Jules and Jim (1962) directed by François Truffaut

The French really know how to put you on one hell of a rollercoaster of emotions, huh? François Truffaut's Jules and Jim is an excellent relationship drama and one that I became mesmerized by in just its opening scene. I have never quite seen a story like this before and while that is only because this is my first viewing of this genre of international film, I was nevertheless blown away by the creative choices that were made and how evident it is that this style of storytelling has inspired countless filmmakers. With the help of some solid performances and technical choices that appear absolutely bonkers for 1962, I grew to enjoy this a lot more than I thought I would. This type of film may not necessarily be my thing but there is no denying that the level of craftsmanship and originality shown throughout this movie is perfectly representative of what the French New Wave had to offer.

Jules (Oskar Werner), an introverted Austrian, and Jim (Henri Serre), a much more extroverted Frenchman, become close friends before the time of WWI. As their friendship grows stronger, they meet an electric, young woman named Catherine (Jeanne Moreau) who the two both immediately fall in love with. She ends up marrying Jules and although the two friends are split apart due to the war, they end up meeting back up while Catherine and Jim start to exhibit their true feelings for each other. What stands out to me the most about Jules and Jim, other than its almost farcical portrayal of happiness in healthy relationships, is that director François Truffaut opts to flow this narrative in such peculiar ways that I was consistently taken aback from. Truffaut's constant layering of narrative choices makes for one of the most interesting, romantic films I have seen recently. The use of narration from an unknown source, dialogue within each scene, and long periods of unspoken action make this film so much more unique than I would have ever given it credit for. This cluster of storytelling choices might be too frantic for some (I even found myself struggling to grasp at one of the clear paths) but the madness that ensues from it only makes it that much more compelling for some, strange reason. All of the choices that Truffaut makes to tell this dramatic story seem like they would contradict each other but for one of the earliest additions into the genre of French New Wave cinema, they worked together brilliantly. I was never confused with the narrative nor was I bored, despite the borderline comedic marriages throughout this film. Obviously, this was a different era and the plot has no reason not to be experimental in a time like this but the drama almost reaches the point of laughable with how it is represented and the plot choices that are made to tell the generations-long story of Jules, Jim, and Catherine. This film is more of a chronicle of these characters' lives and multiple relationships and while enjoyment of the actual narrative is very much up to the viewer's taste, one thing that I feel we can all agree on is how wildly fascinating the visual storytelling ended up being.

Raoul Coutard's cinematography and Claudine Bouché's editing stood out to me the most throughout this film and I was blown away by some of the visual forms that they went with. Coutard shoots this film with a combination of still and handheld camera that gives the story so much fluid, lively movement that was very much needed. This careless style of shooting makes the film almost appear unplanned and that gave way to a lot of Truffaut's reliance on true-to-life storytelling. The quick zooms and unexpected pans made the film feel very distressed and along with Bouché's rapid editing, I ended up with much more adrenaline than I would have expected for a romantic drama. These odd choices almost make the audience feel like a helpless spectator on the lives of Jules, Jim, and Catherine, and we have Truffaut to thank for this longing. I constantly wanted to reach out and let the characters know of the infidelity and breaking of trust happening in all of their personal narratives but being forced to watch this plot unfold from behind a screen was such a visually compelling way of getting me invested in the characters. While Jules and Jim features some of the most innovative and flabbergasting creative choices, the performances from the cast also help to ground it down into reality. Moreau, Werner, and Serre are all spectacular in their roles and I adored how they set out to really make these characters their own. Werner and Serre nail the dynamic between an introvert and extrovert better than most modern friendships I have ever seen but it is really Moreau that steals this film for herself. Every scene she occupies makes way for such an interesting case study of commitment and along with Truffaut's direction, the French style of storytelling shows that it can express these emotions in such newfound ways. Truffaut's themes of love, betrayal, and tragedy might come crashing in one each other in the most unabashed fashion but I found that the performances from these main stars embodying these things were just simply excellent. A lackluster but carefree relationship drama like this hinges on the chemistry between its leads and Truffaut did a wondrous job of bringing out this authenticity in his story.

Jules and Jim is a fantastic drama that is carried by its technical choices and simply wonderful chemistry between the cast. The plot itself might be a bit too much of a whirlwind for my own tastes but there is no denying that French New Wave cinema has had such a profound effect on the genre of drama and continues to do so to this day. Despite my slight lack of infatuation for this international genre that many cinephiles seem to carry, I am nonetheless intrigued by the otherworldly narrative choices that Truffaut was confident enough to make and this movie proves to be a great start for one of my cinematic blindspots.

My Rating: ★★★½

Kajillionaire (2020) directed by Miranda July

Everyone and their brother wants to be rich and famous someday but not many realize the level of betrayal and insincerity it takes to get there. While Miranda July's excellent, little film Kajillionaire does not necessarily reach the heights of examining the rich and famous, it proves to be one of the best looks into what people would and wouldn't do for money, regardless of family. This movie is made with such a quiet and surreal atmosphere that almost makes it seem awkward at times having to watch these poor characters suffer without money. That feeling never goes away but as this film effortlessly transitions from dry comedy to drama to romance, I was nevertheless captivated the entire time. July's movie is not for everyone and while I was definitely challenged at times much more than I expected, I kinda really dug it. The story itself was also a fairly simple one but the impeccably idiosyncratic direction, performances from the whole cast, and incredible editing will draw you in and never let you go.

Old Dolio (Evan Rachel Wood), a young woman named after a homeless man who had won the lottery, has spent 26 years of her life pulling con jobs for her parents Theresa (Debra Winger) and Robert (Richard Jenkins). When the three of them meet a newcomer named Melanie (Gina Rodriguez) and take her under their wing to help with their petty crimes, Old Dolio starts to become jealous and reevaluates what it means to be family. This film, both written and directed by Miranda July, is such a unique take on the "finding yourself" narrative. Just because someone carries the title of mother or father does not mean that they are really your parents and that overarching theme becomes apparent very quickly throughout Kajillionaire. This aspect of the script is what I absolutely loved most: Old Dolio being forced to rethink the way that her parents have been using her and forcing herself to break free of their criminal grasp is such a powerful part of this story that proves July is unafraid to pull at your heartstrings. It's very important for everyone to not entirely follow in the footsteps of your parents as you grow up and the development that July wrote for the character of Old Dolio is excellent at displaying that. This challenging of Old Dolio's norms was so important for the story and I adored how she was able to grow as her own person and realize how self-centered her parents were being. July's direction is fantastic and while I was initially taken off-guard by how unique it is, I was quickly able to get on board with many of her choices. She opts to use context clues more than absolutely anything and it takes a while to get used to some of the character choices but once you do, it becomes such a fascinating experience. Her writing is phenomenal and she creates these characters in their own little bubble in such an eccentric fashion that it is hard not to at least be intrigued. July is truly able to traverse this story with ease like she's looking at the back of her hand and while the choices she made in her direction might not be everyone's cup of tea, it was just peculiar enough to make it stand out amongst so many other, generic films I have seen recently. July clearly knows how to master the ending of this film, as it not only provides a twist that some might be able to suspect but a powerful one regardless.

