First Man (2018) - 8 stars out of 10

First Man (2018) - 8 stars out of 10

On the surface, “First Man” appears to be a film about the Apollo 11 Moon landing but it digs much deeper than that.  This biopic tells the story of Neil Armstrong, a man whose failures and personal losses shaped him into the perfect candidate to man the first mission to the Moon.  The film begins with Armstrong’s days as a NASA test pilot before detailing his training in the Gemini program and the life-threatening dangers faced by these astronauts.  Consequently, only about 20 minutes of the 140-minute film is spent on the actually Apollo 11 mission but Armstrong’s journey is important to understanding the success of the mission.  I will state the obvious first: this film will make a strong showing at the Oscars in the technical categories.  The Moon landing sequence is so vivid that you will think that it is authentic footage of the events.  It is one of the most artistic moments that you will see in any film this season.  The sound in the action sequences builds tension, pairing perfectly with the GCI and practical effects to transport us to the Moon alongside the characters.  I honestly lost my awareness that this was a film and not a documentary throughout the film.  Despite its incredible effects and cinematography, I still prefer “Apollo 13” for its superior storytelling and acting.  The main issue with “First Man” is that you walk into it expecting a space adventure but it is actually a character-driven drama that happens to cross paths with the space race.  The film moves very slow and the nature of Ryan Gosling’s character hinders him from giving the emotional lead performance that can drive a film’s energy.  Claire Foy has a solid shot at the Best Supporting Actress Oscar with her two impassioned scenes but the rest of the cast is a bit bland.  On the other end of the spectrum, the soundtrack is perfection as it captures both the loneliness of the characters and the mystery of space.  Justin Hurwitz realizes the necessity for musical simplicity in a film like this to keep the music from overshadowing the subtlety of the characters.  Within this framework, he incorporates unique sounds like the theremin and creates memorable musical moments like the whimsical “Docking Waltz.”  Oddly enough, the score may be too similar to last year’s winner (the otherworldly “The Shape of Water”) to secure an Oscar win, but I’m sure that it will be nominated.  One of the most confusing (and controversial) aspects of the film is the purposeful omission of the astronauts planting the American flag on the Moon.  Whether the decision was politically motivated or not, it counteracts the story's patriotic theme and its emphasis on NASA's urgency for the United States to win the space race.  Overall, I was a bit disappointed by “First Man” because I had an expectation of watching a space adventure; still, director Damien Chazelle has done an amazing job of realizing this historic event fully in context and making us feel like we’ve traveled to the Moon with Neil Armstrong.

[Pictured: The imagery of the Moon landing sequence instantly become iconic]

Strictly Ballroom - 3 stars out of 10

Strictly Ballroom - 3 stars out of 10

"Strictly Ballroom” is a goofy 90’s romantic comedy about a competitive dancer who doesn’t want to adhere to the rules.  It is okay for what it is but you shouldn’t walk into this one expecting “You’ve Got Mail.”  The tone lies somewhere between a Christopher Guest mockumentary and a Chris Farley comedy, with a love story about as strong as that of “Happy Gilmore.”  In fact, I wouldn’t even really consider this a romcom.  I really sense a cinematic identify crisis with this film.  It film focuses on exaggerated stereotypes and over-the-top acting rather than a strong plot, but they aren't quite ridiculous enough to be at a mockumentary level.  Even the dancing that is the focus of the story is only slightly better than average.  Viewing the film with these expectations, the actors get the job done by capturing the spirit of each character’s big personality.  Paul Mercurio and Tara Morice do well in the lead roles, though I preferred the character roles of Pat Thomson (mother) and Bill Hunter (Barry).  I was surprised to see Baz Luhrman’s name attached as director since the film is such a far cry from his other films like “Moulin Rouge” and “Romeo + Juliet.”  I feel like it falls short of his visionary storytelling.  He is well-known as a risk taker but perhaps he was just finding his vision since it was his directorial debut.  I view “Strictly Ballroom” as an “ok” film that feels dated; still, if you’re looking for a brief amusement and a sense of nostalgia for 90’s films, this one should do the trick.

[Pictured: Even the dance sequences can't make this a memorable film]

Crazy Rich Asians - 6 stars out of 10

Crazy Rich Asians - 6 stars out of 10

“Crazy Rich Asians” has risen to critical acclaim but I feel like it wasn’t much more than a standard chick flick story with a unique packaging.  I certainly didn’t hate it and would probably watch it again for Constance Wu’s performance.  The film’s predictable story makes a lot of sense through the lens of Asian culture by showing how family history factors into being a potential candidate for marriage.  Still, was the story really that far off from “Monster-in-Law”?  It’s okay for a movie to have a predictable ending but it was easy to anticipate every step of this story.  The film has a lot going for it but I still have to call it what it is: a predictable chick flick.  It will never be on the same level as a groundbreaking drama like “Silver Lining’s Playbook,” even if they score within 1% of each other on Rotten Tomatoes.  There is a little too much reliance on engaging the audience through the cool lifestyle of rich people (the same way that Disney drew 90’s kids into the theater with “Blank Check”) and the film would benefit from a stronger emphasis on its impressive actors. Awkwafina hits all of the right comedic notes and Gemma Chan contrasts the main love story by struggling through a toxic relationship.  Meanwhile, Michelle Yeoh (of “Crouching Tiger, Hidden Dragon” fame) rises above the rest with a powerful dramatic performance as the potential mother-in-law.  I applaud “Crazy Rich Asians” for its diverse casting and impressive acting, but I wouldn’t put it on the same level as an Oscar contender.

