Visions (2015) - 8 stars out of 10

Visions (2015) - 8 stars out of 10

In a world where most horror films follow a certain equation, “Visions” reverses the equation in a way that I have never seen before.  This direct-to-video is quite impressive and deserves a theatrical run.  The film follows a pregnant mother who is haunted by a tragedy from her past.  Sounds pretty standard, but the delivery is magnificent.  The setting is interesting, tucked away in the mountains for a feeling of isolation but at a vineyard that has neighbors close enough that the main couple frequently interacts with others.  The mystery develops at a pace that keeps us interested but gives us time to question where the visions come from, what they mean, and how the house factors into them.  There are a few big clues throughout the film that could give it away but the script withholds one important piece of information that renders the clues useless.  This provides us with that great “A-ha!” moment at the end.  The way that every single clue lines up in the final sequence is sophisticated beyond most horror films.  This amazing story is accompanied by strong performances that bring it to life, particularly Isla Fisher in the lead role.  Her character feels real but her distress over her past makes us question if her visions are real.  She is joined by Anson Mount as her sympathetic husband and Joanna Cassidy as the token in-tune-with-the-supernatural-world character.  I was particularly impressed with Gillian Jacobs and her impassioned role.  Jim Parsons and Eva Longoria are there to add big names to the cast list but they don’t do much.  Overall, it’s easy to disregard “Visions” at first glance since it never appeared in US theaters.  However, don’t pass on this film just because you’ve never heard of it!  Once you give it a chance, you will find that its sophisticated concept and execution aspire beyond most big-budget horror films.  This is a must-see!

[Pictured: Isla Fisher brings intensity to this well-written story]

The Wife (2017) - 10 stars out of 10

The Wife (2017) - 10 stars out of 10

"And the Academy Award Goes To...”  At first, I was annoyed at the prospect of Glenn Close winning this year’s Best Actress Oscar over Lady Gaga.  “A Star Is Born” was an amazing film with Gaga commanding the screen and it seemed like Close would receive the Oscar merely because it was “her turn.”  And then I saw “The Wife.”  This is one of the best films of 2018 and I don’t know how it has been neglected on the awards circuit.  Glenn Close drives this film with her powerful performance, bringing both timidity and boldness to her character.  It has an amazing pace that builds to that moment when she will reach her boiling point.  And just when we think that we have her figured out, her character develops another layer in the final scene.  It is truly an Oscar-worthy achievement.  While she has been celebrated for this powerful portrayal, where is the acclaim for Jonathan Pryce’s extraordinary performance?  He has barely been acknowledged and yet, part of what makes this film so strong is the chemistry between these leads.  His character strengthens Close’s character, not to mention that he effectively earns our sympathy and disdain.  There was certainly room for him in the Supporting Actor category.  The casting of Annie Starke was wonderful as she perfectly embodied a young Glenn Close and her quality of acting helped to strengthen our attachment to Close with every flashback.  I also loved the use of Christian Slater’s character to gently push the buttons of the others.  He is outside of the main conflict and yet, he is the key element that pushes each character over the edge.  This amazing character development makes me believe that the screenplay was deserving of an Oscar nomination.  Outside of the excessive profanity (which was not always necessary for the characters to express their frustrations) and that awkward opening scene, this story develops perfectly.  I was particularly impressed with its ability to mask the twist until a few subtle insinuations that provide that jaw-dropping realization.  Again, there was definitely room for this film in the Adapted Screenplay category.  I watched “The Wife” out of skepticism for Glenn Close’s potential Oscar win but in the end, my skepticism shifted toward the awards shows and their lack of recognition for this incredible film.  This is one films that is not to be missed this awards season.

