Little Women (2019) directed by Greta Gerwig

Well, this is really the best and most honest film about writing and criticism that I have seen in forever. The absolutely delightful Little Women is Greta Gerwig's newest adaptation of the classic Louisa May Alcott novel and one that succeeds in all of the right areas. I do not have any experience with this story other than the knowledge that it is about a family of sisters but that never deterred me from being excited about this film. I thought that with the wildly talented cast and Gerwig's heartwarming direction that I would have a loving time with this film and I was absolutely right. Whether or not a viewer is actually a fan of the novel or is simply in the theater to support Florence Pugh (guilty as charged), there will be something in this film to satisfy everyone. With some incredible performances and dialogue that will ring true for years to come, this movie is yet another remake that excellently captures the tone of the original novel with a bit more of a modern take.

Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) March are four sisters growing up in the time period directly after the Civil War. Being raised by their mother Marmee (Laura Dern), the girls must learn to adapt to their changing lives and grow into themselves while navigating their personal passions as women and their love lives, including the likes of the young and dashing Laurie (Timothée Chalamet). Following up on her directorial debut in 2017's Lady Bird, Greta Gerwig returns with the emotional powerhouse of Saiorse Ronan to adapt this classic story into a beautiful, more modern take on this story. While it still has all of the same dynamics and qualities that women in this time period would, I really enjoyed how Gerwig handles telling these characters' stories. Each sister was given plenty of time to develop on her own and their individual love lives and careers were fleshed out so beautifully. I particularly enjoyed the way that Gerwig's script transforms this novel into dialogue that can apply even today. One of the defining parts of this film that has resonated since even the book was released back in 1868 was its shining feminism. Alcott is obviously one of the most revered champions for women back in this time and her timeless message that women are able to be their own people and decide upon their own lives still makes its way through in this film. My only issue with this movie that hurt my experience quite a bit was the pacing and order of the story that Gerwig decided to run with. The original novel contains flashbacks going back and forth between a gap of about seven years and while this film attempts to do the same, it became very distracting for me. There were some gorgeously-designed transitions but I had a very hard time following the timeline. A lot was done in the design of the characters' clothes and in the color correction that helped me out a bit but it took a while into the film until I was really able to delineate between the two different timelines.

Although I might have a bit of an issue with Gerwig's direction, there is no denying that she can handle this emotional and important story with such poise and grace. I could not have seen any other woman filmmaker working today adapt this story as well as she did. This would not have been as powerful, however, if not for the dedicated and absolutely astounding performances from the four sisters. Ronan, Watson, Pugh, and Scanlen all have fantastic chemistry together and their believability as sisters is unmatched. Since each of their respective characters is so well-developed, I loved how they all got their time to shine and flex their acting muscles. Ronan and Pugh give particularly scene-stealing performances and the relationship between their characters was rocky but necessary. They are able to fully express every spark of joy, every bonding moment, and every ounce of sadness extraordinarily well. Dern and Chalamet turn in fantastic supporting roles as expected, but I simply can not get over how fascinating Pugh and Ronan made their characters. Especially with the former, as I have heard from some people how atrocious the character of Amy is in the novel and how much more humane and relatable Pugh was able to embody her. The cinematography and editing were honestly nothing extraordinary throughout this film but what really makes it pop is the production design from Jess Gonchor and costuming by Jacqueline Durran. The dresses and suits fit this time period so accurately and the almost muted colors depending on the type of scene really brought out this story's beauty. The production design of the houses and locations for these characters to interact in was gorgeous and did a fantastic job of showing the different wealth classes of the time, which in turn added to the already fascinating story.

Little Women is a fantastic version of the classic story about the March sisters and who better to handle their coming-of-age stories than Greta Gerwig. I adore the performances in this film, especially from Ronan and Pugh, and even though I had a bit of an issue with the chronology of it all, it is difficult to deny the absolutely wonderful environment that these talented artists build within the world of Louisa May Alcott.

My Rating: ★★★½

Uncut Gems (2019) directed by Benny Safdie, Josh Safdie

The most underrated skill that the incredibly talented Safdie brothers have is turning their actors into absolute powerhouses. Not that I ever doubted Adam Sandler's ability to turn in a dramatic role, but I can honestly say that I was not expecting something of this magnitude. Uncut Gems is an utter thrill ride, chock full of the Safdies' exhilarating filmmaking style that quite literally never eases up or lets go. I have not been this full of anxiety waiting for each coming scene since I first saw Whiplash and the frustration that comes with the story and the choices that this lead character makes all come together to make such an exciting experience. With the help of a career-best performance from Sandler and an entrancing score, the powerful direction from the Safdies draws the audience in and throws them deep in the diamond district of New York, never stopping for breath until the credits start to roll. This is the last film of 2019 that I have been genuinely excited for and I can say, without a doubt, that it has easily become one of the best of this entire year.

Howard Ratner (Adam Sandler) is a jeweler and diamond dealer in the bustling heart of New York City whose clientele includes the likes of NBA superstar Kevin Garnett. When Howard gets a shipment of a rare, Ethiopian gem that is worth over a million dollars, he lends it out to Garnett to bring him luck during his championship run. Passed around by an endless slew of characters and getting deeper into trouble, Howard has to fight to resolve everything in his life which is quickly getting out of hand. The Safdie brothers' direction throughout this film is what truly makes it stand out among other crime thrillers. Continuing their relentlessly uneasy style of filmmaking from 2017's Good Time, the direction from them makes this movie such a transcendent film to watch. The absolutely unfiltered, uncut chaos that courses through every scene is masterfully handled by them and I could not sit and breathe until the very end. I was hooked from the very first scene and even in supposedly calm scenes like the dinner party or the Ratner children's play, I was riddled with this feeling of knowing something was going to go wrong. This is definitely the defining feature of Uncut Gems and this also has to do with the fantastic editing from Benny Safdie himself and Ronald Bronstein, a frequent collaborator of the brothers. The way that they cut these scenes (and the gems, hehe) is fantastic and causes even more chaos for the audience to manage. The extremely hectic style that is transferred from filming to the edit is phenomenal. This film simultaneously terrified me of what might happen to Howard while enthralling me because I was so invested in his deals and could not help but to root for him.

I am not a fan of basketball nor do I know anything about the jewelry and gem industry but this film sure made me feel like I did. The Safdies' world-building is unparalleled in how well they are able to involve their audience in this film. The inclusion of Kevin Garnett and the Celtics basketball team was obviously a huge factor in this but the way that they incorporated their 2012 season into the plot of this film while still making it one of the best, modern crime thrillers is amazing. And when it comes to the dialogue and development surrounding the gems, I again had no idea what Howard was rattling off about in the scenes in his showcase of a store. This script does a great job of throwing viewers into the madness without any warning or sense of what these characters are like but the pure adrenaline rushing throughout these characters makes them all stand out as well. My theater during this film had a lot of great energy and by the time the utterly shocking conclusion came, it was obvious that we all shared the same tension and emotion towards Howard and his conflicts. Another huge part of this movie is the wild use of sound design. Just like in Good Time, the audio fueling this movie is absolute mayhem that feels like a million things going on at once. This sound design seems to be endlessly layered, which provides Uncut Gems with a huge part of its charm. This controlled chaos also says a lot about the Safdies' direction because as long as an audience member is actually invested into this crazy world, it is more than easy to make sense of the nonstop madness.