[Pictured: The cast is very good but the story is very predictable]

BlacKkKlansman - 8 stars out of 10

BlacKkKlansman - 8 stars out of 10

“BlacKkKlansman” is a biographical film about Ron Stallworth, an African American detective who infiltrated a Colorado Springs chapter of the KKK in the 1970’s.  The main role is expertly portrayed by John David Washington who captures the demeanor of a confident-but-persecuted African American from this era.  He definitely has a shot at following in his father’s footsteps with an Oscar nomination.  Washington is paired with Adam Driver, who also gives a noteworthy performance.  The acting is great but the film will be best remembered for director Spike Lee’s no-holds-barred style and its topical story of racism.  Any film that shows KKK members in their hoods will send chills up your spine and this film is full of powerful imagery.  I was most fascinated that this story goes beyond the rituals of the Klan and digs into the politics.  Topher Grace plays KKK Grand Wizard David Duke (who is still alive today) and helps us to see how he influenced the ideology of the group while maintaining a publicly clean image.  Lee did a great job of casting so that the KKK members are repulsive with varying levels of intellect while making sure that everyone else (except for the corrupt cop) is likable.  Overall, I found this to be a great story and entertaining film until the very end.  Spike Lee drives home the film’s message by closing the film with footage from the 2017 Unite the Right rally in Charlottesville.  This powerful imagery is used to reflect the fact that modern racism is the same as the events of the film.  There is just one problem: the second half of this story is fabricated for dramatic effect.  In reality, the primary objective of the actual chapter that Stallworth infiltrated was to place its members into high-ranking military positions.  It feels a bit disingenuous to fabricate a terroristic plot that engages the audience’s emotions and then incorporate real footage to project those fictional ideals onto modern people.  I love the film’s themes on how racism tears us apart and how we need to do a better job of loving all humanity, but this connection between the fictional plot and Charlottesville seems irresponsible.  I would have preferred to see this story conclude with Stallworth delivering a Spike Lee-esque monologue about how this is a battle that we will still fight today, and then allow the audience to reflect as they walk out of the theater.  If anything, this ending cheapens the theme by making us wonder if the Charlottesville footage gives an inaccurate portrayal of history in the same way that the film gives an inaccurate portrayal of Stallworth’s story.  “BlacKkKlansman” tells an amazing story that I highly recommend for its important message about racism, but I believe that Spike Lee miscalculated the ending.

[Pictured: Spike Lee’s unique style blends with great acting to bring Ron Stallworth’s story to life]

Private Life (2018) - 6 stars out of 10

Private Life (2018) - 6 stars out of 10

"Private Life” uses a dark comedic tone to shed light on the struggles of couples with infertility issues.  The film would be too depressing to watch if it was a drama but the tone helps to get the point across while making the story watchable.  It is unique in that the relatable characters and coming-of-age subplot help to explore the difficult subject matter in an empathetic way while maintaining a sense of hope.  The performances of Paul Giamatti and Kathryn Hahn feel candid and raw, most closely resembling Richard Linklater‘s stream-of-consciousness “Before Sunrise” series (with a very different theme).  Rather than falling in love, the lead characters have very little room for love in their marriage because their entire world is consumed by trying to have a child.  There are moments when you wonder why they would even want to have a child together because they don’t seem to even like each other.  Meanwhile, their niece Sadie (played by Kayli Carter) contrasts the loveless marriage by starting to find meaning in her life through a sense of family values.  Her performance feels authentic as she sees the struggle of others and learns to be selfless.  For me, she was the highlight of the film.  The story is further rounded out by Sadie’s parents, whose differing opinions on infertility, egg donation, and in vitro fertilization help to expose various public perceptions of this often taboo topic.  There isn’t a lot to be said about the production design or cinematography - this film is all about the script and acting.  “Private Life” isn’t entertaining per se, but it will cause you to contemplate the struggles of infertile couples and their determination to have a child, all while appreciating the realistic performances by its players.

[Pictured: The film's tone lies somewhere between depressing and hopeful]

The Neon Demon - 6 stars out of 10

The Neon Demon - 6 stars out of 10

I don’t think that you are ready for “The Neon Demon.”  This bizarre horror film pushes the boundaries of visual discomfort to the limit, all under the guise of the Los Angeles modeling scene.  The intensity and energy of each still frame creates a unique viewing experience wherein each scene’s main image expresses the intention of the characters more than the dialogue or action.  It reads kind of like a comic book, only in this case it is a bizarre fashion magazine.  The story begins with a young, innocent teen who aspires to become a model in Los Angeles.  Her interactions with established models reveal the themes of vanity, ageism, jealousy, and how commercialism can devour a person.  The casting is perfect, pitting the innocent-looking Elle Fanning against the cosmetic looks of Bella Heathcote and Abbey Lee.  They are contrasted by Jena Malone, a makeup artist who doesn’t aspire to be beautiful because she is fascinated by the beauty of others.  Again, the visual palette of director Nicolas Winding Refn practically tells the story without the need for acting.  A few male characters are included in the film but they are intentionally static so that the focus remains on the women’s pursuit of beauty in different ways.  The content grows more disturbing as the film progresses, first with odd arthouse imagery that grows weirder as the characters transform.  Everything continues to escalate into some of the most disturbing imagery that I have ever seen, reaching its boiling point for the last 10 minutes of the film.  “The Neon Demon” is an allegory about beauty and commercialism, but the extremism used to express the film’s themes creates a shocking and brash experience that will burn the symbolism into your soul forever.

