Change Your Image
reaganreviews
Reviews
Dune: Part Two (2024)
I might buy the Dune popcorn bucket...
Austin Butler sheds his Elvis accent while Timothee Chalamet continues to sharpen his jawline as the Fremen's messiah.
Dune: Part Two is an absolute sci-fi masterpiece. Director Denis Villeneuve expertly builds upon the solid foundation laid by the first film injecting politics, religion, and romance.
The acting here is fantastic with standouts being Austin Butler, who is psychotic and creepy as Feyd-Rautha, along with Rebecca Ferguson, who takes on something totally different than the last film's characterization of Lady Jessica.
Greig Fraser is also a standout as the cinematographer along with the entire vfx team. This group is incredibly talented, using a very limited color palette to create stunningly realistic sandworms, spaceships, and otherworldly armies.
The sound mixing department and Hans Zimmer's score also work hand in hand to create an oddly pleasing yet deafening IMAX theater experience. This film is so loud and grand.
I also respect how Denis Villeneuve is sticking to his guns that he had while filming Sicario: he doesn't want to glorify the violence as he wants to show its effects on its victims. While the film is visually stunning, the violence is what it is. It's brutal and not over the top.
Overall, Dune showcases the best sci-fi has to offer with a great adaptation of Frank Herbert's space drama created with top tier acting and production.
Echo (2023)
Not bad. Just kind of there.
After all the rumors of production issues and even the showrunners seeming pretty clueless and unprepared during interviews, Echo actually ended up being alright. The show is inoffensive and is just good enough to keep me entertained for a couple of hours.
With an abbreviated runtime of only 5 episodes, Echo is the next in a long line of Disney plus shows that are easy evidence for the argument that this 6, now 5, episode format doesn't work. It's too long to be a concise film and it's too short to allow the characters and plot to be fully fleshed out. With Echo, this issue is softened. The plot is simpler and there aren't too many characters or even subplots. It's a simple story where a troubled person returns home, followed by their enemies.
Acting-wise, it's pretty strong. Alaqua Cox, who hasn't been in much, is pretty solid as Maya Lopez. She has subtle facial expressions and palpable chemistry with Vincent D'Onofrio's Kingpin, who's just as great as he was in Daredevil. The two have a tense relationship built upon Kingpin's childhood trauma spilling onto Maya.
Outside of the acting, the action, which is pretty sparse, is decent. There's some nice long takes like the oner in the first episode with Daredevil, which was pretty cool. Outside of that, the only other memorable action scene was in the third episode, which had some hyper-stylized, high octane, editing that came out of nowhere (it was a welcome surprise, though). The TV-MA rating was mostly unnecessary outside of a bloody flashback or two.
The side characters are pretty basic. Nothing special here.
While the show is mostly focused on family drama and crime, making it clear that Maya isn't morally binary, there are some supernatural elements that pulled from Native American folktales. This aspect was quite intriguing but was barely in there. I wish this was explored more but then again, it's only 5 episodes.
Ultimately, Echo doesn't fully expand upon or commit to its supernatural ideas or mature crime themes. These two central ideas are just there. Luckily, the dynamic between Maya and Kingpin is very strong.
Monarch: Legacy of Monsters (2023)
Kurt Russell and Wyatt Russell vs Monsters...
Kurt Russell and Wyatt Russell, father and son, play the same character in different years; sounds like a good idea, right?
That pretty much sums up this show. It has competent actors, Mari Yamamoto, the Russells (who are bleeding charisma), and Anna Sawai. It also has solid cinematography and a high budget for some awesome visuals with monsters, especially in episodes 6, 9, and 10.
On the other hand, the writing is quite subpar. It's built upon a central mystery that touches upon Monarch, a monster hunting division of the government. The scenes in the past are pretty interesting, exploring Monarch's origin, improved upon by a trio of actors that have chemistry. The present day scenes on the other hand are bogged down by sloppy dialogue and unnecessary drama, which makes the characters act illogical and annoying. Also, the central mystery elements can be predicted a mile away.
Overall, it's an okay show with solid actors who are doing their best, compounded by some stunning visuals and monsters at the end of each episode.
What If...?: What If... Peter Quill Attacked Earth's Mightiest Heroes? (2023)
What if...this cast wasn't wasted?
This episode actually had a solid concept: instead of having a change of heart, Yondu delivers Peter Quill to Ego, leading to the formation of a proto-Avengers team in the 1980s.
