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~AleXa~
"I'm sorry... Did I step on your moment?"
-Natasha Romanoff, CA: TWS
Reviews
Jaws (1975)
Definitively Spielberg's first masterpiece, Jaws sets the bar for tension, suspense, and intrigue
Going down in history as the first summer Blockbuster, Steven Spielberg made a name for himself with this visceral, fear-inducing creature-feature that had even land-locked audience afraid to go into the water for years to come! As the first film to achieve $100 million in theatrical rentals, it not only set many box-office records, but it went on to earn three Academy Awards!
On the quiet shores of the quaint, seaside community of Amity Island, newly appointed Sheriff Martin Brody (Roy Schneider) discovers the remains of woman's body on the beach. When she's determined to be the victim of a shark attack, Sheriff Brody wants to close the beach, however Mayor Vaughn (Murray Hamilton) as well as some affluential local businessmen will not allow it, pointing out that the summer is their busiest tourist season and where they take in most of their annual income. Brody defers to their judgment, and that weekend, a young boy is killed by the man-eating shark. The dead boy's mother places a bounty on the shark, which attracts amateur hunters and fishermen from all over hoping to claim that reward money. When a local fisherman by the name of Quint (Robert Shaw) offers to hunt down the predator for a handsome fee, eventually the mayor agrees. Sheriff Brody joins him, as well as Matt Hooper (Richard Dreyfuss), a Marine Biologist from the Oceanographic Institute.
Based on the novel by Peter Benchley published in 1974 who helped develop the screenplay in conjunction with Carl Gottlieb, it hits all the right marks, playing on the masses already existent, albeit largely unfounded, fear of these fascinating carnivores. The incorporation of Hooper was important to provide some measure of scientific basis for their analysis instead of perpetuating misinformation. Director Steven Spielberg may be a household name now, but when he was just starting out, it wasn't easy convincing studios to back such an ambitious project. Undertaking over half of a production filming in water is difficult enough, but add in portraying a believable Great White Shark, and it wouldn't have been out of the question for studio execs to scoff at the very notion-especially considering Spielberg only had a few films and TV episodes under his belt at the time. However, through the seamless dual use of real footage of Great Whites and production designer Joe Alves animatronic creation, he was able to achieve a remarkable feat immortalized on film.
With principal photography and filming taking place in Martha's Vineyard, Massachusetts, Spielberg succeeds in boasting Amity as a real oceanside town. As most of the sequences were shot with handheld cameras, the audience truly feels as if they are on the Orca with the crew, adding to the tension. Spielberg's creative inclusion of what would be coined the "shark-eye-view" camera truly reaffirmed the anxiety-inducing fear that kept audiences on the edge of their seats. Pacing is a tad slow for some of the scenes on the boat as Brody, Hooper, and Quint attempt to track the man-eater. There are also a few narrative oversights, such as why on earth no one went looking for the Orca after they did not return, or why they didn't encounter any other shark hunters, but taken as a whole, the film is a tremendous success in its unwavering ability to elicit fear and anxiety, even when the majority of tumultuous events transpire in broad daylight.
Ominous and tension building to the extreme, it isn't any wonder John Williams score secured an Oscar. While this was only their second time working together, it is clear that Spielberg and Williams have a certain kinship and comradery that allows them to share the same vision for the projects they work on. Williams' theme for Jaws will be remembered for all-time, and then the composer still went on to possibly outdo himself scoring the iconic theme to Spielberg's Jurassic Park (1993).
Sheriff Brody is a well-meaning man, out to protect his community, though clearly caught between a rock and a hard place. His fear of water adds a relatable quality to his character. In present-day America, a whopping 64% of the population is afraid of deep open water (oceans). Hooper provides just enough of a scientific basis to ground the events and offer some interesting ways to try to defeat the animal. Despite his role as the somewhat experienced, greedy shark-hunter, Quint seems a bit too eccentric to offer anything other than animosity and tension with Hooper in a confined space, proffering his fate as a relative eventuality. These three offer vastly differing perspectives on and attitudes about the shark that make for an intriguing dynamic.
Roy Schneider succeeds in bringing a humble but capable quality to the Sheriff, allowing the audience to relate to his vulnerability and desire to protect the townsfolk. Initially, Spielberg was considering Charlton Heston to play Sheriff Brody, however after completing Earthquake (1974) and in light of the fact that he was being considered to play the hero in Airplane 1975 (1974), Spielberg reasoned that if he were to play the Sheriff, the film would feel decidedly more predictable with the shark having little to no chance against him. Richard Dreyfuss not only plays well as the inquisitive scientist interested in the study of the creature, but portrays a wounded quality that provides a connection. Shaw unfortunately is very much like his character-drunk, crude, and unreasonable throughout the majority of the time, though one could argue that plays well for his character onscreen.
Spielberg astutely blends the actual Great White Shark footage shot by noted underwater photographers Ron and Valerie Taylor taken off the southern coast of Australia with his animatronic Bruce with balances the intensity of the close-ups with the required suspension of disbelief as audiences observe the fluid movement from the live footage. Three mechanical "Bruces" (as they were dubbed) were made, each having a specialized function. And if you were wondering why the Tiger Shark hung by its tail looked so real, that is because it was in fact a real shark killed in Florida. Since there wasn't a big enough one in Martha's Vineyard, they had it shipped to the set and prepared for filming, however by that time, it was in an advanced state of decomposition, with the actors stating the smell was appalling, eliciting some some very real reactions.
It is of little wonder that this iconic film would go down in history as the first summer "blockbuster", with over 67 million people in the US going to see the film when it was initially released in 1975. It took in more than its $7 million budget opening weekend alone, and became the highest grossing film of all time to date.
FINAL VERDICT: Definitely worth watching with the lights down and the volume up.
8.5 out of 10.0 - Rewatch Value: 4
~AleXa~ An original IMDB user for over 20 years. Don't be fooled by spam accounts and studio-paid reviews.
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Reviewed September 5th, 2022 - 3rd viewing 9/02/22 F in IMAX (1st) at AMC GV w/NO.
Captain America: The Winter Soldier (2014)
An exhilarating thrill ride equal parts dark and clandestine as it is intense and invigorating
Marvel has really outdone themselves with the long-anticipated sequel to Joe Johnston's Captain America origin story, Captain America: The First Avenger (2011). Smartly hiring the creative geniuses of Anthony and Joe Russo based largely on Marvel Executive Director Kevin Feige being impressed with their work on NBC's irreverent comedy "Community", teamed up with excellent story-tellers, Christopher Markus and Stephen McFeely, who also wrote the first Cap film as well as Thor: The Dark World (2013), they forged what is arguably one of the best films ever produced.
As Steve Rogers struggles to adjust to living in a modern world following the events of the Battle of New York some two years earlier, his allegiances come into question when it is discovered that S. H. I. E. L. D. may have some dirty secrets of its own, and Director Nick Fury is branded as a traitor. Unsure of who to trust, he tentatively teams up with Natasha Romanoff, also known as Black Widow, on their journey to find the truth behind the lies. Along the way, they make unexpected alliances in Sam Wilson, a former Air Force Paratrooper, and are hunted by the ghost known only as The Winter Soldier.
Markus and McFeely's screenplay is taut, cohesive, and enthralling from start to finish. The story exudes intrigue and intensity, with so many layers that are peeled back as the narrative unfolds. It is so much more than surface-level action. They take the time to examine what drives the characters, and in a very real way, ground them with doubts and fears we all share. It is as much a character study as it is an action-spy film, and first-time Marvel directors Anthony and Joe Russo ensure that all the pieces fall right into place at the opportune moment.
The Russo Brothers interject a certain realism rarely afforded in the ever-expanding Superhero genre. Somehow, despite the idea of a frozen super soldier being so fantastical, their collective vision allows the film to be firmly grounded in a world where it is entirely believable that this could be happening at our highest level of government (art imitating life a tad too closely, but I'll digress). It therefore possesses this tangible, gritty quality that grips the audience from the beginning, and never relents. From their strategic use of visually interesting locations to spectacular stunt choreography, to the careful introspection of the motives and fears of the main characters, attention is paid to every single detail. Henry Jackman's score is arguably one of the best of its time. The melodic pieces that shift so effortlessly from light and delicate to robust and overpowering carry the intensity of the moments through so that they reverberate within you, bolstered by the exceptional acting talent as well as visually stunning sequences.
As events unfold, Cap begins to see that the modern world clandestinely fights its battles behind cloak and dagger. The hard-won freedom he thought his death secured now appears to be nothing more than a smokescreen, with the powers that be learning how to get their subjects to hand over their freedoms willingly for the sake of 'security', starkly mirroring the very same problems we face in our current reality. Steve must make a decision on what kind of world he wants to live in, and see where the pieces fall. Not only that, but Steve, Natasha, and Fury all find themselves questioning what they had previously known to be true, and who exactly they can trust. This is not only expertly dealt with in the insightful dialogue, but in the way they interact with one another. Exploring these psychological aspects grounded these characters in a way that allowed us to relate to their respective turmoil and tribulations.
Chris Evans returns as Captain Steve Rogers, and really brings his a-game to this new journey that will shake the foundations he thought he had carefully laid. Scarlett Johansson reprises her role as Natasha Romanoff, the enigmatic spy who waded into a war-largely due to being inspired by Steve. After her, Steve, and the other Avengers battled the aliens in New York, Fury tasked her with helping Steve acclimate to this new world, as well as training him in stealth ops. While the dialogue is already rich, witty, and poignant, Johansson manages to bring a depth and sincerity to Natasha we have not been privy to before. With all her defenses stripped bare and her covers exposed, she finally allows Steve to see the real Natasha, and in so doing, inadvertently discovers a part of herself she had carefully hidden. Scarlett truly does a remarkable job communicating as much with her body language and facial expressions as she does with her words. For anyone who is paying attention, you can see there is so much more that lies beneath the surface that she is just beginning to tap. Not to mention the natural chemistry that her and Evans possess is well-utilized here, given their history and long-standing friendship dating back to 2004 when they co-starred in Brian Robbins' comedy-drama The Perfect Score (2004). Evans and Johansson even wrote a good portion of their dialogue in their scenes together. Their introspective moment at Sam's house showed such a sensitivity and vulnerability, and was heartfelt and moving, showing their need and desire to trust one another. In all the little nuances, you can see that after their years training together, they have developed this effortless second-hand that's magical to watch.
Of course, Samuel L. Jackson is back as the iconic Director Nick Fury, along with Cobie Smulders as his second-in-command, Maria Hill. Jackson succeeds in toning down his usual sarcastic tone, tempered with the severity of the events that transpire, and shining a light on Fury and Nat's connection. Sebastian Stan really has the opportunity to showcase his grit and diversity here, providing the iconic Winter Soldier with a visceral intensity rarely seen before on film. He is very nearly Steve's equal, and their epic fight sequences, mostly performed by Evans and Stan, are true to form. Hayley Atwell turning in a small appearance as the now 90-year-old Peggy Carter was as riveting as it was heartbreaking. Achieving her dramatically-aged persona with a combination of make-up and digital rendering, the effect was seamless.
