“Isle of Dogs” Review

It’s true what Honest Trailers said about Wes Anderson. He really is his own genre. Isle of Dogs is Anderson’s return to stop-motion animation, and you can expect the same quirkiness in this film many have come to love. His unique style and humor is so distinct and distinguishable, making each of them quite memorable.

I’m not sure what it is about Anderson’s style that I enjoy so much. I think it’s due to the fact that many of his characters are often put in comedic situations but take everything seriously. They aren’t completely aware of the comedy of it all, and I think that makes it very entertaining to see. The concept is no different in this film, as it follows a bunch of dogs who have been banished to “trash island,” in a world where the Japanese people have consequently grown in their disdain for dogs.

For a movie with such a silly and quirky premise, there’s a surprising amount of depth to it. Anderson fleshes out a lot of the backstory with the characters in play, while keeping the film at a brisk 101 minutes. I was pretty engaged with the story throughout, and that was not only due in part to the creative story but also the characters. The cast for this movie is absolutely stacked, and while each dog didn’t have equal screen time, there were plenty of moments to be had that distinguished each of them from one another.

It’s not hyperbole to say that the animation is absolutely stunning. Stop-motion animation seems like it’s almost not even worth the effort, after seeing how much work creators had to go through in the behind the scenes. There’s so much detail in every frame, and it really pays off with the sheer amount of detail. While some may argue that the dogs look creepy (I think that’s somewhat intentional), it doesn’t take away from the fact that it was truly stunning to see something like this fully realized on the big screen. It’s refreshing to see animation like this apart from your standard fare CGI.

The best way to describe this movie is that it is delightful. Maybe that’s the fact that it has to deal with dogs and most people love dogs, but a lot of it also has to do with the story. I won’t get into it for spoilers sake obviously, but the heart of this movie reveals a simple and sweet story that Anderson does a great job of capturing. I wouldn’t really say that there’s anything wrong with this film, but I also wouldn’t say that it does a lot to set itself apart from other Wes Anderson movies. I don’t think it was as funny as his previous stop-motion film Fantastic Mr. Fox, but it still had some genuinely funny moments. Perhaps I gravitate towards humor that can only be expressed by a human being’s facial expressions and comedic timing, but Isle of Dogs has more going for it than humor. It has incredible visuals that should not go underappreciated. I’m glad that Anderson has found a space for exploring stories in both the live action and stop-motion animation medium. I’m pretty much down to watch whatever this guy makes.

Grade: B+/83

“Pacific Rim Uprising” Review

It’s been a while since I watched something knowing that it was going to be a stupid but entertaining movie. The sequel to Guillermo Del Toro’s original homage to Japanese mecha animes faces an uphill battle in this poorly thought out, but entertaining mess of a movie.

Taking place ten years after the original, it focuses on one of the original character’s son, played by John Boyega. Boyega is definitely an up and coming actor, but the writing of this movie definitely doesn’t do him many favors. A lot of the humor just seemed like a weak attempt to get laughs most of the time, and it barely got laughs in my theater that happened to include a lot of kids. However, he’s still a charismatic presence in the movie and that definitely helps. Another character that gets a lot of screen time is a young girl played by Cailee Spaeny. She gives an okay performance, and again, a lot of that is due to mediocre writing. I’m sure she could possibly have been better, but there wasn’t much going for her or anyone in this movie, to be frank.

For a movie that is clear in not wanting to take itself too seriously, there’s a surprising amount of plot in this film. The first half of the movie really jams in a lot of subplots and tries to tie them all together in the overall narrative of the Kaiju eventually returning, yet it also clearly wants to get to the good parts and show the giant Jaegers throw down with the monsters. It puts itself in a bad position in that it rushes a lot of story elements that could honestly have been somewhat interesting, if they spent just a little more time on it. However, because it really just wants you to see what you came to this movie to see, it sacrifices a lot of its emotional weight in favor of mindless action.

That’s not to say the action isn’t good. In fact, it’s quite good. I haven’t seen the last two transformers movies, but I definitely think the giant mecha battles in Uprising were handled a lot better than expected. It’s not like a jumbled mess where you can’t tell what’s going on. It also helps that none of the fight scenes are in the rain like the first film, so it’s easy to be engaged during the fight scenes. So in that sense, this movie’s main purpose is fulfilled adequately well.

Overall, the movie could have been better if it had a chance to evaluate what story elements were worth introducing and which could have been scrapped on the cutting room floor. I never expected the writing to be top notch, as it’s roughly on the same level of cheesiness as the Fast and Furious movies (and look how successful those movies turned out!). The movie throws a lot at you but really wants you to just enjoy the action, so it left me with some ambivalent feelings. It’s a stupid movie for sure, but it kind of doesn’t allow you to turn your brain off because there’s a decent amount to keep track of. I have a feeling there will be a third movie in this franchise, so we’ll see if they can learn from the mistakes in this film and create a more refined film akin to the original.

