about and made by a certain celebrity is that they will become too conceited and lean more on the side of exaggerating their success. Thankfully, this semi-autobiographical movie is a completely egoless telling of LaBeouf's upbringing and it couldn't have been performed as honestly as it was without its excellent cast either. While the narrative itself has trouble building, this film is a sincere reflection of mental health and the dangerous side of growing up in the spotlight.

Raised to be a child actor since birth, young Otis (Noah Jupe) has a very complicated relationship with his father James (Shia LaBeouf), practically paying him to be a mentor. Contrasted between 1995 and 2005 when older Otis (Lucas Hedges) is in rehab, Honey Boy follows the life of this young star as he attempts to balance maintaining his childhood, the troubled man that is his father, and his dad's accompanying sobriety and toxic ego. While this film was not completely autobiographical, the names of the characters and lots of minor details were changed in order to suit the story. This script, written by LaBeouf himself, was incredible and was able to transport me into his mindset as a young boy. The core of this story is the relationship and power dynamic between Otis and his father James, which was an obviously rocky one but made for the absolute best elements of this whole film. Having to handle your often manipulative and abusive father while trying to salvage the innocent, vulnerable moments of your own childhood was depicted extremely well and told with such care that it's easy to forget that this was not a fictional story. The dynamic between Otis and James was further explored as the older version of Otis struggled with his life in rehab. This contrast between his rehab and his father's AA meetings made for such an interesting narrative on how we as people try not to grow up to be the people that we despise. What I also loved, however, was that we saw Otis' life from James' point of view as well. Although it might have been a bit harder to sympathize with a toxic, former criminal, it was very responsible and brave of LaBeouf to tell this story with such grace. I adore how honest and egoless this entire film is about his personal mental health and the damage that his father did to him over the years. LaBeouf really does continue to impress me and his storytelling executed by Alma Har'el's tender direction makes this heartfelt drama all the more authentic. Har'el was a fantastic choice to direct this film, as her balance of inherent comedy with the personal drama was incredible.

Honey Boy's story would not have been nearly as beautiful as it was if not for the performances from the three leads. Jupe, LaBeouf, and Hedges are practically what this film relied upon and they did not disappoint whatsoever. All three of them were absolutely amazing in their own right and brought such different energies into playing out this story. The transitions between Jupe and Hedges were flawless and the way that they were able to embody the different life stages of LaBeouf's personal tragedies and trauma was so raw and well-done. As for LaBeouf, it must have been incredibly painful for him to play his own father figure and assume that role of basically shaping himself. Confronting the old wounds that shaped you into the person you are today is never easy and his performance as his father was very emotionally motivated. My only issues with this story have to do with its lack of plot development and its awkward self-awareness. Despite the sensitive and beautiful subject matter, I was expecting a bit more of a dramatic finale, as I feel like the plot itself did not build up to anything. It is based on his true life, but I could not sense much of an arc with him and his dad. LaBeouf is playing his own father, after all, interacting with an actor who is playing a younger version of him and while it is undoubtedly an interesting take on a life story, it can get a bit too meta at times. Thankfully, it was not over the top but there were certain lines in some scenes that I feel were only written to remind the audience that the whole story would eventually come full-circle. I also wish that the film would have taken some more time to get more into Shia's earlier acting work as well as his personal life, but still, the focus on his relationship with his dad was more than enough to provide an engaging story.

Alma Har'el's first narrative film is a tremendous success in honest storytelling and one that could have truly only been written by LaBeouf himself. Containing every mark of a small-scale indie film, this story of a young boy's struggles is told so carefully and honestly that it's clear to see how important it was for LaBeouf. Whether it's a true story or not, this kind of heartfelt filmmaking is what I enjoy most and this crew does not fail to deliver.