Part of the film's ability to firmly plant itself in the real world was the Russo's choice of locations. The vast majority of The Winter Soldier's events are filmed at some of the nation's most historical landmarks in Washington, D. C., from the Lincoln Memorial in the opening scene where Steve and Sam are jogging, to the Theodore Roosevelt Bridge, where Cap single-handedly takes down a QuinJet. The action and fight scenes were filmed mostly in downtown Cleveland, Ohio. Perhaps most astoundingly though, while the 'Lumerian Star' is not a real ship, the intriguing sequence was actually filmed aboard the Sea Launch Commander, an originally Scottish ship built by Kvaerner Govan Ltd in Glasgow that first launched in 1997. After Govan went bankrupt, she was acquired by the Russian company Energia. While the Lumerian Star is meant to serve as a satellite launch platform, the real ship functions as a rocket launch platform, and is currently docked in Long Beach, CA. The opening stealth siege by Cap almost single-handedly as the camera pans around the perimeter of the ship provides the necessary scope and scale, and was brilliant to watch! Even the Captain America exhibit in the film is a real exhibit at the Air and Space Museum at D. C.'s Smithsonian, complete with the authentic shield used by Chris Evans during this film! This is really the quintessential example of life imitating art imitating life.
The Russos' choice of not only a variety of different tones for the action sequences as well as a conglomeration of fighting styles really serves to balance the film out. The covert, stealth siege of the Lumerian Star features some superb parkour moves by Evans, an iconic, Bond-style takedown by Natasha to secure the engine room, and a tense build-up leading to taking back the ship. Cap's fight with Batroc, played by a UFC Welterweight Champion George St-Pierre, was well-matched and expertly choreographed. The attack on Fury and subsequent chase, featured as the last scene in the episode of "Agents of S. H. I. E. L. D." that aired prior to the film's release, was both jaw-dropping and exhilarating, employing a low-angle car-mounted camera for some intense moments. Cap's elevator brawl, which premiered as a special sneak peek following Thor: The Dark World (2013), was visceral and intense in a way that cannot be quantified. Evans and Grillo went on record as saying they realized they had to really land their punches, and left each other black and blue by the end-a commitment to their craft.
Cap's ensuing stand-off with the QuinJet on the Roosevelt bridge as he's fleeing the Triskelion was a perfect superhero moment, and one you could only believe at the hands of Captain America. The rooftop scene so perfectly reflected the second-hand that Steve and Nat have developed. The freeway chase scene leading into the brilliant downtown fight was one of the most exhilarating. Most of the hand-to-hand combat scenes between Cap and Bucky were performed by Chris Evans and Sebastian Stan, specifically the amazing knife fight in the middle of the street. The Russos' choice to film this in broad daylight was brilliant-because if you are fortunate enough to have your lead actors so well-trained that they can perform the action themselves, then you certainly want to capture every glorious second of it!
FINAL VERDICT: So seamless and fluid, the film is quite simply perfection. Not only is it one of the best superhero movies of all time, one of the best sequels ever created, but one of the best films as a whole.
10 of 10 - Rewatch Value: 10
~AleXa~ An original IMDB user for over 20 years
Rev July 12, 2022 - 7/12/22 TU in 3D at home.
Only the Brave (2017)
Epic, moving, and full of heart, Kosinski's feature superbly captures the spirit of the Granite Mountain Hot Shots, poetically paying tribute to the real heroes of Prescott
The first ever municipal wildfire crew to ever earn Hotshot status, the Granite Mountain Hotshots were (and still are) hailed as local heroes, saving countless lives and homes over the decade or so they were wildland firefighting. The events that transpired on their road to the elite Hot Shot status tell the story not only of their bravery, but of the truly remarkable human beings they were.
In the small town of Prescott, Arizona, Fire Superintendent Eric Marsh (Josh Brolin) grows tired of his instincts being dismissed by the federal Hotshot crews when they come to fight their local fires, resulting in the loss of lives and homes. In an effort to change the status quo, Marsh seeks the help of his long-time friend Duane (Jeff Bridges) to facilitate a meeting with the mayor to organize an unprecedented Certification of his home-grown Prescott crew. To achieve his goal, Marsh needs to fill his ranks back up to twenty. Despite his obvious drug use and criminal record, Marsh agrees to give Brendan McDonough (Miles Teller) a chance because he believes him when he says he wants to change his life for his baby daughter Mikaela. As he works the crew hard to prepare for the certification test, Marsh's wife Amanda (Jennifer Connelly) grows lonely and frustrated with his absence. Finally, their hard work pays off and they achieve Hot Shot status, but shortly thereafter are literally thrown into the fire.
With Hollywood steadily running out of original ideas, it is quite refreshing to see a production with such great care and attention paid to honoring the real-life people they are portraying. Screenwriters Ken Nolan and Eric Singer wrote the screenplay based on an article by Sean Flynn entitled "No Exit" that appeared in the magazine "GQ" in 2013. Originally founded in 2001 as a fuel mitigation crew, they eventually reformed as Crew 7 in 2004, a Type II hand-crew, until finally in 2008, after four years of training, they were finally certified as a Type I Inter-agency Hotshot crew. It is during this period that the film takes place.
Director Joseph Kosinski ensures that this in no way feels exploitive-it is in fact quite the opposite. Producer Michael Menchel visited Prescott on multiple occasions to meet with the families to get a real understanding of who each of these incredible men were to be as respectful and authentic as possible. Amanda Marsh was reluctant at first to support the production, but Brendan convinced her that the film would be a wonderful way to honor their loved ones. Even screenwriter Ken Nolan was moved to tears as he was told stories about these amazing men. Real-life Granite Mountain Hotshot Brandon Bunch, who was only spared because he left the crew two weeks prior to his wife giving birth to their third child, plays his friend Garret Zuppiger.
Kosinski boldly dares to go against the grain, opting to take the time to slow down the narrative to showcase each individual Hotshot and their real-life struggles. These character moments coupled with some amazing performances perfectly ground the film so strongly that it manages to walk the line between a biographical drama and a full-out documentary. Your attention never wavers once, allowing you to fall deeper into the story as it unfolds. Credit has to go not only to Kosinski and Menchel, but the lead actors as well. Jennifer Connelly stayed with Amanda Marsh to truly get a sense of her life, and even wore her actual boots in the film. The supreme focus and detail leveled are captivating, from the slowed whirring helicopter blades pulsating to the beat of the music to the cliffside vista as the crew watches and scores burning trees as they fall to their impending doom. There is so much ethereal visual imagery, it in some ways feels like a spiritual experience, as if we are all being baptized in the powerful and unpredictable quality of nature.
In an effort to balance out the heavy themes, the director highlights the Granite Mountain Hotshots saving the old alligator juniper (designated as Arizona Champion Tree). This legendary tree located to the west of Prescott, Arizona is the world's largest alligator juniper, and is approximately 1,400 years old. After the crew successfully saved it from the Doce Fire on June 23, 2013, they took what became an iconic picture all together in front of the massive tree. Something about this moment while being exhilarating and uplifting manages to also possess an air of foreboding, almost as if you can sense that this is the high that will be preceded by the low.
Joseph Trapanese's score is so subtle and nuanced, you would almost miss it if not for its melancholy melodies that perfectly highlight the emotional underpinnings, especially with his beautifully-written theme that is overlaid when Crew 7 is featured on screen. Furthermore, as an additional tribute to the brave souls who lost their lives on that fateful day, Dierks Bentley co-wrote the song "Hold the Light" with S. Carey and Jon Randall, working closely with the Trapanese to ensure the melody matched the lyrics. This touching song plays during the end credits which also features each actor showcased with their real-life counterpart.
Nolan and Singer smartly choose to book-end the polar extremes of the crew, primarily following the lives of Eric Marsh, the Superintendent of Crew 7, who struggles to balance his career with his home life, and Brendan McDonough, the young, wayward screw-up and newest recruit working to turn his life around for his new baby girl, Mikaela. The narrative juxtaposes experience with naivety, but also how similar two seemingly opposite people can be. As Eric and Amanda struggle to balance their shifting priorities, Amanda astutely points out that people are supposed to grow and be changed by their relationships, which is vividly featured subsequently.
With such an astounding cast, it is of little wonder there were superb performances all around. Josh Brolin has stated in multiple interviews that this was the most important role he has ever played. As he is a self-professed chatty Kathy, he struggled a bit to channel his inner John Wayne to become Marsh. Brolin succeeds in balancing Marsh's drive to effect positive change and support his community, as well as his vows to his wife. Miles Teller really starts to come into his own here, believably transitioning Brendan from an irresponsible lacky to a young man working hard to make something of his life. Teller gives a gripping, painful performance after he hears the report of the number of survivors over the radio. Jennifer Connelly is exceptional as well throughout. She and Brolin also share some tender, intimate moments that feel natural. Her reaction to Eric when he returns home after their argument is beautiful. Amanda's words to Brendan in third act so perfectly illuminate who Eric was, as well as the quality of her character. And upon hearing the tragic news while out in the stable, her visceral reaction will make the hairs on the back of your neck stand on end. One might even contend that this is her best performance to date. James Badge Dale and Taylor Kitsch also turn in quality performances as Marsh's next in command, and Brendan's best friend respectively.
Despite the majority of the film's events transpiring in Arizona, it was shot almost entirely on location in and around Santa Fe and Los Alamos, New Mexico-primarily due to the state's sizable tax credit. Happily though, Matt's Saloon, a local staple of Prescott, Arizona on the famed Whiskey Row, was featured as the bar where the crew celebrates after saving the old juniper. Jeff Bridges (as Duane) even sings a little tune there with his band, Duane and the Rusty Pistols!
Aspiring to be as realistic as possible, all of the actors were trained by wildland fire-fighting personnel from the Melrose bombing range led by Captain Daniel Cota, as well as being coached by Chief Steinbrink and other former Hot Shots. Each visceral moment out in the brushland delivers iconic images featuring an imposing horizon and harsh weather conditions that succeed in conveying just how brutal and unpredictable nature can be. Considering the big names attached to the production, it is doubtful that they were as close to the inferno as they appear, but the exceptional computer graphics never have you question the danger for a moment. That being said, Kosinski was able to shoot a real wildland fire in southern New Mexico, which is where you can see the elk racing away from the flames. That moving shot was truly in-camera, and poignantly represented Brendan's inner turmoil as he looked on from the chopper. This commitment to authenticity supplies the primeval and terrifying quality of the experience of being in the heart of a wildland fire. Perhaps the standout visual effects are of the emblematic bear on fire, which is just as Eric describes-as beautiful as it is terrifying and haunting. Kosinski's decision to show more of the vision with each time the event is detailed works to build intrigue, and is a wonderful visual representation of Eric's greatest fear. You can run, but ultimately, you cannot escape it.
Arguably Kosinski's masterpiece, the film leaves a lasting impression you won't soon forget. It is surprisingly difficult to contextualize the raw feelings exposed and elicited by this remarkable film. The only real failure that can be found here is the lack of proper promotion and marketing by the studio. Considered to be a box-office bomb, it only grossed $26.3 million worldwide against a $38 million budget. Despite its positive accolades, the film still remains grossly underrated, with the powers that be not even endowing this amazing tribute with one awards nomination. And yet, it seems to truly capture the spirit of these twenty courageous men, cementing their bravery into the annals of history.
