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Reviews
Venom: The Last Dance (2024)
Shoot Me in the Face
I have had no religious affiliation or history of psychiatric disease for most of my life until I walked into that theater to watch Venom: The Last Dance. My knees never left the ground for the second half of the movie because I was practically praying, with dwindling sanity, to try and believe that I was the problem, not Kelly Marcel. After the credits rolled I drove home in silence, had dinner, worked out, showered, and now, I type, finally, with a recovered and peaceful mind.
It's the biggest piece of dog siht I've ever watched, and I want to take this as an opportunity to apologize to all the other post-Endgame superhero movies I've talked crap about. If I wanted comedy, I could've watched Thor 4; if I wanted performance, I could've watched Joker 2; if I wanted CGI fights, I could've watched Morbius; if I wanted character sendoff I could've watched Black Panther 2 --- and all of them are freaking Michelin compared to The Last Dance.
It is confounding to think a group of functioning adult homo sapiens sat around a table, watched this, and was like "you know, it would be a logical, profitable, and humanly ethical decision to release this to global audiences who live in 2024." It's almost like Sony's intentionally trying to sabotage the Venom trilogy and irritate long-awaited fans. There's just no way.
This is probably the closest to getting a one-star from me, and that's never happened before. The only reason it's not is because it's not worth starting a precedent.
Joker: Folie à Deux (2024)
Arthur Fleck Who?
Whoever came up with the script of this film has a huge misunderstanding about musical movies. Take La La Land for example, every single song bears a special significance in the storytelling like setting up the mood, showing character development, or transitioning between plotlines. You can't just throw in a random song in the middle of the scene and use it to symbolize the Joker's fantasy every time; it simply messes with the sleep-inducing pacing of the already prolonged asylum or courtroom segments.
I like the discussion of idolizing evil, which mirrors the frantic admiration of Joker in reality by few, sometimes in the form of violence. This is not right of course, but goddamn it why make the fictional movie so depressing? If we can't get some release in entertainment why would anyone go to a theater on the weekends? Tell you a joke, the Joker is denied existence and purpose in his own movie!
The only thing good is Phoenix's performance combined with the close-ups and the lighting, which is meaningless in the face of the story's failure.
Folie a Deuz not only excretes on what Joker (2019) stood for but does so in a slow, painful, diarrheal way.
Deadpool & Wolverine (2024)
Till They're 90
Yep, this will save Marvel enough. I can't imagine the amount of effort to put together a coherent script that contains a hot stew of satirical comedy, The-Boys-level violence, fourth-wall superimposing, and out-of-everywhere cameos and to convince Disney to fund it. Despite playing under Marvel's worldview of TVA and multiverse, Deadpool & Wolverine actually tells a simple story of two losers saving the world and redeeming one another --- a could-not-get-any-simpler formula but made with such respect and compassion of the lore which we have not seen from Marvel productions in a long time. It is a rewarding experience to all the fans who accompanied the cinematic superhero history thus far, whether the universe under Fox, Marvel, or more. However, this movie is extremely fan-based, as well as many other superhero films that are successful in part because they allude to prior works, which is concerning because the story itself is often placed secondary. Anyhow, this film deserves to be enjoyed in a crowded theater or with a bunch of friends --- just like the old Marvel.
A Quiet Place: Day One (2024)
Day One: Disaster
I've always loved conceptual sci-fis that experiment with the extremes of humanity under otherworldly settings, such as Lucy, Annihilation, and the 2018 A Quiet Place --- and Day One completely crashes it, in a bad way, in a disastrous way.
