Reviews

This may be the most discomforting film I've ever experienced in theaters. Not because of what I'm seeing, but because of how real it feels. Sitting in a black box with this level of violence amid a tension in the audience as overwhelming as the sound creates a convoluted emotion as difficult to explain as it is to write out. Alex Garland has created a reputation as someone who uses the art of film to portray the fears of possible reality, and he may have reached his greatest height in that regard. Even though the undertones of this story are political and the most marketable, the depth of this story stems from the dynamic of being a war journalist. Kirsten Dunst and Cailee Spaeny portray separate characters with similar ambitions moving forward in the opposite direction of one another. With Dunst providing an exhausted and grounded performance in contrast to Spaeny's emotionally thrilling pursuit, the characters feel like the strongest piece of this story. The line between fact and fiction is blurred by the unique use of sound, and the unpredictable balance between silence and noise creates an anxious energy that is irritating yet equally invigorating. Whereas many films offer an escape, "Civil War" provokes a conversation, but the real question is: are we willing to listen?

There are few films that require the level of attention that "The Godfather" does, which in turn urges to the viewer to set aside time to experience the film rather than stumble upon it. Though 1972 presents its own limitations with visual effects, transitions, and sound, Francis Ford Coppola's cohesive storytelling stands above everything else. The script is overwhelmingly rich and could have easily dulled the attention of the viewer, but because of Coppola's understanding and care for the source material this screenplay has endured over 50 years of new stories and revolutionary technology and has cemented itself among the rarities of film history. As animated an actor as Al Pacino is, he presents an incredibly calm demeanor with this character which is fitting for his particular arc among a cast as dominant and erratic as they may seem. By pulling off the bulldog look that he wanted with a dental mouthpiece, Marlon Brando's dialogue mashes up a bit but doesn't restrain him from expressing patience in his mannerisms to provoke an empathetic authority so unique and definitive to the power his character possesses. With a compilation of many near-perfect standalone sequences, the story weaves through an array of dense anxiety, charming interactions, and unpredictable outcomes. This film acts as a blueprint for countless films to follow, highlighting the vital balance between sharing a detailed story and including a range of characters worth investing in. The contrast of brutality and loyalty blend seamlessly together in one of Hollywood's most complicated and treasured accomplishments of all time.

What type of art form would films be without the most vital contemporary ingredient? (talking) Without dialogue to provide context in a scene, or to introduce the personalities of each character, Charlie Chaplin uses methodical timing and clever writing to utilize his body as a way of expressing his voice along with music to dictate the tone of the film which he also composed himself. The choreography and execution of each scene spotlights the term "unbelievable" and provokes the question of whether Chaplin was as gifted a performer as seen on screen or if his performance was a simple reflection of his actual personality. Either way, seeing him express his physical cadence in the way he walked, ran, and communicated is unlike anything I've ever seen. Though each moment presents comedic originality, the core of this story is centered around romance. Even in 1931, Chaplin showcases ingenuity by avoiding the stereotypes of what love was made to look like in order to provide a tale of what love was made to feel like. This was my first introduction to the silent era of movies and if you're looking to start somewhere yourself, "City Lights" may be the perfect choice.

While its predecessor laid the groundwork for character development in a fantastical world of unknown planets and creatures, this story focuses more on the determination and execution of power. The music is thematic to each character or circumstance which proves to create a specific tone depending on the characters that are seen on screen, and though risk is amplified and deception is introduced to further texturize the unique Skywalker story, the aggressive use of dated special effects creates a distraction more so than an escape. Where "A New Hope" stands strongly as a solo film, "The Empire Strikes Back" is distinctly positioned as a bridge between the introduction and conclusion of this three-part saga which provides an array of moving parts with nearly no resolution. The film is incredibly exciting because of the amount of turbulence these characters face collectively and individually, but without the technology or staging process to propel audiences deep into the cockpits of space (which is where most of this film takes place) an argument could be made that this vision was truly ahead of its time. A reputable expansion of the events from the first film that simultaneously withholds the expansion of these characters and everything that made them interesting to begin with.

There's one defining message, a grounded one, that is oddly decorated around space travel even though the Sci-Fi elements of this film nearly dull out the intention of portraying that exact message. Adam Sandler has proven to be a capable dramatic actor, but given the nature of astronomical exploration, whether fictionalized or not, his casting for this lead role feels entirely misplaced. The domino effect of a rather monotonous introduction bleeds heavily into act two which diminishes the execution of an emotional arc in act three. Choosing societal progression at the detriment of deteriorating our vital relationships is delivered in an obscure fashion with an intangible resolution. The visual concepts are detailed and the score from Max Richter slowly transforms the dismal energy, but without substance to match those qualities the 1h and 47m runtime feels three times that length.