~AleXa~ An original IMDB user
Reviewed July 31st, 2022 - 4th viewing 7/31/22 SU on my Blu-ray at home.
The Man from Snowy River (1982)
Breathtaking, authentic, heartfelt adventure that celebrates horsemanship and making your own way in life
Set in the scenic vistas of the Australian Grampian Mountains, George Miller's The Man From Snowy River (1982) not only succeeds in wielding an epic tale chocked full of drama and adventure from A. B. "Banjo" Paterson's self-entitled poem, but in highlighting the delicate balance between beauty and power that exists in nature and the importance of walking your own path in life as opposed to the one others choose for you.
In 1880s Australia, after surviving a tragic accident, Jim Craig (Tom Burlinson) accepts a job as a ranch hand at the Harrison cattle ranch. When he is left to look after the women-folk as Harrison (Kirk Douglas) and the rest of his workers leave on a cattle drive, Jim grows close to Harrison's headstrong, independent daughter, Jessica (Sigrid Thornton) who shares his affinity for horses, as they endeavor to break in Harrison's prize colt. Upon Harrison's return, he fires Jim after learning of their duplicity and that Jessica has developed feelings for him, as Harrison intends to make a lady out of her and have her marry into a wealthy family. After someone turns the colt loose and frames Jim, he returns to join the search party to go after the horse who has joined the resident wild horse mob to clear his name and become the man his father raised him to be.
Firmly sandwiched between the dying age of the classic western and well before the adaptation of the modern western, screenwriter John Dixon's script manages to somehow define a genre unto itself. Unconventional for the time, Jim's methodology of natural horsemanship is such a refreshing departure for the traditional rodeo-bronc approach prevalent in traditional American westerns. Miller's visual acuity allows for the sweeping vistas and rugged terrain to become to become their own character, choosing some of the most iconic vistas without drowning out the sounds of nature. The entire experience is ethereal, somehow so aesthetically pleasing, it almost becomes a tangible reality. If you close your eyes, you can practically feel the cool wind and smell the rainstorm approaching. And yet, Miller wisely overlays a musical number only when necessary, having a unique understanding of the moments that the dialogue carries itself. Bruce Rowland's score is sweeping and harmonious, finding the perfect melody for each moment: the tension-building tune as the crew mounts up for the ride, the quiet, piano solo as the herd seems to dance in the snow, and the powerful, exciting theme as Jim runs down the herd.
Dixon executes a smart, concisive narrative, taking us on an epic journey as Jim Craig struggles to deal with love and loss, and learning what it means to forge his own path and be his own man. Not only is it about finding your way, but remaining true to yourself and honoring those you've loved and lost. The story really is an inspiring one of the human condition. Dixon also astutely touches on the very period-appropriate issues that women faced in those misogynistic times without being so heavy-handed that it overpowered the other themes. It is intriguing that Jessica is not relegated to merely existing as Jim's love interest, but presented as a strong, intelligent, independent woman who can hold her own with the menfolk. Thornton is equally as impressive, balancing her opinionated need to prove her value with her genuine affection for Jim.
Dixon masterfully imbues natural humor and wit within the dialogue, striking a rare balance between tense family drama and lighthearted soliloquies, particularly from good 'ol Spur, who quite deservedly gets the best lines. Quite the colorful old codger, Spur serves as Jim's long-time friend and guide, offering up all the pearls of wisdom and a reprieve from his dark days to keep him on the right path. The Harrison family dynamics are so intricately woven as long-buried secrets come to light, they come as a pleasant surprise and interesting, almost kismet turn of events. Part of the brilliance here is Dixon's ability to craft such an interesting character-drama where there is no real villain; instead offering the conflict as people striving to do right by themselves and those they love. In this way, the film retains more gravitas and makes the resolution of those issues memorable and weighty.
Tom Burlinson embodies Jim Craig as no other could, bringing a strength matched only by his vulnerability that allows him to believably showcase Jim in his youthful transgressions and as the man he grows into. Surprisingly, Burlinson had only ridden a horse a few times prior to filming, but mountain cattleman Charlie Lovick taught him to ride like a pro. It is little wonder that the buckskin horse who plays Denny is Lovick's own working ranch horse. While stuntman Gerald Egan is Burlinson's double for several of the more harrowing action shots in the film, Burlinson performed many more of the action riding than most actors would, allowing for the audience to be further engrossed in the events.
Burlinson and Thornton's exuberant chemistry was captivating, both equally falling into their vastly different characters with ease. The development of their affinity for each other feels authentic and believable, first bickering over their differences before coming to understand that they are more alike underneath the surface. Kirk Douglas as Jessica's father Harrison was so superb as both his respective characters, you almost wouldn't even notice he played both. Douglas was perfectly domineering as Harrison, bringing an intensity needed to match Burlinson's unwavering conviction and Thornton's passion and independence. As Spur, he is effortlessly witty and jovial, bringing a lightness the other three sorely needed.
Filmed with the beautiful backdrop in Victoria, Australia's High Country, Miller captures some of Australia's little-known breathtaking scenery. Craig's Hut was purpose-built on top of Mount Stirling (though it sadly burnt down years later during a bushfire, but was subsequently rebuilt in 2008). Some scenes on Harrison's Homestead were shot at a property on Buttercup Road in Merrijig. As Harrison's riders chase down the herd, they cross the Hoqwua River, and later in one of the most quietly stunning pieces, the mares are seen slow-galloping through the snow-covered Mount Stirling.
You would never know the film had a meager budget of just $3.5 million. Actress Sigrid Thornton was really stuck on a narrow cliff face known as Hell's Window on Mt. Magdala. The horse wrangling and aerial riding shots are some of the best ever captured on film. Miller's camera placement and movement truly capture the grandiose scale of the locale, so much so that it is truly a humbling experience. Forty years later, the locals are still so proud of it, they have created an exhibit in the town at the heart of the film, Mansfield, that features some authentic props used for the film, as well as studio memorabilia.
The Man from Snowy River (1982) can honestly be coined as a cinematic masterpiece. The only real complaint here is that you simply want to see more, but do not despair. Fortunately, Disney picked up the tab for a sequel that released in 1988, so be sure you follow this one up with Return to Snowy River (1988), available on Disney+.
FINAL VERDICT: Truly an original masterpiece. It elicits every emotion it aspired to and more. Do not miss this one. It is available on Blu-ray or through the Starz app.
ALTERNATE RECOMMENDATIONS: Nothing comes close.
~AleXa~ An original IMDB user for over 20 years. Don't be fooled by spam accounts and studio-paid reviews.
9.0 of 10.0 - Rewatch Value: 9
The Man From Snowy River (1982)
Reviewed August 3rd, 2022 - NTH viewing 8/02/22 TU on my Blu-ray at home
20th Century Fox Studios - Rated PG - Directed by: George Miller - Based On: Poem (Self-Entitled)
The Northman (2022)
Entertaining and visionary, if not a little overdone and provocatively unoriginal
Viking lore and history has proven to fascinate even the dullest of minds. With the overnight popularity of both the History Channel's Vikings and HBO's Game of Thrones, who can argue? After a trip to Iceland with his wife Alexandra Shaker in 2016, director Robert Eggers became enamored with Viking mythology and endeavored to make such a film. Alexander Skarsgard has held similar ideas since childhood, and upon meeting Eggers in 2017, the two endeavored to create a Nordic saga.
When a young Viking prince is witness to his father slain in front of his eyes and narrowly escapes with his life to a distant land, he vows to one day return home to avenge his father and save his mother by killing the traitorous murderer. Ten years later, he seeks out the murderer where he has retreated in relative isolation to a sizeable farm in Iceland, but not without being directed by a He-Witch and falling in love before fulfilling his destiny.
Alexander Skarsgard as adult Prince Amleth brings a depth and visceral quality to the role that lends to the intensity needed in dramatic moments as well as allowing the audience to empathize completely with his plight. Nicole Kidman manages a hollow, forgettable performance as Amleth's mother, Queen Gudrun. She could easily be forgotten if not for the important reveal she offers up at the climax which could just as easily be a convenient fiction as truth. Despite his limited screen time, Ethan Hawke does such a stellar job as King Aurvandil, convincingly both a powerful, respected ruler and a caring, wise father that it is almost impossible to believe the story Queen Gudrun tells Amleth in the end. Anya Taylor-Joy (as always) leaves something to be desired, offering a pandering, soulless performance, marking her character as nothing more than an unnecessary distraction from the central themes. And Willem Dafoe always makes for a treat, giving a entertaining and chaotic performance we would expect no less of.
Eggers certainly knows how to frame a scene and maximize the splendor pervading such amazing filming locations in Ireland and Iceland. Robin Carolan and Sebastian Gainsborough's score is quite exceptional, keen on incorporating period-appropriate instruments and tones that nicely highlight the emotion of the scene. However, despite some outstanding action sequences, the story-penned by Eggers himself along with Sjon--leaves something to be desired for a variety of reasons.
Not surprisingly, the story interweaves with some elements and pivotal characters seen in the latter seasons of "Vikings", allowing for a certain level of recognition and familiarity, but where the script deviates from what makes the show successful is in crossing the line from brazen and clever exhibition to overt and overdone scenes that become more distracting than entertaining. Factor in the lack of a strong, female lead both sexes can love to root for, instead forcing us to settle for such common archetypes as the bewitching, murderous trollop simultaneously claiming independence while using sexuality to get a man to do her bidding, and the scandalous, narcissistic mother uses one man to kill another and who manipulates a brother to betray his only brother. The sequences with the He-Witch were excessive and tedious, effectively ruining the pacing. There was no rhyme or reason to where or how Olga conjured up some horses in the middle of nowhere (unless a scene was cut). As stated before, Queen Gudrun's big reveal was quite overdone, seemingly a product of both the poor writing and Kidman's overdone performance.
It is in fact hard to determine whether Eggers' narrative and visual elements that are shockingly reminiscent of those seen in Disney's The Lion King (1994) were intentional or incidental. From the prodigal son who runs away trope, to the incompetent henchman claiming the prince was killed, to returning home from a distant land to save his mother, to the mystical wiseman who shows him his way, to finding love in the middle of his heroic journey, to the epic battle sequence with his backstabbing uncle amidst volcanic ash and red-hot lava, complete with embers floating around them for dramatic effect. You can't unknow it, can you? Eggers thought we wouldn't notice, but we did...
FINAL VERDICT: What started as intriguing became overdone and self-indulgent. There are certainly some amazing fight sequences, beautiful cinematography, and artistic direction, however the bloated elements and glaringly archetypal issues detract from the poignant moments. Ripping major plot points from one of the most beloved Disney movies of all time which arguably ripped elements from another tale is a bad look... or is it history repeating itself?
ALTERNATE RECOMMENDATIONS: "Vikings" on The History Channel/HULU
~AleXa~ An original IMDB user for over 20 years. Don't be fooled by spam accounts and studio-paid reviews.
7.0 = 1,1,1,0,1,0.5,0.5,1,1 - Rewatch Value: 4
Reviewed April 27th, 2022 - 1st viewing 4/21/22 TH in DOLBY at AMC-PK with NO
Universal Studios - Rated R - Directed by: Robert Eggers.
9-1-1: Dumb Luck (2022)
Dumb is right...
