Black Panther
Director: Ryan Coogler
Cast Headliners: Chadwick Boseman, Michael B Jordan, Danai Gurira, Letita Wright, Martin Freeman, many others
Original Release Date: February 16th, 2018
The Marvel Cinematic Universe has gone on for so long now (nearing 10 years with 1-3 films per year) that it's becoming harder and harder to be truly unique anymore. The origin trope of “guy from the normal world gets powers, meets a larger than life world” has had slight permutations but , aside smartly making things less about the origin and more about building their character arc, been played out in very similar ways. Black Panther's focus to have it be ABOUT the larger than life world of its own gives it a unique flair. It's also important and inspiring that, coincidentally or perhaps as it should be for the inspiration, this is the first major comic-based superhero blockbuster , PG-13 film who is black. This makes it even a better feeling that the movie is good at that. The potential of T'Challa and Wakanda is utilized more or less as it was wanted to be.
A slickly animated intro shows the fusion sci-fi / magic basis of what the fictional MCU nation of Wakanda is. In the midst of Africa long ago, a large meteorite of vibranium (the source of captain America's shield and many other things) crashed into a mountain and granted the local people incredible technological advances . In the midst of strife, the goddess Bast gave the leader of the Wakandans the abilities to be the Black Panther through the vibranium-laced heart-shaped herb. The country soon set itself isolated to hide the secrets from the outside. This epic background history gives the movie's titular role something unique... he is a legacy of responsibility he's known about his whole life, compared to most other MCU heroes who find their lives changed into something wild. Protagonist T'Challa (Chadwick Boseman) was born into a life that would require his heroics. Another important flashback occurs that should be seen firsthand to show what this sometimes entails.
The present tense of the plot jumps (in one of the only ties to the larger MCU making it smartly standalone) to right after 2016's Captain America: Civil War where T'Challa had a guest introductory role. He is returning home after the death of his father to truly bear the title and responsibilities of King of Wakanda where of course things don't go without incident. Soon met after a neat battle sequence are fellow Wakandans in is his bodyguard and top leader of the fierce Dora Milaje Okoye (Dania Guirira), his ex-girlfriend spy Nakia (Lupita Nyong'o), his mother Ramonda (Angela Basset), and sister Shuri (Letitia Wright). Additional Wakandans include more bit roles in Zuri (Forest Whitaker) , W'Kabi(Daniel Kaluuya), and M'Baku (Winston Duke).
This large and nigh-allstar ensemble cast is one of the highlights of the film. In what is some of the most supporting characters introduced in a MCU film at once there's almost nothing but total admiration for every single one the characters and performances unlike other such films where there may be one or two highlights. Boseman as T'Challa , when he isn't using his awesome acrobatic and martial arts abilities through his herb powers and (new and more capable!) armor suit, has some strong character growth and confrontations. He may appear to be one of the fiercest superheroes around but he has some dramatic weaknesses and growth to attain the title including visions of his late father T'Chaka(John Kani in a bit more of a role than Civil War although still slight) in the dreamy ancestral realm; he also doesn't forget to drop a suave quip or threat at times although less than most of his peers. Guirrira's Okoye brings with her some of the film's best action moments and morals. So too does the caring Nyong'o as Nakia or the wise-cracking (comedic highlight) Wright as Shuri. Truly everyone gets to get in on the action and plot. The likes of Whittaker as Zuri , Bassett as Ramonda , and Kayuula as W'kabi are lesser involved and effective but bring an authenticity to the accents and participation. Duke's M'Baku is a surprising highlight that has to be seen firsthand to know why.
This extends to the non-Wakandan and or villainous characters. Also returning from Civil War is CIA Agent Everett Ross (Martin Freeman) who has a definitely larger role bringing some “outsider eyes”, humor, and action although at times he feels at times a bit over-the-top naive or something unneeded but he's often likeable. Wonderfully over-the-top is one of the villains (returning from his small debut years ago in 2015's Avengers 2) in Ulysses Klaue (Andy Serkis) who T'Challa encounters early into his fresh reign. Serkis is even more insane and evil than he was in that film. He hams and ramps up the evil madman angle and brings a unique oddball hipster take to things alongside his new laser hand cannon. It's a bit unfortunate there's not actually more to him in the long epic plot, but thats because of an even more vile force in Erik “Killmonger” Stevens( Michael B Jordan).