One of the most impressive aspects of this film, along with its mesmerizing direction, is the powerhouse of a performance from Adam Sandler. He has proven himself to be an absolute god among actors and I frankly would not be surprised if he could easily snag a nomination for this jaw-dropping role. Throughout the course of this entire story, I was never watching Adam Sandler: I was watching Howard Ratner. Sandler is nearly unrecognizable in this role, both in how fashionable he dresses and how fucking frustrating he makes every scene. The character of Howard is one that I could not see anyone but Sandler playing and while Howard is a bit too much of an asshole at times, there is an undeniable love that he portrays, both in his business and his family. The uncensored anger that I felt towards Howard is only elevated by his ridiculous choices but his ruthless, business side is what makes him so compelling. He only ever wanted to make things right by going about everything in a convoluted way and this led to such an interesting plot to follow along with. The supporting performances in this film are amazing too. Kevin Garnett was surprisingly solid and Lakeith Stanfield turns in another unforgettable performance but the main standout for me was Julia (Julia Fox). Her performance as Howard's mistress and eventual business partner was amazing and I can not wait to see the range of what she has to offer as an actress. More than anything, though, Uncut Gems is definitely a film worthy of a group experience and I can guarantee that everyone will leave changed people.

Uncut Gems is the most exciting film of this year, along with being one of my most anticipated. Adam Sandler works best when he is acting in a film not written or directed by himself and this movie is yet another example. The Safdies have worked an absolute miracle, turning this story and performance that honestly should not have worked into a masterpiece. I highly recommend this film and would also suggest taking some strong anxiety meds long beforehand.

My Rating: ★★★★½

Krampus (2015) directed by Michael Dougherty

There is no Christmas movie in the history of cinema that has ever gone harder than Krampus. This film is an incredibly well-made and entertaining twist on the typical family Christmas story while providing one of the most genuinely eerie monster stories of recent years. There is so much to enjoy about this film, as long as one is willing to just sit back and enjoy the chaos of it all. While the performances from the entire cast are decent and the cinematography is equally as creepy, the best thing about this movie that makes it so endlessly rewatchable is the slow anxiety and madness of family around the holidays. This fusion of horror and holiday drama makes for one of the most oddly relatable stories about family that I have ever seen, despite the age-old folktale of the evil Kris Kringle. Director Michael Doughtery excellently flexes his horror muscles and whether you are watching this for the yuletide family drama or supernatural horror, there is no denying that Krampus absolutely rips.

Young Max (Emjay Anthony) is part of a normal American family with mom Sarah (Toni Collette) and dad Tom (Adam Scott) and when he becomes too frustrated with them all, he gives up on his wish for a normal Christmas. After hearing from his grandmother Omi (Krista Stadler) about a spooky holiday legend, Max realizes that he has accidentally summoned an ancient spirit known as Krampus, whose main goal is not to give but to take. One of my favorite things that filmmakers can do to create original stories is to fuse genres. That does not always work, however, but Dougherty is able to mash Christmas and horror in such a flawless manner. This has obviously been done before in many B-films and cheap, forgettable bargain bin movies but the masterful way that Dougherty keeps the audience on their feet with all kinds of drama is amazing. Krampus does not turn out to be the scariest thing on Christmas, as this movie is really more of an examination into what it is about families that drive us to our breaking point. As we see Max's cousins and uncle Howard (David Koechner) arrive, this film feels like anyone's personal family reunion. There is so much hostility and ire when it comes to dealing with extended relatives and this, for many people, is the most stressful aspect of this time of year. This element of the film is what drives its paranoia and adding the supernatural threat of Krampus on top of that only makes this movie more effective. Dougherty does an excellent job with combining the antics of family around Christmastime, akin to National Lampoon's Christmas Vacation, with the suspenseful horror that comes with unleashing an ancient monster upon a small town. Once the Krampus parts of this film kick in is when the true horror comes out and the most enjoyable parts reveal themselves. The audience never actually sees Krampus himself until the very end and this anxious awaiting for the monster makes the payoff so worth it all. Horror works best when the audience does not actually experience it firsthand and Dougherty knows this all too well. He also definitely knows how to make a seemingly cliché horror premise incredibly enjoyable by toying with what makes it scary in the first place.

The cinematography and editing throughout this film are effective but the performances are what make these characters really pop. Adam Scott, Toni Collette, and David Koechner are all cast perfectly in this movie and while most of them are typically known for comedy, they are utilized in this family setting perfectly. Their interactions and the way that they all end up working together to fight against the incoming evil makes for such great development, as typical and generically efficient as it may be. There is also a very impressive animated sequence about halfway throughout this film when the horror begins that not only helps to tell the narrative but is a film in and of itself. However, the most impressive part of this entire film that helps sell it to me as an essential Christmas film is its use of practical effects. A lot of this film's technical elements make it one of the only Christmas films to not rely on CGI or gross monster effects and for that, I highly applaud it. The puppet work with the evil elves and the monster design of Krampus himself is truly horrifying and even for a PG-13 rating, this movie accomplishes so much with its visual terror. The only fully piece of CGI that this film contained were the gingerbread men but even they looked fantastic given the small budget. I will always prefer films that creatively utilize practical effects instead of wasting money on CGI and this movie puts so much effort into its spectacular design. No matter your stance on the corniness of Christmas films or the often predictability of horror films, Krampus provides an excellent new take on what can be considered a great holiday movie.

Krampus might not follow the exact details of its spooky folklore but the fact that Dougherty is able to introduce a new generation to this evil spirit in a Hollywood setting is fantastic. There are obvious flaws to this movie, the most obvious being its formulaic plot but I can not help myself but to absolutely love this story. Whether it's the adorable Adam Scott in a dramatic role or the mind-bending twist at the end, this film has become a personal Christmas necessity.

My Rating: ★★★★

Bombshell (2019) directed by Jay Roach

Once again, I have been shown that even the most mediocre and overplayed stories can be completely revitalized by its performances. Jay Roach's Bombshell is not typically the kind of film that would interest me but with the absolutely stacked talent of Charlize Theron, Margot Robbie, and Nicole Kidman, it was very difficult to ignore. One of the main reasons for my skepticism is my recency bias and the fact that I do not usually enjoy films that try to tackle such a sensitive subject in such a short amount of time, especially being written and directed by men. As important as this subject matter is, all films that capitalize on a recent event seem to be a political cash grab for me and for those reasons, I was turned off by this film. However, I am so glad that I was able to find a lot to enjoy about this, including the scene-stealing performances, creative cinematography, and decently witty satire regarding the horrible harassment that went on at Fox News. I am not huge on the way that this story was told but can appreciate the various elements that these performers brought to the table.