I just can't anymore... The 'emergencies' are some of the dumbest. First, someone is dumb enough to sit their girlfriend in a 2-inch railing on a high rise, and then a rookie catches her in mid-fall which is just shy of impossible. To make matters worse, add one of the dumbest 'road rage' incidents in history. There would never be speed humps on a HIGHWAY, and then the sign is going to happen to jump out and impale the cyclist at high velocity? They clearly don't understand physics. It would have been possible if the truck had run it over, kicking it up and toward her.
That being said, the show has been on a rapid descent into prime time, soap opera mediocrity. Realistic themes are appreciated, touching on PTSD, survivor's guilt, parental struggles, but sadly it's just not enough for a show whose premise relies on a balance between action and drama. What little action that exists is so ridiculous, it has the unintended effect of being distracting and insulting rather than enthralling. It feels like the writers have lost the plot...
Time will tell, but I'm not holding my breath.
Marry Me (2022)
A unique and refreshing take on the rom-com that offers a surprisingly realistic depiction of fame and fortune and a beautiful performance by Lopez
In a time when it would seem the Rom-Com is all but dead, it has been refreshing to see some fledgling attempts at a triumphant return. The 1990s as well as the early 2000s were highlighted by many heartwarming romantic comedies that you couldn't help but love: Pretty Woman (1990), Notting Hill (1999), While You Were Sleeping (1995), Ever After (1998), Return To Me (2000), and The Wedding Planner (2001), to name a few. This film, however, seeks to reinvent the genre, offering a rare, insider look at the daily life of a global star that provides a greater understanding of their struggles, as well as highlighting the importance of humility and balance in an industry plagued by the lack of it.
Based on the graphic novel written by Bobby Crosby, Marry Me (2022) follows music superstars Kat Valdez (Lopez) and Bastian (Maluma) as they prepare to get married on stage in front of thousands of fans during a global live-stream. When Kat learns that her soon-to-be husband was unfaithful mere seconds before she is to take her vows in front of the world, she decides to marry a random guy holding a 'Marry Me' sign instead, much to the shock and disappointment of all her fans, staff, and the world. Despite being from completely different worlds, they spend the next few months getting to know each other, and find they are not as different as the world would have them believe.
Screenwriters John Rogers, Tami Sagher, and Harper Dill did a marvelous job updating the source material from Crosby to offer something deeper that allows the main characters more growth and understanding. It is intriguing in that it follows the standard formula, and yet defies the typical tropes at every turn. It has always been perplexing that the great majority of people subscribe to the misguided notion that two people are doomed to fail in a relationship (or friendship) if they are too different, however the opposite more often than not proves true. Differences offer more opportunities for introspection, tolerance, and personal growth, which in turn makes for a stronger foundation. The willingness and ability to adapt and compromise is usually born out of mutual respect and love, and ultimately will be the determining factor as to whether or not the relationship will last. These themes are explored and analyzed quite astutely, and enjoyably. While on paper, it would seem Lopez and Wilson would not play well together, here is a quintessential example of art imitating life, making the pair perfect for these roles. And it is their acting talents that allows them to succeed in pulling the story off, particularly Lopez.
With J. Lo getting her start as a back-up dancer on "In Living Color", it seems that movie critics will just never give her a fair shake. She may not be 'classically trained', however there is no denying that she possesses a certain rare talent for conveying emotion and depth, regardless of the performance. The film that brought her squarely into the limelight proved that in spades-Selena (1997). Here, she draws on something deep in her soul, allowing for such a beautiful and seemingly effortless performance. She is in line with Sandra Bullock and Angelina Jolie in that regard, however she never seems to be critiqued fairly. True, she has chosen some bad projects, but her acting ability never faltered.
In some ways, the film is an expose that offers understanding to both the characters-two people from different walks of life that live in two very different worlds-as well as to the audience. It offers an important commentary on the difference between reality and what appears in the news and on social media, as well as astutely grounding the idea of celebrities, showcasing how they are still real people with very real fears and desires. And while fame requires them to have what some would contend is an unnatural lifestyle, they can still make certain choices to ground themselves. Nothing is frivolous here-scenes were carefully chosen to juxtapose their polar opposite lifestyles, as well as allow the audience to understand how the insanity of fame must necessarily become normal-otherwise even the sanest person would go crazy, which could perhaps account for some very public breakdowns of certain celebrities. It is not all glamor and wealth-there is immense pressure, negativity, and fear that can encapsulate their lives. Not everyone is cut out for it, and without walking a mile in their shoes, few can understand it. Accepting the publicity and the complete lack of privacy as the status quo becomes necessary to survive in the industry, having to make your every waking decision with consideration of how it will appear or what the narrative may spin into, and how it will potentially affect their livelihood.
Owen Wilson was quite adept at portraying the average Joe working man-a middle school math teacher-having an active role in his daughter's life, struggling to feel he measures up to the cool stepdad, which is also a departure from the usual stepfather-is-the-devil trope. Not only is Wilson believable, but he manages to cultivate some natural chemistry with Lopez that was comparable to even McConaughey opposite Lopez in The Wedding Planner (2001)-arguably her best rom-com to date-until now that is. All of the little moments they share, with her seeking to get to know him, and growing to care about what he cares about, slowly opening her heart to him felt real and authentic. The most emotional moment was when Kat surprises Charlie for his birthday, accurately showing what true love really is. The supporting cast was also enjoyable-even Sarah Silverman, who is usually quite detestable, was comedic and entertaining. Chloe Coleman as Charlie's teenage daughter Lou was captivating. John Bradley as Kat's manager brought an honesty to his character. It was refreshing to see that he genuinely cared for her happiness above all else.
This could have been a very by-the-numbers, skim the surface type of film, however the writers boldly chose to use it as an opportunity to explore the stark reality behind celebrity life-that it is not all excessive shopping, exclusive movie premieres, and trips around the world on private jets-and apparently Lopez had a hand in crafting realistic moments. The music was thoroughly enjoyable, with Jennifer providing one of the songs for the soundtrack that may be one of her best to date, entitled "After Love, Pt. 1". The last song she is inspired to write toward the end, "On My Way", was also moving. There was unfortunately a number that one can only hope was intended as comical that came off quite inappropriate and somewhat offensive to even the most liberal viewer-her opening song "Church", which even the non-religious will balk at, though it could also be seen as a contrast from the past to how Charlie has affected her. But that honestly was really the only questionable moment of the film. Sure, there could have been more angst and drama leading to their eventual separation, and a better reunion scene, however it somehow felt true and real, not seeking to stamp out that over-the-top romantic overture scene that its counterparts would ascribe to. In that way, it stands out in the crowd, refusing to relegate itself to merely being the traditional, run-of-the-mill rom-com.
Another aspect that separates this film from the rest is that it touches on how unfair the industry is for females-musicians and actors alike-once they pass age forty, as well as the judgment and stigma that comes with celebrity marriages and divorces, with the expectation and pressure that always precedes and follows. This film smartly shines a light on all of these double standards that are not merely for the sake of the narrative, but very real issues that many celebrities-including Lopez-have experienced in real life. Many have accused the film of being nothing more than Lopez's own ego at work, a convenient medium for self-promotion and album sales. Not only does it not play as such, but they are missing the glaringly obvious point that she does not need it. Furthermore, it is about so much more than that. Unfortunately, most are missing the plot quite literally. It's high time for the critics to give credit where credit is due. Lopez deserves all the accolades, and then some. She deserves an Oscar and a Grammy for her efforts here.
For all of these reasons and more, this film is a cut above the cloth, and affected this reviewer in unexpected ways. I was smiling from ear to ear almost the entire film... I have not felt such joy or inspiration from a film in such a long time. Everyone may not share this experience, but you at least owe it to yourself to go in with an open mind and an understanding that this is not your stereotypical Rom-Com. Also, I whole-heartedly agree with Charlie-"After Love" is my new favorite song too.
FINAL VERDICT: Surprisingly heartfelt and uplifting. It is deeper and more introspective than it is being given credit for. I implore you to give it a chance, and go in attempting to be objective. Just take it in with an open mind and heart, and see how it moves you, for it certainly moved me.
ALTERNATE RECOMMENDATIONS: None--go see it *in theaters*.
~AleXa~ An original IMDB user for over 20 years. Don't be fooled by spam accounts and studio-paid reviews.
8.0 = 1.5,1.5,1.5,0.5,1,0.5,0,0.5,1 - Rewatch Value: 9
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Marry Me (2022)
Reviewed February 11th, 2022 - 1ST viewing 2/10/22 TH in Digital at AMC Theaters with SW. Rewatched 2/13 & 2/14 with V, 2/15-2/18.
Universal Studios - Directed by: Kat Coiro - Based On: Web Comic.
The Matrix Resurrections (2021)
Poetic Perfection! It is time to free our minds... again!
Reviewed December 24, 2021 - 1ST viewing 12/23/21 in IMAX
WB - Rated R - Directed by: Lana Wachowski - Based On: Sequel to Original
The Matrix (1999) is arguably one of the best films of all time, catapulting into cult classic status almost instantaneously. The Wachowskis wrote and directed a profound script with iconic characters at its core, but the brilliance of it was that it was not simply a post-apocalyptic Sci-Fi venture to free minds, but to postulate (and perhaps prove) that belief is what gets us there. The original film, along with its inevitable two-parter sequels, was at its core an iconic love story, and that connection, along with its ground-breaking bullet-time technology developed for the film and amazing stunts, is why it continues to resonate so deeply all these years later.
That being said, you cannot mention the sequels without discussing the proverbial elephant in the room (SPOILER ALERT): the Wachowskis killed Trinity, and presumably Neo in the end.
Now admittedly, that decision left fans feeling slighted, and many believed (as did I) that the story was not over. So here we are, eighteen years later, finally getting the answers to the questions we've had for nearly two decades. Few can say why it took so long to return to the story, however it seems the collaboration with the stunt team and a lot of the original actors in the John Wick films along with some personal reasons on the part of the Wachowskis have something to do with it. It saddens me that so many people have completely missed the mark on why this film really is a diamond in a sea of stones... The only possible answer to that is they are not of the original's generation, and/or do not remember the disenchantment that Revolutions left us with.
Set in the distant future, Mr. Anderson (Keanu Reeves) finds himself existing between two realities, unsure of which is real. To discover whether or not he lives in the real world or another construct, he must find himself, and find the courage to follow the white rabbit once more. The desire to limit any spoilers is why there is no further description.
Lana Wachowski returns to direct what can best be described as her swan song to the original trilogy. It is a rare thing when a writer/filmmaker can reevaluate their original work and not only recognize, but seek to rectify their transgressions. A poetic blend of new and old, Resurrections
goes back to the beginning, allowing the narrative to play out as if history is repeating itself, while simultaneously allowing for the possibility of change-the idea that we are in control of our own destiny-a theme straight from the first film. The self-reflection that follows is nothing short of a stroke of brilliance. Harkoning back to Cameron's Terminator films, humanity is once more divided on whether or not the machines can be trusted. Thomas Anderson must once again go on a journey to find himself and have the fortitude to fight for the life he wants instead of settling for the path of least resistance. This theme is vitally important, now more than ever, as we must fight every day to wade through political pandemonium, racial injustice, and a pandemic that has not only taken the lives of loved ones, but created a pervasive level of anxiety for almost every person alive.
