Killing Them Softly (2012) directed by Andrew Dominik

Mobster films can include a variety of themes such as relentless violence and often revenge incorporated into their stories, but rarely do we get a film that is softly about the American economic system. Andrew Dominik's Killing Them Softly is an interesting take on this idea that features some fantastic performances from its leading cast and an economic theme that follows these characters like a desperate hitman. While the action sequences and actual mobster activities were incredibly stylized, there is such an emphasis on dialogue and context clues that left me feeling very unsatisfied. I had a difficult time following this film and while the focus on the talking aspect of this thriller is not necessarily a bad choice, it is just one that I feel is not easy to hold audiences' attention. However, there is so much to enjoy about this movie, from the cinematography to the fittingly jarring editing, and there is definitely no shortage of enjoyment for fans of this genre. And there never has been or ever will be a bad time for long-haired Brad Pitt.

Frankie (Scott McNairy) and Russell (Ben Mendelsohn) are two low-level criminals who are told by their boss Johnny Amato (Vincent Curatola) to rob a mob-enforced poker game run by Markie Trattman (Ray Liotta). When mob enforcer Jackie Cogan (Brad Pitt) finds out about the hit, he tracks them down and sets out to put everything back in its rightful, economic place. This script, written by Dominik and adapted from George V. Higgins's novel Cogan's Trade, is where I find that a lot of this film falls flat. The premise itself is very interesting: the exploration of a local mobster scene that an effective hitman attempts to smooth out, but I feel like the translation from page to the screen could have been a bit more exciting. There is nothing ineffective about this film's desire to drown its audience in dialogue but there is also no warning for it either. I was definitely expecting a much more compelling look at these modern-day mobsters, complete with action and values of loyalty, but instead was met with a handful of confusing plotlines. Perhaps this is one of the novels that are just not meant to be translated to film, as there is so much information regarding the world of these characters that I did not feel could be communicated properly. Dominik's writing excellently makes way for some solid humor and hard-packing action but the road to get there was a bit brutal. However, despite the lack of context and easily understandable plot, so much of this film's dialogue helps to personify these characters very well. Whether it be through the humor or little inflections in the actors' voices, there is a lot of talent on display here that I just feel could have been utilized better.

A piece of Dominik's script that I did genuinely enjoy, though, was the inclusion of the underlying economic theme. Intercutting nearly every scene with narration from Barack Obama and John McCain's 2008 presidential speeches about how they would make the country stronger was such an interesting choice. It really helped to show how the mob in this community did not follow the rules of America, but rather the rules of business. Making money and tying up loose ends is all that these characters care about and that is made very clear despite the setting of this political election. The narration throughout the film helped to remind the audience what these characters were really after and it also provided a great look into the world that these characters were living in (as well as making way for one absolutely powerful, final line delivery). Many of this film's technical elements are also fantastic, including the performances from the entire cast, the editing, and the highly stylistic action. Pitt, McNairy, Mendelsohn, and Liotta are all astounding in this film and were cast perfectly. While, of course, the latter carries one of the most unforgettable roles in the mobster film genre, Pitt was incredible as well and held his own just as well. The editing from Brian A. Kates and John Paul Horstmann was astounding and undeniably sharp from the get-go. Starting off this film with some of the quickest, most abrupt intercutting of title cards helped to set the tone immensely. I loved how these two cut this film and how they brought together the story in a bit of a roundabout way. What stood out the most to me about this film, however, were the action sequences. The action scenes, while very few, were incredibly impactful when they did rear their ugly and bloody heads. Sound design is also used perfectly for these types of scenes and from the squeals of men being pulverized against a car to the shimmering metal unloading into characters' heads, the audio was just barbarous.

Only three people are killed throughout the course of this film and not at all softly, if I may add. However, Killing Them Softly still turns out to be an exciting watch with a hell of a performance from Pitt. He is truly at his best when his roles are the most subdued and this film showcases that like none other. This movie may not be the most memorable of mobster films from the past twenty years or so, but it does a great job of standing out as a fresh take on the genre.

My Rating: ★★★

About Time (2013) directed by Richard Curtis

Many audiences can complain about the lack of originality in their filmgoing experiences and rightfully so, particularly when it comes to romantic comedies. One of the biggest tropes about the genre is that it utilizes the same formula in order to squeeze emotions out of people and while that is definitely true for a lot of these films, I feel it is far too broad of a generalization. There are some genuinely fantastic movies out there and rarely does a film reach remarkable heights with its brilliant storytelling like this one. Richard Curtis's About Time is a phenomenally emotional film with a simple sci-fi twist that really showcases the best of this genre. With a pair of amazing performances from the two leads and some fantastic direction from Curtis that is able to hit so many solid beats, this film is definitely not one to dismiss as your typical, rom-com. Regardless of how much one enjoys romantic comedies, there is so much filmmaking prowess to appreciate about this film, as it will leave you more of an emotional wreck than you probably already were.

On the day of his twenty-first birthday, Tim (Domhnall Gleeson) finds out from his father (Bill Nighy) that all of the men in their family have the ability to travel back in time to particular moments that they can think of. He decides to use this power to find love and eventually meets Mary (Rachel McAdams), who he instantly falls for yet struggles to maintain a relationship with while not altering his future. This type of premise has the capacity to fall into either ridiculous comedy or nonsensical science-fiction storytelling. However, what I love so much about this film is how it never dips into either too much. This entire movie revolves around this sci-fi element yet it never once feels unreasonable. Curtis's handling of this script is excellent and he balances the different aspects of this story incredibly well. This film is genuinely one of the sweetest movies I have ever seen and the way that Curtis portrays this relationship is electric. I loved the focus on every stage of Tim and Mary's relationship and how they never went through anything horribly drastic or overly dramatic for the sake of the story. A lot of the interactions between the characters and their dialogue might be a bit cliché, but the chemistry between Gleeson and McAdams makes for some undeniably enjoyable sequences. My only minor issues with this film include the handling of Mary and some generic creative choices. McAdams plays an excellent leading character throughout this movie but I almost wish she could have been given even more agency. She was a very well-developed character on her own, but we as an audience never learn as much about her background as we do with Tim. This is not a huge problem but just one that I feel the story could have definitely benefitted from. Curtis's direction was also a bit distracting, as the second act of this film could have been cut down drastically. A lot of the subplots, including Tim aiding his sister Kit Kat (Lydia Wilson) and some of the points revolving around Tim's law work, were a bit unnecessary and were just there to enhance the emotion. Which they did very well, but they really just added more length to this already heavy story.