While the original had a family of four convincing and relatable characters with a well-paced story clarified by sign language, Day One has confusingly and frustratingly disposable characters and an aimlessly dragged-out plot with dialogues filled with unintelligible whispers. Such is the double-edged sword of movies like Don't Breathe or A Quiet Place: if you take away the sound aspect of the story so that the audience has no option but to shut up and concentrate for 2 hours, you better have some visually captivating scenes and some damn good story telling --- which Day One fails in both. First off, all action sequences start with someone making a small noise, then the monster enters with a jumpscare, then the humans panic and the monsters squeak... no exception, no creativity. Second, the film throws away so many side-plots with potential such as Djimon Hounsou's character and the fountain kids, and at some point decides to turn into a road movie --- which is fine at first because Lupita Nyong'o is a great actress and I paid for this crap. But everything after Joseph Quinn's character shows up is beyond redeemable. Eric is the worst male protagonist I've seen since probably Argylle; he is like Dory in Finding Nemo when it comes to stalking, but he is not stupid funny he's simply stupid. I'd say the film dropped from a 6-star to 4 ever since he emerged from that pond of water like a newborn giraffe, lost and pathetic, with an average of 0.5 stars per 30 minutes all the way to the end no braking cuz he single-handed paralyzes the entire storyline with his unclear motive, awkward interaction, and insipid segments as bland as my soul after losing two hours of nothingness, wondering why must I be there just to suffer.
Watch if you like cats.
Gekijôban Haikyû!! Gomi Suteba no Kessen (2024)
Sportsmanship is Giving Your All
Haikyu is the best sports anime in the 21st century --- there, I said it --- whether the game setup, techniques, strategies, plot, characters, mentality, motif, realism, or its creator Furudate's genuine sense of love for the sport. Notwithstanding all these, the anime unironically revitalizes the volleyball industry at the international level, truly fulfilling the objective of making sports accessible to everyday lives, as character Kuroo puts it.
The movie Dumpster Battle is a scaled-down version of what Haikyu the anime is able to achieve. For one, the animation is at times fluently explosive, showcasing the sheer speed and power of every exchange, and at others immersively emotive, guiding the audience through the worries and ponders of each character. The last point in a long-shot, first-person-POV is an absolute blast, although it does forsake a rather crucial line of Kenma in the original manga. With that said, the film is extremely fan-oriented for it provides zero context to the game, and trims quite a lot from the books, mostly the parts of characters other than Kenma and Shoyo. However, I still really enjoyed the movie as an athlete who relates to every cry, every hyperventilation, every doggedness, and every regret on the court.
Here's a quote that speaks to me quite personally from Haikyu: "Today might be the chance to grasp the chance to let your talent bloom. Maybe tomorrow, the day after, or next year... Maybe even when you're thirty. I'm not sure if physique has anything to do with it, but if you think that it will never come, it probably never will." --- Oikawa Tooru.
Furiosa: A Mad Max Saga (2024)
Remember Me?
Certainly a heavily stylized film and not one of conventional pacing, which comes with goods and bads. For one, the action sequences are flawlessly captivating, fluent, and elaborate, as every engine vroom and thunder-stick explosion are as authentic and adrenaline-inducing as they can be (imagine Waterworld live performance in Universal Studios but times 15). On the other hand, some of the segments are either overly trimmed (the actual forty-day Wasteland war) or overly extended (Furiosa's final showdown with Dementus). Obviously Miller intended to make the movie an epic biography tailored for one character only, but the issue is there's no side-plot to mix up the taste. Plus the lack of comedic elements, some parts of the film are quite insipid and rather sleepable. However, I'd still recommend if you have a good two and a half hour to immerse in the highly-saturated primally-brutal mechanically-overloaded weirdly-sexual world of George Miller.
Kingdom of the Planet of the Apes (2024)
Et Tu, Noa?
Ravishing use of motion capture and special effects for character illustration, production design, and world building, only slightly less otherworldly than that of Avatar if put on scale. Love the The-Last-of-Us-esque setting, which is not surprising considering director Wes Ball's prior oeuvre of the Maze Runner trilogy. However, sometimes it feels as if the narrative over-does its technical artistry in sacrifice of the pacing, for instance the 8-minute introduction of egg hunting that barely connects with the rest of the plot. As a whole, I'd much rather have more time allocated to the "Kingdom segment" of the movie where Noa faces the charismatic antagonist Proximus head on, who is not introduced until 100 minutes in. On the other hand, such painstaking scriptwriting is detailed and therefore convincing, and allows room for philosophical discussions and biblical allusions that the franchise is all about.
