The Disaster Artist - 9 stars out of 10

The Disaster Artist - 9 stars out of 10

“The Disaster Artist” is the funniest movie of 2017 (slightly edging out “The Big Sick”).  It is a tongue-in-cheek look at the production of ne’er-do-well Tommy Wiseau’s “The Room,” a movie considered by many to be the worst of all time.  The film’s tone is established in an introduction with several Hollywood notables sharing their memories of “The Room.”  Regardless of if you have seen the epically bad film within this film, you will be laughing out loud at the cluelessness, odd accent, and unexplained wealth of the main character.  The key to the film is its script that brings the bizarre world of Tommy to life.  I’ve found myself saying the same thing about every R-rated movie this year: the script (my pick for Best Adapted Screenplay) would have been so much better without the endless stream of unnecessary f-words.  I don’t think that there was a single moment in the film that required the use of an f-word to make it funnier than it would have been with any other word.  Profanity aside, this script is hysterical.  Wiseau’s odd characteristics have become iconic throughout the film industry and James Franco plays them to perfection.  However, Franco was snubbed of an Oscar nomination (weeks after winning a Golden Globe) amidst unsubstantiated allegations of sexual misconduct.  This has brought us to a turning point in the film industry where they are going to have to start being consistent on whether they are giving awards based on an actor/filmmaker’s onscreen performance or their off-screen behavior.  I understand that Harvey Weinstein has given Hollywood a black eye and that the entire industry has launched into damage control, but it’s hard to accept that they have robbed Franco of an Oscar nomination less than a year after Casey Affleck won the award with an inferior performance and substantiated accusations.  I’m okay if we stop rewarding immoral Hollywood bigwigs, but I don’t know that it is fair to pass judgement before there is evidence to back the accusations.  End rant, back to Franco.  He has offered his best performance since “127 Hours,” this time embracing his natural sense of comedy and playing Wiseau so accurately that you’ll forget that it is Franco.  He makes the character endearing and obnoxious at the same time, fully committing to the role (as you will see with his graphic nude scene that we all wish would have been toned down quite a bit).  The Oscar snub is a shame as he is the only actor who could have taken on Gary Oldman in the Best Actor category this year and I wish I could’ve seen that battle between comedy vs. drama play out.  One of the greatest aspects of this film is the natural chemistry between the Franco brothers.  Dave seems so natural poking fun at his brother and they create the perfect frenemy dynamic as Tommy and Greg.  I also loved Seth Rogan as the exasperated director who is trying to hold the chaotic production together (so that the paychecks will continue to roll in) and Zac Efron as Chris R. (not just “Chris,” he has to be referred to as “Chris R.”).  These actors are complimented by cameos from Bryan Cranston, Sharon Stone, Bob Odenkirk, and a large handful more.  The highlight of the film is the pre-credits side-by-side recreation of several of the worst scenes from “The Room,” including the game of catch in tuxes, random breast cancer line, and the infamous “Oh, hi Mark” moment.  “The Disaster Artist” is sure to have you in stitches, especially if you have seen “The Room” and always wanted to know how such a terrible movie could come to fruition.

[Pictured: Regardless of if you have seen "The Room," the story behind its creation and the world inside of Tommy Wiseau's head is so unbelievable that you will love this film.  Oh, hi Mark.]

The Florida Project - 8 stars out of 10

The Florida Project - 8 stars out of 10

“The Florida Project” gives us a glimpse into the world of the homeless through the innocent eyes of a child.  It masquerades as a series of vignettes that catalogue a young girl’s adventures but actually reveals the toxic world that her irreverent mother has created.  The improvised script and cinematography establish the guerilla-like tone that director Sean Baker envisioned; however, I found it difficult to fully digest the story because the important themes aren’t woven throughout the dialogue.  As a result, I didn’t realize how much of the film was hard to stomach until the next day.  One of the most amazing aspects of this film is its genius setting.  The characters’ proximity to Walt Disney World reinforces the film’s central theme: Hope is just down the road but seemingly unreachable.  I found the most memorable part of the film to be my complete disgust for Moonee’s mother.  Bria Vinaite, in her acting debut, turns this character into literally the most detestable human being that I have ever seen.  I was really angry with the casting throughout the film, until I finally realized that she was delivering an incredible performance.  I’m sure that the script’s character description said something about being “unbearably trashy,” but the improvised nature of the script leads me to give most of the credit to the actress and not the writers.  I’d go as far as to say that she deserved a Best Actress nomination more than (dare I say?) Meryl Streep for being so completely hateable.  Willem Dafoe deservedly received an Oscar nomination for his portrayal of the father-like motel manager who finds a way to love his residents, regardless of the sad circumstances that they have embraced.  He is a perfect dynamic contrast to Vinaite.  Brooklynn Prince also received widespread acclaim as Moonee but it didn’t click for me until the final scene where we got to see actual acting instead of a kid just being a kid.  Her character is a brat, but you forgive her every step along the way because of her circumstances.  It is also important to note how much of the film Prince carried on her shoulders (even if she is just acting like a kid the whole time).  “The Florida Project” probably won’t resonate with a lot of people due to its improvised nature, sad content, and unclear storytelling, but it is an impressive display of acting that is sure to leave you feeling all sorts of emotions in the end.