The idea of time itself can be romantic and the absolute greatest part of Curtis's script is how he plays with this idea. There are so many great twists throughout this movie that help to further along the story in ways that I did not expect. I was honestly ready for Tim and Mary to have some form of relationship drama and an overly cheesy ending of Tim realizing that honesty solves problems better than his time-traveling abilities do, but Curtis cleverly avoids this. The transition from Tim and Mary's romantic life together into Tim dealing with his family and finding himself was such a beautiful way of progressing this film. I also loved how smart Curtis is as a screenwriter. The literal blind date scene in which Tim and Mary first meet was brilliant and I adored their relationship was built from that point on. This also has to do with the performances from Gleeson and McAdams. They were perfectly cast together and they made all of the most memorable moments of this film come to life. When the comedy in this movie shines, it shines incredibly bright and it is interwoven with the dialogue and other scenarios so well. This film's emotional beats hit incredibly hard as well but not just because of the writing. The music from Nick Laird-Clowes and editing from Mark Day played such huge parts in the technical aspects of this movie. There are so many moments in this movie that really exhibit just exquisite filmmaking and they all eventually collapse into each other for such a satisfying conclusion. About Time's message of not wasting a single moment and going after what your heart desires is undoubtedly sweet and while it is definitely nothing new, Curtis's gorgeous, cinematic way of getting to this point is fantastic. Every moment is fleeting and it is absolutely critical to take the time to appreciate the beauty and intricacy of the little things around you. This is really what Curtis was trying to say with this film and based on that ending, whew, did he nail it.

About Time is a spectacular romantic comedy about the importance of time and really taking in what is around you (because you might not always get a second shot). Although it tends to borrow some stereotypical character traits from the genre and has a bit of inconsistence with its core plot, I could not help but fall in love with these characters and their romance. It takes a lot for a romantic film to really have an effect on me and who would have thought that the one to do it could come from one of the biggest names in romantic filmmaking?

My Rating: ★★★★½

Train to Busan (2016) directed by Yeon Sang-ho

South Korea once again proving that they can make a far superior genre film than any American filmmaker is my favorite kind of aesthetic. Train to Busan is South Korea's first zombie film to reach blockbuster heights, so much so that it was their highest-grossing film of 2016. While being an absolute financial smash hit, it also has the ingenuity in its writing and fresh take on storytelling to back it up. This movie follows a lot of similar tropes and plot points that other zombie films do, but the way that the script throws its audience for many loops was immaculate. This is by far the most interesting and emotionally compelling story about an uprising of the undead that I have ever seen and its focus on the cast of characters along with the apocalyptic world-building was incredibly refreshing. There is so much to dissect about this film, including its fantastic father-daughter relationship and the way it even satirizes American politics, but more than anything, this movie is a purely entertaining and clever story that takes all of the best parts of this horror subgenre and elevates it to new heights.

On the eve of young Soo-an's (Su-an Kim) birthday, her father Seok-woo (Yoo Gong) agrees to take her on a train to visit her mother in Busan. As they are traveling, an infectious zombie plague breaks out and the world begins to be overrun with the undead. Along with husband and pregnant wife Sang-hwa (Dong-seok Ma) and Seong-kyeong (Yu-mi Jung) and high school baseball player Yong-guk (Woo-sik Choi), this group of survivors must fight to make it to the end of their destination alive. Yeon Sang-ho and Park Joo-suk's script is phenomenal and they clearly show a mastery of this genre while being able to toy with it simultaneously. Like many themes in zombie films, this movie explores how the living can often be more dangerous than the undead. I loved how Yeon and Park's script explored this idea and their slight satirization of American politics is more relevant than ever. The way that these fearful passengers betrayed each other for no good reason other than their terror was fascinating and to see the antagonist businessman Yon-suk (Eui-sung Kim) blindly yet confidently lead them was so interesting. Train to Busan takes so many twists and turns that one could expect from an apocalyptic thriller but smartly avoids the tropes and instead leaves you wanting even more. Caring about these characters was definitely the screenwriters' top priority and while they absolutely achieved that, the way they utilize some of them makes this film such a frustrating experience, in the best way possible. There are so many scenes that leave an audience member shouting "oh, COME ON" and I was absolutely one of them. Yeon's direction does a great job of tying all of this together and really drawing one into this world with no room to breathe.

The best part of this film is its characters and Seok-woo and his daughter Soo-an's relationship was the most compelling. Both performances were great and their development over the course of this film was highly emotional, which I greatly appreciated. While the spectacular writing and direction are this film's absolute standout aspect, the technical achievements are impossible to gloss over. The cinematography from Hyung-deok Lee was extraordinary and made way for some very quick and adrenalized movement. I loved his use of out-of-focus zooming for many of the establishing shots and how he is able to make every shot in these train cars appear fresh and exciting. Despite being mostly set in the same train, every car really had its own environment to it that kept my attention very well. The tight camerawork in the darkness was particularly effective and also added to the slight comedy revolving around the zombie's blindness when the lights were off. One of the most prominent pieces of this film that really astounded me was how well Yeon was able to utilize his minimal space. Having an entire film set in one train could very easily become boring, especially in the different ways that these survivors have to fight off the zombies, but there are so many workarounds that he cleverly uses to push this story along. The undead in many modern films tend to have the same characteristics as being slow, brainless creatures lusting for flesh but this film takes a new turn on making the monsters quick to attack and much smarter. This made for a more exciting atmosphere for these characters and because of that, the film never put on any brakes in terms of pacing. From its haunting, initial scene with the deer to its arguably frustrating finale, Train to Busan throws you right aboard and uses its storytelling to absolutely leave you breathless.