Wachowski not only seeks balance, but redemption-something we all seem to be looking for. As Mr. Anderson struggles with the sadness, confusion, and anxiety, it is easy to relate to his struggle, as we all have shared it in the last two years. And in his case, without even understanding why, in the absence of his memory. The fact that his experience is reflective of our real-life trauma is brilliant. He begins to feel the spark of a connection again when his colleague Jude (Andrew Lewis Caldwell) formally introduces him to "Tiffany", aka Trinity (Carrie-Anne Moss), at the coffee shop. As the pieces start to fall into place, Neo begins to remember.
There are many moments that pay homage to The Matrix (1999), including cut scenes to help Neo (and perhaps audiences) remember the real story. And without spoiling anything, Trinity does have some epic moments that will spark our recollection of why she is a legend, replete with some kick-ass girl power moments.
The score, composed by both Tyler Bates and Joel J. Richard, was robust and mostly fitting of the scenes, other than a few minor moments. It was surprising that the ethereal song used in the trailer-"White Rabbit" by Epic Geek, was also featured in the movie. The visual effects were ramped up, however the production would've benefitted from utilizing more practical effects as in the original. Honestly, the only area where the film seems a little lacking is in the stunts/fight sequences, which are generally too few in number, and not as mesmerizing as anything seen in either the original Matrix trilogy or the John Wick films. This could be attributed to the fact that neither Yuen Woo-ping, who choreographed the fight scenes in the Matrix (1999), nor Chad Stahelski, who was a Stunt Coordinator for the latter Matrix films and directed the John Wick films, returned to work on the stunts for this film.
The mark that seems to be missed is iconography of Neo and Trinity, perhaps the first and most quintessential power couple of all time. They represent the love and hope that we all desperately seek, a connection so strong and rare, it can only be equated to soul mates, and their journey represents the lengths one must go to find and hold onto a love that rare. It does not come easily, but nothing worth fighting for ever does. And then there's the power of choice and belief. I do not say this often, however this film struck a personal chord with me. It has been a long time since a movie has so excited and inspired me, not only re-instilling hope, but giving me back a piece of something seemingly lost long ago, as if something clicked back into place. There are other films whose narrative revisions or resolutions had the same profound effect-namely X-Men: Days of Future Past (2014) and Pirates of the Caribbean: Dead Men Tell No Tales (2017). I was so scarred by the events of X3, I wasn't sure I would ever watch another X-Men movie again. And presently, Spider-Man: No Way Home (2021) is in effect working on a similar resolution, but you'll just have to go see it if you want to know what it is!
In my humble opinion, if you found yourself annoyed with or disappointed in this film, you are not a true fan of the original, and/or do not fully understand the depth and connection that make Neo and Trinity so iconic. The Matrix (1999) was never just about the effects or the fight sequences, but about the power of love-they are the heart of it all.
FINAL VERDICT: You can go home again... Let's just say Wachowski gave me hope again-no small thing. I definitely recommend seeing it in theaters-in IMAX-for the best experience possible. Not only that, but before you go watch it in IMAX, WATCH THE ORIGINALS! Whether you have already seen them or not, it is necessary to remember the context and conclusion so that you may experience the full weight of this story. This movie gave me something back I thought I lost all those years ago, so please... Go in with an open mind and FREE IT!
8.5 (9) - Rewatch Value: 9
~AleXa~ An original IMDB user for over twenty years.
Eternals (2021)
Strong storytelling, stunning visuals, and exceptional acting slightly encumbered by poor location choices, overuse of effects, and inconsistent pacing
Eternals (2021) is certainly one of the more obscure Marvel comics with content that is both highly artistic and aesthetically appealing, and yet it contains a broad-scope narrative that is difficult to present cinematically, largely due to the vast history and individuality of each of the characters.
Directed by Academy Award-winning director Chloe Zhao, the film follows the saga of the Eternals, an immortal race of beings sent to the Earth thousands of years ago to protect humans from an apex predator race known as Deviants. The ensemble cast includes Gemma Chan as Sersi, Richard Madden as Ikarus, Academy Award-winner Angelina Jolie as Thena, Salma Hayek as Ajak, Kumail Nanjiani as Kingo, Lia McHugh as Sprite, Brian Tyree Henry as Phastos, Lauren Ridloff of "The Walking Dead" fame as Makkari, Barry Keoghan as Druig, and Ma Dong-seok (not to be confused with Benedict Wong from Doctor Strange (2016)) as Gilgamesh. The diversity and accolades of this all-star cast certainly sets Zhao with immense star power to work with.
With so many important themes to touch on, from loss of love, betrayal, the good and the bad of technological advancement, and the destructive nature of humanity, it is no wonder the characters get lost in the shuffle. Some are more developed than others, such as Thena (Angelina Jolie), who suffers from a neurological condition resulting from the pain of all she has endured through the centuries. Jolie plays with this arc methodically, generating more emotion and connection than the rest of her counterparts. While a lot of time is spent focusing on the connection that Icarus and Sersi developed over the ages, ultimately falling in love, there is just no chemistry between the two. Each Eternal in their own way forges connections to humanity, relating to them in an unexpected way. The execution of the themes throughout time across various cultures and man-made disasters shines a light on humanity's failures in the hope that we may learn from them and not repeat them. Many of these sequences were poignant and tear-jerking that organically generates self-reflection without the audience feeling preached to.
The flashback sequences that have the Eternals present throughout various important falls in civilization in history are fascinating in and of themselves, and had Marvel's strict timeline allowed for it, would have made an interesting enough prequel/origin story film in their own right. From Mesopatamia in 7000 BC to ancient Babylon in 1500 AD to Teotihuacan to the Gupta empire in 400 AD to the fall of the Aztecs in 1521 AD, these glimpses into fascinating historical times offers intrigue and social commentary on the folly of man. However, these iconic visuals perhaps set the modern-day sequences up to be decidedly more lackluster. The action of the fight sequences with the Deviants balances this out for the most part, however the pacing suffers from longer dramatic sequences in between.
Despite the perhaps overzealous runtime of over two and a half hours, the characters still somehow feel underdeveloped. Icarus and Sersi lack any discernible heat or passion. Juxtaposed with such iconic on-screen romances that pulled heartstrings from the moment they met each other. Examples of this include Rick and Evie from Stephen Sommers' 1999 The Mummy, Julia Roberts and Richard Gere in Pretty Woman (1990) and Runaway Bride (1999), Orlando Bloom and Keira Knightly in Gore Verbinski's Pirates of the Caribbean: The Curse of the Black Pearl (2003), and Kate Winslet and Leonardo DiCaprio in James Cameron's Titanic (1997). Each leading actor does well to portray their respective character's personalities, beliefs, strengths and weaknesses, however there's still a latent undertone of something lacking-an inability to truly be invested in them, individually or collectively, with the exception of Thena-a testament to Angelina's particular set of skills.
And then there's the elephant in the room... Critics and audiences alike have praised or detested the incorporation of Marvel's first established on-screen openly gay couple, citing a variety of political correctness and the like. In all honesty, it neither detracts nor enhances the story only insofar as to give Phastos more reason to be invested in the fate of humanity. It was tastefully and naturally done-no reason to get in an uproar about it.
Ramin Djawadi's score had no presence nor voracity, to the point that it was almost undetectable. Not to mention the first end-credits song is incredibly mismatched tonally. The amazing visual effects offered the Deviants truly predatory movement that made them both menacing and intriguing, and yet on the heels of Denis Villeneuve's Dune (2021), the visual landscapes suffered from the lack of filming on-location in nearly half of the sequences. For example, neither the 'Australia' nor the 'Amazon' sequences were shot in those respective locales, and in consideration of Marvel's generous $165 million Blockbuster budget, this just seems inexcusable.
With all that being said, the film is most certainly not the dull dud most critics and reviewers are making it out to be. The themes are equally strong and dark, Zhao clearly unafraid to stand up on her soapbox and make a statement, asking audiences to reflect upon our own existence and an examination of what is truly important. The acting talent is exceptional, with Angelina turning in the strongest performance, generating some intense emotions. And as usual, the marketing team did the production a disservice incorporating most of the funny moments in the final trailer. It sets the audience up for disappointment when they go in expecting a different tone, not to mention considering this chronologically follows Shang-Chi and the Legend of the Ten Rings (2021), which can easily be classified as a comedy in its own right. There are some lingering questions that follow the big reveal, but for the sake of not spoiling the third act, we'll skip those for now.
FINAL VERDICT: While Eternals excels at storytelling, stunning visuals, and superior direction and acting, it remains too underdeveloped and sporadically paced to justify its runtime. Despite this, it is still thoroughly entertaining and does not feel as though it is nearly three hours. Definitely worth an IMAX viewing if you will go in with an open mind. And I shouldn't have to say this 26-films in, but STAY UNTIL THE END OF THE CREDITS.
And one last thing... For those of you who complained that Marvel films are too formulaic (just not true), and then complained about this film not being like other Marvel films... Perhaps you should reevaluate whether you have the ability to form an objective opinion, or consider maybe you're just an obsessive contrarian who is looking for a reason to complain.
7.5 (8) = 1.5,1,1,0.5,0.5,0.5,0.5,1,1 - Rewatch Value: 5 (of 10)
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Reviewed November 5th, 2021 - 1ST viewing 11/05/21 in IMAX at AMC
Marvel Studios - Rated PG-13 - Directed by: Chloe Zhao - Based On: Marvel Comics.
Halloween Kills (2021)
Paying homage to the original is not enough to save this from its grueling pace
Reviewed October 17, 2021 - 1ST viewing 10/14/21 in Dolby at AMC
Universal Studios - Rated R - Directed by: David Gordon Green
Based On: Sequel/John Carpenter
The Halloween franchise has certainly had a sordid history, with a spattering of mediocre sequels and clichéd remakes, however this latest installment offers a dichotomy of excellent ideas bogged down by a painstakingly slow pace in an amateurish effort to slow the events down to drag this latest reboot out into a trilogy.
Halloween Kills (2021) picks up following the events at the end of its predecessor, Halloween (2018), where Laurie (Jamie Lee Curtis, Karen (Judy Greer), and Alyson (Andi Matichak) are riding away from their home, now engulfed in flames, with Michael trapped in the basement as it burns around him. They yell at first responders as they pass them, going to extinguish the fire they'd hoped would end their collective nightmare once and for all. Some players from the original are included in this installment as well, including the great Will Patton as present-day Officer Hawkins, Robert Longstreet as Lonnie Elam, Anthony Michael Hall as Tommy Doyle, Kyle Richards as Lindsey, and Nancy Stephens as Marion.
Returning to once again co-write and direct, David Gordon Green does an exceptional job paying attention to the minute details to honor the source material and offer fans lots of easter eggs and subtle nods to previous films, including some of the less popular sequels. The death scenes are appropriately graphic and iconic, not only paying homage to previous iterations, but the ever-popular video game as well. The choice to one again incorporate the original theme song and keep the opening credits as an updated mimic of the original was a smart one, lending the all-too-familiar eerie quality from the beginning. As previously mentioned, many of the original characters return, with the original story elaborated.