Rarely will you find a film that opens with an 8-minute, slow-motion, portrait-transitioning prologue that evokes an equal feeling of discomfort and immense curiosity. Lars von Trier reveals immediately that his film style is unconventional yet incredibly compelling by dropping audiences into an unknown relationship during a monumental experience while slowly peeling back the layers of each personality until our comprehension of the character dynamic intertwines with our understanding of the events that are subtly yet ominously unfolding. Kirsten Dunst expresses her character's emotions through internal conflict while intentionally trying to connect with her loved ones on a level deeper than their apathetic attention spans will allow. In this story, depression is explored by the contrast of those who feel in control as they face a truly uncontrollable circumstance, and with a score stemming from the 1800s, the tone remains uniquely light even while eeriness seeps in from every corner. The encouragement to question every sequence and assume a direction upon an ambiguous path is challenged by the helplessness of a definitive outcome, proving that viewers may feel enlightened and discontent all within the same breath.

During a time where food is rarely explored due to the demand for convenience and lack of energy that we're willing to provide, "The Taste of Things" invites audiences to transcend into a space that most of us have never known. Not only a space of pure romance in 1889, but one that is tied together with an equal adoration for the artistic and emotional nature of food, and the endless beauty that stems from the smallest details. Whether it's because Juliette Binoche and Benoît Magimel were married for 5 years in real life or simply because they're incredible actors, the chemistry and understanding for one another are potently sincere and encourage viewers to seek nothing less than what they're experiencing. Discover passion, meticulous care embedded under a foundation of years-long expertise, and a chase toward love that never ends even when most relationships do. The framework of a slow rotating camera, necessary silence, patient observation, and organic expression creates a tone that you can nearly taste. A delightful masterpiece by Anh Hung and one that I'm craving to see again.

"You don't escape trauma by ignoring it. You escape trauma by confronting it." In a film that shatters you with loss and picks you right back up with the sincerest care, Ava DuVernay somehow figures out a way to lead you through a rich exploration of the caste system while keeping the arc of the story completely in tact. The spotlight that is shown on self-proclaimed hierarchy throughout different cultures at different moments in history is just as cinematic as it is shockingly educational. The melodramatic sequences are balanced by a stunning score from Kris Bowers which urges you to feel every emotion with these characters. Though expansive, the cast is intimately connected through the performance of Aunjanue Ellis-Taylor. Whether it's the realistic portrayal of weighted sadness or the vigorous determination to successfully showcase a remarkable discovery, Ellis-Taylor is at the heart of humanizing every bit of this story. No sugarcoating, no beating around the bush, and no escape; "Origin" pays tribute to those who stand out, and by doing so, highlights the discomfort that it takes to make a continuous difference, rather than a temporary one.

By depicting the ordinary lifestyle of Rudolf Höss (the longest-serving commandant of Auschwitz) and his family living within an arm's reach of Auschwitz, Jonathan Glazer has found a way to depict evil unlike anything I've ever seen. As horror films enhance the eeriness of their stories, "The Zone of Interest" showcases an abundance of audio-visual moments that are entirely discomforting and piercingly complementary to the feeling that Glazer is aiming to provoke from audience members. This is a point-of-view story that the world isn't accustomed to witnessing, and that's exactly what harnesses the pit that sits deeply inside your stomach while watching. Though the events of this film take place 80 years ago, the contentment and indifference to cruelty and inhumanity are parallel to current issues that many of us choose to ignore simply because we don't want to look. This is a cinematic experience that binds reality as close as possible, and though unconventional and off-putting in its film style, it's hard to argue against this being the most original piece of filmmaking from 2023.

My little brother and I shared vulnerabilities with each other about the endless passions that we both had. During those conversations Michael would share frustrations about people belittling him, talking slow to him, and ultimately treating him different than they would anyone else. My brother died at 20 years old due to Duchenne muscular dystrophy. Watching Mats Steen's story told through home videos, documented conversations, and his blog titled "Musings of Life" was a near parallel to Michael's story through someone else's eyes. Not only is this powerful story a revealing depiction of those struggling with muscular dystrophy, but also a spotlight on how the gaming community can serve as a social anchor for those who need it most. World of Warcraft is used as a visual aid to portray the strength of digital relationships as well as showcasing the confidence that Mats develops with a secondary source of opportunities. Whether we decide to act on the possibilities in front of us or not, "Ibelin" is a reminder that people accept us and root for us even when we find it hard to do so ourselves.