Jordan as Killmonger is a highlight solid role in a tapestry of solid roles. Like the best of MCU and overall film villians (which her certainly contends for being higher than lower on the chart) he has a sympathetic motivation to his evil plans. He is at times charming , occasionally humorous , smart, cunning, and deadly. He has an arc and meaning of his own naturally mirroring T'Challa's that unfolds its mysteries as the story goes on. He is better in combat when his face can be seen (sometimes questionably covering his unique look with armor suits etc) and at times is generic but just as much is deeply memorable while touching upon some important themes.
The story and plot is thus long but filled with some epic stakes and twists. Parts of it may remind one of Shakespearean or by extension (literally..) the Lion King-esque melodrama but it works. This is epic nation spanning stuff of tribes and royal inheritance that makes it more than just street level bank robbers. Plentiful action and excitement exists aided by this. A trip to South Korea perhaps a side distraction but in Wakanda proper, paticuliarly the end, there's some big excitement .
Ryan Coogler brings a solid directing angle to things. The best fights match his work in Creed via visceral realistic duels on waterfall for tribal rights and so on. Hand to hand with spears and the like makes things as exciting as a good boxing match or fencing duel that fits for him. So to are the lush natural landscapes of Wakanda's countryside or smaller interior spaces (more on its unique look in a moment). Larger takes vary at times but also impress. His soundtrack composing friend Ludwig Goranssen gives a truly great original score of relevant drums and strings that give it a truly African flair. Kendrick Lamar made a great original rap album for the film as well although unfortunately just a few pieces are used.
The visuals... at times stun and at other times disappoint. The movie's magical fantasy lore and sci-fi utopia ambience each impress as a whole on the surface level. This may be the biggest Afro-futurist influenced spectacle to have ever released.. with incredible colorful costumes and dreamy spirit dimensions and giant rhinos and laser shields and spears right out of the comic world. At times this CGI and set-design can inspire awe. But unfortunately, at other times this CGI is weaker than used to likely due to the abundance of it (although even older films such as the Guardians of the Galaxy managed to pull it off). This harms particularly so some of the fights where both heroic and opposing forces are utlizing armor suits and can look like a film from a past era than the latest in spectacle. However, the good is uniquely impressive and the flaws are not egregious to ruin it all.
As a whole, Black Panther sets out to what it wanted and needed to be more or less. The Black Panther himself dives deeper into his world both growing into it and setting things up (excitingly) for the future. This unique vision burns strong aside some typical tropes. It's an important movie while remaining fun , mystical, action-packed and of course humorous. Wakanda Forever. 8.64 out of 10
Sunday, February 25, 2018
Tuesday, December 26, 2017
Top Ten Favorite Films / Video Games Of 2017
My Top Ten Favorite Films / Video Games Of 2017
Say what one will about this year for themselves or our
world, it’s certainly been commendable for media across all fields. It’s wild to believe how much has come and
gone, and how much of it stands amongst the greatest of greats. As always, if something obvious is missing, I
haven’t experienced it or enough of it to justify… or I don’t agree. Here it
goes:
Top Ten Films Of 2017
1.
Star Wars: The Last Jedi: For bringing us
back Luke Skywalker almost like we once knew him… for having him reunite with
R2-D2, Chewie, etc… and for making Rey’s journey just as epic and more
unexpected, with incredible visuals / cinematography … for shaking up what Star
Wars was and can be.
2.
The Disaster Artist: For the ultimate
on-screen Wiseau impression aside the guy himself from Franco. For being
hilarious, both to anyone and even moreso…the fans. Yet also, dramatic and
inspirational.
3.
Dunkirk: For adding another crisp
directed film to Nolan’s lineup…haunting, gritty, realistic at the same time…
war the disaster movie.
4.
Guardians Of The Galaxy Vol 2: For taking
the first movie and making things bigger, crazier, more colorful, more action
packed and wild and funny with legend Kurt Russell… and baby Groot.
5.
Blade Runner 2049: For being both a
fantastic followup to the original as well as its own, music and atmosphere drenched
noir story.. with great performances and transporting one to the future.