[Pictured: There will be many moments where you'll want to bail out of this stylized surrealist journey, but you have to stick around to see what happens at the end.]

Christopher Robin (2018) - 8 stars out of 10

Christopher Robin (2018) - 8 stars out of 10

“Christopher Robin” is another triumph in Disney’s series of films that bring our favorite animated characters to life.  Many generations have had the opportunity to grow up with Pooh which gives this film a nostalgic tone that reaches children, parents, and young grandparents alike!  The plot of the story revolves around something to which every parent can relate: letting work and life get in the way of spending time with your family.  The post-WWII setting enhances this theme as military men returned to a world where economies were shattered and jobs were scarce.  Ewan McGregor embodies the pressure that fathers faced in providing for their families and Bronte Carmichael is the perfect precocious child that just needs her father to pay attention to her.  I loved Mark Gattis as the weasely boss and the voice acting of the Pooh characters (including perennial Pooh/Tigger voice Jim Cummins and Brad Garrett as Eeyore).  The character design of these classic characters and their integration into the real world was great but, oddly enough, I think that they were revealed too soon.  By the time that Pooh meets Christopher Robin, we are already well acquainted with their appearance and their presence in the real world isn’t very surprising to us.  I would have loved it if the opening sequence with Christopher Robin in the Hundred Acre Wood would have been told in a hand-drawn, storybook form (which would have perfectly connected the classic animation to their real world designs).  Then, use the first 20 minutes of the film to build anticipation of seeing the characters until Pooh starts to search for his friends.  It’s easy to criticize from the outside looking in, but this seems like an obvious way to give Pooh a “big reveal” instead of feeling like we’ve seen too much of him by the end of the film.  That being said, the script does a great job of playing up the personality traits of each character and acknowledging the strangeness of a grown man carrying a stuffed bear through 1940’s England.  The animation of the characters is so impressive that I was 10 minutes into the drive home before I said “Wait, those characters were animated and not actually interacting with the actors!”  Disney has mastered the art of integrating CGI into live action.  The story also has a great “Toy Story 3 effect” of reminding adults how special it was to be a child and creating a longing to return to that innocence.  The writers even found a way to incorporate Richard Sherman playing and singing an original song into the film - that was truly heartwarming.  The film also includes another original song by Sherman, as well as classics like "The Wonderful Thing About Tiggers."  There is so much nostalgia packed into this 100-minute film!  “Christopher Robin” doesn’t contain the deepest story of Disney’s recent live-action releases but it will touch your heart as you laugh, cry, and remember how much you love Winnie the Pooh.

[Pictured: You'll get a little tear of happiness in your eye every time that Christopher utters "Silly old bear."]

The Babadook - 9 stars out of 10

The Babadook - 9 stars out of 10

“The Babadook” is an exercise in restraint.  We live in a shock-value society that delivers thrills and emotions through grotesque imagery: the more extreme, the better.  But “The Babadook” is a breath of fresh air.  We don’t need to see a literal version of what is happening to be afraid of it and it helps to maintain the mystery of whether this monster actually exists.  The special effects are intentionally simplistic, shunning CGI to foster the “real” sensation that everything we see was also seen by the actors during filming.  The story is fresh and unique but utilizes classic horror elements to create a sense that it is based on a generations-old legend.  It is a series of well-executed horror thrills that do not need extra frills to accent them.  The details lie in the progression, like introducing the creepy book and then adding several terrifying pages, or placing the Babadook into the background of a camera shot where we least expect him.  The actual physical manifestation isn’t that scary. It is everything that he represents, both literally and metaphorically.  In a literal sense, he is an unseen presence that gains power over us the more that we think about him.  Metaphorically, he is grief, pain, and loss.  The strong emotional impact of the film comes from the performances of Essie Davis and Noah Wiseman.  You will forget that Davis is acting because her emotions are so raw that she embodies every ounce of her character’s pain.  Meanwhile, Wiseman gives a performance far beyond the ability of most 6-year-olds.  The strained relationship between this grieving mother and her out-of-control, emotionally distraught son brings out the worst fears of every parent before we even hear a mention of Mr. Babadook.  The film creates a sense of helplessness toward both the monster and the lack of a support system that keeps us wondering what we would do in their situation.  It seems impossible to find a solution, thus heightening our emotions even more when their situation turns dangerous.  The story’s resolution is awesome and is the one aspect of the film that breaks the mold of classic horror movies.  You think that it can only end one of two ways but there is an amazing third option that you’d never expect.  This underrated film thrills over and over again.  “The Babadook” isn’t the scariest movie that you’ll ever see but it manipulates your emotions in a way that will stick with you for the rest of your life.