Michael Douglas, Laurence Fishburne, Kurt Russell, and more return to voice their characters and what does Marvel do with this stellar cast? Absolutely nothing. Familiar characters are quickly thrown together with a very sloppy script. Unfortunately, Hemsworth's Thor is also wasted, receiving some horrendous dialogue. The episode is chock-full of misplaced MCU humor, tonal inconsistencies, and plot conveniences.
This is an absolute waste of a great cast and likely a very large budget. The script should be the most important aspect of film/television, something Marvel's What If has forgotten.
Donnie Darko (2001)
Science Fiction and Social Commentary
Donnie Darko. What a film. Possibly my favorite of all time.
This film is the representation of what science fiction is: fiction that expands on science, using it as a means to reflect our world. This film seamlessly combines a coming of age story with time travel and multiverse shenanigans. Donnie Darko comments on mental health, the American education system, suburbia, and shows all of this through a trippy scientific lens that can't even be definitively explained. Each time I rewatch it, I see something new and interpret events in different ways.
The film also has a great cast. Jake Gyllenhaal absolutely rocks at showing a troubled, angsty, and nihilistic teenager. Through the film, Darko begins to connect with the people around him, realizing the error in his ways, finding something to truly live for. The rest of the cast is also excellent. There are a lot of stereotypical suburban townspeople but this is carried off in an organic way that contributes to the social commentary.
Donnie Darko is a romance, coming of age story, social commentary, science fiction film, and character study all rolled into one film that is worth multiple viewings, leaving audiences still questioning what they have seen.
Breaking Bad: Fly (2010)
Breaking Bad in a Bottle
Many have called this infamous episode "filler" and a "waste of time." This is a bottle episode that the showrunners made as they needed to have a minimal cast on one set, saving money. This budgeting issue produced my favorite episode of television.
It may not have the riveting plot progression of "Ozymandias" but it does have everything I love about this show, all encapsulated in a perfect episode. The center of Breaking Bad is Walter White and Jesse Pinkman. Their chemistry, no pun intended, holds the show together. In this episode, you get the entire plot of the show. Walter White and Jesse reluctantly come together to solve an issue, which would have hindered them from making money to support their personal endeavors. Not only do you get the central plot, but it also mixes the physical comedy and bickering of the first season with the dramatic tension of the second. Jesse and Walter have an excellent character moment in this episode; a conversation that represents how Walter's bad decisions weigh him down while also representing Jesse's inherent good nature.
To summarize, "Fly" perfectly encapsulates what Breaking Bad is, combining humor, heart, chemistry, and character.
Gojira -1.0 (2023)
A Nearly Perfect Balance Between Drama and Action
Godzilla Minus One doesn't even need Godzilla to succeed. Takashi Yamazaki's film is set in post World War II Japan, following a failed kamikaze pilot haunted by trauma and guilt, which manifests in the form of a destructive behemoth from the sea. The film stars Minami Hamabe and Kamiki Ryunosuke.
The film is at its peak when it's a character study of a devastated Japan. Outside of the action scenes with Godzilla, the other half of the film is balanced well with compelling characters. Even with English subtitles, American audiences feel the emotional weight and turmoil of the actors' performances as their characters navigate the reconstruction of their lives. While I expected an epic action film, I was completely surprised by a poignant character-driven story. Showing the many conflicting viewpoints of the Japanese people through its characters, the film ultimately argues against the senseless loss of human life that was seen during WWII.
Godzilla can be perceived as a symbol of death and destruction as the film brings the iconic reptilian monster back to its roots, unlike many of the recent American Godzilla films. Presented as a force of nature, Godzilla shows no remorse as it crushes people and buildings. Right as the struggles that the characters face seem to be coming to a resolution, Godzilla steps in with its atomic breath, a clear allegory for the atomic bomb and its destructive power. Since strong characters are established, the audience actually feels sadness when Godzilla mows through civilization.
While the film had a tiny budget of 15 million dollars (compare that to Godzilla vs. Kong's nearly 200 million dollar budget), the visual effects were still effective. Though there were a few shaky shots, Godzilla's monstrous size came across nicely, creating thrilling action scenes. These action scenes were elevated further by the sturdy emotional core of the film.