Where interest begins to wane is in the second act when the plot becomes repetitive and slow, seeing Tommy run around recruiting an army and simultaneously inciting fear, and Laurie stuck in the hospital much the same as Halloween II (1981), pacing in her room after invasive abdominal surgery talking about what needs to be done. To that end, as someone who was blissfully unaware of the planned sequel, there was a certain expectation for some sort of resolution by the end of the film. Trilogies only work as individual films if there still exists some sort of payoff and bookend to the chapter for each installment, and unfortunately that does not happen here. Instead, the audience is left with an unsatisfying cliffhanger ending of sorts after enduring a repetitive series of events ultimately leading nowhere, with our characters learning much of nothing, save Laurie who effectively gets to do exactly that in the entirety of the film.
FINAL VERDICT: While respecting, incorporating, and expounding upon the source material is appreciated, the writers should have included more substance into the middle chunk of this film instead of reducing its lead characters to monologuing hospital patients. By the end, the audience is left with nothing but a mild dissatisfaction and a bad taste in their mouths. A lazy way to turn this otherwise well-conceived remake into a trilogy.
6.5 = 1.5,1,1,0,0.5,0.5,0.5,0.5,1 - Rewatch Value: 3.
No Time to Die (2021)
The slow-burn pace and actionless plot leave little to be desired in Craig's last foray as Bond
Reviewed October 15, 2021 - 1ST viewing 10/7/21 TH in IMAX at AMC
MGM Studios - Directed by: Cary Joji Fukunaga
Based On: Bond Books by Ian Fleming
As the cinematic book-end to Daniel Craig's run of five Bond films, No Time To Die (2021) should have functioned as an epic conclusion with a worthy amount of heart-pumping action, amazing stunts, fast cars, and intriguing gadgets. Alas, they elected to go out with a whimper instead of the literal 'bang' the film ends on. Craig has had his highs and lows, with Casino Royale (2006) and Skyfall (2012) being the stand-out films worthy of the Bond name, and Quantum of Solace (2009) and Spectre (2015) merely existing as mediocre space-fillers.
After Bond (Daniel Craig) chooses to leave active service, he finds peace off the coast of Jamaica with Madeleine (Lea Seydoux) until his former associate from the CIA, Felix Leiter (Jeffrey Wright), shows up asking for help to rescue a kidnapped scientist from the clutches of a treacherous villain (Rami Malek) out to control the world with dangerous new technology. With the help of his MI6 team, which includes M (Ralph Fiennes), Q (Ben Whinshaw), Moneypenny (Naomie Harris), and newcomer Nomi (Lashana Lynch), Bond sets out to stop his devious plot.
Taking his turn at directing and co-writing the screenplay, Cary Joji Fukunaga fails to understand the pacing and structure required in a film of this scope and magnitude. Fukunaga is best known for his direction of the first season of HBO's anthology mini-series "True Detective", where there is plenty of room to take the time to develop and slow-burn the plot, however in this context, the story is mind-numbingly slow. And in a film that is decidedly low on the action quotient, there is just no room for such a grievous error.
Clocking in at just over two hours and forty minutes, easily an hour of the runtime could have been lost. The lackluster story is largely cliché and predictable, with little new to offer save the forced 'romance' between Bond and Madeleine. Through no fault of the actors, there is just zero chemistry between them. While it is certainly a welcome change to see Bond for the most part hang up his womanizing ways, Madeleine is the last person that he would have fallen for. Craig has must more chemistry with Harris, as evident in Skyfall (2012). That entire arc spanned over half the plot, which made the beginning of the film almost unbearable to watch.
The writers by and large waste their talent, reducing Rami Malek to a two-dimensional, archetypal villain who really just shows up with a dubious plot and preaches monotone to the main characters. Harris, who proved herself capable in both action and emotional sequences, was left to meander in the background, showing up for a few scenes just so the writers can check her off the appearance list. The entire film is bogged down by contradicting tones and styles, resulting in a very off-putting experience. There's no sense of urgency! Bond films should showcase interesting, complex characters, exotic locations, cutting-edge cars, and modern gadgets-they should excite and amaze. Alas, the entire tone was melodramatic, macabre, and miserable. To that end, there is one decent action sequence, very few stunts, one cool machine (revealed in the trailer), one unremarkable gadget, and the latest Aston barely gets a few minutes of screen-time-and Bond doesn't even get to drive it! I suppose we should just be grateful they didn't wreck her this time...
And then there's the ending, which effectively eradicates everything Bond epitomizes. One thing is for certain-it is time for an all-around make-over for the franchise-they lost the plot on this one.
FINAL VERDICT: Nothing more than a confusing, melodramatic mess that ends with a whimper and fails to showcase any real action or elicit any emotion. It is upsetting to see Craig's arc end this way, but here's hoping they are better at casting the next iteration of characters than ending this chapter.
5.0 = 1,0.5,0.5,0,1,0,0.5,0.5,1 - Rewatch Value: 1.
Lois & Clark: The New Adventures of Superman: Bob and Carol and Lois and Clark (1996)
Strange and inaccurate
Plagued with inconsistencies, bad writing, and abhorrent acting, this episode disrupts the flow of the season that was building quite nicely following the two-parters "The People Vs. Lois Lane/Dead Lois Walking". First-time writer for the series Brian Nelson doesn't seem to know the characters or what makes the show work, let alone the comics it's based on. He uses the character name Deathstroke, but any similarity to his comic counterpart stops there, including but not limited to his name, abilities, and outfit--lazy, inept writing at its finest.
Perhaps the worst grievance though may be the casting of Sydney Walsh as Carol Stanford and Antonio Sabato Jr. As Bob Stanford. Their cumulative acting is so atrocious, your jaw will literally drop in shock. Walsh's performance was so over-the-top ridiculous in her delivery and facial expressions, I almost skipped over the entire scene. There is maybe one other episode as lackluster as this one in the series; luckily, the powers that be did not utilize Nelson for any other screenplays. It's downright embarrassing.
Notting Hill (1999)
Charming and fulfilling in an unexpected way that reaffirms faith in true love
The concept of meeting a celebrity is one nary a single person in the world has not fantasized about at some point of their lives, and then the idea of that person kissing you, falling in love with you... Well that is the stuff fairy tales are made of. However, Notting Hill (2001) manages to find a way to make the fantasy a reality in a holistic and believable way that even the biggest cynics would melt for.
A chance encounter finds Anna Scott (Julia Roberts), an American actress visiting England for a press tour, in a local travel book shop in Notting Hill, much to the surprise of the store owner, William Thacker (Hugh Grant). Their interactions feel natural, with Grant so effortlessly portraying a humble, considerate, every-day Joe. There is something quite endearing about a man who has every right to be star-struck, but still able to treat her like a human being, something I have always imagined means more to celebrities than the fame. Most do not take the time to think of what it must be like to be in their shoes, having to live every moment of their lives publicly, unable to do the simplest of tasks without a bodyguard or being mobbed by fans. There is a palpable chemistry between Roberts and Grant that is a vision to watch, though I would contend there has never been more chemistry than that between Roberts and Gere (i.e. Pretty Woman and Runaway Bride).
The film succeeds in shining a light on this sort of life, and conveying the weight of relief and appreciation for the ability to spend even just one day as a normal person. This is shown the night Anna attends William's baby sister's birthday dinner. Other than of course his sister's momentary gushing, she comes out relatively unscathed. William is ever the charmer, always working to deescalate potentially embarrassing moments with his sly commentary. Afterwards, at Anna's behest, Anna and William scale an iron gate to break into a garden courtyard. Some beautiful moments ensue, the pinnacle of which when they sit on a bench with an inscribed dedication that read: "For June who loved this garden, from Joseph who always sat beside her." This one simple statement represented the type of love that both our protagonists were searching for.
Perhaps part of the success of the film is that despite its far-fetched premise, it is still grounded in reality. The story feels very honest and pure, other than perhaps the predictable complication of Anna not only having a boyfriend, but him coming to town unexpectedly, conveniently timed with the precise moment she decided to have William up to her hotel room. This particular plot point seems to be unseemly on Anna's part, in effect souring their sweet romance. The writing could have been a bit more favorable, with him being her ex that just wouldn't take no for an answer and came to visit as a romantic gesture to win her back, but I'll digress. That being said, William trudges on, searching for a way to retain some semblance of dignity after taking a blow to the gut.
Roberts does a spectacular job making Anna feel real and independent of herself despite how closely the role mirrors her own life, conveying the dichotomy of turmoil at her fame and desire to find some semblance of normalcy. Her overreaction to being discovered at Thacker's flat (apartment) seemed over the top from a writing perspective, but well-acted.
The direction was brilliant, choosing the precise moments to slow zoom in and out, and the time lapse walk through the market was breathtaking and visionary. Filming in Notting Hill lent the film an organic quality that could not be achieved through traditional studio-filmmaking, also setting it apart from most rom-com themed endeavors. The ending in the garden on the bench symbolizing eternal love, coupled with the perfectly chosen pieces of music leaves the audience with feelings of contentment and harmony, and more importantly, serves to reaffirm the hope that anything is possible.
FINAL VERDICT: The film is brilliant in its simplicity. This is the film that all romantic comedies should aspire to be, reaffirming hope, love, and that happiness is possible for anyone.
Enough (2002)
A bold, poignant film that shines a light on domestic violence at a time when promoting female empowerment was not mainstream
On the surface, Enough (2002) may seem like just another female-empowerment mantlepiece, however there is much more than meets the eye. Michael Apted, who recently directed the Bond film The World Is Not Enough (1999), chooses a quieter, slow-build approach to the climax forthcoming. Though the characters' motivations are a tad muddled, you are still left with no doubt that the struggle is real.
Instead of following the tried and true formula of presenting a damsel in distress, Slim, played by the multi-talented Jennifer Lopez, is clearly a driven, independent, business-owner finding love unexpectedly through what seems to be a kismet encounter at her restaurant. When a patron attempts to woo her to win a bet, Mitch, played by Billy Campbell, defends her, and the two begin dating. The formula plays out predictably from there: they fall in love, marry, move into her dream home, and have a daughter, Gracie, played by newcomer Tessa Allen. Then one fine day, Slim catches Mitch in a lie and his perfectly held façade begins to unravel. His transition from loving husband and father to psychopathic narcissist was tense and distressing.
From this point, Slim struggles to come to terms with this revelatory information. From a psychological standpoint, the turmoil is both in having to redefine the image of your significant other, but also your own self-identity. Any normal person would question their judgment and have to sift through mounds of fear and doubt, all while trying to conjure a way out. This would be difficult for any woman finding herself in this situation, but when there is a child involved, the stakes are so much higher. Tessa Allen turns in a superb performance, only 5-years-old at the time of filming, pulling your heartstrings at every turn.
With her friend Ginny's (Juliette Lewis) assistance, she is able to get her daughter and flee. Her estranged father sets her up with enough money to purchase a small house, which she begins fortifying with smart contraptions. However, Mitch being a powerful building contractor, he of course has connections with the local police department, and can freeze their joint accounts with ease by a simple phone call.