The performances from this entire cast are spectacular but it's really Evan Rachel Wood who steals the whole show. Her portrayal of Old Dolio is mesmerizing and while I was not quite sure what to think of it at first, the decisions Wood makes with this character become clear the more that the audience gets to know her. Since her parents birthed her purely to have as an asset and had never treated her the way a child deserves to be treated, she was almost to the point of humanistic deprivation. This element of Old Dolio was acted beautifully by Wood and the lack of affection that she was so used to was especially prevalent in her interactions with Melanie. Gina Rodriguez's performance was also spectacular and her chemistry with Wood was almost immediately palpable. The two of them provide such a nice conflict and eventual bonding throughout the film that I loved watching and it was so interesting to see the character of Melanie help Old Dolio break free and heal, both emotionally and physically. Kajillionaire reveals itself to be a character study more than anything and even though said characters were placed into offbeat situations, it is impossible not to want the best for these two leads. As previously mentioned, July's writing does wonders with showing the true nature of people once they come into a bit of money and the supporting performances from Winger and Jenkins are perfect for that. The editing in this film from Jennifer Vecchiarello was amazing and the incredibly long, extended takes were perfect for adding to the charm of this film's awkwardness. This movie might feel like it is paced weird due to the direction and editing, but the restraint that Vecchiarello shows in cutting too rapidly or more standardly makes this film that much more engrossing. The technical elements that make this incredibly quirky film so unforgettable work together in such a wonderful harmony to create an almost surreal atmosphere. I was so entranced by the world within this film and even though I was expecting more of an indie comedy based on the trailer, I was definitely not disappointed when it took an unexpected turn into the dark and dry side of its narrative. I've had quite the time processing this film and while I find it difficult to vocalize my opinions, I really believe that Kajillionaire is one that you have to experience yourself.

Although Kajillionaire may not be a film that I would recommend for people who don't have an open mind to watch, I found it engaging in all the best ways possible. Perfectly awkward direction, packed and meaningful dialogue, and some absolutely astounding performances from Wood and Rodriguez make this film such a compelling one to dissect. I'm still finding myself contemplating this movie and honestly, the more I think about it, the more I realize I've never quite seen anything like it before. July could have easily followed a more contemporary narrative structure, but her refusal to adhere to what audiences expect makes this one of the most undeniably interesting stories of the year.

My Rating: ★★★★

Chinatown (1974) directed by Roman Polanski

AFI Top 100: #21

Popularized in the 1940's, the genre of noir had seen a resurgence in the '70s that almost feels like it was split into various subgenres. Roman Polanski's Chinatown is one of, if not the best example of bringing this genre into the more risqué generation of filmmakers. This film is such an excellent and thrilling drama that is able to capture me into every scene like no other noir has ever done before. Partly due to the exceptional performance from Jack Nicholson and partly due to the mesmerizing script from Robert Towne, this movie has truly proven itself an instant classic in my head. This is also actually the first Polanski film I have ever seen and while his name has been rightfully tainted in everyone's minds because of what an awful person he turned out to be, it is more than interesting to look back on his filmography and appreciate what a talented storyteller he was. Arguments can be made about separating art from the artist but there are so many good things about this film, ignoring Polanski's direction, that deem it worthy of its iconic status.

When the Chief Engineer for the Los Angeles Department of Water and Power is found dead in a reservoir after being accused of adultery, private detective J.J. Gittes (Jack Nicholson) is hired by his wife named Evelyn Mulwray (Faye Dunaway) to find out what happened to him. As Gittes works to unravel the mystery, he uncovers some shocking and revelatory information that will test who he can trust and what the real incentives are. Films released at or before this time were just as responsible for boosting the cultural revolution as much as any other kind of art, even if it was in what may now seem like minor ways. Before the Hays Code was abolished, audiences would never have seen content like this on screen and the way that Polanski translates this previously taboo material into a narrative that resembles that of earlier noirs is wonderful. Of course, noir films during that time of content restriction were able to find plenty of ways to work around that issue and still get their point across but almost none were able to graphically get away with that subject matter. This is what makes Chinatown stand out so well amongst other noirs that might not have as much confidence. This film is able to portray its sexual material, violence, and governmental corruption in such a nondiscreet manner that would have definitely been censored by the code of the earlier days and this just signals such an important transition in this time of filmmaking. While plenty of movies released in the '60s were able to test audiences and really see what creative limit the filmmakers could reach, this particular film incorporates those elements into its classic story with ease. I almost half expected Nicholson's character to bust out a cheesy line in every scene or subtly wink at the camera when he was about to participate in some more riskier adult interactions but instead, Polanski takes this formula and makes it much more mature than I would have expected.

What really makes Chinatown great, however, is the script from Robert Towne, performance from Jack Nicholson, and the cinematography from John A. Alonzo. Nicholson has more than proven himself over the years as one of the twentieth century's finest actors but this might be my favorite role that he has ever been placed in. He is, without a doubt, one of the best leading men for this kind of movie and his energy that he brought to this role was spectacular. His aura was so humorous yet genuine and caring and the main reason why I loved his performance so much was because of how well Nicholson embodied Gittes. Not entirely wisecracking but not entirely stoic either, this character is such a complex one that I feel matches the energy of Nicholson to a tee. The script from Towne was amazing too and provided Nicholson plenty of range and atmosphere to play with. Plenty of twists and turns riddled the story which makes the noir element of the world that much more interesting and the dialogue between the characters was just exquisite. Each and every line carried so much weight and really helped to distinguish the characters from each other, which I often have a hard time doing in noirs of the late '30s/early '40s. The cinematography from Alonzo was just as fantastic at building this visual world and so many of the choices that he made did nothing but keep my attention. However, the one element of this film, just like many others of the time, that I feel like could have been handled better was the portrayal of Faye Dunaway's character Evelyn. Her character was written and directed as the stereotypical, crazy wife and her development throughout the film did not do much to redeem her at all. I did not really like the way she was portrayed on screen and the constant abuse she suffered from the male characters was very unnecessary (not to mention one of the main twists being about rape and pedophilia). The treatment of Dunaway's character is much less favorable than any right-minded person would want but that is not really to be expected of Polanski (hence the disgusting twist). The actual standout elements of this film include not only her performance but so many of the cinematic and technical pieces that Polaski really had nothing to do with and because of the beautiful harmony that these pieces are able to achieve, this film ends up being one of the most exciting noir stories ever put to screen.

Chinatown is one of the best noir films I have ever seen and thanks to Towne's script and Nicholson's performance, I was genuinely engaged for its entire ride. Despite its horrible treatment of women, which most films could have improved upon in this era, I loved this film for all of its twists, turns, and excitements that riddled the story. I'm also very glad that this story was conceptualized in a much more progressive era or else it would have been a much less memorable movie. Never would I have thought I could have felt for a private detective investigating the mystery behind a small town's water supply but alas, here we are.

My Rating: ★★★★½

Saving Private Ryan (1998) directed by Steven Spielberg

AFI Top 100: #71

I am very upset with the fact that no one told me the titular character in this film is played by Matt Damon because I would have watched this a lot sooner if I knew so. Steven Spielberg's WWII epic Saving Private Ryan is a fantastic war film and one that lets its cast of characters carry the entire story. Even though this film has its very predictable, emotional points due to Spielberg's style, it actually surprised me with how gruesome and violent this story was. Spielberg is mostly known for showing humanity in people regardless of the events they are going through and while he is still able to do that for this film, he is also unafraid to graphically show the horrors of war. This lack of restraint is what ups the ante for this film immensely and makes it such an undeniable classic. Along with a simple but effective script and performances that lead the charge, this movie is one of the most important war films of the 20th century and one that does so with the utmost of grace and power.