Megyn Kelly (Charlize Theron), lead hosts of one of the most popular Fox News shows, comes under fire after joining Gretchen Carlson (Nicole Kidman) in accusing former Fox Media CEO Roger Ailes (John Lithgow) of sexual harassment in one of the most controversial scandals of 2016. As the two of them fight to maintain their careers while taking down one of the most powerful men in media, Fox newcomer Kayla Pospisil (Margot Robbie) tries to jumpstart her career on television but quickly realizes the toxicity and dangers of the network that she is attempting to break into. As much as I prefer to avoid combining direct politics with film, this movie does not shy away from that at all. Subtlety is something that can be used in such a creative manner to tell the audience what the filmmakers want to tell, but Bombshell ditches that strategy in favor of direct reflection. This movie is not afraid to address its viewers with the terrifying reality that many women in the workplace face every day and I do think that director Jay Roach took a solid approach in telling these women's stories and what they went through. I do not think, however, that much justice was made for Kelly or Carlson in the resolution of this film that would make the audience feel any better or worse for them. One of my biggest criticisms is also that this film takes a major news event from the past few years and seems to utilize it to squeeze out some fantastic performances from its cast and direction from Roach. It succeeded in doing so but I could not help but feel during the entire duration that I was reliving key events leading up to the 2016 election through archival Fox news footage. These creative choices definitely help to cement this movie in our modern reality and make the audience remember how recent these disgusting events happened but this entire narrative just felt unnecessary.

Lots of points of authenticity are also a bit of an issue plaguing this film, due to Megyn Kelly herself not agreeing with some of its substance and Robbie's character Kayla being fictional. I can see why people would be upset with this take on a story that occurred in the conservative world, but as someone interested in film, it makes sense to me why they would need a fictional character to tie this narrative's message together in an easy-to-understand way. There are multiple points throughout this film, including at the beginning and a few minor nods in the end, in which the characters directly look into the screen and break the fourth wall. I appreciate what Roach was trying to do with these decisions, as he wants the people (especially women) watching Bombshell to stand up for themselves and fight back against inequality and toxic work environments. However, I could not get past the awkwardness of the direct attention given to the audience. Breaking the fourth wall personally never works for me unless it is done in a completely goofy, comedy setting where it is more appropriate and it did not work that well for me in this film. I did enjoy Kelly, Carlson, and Pospisil's narration throughout the film of what they were experiencing but I find films to be far more effective when they leave it up to the viewer to form their own thoughts. The fourth wall breaking would have worked a bit better for me if it had gone on throughout the entire film but since this movie is not necessarily a comedy, I did not see any point to it. I can obviously tell that it was included because of screenwriter Charles Randolph's experience with director Adam McKay but I just wish that Roach would not have tried so hard to mimic McKay's style.

It may sound like I disagree with practically this entire film's purpose but I actually did enjoy this story a lot more than I had anticipated. I was not too into politics a few years back when this scandal was taking place, so to hear the story now from the perspective of the women involved is undoubtedly compelling. And even though I did not particularly enjoy some of Roach's choices, I respect his way of directing Bombshell with ferocity and unrelenting passion. Regarding the story, I loved how it characterized Kelly, Carlson, and Pospisil as conservatives who were more concerned with their rights as women than their party. Politics obviously play a massive part in this film but even though the women accusing Ailes still held conservative beliefs, this film focuses primarily on their fight for their rights to be treated with respect in their workplace. The main aspect of this film that absolutely carried it all were the performances from the three leads. Theron, Kidman, and Robbie are all unbelievably amazing in their roles and they flawlessly embodied these people. Theron and Kidman are almost unrecognizable with their makeup and prosthetics but even with them, they are able to carry out a scene with emotion better than most other artists I have ever seen. Robbie is also especially strong in this film. She is the only one involved that had the opportunity to play a fictional victim of Roger Ailes and her embodiment of the dozens of harassed women is so powerful. Her arc throughout this movie is fantastic to see and Robbie is only growing stronger when it comes to her talents and prowess as an actress. No matter your stance on this film's issue or the politics involved, one undeniable thing is how we will be seeing these three leads' names come into light when nominations are soon announced and they will all be happily well-deserved.

Despite my not being completely won over by some of the creative choices, Bombshell is an interesting look at the sexual harassment scandal that happened in the terrible halls of Fox News a few years back. There is no doubt that Theron, Robbie, and Kidman absolutely carry this entire film and while I have never been a fan of Adam McKay-style filmmaking, this movie had a decent amount of heart and good intention to put its message across.

My Rating: ★★★

The Conjuring (2013) directed by James Wan

The scariest thing in the world to me is not exorcisms or demons but the diminishing artistic value of franchises. I have mostly stayed away from horror films of the more generic style such as this for a while now, as the more that are pushed into theaters, the more negative criticisms I hear of them. I definitely consider myself more of a fan of elevated horror or just the kind of film that is terrifying without even trying to be. There are a plethora of opportunities to make something scary and that is the main reason why I have avoided these movies, as my presumption was based on their marketing. I did not ever think that a mainstream horror story like this could make my skin crawl but I made a grave mistake in ignoring this original installment of the now popular franchise. James Wan's The Conjuring is a fantastic horror film that utterly sets the standard for this conventional, Hollywood style. From the haunting true story of this unfortunate family to the dedicated performances and the phenomenal technical pieces, this film has surprisingly exceeded my expectations of what these movies are capable of.

Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) are a couple who have devoted their lives to studying supernatural occurrences and taking care of people who seem to be infested or possessed. When Carolyn (Lili Taylor) and Roger Perron (Ron Livingston) move into a new house with all of their daughters, strange things begin to happen and they seek the help of the Warrens to get rid of the malevolent evil. This script, written by Chad and Carey W. Hayes, is what actually surprised me the most about this film. I was completely expecting a lifeless story full of jump scares that many cheaply-produced horror films of today rely on but I was genuinely taken aback when the plot developed beautifully. Based on the true experiences of Ed and Lorraine, this film focuses mostly on the relationships between these families and characters, putting the actual demons and hauntings in the backseat. I loved this storytelling choice, as it makes the audience really feel for what they are going through and the actual stakes of everything. When the horror aspects hit, however, they hit hard. The scarce use of jump scares and creeping paranoia made this experience all the better for me and I loved how well they were all blended together in such an effective story. The climax never felt too rushed or overdone and the small-scale honing in of the family's conflict makes this movie such a personal story. The performances from the entire cast were great as well, especially Patrick Wilson and Vera Farmiga as Ed and Lorraine. The care that they put into these characters is very evident and their chemistry together makes for such a believable couple to root for. They are definitely the right choices for these characters and are easily ones that could lead a franchise (evidenced by the sequels). The child performers in this film stood out to me the most, however, as they were genuinely talented in this horror realm. It's not often when a child actor can portray authentic fear of something but I felt the adrenaline pulsing in me with these children as they went through this traumatic time in their lives.