(Spoilers!) Nova/Mae first appeared to me a progressively disintegrating character, whether speaking articulately as an "untaught human survivor" or strangling Trevathan as an "innocent youngster" --- until the last 5 minutes she reveals herself as the best "spy" character I've seen in a long time. Mae is in fact an intelligent human agent wanting to revive one's species, which explains so many instances of seeming logical errors: tearing up when observing the feral humans, scouting purposefully in the vault for the hard drive, and blowing up the dam to drown the apes. However, although "humanly" guileful, manipulative, even at times selfish, she is not immune to the warmth of Raka, the sincerity of Noa, and the compassion of the apes. Therefore when Mae could easily assassinate the intelligent humans' potential enemy leader, she chooses not to --- such is humanity. In comparison, Noa is a much flatter character and more cliche protagonist, and definitely less eye-catching than Andy Serkis' Caesar.
There are obviously plans for sequels, and I'm all for it!
Godzilla x Kong: The New Empire (2024)
Barbizilla
I'm entertained, but the movie is popcorn. WB is well-aware of what the audience wants - CGI monster fight scenes - and they give it in full. Storyline of the human characters are reduced to contextualizing and driving the narrative toward more titan face-offs. However, despite their little screen time, all actors gave convincing enough performances: Rebecca Hall a tender-hearted mother and Brian Tyree Henry a comedic normie who's not overly cringy. The plot of the monsters is pretty simple as well, but it's revealed gradually throughout the film either by human narration or physical language, which I think is a smart choice for a commercial production. However, too much screen time for titans makes me lose track of how big the creatures are, which is quite underwhelming for a movie about giant monsters - the production tries to make it up by using shaky cameras and earth-moving sound effect, but somewhere along the second act I just don't see Kong as large as he is in Skull Island. Finally, the action sequences are heavily budgeted: ax, spine whip, ice rays, Barbie rays, mechanical boxing glove, flying buildings, destruction of important cultural relics, and most satisfyingly, no human intervention. If you like how the Transformers smashed the pyramids to smithereens, you'll love this movie.
Dune: Part Two (2024)
Duke of Arrakis
Let me begin by saying that if Dune: Part Two was released last year undelayed, Oppenheimer would've had a formidable opponent at the Oscars.
(SPOILER ALERT)
The screenplay is one of the best I've seen in all commercial films, as the credit goes not only to Frank Herbert's work, but also the scriptwriter's adaptation and the director's execution. After a short monologue of Irulan that contextualizes the narrative, the movie continues with Paul's adaptation to the Fremen life, divergence with his mother's belief, and sprouts of love with Chani. Just as I thought that the story will follow the path of Avatar, the audience are pulled out of the main plot to explore other aspects of the Dune universe: Feyd-Rautha's maniacal rise, the Bene Gesserit's bloodline scheme, and Alia's subtle influence through Jessica - and then we're brought back to Paul's arc through Gurney Halleck. Although a lengthy second act, the story is compact, the development intricate, and the pacing thoroughly controlled. However, the final act is a dip compared to the meticulous lead-up, as everything seems in a hurry of wrapping up for Paul's destined ascension, most notably the war's sudden halt and the Emperor's quick surrender.
Furthermore, Villeneuve maintains his high standard for aesthetic design, whether the utilitarian machinery, exotic costumes, or the panoramic long shots. What stood out to me the most was the triangular colosseum at the monochromatic planet of Giedi Prime: a dark sun hovers above waves of colorless spectators, as black blood is spilled upon white sand. Never have I thought the ink-painting-style fireworks could go so well along HR Giger's biomechanical architecture, all contributing to the portrayal of the Harkonnens' cruelty and eeriness.