It should be noted that the film's back half wasn't nearly as compelling as its first half. The first hour of the film had a well balanced mix of action and drama. Unfortunately, the action takes a backseat during the last hour and the drama doesn't pack as much of a punch. The film also doesn't fully commit to some of its plot points, lessening the impact of some heartbreaking character moments. But, the film does eventually reach an explosively satisfying conclusion.
Oddly, some may take issue with the film's inclusion of Godzilla. The character study aspect does stand on its own two feet and could've been made even better if it were solely focused on. Then again, a story about a pilot overcoming his guilt and creating a family wouldn't bring as big of an audience to theaters. In my opinion, Godzilla isn't totally unnecessary as its presence reinforces the film's messaging and metaphors.
Godzilla Minus One not only succeeds at reinvigorating the terror in Godzilla but it also serves as a gripping presentation of a country pulling together to rebuild a past life. The synthesis of heart and action creates one of, if not the best, monster-centered action films.
Napoleon (2023)
Napoleon and Josephine: A Bloody Mess
"Destiny has brought me this lambchop." Yes, that is a real line from Ridley Scott's Napoleon. The film follows Napoleon Bonaparte's rise and fall as emperor of France while also showing his rocky relationship with his wife, Empress Josephine. Marketed as an action-heavy spectacle of Napoleon's military exploits, the film surprisingly turns out to be an absurd, raunchy romcom that could have worked.
Joaquin Phoenix portrays Napoleon as an insecure, mumbling man-child who happens to be very lucky in his rise to power, playing into the romcom element as, for the majority of the film, he is hilariously infatuated with Joséphine. It's no surprise that Phoenix does an outstanding job of delivering the script, as he easily slips into this interpretation of the famous conqueror. Holding up the other end of this romcom is Vanessa Kirby's Joséphine. While she wasn't given anything particularly compelling to work with regarding her dialogue, her performance is on par with Phoenix's. Phoenix is often seen projecting his insecurities onto Kirby's character as she becomes increasingly disinterested with him. These two help keep an otherwise bloated film afloat.
Unfortunately, this romance, which makes up the majority of the film, is built on a flimsy foundation. In their first scene together, Napoleon awkwardly mumbles through a conversation with Joséphine. Then, immediately after, the two are married. Next, they are having extramarital affairs. All of this happens in the first thirty minutes of the film and the audience is given no time to breathe or even process what has transpired.
On the comedy side, the film has a few witty remarks and some situational comedy, preying upon Napoleon's inflated ego, which is used to compensate for his many insecurities. For example, Napoleon is always in his signature uniform, hat and all, adding inches to his small stature. This becomes ridiculous as even the other military and political figures in the film aren't always in uniform. Then, here comes the strange "destiny has brought me this lambchop" line, which Phoenix gleefully delivered. The film is full of strange lines like this making the film feel like a parody, poking fun at Napoleon's idiosyncrasies and fragile ego.
Outside of the acting, the film's production is spectacular. The costume department does a great job with the late 1700s to early 1800s setting. This is bolstered by the set design, recreating a past era in a way that feels genuine and real. Both of these elements especially coalesce in the film's action sequences. Scott delivers what was promised in the film's marketing with these action scenes sprinkled throughout the film. The action is disgusting and visceral, playing into the messaging surrounding the violent consequences of Napoleon's unchecked ego and subsequent rampage through Europe. Unfortunately, while these action scenes are very entertaining, while also presenting a thought provoking level of violence and gore, they feel meaningless. They are emotionless and have no setup or payoff; they just happen and the film does nothing to explain why they matter to our character's story. While I don't really have an issue with sacrificing historical accuracy for storytelling purposes, the action scenes are apparently very inaccurate.
Perhaps the biggest failure of the film is its inability to commit to a central idea. This feels like a puzzling amalgamation, leaving me with two questions: is it a comedy poking fun at Napoleon and his marriage? Or is it a war movie exposing the carnage he created? None of these ideas are fully fleshed out and they don't seem to intersect in any way. Also, the film gives no explanation for why Napoleon is the way he is. There is no deep dive into his childhood or his psyche. The film presents him as just an insecure man with a lot of power, who yearns to be loved by his reluctant wife.
Napoleon serves more as an accidental romcom and borderline parody than an epic war drama. There is hope for this film, as the four hour director's cut will be available on Apple TV+, which will hopefully resolve the theatrical cut's shortcomings, if anyone bothers to sit through it.