6.
The Shape Of Water: For its wonderful set
design, music, romance and horror..not just from the monster. For showing that
words aren’t needed for emotion.
7.
War For The Planet Of The Apes: For bringing Ceaser’s journey to a close, with
style, epic stakes, and emotion. For sweeping vistas and evil Harrelson, and a
sense of closure and motivation.
8.
Logan: For being the most different X-Men
film yet..and in its own dark , gritty way. For being a western with claws, for
having not just a great sendoff for Wolverine..but for Professor X as well.
9.
Baby Driver: For being hilarious,
frenetic, totally Edgar Wright…great soundtrack. Great performances, from
everyone.
10.
The Lego Batman Movie: For being the
ultimate Bat-tribute, incredibly charming and with a lesson or two amidst wild
fun.
Honorable 11 -13:
11.
Thor: Ragnarok (ZANYHULK)
12.
It (SCARY80SCLOWN)
13.
Detroit (GRITTYTRAGEDY)
Top Ten Video Games
Of 2017
1.
YET ALSO, 2 .. I cant choose…Nintendo was
stellar. Super Mario Odyssey: For going back to that 64 / Sunshine style…
and some Galaxy…and some NES….and fresh.. a little bit of everything. Gorgeous,
free, fun , the cap is so fresh from capture to movement..games in one.. so
much to do yet not long enough, but oh so sweet while it lasts… the one that
was dreamed of.
2.
YET ALSO, 1 .. I cant choose...Nintendo was
stellar The Legend of Zelda: Breath of the Wild: For being worth the long wait and journey. For
taking the franchise to a more open and influenced by others place than ever
while also being true to the series’ best aspects. The setting, the music, the
ideas (weapons aside).. the dream.
3.
Sonic Mania: For showing Sanic games can be awesome again. For letting a
fan make what fans want.. both using the original while having tasty morsels of
new, packed with references and fun. For making one feel like its back in the
day exactly again.
4.
Gravity Rush 2: For putting an open world
into its tutorial, and then bringing one to an open world(s) all next to each
other. For being fun, fluid, fresh and beautiful.
5.
Horizon: Zero Dawn: For being shiny and
fresh in concept. For mixing a great narrative heavy story with freedom. For
showing that companies can be fresh out of a box.
6.
Splatoon 2: For being as great as the
first game, and better. For bringing in features wanted and unexpected. For
some of the best single player level design, and for being the game the first
was meant to be.
7.
(Episodes 3 to 5 Of Telltale’s The Walking
Dead Season 3 A New Frontier… epic, emotional stuff with wildly varying
choices. But, was released between 2016/2017 so really...) Injustice 2: I
must admit, I have a personal attachment via NRS. However, truly fun for its
refined fighting system, gorgeous visuals, DC tributes, and content and roster.
It’d be up here anyways.
8.
Mass Effect: Andromeda: For being so
shiny and open..even if it wasn’t everything it should have been. For its ideas
and ambition, for its combat, for perhaps one last ride.
9.
Golf Story: For being a retro throwback
yet so fresh. For its soundtrack and writing, and making golf wild and more fun
than ever.
10.
Mario + Rabbids: Kingdom Battle: For
being so weird it somehow works. For making tactical combat accessible . For
its laughs and charm and depth.
Honorable 11 – 13:
11.
A Hat in Time(COLORFULINDIE)
12.
Star Wars: Battlefront 2(STARWARSSIMULATORWITHCAMPAIGNANDCLONEWARSANDDEEPERSHIPS)
13.
For Honor(INTENSE)
Saturday, December 23, 2017
Star Wars: The Last Jedi Review
Star Wars "Episode VIII" : The Last Jedi
Director: Rian Johnson
Cast Headliners: Daisy Ridley, Adam Driver, Mark Hamill, Carrie Fisher, Oscar Isaac, John Boyega, more
Original Release Date: December 15th, 2017
Director: Rian Johnson
Cast Headliners: Daisy Ridley, Adam Driver, Mark Hamill, Carrie Fisher, Oscar Isaac, John Boyega, more
Original Release Date: December 15th, 2017
It’s
crazy to think that Star Wars has not just been back after a long absence, not
just overall great and worthy, but has reached Episode 8 of the sequel trilogy.