The action sequences are also spot-on, as Paul and Feyd's fateful duel is fluently choreographed and progressively captivating. My favorite of all is Paul's worm ride, a perfect segment in length, editing, performance, and visual. Little words were spoken, so suspense is built solely through character reaction, the sound of roaring sand, and the fastening tempo of shot-cutting. As Paul steadies himself on the worm's back, Hans Zimmer's six-note theme erupts alongside the Fremen's cheering. Chani gasps, Stilgar dumbfounded, and the Lisan al Gaib has risen.
I also like how the centripetal topic of prophecy versus free will is depicted in the film. Interestingly, the movie approaches this heavy subject with comedy, for instance when Stilgar and the believers admire over Paul's humility when he refuses his identity as the messiah. However, as we accompany the young Atreides' journey up until his resurrection from the Water of Life, the prophecy, either artificially or naturally, is becoming reality as his story unfolds. Those who were laughed upon as superstitious turned out to be completely right. And yet, given Paul's unquestionable power and apathy in the end, is the prophecy truly a foresight of the future, or is it a manipulation?
A movie that balances commercial needs and artistic excellence. Absolutely stunning!
Kimetsu no Yaiba: Kizuna no Kiseki, Soshite Hashira Geiko e (2024)
Yes and No
The Mugen Train used to be one of my most anticipated movies of 2020, and the Demon Slayer manga has been a great part of my quarantine life. However, I have to say that this film is quite perfunctorily made. Most of the dialogues spend 15 minutes conveying emotions and information that could've been condensed into 3 minutes. Such pacing certainly works for a season-long anime so that you get the most out of each character, but is excessive to the point of tedious for an adapted screenplay. Additionally, the movie focuses on the transition period from season 3 to the Hashira Training Arc, which seems like unnecessary work since it's not an independent story like the Mugen Train. Instead of spending so much time explaining the context, why not make a film about the actual Hashira Training? Aside from the complaints, all the action sequences are spot-on as expected. The segment where the Wind and Serpent Hashira explored the mansion is perfect in length and smoothly animated, and seeing their breathing styles in motion is all I could ask for as a manga reader. Though I'm all for the Infinity Castle Arc to come as soon as possible, I'd ask that Ufotable take as much time as needed to perfect the animation. As a former global phenomenon, Demon Slayer deserves a proper end.
Argylle (2024)
Twisty Like A Sprained Ankle
No, stuffing a headache amount of twists in a film with terrible plot does not make the story better. Notwithstanding the teeth-hurting visual effects, the nail-biting pacing, and the anxiety-inducing performances. Bryce Dallas Howard plays whatever her character's name is like a schizophrenic high schooler, while Sam Rockwell like my drunk uncle who only shows up at New Year parties with his bad jokes, and I'd rather see Henry Cavill and John Cena make out than having to watch these two feign chemistry. What's the most unforgivable, however, are the action sequences that are predictably scripted, heavily choreographed, poorly shot, confusingly edited, visibly CGIed, and always accompanied by that goddamn cheesy music. This movie is just a total let down compared to Kingsman, and Matthew Vaughn's gotta do better next time.
Ex Machina (2014)
Ay Dios
I thought the film was going to be as slow as Blade Runner 2049 and Nathan as clichely villainous as Wallace, but it isn't at all. The movie wastes no time progressing from the exposition to the main plot at the mansion, but with such control of pacing and layout. Character personalities are swiftly constructed by the actors' convincing performances, especially Oscar Isaac, and the sessions with Ava just come one after another with new information being explored every time. All of the branch discussions like sexuality and search engine surveillance are also interesting, bringing the film to a philosophical height. However, I have to admit the ending of the story is quite predictable, therefore feeling slightly prolonged. Overall, a piece of fine art in terms of the theme, aesthetics, and director's execution.
