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]