Train to Busan is undoubtedly one of the greatest zombie films ever made and there is no denying how spectacular and detail-oriented Yeon is as a filmmaker. The way he is able to take all of the best parts of American zombie movies and blend them together to make a clever story that is simultaneously horrific and enthralling is spectacular. No other zombie filmmaker I have ever seen plays with this genre as brilliantly as Yeon does and because of that, we get this amazing rollercoaster of a film that will keep you on the edge of your (train) seat.

My Rating: ★★★★

Singin' in the Rain (1952) directed by Gene Kelly, Stanley Donen

AFI Top 100: #5

The newest challenge that I present is watching this film and attempting to find a single moment that doesn't present unbridled joy. If anyone can do it, that means they are a liar. Gene Kelly and Stanley Donen's Singin' in the Rain is an utterly cheerful and glorious look at Hollywood during the times of the transition between silent film and talkies. This romantic-comedy-musical is one of the greatest looks at Hollywood ever made and also proves to be one of the greatest musicals ever made. There is so much to simply adore about this film and upon my first watch, I can definitely tell why it is hailed as one of the most uplifting and optimistic films ever made. I was genuinely in awe at how humorous and heartwarming this entire film was and there are so many elements that go into making it the perfect story. From the wondrous numbers to the adorable performances to the stupendous direction, this film is a complete delight and one that I will absolutely find myself rewatching.

Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are two movie stars achieving their highest goals of fame on the eve of the innovation of sound in film. As they struggle to overcome this audio barrier, Lockwood meets and falls in love with an aspiring actress named Kathy Selden (Debbie Reynolds), who provides them with a way to continue making the great films that their fans love and expect. It seems all of the greatest movie musicals just so happen to be about Hollywood and the art of filmmaking. I am not one to complain because we, as audiences, get some of the most emotional and impactful storytelling through not just the scripts, but the melodies of the music and their lyrics. Singin' in the Rain is the prime example of this and its cheery tone is inescapable. The music throughout this film is definitely its most memorable aspect and for good reason. I had never seen this film before now but I knew every single song that originated from this story. This movie's impact is immeasurable in the world of musicals and I could not help but feel so overjoyed just by watching this cast perform the catchy numbers. It is so obvious how much fun Kelly, Reynolds, and Donald O'Connor, who plays Lockwood's best friend, had with this film. They are all such talented artists and both their performances and musical abilities are just astounding. Kelly and O'Connor both embody their comedic personas incredibly well but I think that Reynolds was the definite standout, as her adorable character of Kathy drove this story. The choreography and staging throughout this movie were also sublime and made way for such entrancing tap-dancing and slapstick throughout its most entertaining sequences.

Along with how marvelously fun and grand this entire film is, the script by Betty Comden and Adolph Green is fantastic. They not only know the ins and outs of Hollywood and its filmmaking, but they are able to make fun of it as well. Singin' in the Rain is surprisingly self-aware, as can be seen in one of the main plot points of the film: the innovation of sound. It was not only humorous to see how these writers represented reluctant filmmakers from including audio, as they considered it horrible, but they used this theme throughout the film as well. It was very modern of them to discuss this new innovation only a little more than twenty years after its conception and I loved how it also characterized the people as well. Revealing that Lamont had a terrible voice and replacing it with the voice of Kathy was such an adorable plot to follow and I was not expecting at all for it to make out Lamont to be the antagonist. The music and dialogue that surrounded the numbers were all incredibly humorous and I thought it was such a clever choice to include flashback scenes and dream sequences. It is very hard to pull off convincing dream sequences, even nowadays, without making them appear corny but I thought that the musical setting of this film helped with that greatly. The cinematography from Harold Rosson was spectacular and added that extra bit of flair that was definitely needed for this type of story. So many of his choices with the camera were very extravagant with lots of movement and purpose instilled into it and there were a lot of techniques used that I was genuinely shocked they could pull off even in 1952.

Singin' in the Rain is a perfectly-made musical that everyone could use to spark a little joy in their lives. This film is an exceptional time capsule into Hollywood in the early 1950s and its self-awareness makes it that much better. The legacy of this movie continues today and while many could critique this movie for how unbelievably positive and happy-go-lucky it can be, there is no greater joy than seeing these three leads sing and dance their way into film history.

My Rating: ★★★★★

Never Rarely Sometimes Always (2020) directed by Eliza Hittman

Rarely have I ever seen a film tackle such a controversial topic with the utmost humanity and thankfully, Eliza Hittman is to thank for all of this. Never Rarely Sometimes Always is an absolutely exceptional film that quietly tells the story of a young girl struggling with an unplanned pregnancy. The tender filmmaking that Hittman exhibits is beyond compare and although her direction might have relied a bit too heavily on its visual storytelling, there is no other way that I think this story could have been as impactful. Abortion is one topic that will forever be debated and especially in our current climate, one that people will almost never change their opinions on. Despite what you believe, this movie shows the actuality of what it is like to have to deal with an unexpected pregnancy and to do so with such grace was phenomenal. Hittman absolutely succeeded my expectations with this film and there is frankly no better cast or crew that could have more gracefully told the story of this young woman.

Autumn (Sidney Flanigan) is a young girl living in Pennsylvania who, after feeling upset for weeks, goes to the doctor and discovers that she is ten weeks pregnant. Not having the resources or supportive parents that she can turn to, she brings along her cousin Skylar (Talia Ryder) to New York City in an attempt to reclaim her life and make a choice that has always been hers. Eliza Hittman's writing and direction are absolutely incredible and make this film as wonderfully powerful as it is. Telling this very relevant story without the use of excess dialogue was such a fantastic choice because it leaves it up to the audience to really take in what is happening. I love how Hittman leaves it up to most of the cast and crew to really carry this story and even throughout this movie, it was obvious to see how passionate she was about telling this story right. Some people might not completely be on board with how quiet and subdued most of this film was but the lack of extreme conflict really made for an interesting character study that everyone can learn from. The relationship between Autumn and her cousin Skylar really solidified just that: a lack of unnecessary dialogue that instead leads the audience to a more interesting dynamic on what it is like to be a woman dealing with the politics of pregnancy. The sensory use of sound design and how well this movie tells its story through the visuals make for such a grand experience. Films always work out so much better when a filmmaker is able to tell their story without having to completely explain themselves every step of the way and this tactic definitely suits this story extremely well. I also loved how dull and frankly bleak the color grading was throughout this movie paired with the cinematography from Hélène Louvart. Every shot was gorgeously composed and the use of color to characterize Autumn's journey and even make New York City look insufferable was brilliant.