Kaibutsu (2023)
No Persons Are Monsters
The film certainly depicts an interesting dilemma, and is purposefully left open for interpretation by the director - so here's my take:
There's no fault in a worried mother or a troubled teacher, there is only the gap of understanding. And for that I have to blame the Principal, whose inaction and constant aloofness throughout the incident is an unjustifiable wrong. Her bonding moments with Minato alone simply add on to the inconsistency of her character prior - by deliberately tripping over the girl, by forcing Hori into admitting the allegation, and by potentially killing her grandson. Whatever her motive, the Principal is to be blamed for the confusion that could've been avoided.
Yori's father is another adult in the absolute wrong - physical violence alone is an undeniable crime. Additionally, the mental pressurizing and coercing is even more harmful to the child above all else, and Yori's immutable optimism itself is a miracle considering such abuse. This father figure furthermore symbolizes the part of society that neglects childcare and youth education, which is what the movie is trying to promote.
Bullying is self-evidently wrong, but except that, none of the children are in the fault. Again there is the lack of understanding, though for the children not amongst each other, yet of themselves and of the world, posing them vulnerable to self-harm or harming of others. So here's to the ones who are as confused of themselves as I am: no persons are monsters, and you are enough.
RIP Maestro Sakamoto. The film selects a difficult topic for the tone of the narrative, but as soon as the soft, harmonious melody plays in the first scenes, a sense of impartiality, relevancy, and care is naturally set.
Jin shou zhi (2023)
White Wine Reddens the Face, Golden Glow Blackens the Heart
It kinda reminds me of a Chinese TV series called The Knockout (Kuang Biao), given their similar duo-protagonists, ambitious-police-versus-powerful-criminal setups. But really, The Goldfinger is extremely fluent and complete, with a convoluted plot, captivating narrative, and outstanding performances across the board. Some of investigation and stock center scenes impressed me especially, which are perceptibly well-considered and thought-out. I see no immediate flaw after my first watch-through. If we have to knit pick, I guess some of the dangling threads in the first half could be resolved with more detail, for instance Carmen's part and KK's end. Overall, I'd say this is one of the best Chinese films of the year.
Aquaman and the Lost Kingdom (2023)
It's About Family...
Why is DC's visual effect always like this (I'm talking to you Flash)? It's either obviously photoshopped or really fluent and detailed, and there's no in between. Anyways, other than a few of those regrettable segments, I overall enjoyed the aesthetic designs and action sequences. The latter, however, I feel like is worse than in the prequel, lacking a sense of reality and more stuffed by CGI explosions and combats. Cinematography is great, with some classic James-Wan long-shots during fights.
But seriously - this is the end of DCEU? That's it? No Ben Affleck Batman cameo, no actual post-credits, no nothing? What a fall of a once grandiose and hopeful empire!
Wonka (2023)
Best Kind of Prize is a SURprize Hahaha
Insipid, no gravity, made-for-child-less-than-10. Very cliche and predictable plot that is lacking in pacing and too magical to be believable. The girl who played Noodle has no acting skill whatsoever. None of the songs sticked. There are a few chuckle-worthy moments with Hugh Grant, Rowan Atkinson, and Olivia Colman, but that's more because of performer charisma. Sally Hawkins is also laudable just for her perfect mom image. I do appreciate Timothee Chalamet for attempting to imitate Johnny Depp's version of Wonka in terms of the mannerism, expression, and cadence. Overall, a pretty bland film.
A Rainy Day in New York (2019)
The Cloud, the Sunbeam, and the Breeze
Not a typical romantic movie that arouses, but instead prompts one to ponder the science of love. As my first Woody Allen movie, I quite enjoy the stage-performance qualities of this film and the quaint-elitist tone, much like Tár yet more old-school East-coast American. There are some questionable plot devices including blunt dialogues and character decisions, but they all are rather self-justifiable due to the movie's theatrical, dramatic nature.
Although outwardly knowledgeable, mature, and excessively acquainted with art, upper society, and dalliance, Gatsby is actually a child in real life, and a novice in true love. A borderline narcissist, he so dearly seeks perfect love by his cliche elite values with a twist of youthful rebellion, neglecting the importance of mutuality in a relationship. Gatsby is the cloud that seems to repose comfortably, wanting to be seen within and touched by the heart.
