It Follows - 8 stars out of 10

It Follows - 8 stars out of 10

“It Follows” is a surprisingly good horror film.  The premise seems a bit silly, centering around a curse that is passed from person to person by having an “adult” encounter.  The supernatural entity then slowly follows you until it either kills you or is passed on to someone new by the same means.  The synopsis is a headscratcher until you watch it and understand its symbolism.  If you’re catching on, the film can be an allegory for several different things including AIDS and STDs.  It is pretty genius to incorporate this into a horror film since the lifelong consequences of these diseases are scarier than any slasher film.  The most clever part of the film is that you can’t get rid of “It” – once “It” catches someone, “It” starts working “Its” way back down the line until “It” gets to you.  You can buy yourself some time but it will eventually catch up to you, similarly to how you cannot escape the physical and emotional toll of these diseases.  I hesitated to watch this film because I knew that there would be a lot of adult content but director David Robert Mitchell focuses on the consequences of the action instead of the action itself.  That being said, the content is too extreme for kids or teens and the R-rating should be observed.  The acting is quite good for such a young cast, particularly Maika Monroe and Daniel Zovatto whose characters really popped off of the screen.  The most impressive part of the film is its portrayal of the entity.  It catches you off guard because it takes different forms, sometimes normal and sometimes frightening (and particularly gross at times).  Perhaps the scariest thing about the entity is its slow speed.  It enhances the sense of dread that you can get away but you will have to run and be alert for the rest of your life.  I appreciate the amount of restraint shown throughout the film, first making us wonder if the entity is really capable of much and then magnifying the fear factor each time that the characters encounter it.  This is one of the few times that I’ll ever say that I would love to see a sequel.  There are so many layers of this story that could be unwrapped if the main character started going down the line to discover the origin of the curse.  Then again, maybe we should learn from “The Ring” series and remember that the unknown is always scarier than what we know.  “It Follows” is an original concept that stands out in a genre that often suffers from repeating the same story over and over again.  It is important to be aware of the premise and the content that comes with it but the story at the heart of this film is fascinating and perfectly executed.

[Pictured: The entity moves so slowly that it is unnerving]

Black Panther (2018) - 10 stars out of 10

Black Panther (2018) - 10 stars out of 10

“Black Panther” is more than just another Marvel movie.  It hits all of the right notes in different categories from production design and special effects to acting and a topical social commentary.  It has also been praised for its diverse cast but I hope that people see that this is a bonus and not the main reason that it should be celebrated.  The Marvel Cinematic Universe has had its high and low points in regards to acting and storytelling, though most maintain that classic superhero film feel.  The layering of this story is more akin to a critically acclaimed drama told through the lens of superheroes.  I also found it refreshing to have a standalone film, compared to every other recent Marvel film that necessitates a strong presence of Stark Industries to strengthen its story.  I understand that this is what has made the MCU unlike anything that the film industry has ever seen but it’s been a long time since we saw a superhero film that stands completely on its own legs.  And that is why I believe that this is the first superhero film to have a legitimate shot at some Oscars outside of special effects - it is a complete package.  Writer/Director Ryan Coogler has crafted a script that perfectly fits into a superhero universe while drawing parallels to the modern headlines of refugees, building a wall around your borders, and countries keeping to themselves instead of helping those who are in need.  Coogler’s political stance is very clear and he uses the film as an allegory to shine a light on his concerns, much like George Orwell before him.  The cast that brings this story to life is a “Who’s Who” of Hollywood’s biggest stars.  You know that you’re doing well when Forrest Whitaker and Daniel Kaluuya are around sixth and seven on the cast list!  Chadwick Boseman drives the entire film with his conflicted character who does not know how to be both a good person and a good king.  Michael B. Jordan put knots in my stomach every time that he appeared because I empathized with his circumstances but hate his actions.  His intensity helps the dichotomy of the film since his L.A. personality doesn’t feel like it belongs in Wakanda, which is exactly the point.  He makes an amazing villain.  Lupita Nyong’o and Danai Gurira make amazing warriors in these empowered roles and Martin Freeman brings some important comic.  Perhaps the most underrated performance comes from Andy Serkis.  He steps beyond the curtain of motion capture to show that his live acting can be just as chilling and intense without the help of computer graphics.  Speaking of computer graphics, this film is a visual masterpiece.  The technological/woodsy world of Wakanda is vivid and feels like it could exist in a hidden corner of our world and the cinematography supersedes what you’d expect from an action film.  The soundtrack perfectly compliments the story’s dual African and superhero roots and the sound editing captures every sound from fantasy flying ships to the simplicity of a museum.  “Black Panther” is the complete package and sets a new expectation of what a superhero film should be.

[Pictured: The incredible hero/villain combo of Boseman and Jordan is one of many amazing aspects of this film]

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]