My biggest takeaway from The Conjuring, despite its completely solid storytelling and development, is how it sets the standard for lots of conventional horror films of today. I had never seen this movie due to its supposed mediocrity and creation solely for the sake of franchising and for that, I thought that I would be disappointed. However, this movie does what I have heard a lot of its sequels and spinoffs do not: have a well-written story with genuine terror. I despise cheap horror and the fact that The Conjuring was the opposite of that took me aback quite a bit; it has really set the Hollywood standard for perfectly balancing its screenwriting with its spooky visuals and I absolutely commend this film for doing that. This true story also could have easily fallen back onto conventional but passable stylistic choices to tell its story but I was blown away by how intriguing every shot of this film was. John R. Leonetti's cinematography combined with the flawless editing from Kirk M. Morri astounded me. Leonetti is able to make such great use of these limited house settings and the wild movements that he performs in this film are mesmerizing. The use of long takes, sweeping pans, and upside-down jolts really help to further the eerieness of the Perron household. Morri's editing contributes so much as well, as it gives this story so much room to breathe. Horror films are usually quickly edited and utilize predictable techniques to get any kind of jump from their audience but the way that Morri lingered on unsuspecting things to draw in the audience and then promptly cuts to something entirely different was fascinating. James Wan's direction is great as well and he is able to fuse these stylistic elements together with the story in a seamless way. His use of all of these parts working together makes such a solid and endlessly enjoyable film. This movie not only provided me with a fantastic story but technical elements to keep my eyes glued to the screen.

The Conjuring is one horror film that I will definitely find myself revisiting, as it presents one of the most compelling and self-contained true stories of the horror genre. Nothing about this film seemed too cheesy or exploitative and the jaw-droppingly gorgeous way that it is made only adds to the enjoyment. Despite the seemingly cash-grab route that these films tend to go in, James Wan has solidified himself among the ranks of today's best horror filmmakers.

My Rating: ★★★★

Anna and the Apocalypse (2017) directed by John McPhail

It takes a lot of ingenuity and screenwriting brilliance to come up with an idea for a zombie film or Christmas film that has not been done before. Throw in the catchy elements of what makes a memorable musical and surely they will work together to make a new, seasonal classic. Unfortunately, that is not the case with Anna and the Apocalypse. John McPhail's attempt at combining these three genres is honestly quite the letdown for me. I had heard lots of solid praise for this film and since it is almost Christmas, I decided that this would be an appropriate watch and would hopefully be one worth revisiting every year. While the performances from the mostly unknown cast are great and the music will definitely stick with me, McPhail's direction is incredibly weak and this story dragged on for so long that I felt like a zombie myself. This premise is one much better suited for a short film, as I feel that a concept such as this is better in a smaller dose. However, there are things to enjoy about this film and enough to make me appreciate the filmmakers' effort.

Anna Shepherd (Ella Hunt), a secondary student living in the humble town of Little Haven, is surprised around Christmastime to find that her home has been overrun by the undead. In order to make it out alive, she has to survive the onslaught of zombies with her friends John (Malcolm Cumming), Steph (Sarah Swire), Nick (Ben Wiggins), and Lisa (Marli Siu) and make it back to her school to see if their families are even still alive. Compared by many to the likes of Shaun of the Dead and La La Land, I really could not see any comparable traits to those previous works. The only thing that this film has in common with those quoted movies is the fact that there are zombies and it's a musical. I could not ever feel as much comedic influence and game-changing horror fusion like in Wright's 2004 masterpiece or as much tender love put into the lyrics and music as Chazelle's 2016 hit. I personally think these are very lazy comparisons because this film was only trying to accomplish a feat of its own by combining so many different genres. Which this film, unfortunately, also did not accomplish very well. My main issue with this movie is how lazy it becomes after a fantastic first act. This story is set up extremely well and there are some hilarious and memorable songs in the very beginning that set up the eventual zombie invasion incredibly well. All of the characters are developed decently and the setup of the horror aspect seems to be executed flawlessly. However, once the zombie element is actually introduced, this film reverts back to any other typical zombie movie. The writing becomes very cliché and this makes so many of the characters unbearable. This movie also dragged on for far too long and even though McPhail seemed to make decent use of the set pieces, I became bored very quickly. Anna and the Apocalypse should have either stuck with being a zombie musical or a zombie Christmas story, but the combination of all three led to its complete lack of focus.

Despite my issues with how this film was presented, it is practically harmless. There is nothing about this movie that is prominently mishandled but I rather wish it could have been given more time to develop. That being said, the technical elements and performances are phenomenal. The special effects of the zombies and the action sequences during the musical parts were great. There is a lot of amazing choreography that went into singing, dancing, and killing zombies that were mesmerizing to watch. A lot of the music was written very well too and even though it might not have been too specific to the situation in which Anna found herself, the lyrics and accompanying music were undoubtedly catchy. These scenes are where I found myself enjoying this film the most and I wish that there would have been a stronger balance of the musical scenes with the rest of the story. This film would not have been as fun to watch, however, if not for the performances from Hunt, Cumming, and the rest of the cast. All of these young performers are relatively new to the acting scene and I thought that they did an excellent job with what they were given. They might not be the funniest or most dramatic actors and actresses but they made their characters work extremely well and the chemistry from the whole cast is undeniable. I also thought that McPhail did a decent job with the setting of this story and how he handled the direction from scene to scene. This film might follow a typical kind of survivor story arc but setting it in a school with the principal as the main antagonist is fantastic. Anna and the Apocalypse might not be the best zombie movie, Christmas movie, or musical ever made, but it sure tries its hardest to combine them all and that willingness to take those risks is a bold decision that I will always respect.

Anna and the Apocalypse is a fairly light watch when looking for something new to watch this holiday season but this film just did not work for me. I can always appreciate when filmmakers try to fuse genres or make something new by combining previous works but it has to be executed well too, which this film was not able to do. Regardless of my lack of care about this story, however, the cast and music are fantastic and I am glad that this movie has potentially opened up the doors to these talented artists finding more work.

My Rating: ★★½

Star Wars (1977) directed by George Lucas

AFI Top 100: #13

There is absolutely nothing that I can say about George Lucas' original Star Wars that has not already been said. There is so much to love about this movie, as every aspect plays into Lucas' vision of creating the ultimate science-fiction blockbuster. Whether or not his intent was to actually make the most unarguably popular and important franchise of all time, he definitely succeeded regardless. Every part of this film works together in perfect harmony to create the epitome of an unforgettable blockbuster while throwing in pieces of fairy tale storytelling to make it stand out from the rest. The last thing in this life that I would ever want to do is get in an argument with someone about this franchise that I have never cared about and still really don't, frankly. I do not blame people who love these films and I can obviously see the mass appeal but this franchise was just never a part of my childhood. So here are some thoughts from a completely unbiased person and the reasons why I now think that this is the greatest and most influential sci-fi film ever made.