"In the Summers" is a film that spans through routine shots and similar environments over the course of multiple years to highlight how a parent's personal struggles can leave lasting impressions on children as they transition through the crucial phases of their developmental years. Instead of leaning on the "bad parent" trope that is often used in a story like this, director Alessandra Lacorazza Samudio chooses to portray this father figure in a more relatable light. Though flawed and seemingly stuck in one place, Vicente (played by Residente) shows an equal amount of love and adventurous care for his daughters as he does carelessness and anger. The main conflict of being a loving father vs. Being a good father, and not having the ability to maintain both, is at the forefront of each of these four chapters. There's a sense of reality and decisive empowerment that ultimately shapes the direction of this story leaving audiences with an emotionally reflective moment in the final sequence. The visuals are quaint and the score by Eduardo Cabra is collaborative rather than distractive which keeps this film completely grounded with the distinct message that it wants to share. A strong directorial debut for Samudio and one that'll act as a foundation for more stories to come.

What I assume will be a breakout film for Aaron Schimberg, "A Different Man" explores a particular set of emotions that are attached to self-confidence while portraying the short-sided effects of instant gratification. The story provides reason to escape our imperfections until we notice someone living confidently with them. Sebastian Stan is remarkable and transformative in the role of Edward; both physically in the way that he adapts himself to the environment of constant stares and apathetic connection, and also internally with the gradual evolution of his mental complexities. Visually, the film has a 70s noir texture which is complementary to the indie aesthetic of New York City, and with flavors of drama and psychological horror, every sequence is a step in the dark and even more so with the thunderous, and at times, frightening sound design. This is such a unique project that will continue unraveling its mysteries as more people get the chance to see it.

"Love Lies Bleeding" is endlessly thrilling, unapologetically gruesome, and potently lustful in its perception of love, or in this case, more so in the idea of attachment. Rose Glass immediately develops an identity on a pulsating energy that intensifies as secrets begin to unravel and intertwine with one another, paired with a score that'll find its way beneath your skin. The visual details are addictive. From extreme close up shots enhanced by an accurate, yet sometimes uncomfortable sound design, to a dark red color palette and slower frames of movement to provoke darkness and uneasiness. Due to timely humor and several montage sequences, there's a lighthearted disguise that masks the severity of how exaggerated and ambitious this story actually is. Whether this works or doesn't work is for you to decide, but regardless of how you feel about the story collectively, I'm confident that there's a refreshing surprise for everyone to experience.

The script is thought provoking as you follow a neurologist who discovered psychoanalysis conversing with a Christian author who wrote The Chronicles of Narnia. ALSO, the events take place on the day before WWII and both gentlemen are equally brilliant as they are stubborn, as seen with each of the many discussions-turned-arguments that take place. Transitions and flashbacks are heavily utilized to portray character depth, but whether it's a particular style of acting or the timing of each scene paired together, this format ultimately doesn't work. Anthony Hopkins and Matthew Goode showcase their individual acting talent with long monologues and fluctuating emotions, but in the pivotal moments of occupying a scene together, the chemistry never quite flourishes. However, director Matt Brown keeps the viewer engaged by allowing us to be an unbiased fly on the wall rather than purposely tilting the conversation in one direction. The story feels restrained, most likely due to the subject matter, but that won't affect the enjoyable experience that many will have.

Jack Nicholson won his first Oscar for the role of R. P. McMurphy in this film which seemingly solidified him as one of the rare acting talents. The difficult part of this film is knowing exactly where it succeeds from a story perspective. The plot has a meaningful ambiguity around societal differences, but also provides a simple distinction between wild and domesticated behaviors. Even with an abrupt conclusion that nearly derails the emotional development that Milos Forman identifies early on, there's an addictive energy that only increases from start to finish. Criticism is easy to give for stories that provide more clarity during a second viewing, but those are the stories that I prefer and this is the type of film that will only evolve as human beings continue to question.