Star Wars: The Last Jedi has the “middle chapter” aspect to answer in the
franchise which defined the darker middle chapter in the first place. It’s sprawling,
it’s epic, it’s action-packed, it’s emotional, it’s not perfect but it’s a heck
of a ride. As Luke says the film “does not go the way one thinks”… going
against audience expectations for at times worse yet for the most part better.
It’s old, it’s new, and it’s something beyond.
Taking
the story back to the main continuation of the saga after last year’s Rogue
One, this is next set of complications in the conflict of the evil First Order
and the Resistance. The base of D’Qar is under attack as an evacuation is
underway. It’s a sequence that perhaps crystallizes the essence of both the
film and Disney’s era as it has humor both fun and awkward, beautiful cosmic scenery
in its exhilarating action (iMAX 3d as always adds much) and dramatic stakes. The
situation of bombers and space cruisers could be the climax of some other
movies but here it’s just the start, as is tradition.
Really,
the main arc of the plot picks up literally where 2015’s The Force Awakens
ended. Rey (Daisy Ridley) is delivering Luke Skywalker (Mark Hamill) his
lightsaber back on the remote island planet of Ach-To to both gain his help in
the war and training / answers for herself. Suffice to say, this does not go
smooth. Luke is stubborn and regretful and the greatness of the film is what it
takes for him to be ready for the world again.
There’s also Rey’s visions, notably her distant communication via magic
Force bond to Kylo Ren (Adam Driver).
Everything
about this “A story” arc is wonderful. Daisy Ridley’s Rey is as charming,
funny, and fierce as she was in the last film. More than ever, the stakes at
play have her character go to some dark and conflicted places as she moves
along the path of the Jedi. Adam Driver
was amazing as Kylo in the last film and he’s even more incredible this time in
his evilness and doubling down on the moral ambiguity. In a sense, he’s just as
much of a protagonist as Rey. It’s as if
the hero’s journey of the OT of films and the angsty confliction of the PT
happens at once. Paired together, hating each other, trying to find the hope of
the dark / light in each other between these two characters is memorable,
emotional, epic…particularly ramping up as the plot goes on. They are each
mirrored in a mentor, although these range in impact.
Almost
the titular character of the movie is the legendary Luke Skywalker. Luckily, he
says more than the nothing he had in the last film. He says a lot, and
important things at that. Hamill is… so great in his return. Now this will
likely be a point of contention amongst past fans …forever, but it’s the way
his story led in that he’s far from the perfect hero anymore. This old man Luke
is broken, regretful, and likely depressed. But finds a new hope. It’s ironic that his existence has ended up
much like his old masters Yoda and Obi-Wan in that he’s a homeless wanderer on
this isle who has eschewed the Force and its trappings along with the world as
a whole. This is due to some shocking
revelations about him and Kylo Ren / Ben Solo that is handled for the most part
profoundly. Hamill’s sorrow is felt but so too eventually is his confidence and
power. He’s wise and or a spark of his old heroic charisma when the time comes.
He’s even funnier than ever, a sign of how Hamill has grown since the OT via
his voice and other work. It’s great to have him as such a key and important
part, especially with Rey, Kylo, and others (including some really nice reunion
moments with R2-D2 and Chewbacca (Joonas Suotamo)). It may be filled with a
couple bits of controversy and plot decision to his extent of involvement but
one cannot fault the long wanted return of him to the plot.
If Rey has Luke to look up to, Kylo has Supreme Leader Snoke (Andy Serkis). Snoke, even more realistically captured via CGI mocap) is chillingly evil and powerful. His evil would make Palpatine proud while at the same time having a unique sense of arrogance to him. It’s a moderate shame that his presence is only slightly more than the prior film and more into his motivations isn’t deeply explored but Star Wars is often, and moreso with Disney, about the current stakes than the background lore (at times) so its logical. The aesthetics of his headquarters and red Praetorian guards are also imposing and impressive.