Luke Skywalker (Mark Hamill), a humble young man living on the desert planet of Tatooine, is told by Jedi master Obi-Wan Kenobi (Alec Guinness) that he is an integral part of saving the universe from the evil clutches of Darth Vader (David Prowse, James Earl Jones). Along with the help of Han Solo (Harrison Ford), Chewbacca (Peter Mayhew), and a few droids, the team must work to stop Vader and save Princess Leia (Carrie Fisher). Only ever having seen Star Wars: The Last Jedi and Solo: A Star Wars Story (the former reluctantly with friends and the latter solely for Donald Glover), I did not know much of the context surrounding this entire world and the countless films, spin-offs, TV shows, and whatever other media has become canon. Because of this, it was very easy for me to view this film as a standalone picture and I actually believe that helped enhance my viewing experience. This film is such a fantastic story on its own that even without the massive franchise surrounding it, is one of the most interesting and original science-fiction movies ever made. At its core, this film is a fairy tale set in space, complete with the heroes rescuing a princess and all. What I enjoyed most about the script is that every character is so fleshed out and well-developed on their own in order to make their overall plot so compelling. While the statement of rescuing a princess is fairly blanketing of all of the subplots throughout this movie and the rest of the conflicts in the franchise, all it boils down to is the classic battle of good vs. evil, which is undeniably effective. I loved the simple approach that Lucas used in the script while focusing more on the design of the film, the worlds, and its accompanying characters. If there is one thing that there is no shortage of in Star Wars, it's finding an adorable alien or handsome action hero to latch onto and I really enjoyed how Lucas was able to create this massive universe in his head right off the bat. To some at the time of this film's release, I'm sure it was a tossup as to whether people would be on board with this offbeat, independent, sci-fi film. Even though the story itself is clean and easy to follow along with, the sheer amount of fictional culture injected into this film is definitely overwhelming. However, Lucas' direction is fantastic when it comes to balancing his main story with the showcase of creatures and otherworldly planets.

I know nothing of the general public's perception of George Lucas or what they think of his work with this trilogy and the prequel trilogy but one thing that I am certain on is that he is a masterful storyteller. As previously mentioned, this film works so well on its own as a satisfying story but the fact that ten other films were created based off of his original piece of filmmaking is just fascinating, let alone the television, comics, and whatnot. The way that the other films made after this one tie in is so engaging to me because while I am sure there are still plenty of plot holes, there is enough explained to keep this film's audience interested. This franchise is obviously one of the most recognizable and popular in the history of film and just like Skywalker himself, comes from completely humble and harmless beginnings. And for an independent film, Lucas utilizes the performances from his cast and the special effects of the time so well. Hamill, Ford, and Fisher have some of the best chemistry that I have ever seen from a cast in a genre film like this and that friendship has obviously been cemented for decades. Hamill is such an excellent choice for the dashing, young hero and Ford is amazing as the snarky Millennium Falcon pilot. Fisher stood out to me the most, however, as her performance is nothing short of iconic. The way that her character represents early feminism in this time period is great, as she has obviously become one of the most influential women characters of all time. The visuals in this film are surprisingly amazing too. Everything from the lightsabers to the laser blasts are astounding and for a film that will soon be 43 years old, it holds up incredibly well. The sound design also stood out to me too as Lucas' use of foley and audio re-purposing adds so many more layers to this movie's legendary visual experience. 

Who could have ever predicted that the high-concept idea of a fairy tale in space could have spawned itself into the most successful and recognized franchise of all time? Star Wars is a phenomenal film that I can not praise enough and one that I'm glad I was able to genuinely enjoy. However, these films will never hold that special place in my heart that many others have experienced from growing up with these characters and stories; thankfully, though, I am at a place in my life right now where I can be simultaneously content with not seeing any new additions but appreciating and adoring the passion put into this original film.

My Rating: ★★★★★

Jumanji: The Next Level (2019) directed by Jake Kasdan

Of all the possible franchises and remakes that clutter our theaters, there is only one that I feel absolutely no guilt giving money to. Jumanji: The Next Level is an incredibly solid sequel to 2017's unexpectedly successful remake Jumanji: Welcome to the Jungle and one that to me, is impossible not to at least have fun with. There is no denying how unbelievably ridiculous and fun these films are and I derive all of my enjoyment from that aspect alone. Jake Kasdan's direction and the script itself is, again, not the greatest but it really does not need to be. I went into the first film with relatively low expectations and left very satisfied. Same goes with this sequel, as I went in only wanting to have a good laugh while enjoying two more hours with these characters and I got just that. This is by no means one of my favorite movies of the year or one that I can see myself raving about but as a winter blockbuster, it works flawlessly and provides everything that a memorable sequel needs.

After their first year of college, friends Martha (Morgan Turner), Fridge (Ser'Darius Blain), and Bethany (Madison Iseman) reunite in their hometown where they had previously had their cursed video game Jumanji adventure with their friend Spencer (Alex Wolff). When Spencer goes missing, the three of them go back into the game to try and find him but encounter an entirely new adventure to conquer along with some new characters and unexpected changes to their avatars. This sequel amps up what made its predecessor so entertaining and definitely capitalizes on that. The awesome set pieces and action scenes are mesmerizing to watch and the production design really stands out in this film. There are a plethora of fictional cultures that this film explores and the costuming in the different climates and locations made for such an impressive visual aspect. The piece of this film that stands out to me the most, however, is how it is a perfectly-executed sequel. This film does everything right when it comes to expanding on its original film, including adding new elements, characters, and more world-building in the video game of Jumanji itself. It's really just the classic "bigger and better" trope that this movie works with and that is actually what I enjoyed the most. More or less of the same, this film does not try to be risky with its storytelling or take any bold new approaches but simply treats its story as if its a sequel to an actual video game. In particular, I loved the new take on the body-switching and the various performances that were all brought out. Karen Gillan, Dwayne Johnson, Jack Black, and Kevin Hart all played a different incarnation of their original character and the fact that they were all able to portray these different personalities so well is amazing. Gillan and the new addition of Awkwafina were the absolute standouts throughout this entire movie and I really enjoyed the switch of focus to Gillan as the leader. I love to see indie star Awkwafina get that nice Sony paycheck and I am sure that it was a blast for her to be a part of a harmless franchise like this one. Her performance was great and there were actually some genuinely emotional moments that may be generic but worked for me regardless.

This film is unabashedly cheesy and ridiculous but its willingness to take these goofy risks is what makes it so much fun. While Jumanji: The Next Level succeeds in those regards, I found a lot of the humor to be much more lacking this time around. It did not work for me as well in the sequel and I feel like a lot of the same jokes were rehashed over and over. This issue mainly stems from the inclusion of Danny DeVito and Danny Glover as Grandpa Eddie and Milo, respectively. Glover and DeVito are both incredibly legendary talents in both comedy and drama and I can see why these filmmakers were enthralled to get them on board but I found their subplot to be painfully forced. Their falling out after owning a restaurant together was very strange and I feel like their story existed in its own world outside of this film's main plot. It was nice to get background on their relationship but their addition to the main plot was definitely not needed and, unfortunately, Kasdan relies too much on old jokes and the corny impressions from Johnson and Hart. They were very humorous at first but their jokes became tired very quickly and the overall story displays Kasdan's main weakness. From the first film and this sequel, he has never seemed to be too outstanding of a director but the lack of focus was much more prominent this time around. There were lots of scenes scattered throughout this movie that never contributed to forwarding the plot and instead relied on the wacky new choices made. This movie definitely would have benefitted from a shift of focus from its humor to its adventure and action as I find these elements of the film to be the most effective. This movie would have greatly benefitted from a shift of focus from its humor to its adventure as I find these elements of the film to be the most effective. Overall, this film is pretty messy due to not being able to decide what it's trying to say but that is not really these filmmakers' priority when they are just having a complete blast with the story.