Grade: C/64

“Black Panther” Review

Well, assuming that everyone on the planet has already seen this movie twice, I don’t need to say much about this movie.

The trend of hyperbolic language continues with Marvel’s next installment, many hailing it as the best Marvel movie of all time and set apart from every other comic book movie. I also happened to notice a sort of stigma with this movie in that people were afraid to talk bad about it, out of fear that they might be called a racist or something. It’s kind of sad that movies about superheroes are so politicized by the media nowadays, even when the director Ryan Coogler had no intention of making it like that. I’ll get more into that later. With regards to this movie, I’ll attempt to do something not many critics have done yet…review it for what it is and not politicize it.

This movie is good. It’s thoroughly entertaining, and it boasts a fantastic cast. I think I almost prefer it now whenever the supporting cast of a comic book movie outshines the main protagonist. Chadwick Boseman does a serviceable job as the Black Panther, but it’s the supporting characters like The Walking Dead‘s Danai Gurira and the always-fantastic Michael B. Jordan that really make the film enjoyable. There’s a lot of big names in this film, and while they don’t all get a chance to show off all their acting chops, they make the most of it in the screen time they’re given.

Obviously, Michael B. Jordan’s character as the villain Killmonger has the biggest spotlight in terms of what critics have been saying about him. Many touted him as a revolutionary comic book villain and such, but I don’t quite see it like that. Much of the movie’s story revolves around him, and he obviously gives a great performance. My biggest issue with him was that I felt like he was barely in the film. For someone who has such an integral part to the story, there wasn’t nearly enough time dedicated to him and his character’s background. There’s a subplot with Andy Serkis’s character that I felt like should have been almost completely removed in favor of having more Michael B. Jordan, but I kinda understand some of the logistics behind having it in. I definitely see Killmonger being a better villain than most of the ones in previous Marvel films (which are generally crap),  but I wouldn’t put him above Homecoming‘s Michael Keaton as Vulture.

The action in this film is pretty good, but somewhat disappointing. The first action scene is at night so you can barely see anything, and the rest of them after that are very heavily reliant on special effects. I loved the fight scenes with Black Panther in Civil War, so I was expecting more of those well-choreographed fight scenes. There are still some in this film, but it definitely doesn’t stand out as much.

The setting of Wakanda and being largely disconnected from the rest of the Marvel universe was fantastic. It seems like a very interesting setting to have future movies in, and the narrative of the movie is very much tied in with Wakanda itself. And that’s what I wanted to get to with mentioning Ryan Coogler’s vision for this movie. Coogler, who is obviously a very talented director, does a fantastic job with the message he lays out for this film. It’s not overly politicized, but it comes from the heart. I blame all the critics who had a field day with this movie, talking about all these themes of fighting against white people and oppression. This movie was not about that at all. It tells a very intimate story of where you come from and your upbringing, and I thought that was very well done in this film. Coogler continues to do a great job weaving relatable messages in his movies.

Overall, I would say this movie was a bit overhyped. However, that does not mean it wasn’t enjoyable. Kendrick Lamar does a great job of adding a more interesting and memorable soundtrack for the film, and there’s definitely a distinct cool style that really emanates from this film. Unfortunately there are some elements that I wish could have been played out more, and the ending kind of resorts to being a more generic comic book film. It’s worth seeing, but watching this film was also a sober reminder to never trust everything movie critics say (including myself I guess, even though I’m not a legit critic) and not try to politicize everything.

Grade: B/80

“Thoroughbreds” Review

Hey all,

Feels like I haven’t reviewed something in a while. I’ve been sick for the past week, but I did manage to watch this film and Black Panther, so I will post my thoughts on that one soon. I’ll make this one short and sweet.

Thoroughbreds is a black comedy thriller from newcomer Cory Finley, someone I’m not familiar with. However, I am familiar with and am a fan of leading co-stars Anya Taylor Joy and Olivia Cooke. I really enjoyed both of their work, and I think they’re both going to be huge stars one day. Anya Taylor Joy was fantastic in the atmospheric horror movie The Witch, and Olivia Cooke was fantastic in Me and Earl and the Dying Girl, which was my favorite movie of 2015.