If Rey has Luke to look up to, Kylo has Supreme Leader Snoke (Andy Serkis). Snoke, even more realistically captured via CGI mocap) is chillingly evil and powerful. His evil would make Palpatine proud while at the same time having a unique sense of arrogance to him. It’s a moderate shame that his presence is only slightly more than the prior film and more into his motivations isn’t deeply explored but Star Wars is often, and moreso with Disney, about the current stakes than the background lore (at times) so its logical. The aesthetics of his headquarters and red Praetorian guards are also imposing and impressive.
While all
of the epic Jedi / Sith story is going on and before it joins them, the likes
of the Resistance have their own stories to undergo that are not quite up to
the heights but have their gems. General Leia (Carrie Fisher) commands a fleet
of ships engaged in a constant struggle with those of General Hux (Domnhall
Gleeson). There’s familiar characters like BB-8, C3PO, Admiral Ackbar, Finn
(John Boyega), and Poe Dameron (Oscar Isaac) who attempt to solve the stakes at
hand. These are joined by new faces including Vice Admiral Holdo (Laura Dern)
and Rose (Kelly Marie Tran).
There’s
some excitement and twists to be had (as across the film) but the least of
these happens amidst the space. So to as happened with past SW films, the less
powerful characters get involved in their own struggles that tend to have a bit
of mixed importance. Leia, Poe, and Holdo struggle how to lead the Resistance
while Finn and Poe take the advice of Maz Kanata (Lupita Nyongo) to find the
support on the planet Canto Bight.
Through
these at times over-CGI-and-joke packed locations the characters shine through.
Of course it’s unfortunate that we lost Fisher in our world, but in Star Wars
she is her best Leia since the old days..much more than TFA. She is just as
sassy and wise as the old days while getting a bit more into the literal action
this time. Isaac’s Poe too has an
increased role, having some roadblocks to his responsibility amidst his
wisecracks and shots fired. Dern, ever
effective, has some cool mean-ness as Holdo although some questionable plot
happens but she and her dialogue is effective. Gleeson’s villainous Hux is just
as evil and even slightly more humorous this time.
Boyega
as Finn continues to charm, and has some funny and good interactions with Tran’s
Rose. She is a more civilian-level take than anyone else and has her own
moments of humor and emotion. But their plot to a casino is, while packed with
alien galactic wonder, a bit pointless and meandering. There’s a crossover with
the shady, stammering criminal DJ (Benicio Del Toro) and the return of Captain
Phasma (Gwendoline Christie) to add some excitement (particularly when plot
threads converge) but it feels filler with some silly concepts compared to the
epic war and Jedi stories.
At times the humor and seriousness clash with each other ..jokes to serious and back, although this is more of a sign of a post - MCU era than the films fault ..but there's effective of each that add to the wild fun or drama depending. And the Porgs , adorable flying puppy bird creatures, are always a charm. This movie feels like true Star Wars in it's tapestry of attributes. One in particular takes one back to the past ..
At times the humor and seriousness clash with each other ..jokes to serious and back, although this is more of a sign of a post - MCU era than the films fault ..but there's effective of each that add to the wild fun or drama depending. And the Porgs , adorable flying puppy bird creatures, are always a charm. This movie feels like true Star Wars in it's tapestry of attributes. One in particular takes one back to the past ..
There’s
plot holes, there’s some surprising revelations but the good is good. As a
audio-visual standpoint, the Star Wars experience has never been as immersive.
Director Rian Johnson, in turn with his wild ideas of what the force can do,
brings fantastic cinematography, backgrounds (paticuliary the red and white salt of Crait...unique enough from Hoth ) , and visuals. The action is so
great, when it shows up (bearing in mind this is more of a nuanced “Empire” of
the era so far) whether in space or on the ground. The music by John Williams is once again, and
more than ever, subdued but some re-used pieces adds to the scenes amidst a couple
choice highlights. For Johnson’s sake,
if this didn’t have the frame of reference of being Star Wars his effort would
be commendable in itself, and added to Star Wars its wild but mostly works.