[Pictured: Every moment of this film is carefully constructed to eventually push each character to their limit]

Vice - 6 stars out of 10

Vice - 6 stars out of 10

"Vice” is kind of a mess.  It had the potential to be a witty political satire but the end result is a confusing, cumbersome story that doesn’t quite know when to end.  Director Adam McKay tries to replicate the unique, quick-cutting style of “The Big Short” but this one lacks the charm of Margot Robbie randomly appearing and explaining confusing banking concepts.  When creating a stylized film, it’s go big or go home and he just didn’t go big enough.  There aren’t enough goofy moments throughout the film, making these quick cuts come off as non sequitur instead of the norm.  I will say that Alfred Molina’s waiter cameo was a very clever way to present information and the false credit sequence was hilarious.  But those felt like the exception within this dry, fairly cold story.  There is also the issue of seeing this after Oscar nominations were released.  It is one thing to walk into a satirical film without much expectation.  It is very different to walk into a satirical film that has 8 Oscar nominations.  Unfortunately, there are more-deserving films that were robbed of nominations for Picture, Director, Editing, Screenplay, and even some of the Acting categories.  Sam Rockwell and Steve Carell provide over the top caricatures of George W. Bush and Donald Rumsfeld.  They are cartoonish in nature and were hilarious every time that they appeared onscreen.  But when you contrast their exaggerated energy with Christian Bale’s exaggeration of Dick Cheney’s monotone, Bale comes off as boring.  This is the antithesis of what this film was aiming for!  And two hours is a long time to watch a story centered around a boring performance.  That being said, Cheney was well-written as a masterminded villain and it doesn’t take away from Bale’s dedication of putting on 40 lbs in order to properly embody the character.  His resemblance is uncanny and the film will likely win the Best Makeup and Hairstyling Oscar for his transformation.  Like Rockwell and Bale, Amy Adams earned an Oscar nomination.  Her performance as Lynne Cheney is good but there is no moment that screams “Oscar nomination!”  I look at all of these acting nominations and expect this to be one of the best films ever but it just doesn’t feel that way.  I read an interesting article that pointed out that, aside from Bale’s transformation, none of the actors really look like their real life characters so the film feels like a 2-hour SNL skit.  I wanted to love “Vice” but honestly, I hope that it doesn’t win any Oscars (outside of the well-deserved Makeup award) so that people won’t feel pressured to sit through it.  Now, a movie centered around Sam Rockwell’s Bush impersonation… that is something that I could get behind.

[Pictured: The main flaw of this film is Bale’s placement amongst high-energy characters, who continually detract from his performance]

First Reformed - 2 stars out of 10

First Reformed - 2 stars out of 10

To be blunt, “First Reformed” wasn’t very good.  There is a large disconnect between this film’s high Rotten Tomatoes rating and what I watched on my screen last night.  This slow-moving character study had a lot of aspects that could have made it great and they all fell flat.  First, everything in the film is underplayed.  The film opens with the main character keeping a journal but this seemingly important plot device isn’t even mentioned in the last twenty minutes of the film.  There is also a severe lack of emotion for something as devastating as a minister whose faith is slipping away and a pregnant woman dealing with the suicide of a loved on.  Ethan Hawke should have given an unforgettable, emotional performance.  He has received critical acclaim and I love just about every role that he’s ever played, but his acting was two-dimensional.  Some of his character’s ideas change throughout the film but I don’t feel that he embodied the change.  Amanda Seyfried may have been trying to portray a numb, frail person but it comes off as if she isn’t even trying to act.  There is also the screenplay that takes an interesting concept and portrays it in the least interesting way possible.  I have never seen cancer portrayed in such an inconsequential fashion.  It seems that “First Reformed” is this year’s Oscar tribute for lifetime achievement and not this particular screenplay.  Paul Schrader has been involved in many important films throughout the years and it is illogical that this is his work that is most deserving of a Best Original Screenplay Oscar nomination.  It is unfathomable that this film beat out “Eighth Grade” for the nomination.  The only part of this film that I enjoyed was the surreal floating scene, which didn’t even fit in with the rest of the film.  I don’t know what the critics are thinking but “First Reformed” is one of the least impressive films that I have seen in the past year.