Jumanji: The Next Level was surprisingly one of my most anticipated releases this month and I can confidently say that it is exactly as I expected. I can clearly understand why people would not want to waste their time on another sequel or remake such as this but I would always rather give my money to a franchise like this over others that rehash the same idea and profit off of their monopoly. I would strongly recommend this film and I will absolutely be first in line when they announce the inevitable third film of this trilogy.

My Rating: ★★★½

The Men Who Stare at Goats (2009) directed by Grant Heslov

Not very often do I come around a film that leaves me wondering what the point of its existence really is. That theme is the central focus of the hilarious Burn After Reading, which toyed with that idea and became a playful parody of itself. In a film that seems to be either a love letter to the style of the Coen Brothers or a story that they themselves rejected to adapt, Grant Heslov's The Men Who Stare at Goats in an incredibly strange and often pointless black comedy that's often goofier than it should be. This movie has so much quirky potential and seems to be one that tries too hard to turn a niche true story into something entertaining enough for the masses but entirely misses that mark. While the performances and music are fantastic, there is not nearly enough substantial story in its script to constitute this long runtime (and granted, it's only 94 minutes long). Regardless of how useless I find this film to be, however, it's one of those rare comedies that isn't for everyone but is obvious that the cast and crew had a blast creating.

Bob Wilton (Ewan McGregor) is an investigative journalist who is sent to Iraq to cover the war but instead meets Lyn Cassady (George Clooney), an ex-soldier who was part of the United States' New Earth Army. Wilton decides to tell his story about the special paranormal unit, who apparently used their "superpowers" in special undercover operations. The two go on a journey deep into Iraq in order for Cassady to reunite with other ex-soldiers who he was trained with. This partially true script, written by Peter Straughan and adapted from the book of the same name by Jon Ronson, is very peculiar in and of itself. Without even the addition of Heslov's direction or the comedic performances from the entire cast, the story lends itself to being chock full of wondrous humor. The kind of humor that makes an audience really wonder if the film's events even happened or why the filmmakers felt the need to tell this story at this particular time. More than anything, this movie provides enough just solely weird and "what the fuck" type of substance to keep its audience engaged. Heslov did a mediocre job of keeping this story on track but the true entertainment of it comes from the sheer wonder of what the story could even mean. The film itself is a bit muddled with the lackluster direction but there is still a lot of simple comedy that kept me, at the least, entertained. The premise is wacky enough to make me want to see what this film was about and in that aspect, it succeeded. The story has a very full-circle resolution that is incredibly satisfying but one that I still felt could have been much stronger. There is also an absolute plethora of references and dialogue about Star Wars that took me way out of the story. I do not know if it's because Heslov was really trying to get on McGregor's nerves but the constant joking took away a lot of opportunities for much more solid comedy. Just like this film's intended message, I feel jumbled in my thoughts or even what to say. I suppose its biggest takeaways are that A) not everyone is meant to make black comedies like the Coens and B) just because a true story exists in novel form doesn't mean it has to be adapted to the screen. I feel like this story is much better suited for the page, as this film ended up being a bit of a miss.

The incredibly strange, offbeat humor that tries its best to infect this story could not have been made even relatively possible without the inclusion of George Clooney and Jeff Bridges' character Bill Django. These two have such a strange yet attractive dynamic to them and while they are vastly different actors on their own, work together very well. As the two characters' relationship is explored through flashbacks, much is revealed about them that makes their eventual reunion so fantastic. Clooney in particular, however, is absolutely hilarious in this film. This is just yet another example of how I think Clooney is much better suited for comedy arisen from dramatic situations than just drama itself. His portrayal of this ex-soldier was not only irreverent but was a perfect choice to help tell this story. The many musical choices throughout this movie also helped to add to the comedy. Clooney's flawless delivery about the type of music that keeps him calm is one of the funniest scenes in this entire film and the inclusion of such music as Boston's "More Than a Feeling" only adds to the hilarity. The music works very well with the story and provides solid callbacks for the characters to work with and I really appreciated that utilization. The Men Who Stare at Goats does not really have much to say, other than telling one of the strangest war stories ever, but I think that was the point. Other films have accomplished this theme much better but there is nothing particularly wrong about this movie. I just wish that Heslov could have picked a certain direction and stuck with it to make this overall film more memorable.

I distinctly remember when I was ten years old as this film came out and even then I wondered what this could possibly be about. Ten years later and I suppose I'm asking the same questions as I just kept wondering what the point of this story even was. The Men Who Stare at Goats is such a strange title and has a story peculiar enough to live up to its oddball creative choices. It works as a simple comedy and it's interesting enough that this is a true story but the execution of this idea is definitely not strong enough to make me want to revisit.

My Rating: ★★★

Snow White and the Seven Dwarfs (1937) directed by David Hand

AFI Top 100: #34

One topic regarding the climate of today's cinema that will always get me heated is Disney's monopoly. Amongst the slew of remakes and franchise films, it can be quite difficult to find even a twinge of the "magic" that made this studio so impactful. I would really like to say that classic films like these represent a time in which this said magic prevailed but this movie... kinda sucks. David Hand's Snow White and the Seven Dwarfs is a very lacking film in almost every regard except for its groundbreaking animation. I understand and can appreciate why this film is so revered and how it helped to build the foundation of the massive corporation that we all know today but I could simply not get past the bareboned plot and character development. I always try to give a film the benefit of the doubt, though, as this movie does hit every perfect note that Walt Disney himself was immensely proud of.

After it's revealed that the kind princess Snow White (Adriana Caselotti) is the fairest lady in all the land, her evil stepmother (Lucille La Verne) tries to have her killed and banishes her to the forest. She gets taken in by a ragtag group of seven dwarfs who practically adopt her as one of their own as they live together in the forest. Once her stepmother finds out that Snow White is still alive, she hatches an evil plan to get rid of her once and for all. This is such a basic plot for a classic princess film such as this to follow and in that regard, it does well. However, there is nothing about Snow White and the Seven Dwarfs that really makes it memorable aside from the group of personality-driven characters. Every choice made in the writing and dialogue was very dull and I was never really invested in this story at all. None of the characters, especially the Prince (Harry Stockwell) who rescues her in what is arguably the biggest plot point of the film, are ever really developed enough to make me care about them. This entire film plays out in such a trivial way and nothing of importance really happens. I couldn't help but feel like this film would be much more compelling as a short film but then again, it wouldn't have as much time devoted to the seven dwarfs, who are undeniably the most interesting pieces about this movie. I was never fully expecting this film to blow me away with its fantastic storytelling but it is not until now that I realize just how boring this movie truly is. Snow White as a character herself is also very passive and this lack of writing on her part makes her so painfully generic. The only time that Snow White is ever active in this film is when she is cooking or cleaning and that really does not put a good look on the "ideal" woman of this age, let alone someone that little girls should look up to. And yes, I will always understand that this film was released in a wildly different time than of today but that does not change the notion that audiences have no reason to be wowed by this film.