As the mortifying events of D-Day shook the world in 1944, Captain Miller (Tom Hanks) returns back to his camp after losing dozens of men. He is then informed of a young private named James Ryan (Matt Damon) who has lost three of his brothers to the war. Along with the help of some men, Miller is tasked with locating Private Ryan and sending him home to his mother. While Spielberg has tackled certain subjects set during WWII before (i.e. Schindler's List), his American perspective proves to be his most patriotic one yet. The first twenty or so minutes of this film is some of the most terrifying material I have ever seen. While I have heard of the notoriously violent nature of this film's prologue, I never expected it to impact me that much, especially coming from Spielberg. This is not to say that I did not think he had the power to create such a viscerally grotesque sequence but rather that his style of filmmaking typically is not this graphic. The way he handles this entire beach opening, however, is immaculate and the perfect use of sound mixing, cinematography, and storytelling is incredible. In just the first twenty minutes, it is earnestly revealed what kind of person Captain Miller is and the honest way that he treats and cares about the men under his jurisdiction. Spielberg is such a master at this kind of character development and although the rest of the film is not necessarily as gruesome as its opening, the dialogue throughout proves to be just as subtly powerful. Spielberg and screenwriter Robert Rodat put their skills together in the most fluent way possible to make Saving Private Ryan very engaging. None of the heart and emotion in this film would be there without Spielberg's understanding of the human spirit and none of the balance between characters and action would be there without Rodat's understanding of story flow. These two work together so well and although the plot itself did not exactly entice me, their combined creative efforts do a fantastic job of getting me invested in the story.

Tom Hanks and Matt Damon have shown throughout the years that they are some of the most talented actors of their generation and this movie only enforces that idea. Hanks is phenomenal as Captain Miller, bringing an unbridled sense of hope and passion for his country. The reveal that Miller used to be a schoolteacher before joining the army was such a revelation not only for his character but for Hanks too. This story point proves to the audience how perfect the casting of Hanks was, as I was initially doubtful of his ability to portray a hardened military officer. Miller being revealed to be a schoolteacher makes so much sense in the landscape of this script and Hanks completely embodies the humble and loving aura that his character was known for before the war. Damon is just as excellent in this movie and although he may have had less screentime than Hanks, he carries his own with just the right amount of emotional resiliency. The score from John Williams, just like most of Spielberg's films, really helps to enhance the atmosphere throughout. The patriotic and proud feeling that is impossible to avoid because of Williams' score was very prominent and it is hard not to get emotional, especially in the last moments of this film. His music also helps the action scenes very much with its triumphant and relentless feeling and I adore the way that he is able to tell a whole story in just the music. My issues with Saving Private Ryan, although they might seem belittled because of how unimportant they are to the conclusion of the film, are that there are certain scenes used for dramatic contrast which instead end up coming off as comedy. In the prologue, there is a moment in which a soldier is shot in his helmet, takes off his helmet, and then is promptly shot in the head. This is very tragic to watch unfold but honestly, at the moment, I couldn't help but laugh. This humorous undercutting of the drama happens in the second act as well, when Miller and his men find "Private Ryan" but it ends up being the wrong Private Ryan. I thought this moment was hilarious more than anything and while I'm certain misunderstandings like this actually happened, it felt funnier than what I'm sure Spielberg intended.

There is an evident reason why Saving Private Ryan has become known as such a landmark in the history of war storytelling. Spielberg was the perfect man to helm this film and his balance of trademark, Amblin heart with the horrific recreations of events of this war make for one of his most challenging films to date. Hanks and Damon are absolute magic in this movie and being a critic of the war genre in general, I was hesitant about this story but was quickly proven wrong. Never forget the veterans that died for our country but also never forget that almost all of the men in this film died for Matt Damon. Hell, if I was them, I would do the same.

My Rating: ★★★½

Antebellum (2020) directed by Gerard Bush, Christopher Renz

Wow, this uhh... this sure is a movie. I really do not think there could be a worse time to release a slavery-themed "horror film" than right now and not only does it fail to prove to be good enough to warrant any discussion but it reveals itself to be incredibly vile. Gerard Bush and Christopher Renz's Antebellum is a grossly misleading mistake of a film and one that is only barely made watchable by the performance from its lead. The horribly uneven direction, offensive script, and strong sense of "style over substance" becomes very frustrating, to the point that I was rolling my eyes more times than I could count. Even though this film does a genuinely good job of hiding its absolutely demented twist, it never changed the fact that the story leading up to that was one of the most confusing ones of this year. It's a very, very good thing that this film was released on VOD now instead of in the theaters because I'm certain that much more of the general public would have been rightfully disgusted.

Veronica Henley (Janelle Monáe) is an acclaimed author and public speaker who finds herself trapped in a newfound, terrifying reality. Switching back and forth between her current life and a past life that she once lived during the Civil War, Veronica must fight to escape the hell that she has been placed into. This movie, written and directed by Gerard Bush and Christopher Renz, is one of the most frustrating stories of the year and one that tests your patience like nothing else. Their direction throughout this film was incredibly uneven and it definitely took a lot for me to even get invested in this story. The shifting narrative between the Civil War era and modern-day was paced very awkwardly and this might be the only case in which I will say that it needed to switch back and forth even more. The first act was nearly 40 minutes long and never gave me a semblance of what was happening until the audience is thrown into the present. These various narratives finally come together in the last fifteen minutes in what may be one of the most appalling twists I have seen in a while, which is not a good thing in this case. I do believe that Bush and Renz did a great job of hiding this twist from the audience at the expense of their terribly slow direction but it is also due to me being so preoccupied with trying to figure out what the fuck the point of the film was supposed to be. However, don't get anything twisted or get your hopes up for a Shyamalan-level twist in horror because Antebellum is the furthest thing from horror. Social thriller perhaps, but the way that these filmmakers rely on Jordan Peele's brand of black, horror storytelling just proves to be cheap. I really hate that the marketing led me to believe this was a horror film because all it does is try to capitalize on Peele's reputation. This film might be produced by someone who worked on both Get Out and Us, but the script itself is just a slap in the face to Peele's excellent ingenuity in the modern horror genre.

I am not sure who exactly was responsible for making the choice of placing these black leads into one of the worst time periods for black people in history and to attempt to make a "horror film" out of such events becomes revolting. The premise of characters finding themselves stuck in a past generation, forced to deal with the ghosts of America's past, is interesting in and of itself and would have been a much better choice than what Bush and Renz ultimately went with. The only, actual horror that is apparent throughout this story is the grotesqueness that is used to portray the realities of what happened to slaves back during the Civil War. Like previously mentioned, this era occupies almost the first half of the film, and Bush and Renz do nothing but exploit these people for the sake of shock value. It was almost akin to torture porn after a while and seeing the terrible things that happened to these people during this time period is really never needed, even in a horror setting. Antebellum is not a film that needed to be released, or realistically ever, and is just truly exploitative in regards to its treatment of black slaves. Thank god for Janelle Monáe, however, who undeniably saves this movie from being an even bigger mess. Her performance as Veronica is fantastic and she saves this movie from utter ruin more than any of its other elements. She is able to portray both the insufferable pain that slaves felt during this era along with the grace and power of a contemporary public figure and her range is what makes this movie the most interesting. I also think that Antebellum had so many good ideas going for it and much potential to be an actually great horror film but that was abandoned for the disgusting story we ended up with. The idea of technology traversing generations is one that could have led to a much more interesting horror story and that is what I was led to believe would happen based on the trailer and the one, specific shot of the airplane glitching out over the plantation. Instead, this unique idea is wasted and is instead placed on the chopping block of originality, accompanied by any hope that this film might be redeemable.