[Pictured: Actually me for the entire duration of the movie]

Solo: A Star Wars Story - 8 stars out of 10

Solo: A Star Wars Story - 8 stars out of 10

"Solo: A Star Wars Story” deserves more love than it has received.  By any other standard, the film tells a fascinating story with impressive cinematography and amazing visual effects.  But the Star Wars standard requires an important blend of innovation and nostalgia, and this one falls short.  Like many other Star Wars fans, I am guilty of skipping this one in the theater and waiting until it was available on Netflix.  Its release didn’t feel like an “event” and that is a direct result of Disney’s overconfidence in how often they could get Star Wars fans out to the theater.  It’s crazy that a film could bring in nearly $400 million and be considered a box office failure but again, that is the Star Wars standard.  While the film is quite good, it is a step below its big sister, “Rogue One,” and probably the weakest of the franchise (excluding the Hayden Christensen trilogy).  Where “Rogue One” feels like a chapter of the trilogies, this feels like a bonus feature.  It suffers from a single fundamental flaw - Harrison Ford is the only person that can play Han Solo.  There isn’t anything wrong with Alden Ehrenreich’s acting but we will never believe that he will someday become the Han Solo that we all know and love.  Donald Glover as Lando Calrissian is much more believable.  He captures the spirit of the character in a way that makes it easy to see a kinship with Billy Dee Williams.  The story introduces some interesting new characters that help to shape Han Solo.  Qi’ra, played by Emilia Clarke, is the standout character of the story as she helps us to understand Han’s mistrust and cynicism toward women.  She benefits from proper character development that isn’t dependent on our knowledge from other films.  I also loved Woody Harrelson as Beckett, who helps us to understand Han’s rogue personality later in the series.  Harrelson seemed too mainstream to fit into a Star Wars film but his character’s ambiguous good guy/bad guy persona worked perfect for his acting.  I had some issues with John Powell’s scoring of the film.  He was a little too obvious with the musical cues in the significant moments like when Chewie sits copilot for the first time. Those of us that love Star Wars will get those moments with a subtle musical nod of the main theme, not a sudden fanfare.  One thing that the film really gets right is its elaboration on beloved aspects of the Star Wars universe.  We finally get the answers to many important questions: How did Han and Chewie end up together?  Where did the Millennium Falcon come from?  Why is it significant that the Falcon completed the infamous Kessel Run in less than twelve parsecs (and did it actually)?  What’s the story behind Han and Lando’s unique “frenemy” vibe?  And there’s even a reference to “Black Spire,” the upcoming story location for Disney Parks’ Star Wars: Galaxy’s Edge.  “Solo” has the backstory, Star Wars Easter eggs, and Oscar-nominated Visual Effects that we expected.  It delivers on the promise of being a “space Western” by incorporating elements like a “train” robbery, close-up gun holster grabs in a shootout, and sweeping panoramic shots.  It introduces us to new characters like Qi’ra and Beckett while paying homage to old friends like Chewie and Lando.  The main issue with “Solo” is… Han Solo.  By any other name, this film would be lauded for its storytelling and visual achievements.  Unfortunately, this film just couldn’t live up to the name of Han Solo.

[Pictured: Even if Ehrenreich isn't a believable Han Solo, this is still pretty awesome]