All of the performances in this film are just stunning and especially from Sidney Flanigan, who gives her debut performance as Autumn. She is the undeniably emotional powerhouse of this movie and I was genuinely taken aback when I found out that she had not acted in anything previously. Her tender portrayal of this subject matter was enthralling and the titular scene in particular between Autumn and the counselor before her surgery is just absolutely riveting. Knowing how much pain she had to go through in order to get to this point in the story is just raw, honest filmmaking. Flanigan plays this scene with such emotion and as cliché as it sounds, I really could not even tell that she was acting. Her performance throughout this film is incredibly subdued, but that is just what the character of Autumn honestly calls for. This film never dramatizes anything or exaggerates the struggle to a crowd-pleasing degree, but rather tells it exactly like it is. Not every story has to have a gloriously happy ending or depressingly bleak conclusion, but sometimes a film like this can utilize its reality to hit the audience the hardest. Scott Cummings' editing also complements the story very nicely by allowing it to breathe more than anything. Never Rarely Sometimes Always demands that the audience be allowed to take in their surroundings and get enveloped in the strict journey of Autumn and Skylar and the editing helps with just that. Focusing just on Autumn's face and refusing to cut during this counselor scene alone makes the entire film worth it and seeing Flanigan's jaw-droppingly amazing performance paired with that is enough to make this one of the best films of the year so far.

Now that a good handful of releases are coming out directly on digital, there is no better time to watch some incredible, new films and this one is absolutely the most worthy of one's money. Never Rarely Sometimes Always takes a controversial topic and pushes it to new, humanist heights by giving its lead an undeniably compelling story to work with. I adored this movie and while the refrained type of filmmaking might not be for everyone, it absolutely worked on me and I desperately hope that this film is released again in theaters sometime soon.

My Rating: ★★★★½

The Master (2012) directed by Paul Thomas Anderson

Normal life after war for a veteran is never easy to adjust to and we as a culture definitely have no shortage of stories about that. Paul Thomas Anderson's The Master might be one of the eeriest and most truthful stories about that topic and because of his reliance on visual storytelling, it proves to be one of the most empty as well. This film is a very interesting look at how a veteran tries to find his way again through a spiritual cult calling themselves the Cause after a hellish life on the sea. However, I do think that this film was very much style over substance and I frankly got nothing out of the entire experience. I never quite knew what this movie was trying to say and despite the fantastic performances and gorgeous cinematography, I was never able to connect with this story as much as everyone else. It was never made clear what Anderson was trying to say with this film and while I respect him so much as one of today's most signature filmmakers, this movie was not a good start for me when dipping into his filmography.

After returning back to the United States after WWII, Naval veteran Freddie Quell (Joaquin Phoenix) struggles to find his place in the world, whether it be with a job or with his social life. One night, he drunkenly stumbles onto the boat of a cult leader named Lancaster Dodd (Philip Seymour Hoffman), who promises to be able to help him thrive as long as Freddie is willing to accept it. Paul Thomas Anderson is a wonderful filmmaker and an even more wonderful aficionado of appreciating the art of film. Although this is the first feature of his that I have seen, I was expecting so, so much more. This film, both written and directed by Anderson, is an incredibly empty and vague look at this veteran's path to recovery and one that is sewn together in such a pointless fashion. Lazily drifting through this story, there never seemed to be any sort of connection from one scene to the next and I was consistently lost at what point these characters were at. Perhaps I was meant to guess on the status of these characters' relationships based on context clues, but the lack of clarity definitely hurt my enjoyment of this story. There were also some supposed time jumps that were never made clear, either visually or physically, and so I could never tell where my mind was supposed to be. Save for a few, short scenes such as in the jail that genuinely personified these characters and their motivations, I was completely lost in what I was supposed to be feeling for these people. This film was unabashedly cold the entire time and while that was most definitely the point, it did not bode well for making me even care about what happened to them. The lack of depth in Anderson's writing seems very unlike him and I guess I will need to check out his other films in the hope of redeeming how much this slow-burn film never paid off.

Anderson's premise for this film was very easy to follow at first and there was so much potential for a far more interesting character study. Many scenes throughout this film help to personify Dodd and his very strange cult of followers and when done right, said scenes were mystifying. Anderson's direction became entrancing in these parts, to the point that I felt like I was being hypnotized myself, but in the grander scheme of things, these scenes jumped around so haphazardly. I was never able to get behind these characters or the apparently absent message, but one thing for sure is how much work this cast put into the story. Phoenix, Hoffman, Amy Adams, and a young Rami Malek were all perfect in this movie and they completely embodied the vague feeling all of their characters carried. This is the film that I believe Phoenix actually deserves accolades for and he proved to be the standout of this otherwise meandering story. The cinematography from Mihai Malaimare Jr. was also stunning and made every color so bluntly bold. The beautiful use of color added so much depth to each frame and I adored every shot and every visual choice. More movies should be shot on 65 mm film and Malaimare Jr. makes this creative choice absolutely pay off. However, The Master had nothing to say about its supposed theme of religion or salvation and while this thematic emptiness might be the point, I just can not get behind this type of almost visionless filmmaking. Not every film has to contain an astounding message to be good or important, but I just think that in order to get your ebbing theme of nothingness correctly presented to an audience, it has to be done the right way. Exhibit A: the Coens' Burn After Reading.

The Master is as bold as it is meaningless and for over two hours, I was never sure what was even happening. The basic premise is evident and this entire cast of characters absolutely crush these roles but the writing was so lax that I felt lost throughout its entirety. I really wanted to love this film after hearing endlessly good rave reviews and I do appreciate Anderson's breathable approach but this type of film just does not do anything for me.