[Pictured: The storybook is one of the most clever (and horrifying) mediums ever used to introduce a villainous entity]

It (2017) - 8 stars out of 10

It (2017) - 8 stars out of 10

Ever since the 1990 miniseries, horror film fans have been clamoring for a big-screen adaptation of “It.”  Tim Curry was brilliant as Pennywise but the story, dialogue, and visual terror had to be toned down significantly for broadcast television.  A new film adaptation of the story has been in the works for many years and an eerily symbolic 27-year wait has produced the “It” that we have always craved.  “Scary” is not the correct term to describe this film; rather, it needs to be categorized as “disturbing.”  The story is intense and the imagery is horrific but I believe that any moviegoer could enjoy this film, even if they don’t like scary movies.  The key is the film’s tone, which is more intense than it is scary.  The film focuses on using storytelling to reveal the mystery of Pennywise instead of trying to terrorize us with jump scares.  A strong opening sequence introduces us to the clown and associates him with a gruesome image that sticks with us every time that he appears.  Throughout the film, the various forms of Pennywise are created with a brilliant visual style (particularly, the blood in Beverly’s bathroom and the realized version of Edvard Munch‘s “The Scream”).  Director Andy Muschietti paces the film to give us short breaks that makes the tension even more unbearable.  The sequence in the abandoned house had my heart pounding!  However, the key to this film is the amazing performances by these teen actors.  I was blown away by Sophia Lillis’ powerful performance and Jeremy Ray Taylor was very endearing as Ben.  It is only natural that they would include one of today’s most popular child actors in the cast (Finn Wolfhard of “Stranger Things” fame) and his presence really enhances the updated 80’s setting for this story since we are so used to seeing him in this time period.  It is amazing that these teens can match the intensity of Bill Skarsgard’s terrifying Pennywise.  I appreciate that Skarsgard knew that nobody could ever match Tim Curry and instead reimagined the personality of the clown.  My only issue with the film is the overabundance of profanity.  The child actors give refined performances that don’t necessitate the use of profanity to get their emotions across.  If anything, the script cheapens the efforts of the actors.  Still, I’m glad that the writers chose to eliminate a few infamous pieces of the story that would have left a sour taste in the audience’s mouth.  After a 27-year wait, we finally have a big-screen adaption of “It” that delivers a terrorizing experience beyond what I could have anticipated.

[Pictured: "It" just got a lot more sinister]

The Lego Batman Movie - 7 stars out of 10

The Lego Batman Movie - 7 stars out of 10

Nothing was going to live up to “The Lego Movie,” but “Lego Batman” was a logical next step in the series.  Will Arnett’s dimwitted voicing of Batman made it easy to choose his memorable character for an expanded story, especially since superheroes are in vogue.  References to Adam West, obscure DC villains with silly M.O.’s, and a bashing of Robin’s emotions (perfectly written for Michael Cera) keep us laughing from start to finish.  All of the Robin jokes are so much funnier to “Arrested Development” fans because their interactions often parallel Gob and George Michael.  You do need to be prepared for this film to be “silly” instead of “funny,” but I think that this is what makes the movie so entertaining to kids and adults alike.  Unlike the humor, I find the story to have one of the most sophisticated themes that I have ever seen in a Batman film, questioning whether Batman would have any value without a villain to battle.  I like the writers’ treatment of Joker that makes him into a truly dynamic character and he becomes the perfect piece in this thematic puzzle.  The exiling of Joker to The Phantom Zone gives the writers a perfect excuse to incorporate Voldemort, The Wicked Witch, Sauron, Agent Smith, and many other famous bad guys (in Lego form) into the equation.  Naturally, these villains all converge in an anachronistic battle that is unlike anything that we’ve seen in a superhero film (with the exception of “Avengers: Infinity War” which has more characters than the writers knew what to do with…)  Ironically, the cast may actually have more star power than “Infinity War.”  Literally every character is a big name and it becomes a game to try and identify the voice behind the villain.  They even brought in Seth Green to voice King Kong…  All of these actors and story elements are cleverly brought to life through impeccable animation with disjointed Lego movements.  I think that it is easy to forget how impressive the animation is because it intentionally looks choppy, but it is amazing how the crew captures those Lego movements.  “The Lego Batman Movie” subscribes to the philosophy of go big or go home and, despite the small stature of the Legos, this film is HUGE!

[Pictured: The range of emotions on these Lego characters is stunning]

Un Chien Andalou (An Andalusian Dog) - 2 stars out of 10

Un Chien Andalou (An Andalusian Dog) - 2 stars out of 10

“Un Chien Andalou” may be the most uncomfortable 21 minutes of my life.  This Surrealist short film by Luid Buñuel and Salvador Dali refines the term “bizarre.”  If you enjoy shocking imagery along the lines of a razor slicing through a woman’s eye, ants crawling out of a person’s hand, and a man pulling two pianos that contain rotting donkey corpses, The Ten Commandments, and two priests, this is a film for you!  Otherwise, you might prefer not to see a man attaching a woman’s armpit hair to his face as a mustache.  I should also mention that all of these images appear in a non sequitur fashion throughout a nonlinear timeline that makes no sense, all set to a soundtrack of tango music and Wagner.  Then there's the fact that the two lead actors committed suicide later in life, including Simone Mareuil who doused herself in gasoline and set herself on fire in public (we aren't talking about the movie anymore, this is real life).  Everything surrounding and within this film is bizarre.  The “plot” doesn’t make any sense and you have to approach the film as a series of surrealist images.  I certainly would use the words "cohesive" or "sensible" to describe it.  “Un Chien Andalou” is interesting but it would be hard to call it enjoyable.  I understand the historical importance of this film as well its popularity upon release in 1929, but I will stick with George Melies when I want to appreciate early film.