I actually wish that Antebellum would have been released earlier this year: that way, I could have gotten upset earlier and promptly forgotten about it. This film is a frustratingly misguided attempt at an empowering black story and one that unsettlingly capitalizes on the worst period of American history. Monáe is a powerhouse and I can not wait to see what acting projects she takes on next but I'm also surprised and confused as to why she would pick this story in the first place. To each their own I suppose but Antebellum is a big no from me.

My Rating: ★★

The Devil All the Time (2020) directed by Antonio Campos

Never would I have expected a Southern, gothic, religious, thriller that's as bleak as all hell starring your friendly, neighborhood Spider-Man to be so intriguing but here we are. Antonio Campos' The Devil All the Time is an incredibly compelling and violent drama that has maybe one of the best-assembled casts of the entire year. Every single performance throughout this film is just immaculate and while they definitely carry the entire film, it is not without its own merits in writing and direction. Based on the novel of the same name by Donald Ray Pollock, this story is an excellently interesting one that makes it clear why it was adapted for the cinema. Although I had issues with the treatment of many of its characters and an annoyance towards the narration, there are so many more good elements in this movie that are hard to ignore and they truly help to make this dark thriller one of the most shocking of the year.

Arvin Russell (Tom Holland) was born and raised in the South with his religiously aggressive father Willard (Bill Skarsgård) and mother Charlotte (Haley Bennett). Carl (Jason Clarke) and Sandy Henderson (Riley Keough) are a criminal couple struggling to hide their secrets from Sandy's police brother Lee (Sebastian Stan). When this cast of characters have encounters with the new town preacher named Preston Teagardin (Robert Pattinson), their paths all begin to cross in the most violent and unexpected ways. This script, written by Antonio and Paulo Campos, is so unabashedly graphic in nature in ways that I was never expecting. While I knew this film was an R-rated, intense drama, I never would have thought that it could have reached levels such as it did. The script features some amazingly intriguing dialogue and character relationships that definitely enhanced the story. Very rarely does an adapted film make me want to read the original novel but Campos was able to achieve just that. I also loved Campos' direction in regards to the tone of this story. Very muted and very personality-centric dramas like this always make for an interesting case study and I loved the direction that Campos took this. Although the runtime was a bit long, it never felt like 2 hours and 18 minutes because his pacing of this narrative was incredibly smooth. The atmosphere of this film is remarkable and from the very first scene, I was drawn into this Southern world like nothing else. My main attraction when going into The Devil All the Time was the focus on religion throughout and how it can affect people. This was obviously the main theme of the entire movie but being able to see the insane lengths that people would go to and the horrible things that they would do to justify their faith was so interesting. While it is a bit exaggerated for dramatic effect, I think that it was explored very well by Antonio and Paulo Campos. However, I did still have some issues with the writing and certain creative choices that, in a way, halted this film from reaching a potentially greater height.

It is a massive tossup whether or not narration in a film can enhance the cinematic qualities of a certain story. While it is very often used in comedic ways, I do not think it fit the tone of this particular story at all. Pollock, the actual author of the book, narrates many of this film's scenes and lays out to the audience what is happening and what the characters are thinking about at that moment. I thought this was a very lazy choice to include throughout the film because I get very annoyed when a filmmaker thinks they need to hold the audience's hand. I do not like being told what to think when it comes to filmmaking, which is the beauty of it all, and the narration quickly became tiring. I also had an issue with how shallow many of this film's characters are. Personalities like Arvin and Preston were developed enough to establish a great protagonist/antagonist dynamic but the rest of the characters all felt like they were filler. Not nearly enough depth was shown in this movie towards its supporting characters to make me care about their subplots and it is honestly just a shame with how much talent they had built up here (i.e. Mia Wasikowska, Riley Keough, Jason Clarke, and Haley Bennett). Although this film itself was ruthlessly vicious enough to keep my attention, I can only imagine how dark and twisted the novel can get and how much more interesting the characters become.

Regardless of how underdeveloped a lot of these subplots and their supporting characters were, the performances from this entire cast astounded me. Holland, Pattinson, Skarsgård, and Eliza Scanlen were all just breathtaking in their roles and even though the rest of the supporting cast brilliantly held their own too, these were just some of the standouts. Particularly Pattinson and Holland. Robert Pattinson, as it may come as a shock to no one, is one of my absolute favorite working actors right now and his ability to entirely dissolve into his roles is so impressive. He completely nails the unsettling, Southern preacher vibe and I was just taken aback by his presence in this story. Holland as the lead is also fantastic and I'm really glad that he is starting to actually display his talents as a dramatic performer. The Devil All the Time is his first sincere, dramatic role since 2017's Pilgrimage and while I think is a fine actor, it is obvious that he is still trying his best to break out of his more comedic, naive persona that he has grown into for Disney. I really can not wait for him to blow moviegoers away one day with an actually mesmerizing performance and I'm glad that this film could be a solid stepping stone towards that.

The Devil All the Time is a solid thriller that capitalizes on its strengths to definitely make it worth a watch. I can not attest to how faithful it remains to the original novel and while I had problems with the way many of its characters were handled, I was still blown away by the magnitude of storytelling that Campos achieves. This story was a nice change of pace from the much happier and more sterilized films I have been watching recently and I thoroughly enjoyed it as a violent, Southern-set drama. And if there's one thing that we need more of, it's Tom Holland saying "fuck."

My Rating: ★★★½

Color Out of Space (2020) directed by Richard Stanley

It's been a while since I've made the time to watch a Nic Cage movie and boy am I glad that this was the one I chose to see what he's been up to. Richard Stanley's Color Out of Space is a fantastic sci-fi horror film that was just as grotesquely unsettling as I would have hoped. I am not too familiar with any Lovecraftian source material so I can't really speak on how well this film adapts the original short story but that did not change how much I loved this. Nicolas Cage is just as unhinged as I was led to believe, the hypnotizing colors infect your head with a strange sense of wonder, and I was left with one of the most distorted feelings I have had in quite a while. This neon nightmare slowly but surely gets under your skin and with the help of some amazing performances from the entire cast and creature design that will undeniably haunt your mind, this film is easily one of the best science-fiction tales of this year.

Nathan Gardner (Nicolas Cage) and his wife Theresa (Joely Richardson) live on the farm that once belonged to Nathan's grandfather with their children Lavinia (Madeleine Arthur), Benny (Brendan Meyer), and Jack (Julian Hilliard). When a colorful meteorite strikes down in their front yard one night, the family begins to experience strange phenomenons as the otherworldly energy begins to infect the family and the entire world around them. This script, written by Stanley and Scarlett Amaris, is absolutely wonderful in drawing in its audience to what may initially seem like a feelgood, family adventure. However, they pivot that sense of wonder in very clever ways. Color Out of Space is like if Steven Spielberg made an 80s movie but went full-fledged on the horror. And from me, that's honestly one of the best compliments someone could receive. Stanley's direction proves impeccable at displaying that and it felt like this movie was made just for me, despite not knowing much about the source material or any of Lovecraft's other works. Stanley does an excellent job of taking this short story, originally titled "The Colour out of Space" (which many might not have heard of before), and adapting it to the screen in such an accessible way that is not too existential but enough to thoroughly horrify any person in their right mind. His direction is very predictable, as the story hits all of its three-act beats as one would expect, but the way that he steadily morphs this family adventure drama into an oozing horror film is incredible. Stanley does both parts of this story very well, as he begins this film with an almost Amblin-like sense of curiosity but ends in a visually disturbing, Cronenberg-esque place of discomfort. I absolutely loved this story progression and I also adored how it never felt forced or unnatural. The slow spiral into paranoia actually felt earned and that also has to do with the wonderfully manic performance from Nicolas Cage.

