Yes, God, Yes (2020) directed by Karen Maine

I have never been much of a religious person, nor do I know much about different faiths that lots of people around the world share. One thing I do know, however, is that Catholicism always ends up the butt of a joke in one way or another but sometimes it can also serve as a critical backdrop for a comedy such as this. Yes, God, Yes is a light-on-its-feet film that challenges the Catholic faith in minor ways that end up feeling major to the audience by the end. With a wonderful performance from Natalia Dyer, this film proves to be one of the most wholly original cumming-of-age (I couldn't help myself) films of recent years. Ever since hearing the praise from its premiere at SXSW, I have been ecstatic about checking it out and I am immensely glad that it did not let me down. There is nothing better than a quick film that touches on one subject incredibly well instead of performing a balancing act of multiple haphazardly and director Karen Maine accomplishes this with the hilarious utmost of ease.

Alice (Natalia Dyer) is a naive, Catholic girl who plans on going to a weekend camp with schoolmates in order to uphold her faith. When she accidentally stumbles into a risqué and overtly sexual AOL chat one afternoon, she instantly becomes interested in the one thing forbidden most: sex. After her involuntary awakening, she starts to notice all of the sexual things around her and struggles to decide whether her new discovery or her faith is more important. Alice as a character is the piece that really drives this film and her journey through exploring herself and the wonders of our bodies as humans was fascinating. There was a great dynamic presented in this film between Alice wanting to experience her sexual desires but feeling pressured not to truly be herself that was spectacular to see and that was embodied by Dyer in the best way possible. Her performance was incredible and she was perfectly cast because of her believable and innocent charm. She was able to really bring her character's innocence to the forefront and I was consistently blown away by her. Yes, God, Yes is a perfect deviation for Dyer from an enormous piece of media like Netflix's Stranger Things and I'm so glad that she was able to be a part of this project and make her talent even more known. The writing and direction from Karen Maine throughout this film shines very brightly and even in her directorial debut, she is able to show off her very idiosyncratic, feminine style. I loved Maine's examination of struggling between faith and individual freedom and whether or not this film was based on personal experiences, she does a great job of making it feel like that. I also really enjoyed how guilt plays a big part of this story. Whether it be in Alice not feeling like she is honoring the lord or the hypocritical leaders at her camp blowing each other and watching porn, the religious setting only pounds this theme in more. And the best part about this film's script is that it is genuinely funny without relying too much on sexual gags or shock content. This film knows how to stay relatively blithe in the face of its Catholically taboo subject and I very much appreciated its lightheartedness.

Although there are no graphic or sexually explicit scenes included in this film, there never really needed to be and Alice's curious nature was enough to depict just that. Maine frames this film incredibly well with the help of cinematographer Todd Antonio Somodevilla and they make sure that the viewer knows just what is happening without the explicit portrayal of such. The technicals throughout this film are nothing incredibly groundbreaking but they work together just right to create this humorous atmosphere. The score from Ian Hultquist was excellent as well and gives this whole story a subtle and subdued energy. Maine's direction, however, was what ties these aspects together and accomplishing this story in an extremely tight 78 minutes is very impressive. This short, creative choice was honestly perfect for this story and I love that no time was wasted meandering around the film's point. Maine's goal was to address the relationship between a horny girl and her devotion to her faith and with really only that one point to make, she successfully creates a lovable world for this protagonist to discover herself within. My only issue with this film is that its translation from short film to feature is incredibly apparent. Maine's writing might do a great job of developing Alice as a character but her direction left a little bit to be desired. Adapted into a feature from its original short film in 2017 (also starring Natalia Dyer), Yes, God, Yes was a bit too reliant on the same structure within its scenes. Every scene at the Catholic camp helped to further Alice as a character but they were all relatively repetitive in terms of its message. They all ended up saying that sex was bad and if you sinned without repenting you would go to hell, but the individual scenes and supporting characters never seemed to grow with Alice. Thankfully with a runtime as short as this one, it never became too large of a problem in this otherwise hysterical and uncomfortably perfect little movie.

Not every story about masturbation and getting turned-on has to necessarily be horny and the humor infused into the filmmaking of Yes, God, Yes proves just that. Maine's directorial debut is simply amazing and I adore how she is able to critique some aspects of the Catholic church while also providing an adorably hilarious story. Accompanied by Dyer's perfectly-cast performance and all of the elements that make a little indie like this so appealing to audiences like me, this film has easily become one of my favorites of this year.

My Rating: ★★★★

LIke Water for Chocolate (1992) directed by Alfonso Arau

Cultures across the world often express deep love for their traditions through cuisine. The idea that heavy emotions from someone's personal life can be transferred from ingredients to table is quite a seductive one and Alfonso Arau's Like Water for Chocolate expresses this in the most amorous yet heartbreaking ways. This romance film draws the parallels of familial relationships with a passion for cooking in an absolutely beautiful fashion as Arau takes his characters from tragedy to tragedy in early 20th century Mexico. Adapted from the novel of the same name by Laura Esquivel, the story's central theme of desire pulses through its script and even in just the simple shots of food, one can easily tell how much passion was a part of this project. Arau's tantalizing film is truly one of the best about the dangers and wonders of breaking tradition, all executed through the lens of its magical realist story.