My Rating: ★★

Goodfellas (1990) directed by Martin Scorsese

AFI Top 100: #92

Scorsese gets an incredibly bad rep for "only making gangster movies" but this is the first of his that I have seen that can completely and unabashedly embody that genre. And what a hell of a way to do it, too. Goodfellas is the quintessential, modern gangster film that hits all of the right notes and story beats for what I expected from a film about the mob. With some absolutely extraordinary performances from the entire cast and world-building that is unmatched, this true story is an excellent one that could have only ever been told by Scorsese. When people think of a Scorsese film, this is probably what they imagine, but all the better for it. Yes, this film falls into many stereotypes about the genre and yes, this film is unafraid to show its ugly side from time to time, but all of this film's elements are blended together in such an exquisite way that truly makes this the most perfect gangster movie I have ever seen.

Growing up and being raised by the gangsters next door, Henry Hill (Ray Liotta) is bred to be the perfect middle-man between his fellow mobsters and the rest of the city. When he realizes how crucial he is to their operations, he rises in the rank to become one of the most popular and known gangsters in the suburbs of New York. Chronicling his career, marriage to Karen Hill (Lorraine Bracco), and friendship with Tommy DeVito (Joe Pesci) and Jimmy Conway (Robert De Niro), this film is a fantastic exploration into what family means in a mob setting and what they all had to go through. There are many things that come to mind when one thinks about what happens in the mob. Whether or not all of these things are true and whether or not these things were fictionalized for the sake of Scorsese's narrative, the entire environment of this film lends to making such memorable characters. Nicholas Pileggi and Scorsese's script is absolutely incredible and despite the huge roster of characters, each one is so individually fleshed out that it is easy to find something to relate to in all of them. Some more than others, of course, but never before have I been so terrified of the lackadaisical killing and nonchalant murder that occurs from practically all of them. It's almost a cliché at this point to not "mess with the mob" but Goodfellas really grinds in that point. Scorsese showing how easy it was to get killed just by looking at someone the wrong way or bringing someone the wrong drink was fantastic and really set a new type of fear in my heart. However, with Scorsese's direction and the use of classic pop and rock songs, the whole film felt strangely warm. Despite the murder and despite the harsh reality of what these men did to each other, Scorsese really made this cast feel like family, which in turn made the betrayal and untrustworthiness of their actions that much harsher.

Every character in this film is incredibly interesting and they carry wonderful performances to back them up. It is easy to get lost with how many subplots these characters are involved in and there is even a hilarious scene riffing on that, as Karen is being introduced to the endless crowds of Paulies and Maries. However, every performer in this film perfectly embodies the essence of their complex characters. De Niro and Pesci are expectedly fantastic, but Liotta and Bracco steal the spotlight for me personally. Liotta is such a wonderful actor and this was really a perfectly-cast role for him. The almost two-sided Henry could not have been portrayed by anyone other than him and Bracco provided the counterbalance to his chaos. Bracco honestly gives the best performance in this entire film and her character of Karen is such an interesting one. Dealing with Henry proves to be a full-time job and while she reached her breaking point early on in the film, her development in the second half of the movie is wonderful. I also loved the switching of narration from Henry to Karen in certain scenes and it made for a nice contrast between the two. Toxic masculinity is a very prominent theme throughout this film and many others of the genre, containing some obvious abuse and use of derogatory terms, but they definitely served their purpose in making the audience think twice about Henry being the protagonist to root for. Scorsese makes sure of this with some brilliantly-timed moments of jaw-dropping drama or something unexpected to offset the comedy and this tactic that he utilized was so damn impactful. Goodfellas is really everything that I could have hoped for in a gangster film and this story might be the most "Scorsese" Scorsese film I have seen thus far (for the better, of course).

The role greed plays in business is such a scary thing for someone in this film and to be put into a mobster setting with this fear makes for one of the best stories ever written. While so much of Goodfellas can be classified into just the gangster genre, it takes ahold of that theme and runs, even sprints, with it. While I adored Scorsese's The Irishman for its representation of growing older and facing the consequences of your past, this film rather focuses on the dangers of the present. Paired with a powerhouse performance from Liotta, this movie is perfect in nearly every way.

My Rating: ★★★★★

Tigertail (2020) directed by Alan Yang

Stories about lower-class workers from different countries coming to America to find better jobs will always be interesting to me and throwing in a multi-generational, coming-of-age story does not hurt, either. Alan Yang's directorial debut Tigertail is an undeniably compelling look at a young man's journey and desire to move to America but, unfortunately, failed to really connect with me on any level due to its weak script and unmemorable characters. Based on the story of his own father, Yang's film is definitely quite personal to him but despite the charming uses of the camera, I could not get past how generic the entirety of this story was. Perhaps I am looking at this with too critical of an eye, but with how plastic this entire movie felt, it was hard for me to feel what Yang was attempting to convey. I always appreciate what streaming companies and modern studios do to promote up-and-coming filmmakers, but I also am not quite sure what else I was expecting from a Netflix original film of this variety that had so much potential otherwise.

Grover (Hong-Chi Lee) is a young man living in Taiwan who is being raised by his grandmother and eventually decides that he wants to leave his factory job to pursue a more profitable life in America. As he gets older (Tzi Ma), he must reconcile with his daughter Angela (Christine Ko) after being emotionally unavailable for her entire life. Some of the best parts of this film were its technicals, and especially in Nigel Bluck's cinematography. His camera work was phenomenal and there are so many interesting shots that particularly point out the environment in which these characters were living. I adored how the flashback scenes scattered throughout this film were shot on film while the modern scenes were shot digitally. This little detail was just a really bold, aesthetic choice that is hard to gloss over. However, Yang's storytelling is where I just failed to ever become attached. His writing made it hard for me to ever understand where any of these characters' minds were and many of this film's themes of growing up in some certain subplots were never fully explored. I understand that the point of the film was to portray how emotionally cold Grover was his entire life, especially to Angela, but due to the lack of characterization, I just honestly began to dislike him as a person entirely. Not even the mildly warm and comforting music from Zach Cowie was able to offset this unsettling tone and despite his intentions being in the right place, the message never stuck. Yang very deliberately knows the beats of a good, emotional story, but I just really wish the script could have stronger in order to back up his structuring abilities.