Cage is rightfully one of the most sought-after actors of today and the fact that he chooses to lead these hypnotically weird films instead of doing blockbusters like people would expect gives him so much of my respect. His portrayal of crazed father Nathan in this film is amazing and really only he could embody it so well. One of my only issues with Color Out of Space is how I think his star power might overshadow the rest of this film's accomplishments a little too much; thankfully, that does not change how well he fits inside of this narrative. The rest of the performances from the cast are also solid and while none of them stood out as much as Cage, their chemistry as a family is fantastic. The cinematography from Steve Annis and the score from Colin Stetson help make this film a visual and sensory treat as well. Annis shoots this movie just like an adventure film and his constant use of framing to make the viewer feel uneasy was amazing. So many close-ups were also used to really drive home the feeling of insanity within its characters and his use of purple was mesmerizing. From the very beginning narration, I could tell I recognized the style of music from something before, and upon seeing Stetson's credit for the score, I knew I was in for an unsettling, good time. This film and Ari Aster's Hereditary are what I know him most for and he continues to blow me away with his grandly unnerving music. The central idea that an extraterrestrial rock can damage a water supply and infect its residents through vivid, purple color, is one of the most interesting premises I have seen recently. This simple but brilliantly-executed idea is something that I might see in my nightmares when I was a kid or even something that you would read about and get stuck in your head forever. It's such an abstract concept that never needs complete or detailed analysis and instead, the metaphysical properties of the story just take over and make you ride its wave. The visual effects and creature design throughout this film helped just that, as I was consistently in awe of the color's beauty while also revolted by the monsters that it created.

Color Out of Space is just further proof that I need to start watching more Lovecraft adaptations. This reality-bending film was one of the most unique experiences I have ever had and it combines some fantastic, classic elements of filmmaking with just the right amount of modern, sci-fi spectacle. While I adored Stanley's direction and the wondrous visual effects that created this atmosphere, the performance from Cage is really just the icing on the cake. Every technical element of this film comes together very nicely and although it becomes a tad bit predictable, it still remains one of the most effectively terrifying stories of 2020.

My Rating: ★★★★

The Broken Hearts Gallery (2020) directed by Natalie Krinsky

I have always wondered what, if anything, my exes have kept from my past relationships and what kinds of memories those little trinkets or notes bring with them. Because I'm sure I'm not the only one who wonders such things, I found this premise in a romantic-comedy to be incredibly interesting. Finding love through moving on is only one of the things that this delightful film does and The Broken Hearts Gallery proves to be such an adorable, little story. Natalie Krinsky's directorial debut is an incredibly solid one, made even better by the performances from its leads and the often painfully relatable story that functions as the heart of its narrative. The trick to seeing films like this one, though, is knowing exactly what you are getting yourself into and adjusting expectations as such. Corny romantic-comedies like this will always have a special place in my heart and even though this film never attempted to be anything groundbreaking, it didn't really need to for it to be entertaining. And most of the time, that's completely okay.

Lucy (Geraldine Viswanathan) is a newly single woman after her boyfriend Max (Utkarsh Ambudkar) breaks up with her and as she attempts to rediscover her personal identity, she has a great idea. Setting up an art exhibit, she tries to honor the often heartbreaking reminders of past relationships in order to help other people let go and does this with the help of a local boutique hotel owner named Nick (Dacre Montgomery). Natalie Krinsky's writing and direction throughout this movie are just simple and wonderful. Her script might not be the most innovative story to ever be told nor does it do anything that makes me want to rewatch but her writing is undeniably solid. She is able to take a unique idea and turn it into a rom-com for today's generation of Stranger Things-obsessed teenagers that will undoubtedly gobble it up. Krinsky's direction is also fantastic and she definitely shows that she knows how to handle a story such as this. I could tell how much this story meant to the filmmakers and it felt very special to them, which is what I believe is most important. My only issue with this script, besides its mediocrity, is how it is really unable to balance the two most prevalent themes. This film tries to function as both a love story between Lucy and Nick and a love story between its protagonists learning to let go of the past. While both of these themes were touched on decently, they could never blend very well and I was left feeling a bit underwhelmed. And of course, as with any contemporary rom-com, this film's humor would have hit much harder with some tighter editing. Shawn Paper does a great job keeping this story concise with just the right amount of establishing shots that a generic genre film like this requires but the comedy did not always hit the way I wanted it to. There are some genuinely funny moments in this film that had a lot of potential but I feel like the storytelling was almost too nonchalant. However, besides all of these qualities lacking a bit of efficiency, I still had a very fun time watching this and if nothing else, it does its job with the utmost of ease.

The performances from this entire cast make the experience worth it more than anything. Viswanathan and Montgomery are so wonderful together and they brought their characters to life much more than I would have expected. The supporting characters were also great and had some fantastic performances to go with them: Molly Gordon, Phillipa Soo, and Bernadette Peters were especially great and I could just really tell how much fun this cast was having. There's not much else I can say about what shined in the most in this movie because for a genre film like this, it either works or it doesn't. Every technical element that went into this film was very standard and while there was nothing wrong with the cinematographic or editing choices made, I feel like it could have benefitted from a much stronger, visual style. The Broken Hearts Gallery also has a generally poppy feeling to it throughout its entire soundtrack but there were certain parts that just felt incredibly forced. Particularly the Billie Eilish needle drop at the end of the second act: this felt so very awkward and it was obvious from the first note how much it did not fit the scene. The branding and pop culture imbuement that practically carries the atmosphere of this film also has problems of its own and really makes it evident who worked on the movie and how this story got funding. Selena Gomez is an executive producer and while she does a fine job of keeping this film on track with its cute story, it felt very much like something that she would produce. Whether it's her style of music or just the storytelling qualities that I associate with her, this entire film felt very suited for someone of her aesthetic. This is not necessarily a bad thing, as she is extremely talented in her own right, but I was a bit underwhelmed by her efforts to break into film. Again, I was never expecting any kind of revolutionary filmmaking, as I knew exactly what I was going into, but it's a bit disheartening to see the corporate side of artistry overpower genuine creative control.

The Broken Hearts Gallery is a serviceable and fun romantic-comedy that gave me exactly the right amount of adorable content to fill my heart for the time being. There is nothing blatantly wrong with this film and it works very well as an addition to this genre but I just wish that more up-and-coming filmmakers like Krinsky would take bigger risks in their storytelling. As much as these types of films work and will continue to make money, I like seeing some storytellers do things with their scripts that audiences would not necessarily expect; although I guess that was a bit too much to ask for in this movie, I still enjoyed myself nonetheless.