Despite this movie's intense forgettability, at least there are some aspects that make it somewhat enjoyable. As previously mentioned, the seven dwarf characters definitely carry this entire film. Whether they're singing Heigh-Ho or running around and being the goofy comic reliefs, one can not help but enjoy the antics of these characters. While some such as Grumpy or Dopey might be a bit more entertaining (and marketable) than most of the others, they all play together to create an interesting family dynamic that was fun to watch. There is also a lot of physical humor and visual gags throughout this film that the dwarfs excellently play into. My favorite element of classic Disney films and older animated movies such as this one is the humor. Animators had to make sure that their audiences kept their attention spans intact as the plots themselves are inherently tedious. Lots of comedy was utilized in the cooking, cleaning, and dancing scenes that make these dwarfs so adorable and it is easy to get attached to one. The best part of this film, and the one that makes it such an iconic piece of film history, is its animation. The use of cells and hand-drawn animation is fantastic and not only clearly shows the age of this film, but how impressive it is that this looks so smooth for the time it was released. A lot of the design is fairly generic and the coloring is not that vibrant but one can not deny the passion and hard work that these artists and animators put into this. The clunkiness of the animation also helps to make the aforementioned visual humor so interesting and visually, this might be one of the best animated movies of the time because of that. However, even though this animation is gorgeous for the time it came out, I can't help but feel that Snow White and the Seven Dwarfs' legendary status is far from deserved.

Snow White and the Seven Dwarfs may be one of the most iconic animated films of all time but I believe that it is held up on a pedestal for the wrong reasons. The animation is gorgeous and the character designs are fantastic but the fact remains that this movie has one of the most forgettable stories of any of the legendary Disney princesses. I honestly recall more about some of these fairytale elements from Shrek than I do from this film itself.

My Rating: ★★½

Inside Llewyn Davis (2013) directed by Ethan Coen, Joel Coen

Why is it that acclaimed filmmakers' best films are typically their least known? While this movie is very prevalent with people in the cinematic community, there are so many other films that people focus on when much more energy should be devoted to stories like these. After decades of putting out hilarious, black-comedy treasures, Ethan and Joel Coen absolutely astound with Inside Llewyn Davis, a beautiful look at one man's unfortunate week. While this movie has the same aspects of comedy and lightheartedness that most of their films do, there also exists a tenderness not seen before in any of their characters like these. This might be the Coen Brothers' most mature film to date and not just because of the older subject matter but because of the human way that they handle telling this story. The idea for the plot is simple, the execution is nothing short of expectedly gorgeous, and the unforgettable characters that riddle this film are written with such care and uniqueness that can truly only come from the brains of these iconic filmmakers.

Llewyn Davis (Oscar Isaac) is a folk singer and songwriter living in 1960s Greenwich Village in New York. As he bounces from friend's place to friend's place and tries to make a living being a singer, he finds it more and more difficult to stay secure in one place. Over the course of a week, Llewyn finds his entire perspective on life thrown out of proportion as he tries to establish himself as the talented musician that he is. The entire cast of this film is fantastic and all play into this film's themes of loneliness and not belonging. Isaac is particularly great but Carey Mulligan, Justin Timberlake, Adam Driver, and John Goodman all shine in their respective roles as well. I adore how well this film approaches the idea of finding your place in the world. This might not be something entirely new but the almost musical way of going about the story is what makes this film so soft and special. This is only enhanced by the gorgeous use of color correction and the Coens' editing. Inside Llewyn Davis may look like its composed of entirely raw footage but the subtle use of grays and tans to make this movie appear bleaker than most is what endlessly captivated me. What stood out to me the most is how these often dull colors reflect the state of Llewyn's career and what that meant for his life moving forward. This film didn't exactly deliver the most intensely emotional, transcendent experience that many people have led me to believe but regardless, it is impossible to not fall in love with the atmosphere of this film and never take your eyes off the screen. With each passing scene, I found myself drawn into this world and becoming completely fascinated by each newly introduced aspect, whether it be a character and its accompanying performance or interesting subplot. Which has a lot to say about the Coens' direction and how extraordinarily well they are able to craft such a delicate and beautiful script. With each film of theirs I see, I fall more in love with their style and I know they match my needs to a tee when it comes to telling an unforgettable story.

I have also noticed a trend in the Coen Brothers' films that is not so outwardly obvious but one that only adds to making their style so fantastic. The way that they toy with chronology and ways of telling their stories is amazing and makes their audiences really pay attention to the details and intricacies of their movies. While only subtle, the framing narrative of this film and how it starts and ends with the same flashback sequence of sorts is something that is not made very clear until events of the end of the film. A simple storytelling choice should not be my main point of love for this film but it is elements like those choices that really make the Coens stand out. However, Inside Llewyn Davis would not have the usual stylistic tone of a Coens' film without the earthy use of folk music and setting that help to tell this tale. The New York setting and down-home feel that radiated from this story is incredible and is able to really bring its audience into the world with Llewyn. Hopping from apartment to apartment and city to city is just part of the uncertainty of Llewyn's life and this made for such a compelling character study. The soundtrack of this film is astounding and along with the story, is very reminiscent of something that Bob Dylan might be part of. There is a specific kind of warmth that Isaac gives off when he sings and strums his guitar that I do not think could have been pulled off by anyone else. His voice is incredible as well and makes each song throughout this film so emotionally resonant at the time of the plot. And with the smooth voice of Timberlake and booming presence of Driver, there are no other actors that could pull off a satirical and surprisingly catchy song about outer space.

Inside Llewyn Davis is not just a simple drama to be taken lightly, as I will definitely be thinking about this for a while. Oscar Isaac gives probably his best performance in this breakout role and the story revolving around his character could have not have been more perfectly representative of the Coen Brothers. Along with its amazing soundtrack and folk vibes that never stop giving back, this film is a complete treasure and one that deserves endless recognition.

My Rating: ★★★★

Queen & Slim (2019) directed by Melina Matsoukas

Many sleeper films (typically revolving around racial issues) come out every year during awards season hoping to sneak up on the competition and steal others' spotlights but only some can execute that successfully. Queen & Slim is, unfortunately, not one of those films, as its on-the-nose political message and story are a bit lacking. There is a lot to love about Melina Matsoukas' directorial debut and her transition from music videos to film is nothing short of incredible. More than anything, this film is focused on being a modern-day Bonnie and Clyde and even though I had some issues with the pacing of this film and its overall effect, it is still a solid, responsibly-made, and compelling story about racial injustice in America. Despite the unbelievably predictable story and a lack of focus on the actual plot itself, this film has some fantastic performances and chemistry from the two leads which, if nothing else, are able to sell this film incredibly well.