[Pictured: You don't want to see what happens next]

Can't Buy Me Love (1987) - 7 stars out of 10

Can't Buy Me Love (1987) - 7 stars out of 10

When we think of 80’s teen comedies, our minds always jump to “The Breakfast Club,” “Pretty in Pink,” and “Sixteen Candles.”  But there is one hidden gem that always seems to be left out of the conversation: “Can’t Buy Me Love.”  Long before Patrick Dempsey was “McDreamy,” he was the “McNerdy” Ronald Miller.  The premise of this story is quite clever – a nerd rescues a popular damsel in distress and asks her to repay him by pretending to date so that he can become popular.  In hindsight, the plot seems like it should have been completely predictable but I found myself surprised and intrigued as it developed onscreen.  Amanda Peterson steers the popular Cindy away from clichés and gives her a lot of depth.  She absolutely stole the screen.  Meanwhile, the rest of the cast is completely materialistic and happy to fit into their stereotypes, making the personalities of Ron and Cindy even more interesting to watch.  The film does have most of the aspects of a teen comedy that I find unnecessary – drugs, alcohol, adult themes, excessive profanity, Seth Green – but at least they are portrayed in an unglamorous way (including tween Seth Green).  It goes to show that even 30 years ago, writers incorporated unnecessary crude content to draw in larger audiences.  I wouldn’t call the film a masterpiece but it was extremely entertaining and had a nice moral (particularly the final cafeteria scene).  It isn’t often that the title song of a film can be such a poignant and appropriate punctuation mark at the end of a story.  “Can’t Buy Me Love” isn’t the greatest 80’s teen comedy but it is worth being thrown into the rotation.

[Pictured: Dempsey and Peterson are now one of my favorite onscreen teen couples]

Goodbye Christopher Robin - 3 stars out of 10

Goodbye Christopher Robin - 3 stars out of 10

“Goodbye Christopher Robin” rides the coattails of films like “Finding Neverland” and “Saving Mr. Banks,” but I was unimpressed.  This is one of the few instances where I would have rather not known the story behind a group of beloved childhood characters.  The film focuses on WWI and the unhappiness surrounding the creation of A.A. Milne’s Pooh characters instead of the joy that these characters brought into the lives of Christopher Robin and children around the world.  I can’t help wondering whether this story would have been better told by Disney and whether this intentionally dark tone was necessary.  I was excited when I saw that Domhnall Gleeson and Margot Robbie were attached to the film but their characters were so unlikable that I couldn’t connect with them.  Not to mention that Robbie was basically nonexistent throughout the film.  The saving grace is Kelly Macdonald who provides a nurturing atmosphere for Christopher in spite of the toxic environment created by his parents.  I tend to be an optimist and this film spent its entire runtime trying to destroy the legacy of the Pooh characters.  I cannot wait to see these characters redeemed through Disney’s new family film entitled “Christopher Robin” but I hope that nobody mistakenly sees “Goodbye Christopher Robin” instead.  Pooh’s legacy deserves to live on in a positive light.

[Pictured: It is magical to see the Pooh characters in their original form, but that magic is snuffed out by the negativity that fuels the story]

A Monster in Paris - 7 stars out of 10

A Monster in Paris - 7 stars out of 10

“A Monster in Paris” was one of the more surprising films that I’ve seen this summer.  I’m not typically drawn toward computer animated family films outside of Disney and I honestly only put it on because it was expiring off of Netflix at the end of the month.  What started as background noise quickly turned into a film that demanded every ounce of my attention.  The key to this film is its turn-of-the-century Paris setting, which needs to be used in more films.  It was absolutely magic!  They had me with classic looks at the Eiffel Tower and Sacre Coeur on Montmartre.  This romanticized look at Paris makes it seem like anything is possible and most of the bizarre story elements fit right in.  The setting is complimented by a fantastic musical score, particularly “Just a Little Kiss for You” and both versions of “La Seine and I.”  The voices of Vanessa Paradis and Sean Lennon are perfectly suited for the style of the music.  I was also surprised to see big names like Catherine O’Hara, Danny Huston, and Bob Balaban attached to the film.  The quality of voice acting makes up for some moments where the character animation could have been more realistic; still, I loved the character design and artistry of the backgrounds.  It is as if someone crossed Tim Burton’s “Corpse Bride” with Disney’s “Frozen” and this was the final artistic result.  The story has its flaws and it certainly can’t compete with Disney’s animated films, but I would recommend “A Monster in Paris” to anyone for its interesting visuals and amazing music.