My Rating: ★★★

The Godfather: Part II (1974) directed by Francis Ford Coppola

AFI Top 100: #32

It would seem to anyone in their right mind that a sequel to one of the greatest films of the 20th-century would not be so good of an idea. However, Francis Ford Coppola wasted no time diving right back into the story of the Corleone crime family and in nearly flawless ways, might I add. The Godfather: Part II is a remarkable film that continues on the story paved out in its predecessor in ways that I was never expecting. The story of Michael and the Corleone crime family is far from finished and I was truly taken on a journey that I never would have guessed to feel so justified. However, as different and as unique as this sequel is from the first film, I could not entirely get into Michael's story as much as I had hoped. This personal gripe was never too overbearing, though, and Coppola's writing and direction continue to amaze me. From the excellent performances to the creative structure that Coppola went with, this film will rightfully and undeniably go down in history as probably the greatest and most necessary sequel ever made.

Michael Corleone (Al Pacino) is rising into the role of Don after the passing of his father and he begins to experience the true nature of leadership and the relentless pursuit of power that comes with it. As Michael damages his personal relationships as well as the ones with his enemies, this film also explores the younger days of his father Vito (Robert De Niro) and how he created one of New York's most infamous crime families. Coppola and Mario Puzo's writing throughout this story is my absolute favorite part of this entire film. This second addition to the Corleone story touches on many things that the first did not have much time to do. In particular, this film focuses on Michael and young Vito in more personable ways than the first and really explores their psyches to get the audience to even better understand where they are coming from. I learned so much more about Michael's true motivations in this film than I did from the first and I think the script does a fantastic job of effortlessly conveying that. I might have had a bit harder time connecting with the characters this time around due to the less condensed form of the movie but the development in the main protagonists continues to be excellent. Other elements I adored about The Godfather: Part II were its focus on Michael's marital life and his relationship with his brother Fredo (John Cazale). Throughout this film, Michael's character falls even deeper and deeper into the rabbit hole of ostracizing himself from the people he supposedly loves but what is so great is how these revelations felt inherent. The falling-out of his marriage and the backstabbing that occurs with his brother makes the shared scenes by the actors so incredibly heartbreaking. This also leads the way for some phenomenal performances from the entire cast. Pacino is obviously wonderful but the addition of De Niro and the larger role for Cazale blew me away. De Niro nails the young Marlon Brando with ease and Cazale reaches heights that a supporting, brotherly character is usually not able to. These actors are just some examples of the greatest of their generation and they made their roles so easy to fall in love with.

Coppola's direction in this film is also something to marvel at and the way he plays with structure was so compelling. One of the most subtle yet interesting things I noticed about this film was how it mirrors the first in so many ways while also being entirely its own thing. In The Godfather, there are two different stories being bounced back and forth: that of Vito struggling with power from the families in New York and that of Michael hiding out in Sicily waiting to return home. The Godfather: Part II continues this trend, as it focuses on Michael and Vito in the same way, only their roles are completely swapped. Michael is now the one fighting to restore his family's name and Vito is the one first rising to power. Flashbacks seemed like a silly idea to me at first but the way Coppola executed these dual stories was outstanding. It never missed a beat with what you would expect from this cast of characters and its tone never faltered either. The excellent music and cinematography continue to make these films visual treats and I am surprised more than anything at how easily this film flows from its predecessor. The editing in this film from the returning Peter Zinner, as well as Barry Malkin and Richard Marks, is not quite as extraordinary as the first one but they still prove to be experts in so many scenes that require those precise cuts to emotionally resonate. My only minor issue with this film was its reliance on the court cases to drive the story further. I will never be a fan of court-heavy films because I am not big-brained enough to keep up with the banter but while this film did dip its toes into that genre quite a bit, it was thankfully not enough to sway away my interest. I am just so glad that this film was not a rehash of the first because if it was, it would have been much less exciting to watch. The Godfather: Part II takes so many leaps and bounds within its world that felt so natural and the built contrast between older Michael and older Vito from the first film becomes even more prevalent in the most enticing ways possible.

The Godfather: Part II is undoubtedly the most worthy sequel I have ever seen and one that takes risks in ways that I could not have predicted. Although the story at the end of the first felt powerful enough, my mind was completely changed when I realized how much more story there was to tell. Pacino, De Niro, and Cazale are all absolutely brilliant in this movie and it's obvious to see why they skyrocketed to stardom and into being some of the finest actors alive. Coppola also continues to prove he is one of the finest filmmakers of his generation and although I might not have been too impressed by a lot of his other works, this franchise is inarguably his magnum opus.

My Rating: ★★★★½

The Godfather (1972) directed by Francis Ford Coppola

AFI Top 100: #2

Okay yes, the rumors are true. I've gone four years being a film and media productions major and am just now seeing The Godfather for the first time. Sue me. Francis Ford Coppola's landmark film is one of the greatest American classics ever made and an absolute treasure in the Italian mob genre. From its outstanding performances to the brilliant writing to the pitch-perfect editing, everything about this mob classic works together in such harmony to truly make an undisputed masterpiece. Of course, I don't have to reiterate how iconic this film is and there is nothing I could ever say that someone hasn't already said about this film. So instead, I'm gonna take some time to talk about some things I noticed on my first watch that I had never heard of before. I have seen plenty of scenes from the movie itself and know its general premise but upon this initial viewing, my eyes have been opened to one of the best movies ever made.

Vito Corleone (Marlon Brando) is the head of the Corleone crime family operating out of New York. This Sicilian mob group is also made up of his sons Michael (Al Pacino), Sonny (James Caan), and adopted son Tom Hagen (Robert Duvall), among countless others. When an attempt on Vito's life is made, the brothers must figure out who is responsible as Michael begins to take charge and become Don of the family. Not to sound like too much of a film bro but quite literally every aspect of this film is executed absolutely perfectly. The script, written by Francis Ford Coppola and Mario Puzo (adapted from the novel by the latter), is long, daunting, and unrelenting, but in the most rewarding ways possible. Chronicling the life and power of Vito Corleone, along with the rise of his son Michael as the new Don, this movie manages to make a life story feel like one of the most personal narratives I have ever experienced. This might have been the most interesting three hours of any cinematic experience I have ever had and the consistent intrigue of the story never lets up. Coppola and Puzo's writing is exquisite and the way that they are able to flawlessly weave in multiple storylines without losing attention to its main characters is so inspiring. Obviously, not many people are going to be able to write an amazing story as comparable as this one in their lives but their script just proves that no matter the length of the film, good writing will always overcome any technical obstacle. Brando and Pacino's performances in this film are just as spectacular and it is obvious from just the very first scene how worthy they were of Academy Awards. Brando is and always will be one of my favorite, classic actors, and his utter poise in this role is remarkable. Pacino is just as fantastic, and although he might be arguably more ruthless than his father, the development of his character throughout the story was bodied immaculately by the young star. All of the supporting performances are just as solid as well and this film might prove to have some of the best casting of all time.