"Valley girl" were the first words that popped to my mind for Ashleigh, and that impression made an 180 by the end of the movie. She's an intellect with ambition and passion, inexperienced with the real world, but quick to notice men's intentions. Also, there's no denying to her disloyalty, even potentially using her boyfriend as a social ladder. The beauty of the sunbeam directs her admirers' attention away from the shadow she leaves behind.
I had not known Selena Gomez other than a singer, but she surprisingly portrays Chan's undisguised sarcasm, caring remarks, and heartfelt candor very well. To put it into simple terms, Gatsby and Ashleigh are not for each other; they may have had sparkles by projecting their own desires upon other's characters, but neither of them could concede themselves to true bonding. And yet, Chan, like an abrupt breeze, sets the cloud into motion and effortlessly enters his heart, as if the two are made for each other.
I kinda want to play some "cocktail piano music" now.
Kimitachi wa dô ikiru ka (2023)
How Do We Live?
No adjective other than fascinating is apt to describe my impression of The Boy and the Heron. In two hours, the movie touches upon topics of bereavement, youthful troubles, family, growth, morality, self-reconciliation, and so much more that seem to make the film vague and difficult to digest. And yet, it is also because of these uncertainties that the audience are allowed to interpret their own versions of the story, which is the magic of Studio Ghibli. Five minutes in, I feel myself swiftly captivated by the unique animation style and immersed in the rural Japanese greenery. Other than some pacing issues during the second and third acts, this is a film worth your time to experience.
Hayao Miyazaki's artistry, Joe Hisaishi's music, and Studio Ghibli's animation have been a great part of my childhood. They belong to a generation of confusion and innocence, of battlefield and nature, of death and youth, which is very much remote from my own but also near and relatable. As a fan, there's nothing more touching than sitting down in a theater, waiting for the lights to dim, and seeing a screen-full of light blue with Totoro's image in the center. Thank you Studio Ghibli.
Napoleon (2023)
Tsk Tsk Tsk
I feel unsatisfied walking out of that theater after three hours of melancholy and confusion. I understand every single word and every single scene, but when they connect into a whole film I don't understand anything. To start off, the costume/production design, naturalistic sceneries, the two meticulously-depicted ancient warfares --- one amid the doleful squall of Austerlitz and another atop the dampened prairie of Waterloo --- and all other technical stuff are spotless. However, there's an anxiety-inducing problem with the narrative --- the movie has no focus. No climax, no resonating themes like Oppenheimer, just one plain, linear, chronological plot; and even that we get multiple baffling time jumps throughout. The plot is so simple that everything in the film was taught in my AP World History class last year in one day, except it nibbles on some superficial details. Highlighting the relationship between Napolean and Josephine is a unique take, and I do see efforts from the two esteemed performers to capture their mutual toxicity and intricacy, but this love story has barely anything to do with the movie's main arc, Napolean's personal rise and fall. Nothing! Two basically unrelated storylines unfolding in the most bland way possible. Also adding to this insipid mess is the score, which is composed primarily of classical or really old-sounding French folk --- what happened to Radiohead from the trailer? God Ridley I don't wanna say three hours of my life is wasted but it kinda is!
I didn't think it was possible but, I think Oppenheimer's winning the Oscar.