Since they were children, Tita (Lumi Cavazos) and Pedro (Marco Leonardi) have been in love and have wanted more than anything to get married and start a family. However, Tita's mother Elena (Regina Torné) forbids her from marrying due to family tradition and her sister Rosaura (Yareli Arizmendi) ends up marrying Pedro. The emotional heartbreak that Tita experiences is channeled into her cooking while she fights to discover the true passion within herself.

Read my full piece for Cineccentric's July Theme Month here!

My Rating: ★★★★

It Happened One Night (1934) directed by Frank Capra

AFI Top 100: #46

Looking at films through the lens of when they were made is without a doubt the best way to do so. While that is especially true for many films that utilize some dated creative choices, it is also needed when it comes to the origins of a particular genre. Frank Capra's It Happened One Night is a serviceable romantic-comedy that is as fun as it is respectable and there is a lot to appreciate about his film. This movie carries a very lighthearted tone that makes its more serious drama seem unimportant and in terms of falling in love, Capra does this incredibly well. He is able to take this story and run with it in a very concise way that never ceases to entertain an audience. However, I suppose I have just seen this story so many times at this point that it has become numb to me. There is absolutely nothing wrong with the way this story pans out, in fact, there are a lot of incredible and groundbreaking elements in its writing, but I just could not get myself to care.

Peter Warne (Clark Gable) has just been recently fired from his newspaper job when he stumbles upon Ellie Andrews (Claudette Colbert), the daughter of a millionaire who is just trying to escape her life to go and finalize her marriage to King Westley (Jameson Thomas). The two of them board a train and begin hitchhiking across the country before Warne realizes that she could very well be the subject of his new story. There is so much to love about this story and the script by Robert Riskin, based on the short story by Samuel Hopkins Adams, is just delightful. Frank Capra's direction was definitely solid and he shows that he knows how to handle a modern story like this. I may not have been as blown away by his storytelling abilities as I have with other films of his, but this contemporary feeling really pulses throughout this movie. The comedy written throughout this film was also one of its best parts and I loved how fast-paced everything was. It was never exactly slapstick, as there were plenty of dramatic plot points to keep the story moving, but the comedy was imbued into the story so well. Just like this humor, the romantic parts of the story actually felt believable. Two characters meeting and having to spend a long time together traveling before falling in love is a very typical premise seen in countless films since the release of this one in 1934, but this movie is really the epitome of that idea. Despite how generic a lot of this storytelling was, there is no denying that anyone can have fun with this film. It's a very easy watch and honestly a bit dull but it is always hard to argue about the rewatchability of these types of films.

The performances in this film from Gable and Colbert are also phenomenal and I really enjoyed their chemistry together. They really do make for a perfect romantic-comedy couple and the way that their characters were written does their energies justice. Gable plays his role with such charisma and I loved how he really embodied this character. Colbert is the main standout for me, however, and her multi-dimensional Ellie was such a great arc for her to explore. She proves to be such an incredible and scene-stealing actress and the way that she is able to traverse the different genres throughout her dialogue is absolutely admirable. Not to mention that this film definitely had its risqué moments and the comedy that came with those elements of the writing was perfectly displayed by Colbert. My main issue with the writing of these characters, however, is that Warne was your typical man in this kind of genre. Not to say that male characters can not be written well but analyzing this film from the perspective of today really makes its issues glaring. Warne was a decent enough lead for Ellie to fall in love with but he was as charming as he was unnecessarily controlling. The way that he was incredibly demeaning towards her and practically told her where they would be going and what they would be doing was not as romantic as much as it was irritating. For a film that gives its woman lead as much agency as it does, I was a bit disappointed that it returned to the stereotypical ending of the woman bowing down to the demands of the man, regardless of how witty he could be. It Happened One Night had a lot more potential to be something greater and while I know this was early on in the genre of the romantic-comedy, I was honestly expecting something far different. I really fail to see what part of this film constitutes it being a part of the AFI's Top 100 because it was really just mildly entertaining at best.

It Happened One Night is the perfect film to put on in the background of the Turner Classic Movies channel when there is honestly nothing else on. It is also the perfect film to watch in order to understand the classic origins of the romantic-comedy and while I can appreciate how this movie set the bar for future filmmakers to play with the genre, I just could not get past the mediocrity of it all. I would definitely still recommend this film but just like many entries into the genre today, it serves its purpose without trying to add much more.

My Rating: ★★★

Rear Window (1954) directed by Alfred Hitchcock

AFI Top 100: #48

If I was on house arrest with a broken leg, resorted to spying on other people, and witnessed a possible murder, I would simply mind my own business but that's just me. Thankfully the characters in this film are much better people than me, however, or else we would not have such a compelling, classic thriller. Alfred Hitchcock's Rear Window is an undisputed masterclass in tension and the incredibly simple premise could not have been executed better. I adored everything about this film, from the performances to the script, and was genuinely blown away with how excellently this film kept surprising me. This movie is yet another one perfect to watch during these times and one that brilliantly encapsulates what it's like to be under quarantine slowly losing your mind. The state of paranoia that pulses throughout this film is incredible and because of the flawless direction from Hitchcock, this might just be his absolute best.