William Reynolds and Peter Zinner's editing might be the technical element that stood out to me the most throughout this nearly three-hour film and they did absolute wonders with this story's pacing. I adored the way that they cut each scene into the next and they make this film just gripping from beginning to end. I know that the ending scene regarding the baptism and the execution of the other families' heads is so iconic but until now, I never knew how incredibly impactful it was. Reynolds and Zinner's editing, especially towards the end of this epic story, is built up so deeply well that the contrast between the baptism and Michael's ordering of the hits was edited beautifully. I have almost never been this emotionally engaged by a crime lord in a film killing some of his enemies off and because of the fantastic development, I was much more compelled than I had any right to be. The cinematography from Gordon Willis was just as impressive and I was mesmerized by the level of visual storytelling that he was able to achieve. There were almost no physical or in-dialogue indicators of where certain characters were or around what time it was but Willis shot this movie with such distinction that he makes it clear to his audience exactly what is happening. I was genuinely surprised at how well all of these visual elements worked together because I could honestly never tell how much time had passed or where people were but I also never lost sense of the film's direction. Even just from the faintest of introductions, I was able to keep track of who was who and what their relationship was to the Corleone family without any problem. I think this says so much about Coppola as a director and how he handled this story because I was astonished at the fluidity of this movie. There are so many obvious reasons why he has become one of the world's most influential and important filmmakers and it's shocking to me that I have waited this long to see one of the world's greatest films. Since this film has obviously proven itself a masterpiece, I have absolutely no issues with this film and even though it might be made entirely for me, there is no denying the skill that was used to make this film happen.

Francis Ford Coppola's The Godfather is his most outstanding masterpiece and one that has stood the test of time better than so many other classics that I have seen. While Brando and Pacino's performances are some of this film's definite standouts, I was blown away by the level of craftmanship utilized in each and every scene from Coppola. I have not been too impressed by a lot of his films before, mostly due to my personal indifferences about their genre, but I can safely say that with this film, there is a reason why he has become such an acclaimed filmmaker.

My Rating: ★★★★★

Tenet (2020) directed by Christopher Nolan

Clémence Poésy's character was right: "Don't try to understand it." That might be your first mistake upon watching Christopher Nolan's newest film Tenet, as the director's trademark usage of time and physics gets probably the most confusing treatment of all. This film is a wonderful and exciting addition to his filmography and one which contains every element that makes a Nolan film a Nolan film. Whether that be for better or worse depending on personal opinion, there is no denying how much fun it is to watch one of his movies. From the solid performances to the mind-bending script, this movie is an excellent action-thriller that continues to prove how masterful of a filmmaker he is for someone who acts like he can control reality itself. One thing I can also confidently say is that if Americans feel safe enough to go back to the movies (granted theaters are taking correct precautions), this is the one to signal their triumphant return.

A man known only as The Protagonist (John David Washington) is assigned to help take down a nuclear arms dealer named Andrei Sator (Kenneth Branagh) but runs into trouble when he stumbles into the "new" technology of inverted entropy. Partnering up with an agent named Neil (Robert Pattinson) and Sator's wife Kat (Elizabeth Debicki), they must literally race against the clock to stop the annihilation of reality. A plot that sounds as high-stakes and borderline ridiculous as this could only be written by Christopher Nolan himself and his script for this film is beyond compelling. There are so many fantastic aspects that make it quite trademark of his own style but a lot more that left me thinking I was smarter than I actually am. The characters in this film are written incredibly well and each stands out on their own with a brilliant amount of poise. Not only do they wear the cleanest suits in the world but from the very first scene, it is obvious how motivated they all are and where their intentions lie. Good guys and bad guys make themselves very clear in predictable ways but that is to be expected from Nolan and of a film that falls into this espionage genre. Nolan also writes this spy thriller in such a creative way that makes it stand out from the rest of any other, forgettable spy franchise. The inclusion of the inverted entropy theme riddles Tenet in all its action set pieces and it does so very well. I might not have always understood the logic behind some of the film's plot twists and reasoning but as long as you don't try too hard to make sense of Nolan's mind, there is so much enjoyment to be had. My only issue with his writing is how he dumps exposition throughout the movie like a video game cutscene. The dialogue itself is hard enough to understand because of its scientific complexity but it is given to the audience in ten-minute chunks where I was left wondering what the characters' new goal was. These scenes are interspersed into the action sequences so awkwardly that it left his direction feeling a bit disjointed. It was not necessarily overwhelming but I would have much preferred Nolan's direction if he focused on blending these scenes together more effectively.

This revered director's script might not be the most easily understandable story in the world but he brings along his expected technical prowess to this film to make it just as entertaining as one would expect. The score, performances, and cinematography all work in harmony to elevate this film into being one of the greatest action films of the past few years. Washington, Pattinson, and Debicki are all stupendous in their roles and they carry such undeniable screen chemistry. Pattinson is fantastic in his supporting role, Debicki nails the troubled wife archetype that has come to be expected from Nolan's script, and Washington steals the show, further intensifying his massive star power. Washington is one of the greatest rising actors of today and the fact that a huge film like this could be one to bring him into the public eye, even more, is phenomenal. He has well past proven his worth as a star and I can't wait to see what he does in his coming roles and the varied energy he could bring to them. The cinematography from Hoyte Van Hoytema is captivating and he shoots every scene with an exceptional eye, especially the high-octane action that fuels this story. A magnificent combination of steady and handheld camera makes each scene so unique, to the point where I couldn't keep my eyes off the screen. Ludwig Göransson's score throughout this movie genuinely surprised me, as it is a bit of a departure from Hans Zimmer, who typically collaborates with Nolan. I found Göransson's score to be one of the best parts, however, and it really grounds this movie and its action together in some beautifully harmonic ways (with plenty of bass, of course). This movie might not have as much emotion as Nolan's other works, such as my favorite Interstellar, but it still carries enough qualities of a groundbreaking action film to be incredibly exhilarating. These cinematic elements all play together just as everyone had expected, though, and because of the filmmaking from mind-freak Christopher Nolan, Tenet will undoubtedly fuck with your mind; whether or not you let the mind-boggling plot affect your enjoyment of the film is up to you.

Tenet might be one of Nolan's weaker films but even by comparison, it is still absolutely fantastic. The incredibly unique action set pieces, performances, and score all work together to make this highly anticipated movie that much more memorable. Going into this film knowing exactly what kind of movie Nolan would be delivering us was probably my smartest choice and although it is far from my favorite of his, it still proves to be one of the most original blockbusters of the year. I'm not nearly big-brained enough to understand his thought process in this film but that's okay. Now excuse me while I go take half a bottle of aspirin.

My Rating: ★★★★

Bill & Ted Face the Music (2020) directed by Dean Parisot

There are so many franchises that have been revisited in the past few years that have absolutely no business doing so. Upon my first notice that Keanu Reeves and Alex Winter would be reviving some certain beloved 80s characters into a modern-day setting, I was strongly against it for obvious, nostalgic reasons, but I am so glad that this film turned out to be one of the most genuinely heartwarming and giddy movies of this year so far. Bill & Ted Face the Music is an excellent conclusion (?) to this trilogy and one that expertly matches the awkward chaos of the original movies. From the fantastic goofiness that radiates from the story to the chemistry between the leads that never falters, there is so much to love about this movie and I am overjoyed that it never ventured into being too overly cheesy. This is already hard to do, though, given the lovable nature of all of these films and as long as you know what you are getting into, it's difficult not to enjoy yourself.