Monsters (2010)
A Pleasant Surprise
Recently, I watched Gareth Edwards' The Creator. While that film had a lot of really great ideas that weren't juggled very well, Monsters, Edward's first film, takes a very simple story and elevates it.
Monsters very much inspired how The Creator was short with guerrilla film making techniques, in real locations with a small cast and crew.
Monsters has a simple premise of two people trying to get to the US by going through a quarantined area of Mexico filled with large aliens. The film has an incredibly small budget, which is used to bring the world to life. Damaged towns and rusted tanks are complimented by just a few short sequences of monster mayhem. If you're watching the film for the title, you are being misled.
But, all of the flashier parts of the film are ultimately useless if the story is weak. Thankfully, though it may be simple, Monsters has two strong characters with great rapport. The two leads bounce off of each other nicely, which is probably why they are married in real life. Their organic chemistry is very prominent in the film, anchoring it with a solid base built on this relationship.
Overall, Monsters isn't trying to be a big and bombastic sci-fi galore but it does have a very human story showcasing a relationship growing through a need for survival.
Five Nights at Freddy's (2023)
109 Tortuous Minutes
Five Nights at Freddy's transforms its video game source material into a convoluted mess. Directed by Emma Tammi, this attempt at a gateway horror film follows a struggling security guard, Josh Hutcherson's Mike, who begins a job at Freddy Fazbear's Pizza. Plagued by traumatic dreams, Mike and his younger sister, Piper Rubio's Abby, discover that the animatronics at Freddy's are sentient. Elizabeth Lail and Matthew Lillard fill out the rest of the cast.
A positive standout of this film is its production design. Most of the film's modest budget of 20 million dollars seems to be invested in the set of Freddy Fazbear's Pizza. While I haven't played the game, this location seemed fairly accurate to what I have seen. The creepy yet familiar design of this Chuck E. Cheese inspired franchise added a lot to the mood of the film's horror oriented sequences.
Also, it is apparent that a lot of care was put into the film's animatronic characters, designed by Jim Henson's Creature Shop.
Finally, the cinematography of the film was surprisingly good, particularly in a ten minute portion of the film where the animatronics violently tear apart a group of thieves who have broken into Freddy's. Since the film is rated PG-13, much of this carnage happens out of the frame but the usage of shadows to showcase some of the gory kills was smart. This was also supported by the sound design, which helped to keep the horror aspects of the film afloat.
Unfortunately, the film fails at everything outside of the production design. The video game franchise that the film is based on allegedly has expansive lore, which has been crushed into a 109 minute film. All 109 minutes of the film are spent juggling its many plotlines, from the characters' backgrounds to oddly placed dream sequences, which are interrupted by some pretty tame animatronic violence.
Perhaps the most egregious sin of the film is its tonal inconsistency. After a slow and ineffective buildup of tension and suspense surrounding the animatronics, the audience is finally treated to one ten minute sequence of animatronic horror that I mentioned earlier. Then, (spoiler alert) these supposedly deadly and intimidating animatronics are reduced to building a blanket fort with Mike and Abby. After more directionless and family friendly hijinks, the film abruptly shifts to the reveal of its true villain, along with some darker subject matter that covers child kidnapping and murder. This juxtaposition between family friendly fun and horror has no place being in the same film.
Five Nights at Freddy's could have been a fun introduction to horror films for all ages but it is weighed down by its nonsensical plot and tonal inconsistencies. The best way to describe this laughable attempt at a film is by comparing it to putting chocolate ice cream on greasy pizza: it's gross and you don't ever want to taste it again.
The Creator (2023)
The Creator: Sci-fi's Greatest Hits and Biggest Plot Holes
Gareth Edwards' The Creator is the embodiment of true love (the original title of the film) for science fiction fans, carrying both the greatest hits of the genre, as well as its most common sins. The inspiration of these greatest hits, films like Blade Runner and Star Wars, are very much evident in both the film's themes and visuals. Set in 2070 after artificial intelligence nukes Los Angeles, igniting a war between man and machine, the film follows John David Washington's Joshua, a former soldier, who discovers a powerful new weapon, an innocent child-like robot named Alphie, played by newcomer Madeleine Yuna Voyles.