I can visibly tell how passionate Yang is about telling this story, especially for his debut feature, but the lack of detail just made everything appear disingenuous. It's very difficult to speak on the authenticity of a story like this since I am neither Alan Yang or his father, but whether or not this film was actually how Grover's life was, its representation was just frankly boring. Yang's writing in this movie is incredibly weak, as the dialogue and written characters never managed to make an impression on me. The dialogue was as generic as it could have been and after a good while, I honestly could not delineate between which of the characters were talking. The characters throughout this film were very flat as well, almost to the point of reducing them down to archetypes. This lack of strong characteristics left me feeling like every one of these characters was a supporting character and that we were just waiting for the actual protagonist to eventually show up. There was not nearly enough detail on any of these people and I became incredibly frustrated with how unremarkable of people they ended up becoming. I will always be a sucker for a multi-generational story such as Tigertail but it just really needs any amount of depth to it. We are never able to find out why Grover transitioned from a lively youth into his distant, older age and while we are led to believe it was because of his love life, it is never made clear enough. Don't get me wrong, this film does a great job of expressing an immigrant's culture shock and how its main character had troubles relating to his daughter her entire life, but do not expect any form of groundbreaking storytelling or anything that will remotely leave a mark on an audience member.

Alan Yang's Tigertail is a promising story with so much potential for generational greatness that was never really able to achieve said wonder. While I think the performances and cinematographic choices throughout this film were fabulous, they really only had a mediocre script to work with, thus making the entire film feel utterly dull. This story has been told countless times before, often in greater fashion and while the theme of family connection is obviously important to Yang, I just wish he could have focused on making his story seem not so painfully generic.

My Rating: ★★★

Inception (2010) directed by Christopher Nolan

Christopher Nolan is one of those directors in which I have already seen most of his films, but typically just once years ago upon their first release. His revered 2010 film Inception is exactly one of these and while it is still an incredibly original and exciting movie, I actually find it to be one of his weaker films. Greatly outlived by the meme culture of the time and its puzzling reputation, this film is an endlessly fun thrill ride that, unfortunately, never seems to find its footing. Nolan, as much as it might pain me to say, thrives on order and even though his films have the tendency to stir minds and get people talking, there is a limit to what he can do in his filmmaking before it becomes unintelligible. This movie seems to be one of those stories and even though it is not that difficult to understand, the approach in his direction is far too messy for my taste. The chaotic energy of this movie might be a bit different than what Nolan usually tackles and while I do appreciate that, I just could not get myself to vibe with this as much as I hoped.

Cobb (Leonardo DiCaprio) is a specialist in removing bad things from peoples' minds and with the help of his dream-state technology, is instead hired by a CEO named Saito (Ken Watanabe) to plant an idea into the mind of rival Fischer (Cillian Murphy). In order to do so, he must reach down into three levels of dreaming, otherwise known as inception, and he gathers a team of the most skilled neuro-spies such as Eames (Tom Hardy), Arthur (Joseph Gordon-Levitt), and Ariadne (Ellen Page) to pull it off. The premise behind this film is what really excites me more than anything. The idea of pulling off a mental heist by planting an idea in someone's head is so strange and creative: something that only Nolan could dream up and execute. There is no doubt that he is the best choice for writing and directing this film but I think that his idea greatly outweighed his execution. A story this ambitious takes a lot of focus in order to fluidly combine the plotlines and especially in this film, which takes place in multiple levels of reality. I found this movie to be so unnecessarily chaotic and while I am certain that was what Nolan was going for, I don't think it fits his style particularly well. Nolan is known for his solid, beautiful, direction and unforgettable technicals and I believe that the confusing nature of this movie muddles all of the best parts of his style. Despite all of this, Christopher Nolan is on another plane of criticism when it comes to filmmaking, as he is undoubtedly one of the best storytellers of our generation. A lesser Nolan film is still better than a great film by any other, cookie-cutter director and no matter the personal taste of someone, it is hard not to at least enjoy his stories to some degree.

I may have not been as on board with this story and its attempted emotional beats as much as I have been with Nolan's other features, but just like his other movies, it is nonetheless phenomenally well-made. The cinematography from Wally Pfister is extraordinary and his expansive use of the camera fits this story unbelievably well. The CGI and visual effects utilized throughout this movie also help Pfister to tell its visual story incredibly well. Some of this movie's most memorable and jawdropping scenes include the city streets turning over on themselves and some of the illusions that are utilized by the characters. These scenes themselves helped to make this deceptive world so entrancing and there is no doubt that this movie has still stood the test of time as being awe-inspiring. Hans Zimmer's score is once again amazing, and even though his use of bass and droning atmospheres has become an almost trademark, it suits Nolan's filmmaking better than any other composer honestly could. The performances from the whole cast are also solid and while I don't think any of them are entirely known for their performances in this film (the entire cast are much better in other films), they take what they are given and run with it very well. The entire cast, from DiCaprio to Hardy to Page, are all fantastic performers and they fit in with this action-packed world incredibly well. I would really love to see more group films like these made today with such a loaded cast and original script because this has proven to be one of the best. This movie is really such a grand technical achievement and all of those parts are what really stood out to me more than anything. Inception has every element that makes a Nolan film a Nolan film and has proven itself more than worthy of its visual, critical acclaim.

Inception has become such a widely used term for the levels of mental confusion that it is almost laughable and honestly, good for this film for inspiring such a facet of our culture. I can not say much about the rest of it, however, and even though I do think this is a fun and exciting movie, I much prefer Nolan in a completely different kind of element. There is no doubt that this movie will be discussed and referenced until the end of time, and rightfully so, but they can have it. I'll stick to my Interstellar.