[Pictured: There is so much classy imagery throughout this film]

A Quiet Place - 9 stars out of 10

A Quiet Place - 9 stars out of 10

The stereotypical bloodbath horror film is out and the psychological, tension-building horror film is in.  “A Quiet Place” follows in the footsteps of last year’s “Get Out” as a new wave of intellectual films that incorporate horror elements to draw in audiences with different tastes.  Set in a world where making the softest sound will get you killed, this story must be told through body language, facial expressions and sign language.  You might not expect to experience a high level of intensity without any dialogue but many of cinema’s most intense moments occur when a character is silently stalked by their adversary.  And that circumstance is this entire film!  There are less than 20 lines of spoken dialogue in the film and yet, we get to know these characters on a deep level.  The characters are developed through context clues that help us to learn of their professions, ailments, and fears.  The execution of the story is as artistic as it is thrilling.  I was particularly impressed with the way that each character’s style of American Sign Language reflects their personality (short/direct father, slow/nurturing mother, aggressive/rebellious daughter).  John Krasinsky is best known for his portrayal of Jim on “The Office” and has done a decent job of transitioning onto the big screen over the past decade, but he took enormous strides into the industry by co-writing, directing, and starring in this film.  The influence of “Alien” and “No Country for Old Men” can be seen in the camerawork and building of tension as he brings this world to life through his specific vision.  There is a story behind every film and the timing of this film in relation to the recent birth of Krasinsky and Emily Blunt’s second child is no accident.  Krasinsky has called this story an allegory for parenthood and their stunning performances reveal every parent’s fear of protecting their children from the world that surrounds us.  On a literal level, the story captures the heartache of losing a child and the sacrifices that a parent is willing to make for their child.  The stars’ real-life relationship adds so much to the raw emotions of the characters on-screen.  I respect and applaud the use of deaf actress Millicent Simmonds to not only bring realism to her character but also to act as a guide to her costars in the use of ASL and the challenges faced by the hearing impaired.  I can see how some might not enjoy the film because it is almost completely subtitled.  This is the disconnect caused by the horror elements and the high-brow, intellectual parts of the film that might not appear to the average moviegoer; however, this may be the first step to creating a better-educated film audience.  To fill in the long periods of silence, composer Marco Beltrami has crafted a score that gives the story a constant sense of forward motion and highlights the visual emotions without overshadowing them.  The creature design is amazing and I love the first third of the film where we get small glances that maintain the mystery, but I had definitely seen too much of the creatures by the end.  A “Jaws”/J.J. Abrams approach of saving the full creature view for later in the film would have worked much better.  That being said, “A Quiet Place” is an incredible film that it worth of its praise and it just might continue the trend of horror films earning recognition at the Oscars.

[Pictured: This movie is intense from start to finish]

Michael Clayton - 7 stars out of 10

Michael Clayton - 7 stars out of 10

“Michael Clayton” is a decent movie but if you are valuing a film by its Oscar nominations, this one is overrated.  The story focuses on a “fixer” who uses his connections to help clients avoid legal issues.  His life is derailed when a fellow fixer can no longer live with his guilt and forces Clayton to reevaluate his livelihood.  The concept has great potential as a thriller but its pacing makes it feel more like a slow-moving drama.  Despite a few thrilling moments, I find the film’s nominations for Best Director and Screenplay to be a misrepresentation of the final product due to the frequency of moments that drag on.  If their intention was to make this a drama, they could have strengthened the titular character by exploring his family more.  Considering the amount that they influence his actions, the script fails to show us why he values them so much.  The film’s redemption is the incredible acting of George Clooney (Oscar nominated), Tom Wilkinson (Oscar nominated), and Sydney Pollack.  They kept me engaged and invested in their characters, with Wilkinson in particular giving the performance of a lifetime.  He would have won the Oscar any other year but I can't argue against Javier Bardem's win for "No Country for Old Men."  On the opposite end of the spectrum, I was completely let down by Tilda Swinton’s performance.  I had a high expectation knowing that she won an Oscar for this performance but I believe that her masterful roles in “We Need to Talk About Kevin” and “Snowpiercer” were much more deserving than this one.  Still, the overall acting throughout the film is fantastic.  “Michael Clayton” is a movie that is absolutely worth watching.  Just don’t expect the story to be as thrilling as the synopsis implies or the film to be worthy of 7 Oscar nominations.

[Pictured: Clooney and Wilkinson are reason enough to watch this film]