While this movie is certainly a strange one, there is definitely a sort of dark charm to it. Some critics have been calling it American Psycho meets Heathers. While I’ve never seen the latter movie, I can definitely see elements of the former. It’s a quirky sort of thriller that takes place in upper class suburban Connecticut, and focuses on two characters who are largely uninterested in life. However, when these two characters reunite after many years of separation, they begin to change each other and take after each other in drastic ways. This makes for a story that I feel isn’t really explored often in film, but was definitely engaging throughout it’s 90-minute runtime.

This was also the final movie for the late Anton Yelchin (RIP). He plays a lowly drug dealer trying to make it up the social ladder, and he does a great job of portraying his character. While he doesn’t get too much screen time, his character is pretty integral to the story and he really fleshes out his insecurities in a genuinely believable way.

Finley does a great job with his DP Lyle Vincent in creating a creepy setting in such a beautiful suburban backdrop. The tracking shots and the mansion that the majority of the movie takes place in really brings out the character of the house itself, and there’s one particular scene near the end that was just a fine piece of filmmaking. Overall, I’d say that this film might be a bit too odd for some. Some of the writing is hit and miss, as a lot of it is deadpan, especially for Cooke’s character. It was a movie that grew on me the more I thought about it, and the relationship between the two main characters was easily the most fascinating thing about the film. I’m not entirely sure this movie has like an overall message, but it’s the journey that makes it worth watching.

Grade: B/80

My Top 10 Movies of 2017

Hello everyone!

It’s been a little over a year since I’ve created this blog, and I amazed for two reasons; for one, I can’t believe I’ve been able to stay committed to something writing related for more than a year, and for two, that people outside of my group of friends read this stuff. I have absolutely zero plans or ambitions to heavily publicize or advertise my blog, because my vision for it has always been more of a public diary journaling my thoughts on movies. For those who tune in every now and then to read my ramblings, I just wanted to say thanks, and that I hope my recommendations have been somewhat fruitful for you. I hope to continue reviewing for this upcoming year and to keep a casual format, sort of as if you asked your friend what he/she thought of a movie and how they responded in real life.

For those of you who might be tuning in for the first time, just be aware of the two rules here:

1. I use a slightly different grading scale, which you can see on the “About” section on my blog.
2. I am a firm advocate of watching no trailers before seeing a movie you’re interested in, because I believe that they spoil way too much and can severely decrease your enjoyment in a movie. Therefore, all my reviews will similarly have no spoilers even though they might be an integral part to the movie’s plot.

Okay, back to reviewing!

2017 was a very special year for movies to me. After enduring a long slog of mediocre movies in 2016 only to get hit with the best stuff in the last two months, I had high hopes that 2017 would deliver good movies more consistently, and that was definitely the case this past year. I had a hard time picking honorable mentions so…I’m just going to have a lot because they’re all worth seeing! I’ve also written actual reviews on my blog for pretty much all these movies, so if you want a little bit more then you can just search the post there. Let’s get down to it.

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Honorable Mentions:

It Comes at Night (Grade: B+/81)

This film was exceptionally creepy on account of how masterfully shot it was. Every shot felt meaningful, and every scene added to the mystery and tension in this post-apocalyptic world. While it didn’t provide many answers, it led me wanting to know more about the film and the world it depicts. I’ve always been a fan of Joel Edgerton as I think he is hugely underrated, and he continues to impress with a very subdued but powerful performance here. I also really enjoyed Christopher Abbott’s performance, and all the scenes he shared with Edgerton were fantastic. This isn’t so much of a horror movie as it is an atmospheric thriller, and director Trey Edward Shults completely nails the aesthetic and feel of the film.

Three Billboards Outside Ebbing, Missouri (Grade: B+/81)

This film holds a special place in my heart because of how much hate I had for it up until the third act in the film. I had fears that this movie would be a very one-sided representation of law enforcement and corruption, and it was doing so for most of the film until director Martin McDonagh brought everything back full circle in a surprising  way. The character arcs in this film were amazing and had fantastic payoff moments, which was something I didn’t expect after dreading most of it. It made me see McDonagh’s mastery over his characters and story as he tells a very timely message in a very tasteful and [darkly] comedic way.

The Disaster Artist (Grade: B+/81)

James Franco’s take on the making of the “best worst movie ever” is about as interesting as the man he portrays in Tommy Wiseau. If you are a fan of The Room, not to be confused with Brie Larson’s tearjerker movie Room, then you are required to see this film. It sheds some light on the mythos of Wiseau, and is more meaningful than a simple behind-the-scenes feature of how The Room was made. It tells a meaningful story of friendship, but also reminds you that everything about it is hilarious.