Stuck at home in a leg cast due to a photography accident, L.B. Jefferies (Jimmy Stewart) winds up spending most of his days staring out of his apartment window and entertaining his high fashion girlfriend Lisa Fremont (Grace Kelly). When they start to notice weird things coming out of their neighbor's apartment and suspect that he had killed his wife, they get tangled up in investigating the truth. The script by John Michael Hayes, based on the short story by Cornell Woolrich, is absolutely wonderful and there are so many different elements blended together to make this film as engaging as possible. The culmination of genres throughout its dialogue is the most obvious trait that makes it so appealing to as many audiences as possible because as well as being one of the most enthralling thrillers of this time, it's also genuinely hilarious. I loved the interactions between characters and some of their unspoken backgrounds and the way that Hayes intertwines different pieces to keep this story relatively light is fantastic. It is so interesting the way that Hayes writes these characters because despite only a handful of them taking the spotlight, all of the supporting cast is fantastic, even without any dialogue. As nameless as they may be, the actions of these neighbors all influence one another in some way and I adored seeing how Hayes wrote this community. The greatest thing about this film, however, is its examination of voyeurism and accompanying paranoia. I felt fairly guilty from the way that Jeff constantly looks into the lives of his neighbors and makes assumptions about them all while in the comfort of his own home. Although it ended up helping bring a criminal to justice in the end, the persistent desire to form his own narrative was so intriguing. It also led to Jeff's debilitating sense of paranoia about whether or not what he was doing was right and this theme practically carries the film. Rear Window is definitely the epitome of voyeurism in film and while it is not as creepy or predatory as one might come to think, it does a fantastic job of showing how dangerous it can be to one's own mental health to entirely occupy themselves with the lives of others.

Hitchcock's direction in this film is what brings all of its most interesting elements together and I loved seeing how his creative decisions made this movie so riveting. His use of visual storytelling in the film is what makes it that much more interesting due to its cinematography and set design and it proved to be the smartest choice to tell this story. The cinematography from Robert Burks may not have any incredibly original shots or fancy techniques, but his choice to stay situated in Jeff's apartment for its entire runtime was phenomenal. I really felt like I was living life in Jeff's shoes as he is confined to this small area and only being able to see out of the window through binoculars really enhanced the voyeurist aspect of the story. The limited set design in Rear Window helps with this eerie feeling as well, as Jeff's New York apartment slowly and slowly becomes more unbearable. While it is obvious to see that these buildings were constructed and painted on a Paramount lot, it almost becomes a character in the story itself. I really loved how Hitchcock builds this world and is able to tell so many peoples' stories fluently and silently, whether it is critical to the plot or not. The visual storytelling in these silent scenes was fantastic and even in many of them where Jeff was just watching people, so much more was told then if it had been overlayed with narration or unnecessary audio design. Hitchcock knows that sometimes the regularity of life and the thought of someone watching your every move can be creepier than any monster or supernatural entity and he knows how to capitalize on that fear incredibly well. Along with his direction, the performances are stellar. Jimmy Stewart is expectedly wonderful, even in his more dramatic roles and his chemistry with the gorgeous Grace Kelly is palpable. They were absolutely destined to share the screen together and both of them, particularly Kelly, are able to embody the complicated relationship that Jeff and Lisa share.

If Rear Window is not an exemplary film that showcases all of Hitchcock's best abilities in a tight story, then I don't know what is. This movie is absolutely wonderful from its lead performance to the uneasy tone that plagues this movie like the paranoia that plagues Jeff. This is definitely one of the best and most exciting thrillers in the AFI's Top 100 list and after watching more and more of Hitchcock's filmography, it's quite easy to understand why he has become one of the most prolific and renowned filmmakers of all time.

My Rating: ★★★★½

The Assistant (2020) directed by Kitty Green

I guess I'm not used to hearing Julia Garner speak without a Southern accent due to my quarantine binge of Ozark but seeing her in a completely different, feature role like this was just as rewarding. The Assistant is an incredible and timely film that tackles its subject of workplace harassment towards women better than any story has before. The central thing to remember about this film, however, is that it really is not defined by its "Me Too" leanings but rather its approach is much more subtle and powerful than any outright one could have been. The filmmaking abilities of director Kitty Green are absolutely perfect for this film and there is no one else who could have told this story in such a moving way. From the phenomenal performance from its lead to the environmental bits and pieces that play into this film's discomfort, there is so much to appreciate about the brilliant ways this film went about telling its message.

Jane (Julia Garner) has landed her dream job of working for one of the world's top film studios and starts out as the assistant for one of the company's top executives. Working with her two male coworkers (Jon Orsini, Noah Robbins), she experiences over the course of one day how it's like to be a woman working in the field and the injustices that occur almost daily. Kitty Green's writing and direction throughout this film are amazing and her handling of this story was the best thing to ever happen with it. This story obviously belongs to being told by a woman and Green's pacing of the story really helps it. Clocking in just under 90 minutes, she tells this story in an absolutely flawless way by showing the mundanity of an office job underscored by its main theme of harassment. What this film does best in its quick, 87-minute runtime, however, is subtly show all of the injustices that Jane faces every day. While that might be the entire point of the story, it does so brilliantly and concisely. This film could have easily been a much louder defense and announcement of the way that women are treated but it finds its power in the quietest moments. There are so many scenes scattered in this film that genuinely represent what it's like working in an office like this, especially in film. While the industry that I love has definitely had its problems made more aware of in the past few years, Green's film really just puts the final nail in the coffin of all of the pure shit that women have to go through on the daily. I can not speak to this film's universality, given the fact that I am a man, but the way Green just outwardly shows what it's like is such a powerful way of telling this story and so much so that I became incredibly hurt. Jane might be a simple character written in a simple world but Green's script does a fantastic job of portraying her struggles to everyone equally. It's impossible to overlook the harassment Jane faces in both minor and major ways and it hurts even more given that Green is able to make her audience care about the main character in incredible ways.