[Pictured: Vinaite gives one of the most cringy performances ever (in a good way)]

Roman J. Israel, Esq. - 4 stars out of 10

Roman J. Israel, Esq. - 4 stars out of 10

“Roman J. Israel, Esq.” has an odd name and an odd script to match.  Most of this film's issues stem from its script and editing, getting caught somewhere between the tone of a courtroom thriller and a mundane character study.  This lack of commitment to a genre creates an identity crisis.  The story itself is very interesting but the execution is slow-paced and forgettable.  After the Golden Globe and Oscar nominations came out, I expected the film’s saving grace to be Denzel Washington.  In fact, one movie reviewer went as far as referring to the titular character as “a 21st century ‘Rain Man,'” but I actually found it to be the least impressive of Denzel’s eight Oscar-nominated roles.  The real question is how he received a nomination over James Franco in "The Disaster Artist."  I don't condone the things that Franco has been accused of, but aren't the Oscars supposed to award an outstanding performance and not a person's character?  Denzel's performance lacks a moment that makes you say “wow” and his character transformation from an idealist to a cynic doesn’t shine through.  It seems like the rest of the cast struggles to make something of the script as well.  I can't recommend “Roman J. Israel, Esq.” until it is rebooted with a new script.

[Pictured: After his performance in “Fences” last year, anything was going to be a letdown.  Especially with this script]

Blade Runner 2049 - 9 stars out of 10

Blade Runner 2049 - 9 stars out of 10

“Blade Runner 2049” is the type of film that makes you sit back and say “Wow.”  It is a visual marvel from its holographic AI character “Joi” to its vividly bleak dystopian setting, offering an even grittier view of the future than the original.  Director Denis Villenueve has created a spiritual successor to Ridley Scott’s iconic “Blade Runner” that honors and expands the universe that was first revealed 35 years ago.  I was so awestruck by this film that I had to watch it a second time the next day.  Roger Deakins’ cinematography has created one of the most beautifully shot films of all time and I believe that he will finally win his Oscar.  So many of these shots became immediately iconic, all culminating in the haunting Joi love sequence that will spin your mind in circles. 

[Pictured: The Joi love scene took over a year to pull off and was shot using mostly practical effects, layering video footage of two actresses on top of each other through double exposure.]

Ryan Gosling does a good job of walking the line between human and machine as a Replicant and it is magic to see Harrison Ford reprise his role of Rick Deckard, but this film is all about the girl power.  It is interesting that the film was criticized for its portrayal of women in the future when its three most dynamic characters are female.  Robin Wright has been infallible over the past few years and continues her streak of excellent roles as Lieutenant Joshi.  She gives her character multiple layers with a hard exterior that is complimented by her soft spot for K.  Ana de Armas is completely endearing as Joi, the holographic AI character and voice of reason throughout the film.  Her character is designed to keep us wondering if her love for Gosling comes from her heart or from her computer programming.  This complex existence gives her character the most depth in the film, even though she is 2-dimensional.  Meanwhile, Sylvia Hoeks is the polar opposite of Luv: cool, composed, and heartless.  The scene where she is reclining in the white leather chair controlling drones as she has her nails done is already iconic.  You will never forget the intensity of her underwater scene, either.

[Pictured: This shot is about as “Ridley Scott” as you can get.]

For all of the amazing aspects of this film, it is simply too long.  This is properly reflected in its Oscar nominations: the film’s Production Design, Visual Effects, Cinematography may be the best that we’ve seen since “Mad Max: Fury Road” (plus nominations in the Sound categories), but it fell short of categories like Best Picture, Best Screenplay, and Best Editing due to its 160-minute runtime.  I would love to see the 2-hour version of this movie.  It would’ve allowed plenty of time to tell its fascinating Replicant story, show several action sequences, explore post-apocalyptic Las Vegas, and fill its world with Ridley Scott-esque imagery without dragging on.  I could’ve also done without all of the adult content but I understand that it is a part of Villenueve’s image for the gritty future.  It’s actually less abrasive than a lot of R-rated films but be aware that you may want to cover your eyes at several points.  Despite a few shortcomings, “Blade Runner 2049” is an unforgettable film that will stick with you long after the credits roll.