After their first two adventures almost three decades ago, slacker-rockers Bill (Alex Winter) and Ted (Keanu Reeves) are grown up and have become middle-aged fathers to their daughters Thea (Samara Weaving) and Billie (Brigette Lundy-Paine). When they are informed that the fate of the universe and time itself rests in their hands, they set out to create the "perfect song" that will be able to save and unite all of reality: no big deal. So many soft reboots or sequels that are released nowadays have the tendency to take themselves way too seriously or even not seriously enough. Treading that thin ice is something that filmmakers often have to do but director Dean Parisot does it elegantly. This third installment into the Bill & Ted franchise is exactly what I, and many others I assume, wanted it to be. This film takes everything that the original movie did so well in terms of balancing its sci-fi lunacy with lovable comedy and continues it in the greatest ways possible. The script by Chris Matheson and Ed Solomon is just absolutely wonderful and the development of these two characters is exactly what I had been expecting. Parisot nails keeping the tone the same from the first two and really the only difference, besides the 29-year time gap, is how great the visual effects look. The story is always dependent on the humor and likability of these characters but the introduction into the 21st-century is also great to look at. The sci-fi elements of this movie, although never truly logical or easy-to-follow, are great, and placing Bill and Ted into this new world of technology and CGI never appeared too corny, which I very much enjoyed. Along with the re-introduction of these characters in the modern world, the music throughout this film is just spectacular. Rock music has been an integral part of these characters since the beginning and Parisot is able to keep that energy alive to really just make this movie so, so, so much fun.

I think what is so effective about the memorability of the humor from these films is how they unabashedly explain nothing. The plots of these movies could have been written by a rambling five-year-old but throwing in the fantastically-written dialogue and interactions between these ludicrous characters makes it that much better. It is obviously clear to see how passionate Reeves and Winter are about these characters and I'm certain that bringing them back meant so much to them personally. Not only was it exciting for them but it was exciting for audiences as well to see them embody Bill and Ted to a tee yet again. They might be thirty years older, but the performances from these two continue to be hilarious and their awkward, chaotic chemistry together will honestly never die. While they were both fantastic in this film, I actually found the true standouts to be Samara Weaving and Brigette Lundy-Paine. Lundy-Paine is hilarious as Ted's daughter Billie and Weaving is just as fantastic as Bill's daughter Thea. They are both pitch-perfect representations of how these characters' daughters might actually be and they bring their own, innocent energy that was nothing short of adorable. I have adored Weaving in so many of her different roles as of late but Lundy-Paine very much impressed me. I loved how this film also focuses on a theme of almost passing the torch and the conclusion sets that up incredibly well. The shifted focus on Thea and Billie was incredibly cute and I could not help but fall in love with them. I'm not ashamed to say that I got genuinely emotional at the end of this film after the relationships between Bill and Ted and their daughters were fully explored and I also thank my nostalgia for that. Nostalgia obviously plays a big role in this film because, without any prior knowledge of these characters or their wacky misadventures, anyone would be rightfully confused. But despite my existing love for these films, Bill and Ted Face the Music still made me feel wholesome and smile like a complete idiot.

Bill & Ted Face the Music is a brilliant addition to this franchise that proves no matter the time gap, Reeves and Winter continue to bring something new and special to these unforgettable characters. Parisot's direction might have hit every beat that one would have expected and the script is never anything too profound but c'mon... it's Bill and Ted. Sometimes a movie exists only to make its audiences feel absolutely delightful amidst a reality of pain and suffering and I am so glad that I was able to go into this cinematic reality once again.

My Rating: ★★★★

Peninsula (2020) directed by Yeon Sang-ho

The zombie genre and the heartfelt, dramatic genre are often split far apart on the spectrum of what works together in a film. Of course, there are plenty of examples in which they are able to do so without being overtly goofy, such as South Korea's first undead blockbuster Train to Busan. While this film is an excellent example of the genres blending together to create a memorably emotional experience, its sequel Peninsula did not quite reach those same heights. Set in the same universe as its predecessor, this follow-up focuses on a different set of characters and tells their story while attempting to reach the same level of emotion that was so well-written in the first. While it is never quite able to do that, this film just further proves that South Korea is still better than the U.S. when it comes to crafting an exciting blockbuster. This movie might be much more forgettable than the first but when it comes to creative storytelling and authentically fun action sequences, director Sang-ho Yeon delivers just what one would expect.

Set four years after the events of the first, Jung Seok (Dong-Won Gang) is a former South Korean soldier who is hired to join a gang of mercenaries to go back into the peninsula area of long-evacuated Korea to retrieve millions of dollars of stolen money. Of course, plans do not go as expected and he ends up joining forces with a small family made up of Min Jung (Jung-hyun Lee) and her children as the group fights to survive and return back to safety. While Train to Busan was an exceptional installment into the neverendingly popular zombie genre, it seems almost natural that a sequel would not be quite as good. Despite being helmed by the same, talented director, Peninsula is honestly nothing more than a mildly fun and solid action thriller. However, that is not necessarily a bad thing at all. I am and always will be a sucker for zombie and undead media in many forms and seeing a successful foreign film prosper in the genre that it had never explored before brings me immense amounts of joy. In a way, this is everything that I could have hoped for with the film, even when I first learned that it was going to be entirely new characters than from the first. So whether it be my undying love for the undead or its fun and unique take on the genre, I could not help myself but love this film. The script, written by director Yeon Sang-ho and Ryu Yong-jae, was undeniably solid and again, while there was not much room for the emotion portrayed in the first film, there is still a level of familial values and unexpected bonding in the time of crisis that makes this story so compelling. The direction from Yeon was great and even though a bit of editing could have been done to pick up the pace, there are so many great set pieces and action joyrides throughout the film that kept me on my toes. The characters were all written incredibly well and were infused with just the right amount of humor and lightheartedness that the original film in this franchise seemed to lack. Comedy is not essential when it comes to this genre but for a sequel that goes full-on goofy and ventures into becoming South Korean Mad Max: Fury Road, it was a welcome change to the tone that was set from the first.

My one issue when it comes to Yeon's direction was that it was very obvious he was attempting to reach the same level of earned emotion that the conclusion of the first film did. The third act of this film goes on for far too long and although the action chases leading up to the last scenes were exciting, they did not provide nearly enough adrenaline to get me through the slog of the last fifteen minutes. So many emotional punches tried to be pulled but they ended up practically canceling each other out and I quickly wondered when, if ever, the film was going to end. Peninsula would have been miles better if Yeon had leaned much, much more into the wacky elements of the world and instead of trying to appeal to audiences' emotions, he could have honestly made a zombie action-comedy and I would have thanked him for it. The film should have taken the route of the Cloverfield franchise, in which every new addition to the franchise is a part of the same world but they are all such different takes on what happened to people during an apocalypse-level event. Despite this film not matching the intensity of its predecessor, so many of its elements were phenomenal and continue to prove that South Korean filmmakers reign dominant in many, typically Western genres. From the Thunderdome-esque action sequences to the ridiculously fun driving talents of the young characters, this film is just a blast and its effectiveness as a blockbuster shines through more than anything. The visual effects throughout this film are also wonderful and although many of the physics of the stunts are questionable, it created this strange feeling of mischief, almost to the point of feeling like a video game. All of these aesthetic choices made quite a visually pleasing experience, even though its plot might have faltered at times. As long as one does not go in expecting the sheer brilliance of Train to Busan, then it is safe to say that they will have one of the best times in a movie of this year so far.

Peninsula is an almost flawless bridge back into this apocalyptic world that was created in the first film. Although it never reaches the fantastic levels that the original installment of this franchise did, there is still so much to adore about Sang-ho's filmmaking abilities. I really did start to care about these characters, despite the nearly satirical situations that they were put through in this film but they absolutely grew on me. More than anything, interesting characters are what make a good apocalypse film and I am thankful that Sang-ho has delivered a worthy and entertaining sequel for us to escape to in these not-so-great times.

My Rating: ★★★½