The young Madeleine Yuna Voyles is an excellent addition to the film, providing a charming performance as Alphie. Alphie is both powerful and vulnerable, especially in the film's emotional moments. She does a great job of presenting the very real future of artificial intelligence as being indistinguishable from humanity. Opposite Alphie is Joshua, a hardened war veteran who doesn't see AI as humanity's equal. The film is at its best during the quieter and surprisingly emotional moments where this duo is having dramatic conversations, enhanced by stunning imagery and Hans Zimmer's provocative score.
The biggest standout of The Creator is its innovative approach to filmmaking. The film is perhaps one of the most visually stunning projects I have ever seen thanks to cinematographers Oren Soffer and Greig Fraser. Produced on a budget of roughly 80 million dollars, the film was captured on location in Southeast Asia by a small film crew. This is a rare occurrence for spectacle films of this scale, which are often filmed on soundstages or studio backlots on budgets that are three times the size of The Creator's. The film is an incredible example of using its budget wisely as it presents a lived-in world that feels real, providing stunning and provocative images, where real places are seamlessly enhanced by visual effects.
In the film, many Southeast Asian countries such as Thailand and Vietnam embrace AI as a human equivalent while the United States seeks to destroy it due to the destruction of Los Angeles. Similar to the War on Terror after the 9/11 attacks, the US invades these foreign countries living in harmony with AI. Despite specifying that their quarrel is with AI and not the people of Asia, the US military is repeatedly seen showing no remorse as it obliterates both man and machine. Once again, the cinematography and special effects shine, through sequences of large tanks and planes engraved with "US ARMY," flattening the surrounding nature. This violence is out of fear, as the West is afraid of AI, a new species with the potential to push humanity to extinction. By setting the film in the AI accepting Southeast Asia, the film shows that humanity and AI can coexist. This dilemma between extinction and coexistence is at the core of the film's main theme, which ultimately portrays the destructive nature of unchecked power, leading to war. Even though it's PG-13, the film effectively shows the cost of war through its visceral action sequences, compounded by haunting imagery, which showcases innocent bystanders caught in the crossfire.
Outside of the film's political subtext, during one of the conversations between Alphie and Joshua, the film presents an overarching philosophical question: who gets to go to Heaven? The film explores whether or not humanity is moral enough to be accepted into the pearly gates, while also asking whether or not AI is "real" enough to go to Heaven. Unfortunately, it is nearly never in question in the film whether or not AI is "real," as the film is set almost entirely in the parts of the world where AI is perceived as having a consciousness, and thus being on par with humanity. Though this may sound paradoxical, this portrayal of AI eventually undermines some of the emotional scenes of the film while also enhancing them at the same time, as the human aspect of this philosophical question is properly executed, showing both the best and worst of humanity.
Outside of its themes, emotional weight, and appearance, the film suffers greatly from its plot, which is riddled with plot holes and conveniences. Since the film has so many rich ideas and themes, it can often feel bloated, which is evident during some of its sequences, which feel shortened in service of introducing the next twist or topic. Not only are these twists quickly brushed away, they are also very predictable at times and can be seen within the first minutes of the film.
Despite having an excellent composer, Hans Zimmer is very much underutilized in the film. His music isn't present during some of the film's largest action sequences. This could have been done to give the film's war sequences a gritty and realistic feel but it also removes some of the tension and the action loses its flow.
The Creator is a film that has impressive visuals and relevant themes but is unfortunately weighed down by its leaps in logic and editing mistakes. The film is also refreshingly original with its portrayal of artificial intelligence's potential to improve where we have failed, providing a positive outlook on a very real future.
Oppenheimer (2023)
The Best Film of the Year
Oppenheimer is an incredibly thrilling biopic following the father of the atomic bomb.
The acting in this film is excellent. Each member of the cast, no matter how small of a role, shines. Some standouts include Cillian Murphy as the lead alongside Kitty, played by Emily Blunt. Cillian Murphy not only looks the part, being stripped down to a skeletal frame of a man, with haunting and disturbed eyes, he acts the part as well. All of Oppenheimer's emotions are captured through the miniscule details of Murphy's performance and he's incredible at portraying such a complex and controversial historical figure. While in the background at first, Emily Blunt shines, especially in the film's third act, where her character takes charge in many pivotal moments. Much like Oppenheimer, Kitty must deal with the trials of being connected to such an important, yet violent part of history. Through these two performances, the film's historical figures truly come to life, being presented as multifaceted, flawed people that engage the audience.