Avengers: Infinity War - 9 stars out of 10

Avengers: Infinity War (2018) - 9 stars out of 10

The Marvel Cinematic Universe is one of the most impressive undertakings in cinema history.  The scope of this project that totals 11 years can only be compared to Richard Linklater’s “Boyhood.”  It has all built up to this moment: “Infinity War.”  But don’t assume that the series’ climactic film will give you a resolution.  First, I feel a bit hypocritical in enjoying this film because I have been so vocal about my frustrations with Marvel oversaturating every film with too many superheroes.  I believe that every film should work as a standalone film (even if it is a sequel) and this series is the antithesis of that.  Black Panther should not be introduced before his own feature film was even produced, Tony Stark should not take a predominant role in Spider-Man, and a Captain America film shouldn’t bear his name just because he gets to kick more butt than the other dozen featured superheroes in the film.  However, “Infinity War” allows us to view the previous EIGHTEEN FILMS as a series of chapters in a long book instead of a book of short stories.  It is amazing how 11 years of interconnected stories and mid-credit scenes have culminated in the complex relationships and story elements that drive this epic.  The most frustrating part of the film is that its cliffhanger ending robs us of the opportunity to either start OR end the film with a sense of stability.  It is literally open-ended.  I find it to be similar in nature to “The Empire Strikes Back” but Empire’s predecessor didn’t feel like it was the culmination of a series.  With all of the preparation required of audience members for this film to make sense, they needed stability on one end or the other.  As far as the characters are concerned, the writers’ handling of literally dozens of superheroes and the largest all-star cast of all time is admirable.  The storytelling is reminiscent of Star Wars, moving back and forth between various missions across the galaxy until all of the characters come together in an epic battle sequence.  Captain America is probably the least represented character and I was surprised at how vital of a role Dr. Strange and the Guardians of the Galaxy played, thus confirming that there isn’t much that can be skipped if you want to understand the film.  Especially when characters like Black Widow, Vision, and Scarlet Witch randomly appear in other characters’ films without receiving their own backstory.  Jeremy Renner was noticeably absent from the film and credits even though he filmed scenes for both “Infinity War” and the sequel.  I’ll be interested to see how they’ll incorporate him back in after cutting him completely.  With so many all-stars in the cast, the acting is at a very high level.  Josh Brolin brings the necessary amount of evil to Thanos and all of our returning heroes successfully deliver the expected Marvel brand of comedy to ease the tension throughout the film.  They also know when to ramp up the emotions, giving the story a constantly oscillating contrast between laughing and crying.  The film delivers all of the realistic action sequences, emotional moments, and special effects that we have come to expect from Marvel.  It is amazing to see this complex story play out.  I was worried that “Avengers: Infinity War” could never live up to the hype and anticipation surrounding it but its success is evident in the heightened emotions of every Marvel fan.  The story did what was necessary to provide a big payoff; after all, the most important battle in the history of the universe comes at a price.

[Pictured: It is surreal to see so many superheroes onscreen at once]

Red Lights (2012) - 3 stars out of 10

Red Lights (2012) - 3 stars out of 10

“Red Lights” has a lot of star power but not a lot of script power.  Sigourney Weaver, Cillian Murphy, and Robert De Niro team up for a psychic thriller.  The script caters to each actors trademark personality (Weaver as a strong-willed skeptic, Murphy as an emotionally-driven hero, and De Niro as an arrogant jerk), but the story doesn’t flow.  The idea of trying to disprove a money-grabbing psychic has great potential and the film gets off to a good start.  The real issue lies in spending enough time with each character to help us connect to them and properly pacing each character’s piece of the story with the others.  The characters come off as static in spite of the great actors who play them.  My favorite part of the story was the media machine behind De Niro's success.  This was another missed opportunity where they could have strengthened De Niro's role as the villain by fleshing out some additional characters and exploring this aspect of the story.  The single reason to watch this film is the twist at the end.  I saw the first twist coming a mile away but the second twist was very clever; unfortunately, the presentation of the latter twist was clunky and ineffective, ruining the effect of the big reveal.  I like all of the actors in “Red Lights” but its script issues make this another easily forgettable thriller.

[Pictured: "Red Lights" has the concept and actors that typically results in a great film, but the script got in the way]

Chicken Little - 4 stars out of 10

Chicken Little - 4 stars out of 10

“Chicken Little” is all in the eye of the beholder.  If we view the film through the lens of Dreamworks or one of Don Bluth’s ventures, it doesn’t look too bad.  The quality of the animation is very good, the main character is likeable, and there is a large appeal for kids.  However, if we hold this film to Disney standards, it is easily one of their weaker releases.  My main issue with this film is the story.  Unlike the sweeping epic of “The Lion King” or the tender love story of “Lady and the Tramp,” this story offers... a baseball-playing chicken that encounters aliens.  How can these films even come from the same company?  I found that the film lacked a strong moral or theme to tie the events of the story together.  The half-hearted theme of family sticking together (which typically makes me cry without much effort) was completely underused in favor of a pig fighting a vending machine and a brief, awkward romance between two friends.  I didn’t feel anything at the end of this film except for sensing that the film focused on 3D animation and not a cohesive, meaningful story.  This may not be fair, but compare “Chicken Little” to Disney’s Oscar-winning “Zootopia” that would premiere 11 years later.  This film, also featuring a society of anthropomorphic animals, creates an amazing allegory of racism and privilege while developing a poignant story of friendship.  Its humor is clever, it will remain relevant forever because it doesn’t rely on pop culture references, its characters are relatable, and its heavy themes cause you to walk away as a changed person.  “Chicken Little” is the opposite with an overuse of slapstick humor, pop culture references to The Spice Girls that are already irrelevant, goofball characters that we don’t connect with, and a silly story whose moral doesn’t really stick.  I’m not trying to hate on the film – I honestly laughed a lot at the puns and one-liner jokes.  But when I hold it to the standards of Disney, it isn’t worthy of being listed alongside the majority of Disney’s animated catalogue.  It is a shame because the film has a great cast of voice actors who really shine.  Joan Cusack’s voice is perfect for a teenage ugly duckling, Don Knotts is hilarious as an unintelligent turkey, they paired together Fred Willard and Catherine O’Hara in an homage to Christopher Guest‘s mockumentaries, Patrick Warburton gets a cameo, and Adam West is the reason that the ending situation works so well.  They had all of the right puzzle pieces but the screenwriters assembled them in the wrong order.  “Chicken Little” is an interesting modern take on a fable but Disney should stick to what it does best: classics and original modern tales that feel like classics.  It is doable for family movie night and is better than what a lot of other animation studios create; still, share the rest of the Disney canon with your children before settling for this one.