There has been a lot of buzz around this film for the past couple of months, and I now strongly regret missing this one in theaters. Justine Triet writes and directs a compelling crime mystery that provokes your interaction, your curiosity, and your emotions as you walk through stages of a relationship and experience these events in the same way that these characters do. Sandra Hüller provides nothing less than a perfect performance. She embodies the personality of this character with complete authenticity and excels in one of the best scripted moments from any scene in 2023. The sharp and methodical confidence from each argument develops an addictive desire for audiences to unravel the truth, and that format creates an anxious tone that is expounded upon with a steady pace. Anatomy of a Fall reveals the vulnerabilities of relationships while battling the tension that comes along with them in one of the most remarkable films from this past year.

We're two films in with Night Swim & M3GAN and it's apparent that Blumhouse and Atomic Monster are designing their stories around a model of over-the-top situations executed by cringeworthy dialogue. The film pays homage to horror classics and attempts to create a modern fear around swimming pools and for about 40% of the film, it succeeds in doing so. However, once certain aspects are revealed and with the tone shifting from an ambiguous anxiety to an off-tone comedy, the plot becomes predictable and the outcome is genuinely an interesting choice. Kerry Condon chooses a unique role in comparison to her Oscar nominated performance from The Banshees of Inisherin, and Wyatt Russell ends up exactly where you'd expect with the evolution of his character. Our theater was reactive more so because of the moments that simply didn't work rather than any sort of fear that the story was creating. A predictable outcome for a January release but not so much for the reputable names behind the wheel.

"We must experience everything, not just the good, but degradation. Horror. Sadness. Then we can know the world."

As one of the most stylistic filmmakers in the world, Yorgos Lanthimos provides one of the most daring adaptations I've ever seen in my life. The story pairs the traditional aspect of God with an abstract and vulnerable character journey to relay a thought-provoking message about the human experience. With extensive scenes that include walking, talking, and eating like a baby, experiencing fresh air for the first time, and having sex QUITE a bit, this is without a doubt the most studied and bold performance of Emma Stone's career, and one that will be remembered the most due to the sheer commitment that it took to pull off this beautiful character. In contrast, 56-year-old Mark Ruffalo with 75 acting credits to his name, steps as far away from himself as possible in a performance that is dry, wacky, and incredibly hilarious, and one that marks a definitive turning-of-the-page in his career. The production is fantastical and imaginative, yet completely enclosed and intimate with colors and architecture that don't make sense at the surface level, but feel perfectly suited for the world that has been created. For a first time composer and actor (beautiful scene), Jerskin Fendrix's score penetrates your soul with a range of instruments that eerily complement one another in the most unconventional way possible. Even though act two is overextended and a bit repetitive; collectively, "Poor Things" is radical, artistically punctual, uncomfortable, and entirely undeniable in its storytelling, solidifying its mark as one of the most outrageous films in 2023, and one that simply need to experience.

As Michael Mann's first film in 8 years with a script that was reportedly in development since 1993, Ferrari shows a specific timeline of the titular character's life in a story compiled of scattered events, both personal and professional. Many sequences are filled with muffled dialogue spoken in Italian and followed up with an English clarification which subsequently diminishes the authenticity of the time and location of Italy in 1957. Whether he was the fourth option or the first, Adam Driver gives a credible performance as a proven star who expresses deep range in both the projects that he chooses and in the roles that come with them. Creating an argument for a character story that may have been more captivating than this one, Penélope Cruz shares an incredibly bold and sharp performance as the complicated Laura Ferrari. On the other hand, there are notable casting choices that distract and remove audiences from the script during the moments that matter the most. With some passively powerful scenes embedded in a plot that is largely filled with insensitivity and indifference, Ferrari proves to be a film that may have succeeded much more in the eyes of viewers 20 years ago compared to where motives and interests have developed today.

The scale of any sci-fi project is innately grand and ambitious; and even though this universe and its characters are products of Zach Snyder's originality, they lack the grounded charm and relatability of the Star Wars universe that clearly serves as a source of inspiration. Confining this type of story to two films may prove to be a congested decision. Instead of proper development, as seen in Dune (Part One) or Star Wars: Episode IV - A New Hope, Rebel Moon rushes through its fundamental pieces to jumpstart an adventurous journey that would be more rewarding if the foundation had been set. The score by Tom Holkenborg is excellent and there are glimpses of triumphant moments, but Snyder quickly returns to his own stylistic choices that have proven to be unsuccessful in previous films. Staged sets with distinctive backdrops create an enclosed world to tell an expansive story which ultimately confines the unearthly element that makes this story unique. There's enough context to leave viewers wondering what will happen in Part 2, however I'm not sure many will be marking their calendars in April to find out.