This movie has
been met with controversy, from the highest of highs to some vehement fan hate
or disappointment, with of course all levels of in between. That’s likely
because it’s the most fresh, different Star Wars to date in the post-Lucas era…
filled with as much mysteries and questions than answers and excitement. The
great is so great though, and even in its confusion its vastly entertaining. In
time hopefully people can see its risks as strides. For they are in its epic,
emotional ride. 9.78 out of 10
The Disaster Artist Review
The Disaster Artist
Director: James Franco
Cast Headliners: James Franco, Dave Franco, Seth Rogen, many many others
Original Release Date: December 1st, 2017 (limited)
Quotes like “Ahahahahhaha, what a story Mark” , “You’re tearing me apart Lisa!”, and of course” Oh hi Mark” define legendary movies. Or at least to those in the know, they’re from the infamously bad…yet so terrible it’s in a way good film, 2003’s The Room. The Disaster Artist is a film about the making of that film, and the enigmatic hilarious legend of its creator Tommy Wiseau. On the surface it seems like it could be as silly as its source, but within is a hilarious and heartfelt recreation and tribute to the situation that led to that…disasterpiece.
The story, mostly adapted from the biographical novel of the same name, details the meeting of the two friends, collaborators, and stars of The Room in Tommy Wiseau(James Franco) and Greg Sestero (Dave Franco). This is after (the first sign of this) a funny montage, likely true, of celebrity cameos commenting on the films importance from JJ Abrams to Danny McBride more. The focus goes from acting school to the duo’s bonding over old films to the insane idea of making a film together.. luckily that they did.
What a story Franco rather, who (in addition to directing / producing it) embodies Wiseau so incredibly well in his performance. His look, his method of speech, his movement… he’s almost unrecognizable as his usual self and is nearly 100 spot on as Tommy. It’s a hard task as Wiseau is a one of a kind person, having a distinct accent that’s “New Orleans” and Franco lives it up wonderfully. The laughs come both from the famous circumstances in addition to original pieces to add to the Wiseau canon. Even when not causing humor, he’s sincere and endearing, angry and hateworthy… each moment doing what it needs to. The only time this falters is into some slight over-exaggeration of things, and when a scene calls for Franco to not have the trademark hair look on fully display. Otherwise he’s the perfect take a fan would want or would cause mirth to anyone.
The other Franco as Greg is a bit less spot on , with some cheesy makeup but he is alright in his dumb innocentness. What is believable, and funny, is how Greg is amazed and intrigued by Wiseau. Their friendship leads to some of the best jokes and drama of the film. Great care was placed into giving the rest of the cast to the usual comedy crew. Particularly the likes of The Room’s Peter / Kyle (Nathan Fielder), Claudette / Carolyn (Jacki Weaver), and even Chris R (Zac Efron) and Denny / Phillip (Josh Hutcherson) are spot and slapstick. Lisa / Juliette (Ari Graynor) is of course a part although she is reserved mainly for jokes.
Characters that viewers of the Room have no prior basis on are good as well. Of course Seth Rogen makes his way to a James Franco / Evan Goldberg made flick, here as surprisingly more subdued than usual (for his roles) sarcastic script supervisor Sandy. There’s so many minor original parts that show up… played by the likes of Sharon Stone, Hannibal Burress, Bryan Cranston, Randall Park, Bob Odenkirk, and more. While purists of The Room may view these as unneeded, they are actually fine and for better worse momentary additions who often have extremely humorous lines to add to the script.
That’s the main thing about The Disaster Artist. Its primary audience to enjoy it the most will be fans of The Room’s cult status. There are plenty of moments that mock, or endear, parts of that film. However, the movie is funny enough to be enjoyable to any due to the inanity of Wiseau and peers around. The drama , sadness, and inspiration make it a (odd) inspiring story amidst some occasional melodrama.
Of unique note is the effort placed into its setting and references. The late 90s / early 00s California are felt strongly from clothing to pop music. One will not hear at “Rhythm Of the Night” without a big smile after viewing. The flow of it all works silly and swell.