If Beale Street Could Talk - 7 stars out of 10

If Beale Street Could Talk - 7 stars out of 10

My expectations for “If Beale Street Could Talk” were too high.  The Certified Fresh rating on Rotten Tomatoes and award season hype had me expecting a mind-blowing film but I felt pretty indifferent in the end. It reminds me of “Loving” from a few years back.  With both films, I had an expectation of an emotionally-charged racial story that would have me fired up but the end result was “very good” but not great.  That isn’t to say that I wasn’t fascinated by this classic story from James Baldwin.  This adaptation utilizes a nonlinear timeline to maintain the mystery of why Fonny is in prison and whether he is guilty.  It also helps us to form bonds with the characters by allowing Director Barry Jenkins to decide when to reveal different events in each character’s life.  Introducing Fonny when he is stealing woodworking materials might not make him very likable but introducing him within the context of his relationship with Tish paints him in a positive light.  This makes us more understanding of his negative actions as we’ve already seen how the trials of his life have shaped him.  Kiki Layne and Stephan James give strong performances in the lead role while Regina King gives a very good performance as the mother, but I’m not sure that it is worth all of the hype.  A nomination in the Best Supporting categories comes with a certain expectation - the actor will have one extremely emotive moment that sticks with you (think Anne Hathaway in “Les Mis”).  This is the same issue that I had with Mahershala Ali’s win for “Moonlight.”  He had a nice performance but there was no “wow” moment.  I was very surprised to see Marina de Tavira with a nomination for “Roma” but even she had that heartbreaking moment when her husband leaves.  King plays her character very well but I was still waiting for here “wow” moment when the credits began to roll.  If I were going to choose a supporting performance that stood out, it would be Teyonah Parris as Ernestine.  I believe that she was only in one scene but her spunky attitude left a big impression.  One of the film’s most perplexing Oscar nominations is for Best Original Score.  As a musician, I am very attuned to the memorable themes woven throughout a score and the music that enhances our emotions throughout a film.  Nicholas Britell provided neither.  This score is a plodding, repetitive dirge with an occasional jazz dissonance.  I can’t imagine that anybody could sing “The Theme from Beale Street” if I asked and I blame the score for preventing me from forming the truly empathetic bonds that should come so naturally in this story.  “If Beale Street Could Talk” has an interesting story and good acting but I am one of the few that is not surprised by its lack of Oscar nominations.

[Pictured: "Beale Street" offers a powerful story but doesn't quite live up to the hype]

Eighth Grade - 9 stars out of 10

Eighth Grade - 9 stars out of 10

"Eighth Grade” is hilarious because it is so completely accurate.  Director Bo Burnham must be in touch with his inner adolescent because every stereotyped kid and every overdramatic teenage tragedy is spot on.  The film is one long pop culture reference and even though this causes it to be instantly dated, the struggles of Kayla are forever relevant.  It needs to be this way in order to properly capture this snapshot of adolescence in our current technological age.  The screenplay is really well-written, incorporating “umms” and “likes” into the dialogue of its teenage characters.  There is so much awkwardness intentionally injected into every scene.  The themes of peer pressure, anxiety, and sexting are accurate and effective as they explore the social issues of a generation that spends more time staring at a screen than looking up.  As a teacher, this film is an important reminder to adults about how fragile preteens can be and that their sensitivity is important, no matter how silly the situation looks to us.  15-year-old Elsie Fischer is magnificent as Kayla.  She really gets to the heart of the character as she awkwardly interacts with her peers but shows confidence in her internet videos.  You would totally believe that this was her personal video diary.  Subtleties like the way that she carries herself in the pool scene make her acting multidimensional.  One of the best-written characters is Kayla’s dad.  He is hilarious because he perfectly embodies every characteristic of a real-life embarrassing dad.  Josh Hamilton balances his goofiness with a beautifully tender moment toward the end.  His chemistry with Fischer feels like they are family.  While the film could be very valuable to eighth graders with its important messages about self-worth and being yourself, the content goes beyond anything that I would ever let my middle schooler watch.  There was some controversy over the MPAA’s decision to give it an R-rating but I believe it to be the correct rating.  There are definitely things that could have been cut to make it more appropriate for teens without losing the film’s grit and message.  “Eighth Grade” is a hilarious look back at those awkward middle school years.  I found myself laughing out loud because the characters and situations are so accurate but at its core, it captures the essence of how scary the world looks through the eyes of an adolescent.  I highly recommend the film, even if you won’t be able to enjoy it with your teens.

[Pictured: The awkwardness that permeates this film is palpable]