Sound design and cinematography are other aspects that really make this film reliant on its environment to tell its story. The cinematography from Michael Latham was extraordinary and he makes every shot appear different, despite being set in one office for almost the entirety of the film. His framing of Jane and her constant struggles through her eyes is fantastic and I really enjoyed how he tells his own visual story through the lens. The sound design was particularly effective as well because of its glaring silence and powerful uneasiness. The Assistant does a great job of portraying the reality of an office setting and how almost dystopian it can be. I was consistently tense throughout this film because of how real it felt and it, therefore, leaves room for Green to pound in her message even deeper. Even in just a scene of Jane writing an email expressing her condolences for menial tasks that her boss is furious about, the audience can overwhelmingly feel how she feels and the use of silence is to thank for that vivid experience. The greatest and most impactful piece of this film would have to be Julia Garner's performance. She is proving to be one of our greatest working actresses and she can encompass emotions in just her face better than most performers I have ever seen. Especially in the HR scene, Garner's talent is put on full display and I adored every moment of her acting abilities. In just the dialogue between Jane and the HR representative, the audience can clearly see how conflicted she is with wanting to report her boss with the danger of being fired. That one dialogue element is what I loved most about Jane's interactions with the men of the office. Every little microaggression that was shown in this film instantly becomes a macroaggression and Garner is just phenomenal at expressing her character's anguish over having to deal with it all.

The Assistant is an excellent and simple film that captures the struggles and modernities of women in the workplace a lot better than a lot of the media has in the past few years. This is really one that everyone should be required to see and while many of its most glaring tension points are its subtlest, they work in such powerful ways that are hard to be ignored. Kitty Green is exceptional at portraying these modern anxieties and although this film only takes place across the span of one day, she has done the best job of making it rightfully feel like a lifetime of persecution.

My Rating: ★★★★

Unforgiven (1992) directed by Clint Eastwood

AFI Top 100: #68

If there's one name that even non-film fans can usually think of when it comes to the genre of the western, it's Clint Eastwood. And for good reason too, as the man is an absolutely wonderful storyteller with an impressive filmography spanning many different subgenres. Unforgiven is a solid, early 90s western that only someone as renowned as Eastwood could helm. I have come to accept that I may never be too keen on the genre simply because of my upbringing but that never stopped me from thoroughly enjoying the filmmaking choices that Eastwood exhibits here. While this film might not be the most original tale of revenge or taking a job for the sake of money, it contains everything that made the classical westerns early in the genre so enjoyable. There is a lot to love about this movie, including the performances and excellent dialogue, and within even the first act, it is plain to see that this film is a culmination of Eastwood's western efforts.

Retired assassin Bill Munny (Clint Eastwood) lives in the old west with his two young children and is barely scraping by to survive. When he is given the news by a local boy about two men who assaulted and cut up a prostitute, he decides to take the job and kill them for what they've done and brings along old friend Ned Logan (Morgan Freeman) with him on his travels. This script, written by David Webb Peoples, is so simple yet so elegant. The plot is very straightforward, as Munny and Logan set off to kill the men and collect their final bounty but it was done in such an authentic way that made this story feel like two best friends going on one last adventure more than anything. I could really feel the sense of bonding between the two characters and how even years after they had retired from being old west assassins, they shared common wants and needs out of life. What stood out to me the most, however, was the dialogue and how it characterized these heroes and villains incredibly well. One thing that I feel is often missing from westerns is believable, human dialogue and Peoples absolutely knows how to write it. Unforgiven felt so personal and genuine due to its dialogue and I loved how much I began to care for these characters. It might be the classic trope of good vs. evil and the audience obviously choosing a side, but the depth of backgrounds and world-building that Peoples delves into is impressive. Peoples also touches on a lot of dark material, such as regret over killing people and facing the fact that everyone gets old. So many moments throughout this movie were made so emotional due to these realizations and the pain that Munny and Logan felt in their hearts was portrayed very well by these two leads.

The performances from Eastwood and Freeman were almost exactly as you would expect them to be. They are both fantastically talented and renowned actors who are great in their own rights: Eastwood as a hardheaded and stubborn cowboy fighting with no end in sight and Freeman as the more levelheaded friend who is always the one to bring some humanity and sense into the world. Freeman, in particular, is incredible in this film and his character's arc really pushes his acting to his limits. This is one of the few roles I have seen him in which I get visibly emotional watching him perform and while I have always known of his talents, it is just so refreshing to see him in such a suiting role. Gene Hackman's performance in this film as the antagonist "Little Bill" Daggett is wonderful and seeing him take on a villainous role was astounding. He really dramatizes the actions of "Little Bill" with a strange sense of humor and understanding and his contribution to this film just solidifies the fact that Unforgiven is a showcase of acting prowess. The violence depicted throughout this film can be very hard to watch at times, including Ned's death and the point-blank shooting of "Little Bill" but it all serves its purpose incredibly well. This might not be a typical shoot-'em-up western or even an elongated reflection on the human spirit, but Eastwood balances those themes with perfection. When the violence hits in this film, it hits hard and really drives home the points Eastwood and Peoples were trying to make. My only issue with this film, and most westerns in general, is that it follows a very formulaic style and Eastwood's pacing did not really offer anything new. Most films of the genre follow these beats and this movie was not quite different. It had a lot of potential to be darker with its themes, but I did enjoy how Eastwood demonstrated his self-awareness, knowing when and when not to be lighthearted.