Every element of film, from score to cinematography, is perfectly displayed by Christopher Nolan, who has truly mastered his craft. While many may see the film's premise, a 3 hour film mostly filled with dialogue, following the man who built the atomic bomb, as boring and tedious, Nolan uses the elements of film to thrill viewers, creating tension in dialogue heavy scenes. Conversations about physics and treason are quickly interrupted by haunting visuals of pillars of fire, stars exploding, and molecular collisions. By telling a story from a truly subjective, character based perspective, the audience is thrown into the psyche of the film's titular character, viewing his thoughts and actions. One could compare the use of these film elements to Across the Spider-Verse, which used animation to its fullest. Much like that film, Oppenheimer uses live action film to its fullest.
Perhaps the only weaknesses, if you can even call them that, of this film are its fast pace and attention to detail. The fast pace is used to blaze through Oppenheimer's tumultuous life, allowing the film's runtime to feel much shorter than it actually is. This can be detrimental to some viewers as characters quickly appear and disappear throughout the movie, along with many details that may feel mundane and insignificant. But, these characters and small details become incredibly vital to the film's excellent final act, which rewards those who have stayed laser-focused throughout the film.
Oppenheimer is an excellent film, which may not be for everyone, that is certainly worth a try.
10/10.
Mission: Impossible - Dead Reckoning Part One (2023)
Action at its Finest
2023 has been a great year for practical action films, exemplified by John Wick 4, Extraction 2, and now Mission: Impossible - Dead Reckoning Part One. The film follows the governments of the world vying for control of a powerful artificial intelligence. Ethan Hunt and his team must complete the impossible task of destroying this formidable opponent while also facing an old enemy from Ethan's past.
This film excels in almost every aspect. Tom Cruise and the film's stunt team once again find creative ways to level up the franchise's action sequences without them getting ridiculous. Unlike many blockbusters with overblown budgets and unfinished cgi, this film grounds everything with practical effects. All of the action is visceral and real as it was actually performed by this talented cast and crew.
Like many of the past films, Dead Reckoning is incredibly suspenseful. Even in some of its slower scenes with limited action, such as my favorite sequence, which took place in an airport, the film successfully makes the audience feel the tension between the characters.
There were also a few scenes where the characters of the film had a few meta conversations, recognizing some of the tropes of the franchise. This was a nice touch and provided some levity.
I only have a couple gripes with this film, one being the villain. While Esai Morales has a very intimidating presence, his character's motivations weren't very clear. I do appreciate that the film peeled back some of the layers of Ethan Hunt's past but it didn't quite hit that sweet spot, leaving his relationship with the main human antagonist a bit too vague. Another gripe I have is a certain character choice with one of the supporting characters. Without going into spoiler territory, a certain event with this character was presented and then proven false, only for it to become true later on in the film. I wish more was done with this character.
As far as part one's go, this was done properly. The story is still unfinished but it ends in a nice place where one of the objectives of the characters is resolved, leaving everyone in a nice place. Compared to other part one's this year such as Fast X and Across the Spider-Verse, the film doesn't just abruptly end and the audience comes out satisfied while also wanting more.
This is how a proper action film is done, with great stunts and practical effects and a story with realistic characters, where actions have consequences and everything matters.
Indiana Jones and the Dial of Destiny (2023)
Chaotic but Fun, Indiana Jones Dials up the De-Aging Technology
Indiana Jones and the Dial of Destiny is a fun adventure and a fitting end to Harrison Ford's iconic character.
The film opens with an excellent 20ish minute sequence, which showcases Lucasfilm's best use of de-aging technology. This sequence is a classic Indiana Jones adventure, bringing both humor and thrilling action together. The introduction also sets up some key plot points and characters for the rest of the film while also giving a short adventure that recaptures the magic that the original trilogy of films has.
After a great opening, the film takes the audience to 1969, where Indiana Jones is a grouchy and depressed old man that the world has cast aside. Some may not agree with this portrayal of the iconic character but in my opinion, it was done tastefully and fit in with the themes of the film. From there, Phoebe Waller-Bridge's character is introduced. She's a mirror of a young and inexperienced Indiana Jones, complete with witty one-liners. She starts off as unlikable in this first act.
Once the adventure gets going, it quickly becomes very convoluted with too many characters and obstacles being quickly introduced and cast aside. But, the film eventually finds its footing in a make or break final act.
No spoilers but the final act feels like a culmination of Indiana Jones' life, where we get to finally see the character be genuinely amazed by the adventure he has gone through.