My Rating: ★★★½

The Wizard of Oz (1939) directed by Victor Fleming

AFI Top 100: #10

Writing multiple paragraphs about a classic film that is more than 80 years old and has been seen by virtually everyone on Earth at least once in their lives is something that is quite unnecessary, but alas, I am passionate about. Victor Fleming's The Wizard of Oz is an undeniable classic of film history and a fantasy tale that will forever stand the test of time. Not only does this film have some of the most memorable performances and songs in it but the themes of childhood wonder and optimism are some things that are definitely needed in today's times. While this movie was never a huge part of my childhood or even one that inspired me as a filmmaker, it is one that anyone can look back on and see why it has become so influential and so endlessly referenced throughout pop culture. The technicals are gorgeous, the set design is phenomenal, and the story is simple but sweet enough to provide for lifetimes of entertainment and in a wondrous setting like Oz, that is all that audiences could ever ask for.

Dorothy Gale (Judy Garland), a young girl living in Kansas, is swept away by a tornado and lands in the magical land of Oz, where she finds many strange creatures and witches that immediately enchant her. Struggling to figure out how to get home, she encounters and enlists the help of a scarecrow (Ray Bolger), a cowardly lion (Bert Lahr), and a tin man (Jack Haley) in order to reach the Wizard of Oz (Frank Morgan), who supposedly knows how she can get home. This film is such a classic at this point that I really don't have to explain what the movie is about, but its simple premise still holds up to this day. There is something so magical about this story that is easily able to transport you into the fantastical world of Oz and that is due to so many various elements. One of my favorite parts about this movie is the costuming and set design throughout every scene. While many of the backgrounds and backdrops were very obviously staged and painted upon, they were gorgeous nonetheless and made every scene and every interaction between Dorothy and her newfound friends so memorable. Along with this, the music in the film is incredible and despite some of them being less catchy or not as well-composed as others, every character's individual breakouts and vocals were absolutely solid. I love how well the music personalizes every character and their individual arcs were great. All of these unforgettable characters work together with such a whimsical dynamic that is quite easy to fall in love with. This movie is truly such an amazing technical achievement of the time and everything about it, from the cinematography to the expansive use of color in one of its most pivotal scenes, is breathtaking and continues to have that same effect today.

What makes a lot of The Wizard of Oz so successful and memorable are the performances from the entire cast. Garland, Bolger, Lahr, and Haley are all fantastic as the main, traveling cast, and their chemistry together is palpable. It's a bit ridiculous that so many of these absolute strangers would get along so well all of a sudden but the way Fleming frames their relationships make it very believable. It also helps that the comedy in this movie is light and easy to chuckle to but I strongly believe in how effective it was. My only issue with this film is the framing of Dorothy as the main character and how little she develops. I find the scarecrow, tin man, and cowardly lion to be the most interesting characters throughout this movie, mostly because they are looking for something that they are missing, whether it be a brain, heart, or courage. These made for some excellent character traits but Dorothy seemed to carry the same, naive energy with her throughout the movie. I honestly became a bit annoyed by her optimism at times and although Garland is perfect in the role, I do not understand why she had to be the main focus. This script, however, is wonderful and adapts the novel in such an interesting way. The dialogue, even for a fantasy film, felt so natural for each character and the childlike wonder radiated through every word. There is not much I can say about the magic that stems from this film that hasn't already been said but it's true regardless. So much of this movie has been made iconic due to its powerful, lasting effect and even now, as someone who is close to graduating with a degree in Film and Media Productions, it is hard to gloss over how strong that said effect is. Countless fantasy and drama films of today use some tropes and themes from this film to help build their story and Victor Fleming's direction really ties this adorable world together.

The Wizard of Oz is one of, if not the, greatest and most impactful fantasy film of all time and even while it was made more than eighty years ago, still holds up incredibly well. While Garland is most famously known for her role as Dorothy, I believe that every other element of this movie is what really elevates it to the classic status that it has achieved. Victor Fleming's cinematic adaptation of this story is undoubtedly more popular than the novel itself and despite the issues with this film's production, it all came together to make one of the most beloved movies of all time.

My Rating: ★★★★½

Ready or Not (2019) directed by Matt Bettinelli-Olpin, Tyler Gillett

Blonde women are the queens of modern horror, especially in 2019, and there is nothing anyone can do to convince me otherwise. Samara Weaving proves this incredibly well as she continues this reputation in Matt Bettinelli-Olpin and Tyler Gillett's Ready or Not, an incredibly hilarious horror-comedy and one hell of a fun ride. This film, although clouded by its B-level premise and standard screenwriting, is definitely enhanced by the performance from the lead and its impeccable direction. While this movie might not be the most original horror film of all time or the most original comedy of all time, it does a stupendous job of blending the two genres to make a bloody and ridiculously good time. I desperately wish I would have had more time to get around to seeing this last year because I know for certain it would have ended up being one of my favorites. I guess now is as good of a time as ever to catch up on underrated gems I missed out on and now that I've finally seen this film, I absolutely understand the hype that everyone had been talking about.

On the day of her wedding, Grace's (Samara Weaving) soon-to-be-husband Alex (Mark O'Brien) offers her an out and suggests that the two of them practically elope. Wanting to be with the love of her life, they decide to go through with it but Grace eventually finds out about a twisted tradition that Alex's family holds: playing a random game the night someone new enters the family. As she unknowingly picks hide and seek, Grace soon finds out that Alex's entire family is tasked with killing her before dawn and she must fight to survive until the sun rises. Class warfare was an unexpectedly huge theme throughout cinema in 2019 and I never would have believed how well a film like this could have tackled it. Guy Busick and R. Christopher Murphy's script was incredible and they show how capable they are of writing a very appealing story. The dialogue might have been a bit generic and the story plays out in a typical, horror structure but this script is able to provide so many little twists and turns that definitely help keep the audience engaged, with the help of its brief runtime. Ready or Not also never tries to be as heavy-handed or impactful as something like Parasite but it really does not have to be. The sprinkles of dialogue about doing what your family has always done and never breaking tradition regardless of wealth are so effective. They may only rear their head once in a while throughout the film, as it rather focuses on the bloody, never-ending chase, but they never seem out of place either. This world established by the writers was brought to life by all of the simple but beautiful technical pieces too. The set design, costuming, and cinematography were all so stylistic and made this horror story so lively. As simple as wedding garb and an exquisite mansion might sound, these filmmakers made great use of this environment and its limited space to create a fantastic world for the characters to play hide and seek in.