The writing is as bold as Slim is, choosing to tackle a difficult subject in a time that it was not nearly as politically correct. The film quite intentionally shines a light on the gaping holes in our justice system for victims of domestic abuse, firmly grounding Slim's struggle in reality. The choice to transition from modern pop songs to more somber and then instrumental pieces is both smart and intentional, as it reflects the changes in Slim's life.
After Mitch finds her in the house she hid in and she narrowly escapes, the reality strikes her that she will never be free of him or her daughter be safe unless she ends him once and for all. When he files a case against her for violating his parental rights, she smartly and discreetly sees an attorney, played by Bill Cobb, who confirms what she already knows-that the mandatory court appearances is merely a way to draw her back out, feasibly to kill her. Slim sends Gracie away with Ginny and begins training in Krav Maga, an Israeli self-defense technique. And that's not all-when she breaks into his house, it is apparent that she did her homework, strategically setting the stage for her success. She sets up a cell signal blocker, uses a metal detector to find and relocate all weapons, plants letters that state she was invited over to discuss custody where his gun was to ensure he put his fingerprints on them. Not enough credit can be given to how well-planned the climax was.
This film has been unfairly judged by modern standards. It should be taken into account that this film was released at a time when primarily only Hollywood action films were granted large budgets. Many reviewers have made grossly inaccurate assumptions about plot points because specific actions were not shown. Open your mind and see the film for what it is-an insightful window into the failures of our justice system surrounding domestic abuse. Sleeping With the Enemy (1991) is an unfair comparison, as Slim is in no way shape or form a damsel in distress, and attains a great deal of personal growth bred out of necessity not seen in the aforementioned film.
FINAL VERDICT: Enough (2002) manages to succeed in every way that is important-presenting a believable narrative centered around a strong, confident woman to reinforce the reality that this in fact can happen to anyone, and at its core is the harsh reality is that we as a society need to do better and demand more stringent laws for domestic abusers. The harsh reality is that many women that are victims of domestic abuse do not survive to tell the tale. Is the film perfect? No, but we did not need a perfect film-we needed a bold one willing to speak up for the voices that are still being silenced.
This film was released almost twenty years ago, and yet the statistics are still staggering. As of 2007, females made up 70% of victims killed by an intimate partner, a proportion that has held constant since as far back as 1993. Twice as many females are killed by intimate partners every year than males. In 2007, 24% of females were killed by spouses or ex-spouses.
*Source: Bureau of Justice Statistics
So please, do not snuff at or belittle the content of the film. This is a very real and still current problem that needs to be addressed. If you or a loved one is the victim of domestic violence, please contact the Domestic Violence Hotline at 800-799-SAFE.
The Mustang (2019)
A novel idea with a choppy, ineffective execution
When Laure de Clermont-Tonnerre decided to unleash The Mustang at Sundance 2019, there is little doubt that she knew she had a provocative concept that would intrigue millions. Who isn't inspired by the majesty of horses and a good underdog story? And while the scapes are breathtaking and the emotions visceral and real as best exhibited by Matthias Schoenaerts, there is something innately hollow and incomplete about the finished product.
While most hail this as a masterpiece, the majority of critics are unaware of the true plight of the Mustang and the lack of regulation on exactly how the BLM "manages the population". I had hope that one of the driving forces behind Clermont-Tonnerre's decision to choose this specific story was in fact to shed some much-needed light on this long-term problem, but alas--the extent of education the audience will receive is limited to the text at the beginning of the film.
Roman, played by Matthias Schoenaerts, is a convict serving at least ten years for some violent crime the audience is not privy to until the third act. When we first meet him, he is distant, hostile, and rigid. His first encounter with the Mustang actually beautifully showcases their similar circumstances, as he surreptitiously chooses to enter the Mustang's holding pen after hearing him pounding on the boards for days on end. It's during their second encounter that Roman shows his extreme volatile nature when he goes toe-to-toe with the Mustang in a fit of rage that he cannot control one more element of his life. This scene is particularly painful to watch for anyone that understands the psychological effects this would have on any horse, let alone when it's a wild horse that has not yet had a positive relationship with any human. In reality, this may have been a transgression that could never be mended, let alone in a matter of weeks. Beyond that, whether the scene was actually monitored by the American Humane Association was also a bit disconcerting.
In this and many other ways, the script feels rushed and sparse. Schoenaerts turns in a stellar performance in which you understand his pain and anger, however the film accelerates the plot too fast to find it believable that he suddenly comes to terms with his internal turmoil and then just starts reading up on equine literature like he's a changed man overnight.
And while through the course of the film, the audience can find themselves rooting for this beautiful lineback dun Mustang that Roman eventually named "Marquis", the haphazard way this comes about feels contrived. There was a lot of opportunity here to explore the delicate bond that can exist between man and horse, and how some basic tenants of natural horsemanship can have a profound effect on the development of that bond, and yet these dynamics are merely glossed over to serve the pace. The scenes jump from finally being able to touch him to riding with little incident.
Despite having seen almost every equine-related film, this one seems lacking the proper training and support of equine professionals to ensure the believability of the interactions. Not to mention the idea that an entire equine program could be shut down because one horse spooked at a helicopter much like the very same one that ran his entire herd into holding pens is quite frankly ludicrous, notwithstanding his ability to get the horse through not one but two broken fences. There's some underdeveloped subplots and a few unnecessary prison scenes that seem only to serve as a reminder that they are in fact in prison. Yes, we get it.
Ultimately, the inexperience of the director is clearly evident, from the generic yellow filter throughout to the uneven pacing and choppy editing. One thing the film does accomplish is allowing the audience to relate to the Mustang, feeling broken and misled. There was so much potential here... 5.0 out of 10.0
AUTHOR'S NOTE:
It is my personal opinion that even critics' reviews these days are highly biased, specifically when it comes to a female-led cast or a female director or a specific studio. Everyone is trying too hard to be PC instead and honest and objective. Well, I myself am a female and was well aware of the prison rehabilitation programs with both horses in the western states as well as canines, as well as having equine experience myself. Take it from me--this is no The Black Stallion (1979). There are not many films that do the genre well, but here are a few:
The Black Stallion (1979), The Man From Snowy River (1982), Return to Snowy River (1988), Hidalgo (2004), Secretariat (2010), Sylvester (1985), War Horse (2011), Dreamer (2005).
The Flash: Fury Rogue (2018)
New life in the form of Snart with a side of an unnecessary antagonist
Strange nonsequitur episode titles aside, the reemergence of a familiar character in the way of Leonard Snart, aka Citizen Cold as he's known on Earth-X, brought a breath of fresh air and a much-needed dose of nostalgia, like old times.
I actually found the writing smart to finally reveal some weakness and lack of forethought in DeVoe, who I find to be one of the most uninteresting villains in history. We still do not understand his plan or his motivations, and the most interesting story arcs leave room for the audience to sympathize or at minimum understand the main antagonist's motives. His inability to account for human emotion (since he seems to be devoid of it entirely) is a surprising move in the right direction for Team Flash.
Snart was perhaps the shining star in this episode, with a witty and thoughtful performance by Wentworth Miller. He shows his range with the juxtaposition of Earth-X's character to Earth-1's, with an interesting character arc working to teach Barry the importance of expressing his grief, poignantly stating that you cannot run from it.
Where this episode truly shines is finally conveying some emotional content through Barry's struggle with his grief in losing Ralph (Elongated Man). Of course he was not as close to Ralph as other friends he has lost, however his turmoil stems from feeling responsible, not only because he promised him he would save him, but because ultimately he lost his life because he chose Barry's way-to not kill DeVoe when he had the chance. This represents a very real internal conflict that he is finally forced to deal with, and that he is finally able to vocalize with Joe and then later in a therapy session with Iris toward the end.
Meanwhile, Caitlin struggles with the loss of Killer Frost while simultaneously helping to transport and protect Fallout with Flash, Snart, Caitlin, and Joe. You could really feel the team dynamic, and it's always more interesting when underused characters are thrown back into the mix.
Harry finally has to fess up to Cisco that he used the cerebral inhibitor with dark matter after he blows up and destroys Cisco's helmet. His concern for Cisco marks a vast difference between him and HR, and is a welcome surprise from the obvious and predictable direction they were headed.
One question remains: Why exactly would DeVoe run after Siren-X (Earth-X's Black Siren) knocks him down? The man is super intelligent and currently possesses the powers of at least a dozen metas. Was it more about being taken by surprise that Barry froze and there was a variable he didn't account for? Siren-X's role just seemed forced, her motive illogical, and her plot pointless. What was she to gain? Real vengeance would've entailed going after Team Flash directly, not taking Fallout to kill cops.
And on that note, having Siren-X follow Snart through the breach to kill a police force as recompense for losing her Dark Arrow was not only disjointed and weak, but disruptive of the Arrowverse arc since Earth-2's Laurel is currently pretending to be Earth-1's Laurel, as her attack at CCPD was unmasked and very public and would presumably have very real ramifications... The writers of the two shows would benefit from conferring more. They should know by now there's nothing the fans won't notice since they're catering to nerds who are already having to follow multiple universe, timelines, and alternate realities encompassing the same characters, but I'll digress.
And as DeVoe continues to be more asinine and antagonistic to his doting and brilliant wife, one can only count the days until she snaps out of her drug-induced haze and rebels against her robotic sorry excuse for a husband.
Overall, it was refreshing to see Snart's return, breathing some much-needed life and humor back into the season after several failed attempts with newer characters such as Amunet.
8.0 of 10.0
The Flash: Lose Yourself (2018)
Making a comeback, but not without plot holes...
Almost immediately, there is a welcome shift back to a more serious tone. Barry and Ralph once again disagree on tactics for defeating DeVoe, however Ralph finally gets serious and reveals why he's willing to cross the line.
Joe is rightly suspicious of Wells, and we see him have an episode while in the secret room trying to use the "thinking cap", which somehow goes unnoticed by the team even though he seems to be knocked unconscious and was presumably still so when Cisco is sent to find him.
The encounter with DeVoe left something to be desired, lacking the emotional weight Ralph's absorption should've carried, primarily because of his character's inability to take anything seriously, and his lack of relatability. Furthermore, the team's ability to defeat DeVoe is becoming less plausible with every passing episode, as he not only has taken the last of the bus metas, but now presumably killed Ralph and removed Killer Frost from existence. The predictability at this point is getting tiresome. The only feasible way I can think of for him to be defeated is by something Cisco concocts to do with Flashpoint or the Speedforce, or by some of the metas DeVoe absorbed to still be alive and fight back...
I was actually very impressed with the first half of this season, but it has become increasingly hard to stay invested when it seems there are no real ramifications. The show has struggled with balancing believability, character growth and development, and emotional weight, and this episode was no exception. That's the reason why I feel it's DC counterpart "Arrow" is the better show-they all have unique real world challenges and struggles, and there is always imminent danger and consequences that they can take almost an entire season to explore and resolve.
Alas, this episode tried to make a comeback.
7.0 of 10.0
The Flash: Null and Annoyed (2018)
Borish and uneventful
The title says it all... This is most definitely a filler episode that does little to nothing to drive the plot of the season.
Barry and Ralph bicker over how to be a hero, but ultimately figure out it doesn't matter so long as the job gets done. Personally, I don't find Ralph to be endearing or funny, and am with Barry on there being a time and a place.