Overall, the film is a fitting end to Indiana Jones' character with a pretty sweet ending. Unfortunately, the film is bogged down by a convoluted middle act.
The Flash (2023)
Batman Heaven, but also a good Flash movie
The Flash is a really fun watch, balancing humor, action, and heart.
As an actor in this film, Ezra Miller is great. Miller's performance in Justice League didn't really capture me but in the Flash, Miller is excellent, playing two versions of Barry Allen. Even though the film is very ambitious for the first film outing of the Flash, it touches upon the Flash's origin story in a meaningful way while also showing a more experienced Barry Allen that is no longer just the comedic relief.
The film's strongest aspects are its emotion scenes. Maribel Verdu's Nora Allen (Barry's mom) isn't in the film much but she is so delightful that the audience can't help but empathize with Barry Allen on his quest to save his mother.
The portrayal of Barry's speed was refreshing as the world around him warps and bends. Unfortunately, there were a few glaringly bad sequences in the film with awful cgi that WB didn't fix, likely since the film was first screened for early audiences.
Personally, I wasn't impressed with Keaton's Batman in his prior films but he was great in this one. Andy Muschietti's directing brought out a great performance from Keaton paired with spectacular action scenes. Speaking of Batman, Ben Affleck was excellent as an experienced Batman this time around. This truly felt like the first time the DCEU was connected. The scenes with returning DCEU cast members felt like I was watching an episode of Bruce Timm's Justice League cartoon. Sasha Calle's Supergirl was really entertaining as she brought a more serious edge to Supergirl that I didn't expect. Unfortunately, she was a bit underutilized but I'd be happy to see her in a future movie down the line.
Besides the uneven CGI, the film's ending felt like it undid some of the character development. I'm trying not to spoil it but let's just say that the film is all about learning a certain lesson not to do something and then at the end of the film, that happened anyway, albeit to a lesser extent.
Overall, it's a miracle that this film turned out as good as it did. This is truly a great comic book film experience that will please fans.
Cocaine Bear (2023)
Cocaine Bear Lines Up The Laughs
Elizabeth Banks' Cocaine Bear is one of the best worst movies I have ever seen. The film follows an ensemble cast of police officers, teenage delinquents and criminals as they encounter a deranged bear that has ingested cocaine. It stars the late Ray Liotta (his final completed film), Keri Russell, O'Shea Jackson Jr., and Alden Ehenreich.
The film is inspired by true events, which took place in the 1980s. Former lawman turned drug dealer, Andrew Thornton, was in the middle of transporting cocaine from Colombia on his plane when he became tangled in a parachute, plunging to his death. Previously, Thornton had dropped off 40 containers of cocaine in Chattahoochee National Forest, where authorities would sadly discover a deceased black bear, dubbed Pablo Escobear, that had ingested the 40 containers of cocaine. The film takes this true story and alters it, allowing the bear to survive, going on a rampage through the forest. According to Banks, this alternate take is a revenge story for the bear, as a result of human negligence and greed.
The film is incredibly hilarious, expertly mixing dark humor with engaging action sequences. A lot of the film's action scenes are so ridiculously cartoonish that you can't help but laugh. Outside of the comedic action, all of the actors do a great job bouncing off of each other. Some of my favorite scenes from the film involve O'Shea Jackson Jr. And Alden Ehenreich. The two actors have great chemistry and comedic timing, when blended together with a witty script, provide an amusing time in the movie theater.
The film also had a surprising amount of depth, with a focus on family relationships. Each character, including the bear, was a representation of a different family. The film features tension between greed and family. The events of the bear's rampage inform the characters on how they should approach this conflict.
The film does suffer from some of the gaps between the bear scenes. Most apparent during the waning minutes of the film, the bear scenes are diminished and the film's focus shifts to its least interesting subplot. Thankfully, most of the film's hijinks have already happened, leaving the audience satisfied.
Cocaine Bear is completely aware of its absurd story, giving viewers exactly what they want: a hilarious dark comedy about an intoxicated bear. The film combines action, humor, and horror into an entertaining 95 minutes that's definitely worth a watch in theaters with your friends.
John Wick: Chapter 4 (2023)
John Wick: Chapter 4 is a WICKed Good Time
Chad Stahelski's John Wick: Chapter 4 brings the John Wick franchise to an explosive conclusion. The film follows John Wick as he travels the globe, battling old and new foes to earn his freedom. The film stars Keanu Reeves, Donnie Yen, Laurence Fishburne, Ian McShane, and Bill Skarsgård.