Just as its title implies, something wonderful is made out of a bad situation. The Room is known as one of the worst movies ever but at the same time one of the most iconic. This film has taken its behind the scenes into something just as funny and with some deeper stuff as well. This is coming from a fan , but..for hoping what it should be… what a story Franco, 9.52 out of 10
Director: James Franco
Cast Headliners: James Franco, Dave Franco, Seth Rogen, many many others
Original Release Date: December 1st, 2017 (limited)
Quotes like “Ahahahahhaha, what a story Mark” , “You’re tearing me apart Lisa!”, and of course” Oh hi Mark” define legendary movies. Or at least to those in the know, they’re from the infamously bad…yet so terrible it’s in a way good film, 2003’s The Room. The Disaster Artist is a film about the making of that film, and the enigmatic hilarious legend of its creator Tommy Wiseau. On the surface it seems like it could be as silly as its source, but within is a hilarious and heartfelt recreation and tribute to the situation that led to that…disasterpiece.
The story, mostly adapted from the biographical novel of the same name, details the meeting of the two friends, collaborators, and stars of The Room in Tommy Wiseau(James Franco) and Greg Sestero (Dave Franco). This is after (the first sign of this) a funny montage, likely true, of celebrity cameos commenting on the films importance from JJ Abrams to Danny McBride more. The focus goes from acting school to the duo’s bonding over old films to the insane idea of making a film together.. luckily that they did.
What a story Franco rather, who (in addition to directing / producing it) embodies Wiseau so incredibly well in his performance. His look, his method of speech, his movement… he’s almost unrecognizable as his usual self and is nearly 100 spot on as Tommy. It’s a hard task as Wiseau is a one of a kind person, having a distinct accent that’s “New Orleans” and Franco lives it up wonderfully. The laughs come both from the famous circumstances in addition to original pieces to add to the Wiseau canon. Even when not causing humor, he’s sincere and endearing, angry and hateworthy… each moment doing what it needs to. The only time this falters is into some slight over-exaggeration of things, and when a scene calls for Franco to not have the trademark hair look on fully display. Otherwise he’s the perfect take a fan would want or would cause mirth to anyone.
The other Franco as Greg is a bit less spot on , with some cheesy makeup but he is alright in his dumb innocentness. What is believable, and funny, is how Greg is amazed and intrigued by Wiseau. Their friendship leads to some of the best jokes and drama of the film. Great care was placed into giving the rest of the cast to the usual comedy crew. Particularly the likes of The Room’s Peter / Kyle (Nathan Fielder), Claudette / Carolyn (Jacki Weaver), and even Chris R (Zac Efron) and Denny / Phillip (Josh Hutcherson) are spot and slapstick. Lisa / Juliette (Ari Graynor) is of course a part although she is reserved mainly for jokes.
Characters that viewers of the Room have no prior basis on are good as well. Of course Seth Rogen makes his way to a James Franco / Evan Goldberg made flick, here as surprisingly more subdued than usual (for his roles) sarcastic script supervisor Sandy. There’s so many minor original parts that show up… played by the likes of Sharon Stone, Hannibal Burress, Bryan Cranston, Randall Park, Bob Odenkirk, and more. While purists of The Room may view these as unneeded, they are actually fine and for better worse momentary additions who often have extremely humorous lines to add to the script.
That’s the main thing about The Disaster Artist. Its primary audience to enjoy it the most will be fans of The Room’s cult status. There are plenty of moments that mock, or endear, parts of that film. However, the movie is funny enough to be enjoyable to any due to the inanity of Wiseau and peers around. The drama , sadness, and inspiration make it a (odd) inspiring story amidst some occasional melodrama.
Of unique note is the effort placed into its setting and references. The late 90s / early 00s California are felt strongly from clothing to pop music. One will not hear at “Rhythm Of the Night” without a big smile after viewing. The flow of it all works silly and swell.
Just as its title implies, something wonderful is made out of a bad situation. The Room is known as one of the worst movies ever but at the same time one of the most iconic. This film has taken its behind the scenes into something just as funny and with some deeper stuff as well. This is coming from a fan , but..for hoping what it should be… what a story Franco, 9.52 out of 10
The Shape Of Water Review
The Shape Of Water
Director: Guillermo Del Toro
Cast Headliners: Sally Hawkins, Doug Jones, Michael Shannon, Octavia Spencer, Michael Stuhlberg
Original Release Date: December 8th , 2017
Gullermo Del Toro is synonymous with “personal aesthetic”. His, almost always some level of fantastic, films have a distinct sense of style and technique. His fascination of the supernatural have covered immersive topics from defending the world from aliens, gothic ghost stories, fairy tales amidst war, or fitting to his plate adaptations of the likes of Hellboy and Blade. His latest film, The Shape Of Water, is an original tale that distinctly sets itself in 1950s/60s Cold War Americana that showcases in nearly every aspect its sense of “beautiful”.