[Pictured: “Blade Runner 2049” has a style of its own that sets it apart from any other film, including the original “Blade Runner”]

War for the Planet of the Apes - 8 stars out of 10

War for the Planet of the Apes - 8 stars out of 10

“War for the Planet of the Apes” is the latest chapter in the epic reimagining of the Planet of the Apes series.  The world of the apes is brought to life through the most vivid motion-capture animation ever created.  The primates are so realistic that it gets pretty creepy at times.  The film does an amazing job of blurring the line between what is real and what was added through digital effects, creating a completely cohesive atmosphere that we believe is 100% real.  The film is unquestionably one of the top two contenders for the Best Visual Effects Oscar this year.  The real question is whether the Academy will favor its incredibly realistic computer generated characters or “Blade Runner 2049’s” vividly bleak dystopian setting.  Unlike most of the critics, I didn’t love the story as much as the first prequel from 2011.  I’m a sucker for origin stories and felt that there wasn’t enough interaction with characters that can talk to keep the story moving along.  I appreciate that Caesar is set apart by his ability to speak but it takes way too long to move the plot along.  The most standout piece of this puzzle is Andy Serkis’ performance as Caesar and I hope that he will someday be acknowledged by the Academy for his incredible embodiment of characters through motion capture.  I feel that he could justifiably be a contender for Best Actor, but we will likely have to wait for an honorary award.  Woody Harrelson makes a perfect nemesis and continues to be on a roll of impressive roles.  “War for the Planet of the Apes” is a fitting conclusion to this chapter in the series, delivering a poignant ending and an open-ended option to expand the universe to future films.  I am still amazed at its ability to make us love a creepily realistic ape more than the humans that he encounters.

[Pictured; Andy Serkis' facial expressions are reason enough to watch this film series]

Lady Bird - 9 stars out of 10

Lady Bird - 9 stars out of 10

“Lady Bird” is a coming-of-age story that focuses on a high school senior’s struggle to find a place of belonging and her tense relationship with her mother.  The story strays away from far-fetched circumstances and transforms its characters through realistic adolescent situations.  The main character is loosely based off of writer/director Greta Gerwig’s childhood experiences at a Catholic school in Sacramento and it shows in the vividly detailed Lady Bird character as well as the characters that surround her.  It is like watching life unfold before your eyes.  Some of the content is strong, but it matches the language and circumstances of teenagers who are trying to fit in.  I actually gained most of my appreciation and understanding of the film during a conversation with my wife the following day.  I had trouble relating to the characters until she described the film as “her version of ‘Boyhood.’”  While my personal experiences didn’t align with Lady Bird’s, the film realistically depicts life as a high school girl in the same way that “Boyhood” walked through many of my adolescent struggles (to which my wife couldn’t relate).  I still find “Boyhood” to be a superior film because of its incredible execution of a nearly impossible undertaking as we literally see the characters grow up over the course of 12 years, but “Lady Bird” works as a great companion piece through its female perspective of finding yourself.  There is a painstaking attention to detail in making this film feel like real life.  Even seemingly insignificant moments like when Julie meets Mr. Bruno’s pregnant wife resonate with our memories of adolescent struggles.  The key to any film that centers on everyday life is raw, realistic acting.  The film establishes this with Saoirse Ronan (who performed without makeup to show a real version of herself), Laurie Metcalf’s honest portrayal of motherhood with a frustrating teen, Tracy Letts’ endearing father-daughter relationship, and Stephen McKinley Henderson’s veteran acting ability.  I didn’t love Ronan’s performance as much as I loved her in “Brooklyn” so she isn’t getting my vote for the Best Actress Oscar, but she is still incredibly impressive.  She is proving to be one of the finest actresses of our generation and she is only 23 years old.  Her chemistry with Metcalf would make you think that they are actually related and each of their abilities to turn on a dime from devastation to elation and back again makes their Oscar nominations well-deserved.  I also loved the performance of Beanie Feldstein who embodies that unconditionally loving friend that we’ve all been able to rely on in our worst times.  “Lady Bird” doesn’t have action sequences or big twists, but it does have comedy, sadness, and a transformation of characters through everyday circumstances to which we can all relate.

[Pictured: This image screams "high school!" Perfect casting and amazing acting]