The Hunger Games: The Ballad of Songbirds & Snakes (2023)
The Sound of Snow Rising
I like it. My expectation for a movie has never been lower after my sanity was bombarded by Captain Marvel and Five Nights at Freddy's, but I must say I'm pleasantly surprised by The Ballad of Songbirds and Snakes. The use of vibrant colors, the realistic (as opposed to visibly CGIed) scenic layouts, and the elaborate, coherent storyline adapted from Susan Collins' amazing textual foundation. Seeing the in-constructing Capital and the Hunger Game in its early stage creates great contrast with the overly affluent city and the meticulous game designs in the original tetralogy. Moreover, the plot is just so much better than Marvel's AI-produced ones: there's plenty of clever foreshadowing devices, a balance between fights and dialogues, and 2 movies of volume in 1, although I understand why Lionsgate didn't separate the game itself and Snow's journey into two films in fear of revising the failure of Mockingjay part one. However, I do feel like the second half or part three of the film has its problems in terms of pacing, including Sejanus' sudden lack of judgment, Snow's hurried embrace of his villain arc, and Lucy's reduction in part. Such a prolonged narrative works for a novel, but certainly not a movie.
A compliment to the cast, who definitely go beyond their standard performances and portray quite memorable characters. Despite surrounded by controversy, Rachel Zegler really can sing the unbridled Covey verses and act a mysterious songbird. Tom Blyth is bold choice for the renowned character and his depiction of Snow's change in character isn't that convincing in the third part, but overall he is above decent. There's also a lot of rewarding easter eggs for those who know the original saga, like The Hanging Tree, Tigris' fate, supply drops, and why Snow hates "Katniss."
I like the film, but please do not make a sequel to the prequel.
The Marvels (2023)
Oh No No No
This is your one and only chance to evacuate Kevin Feige.
Whoever thought that 105 minutes is enough time for a tight and crisp sequel should wear the quantum bands and fragment --- it's almost like we're skipping scenes for the sake of time. In one shot we see the villain's aircrafts arrive at the musical planet, the next shot soldiers are marching into city. Like is there no aerial defense? And how does the villain know where to go? In fact, the entire segment with the musical planet is the dictionary definition of cringe, whether Brie Larson's lip syncing or the Marvels suddenly running off in the end, basically leaving the planet and the legal husband to be conquered and sucked dry. Also, hammer lady's purpose is so out-of-date she would be a great villain in Phase Two --- air, water, fire, does she think herself Avatar the last freaking airbender? If Captain Marvel isn't scripted to have to babysit two side kicks and be questioned why she can't be everywhere all the time by Ms. WiFi Spectrum or whatever, she would disintegrate hammer lady in their first encounter. Finally there is the post-credit scene: are we for real? If we are to officially introduce the Beast, can we at least make him not so visibly CGIed? And then we have Mama Rambeau; she's dead in one universe, Captain Marvel in another, now what is she and what the flip is her costume? Captain Hashtag? Tictactoe Woman?
The Wolf of Wall Street (2013)
Gotta Pump Up Them Numbers
A movie that has been on my list for god knows how long --- so long that I'm spoiled by Youtube shorts of many scenes including the one with Matthew McConaughey, the "sell me the pen" one, and the one in the garage. The Wolf of Wall Street has certainly became a cultural phenomenon and proves especially influential among younger generations. Sure, the doggedness toward success can be inspirational, but the blind worshipping of such decadently materialistic lifestyle can be dangerous, and in truth contradicts the film's moral caveat. In terms of the movie, it certainly reminds me of Babylon: heavy rated-R, unorthodox pacing, and using singular characters to reflect a bygone era. Entertaining film, and I wish I could see it without all the preconceived information.
Five Nights at Freddy's (2023)
Was That the Bite of 87?!
"Is it good?" Well is the Super Mario movie good? Are the Silent Hill movies good? It's hard to evaluate cuz it certainly drops below average on my regular movie meter, but I do appreciate the adaptation from and allusion to the game itself. The only thing commendable about the film is Josh Hutcherson's performance - or as I like to call him Peeta - which captures the dispiritedness and mental obsession of the character really accurately. I also like the subsurface theme of child abduction that gets sprinkled throughout the first two acts, but the finale kinda ruins the whole thing. We get introduced to the modified version of Springtrap out of nowhere, Vanessa does the criss-cross-apple-sauce with her identity, and most disappointingly we don't get Mike to do the real-life game play in the security room. If movie companies wanna keep doing game-derived films, please do use The Last of Us as paradigm.