Unforgiven is an unforgettably exciting western that showcases some of the best talents from its cast, as well as smooth and to-the-point direction from Eastwood. Even though this movie has everything that makes a classic western so enjoyable, the dialogue and its characters are really what stood out to me the most. I never would have expected Hackman to play such a convincing villain and the revenge arc that Eastwood decides to take these characters on was done so incredibly well. I would definitely recommend this film if you are a fan of the genre and even if you are not, there are loads of elements to appreciate.

My Rating: ★★★½

Palm Springs (2020) directed by Max Barbakow

I am committed to watching Andy Samberg in literally anything and while his brand of comedy is very unique, I was not expecting this film to be so genuinely well-written and touching. Palm Springs is an extraordinary and electric romantic-comedy that takes an already established premise and slightly reinvents it to make a clever twist of its own. I have been wildly ecstatic about this film coming out since its premiere at Sundance and when it was hilariously bought by Hulu and Neon for $17.5 million and 69 cents, I knew that it was going to be something special. From the chemistry between its leads to the spectacular writing, this might definitely be The Lonely Island's most mature production to date and all the better for them. This film is the warm light that a cold world right now desperately needs, which not only makes this the best comedy of 2020 so far but one of the greatest films.

Nyles (Andy Samberg) is a carefree slacker who seems to do what he pleases and Sarah (Cristin Milioti) is a reluctant maid of honor who has relationship troubles of her own. The two of them meet in Palm Springs for the wedding of Sarah's sister Tala (Camila Mendes) and soon realize that due to an unstoppable time loop, they are unable to leave. The script, written by Andy Siara, is simply terrific and while simple in nature, it excels in all of the best ways possible. His story is executed brilliantly while still being easy to process and I adored how light on its feet this script was. Time loop films can get incredibly dark and stemming from the Groundhog Day formula, this movie was bound to have its predictable plot points but it continued to surprise me. I find it so unbelievably exciting when everything from a film's trailer is only in the first half-hour or so of the movie, which gives the audience more time to wonder which path the story could take. The direction from first-time feature director Max Barbakow is spectacular and he has already proven that he knows how to pace a film. This movie could have easily been much longer while exploring different ways and the comedy of a time loop, but a tight 90 minutes is all that this story really needs. Barbakow does an excellent job of treating his audience right and giving the world a new perspective on this type of story without relying too much on tropes or clichés. Barbakow's direction and Siara's script prove to be a match made in heaven and along with the humorous producing efforts from all three members of The Lonely Island, this light and sunny comedy is one to not soon be forgotten. This film is perfect for a Hulu release and especially now, as the world seems to be getting colder and colder with each passing day. Palm Springs does nothing but bring warmth through its story and this might just become my new favorite time loop-inspired movie.

As ironic as it might sound, love doesn't always have to be like in the movies and that is what Palm Springs does best. The romantic aspects of this romantic-comedy were written so well and Siara's script never sacrifices individual character development for an unrealistic or overly sappy relationship arc. I adored how these characters were developed and how both Sarah and Nyles ended up realizing that they were co-dependent. This writing choice proved to be quite realistic and the poignant parts of their relationship became very apparent. Sometimes the best way to find out what someone really stands for is by wasting time with them and what better way to do so than by spending eternity reliving the same day with someone you love? The performances from Samberg and Milioti are also absolutely phenomenal and really cement their chemistry. Samberg plays a much more depressed character than usual and "pretentious sad boy" as Sarah describes him and he absolutely nails the role. Whether its the more dramatic acting he has been taking part in recently or not, his performance was fantastic and it is incredible to see him progress as not just a comedian but an actor. Milioti was my favorite aspect of this film, however, and she brings a charming and determined energy that was much needed for the story. Her character of Sarah was perfect for her and it frustrates me that she is not cast in much more stuff. Perhaps this film will help that but she is truly one of the most versatile and delightful actresses of today. Along with a hilarious supporting performance from J.K. Simmons, who plays a character named Roy that is out for revenge against Nyles, this entire cast is fantastic together and we have Allison Jones to thank for that. Like I mentioned before, even with a small budget and limited shooting locations, these filmmakers are able to create one of the most exciting and genuine romantic-comedies I have ever seen.

I have instantly fallen in love with Palm Springs; not only because it features two of my favorite comedic actors but because I was quite literally moved by its story and with how much this lived up to my wildest expectations. This film touches on a lot of deep subjects that I was not prepared for it to but the evolved level of humor and maturity that pulses through its story is something to greatly appreciate. I really cannot wait to see what Samberg, Schaffer, and Taccone produce next and as long as they stay together as a creative team, there is hilarity to be had.

My Rating: ★★★★½

Swing Time (1936) directed by George Stevens

AFI Top 100: #90

Fred Astaire and Ginger Rogers are two of the most admirable and electric performers of the early days of film and this particular story is the perfect encapsulation of their energy together. George Stevens' Swing Time is a fantastic musical film that exhibits the many talents of these two leads while providing a romantic story that is easy to fall in love with. While the beats of the story might be exactly what one could expect from a modern romantic-comedy, it is that much more impressive that this film from 1936 carried that same pacing and entertainment value. The comedy was hilarious, the choreography was magical, and I instantly fell in love with this cast of characters. Despite quite a lengthy scene towards the end featuring Astaire in blackface, this film holds up incredibly well, and not once was my attention diverted from the screen. God, I wish I could dance.