My Rating: ★★★★

Waves (2019) directed by Trey Edward Shults

Picture this: me, excited about my first film festival but sitting in the theater as the credits rolled and letting out a huge sigh of relief after realizing that this gruelingly emotional film was finally over. Waves is one of the most impactful and purely emotional films that I have seen this year, but not necessarily in a good way. Trey Edward Shults' modern drama about a suburban family and their spiral after a personal tragedy is a story that I desperately wanted to be able to cling onto, but the seemingly random inclusions of many plot points threw me for the worst possible loop. While this film definitely has its effective moments and I enjoyed some parts more than others, the story as a whole is never able to come together to tell its audience anything interesting. The performances were fantastic and the film itself looked gorgeous but narrative coherency makes or breaks a story for me and Waves was unfortunately beyond repair.

This film follows the suburban lives of a family made up of Catharine (Renée Elise Goldsberry), Ronald (Sterling K. Brown), and their children Emily (Taylor Russell) and Tyler (Kelvin Harrison Jr.). Struggling with the already challenging task of having two teenagers in the house and balancing all of their changing lives, the family is shattered forever after they must learn how to navigate love and loss after a personal tragedy. This exhausting movie had the potential to be a much more well-developed exploration into a typical, suburban family and how their world is turned upside-down, but the execution of this story is what holds it back from that. Waves not only vastly overstayed its welcome but it felt like it was never going to end. The biggest issue with this film is that Shults' direction makes it feel like two entirely different films. I really enjoyed the first half for what it was and I really enjoyed the second half for what it was, but the combination of the two and transition between them was far too jarring. The shift in perspective from Tyler to Emily is a narrative choice that I can understand but because of the lack of focus on anybody except Tyler in the first half, I could not muster up enough energy to care about the characters after that. Because of this, the whole film was paced extremely awkwardly and it would have been much more cohesive is it had focused on the entire family dealing with the tragedy rather than one character at a time. I very much enjoyed Emily's perspective and how it was more of a coming-of-age film (underwater scene and all), but her story felt more like a second episode of a series rather than a subplot for the overall movie.

Due to both the dialogue and clichéd personalities of these characters, I could not see past this film's mediocrity in its script either. I can understand why other people might be affected by this much more than I was, but I was just not that moved by Schults' storytelling abilities at all. There was a single storyline throughout this film that these characters should have revolved around but Schults kept pulling out emotional stops in the script and with unnecessary subplots that I could not see why anyone would care for. It almost seems as if he was trying to put too many tragic and emotional elements in one film just for the sake of making the audience sad, but they were not introduced early enough for me to even care for; hence the inclusion of Lucas Hedges' aptly-named character Luke. The awkward, sloppy direction made this film very hard to watch and I honestly kept wondering when it would finally be over. Don't get me wrong, this film had its excellent moments of solid drama and genuinely shocking content but the execution and dullness of it all are what kept it from becoming something more. Waves also changes its aspect ratio four times and while it kept me intrigued, I still don't entirely understand the point of that creative choice.

Luckily, while this movie was a huge miss for me emotionally, there is no denying that the story itself is set in a beautifully-colorful world partnered with some incredible performances. Harrison Jr. and Russell are especially fantastic, as they portray these siblings so well through their tender chemistry. Both of them were able to show off their acting talents best, however, when they were in their separate stories. I would have liked to seen Harrison Jr. lead this entire film or Russell lead this entire film because their individual stories almost felt like they were competing. They were undoubtedly fantastic, though, and the addition of Sterling K. Brown's fatherly, soothing voice was just the cherry on top of this perfect cast. Even though I did not feel much out of this experience, all of the artists involved really helped to at least try and get some relatability out of me. I can plainly see what these filmmakers were going for, but I do still think that Schults relied way too much on his indie direction and the hip soundtrack rather than his characters.

I'm very disappointed that I did not end up enjoying Waves as much as I had anticipated but at least I got some solid performances from the whole cast. It's never good when I'm watching a movie and simply waiting for it to be over, but this film just really did not work for me. Despite my gripes with its direction and careless storytelling, Waves has every perfect mark of an A24 film and I will not be surprised if this is able to resonate with many more people.