[Pictured: "Chicken Little" does a lot right when it comes to character design but it does a lot wrong when it comes to storytelling and oversaturation of pop culture references]

Teenage Mutant Ninja Turtles: Out of the Shadows (2016) - 7 stars out of 10

Teenage Mutant Ninja Turtles: Out of the Shadows (2016) - 7 stars out of 10

The turtles are back in “Teenage Mutant Ninja Turtles: Out of the Shadows” and there is just as much nostalgia in this one as Michael Bay’s first installment.  They go all out with incorporating classic TMNT characters into the story with Casey Jones, Baxter Stockman, Krang, and most importantly our favorite boneheads Bebop and Rocksteady.  The latter two provide great comedy throughout the film while Krang is significantly more disturbing (in a good way) than in the cartoons.  I appreciate the character development given to Casey Jones and the Turtles’ struggle to be accepted by humans is an interesting theme that makes this more than an episodic adventure.  The script still has a lot of cheesy dialogue and some of the acting is questionable but it is good for what it is.  Besides, we finally get a glimpse of the technodrome!  I truly believe that the writers wanted to create a movie for the childhood turtle fans, allowing us to see all of our favorite parts of the cartoon in live-action.  I liked Stephen Amell as Casey Jones, Will Arnett’s personality fits well with the newly imagined Vern, Megan Fox is an excellent April O’Neil, and Laura Linney was a nice addition to the cast.  I’d be interested to see what these actors could do it a better script, though the story as a whole does a good job of cohesively incorporating the turtles into their real-world surroundings.  “Teenage Mutant Ninja Turtles: Out of the Shadows” isn’t going to win any Oscars and non-lifetime-fans probably won’t understand why we love it, but who cares because this film is a fitting tribute to every piece of Turtles fandom from our childhood.

[Pictured: Bebop and Rocksteady are reason enough to watch this movie]

The Conjuring - 10 stars out of 10

The Conjuring - 10 stars out of 10

I hate to broadcast this, but “The Conjuring” is one of the best scary movies that I have seen in a long time.  The reason that I am reluctant to admit it is because you need to exercise extreme caution before watching this film.  It is not for the faint of heart.  The content of this true-ish story about demon possession is as realistic as it is disturbing with a story that seamlessly weaves together several elements of great scary movies.  First, it builds suspense by placing us into the shoes of the characters.  There is a progression from hearing noises to seeing what causes the noises, then understanding where these spirits came from before they wage war on this family.  The pacing is matched by the visual presentation.  None of the imagery is completely original (birds flying into windows, doors slowly opening on their own, a creepy music box, ghostly faces appearing in a mirror, levitating bodies) but the visuals are consistently well done.  The use of practical effects instead of CGI also ramps the realism up a notch.  Interestingly, the Annabelle doll is probably the creepiest aspect of the film but only plays a small role in the story as an introduction to the Warrens.  The writers did an amazing job of reincorporating her toward the end of the Perron’s story (almost like a cameo) and it works because we already know her history.  As we later learned, this doll doesn’t have enough star power to carry an entire spinoff movie but she works perfectly as one element in a larger story.  The thread that weaves the scary elements together is quality acting.  Horror films often suffer from a lack of acting talent but this cast is the perfect selection of veteran Hollywood actors that aren’t readily associated with a particular role.  Tom Cruise and Julia Roberts would not work in this film but Vera Farmiga and Patrick Wilson easily blend into their roles without that constant thought of “That’s the guy from…”  Ron Livingston did well even though this was a very different role for him and the child actors gave vividly heart-wrenching performances.  One of the toughest parts of this film is watching their helpless terror.  All of that being said, Lili Taylor steals the spotlight.  Her portrayal of Bathsheba’s attempt to take over Carolyn’s body is so disturbing that you will believe it.  When the story reaches its fever pitch toward the end, I found myself unexpectedly emotional from the impassioned delivery of her lines.  Horror films can certainly heighten our emotions but this was different.  My experience at the climactic moment of this film was more like watching a great Oscar-winning drama than a horror film.  “The Conjuring” is a lot more than another scary movie.  It is almost artistic in its storytelling as we experience this demonic activity alongside the characters of the film.  There are many things in this film that cannot be unseen and I recommend really thinking about it before allowing these images to enter your memory.

[Pictured: This seemingly innocent scene is one of the reasons that you won’t be able to sleep after watching “The Conjuring.”  I have a pit in my stomach just thinking about it]