The subplot with Breacher (Danny Trejo) returning to ask Cisco for help to figure out why he can't vibe feels disjointed and awkward for so many reasons. There is no explanation why he is suddenly on his best behavior with Cisco, and it just feels contrived, the constant reference to Cisco's forlorn love who's effectively nonexistent was annoying and repetitive, as if we'd forget his motivation in 3 minutes or less.
And to add insult to injury, once Caitlin tells Cisco the real reason for his loss of power, the decision to keep it from Breacher is out of character and ultimately pointless, only leading to a horribly bad green-screen sequence of poor Danny "acting" even sillier attempting to use his no-longer-existent powers-it was truly painful to watch. We only learn the true reason for this drawn-out charade when Breacher returns one last time to inform Cisco of his retirement and that he'd like him to take his place, which would give him more time with Gypsy... Talk about a Catch-22...
The final fight with Ralph having to save the day with his giant whoopie-cushion antics would only be humorous to a 3-year-old. Overall, this episode was just fluff filling in a gap in the timeline. 5.5/10.0
Blindspot: Clamorous Night (2018)
Original and dynamic, a long anticipated return to the fray...
Clamorous Night - Reviewed 4/21/2018
I will preface this by stating this episode was very much highly anticipated since originally 18 was to be the last of the season. I've been tracking ratings data, afraid it will be yet another casualty of inaccurate ratings' reporting since Nielsen does NOT count our streaming service viewings in their numbers reporting to networks, anxious to find out if they'll renew on of my favorite shows for another season. The jury is still out on whether or not adding four more episodes bodes well for the show, or was a last ditch effort by the creator/writers to push enough content to bump ratings up. Only time will tell...
The first frame captures you by focusing on Jane's eyes, then panning back to show the full frame. The director did a superb job structuring the scenes for what would otherwise be a fairly clunky episode, where the story elected for character development as opposed to action.
The script took a bold move, allowing the audience to experience each character's varying perspectives. I was a bit miffed with the idea that Jane would be the only one who didn't stave off her attackers, however she was double-teamed and electrocuted from behind, so she gets a pass. True to character, she takes some time to evaluate the situation and talk to Roman before deciding on her plan of attack. One of the things we love the most about her is her ability to find her way out of any seemingly impossible situation.
I'm not sure what Rich's ulterior motive is for trying to interfere in each of their lives at this moment in time, but it seems he has a larger scheme in mind. Reed's time with Milicent is equal parts awkward and uncomfortable, which is by design. Tasha's speech at the memorial was heartfelt and emotional. The new insight into her character was a nice arc. Patterson's date was horribly awkward and disastrous. I think we all are relieved she quickly discovered they are not a good fit and called it quits. I find myself relating to her more and more, even though I love Jane.
It was nice to see a little progress with Tasha and Patterson, however it feels a bit unnatural for Patterson to still be giving Tasha the cold shoulder, especially after their near-death experience should offer her some fresh perspective. I understand she's hurt, but the punishment isn't fitting the crime at this point. Patterson is more mature than to continue to hold a grudge when she knows she's ultimately going to give her another chance and work on their friendship again.
Now, all that being said, I can't help but feel the show is losing it's way a bit, and losing some of the core audience, by departing from tattoo cases. I'm all for a show growing and evolving much like its characters, however that is the formula that works, and most episodes had a great dynamic and were well-balanced with dramatic character development and intense action.
I was happy that they gave us another sweet Jeller moment, something that has unfortunately been absent through the majority of the last half of this season. Personally, I believe that's another reason why the ratings have suffered. The writers got their audience hooked on the relationship of their two core characters, and then left them to suffer after a major breakdown of trust. While it is smart to explore having to rebuild their trust, considering the situation and with her knowing him, I think they drew too hard of a line for the sake of exposition.
At any rate, I sincerely hope we get a Season 4, because this show and the actors have too much potential to give up now. They are by far one of my favorite teams on television, and the writing of the cases and characters is too dynamic to allow to fizzle away into Nothing But Cancellations aresenal. PLEASE keep this show alive. It's so frustrating that networks aren't taking into account ratings from streaming data like HULU. My DVR continues to not cooperate, so I can't play it from there to ensure the rating is counted, but I'm a die-hard fan from the Pilot on, and this show is FAR more deserving than most others renewed this year.
8.0 out of 10.0
Fear the Walking Dead: So Close, Yet So Far (2015)
An improvement
With the garish childishness and b-rated horror antics of the Pilot, I didn't have much hope, however this episode provided some much-needed tension. The music was still poorly selected and the characters underdeveloped, but it's beginning to feel as though it's moving forward.
Sadly, I still don't know half of the characters names. I enjoyed the mother having her first real encounter, having to step up to the plate to protect a student. The teen stereotypes continue, but hopefully they'll evolve. I also found the beginning of the riots/police en force an interesting perspective, with most of the population unaware of the real threat. I'm hopeful things will pick up once they get out of the city and meet others along the way.
The Walking Dead: First Time Again (2015)
Uneventful and drawn out, the writers really over-thought this one...
Inspiration or not, the screenplay was a waste of an hour and a half episode. The black and white noir representing the past feels like a slap in the face to long-time fans, masquerading as artistic creativity when really it's a cheap attempt to establish past from present.
Not only did they completely avoid explaining the aftermath of where we last left our beloved characters, but the episode is devoid of any and all character development. There is no tension nor suspense until the last two minutes. The picturesque location is ruined by excessive and unnecessary CGI, as well as the effort put into creating those zombies, as the wide payouts masked most of that.
This episode just struck me as trying overly hard to detach from the tried and true formula that works for the show. The new characters continue to not be fleshed out, while our group sort of sits stagnant. I fear there is a level of complacency they have developed, and I just keep waiting for them to move on, it was nice while it lasted, but it doesn't work for them. They are a team and a family or nothing, and we need to get back to that--the heart of the show as it were. I was really looking forward to Rick and Morgan relearning each other, and can't help but feel gipped. I also quite enjoyed the underpinnings of respect and loyalty between Rick and Michonne and hoped they would explore that. Carl's girlfriend needs to die already, along with most of the Alexandrians. They just don't get it, but I digress...
There were a few comical comments with Daryl as the Pied Piper of the zombie horde and Carol continuing her act, but that's about the end of this episode's redeeming qualities.
I actively try to refrain from being negative, however this was easily the least interesting season premiere in the show to date. I cannot figure out whose bright idea it was to waste time like this. Half of the scenes from the past were completely unnecessary. Here's hoping we go back to normal in episode two.
6.0 of 10.0
The Walking Dead: Killer Within (2012)
An emotional ride from start to finish
Talk about a whirlwind... This episode feels like experiencing a tornado while on a roller coaster--what a thrill ride!
It fascinates me that the Governor keeps lying to Michonne like she's buying what he's selling. It was nice seeing Merle have a genuine moment when Andrea helps him map out where last she saw Daryl.
"Aw man, can't we have just one good day?" Talk about foreshadowing. T-Dog did his due diligence protecting the group. Clearly there's a rat among them. The running theme of trust is explored, very eloquently illustrating that the call needs to be based on the behavior of the person and not their past.
T-Dog's sacrifice for Carol was tragic. Maggie and Carl having to go to bat for Lori... That whole scene was beyond words. The turmoil and emotions swirling, especially with Rick's desperation. The scene where Maggie and Carl have to pull together for Lori.. Her words to Carl. I am kind of angry at Maggie for making Carl do that. Rick's speech to Carl, the flashback... Just no words.
I enjoyed that this ep blends both worlds: the prison and Woodbury. The effect is a poignant juxtaposition of the illusion of safety versus the gritty, raw reality of the world they live in. Sometimes real safety lies in knowing exactly where you stand. Lies only beget a vulnerability that leaves you anywhere but safe.
The end. No score... No words
The Walking Dead: Walk with Me (2012)
Too good to be true...
The beginning certainly sets up a different feel to this ep. Danai is an amazing, communicating so much with just her eyes. It truly is a tragedy hoe much don't know how to read body language and eye movement anymore. In a lot of ways it says more than words ever could--perhaps one of the many reasons I love the show so much.
I thought it smart of Andrea to play the game, trying to appease Merle. And then the introduction of the Governor... It's kind of terrifying how tempting too good to be true is, but I love that Michonne is always watchful, discerning, wary. I absolutely love the subtle yet not so subtle way she closed the door. I love Michonne's eyes thought the entire ep.
The episode is beautifully written, showing two sides to every story. For example how it could appear he was putting two guys out of their misery and saving the pilot, as opposed to only saving one man to gather Intel, not to mention the pilot would be the most beneficial.
I enjoyed the analysis of Michonne's walkers, offering a more scientific explanation for their docile behavior, and asking the question on all of our minds--who exactly were they?
Was it just me, or did they seem inexperienced for military personnel? So trusting because they knew the pilot? Did it never occur to him he could've tortured the pilot to get the info? And they all just stand around getting ambushed? Okay... And the Governor puts his bullet in his mouth. "Never waste a bullet son..." Some sound advice after shooting a guy in the shoulder... Gov'na. Then he returns home to the fort for a poignant speech to obfuscate the truth, installing just the right amount of fear to make them stay.
I also think it says a lot about him that he 'never tells' his real name. If you haven't learned to not trust that guy, you deserve what you have coming to you. And in typical Walking Dead fashion, we end on a bombshell (or perhaps I should say in typical Top Gear fashion). The Governor is a psychopath. End episode.
The Walking Dead: Sick (2012)
Machete kills... Or Rick's machete to be more accurate
The episode starts off running, trying desperately to save Herschel. What an amazing scene. The emotion on everyone's faces when they see is indescribable. You really feel the shock and desperation when Rick and Daryl have to tell the inmates the world as they knew it has ended.
Wow. Don't have a pissing contest with Rick--you will lose! That was probably one of the best scenes in the series, simply oozing with tension. Something as simple as Daryl telling the white inmate he's sorry about his friends really shows his character and how perhaps he's the one still the most in touch with humanity juxtaposed to Rick who seems to have adopted the policy 'the end justifies the means'.
So much palpable tension in this ep as they have to secure Herschel just in case. I loved seeing the growth of Carol's character, deciding what needs to be done and finding a way. I would say that Herschel's injury was the catalyst she needed to see she has to adopt a stronger role for the group, perhaps redefining her place. It gets even more tense when you see someone is watching them from afar.
It is supremely clear by the end Rick still needs Herschel--the moral center, his conscious. Some definite foreshadowing in the end as Rick continues to avoid the elephant in the room.
The Walking Dead: Seed (2012)
Wonderfully balanced with equal parts tension, hard-fought wins, and suspense
I loved the opening sequence, portraying a great snapshot of what their life is like, and how they work cohesively as a team. I loved the way they took the prison. Once inside, the score does a superb job building the tension. They accomplished a lot as a team.
It was beautiful to see them finally get a win, have a relaxing night under the stars. I loved the moment between Daryl and Carol when she brought him some food--her teasing and him telling her to stop it. And then we're back to tension the next day. It's very accurate how in tune they are, noticing everything (who let the walkers out?)
The last scene--the inevitable surprise and Rick doing what he had to do... And what a way to introduce themselves to the locals... So poetic! One of my favorite episodes, and a great way to open the season!
10.0 of 10.0