My Rating: ★★½

Dolemite Is My Name (2019) directed by Craig Brewer

The biopic is very tiring to me, as there really isn't anything new that the genre could give to its audiences, other than often Oscar-baiting performances. Or so I thought until I was vastly impressed by Netflix's new Dolemite Is My Name. This film is an astounding biopic that adds refreshing elements to make it actually stand out amongst the rest. With Eddie Murphy making a triumphant return to the screen in this hilarious role, this film was much more entertaining than it had any right to be. While the narrative itself is extremely by-the-numbers, the pure comedy and refreshing believability that this whole cast exhibit was all that it took to get me invested into this story. Not to mention that I actually learned something new (about the blaxploitation film era), which is more than I can say for other films in this genre. While some of the dialogue and arcs can be a bit clichéd, there is no denying that this was the perfect vehicle for Murphy to make his comeback.

After releasing multiple albums of his rhyming and obscene comedy hits, Rudy Ray Moore (Eddie Murphy) decides that he wants to do something more than just standup comedy with his career. Upon realizing that audiences see the same, boring, white people do the same, boring, white people stuff in movies, he decides that he wants to try his hand at adapting his stage character named Dolemite to the big screen. With the help of his friends Jimmy (Mike Epps), Ben (Craig Robinson), Toney (Tituss Burgess), a screenwriter named Jerry (Keegan-Michael Key), and famed actor/director D'Urville Martin (Wesley Snipes), they set out to make one of the most classic cult films of the whole blaxploitation era. The only film that comes to mind when I discuss how effective this film is would be James Franco's The Disaster Artist. These two movies share a lot of similarities with how simultaneously educational and entertaining their subject matters were presented. While they both talk of the behind the scenes story of some cult-classic films, Dolemite Is My Name is much more centered on telling Moore's career story as well as the making of the film. This part of the script is what I adored the most, as the audience really gets a better look into what made Rudy Ray Moore such a cinematic icon in the 1970s. This balance of the two stories was amazing and elevates this movie into something more than just a true story. The humor that is infused in this film is also done so cleverly, in both the meta-recreation of the scenes and in its own self-aware goofiness. The whole cast puts in their all and knows that the story they are telling is mostly lighthearted, but has its fair amount of genuine drama too. Another huge aspect of biopics that gets on my nerves is when they start out and show the protagonist as a child and their upbringing. While this is good for any future callbacks and development of them as a person, it has almost become unbearable to see this kind of storytelling. I am so glad that this film avoided that trope and instead, like a better-written film, explored Moore's childhood through its dialogue and subtleties in Murphy's performance while focusing on his career ups and downs as its timeline.

A biopic made to tell the story of a famous musician/actor/celebrity can only go so far with its creativity while still being able to tell its basic story, however. This is really the only point in which Dolemite Is My Name has any issue. This film brings so much more to the table than one would expect, but the dialogue and overall direction from Craig Brewer were fairly generic and very risk-averse. This kind of storytelling is effective regardless, but I wish that some more creative choices with the editing or cinematography would have been present to keep my visual interest a bit more sustained. This does not change, however, how powerful and flexible Murphy is with his performance as Moore. Murphy's incredible portrayal of the late comedy star was the perfect way for him to come back to making movies. Murphy was able to elegantly showcase his signature, dazzling comedy while also giving off a surprisingly solid dramatic side. I would not be surprised if he picks up a nomination in February, as his performance was so all-encompassing of the kind of man that Moore actually was. While this biopic focuses on its lead and supporting characters, the subplots and accompanying themes were great as well. I loved how Dolemite Is My Name touches on so many different problems with Hollywood at this time, including the misrepresentation of black culture in film, over-sexualization of women, and exploitation of the genre by white producers and studio heads. There is not much that we as audience members can do to go back in time and fix these problems that Moore faced, but the fact that the film addressed them and showed how aware Moore was from the start was very important.

Dolemite Is My Name is a fantastic and wildly entertaining biopic surrounding the career highs and lows of Rudy Ray Moore, comedy and film legend. With some incredible performances from the entire cast, particularly Murphy and Snipes, this film is undoubtedly one of the best pieces of art that Netflix has put out this year. From its historical accuracy and presentation to its funky soundtrack, this is how you tell a true story.

My Rating: ★★★½