Driving home from their first date at a diner, Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) get pulled over by a police officer on the side of the road. After a violent altercation, Slim ends up killing the officer in self-defense and realizes the gravity of what he's done and what might happen to him. In order to avoid the police, the two change their looks and head out on the road to escape capture. If any of this film's audience has ever seen Arthur Penn's classic Bonnie and Clyde or even just know the story of the two, then it's highly likely that one will be able to guess how this film plays out. The script, written by the talented Lena Waithe, is what this film really relies on to be great but comes off as subjectively mediocre, unfortunately. It was immensely bold of Waithe and Matsoukas to kick off the latter's directorial debut with police brutality, one of the most controversial topics in modern America, and many of the choices that they make throughout this film are fantastic. The amount of topics regarding race and injustice in this country that these filmmakers attempt to tackle is admirable but the lackluster qualities of putting them all together are what really holds this film back. There are so many messages to be told and lessons to be learned throughout this film that are admirably done but simply come off as unfocused. This is reflected in Matsoukas' direction too, as Queen and Slim just end up driving across the country heading towards Florida the entire movie, frequently stopping at gas stations and dealing with the problems that come with their stops. This was a dull trend that plagued the film and much more could have been done to tighten up the story into something more compelling. Not to mention the predictability of the film. As previously mentioned, one can easily figure out how this film is going to end long before it actually does. Thankfully, there is enough good writing surrounding the two leads to make the journey itself worth it. This movie hits every beat that you would expect from a criminal road trip film and not many risky decisions were made in regards to its storytelling. This isn't necessarily a bad thing, however, as I can understand why Matsoukas would want to play this story relatively safe.

Despite the themes surrounding this film being fairly shallow, the performances from Smith and Kaluuya absolutely carry Queen & Slim. These two have phenomenal chemistry together and the writing around their relationship makes this film the perfect, easygoing date movie. Well, not quite, but there is an undeniable charm to these two's interactions which makes this entire story worth it. Smith stood out to me in particular, as her character Queen is one of the most interestingly-written women I have seen in a recent film. Her personality almost completely contrasts with that of Slim and this helped to develop their relationship so well. Queen knew from the beginning how to handle their situation and with her experience as a lawyer, practically knew how their story was going to play out. This gave the film such an interesting dynamic as her expertise helps to fuel the decisions made throughout the story. Waithe does a fantastic job of fleshing out these two leads with enough background and subplots that really enrich their individual characters. By the conclusion of this film, it's almost impossible to not be rooting for them despite the resolution that the audience already knows will likely happen. Along with the excellent performances, the cinematography by Tat Radcliffe was vastly impressive. This film was released by a large studio but due to its technical elements and beautiful visuals, it has such a strong, indie tone. The cinematography was gorgeous and really helped to further establish the world that Queen and Slim were running from. What impressed me most, however, was how nothing ever seemed the same through the lens of the camera. This film follows these two characters as they are driving practically the entire time yet the various choices that Radcliffe made to shoot them made every scene appear new. Radcliffe's use of the camera is unparalleled and I was simply hooked from the very first shot.

There is nothing particularly wrong about Queen & Slim that would render it unwatchable, but I was expecting much more of an impact. Matsoukas did a solid job for the script that she was given and while this film touches on a lot of topics most other movies are afraid to, it spends too much time applying these modern problems in nonsubtle ways to the characters, which does not necessarily make their shared story too memorable. Despite that, I would still recommend this film for its cinematography and fantastic performances, which are definitely its saving graces.

My Rating: ★★★½

Hot Rod (2007) directed by Akiva Schaffer

There are many comedies that have defined my generation growing up and have shaped our sense of humor into the absolutely chaotic and nearly nonsensical taste that we all have. Akiva Schaffer's Hot Rod is one of these definitive films and I have yet to see another comedy with this amount of unparalleled ridiculousness. Samberg, Schaffer, and Taccone, infamously funny members of The Lonely Island, are completely perfect choices to star in and helm this film and seeing this amount of hilarious antics in a movie of theirs only show how much they have progressed as artists. And whether or not you believe this film can be considered art, it is undeniable that sometimes an audience just needs a plain, old, ludicrous comedy to fill the empty holes left in their hearts from the gutwrenching dramas that typically get more of the attention. The actual plot and cinematic aspects of this movie are quite mediocre but in the face of this much sheer absurdity, it does not matter, as this is an explosively fun ride of a film.

Inspired by the heroic actions of his late father, Rod Kimble (Andy Samberg) is a self-proclaimed stuntman who finds out that his stepfather Frank (Ian McShane) is falling ill and realizes that he needs to raise the money for his operation so that he can fight with him once more. Trying to earn the respect that he's always desired, Rod assembles his half-brother Kevin (Jorma Taccone), friends Dave (Bill Hader) and Rico (Danny McBride), and childhood crush Denise (Isla Fisher) to prepare for Rod's biggest stunt yet: jumping 15 buses. After watching this film, one could really chalk up its endlessly humorous qualities to how often it may come off as stupid or goofy. What I believe really makes this film stand out, however, is Pam Brady's script and her use of completely unexpected plot points and character developments. The sheer amount of gags that never return greatly outweigh the ones who do and this pandemonium makes for such an interesting breed of comedy. This practically leaves room for anyone on the cast or crew to make creative decisions in an almost improvised fashion. Rod falling down a mountain for an entire minute and a half is not just comedy at its most primal form but something that the audience would not really expect to go on for so long, which is what makes it so incredibly hilarious. In a way, this film comes off as a culmination of rejected SNL sketches that are thrown together into a simple plot and characters but that is what gives this film so much of its charm. One can easily tell that this entire film is a passion project and one that everyone had an absolute blast being a part of. Considered widely by many to be a cult classic at this point on par with the likes of Napoleon Dynamite or Nacho Libre, Hot Rod absolutely deserves the love that it receives.

It's very difficult to assign a rating to a film like this because it transcends the typical boundaries of comedy. Due to its unexpectedness and subversions of structure when it comes to getting its comedy across to audiences, it can be very subjective. I adore this film because of its ability to make me fall in love with the characters and root for each and every one. Samberg, Taccone, Hader, Fisher, and McBride all give great performances as their characters and their comedic talent combined never fails to deliver. While the film's cinematography by Andrew Dunn and editing by Malcolm Campbell are fairly generic, they help to add to this film's amateurish feel that makes this film come off as an unspoken mockumentary of sorts. These characters feel like people we already know and Rod's fight to save his stepfather is one that we will never stop rooting for. The humor of The Lonely Island is also totally represented and their influence can be seen in every scene of this film. While I think Popstar: Never Stop Never Stopping is a fantastic satire of the music industry and had a bit more meaningful purpose than this film, Hot Rod undoubtedly cashes in on its absurdity to make one of the most entertaining and rewatchable films of the past few decades. This movie is genuinely one that comedy experts and filmmakers should be studying to see how such a basic premise can make a batch of characters and their fight for respect so hilariously compelling to watch.

Hot Rod should not work as a film by any means at all and really, it doesn't. But when you look past the insanity of this cast and crew's creative choices and admire the fact that a film like this can even get made, it makes the experience so much better. This is easily one of the best and most unforgettable comedies of the 2000s and the fact that it only helped to skyrocket Samberg's career is a blessing to us all.

My Rating: ★★★★★