Phantom Thread (Grade: B+/81)

Daniel Day Lewis goes out on a high note as his last film is a returned collaboration with auteur director Paul Thomas Anderson. There’s something about the dream-like aesthetic that creates such a beautiful contrast to the surprisingly dark romance that this film portrays. Perhaps the most surprising aspect of this film is that I enjoyed the two performances from Vicky Krieps and Lesley Manville more than DDL’s. The interactions between these three characters is what kept me fixated on the film, especially for a movie with a premise that I thought I initially wouldn’t care about. The result is a very unique period piece that sends off DDL’s career in spectacular fashion.

John Wick: Chapter 2 (Grade: B+/81)

This is a film that I saw prior to starting up my blog, so I didn’t have a chance to write about it. This movie was pretty much everything I expected and wanted out of a John Wick sequel: the stakes were higher, the action was crazier, and the direction was expertly helmed. I love that Keanu Reeves has had a resurgence in his career with the John Wick franchise, as he is utterly perfect for the role. The choreography and the fluidity to all the action scenes make it a very enjoyable watch, along with a story that really escalates the conflict in a way that sets up for an explosive chapter 3.

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I probably should’ve made this a top 15. Whatever. Sorry, not sorry. Onto my top 10!

10. Logan Lucky (Grade: B+/82)

If you ever saw the Oceans trilogy and thought that you would have enjoyed it more with rednecks, then boy do I have good news for you. Logan Lucky is Steven Soderbergh’s return from filmmaking retirement, and what better way to do it than to basically re-do one of his most famous movies with a different spin on it. This film is the equivalent to eating your favorite comfort food—you know what you’re gonna get with it, but you wouldn’t have it any other way. The motley crew assembled in this film is incredibly entertaining, with notable standout Daniel Craig. However, everyone does a great job playing off of each other, and the film has lots of great scenes that allow them to do so. The third act is what differentiates this from Soderbergh’s other heist movies, but does so with a unique and interesting angle where few heist movies approach from.

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9. I, Tonya (Grade: B+/83)

Watching I, Tonya made me glad that I was completely oblivious to Tonya Harding’s story back in the 90s because wow, what an incredibly crazy life she’s had. I honestly did not expect to enjoy this film as much as I did, and a lot of it was due to Margot Robbie’s amazingly underrated performance as the controversial figure skater. I know that she got an Oscar nomination for best actress, but she’s still underrated somehow! This film had so many unexpected twists and turns that I didn’t know what to believe. However, because the movie plays off of the themes of truth and perspective, I don’t think it’s ever truly meant to be clear. What is clear, however, is that this was an incredibly entertaining film that somehow made figure skating seem like an action movie. Props to Craig Gillespie for directing the heck out of this movie, as he expertly uses multiple narrative shifts to keep you engaged throughout the film.

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8. Logan (Grade: B+/84)

Yes! There is a space for R-rated comic book movies after all! While Fox’s Deadpool initially paved the way,  Logan solidifies the sentiment that you can tell a more mature story about superheroes without sacrificing any sort of comic book movie tropes that we have come to know and love. I simply loved the look and feel to this film, as it was much more grounded and atmospheric than any of the other previous X-Men movies. Hugh Jackman gives a fantastic performance as Wolverine, which probably would have been more noticeable if he wasn’t outshone by co-star Dafne Keen. Both have a great dynamic together, and I liked that the movie tried to focus more on their relationship compared to other grandiose comic book-y concepts. While it’s not perfect, it definitely highlights the best and the worst aspects of our favorite antihero. The action is also insane and brutal, but we wouldn’t have it any other way for our boy Logan.

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7. Columbus (Grade: B+/85)

This year was a fantastic year for directorial debuts, and notable video-essayist Kogonada is no exception. His film Columbus proves that visual language can be equally or more impactful than words themselves. Every frame of this film is cinema perfection as he manages to craft a story using visuals as his primary form of expression. That’s not to say that there aren’t good performances here, because Haley Lu Richardson gives another wonderful performance that has seemingly gone under the radar this year. This film is similar to one of my favorite films of all time Lost in Translation, with a bit more style over substance. However, the nature of this film’s story is so specifically interwoven with visual art that its style works to its advantage. This is one of the rare movies where I’ll remember the cinematography more than anything else, and I look forward to future projects like this.

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6. Baby Driver (Grade: B+/85)

Edgar Wright’s movies have never been short of entertaining. While I can’t say I loved every single one of his movies (sorry, The World’s End), I cannot deny the way that Wright perfectly blends comedy and action together in all of his films. Baby Driver may not be my favorite movie of his, but on a technical level, it is the best he’s ever done. From the jaw-dropping opening sequence to all the fun character moments in between that lead up to the surprising ending, Wright shows off his impressive direction by making what is essentially an action musical. The way that he cuts all his action sequences together like a composer composing music goes to show how much fun he’s having with this film, and it clearly shows with every passing scene. The editing in this film is top notch, but the fact that this is only Wright’s sixth directorial effort means that the best is yet to come. In the meantime, we have this unique and original film to enjoy.