Killers of the Flower Moon (2023)
True Cinema
I'll have to confess that this is my first Martin Scorsese film --- I've heard legends and myths about Taxi Driver, Raging Bull, The Wolf of Wall Street, but never really got the chance to watch them. And therefore it's really hard to describe what makes Killers of the Flower Moon a scrupulous, captivating, and evocative piece of true cinema. Perhaps a particular setting with blinded windows reminds me of Frances Coppola's The Godfather; perhaps the inter-dialogue silence reminds me of the Coen brother's No Country for Old Men; perhaps the occasional dark humor reminds me of Quentin Tarantino's Pulp Fiction; or perhaps the "made by Scorsese" label influences my judgment. I could not tell exactly, but the work itself showcases craftsmanship which I have never before seen. Specifically, all the discourses in the movie are presented with incredible precision, whether in terms of cinematography, character layout, script writing, lighting, or plot progression --- the directing is just flawless. Take away the exteriors, the film actually narrates quite a simple story: scammers slash murderous getting exposed. And yet, if we put it into the historical context of Indians versus whites, plus the elements of interracial romance, detective mystery, and humanity, something suddenly clicks.
I don't think Leonardo DiCaprio has performed an "uglier" role than Ernest Burkhart --- even his Calvin Candie in Django Unchained is bestowed some maniacal comicality. Physically, Ernest is stout, stained-teethed, and always frowning like a wrinkled pumpkin, prompting me to wonder if his actor is seriously the same guy who played Jack in Titanic. What makes Ernest truly loathsome is his character: avaricious, spineless, frequently imprudent, and often foolish. Most disgustingly, he is faithless --- hinted at start by him not attending churches despite being Catholic --- when promised profit and protection Ernest abides by his uncle's game, yet when regret overwhelms after the death of his daughter he immediately chooses to testify against Hale. Ernest represents the banality of evil during the Indian persecution; unlike Hale who masks his guile and malice beneath the complexion, Ernest is simply incompetent. What more could be said about a man who claims to love his wife while feeding her poison daily!
Lily Gladstone will most definitely be nominated in the next Oscar for her role as Mollie. Throughout the first act, the lady is demure, well-dressed, graceful, but shrewd, observant, and aloof --- her trait is almost the perfect epitome of the Indian culture. It is for these fascinating qualities that make her schemed fall so tragic, into becoming bereft, fragile, sickened, disheveled, and vomiting one's heart out on the sweat-soaked deathbed. The Native Americans made only one mistake that was fatal in their fight against the intruders: for being too quiet, for being too patient, for being too kind.
What an exciting year for cinema! Nolan's got his Oppenheimer, Scorsese with Killers of the Flower Moon, Ridley Scott's upcoming Napolean, and Hayao Miyazaki with The Boy and the Heron. Can't wait to watch their competition at the Oscars.
The Creator (2023)
Taylor the Creator
I'm all here for the Rogue One aesthetics: the bionic robotics, the laser-guided weaponries, the advanced vehicles, the cyberpunk architectures, the inventive gadgets, and so much more that flesh out this Star-Wars-esque, Blade-Runner-ish, but Southeast-Asian world. The presence of such a setting is quite convincing, as the interactions of humans, robots, and gargantuan machines look extremely realistic unlike the obvious use of green screens and photoshopping in The Flash. However, I'm disappointed to say that the visual is the only positive of this movie.
Despite its futuristic cast, The Creator abides by the book of an elementary road movie and has a rather cliche plot: an adult's salvation and a child's maturation. And yet, the film is excessively expressive, including AI humanity, superpower dominion, mass-destruction weapon, revolution, reflection of the Vietnam War, and more. Further challenging the feeble storyline is the fumbling narrative -- disorderly events, chaotic pacing, and frankly, perplexing directing. That's not the end of the list: performance (except the little girl) across the board is flavorless, as I am never immersed into any of the emotional scenes.
Cool on the outside, raw within.