This film has the best action of the franchise, provided by what seems like all of the stunt performers in Hollywood. The fight choreography is impressive and complex. Even though the film is nearly three hours long, I never got bored as the action sequences were very entertaining. Like the previous John Wick films, many of the action sequences feature "gun-fu," a mix of firearms and hand to hand combat. I was also surprised by the comedic aspect of some of the action, as many scenes have an almost slapstick nature.
Another aspect of the film that was expertly executed was the film's cinematography and set design. Many of the fight scenes occurred in interesting settings that utilized vibrant and appealing colors. The fight scenes were also captured with long takes, showcasing all of the difficult choreography that the actors had to memorize. A certain action sequence comes to mind when thinking of cinematography, which was especially impressive. This scene was captured from a bird's eye view, similar to a video game and there were no visible cuts during this scene.
Speaking of video games, this film improved on the previous film's shortcoming: the story. While the events of the last film felt inconsequential, this film returned to the franchise's roots, delivering a simple story with great action. The film's story is structured like a video game, with John Wick having to complete clear and simple objectives. Many of these objectives lead to boss fights, where the film's side characters shine. A memorable and recurring boss was the legendary Donnie Yen, who played an antagonist that you almost wanted to root for.
My only issue with the film is a plot hole during the film's first act. This plot hole was that John Wick was in a certain location for no apparent reason. Unfortunately, his presence in this location is a very important aspect of the film.
John Wick: Chapter 4 is an excellent action film that features spectacular action scenes, memorable side characters, and an entertaining Keanu Reeves at the top of his game. While the film isn't based on a video game, it certainly felt like a video game brought to the big screen.
Guardians of the Galaxy Vol. 3 (2023)
Guardians of the Galaxy Volume 3 SkyROCKETs the Franchise
James Gunn's Guardians of the Galaxy Volume 3 brings the trilogy to an electrifying ending. The film follows Peter Quill, Star-Lord, as he assembles the Guardians of the Galaxy on an important mission. Its cast includes Chris Pratt, Bradley Cooper, Dave Bautista, Zoe Saldaña, Karen Gillan, and Chukwudi Iwuji.
Back in 2018, James Gunn was fired by Disney when a series of very offensive tweets resurfaced. Almost immediately, DC Comics swooped in, hiring Gunn as a director, giving him complete control on any DC project of his choice. This led to 2021's The Suicide Squad, an excellent film, which likely led to Gunn being appointed as DC's CEO in 2022. Before this, following a public apology, Disney rehired Gunn to direct the final installment of the Guardians franchise, his final Marvel film.
The strongest aspect of this film was the characters. The core Guardians members are portrayed as a dysfunctional family, which greatly benefits the film's comedic scenes, with each member bickering with each other. A standout in this aspect is Pom Klementieff's Mantis and Dave Bautista's Drax arguing with Karen Gillan's Nebula. The three have great chemistry and comedic timing. The comedy in this film is very well placed, serving not only as a way to further the characters but also as a palate cleanser after the darker scenes.
Surprisingly, this film had a great amount of emotional depth. The film really gets audience members to become invested in these characters' stories, particularly Bradley Cooper's Rocket. Cooper delivers a heartbreaking voice performance that greatly elevates the film's dramatic scenes. Many of these scenes don't even include live actors, but instead realistically animated animals. Chukwudi Iwuji, who plays the antagonist, gives a great performance during these emotional scenes that will get audience members, especially animal lovers, to absolutely despise his character. Even though these emotional beats are somewhat predictable, they still hit you like a brick.
Gunn masterfully uses action to reinforce the film's emotional beats by providing viscerally violent action, justified by the film's main message of empathy. During the more fun action scenes, Gunn utilizes dynamic cinematography and a killer soundtrack blended with fantastic special effects, immersing viewers and allowing each member of the Guardians a chance to shine, leading to the conclusion of their character arcs by the end of the film.
Guardians of the Galaxy Volume 3 is a stark departure from recent Marvel projects, taking the franchise to darker places. In my opinion, the more mature themes tackled in this film project the franchise forward, allowing the characters and universe as a whole to grow. As much as I'd love to see these characters down the line, this film serves as a definitive end to their stories, and Disney should respect that.