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5. Spider-man: Homecoming (Grade: A-/86)

While I consider myself a strong critic of Disney’s Marvel movies, I can’t deny the times when they make something truly special. Spiderman has always been one of my favorite superheroes growing up, and the approach that Disney takes here with a younger Peter Parker is refreshing and thoroughly entertaining. It introduces nuances that we haven’t seen before in a Spiderman film, but does it in a way that feels familiar and grounded. I really appreciated the effort gone into crafting an individual story without having to re-introduce all of the origin elements, and how it’s largely self-contained and separate from the Marvel universe. While the Disney/Sony partnership is somewhat confusing, we can at least expect a few more movies within this world, and I am excited to see what comes next.

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4. Lady Bird (Grade: A-/88)

Out of all the movies on my list, this one has the most charm to it. Saiorse Ronan’s performance as the self-dubbed “Lady Bird” is arguably my favorite performance of the year. She really disappears into the role, causing anyone watching to get really invested in her character. Laurie Metcalf also puts on an incredible performance as Lady Bird’s mother, and every interaction they have on screen is fantastic. I enjoyed the overall intimacy of the film, as director Greta Gerwig crafts a story that really hits close to home for her. As a result, the film hit me on a personal level that I could find some relation to, even though my life experiences are vastly different from that of Lady Bird’s. I’m a huge sucker for coming-of-age films, and this is definitely one of the best.

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3. The Big Sick (Grade: A-/89)

This is another film that I didn’t really expect to enjoy that much, let alone laugh that much. This was easily the funniest movie I saw in 2017, and much of that is due to the fact that it is based on Kumail Nanjiani’s perspective of his real life experiences of love and relationships. Of course Nanjiani plays himself perfectly, but it’s the rest of the cast that really make the film. Nanjiani’s relationship with his girlfriend’s parents, played by Holly Hunter and Ray Romano, is some of the most authentic and hilarious portrayals of the awkwardness of multi-cultural relationships. The film as a whole just feels so down-to-earth and relatable, and the strong screenplay is bolstered by the incredibly talented cast of characters.

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2. Blade Runner 2049 (Grade: A-/90)

Even though this isn’t my favorite movie of the year, I certainly thought about Blade Runner 2049 the most out of any film in 2017. There are so many themes to unpack and discuss, and overall it just has a very compelling story to tell. I’ve always admired Ryan Gosling’s versatility and his ability to take on very different projects. He’s recently had an incredible streak of being in great movies, and this is easily one of his best ever. Director Denis Villeneuve’s fantastic vision of the Blade Runner franchise adds so much more to the universe that improves upon the original in every conceivable way. The visuals are so incredibly stunning and so well-realized, it goes to show that practical effects and expertly crafted set designs still trump green screens and special effects. Yes, most of this film is done without special effects! There is a gritty authenticity to this film that is captured so beautifully in every shot, and this may very well be the year that Roger Deakins finally earns his well-deserved Oscar for best cinematography.

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1. Dunkirk (Grade: A/94)

I saw this movie a total of three times: twice in IMAX, and once at a friend’s house. It’s gotten better with each viewing. I personally wouldn’t be surprised if I eventually give this move an A+ grade, because Christopher Nolan continues to astound with his technical mastery in conjunction with his ability to tell a simple story in a refreshing, unique, and ultimately “Nolan-esque” way. The fact that this “blockbuster” is essentially an art-house war film speaks volumes. Nolan and DP Hoyte Van Hoytema have created a beautiful partnership in that they want the audience to experience movies in the best format possible—in 70mm film. The visuals in this film combined with seeing it on the big screen created one of the most immersive movie experiences I’ve ever had in my life. I’m not really a big fan of war movies, and when I found out that there was barely going to be any action or dialogue, I was a bit anxious going into the film. However, Nolan was able to craft an unbelievably intense story without shedding a single drop of blood, and the unique way in which the story is told effectively added to the mounting feeling of suspense that the boys on the beaches of Dunkirk had to endure. Nolan tends to have a lot of exposition in his films, but he really steps outside of his comfort zone with Dunkirk by expressing a lot without saying much. If you have an eye for cinematography and really enjoy experiencing a movie in its entirety, then this is a must-see film. If you didn’t watch this movie in IMAX, then you need to find out how to build a time machine and go back a few months to see it on the biggest screen possible.