Lucky Garnett (Fred Astaire) is engaged to Margaret Watson (Betty Furness) but after showing up incredibly late to their wedding, her father makes him prove himself as a man by making $25,000 before Lucky can get her hand in marriage. While in New York City, Lucky meets and falls in love with a dancer named Penny Carroll (Ginger Rogers) and he must decide which dream he wants to pursue. This script, written by Howard Lindsay and Allan Scott, is the perfect blend of all the genres that this film attempts. A culmination of musical, romance and comedy was done excellently by these writers and brought together in the most concise way by director George Stevens. This film was so fast-paced and quick with its humor that I felt like I was watching something more modern. Swing Time really hits all the beats that modern films of this genre do so well and I was taken aback by how entertained I was by such a simple premise. The idea of this film might be incredibly basic but its elevated even higher by its characters. These lovable and goofy characters are written incredibly well and the accompanying performances are just as fantastic. Astaire and Rogers, in particular, are just delightful together and their relationship was one of the most honest and genuine ones I have seen from a film of this era. It was also great seeing the contrast between Lucky and Penny's relationship and the assumed relationship between Pop (Victor Moore) and Mabel (Helen Broderick). Pop and Mabel met through the former two and while they are just supporting characters, their unspoken love and dorky antics made this film even more multi-dimensional. Stevens never focused entirely on his leads but gave the supporting cast enough time to develop, once again, in a more modern way.

Swing Time might reveal itself as one of the most enjoyable musicals of this time but it is certainly not without its problems. The most glaring one, which it has received backlash for most recently, is Fred Astaire's use of blackface during the final dance sequence. I'm fairly certain this is the first time I have encountered blackface in all of the films I have seen from the AFI's Top 100 list so far and it's quite important to look at this scene critically. This movie is definitely not afraid to show its age and with this scene particularly, it's easy to wince at nowadays and wonder what they could have been thinking. This was simply the time, however, and while the scene revolves around an homage to tap-dancer Bill "Bojangles" Robinson, there was not much knowingness of racism during the time of production. Of course, I do not have to give a lecture about why blackface is bad or how times were much different almost 90 years ago but I think that discrediting this film simply because of a then-accepted choice is ridiculous. I'm personally able to distinguish between the two and I just really enjoyed and focused on the choreography from Hermes Pan and how lively it made this film. The dance numbers throughout this film, whether it be swing, tap, or ballroom, were mesmerizing and to see the sheer talent from Astaire and Rogers take up the screen is fantastic. There is a reason why dancers and musical filmmakers take up their craft and I earnestly believe this film is one of those for many people. The music accompanied every scene so well and while the humor radiated throughout, this movie just ends up giving off a really positive vibe. I might not have found this film to be as artistically affecting as others that I have seen but the glorious extravagance of it all makes this out to be one of the most impressive pieces of entertainment of its time.

Why we don't have more showstopping dance numbers intertwined in film nowadays is beyond me but thank heavens we are able to enjoy the phenomenal talent shown in Swing Time. Rogers and Astaire absolutely steal this show and the tight direction from Stevens helps to tell such a wildly fun story. Many might dismiss this film simply because of its dated and racist artistic choice at the end. While we know it is very inhumane and incorrect today, the wonderful elements of this film are what make it memorable and we as an audience can recognize that it was a different time.

My Rating: ★★★★

On the Waterfront (1954) directed by Elia Kazan

AFI Top 100: #19

Often considered one of the greatest actors of the 20th century, Marlon Brando has had one of the most influential careers in film acting and I have always been interested in where he got his start. One of his earliest roles is Elia Kazan's 1954 classic On the Waterfront and even from such a young age like this, it is simple to see how incredibly talented he is and how he brings so much energy to the roles he chooses. This film is an absolutely wonderful, early crime thriller that touches on so many of the issues of the time with longshoremen and their work being determined by the union mob. I loved the blend of the hero's journey along with the struggles of the rest of the union workers and Brando does an excellent job of bringing all of these elements together with the utmost charisma. Along with Brando's performance, there is a lot to adore about the direction from Kazan and how he builds this entire world from a crime syndicate and makes its story so unbelievably compelling.

Terry Malloy (Marlon Brando) is a longshoreman working for a union mob that is in control of who works every day and who actually makes money. When a friend of his is killed for being suspected of ratting the union out to the police, Terry falls under the watchful eye of boss Johnny Friendly (Lee J. Cobb) and gets involved with the sister of his friend named Edie Doyle (Eva Marie Saint); all while trying to secretly take down the union from the inside. The script by Budd Schulberg is absolutely phenomenal and provides a fantastic, thrilling story with just enough room to breathe to not overwhelm its audience. What I loved most was how there was a perfect balance between Terry's human story with his personal life and the crimes that he was going up against. Too much of one genre can be suffocating but I think that Schulberg and Kazan did an excellent job of making these characters multi-dimensional. Kazan's direction is fantastic and I adored the way that he built up this world before really introducing us to any of the main characters. In order to understand this world, one has to understand the art of dock working and being a longshoreman so to focus the film on that while still throwing in a touch of crime in the exposition was brilliant. The rest of Kazan's direction was great as well and the story is paced very well; On the Waterfront felt more like a crime film than a seafaring one and even though the theme of the dock remained prevalent, the crime aspects took hold in the strongest ways possible. The conclusion of this film was also so satisfactory and seeing such a studio ending on a story like this was actually a bit refreshing. The good guys win, the bad guy is left penniless, and while the protagonist did not "get the girl" like they would typically, I was left with such a feeling of empowerment over the brotherhood all of the longshoremen shared. There's nothing better than it: just guys being dudes.