Bettinelli-Olpin and Gillett's direction is what helps tie all of these pieces together in the most entertaining fashion. They absolutely know how to make a fun horror film while keeping the jokes and tone rather humorous and lighthearted, despite the bloody gore and action scenes. I loved their direction throughout this entire movie but what stood out to me the most was how they handled exposition. Most horror films would have fully explained the premise at the beginning in some fashion and then took one precise turn into madness but Bettinelli-Olpin and Gillett took this a bit differently. Pieces of exposition and characteristics of the different family members were revealed slowly but carefully throughout the movie and one of the biggest pieces of plot information was not shown off until the chase for Grace was already on. I found this method of direction to be wildly effective and I love how they were able to save little surprises for particular moments throughout the film. The unbelievable standout of Ready or Not, however, was Samara Weaving's performance as Grace. The way that Weaving personifies the cute and innocent wife stereotype until she is broken down and built back up is spectacular. Most horror heroines just happen to have extensive background training in martial arts or something ridiculous like that but Grace's development was so natural and felt very earned. Weaving was perfect in this role and I earnestly wish that she could become a household name as her talent has more than proved her worth.

Ready or Not is a great horror-comedy that succeeds in delivering everything it promises. I absolutely adored the performance from Weaving and the simultaneously powerful and humorous ending that she embodied. Never would I have thought one of the most effective deliveries of a class warfare theme could be imbued within a horror-comedy with a goofy premise such as hide and seek but here we are. And we have Weaving, Bettinelli-Olpin, and Gillett to thank.

My Rating: ★★★★

Vivarium (2020) directed by Lorcan Finnegan

I can not personally think of anything more horrifying than being stuck in an endless loop with no foreseeable end or escape. Something about the constant repetition of anything with no change in pattern scares the living daylights out of me and if there's one thing that Lorcan Finnegan's suburban nightmare Vivarium does right, it's that. This movie is an undeniably eerie take on the psychological horror genre that has so much potential to be greater, especially with the two leads having as much fantastic talent as they do. Unfortunately, I feel as if this was ultimately wasted due to how lackluster and nonsensical many of this film's choices were. Even though the set design was utilized well and some of the cinematography was interesting, this movie fails to deliver on any front that most modern horror films do. While the drab monotony of suburbia definitely provides for one of this film's most terrifying elements, none of the writing or direction are ever able to bring together a satisfying or understandable story.

Gemma (Imogen Poots) and Tom (Jesse Eisenberg) are a young couple looking to move out of their small apartment into a house of their own and possibly starting a family. When they schedule a home tour with peculiar realtor Martin (Jonathan Aris), he takes them to a community named Yonder in which every home on every street looks identical. Abandoning them there with a tiny infant, the couple begin to fall into a mesmerizing, suburban nightmare. This premise is something that absolutely terrified me from the start. One of my biggest fears is absolute uniformity and while I'm definitely not alone on that, this film really takes that theme and runs with it. My favorite aspect of this film was how well it created this world with such a limited set and the endless possibilities that arose from their situation. The seemingly endless rows of houses and neighborhoods all intertwining made for such an eerie atmosphere and this alone genuinely scared me. I loved the production design and how well these artists turn one single, cookie-cutter house into a hell-hole of terror. Many of the outside shots of the neighborhood looked a bit wonky in regards to the visual effects and not much of it seemed too believable, but I honestly think that actually helped this film. Having Gemma and Tom's world be just slightly offputting or a bit too plastic made the story that much creepier. It's also surprising how well they held up despite what was happening to them because I would have almost instantly gone insane. The performances from Imogen Poots and Jesse Eisenberg were also fantastic. They are both incredibly versatile and seeing them in an actual horror film only solidified how much I appreciate their range of abilities. Senan Jennings and Eanna Hardwicke were also great as the young and older version of the boy, respectively, that they were forced to raise. Both actors carried such an unbelievably unsettling energy to them that suited the story extremely well. While Poots and Eisenberg's portrayals of this couple were the most standout parts, unfortunately, they were far too good for a film like this.

Lorcan Finnegan and Garret Shanley's script was painfully bad and even in the simplest of dialogue, I could not get myself to believe any of these characters. Finnegan is lucky that he had two powerhouse performers in Poots and Eisenberg or else the shining laziness of his script would have come to the forefront much easier. I was never able to feel for any of these characters because of the lack of backstory and the ambiguity of many of this film's choices did not pay off. So many things were left unexplained, such as the alien subplot and some creative choices about the aging of the young child but they were never resolved. A film like this would greatly benefit from some resolution about those things and despite how ridiculous it might make the script, at least people would have a coherent understanding about why they just watched what they did. Worst of all, however, Vivarium suffers from Finnegan's aimless direction, as he never seems to know what to do with this story. The first twenty minutes of this movie are incredibly compelling and the last twenty minutes, despite its predictability, caught my attention as well. The entire middle hour, however, could have been cut and I would have felt the same way about the film as I do now. The entire second act of this film is wasted with unnecessary scenes involving the child and the couple struggling to figure out what to do with it. Included in this middle section were a plethora of scenes highlighting how Gemma's motherly instincts clashed with Tom's desire to straight up off the kid. While this dynamic between them was interesting, I really wish it could have been explored more. Nothing of importance happened in the middle hour of this film to help explain its conclusion and that is typically (always) the point of a second act. Time in this film also never seems to exist and although there is daytime and nighttime, the passing of time itself is made so unclear. I never knew for how long Gemma and Tom were holed up in the house raising the kid, whether it be a few months or even years. This aspect might have added to the ambiguous horror of the story but it definitely did not aid the pacing of the film.

Despite me just recently learning about Vivarium, I was incredibly excited to see what kind of horror energy Eisenberg and Poots could bring over since their fantastic turn in the dark comedy The Art of Self-Defense from last year. However, while these two leads make for the best parts of this movie, they were vastly underappreciated as they were given such a dull and confusing script that never gave them their due justice. This film is an undoubtedly creepy watch if one is simply looking to feel uncomfortable about the tedium of suburban America but in regards to telling an actually interesting horror story, Finnegan massively misses the mark.

My Rating: ★★