A story that is in the mix for the best game of cat and mouse. Michael Mann doesn't cut any corners, hence the 2h 50m runtime. His characters are complex, the obstacles are properly developed, and the conclusion is purely cinematic. Robert De Niro gravitates toward antagonistic leader roles and his performance explains exactly why. He's composed, calculated, and CONVINCING as he stars opposite from a very animated character played by Al Pacino. Who to support and what sides to take become clouded by morals and ethics that are decisively configured through multiple stages of suspense, making this a film that hooks your attention immediately and never lets go. Crime thrillers of this magnitude are difficult to find but who knows, maybe Mann will go 2/2 with the sequel/prequel that is now in the works.

Ridley Scott is a spectacle filmmaker more than he is a pure storyteller. At nearly 86 years old, Scott has all of the leverage and experience to transform rigid stories into massive epics and he does so yet again with "Napoleon." Whether this film is meant to showcase the evolution of a character or the evolution of a romantic partnership, both arcs feel scattered without a reasonable understanding as to why Scott delved into this story to begin with. 2h and 38m of repetitive sequences dull the blade of a film that is filled with beautiful locations, historically immersive sets, and acting performances that could have been elevated if given the chance. Joaquin Phoenix is miscast in a role that requires a brute-like performance which proves to be different than the demeanor and quality that he can provide, while Vanessa Kirby stuns as his female counterpart. Visually, this film succeeds in a variety of ways whereas the emotional journey is nearly absent, marking this as another project with high expectations that may ultimately get swept under the rug.

Does this film fit cohesively within the Hunger Games franchise? Absolutely. The tone of this film is nearly identical to the rest; with its half-baked sets embodied by CGI, warm tones to portray the deceiving virtues of the Capital contrasted by cold tones to showcase the depleted nature of the districts, and the solo buildup of a character who expresses heroic mentalities. The problem that director Francis Lawrence runs into is trying to mimic Coriolanus Snow's journey with the story of Katniss Everdeen. The first 65% of the film is truly entertaining, however the predetermined outcome of this character is exposed by a choppy transition in the story arc in order to blend this film organically within the franchise. Tom Blyth gives a credible performance that is heightened by the fact that he's shown in 95% of the film, whereas Rachel Zegler pioneers the innovative approach of making this adaptation a musical. Similar to large IP franchises such as Marvel, DC, or Star Wars, there's an equal amount of moments to criticize as there are to enjoy, and I'm perfectly fine with that.

Viewers will gravitate to different sections of this story because of how rich it is in text, yet also because of how unique it is in execution. Jeffrey Wright, who's normally seen as an enjoyable supporting actor, takes the helm of this film and leads it convincingly. His character's repeated desire to be seen and validated is opposite from the crafty, suspenseful roles that I'm used to seeing from Wright, which became more impressive as the character's vulnerabilities started to flesh out. The film asks an important question that seems to be embedded within the larger scope of social commentary. "Why do you do what you do? And, why do you feel the way you feel based on what you do?" There's a psychological battle between doing something because it's "good" vs. Doing something because it provides opportunities, and then there's the sliver of possibility to intertwine the two of them. The family dynamic is the emotional crux of this story, showcasing moments that are abruptly raw and realistic while using connection as the focal point of transformation in Wright's character arc. The story is sharp, clever, and aware of the message that it's trying to share. In comparison to films with similar intentions, "American Fiction" leans heavily on the satirical tone to explore race and identity while visibly using comedy to approach the subject as universally as possible.

Is Nicolas Cage a better actor now than he ever was in the past? Considering he's a 2-time Oscar nominee and winner for his role in "Leaving Las Vegas" perhaps not, but the argument can be made that he seems to be having more fun now than ever before. Dream Scenario is refreshingly ambitious in highlighting the validating nature of recognition contrasted by the horrific evolution of cancel culture. Whether he's committed to the role or simply a perfect fit, this performance by Nicolas Cage is incredibly hilarious and equally tragic making his character "the most interesting person in the world" as mentioned in the film. A24 tends to find filmmakers who tell a deeper story than what's being shown at the surface. Kristoffer Borgli jam packs a lot to consider in this reflective character study, but the one area that he explores the least, as seen in the conclusion, seems to be the missing link in what could have made this film an abstract masterpiece. Produced by Ari Aster, "Dream Scenario" is quirky, hilarious, scary, and a film that'll leave you and your friends exploring its themes and ideas long after the credits have rolled.