Brando's performance is the light that shines throughout this film and it would not have been nearly as engaging without him. He really is one of the greatest actors of his generation and he eats up this role like it's nothing. If his performance had not been so attention-grabbing and energetic, this really would have been quite a forgettable thriller and one that definitely would not have gotten Academy Award attention. Instead, Brando gives us one of his best earliest performances and truly knocks this film out of the park. The chemistry that he shares with this whole cast, including Terry's conflicted relationship with Friendly and his confusing love for Edie, was portrayed excellently and I loved the way that his character developed. I'm also not sure whose idea it was to give Brando an eyebrow slit for the sake of his character's aesthetic but boy did it work well. The editing from Gene Milford and the music by Leonard Bernstein worked together to make On the Waterfront technically phenomenal and the tension choices made by these artists worked so well. Milford's editing had a tendency to cut at just the right moment and the shifts in perspective that he chose were fantastic. A small detail I noticed was that he cuts a lot on head turns and that not only adds just the right amount of flair but also twists perspective to enhance the drama. Bernstein's score was also booming and bright throughout and I loved the buildups to certain scenes and how it would cut to silence in order to leave room for the actors to play out the scene. The cinematography from Boris Kaufamn was beautiful too, giving the audience so much dark contrast within the walls of his blacks and whites but all of these technical choices worked together to tell a visual story that is unparalleled.

On the Waterfront is one of the best, early crime thrillers I have ever seen and one that features an undeniably human performance from Brando. He is truly the heart and soul of this film and it is hard to imagine any other actor trying to live up to this fantastic performance. While I initially thought this was going to be a war film based on criticism I had heard of it, I was very surprised to find that it was quite the opposite and I was genuinely moved by its storytelling. Containing a fantastic romantic plot and a hero's journey that hit all of the right beats, I would absolutely recommend this classic movie. Marlon Brando says ACAB and so should you!

My Rating: ★★★★½

Double Indemnity (1944) directed by Billy Wilder

AFI Top 100: #29

Billy Wilder has become one of my favorite classic directors since I began the AFI Top 100 list and over the course of his work, I've learned to really appreciate his use of comedy and romance. His 1944 feature Double Indemnity, however, is not at all what I would have expected from a filmmaker of his magnitude. This film is an incredibly interesting look at Wilder's dip into noir and there is a lot that I love about this and some elements that I feel like could have been greatly improved upon. Although this movie is a dramatic and romantic noir throughout, I feel like it had the potential to cross genres more than it already did. I know Wilder as the director of some hilarious, classic comedies and I just feel like this film could have tapped into that more. Even though this is one of his earlier works, I was still expecting a bit more and was let down when I could not get past my mild annoyance of the noir genre.

Walter Neff (Fred MacMurray) is an insurance agent who is tasked with tracking down Mr. Dietrichson (Tom Powers) and his wife Phyllis (Barbara Stanwyck) for a payment. When Neff begins to fall in love with Phyllis, she convinces him to help her kill her husband in order to get the insurance payout that would come with his death but Neff soon realizes that the crime is a much deeper investment than he thought. One of the biggest aspects of this film is its obvious genre of noir and how Wilder is really unafraid to dive headfirst into the nearly ridiculous story. Other noirs of this time seem to be much darker and more relentless in tone but I really loved how this film feels fairly lighthearted, despite the violent subject matter at times. Wilder and Raymond Chandler's script was entirely wacky and the constant tugging and pulling that can be expected from a story like this were very much prevalent. I loved how characters kept getting introduced and deepening the conflict between Neff and Dietrichson and even though it felt like a bit much at times, it only kept me on my toes. I also loved the framing narrative that Wilder decides to use with the constant utilization of flashbacks throughout the movie. This tactic is rarely seen in classic films of this era but I thought it was an excellent choice given the plot material. However, if there's one thing I can really appreciate about this film, its how dedicated Wilder is to going all-out and making a full-on noir. I can see myself bringing this film up when asked about examples for classic noir and his decision to not hold back on the tropes and clichés of the genre actually becomes respectable. Like I've mentioned before, I am not a fan of the genre and find them to be quite dull but with the direction and wonderful craftmanship from Wilder, it was difficult for me to not at least enjoy this movie.

Despite Wilder doing the best he could with Double Indemnity, I felt like there was something missing throughout and I've come to realize that it's the comedy that one can usually find within a Wilder film. This movie is a drama through and through but with its lighthearted and almost bouncy pacing, it was begging for some comedy. Despite the occasional line that garners a chuckle, this film leans on the side of satire and I feel like much more comedy could have been introduced into its world to make it that much more enjoyable. Perhaps it's because of the outlandish plot points and how Wilder seems to want to make exactly what his audience wants, but this movie had so much more potential for greatness that I was expecting. Another part of the film that I feel could have been greatly improved was the script and how generic so much of the dialogue came across. I frankly would not be able to reiterate to anyone the characteristics or personality traits of this cast of characters and even though all of their performances were fantastic, I just was not on board with many of the plot choices. A good, noir thriller has to have its twists and turns but I feel like a lot of Wilder and Chandler's choices were too far-fetched for their own good. This plays into one of my many issues with the genre and how unmoved I am by the spontaneity of noirs. So many classic films can be relegated into this type of drama and while I know there are plenty of amazing examples, this one never really seemed to rise above mediocrity. I will always adore Wilder's filmmaking and love to educate myself with his vast array of stories but just like with other movies in the genre, I was less than impressed.

Double Indemnity is a film that I have heard only spectacular things about but one that I just feel like was not exactly for me. While I am already unaffected and unamused by the noir genre, I feel like this one was not quite different. For a film of the genre to really impress me, I need to see something unlike anything I have seen before or could predict and while Wilder's film came close, it just wasn't enough to fully make me appreciate the story. Wilder proves himself a better director in his later films and I would recommend those as opposed to this addition to his filmography.

My Rating: ★★★½

Viena and the Fantomes (2020) directed by Gerardo Naranjo

The algorithm for pumping out grungy coming-of-age films is starting to become quite tiring at this point and while I was excited to think Gerardo Naranjo's newest film could be an exception, I was quite let down. Viena and the Fantomes is an incredibly formulaic and by-the-book film that really did nothing for either me or its entire cast of characters. I was looking forward to this film since I randomly happened to see its trailer online and while I adore the cast throughout this whole movie and can see how much talent they are trying to force onscreen, the story was not nearly strong enough to carry my attention. The subdued audio style that pulses its way through every scene was such an interesting, creative choice that I really enjoyed given that this film is supposed to be revolving around a punk band but other than that, it's hard to see past this movie's mediocrity.

Driving across 1980s North America, Viena (Dakota Fanning) joins her favorite punk band The Fantomes as a roadie and eventually becomes part of their clique. The band encounters many troubles along their travels, the main one being money as they struggle to survive as an up-and-coming punk act while being accused of molding their groupies and practically holding them hostage. Gerardo Naranjo's writing and direction throughout this film are what really make it difficult for me to get invested in anything he tries to portray. Kicking this story right off the bat by throwing his audience into the middle of the plot's timeline and then promptly flashing back to the beginning was such a cliché choice to make and right from the beginning, I knew I was going to be in for a standard ride. The main issue that I have with this film is just how utterly dull it is throughout. A movie about a groupie following a punk band and bowing under their influence is something that could be so wildly captivating, especially since the foreign punk scene has not been explored too much in film. However, this movie quickly became a generic tale of a girl caught within a love triangle with two of the band members and that's really about it. Having a love for both drummer Freddy (Jeremy Allen White) and another band member Keyes (Frank Dillane), Viena was given quite a dull path to follow with who she wanted to be with. Instead of showing any real development in her relationships with both Freddy and Keyes, Viena instead just meanders around this story with no real purpose and ends up simply running away with who you would expect. I really did not like this ending and how predictable it was but even then, the choices that she made in the script made frankly no sense. Viena and the Fantomes has a lot of interesting choices that had potential to be very compelling, that is if any of those paths had been explored. Introducing his audience to the love triangle was at least interesting but it never went anywhere and I feel like this film could have been much stronger if it had focused on the abuse of the women in this cult of sorts. Naranjo's writing could have easily pivoted to being about the horrible way that these band members treated their roadies and women on tour and while this movie did touch on that a little bit, it did nothing more than the bare minimum of introducing the problem.

Not following up on any of the film's subplots was its main problem and that goes for the storyline with Monroe (Jon Bernthal) as well. Monroe was the man responsible for watching out for the band and financing their tour and while that also could have been a good avenue to take in terms of drama, it was never fully realized. In typical Jon Bernthal fashion, he is vastly underutilized in the film and comes and goes quicker than I would have liked. Instead, this movie is just chock full of minor squabbles here and there between characters that either get settled in five minutes or never come to fruition again. They all had nothing to do with each other and because of that, it was really hard for me to feel for any of these characters. The performances throughout this film from the entire cast were all really solid and there is so much obvious talent within these frames but they were given absolutely nothing to work with. I feel like there is a much stronger film hiding somewhere within Naranjo's unused takes but the editing makes this entire story just feel empty. Not to mention that Viena's backstory was never really explored and therefore I did not even care about her as a main character. This film could have been about anyone's journey with The Fantomes and I would not have known the difference. The color grading throughout this film was also particularly ugly to look at and I was never quite sure the creative decision behind making every shot look like it had been irreversibly damaged with dust. This added a bleakness that I just could not get behind. One of the only redeeming aspects of this story that I genuinely enjoyed was the bareboned sound design. For a film about a punk band, it is quite expected for there to be lots of hard rock music and concert scenes but I really enjoyed the restraint that Naranjo showed in examining this band. There are some really interesting films I have seen that, whether or not I ended up enjoying them, take certain risks and make me keep my eyes on the screen. But there are other films like Viena and the Fantomes that no matter what they try, they just cannot for the life of me keep my attention.

Viena and the Fantomes had so much utter potential to stand out as an 80's coming-of-age film while also saying so much about the culture at the time but fails to really provide anything interesting. I am quite upset that I did not enjoy this film as much as I wanted to but I suppose there is a reason that Universal did not have much faith in this to make a huge splash, especially in our current world situation. I would recommend this film as a very easy watch and one to just pass the time but if one is looking for a film with deeper substance or something to say for itself, look elsewhere.

My Rating: ★★