The protagonist of this dark romance is government facility cleaner Elisa (Sally Hawkins), who is mute. She lives a bit of a mundane but content existence, capturing the repeating sense of urbia in her daily commute and scrubdown. All performances in the film are of the highest caliber, but Hawkins is even more notable in how convincing she is. She uses ASL signage with no words , and she moves as one who was a real user would. Even without even hand dialogue, Elisa’s every expression, action, movement is endearing, humorous, or inspiring. This makes sense for the prime premise… there’s a fish-like being in The Asset (Doug Jones), who she becomes attached to helping out. Jones is great (as always when paired with Del Toro’s vision)… the Asset is so realistic and at the same time, chillingly alien. Both practical and CGI, his appearance is cool while having a spark of charm. Together these two scenes are great. One wouldn’t think a romance with these circumstances could be so moving, but it is.
The supporting cast of this shady science saga range are great whether allies or foes. There’s Elisa’s kindly yet nervous father figure Giles (Richard Jenkins) and her co-worker Zelda (Octavia Spencer). There’s a surprising element of what Dr.”Bob” (Michael Stuhlberg) is doing behind the scenes. Minor roles like government aligned Fleming (David Hewlett) and General Hoyt(Nick Searcy) ride more along the line of being merely kooky stereotypes, but maybe that’s Del Toro going for the pulpiness he is often found of.
To mess up this twisting, exciting tale (much more than meets the eye) is Colonel Richard Strickland (Michael Shannon), who is more of a monster than the Asset could ever be perceived as. Shannon often finds himself in the villainous seat in his film career, but it is for great reason. Strickland is remorseless, demanding, occasionally very funny (the quality script aids in all situations). Shannon brings the utmost of fury and emotion to his scenes. Like the best villains, there’s a bit of sympathy for where he’s coming from and the audience surely is as interested in his scenes as the others. This is a role for him for the ages.
The plot is a slow burner at times but it adds to the mysteries of whats going on. The main arc of Elisa and the Asset finds its way to those around her, and is both emotional and exciting in its feels. Surprises aid to this and the less that’s known the better going in. It’s long, but justifies itself by the end, allowing for side-stories and interactions that add to the drama. This makes action that much more intense when it appears.
Beautiful as a word most applies to the amazing soundtrack by Alexandre Desplat. It’s gorgeous in use of strings and choir, and has a fitting aquatic quality that helps with the immersion. There’s also choice uses of retro pop and etc music that add to the distinct Cold War, urban and suburban archetype feel that takes the viewer back.
Del Toro knows how to cast, knows how to excite, knows how to arrange a score but as always he’s best at a sense of magic visually. The directing and cinematography is crisp and quality. Wide shots give a sense of place. This is aided by fantastic set design that feels gritty realistic and at the same time slightly surreal. This feels Del Toro more than ever.
Overall, because of that, this film is incredibly reccomendable. Great performances, immersion, audio/visuals, and emotional drama. There’s very little wrong with this, although one must know its not so much a horror as it is a charming romantic tale …between some bloody dark drama. The Shape Of Water’s shape is of a great film. 9.05 out of 10
Director: Guillermo Del Toro
Cast Headliners: Sally Hawkins, Doug Jones, Michael Shannon, Octavia Spencer, Michael Stuhlberg
Original Release Date: December 8th , 2017
Gullermo Del Toro is synonymous with “personal aesthetic”. His, almost always some level of fantastic, films have a distinct sense of style and technique. His fascination of the supernatural have covered immersive topics from defending the world from aliens, gothic ghost stories, fairy tales amidst war, or fitting to his plate adaptations of the likes of Hellboy and Blade. His latest film, The Shape Of Water, is an original tale that distinctly sets itself in 1950s/60s Cold War Americana that showcases in nearly every aspect its sense of “beautiful”.
The protagonist of this dark romance is government facility cleaner Elisa (Sally Hawkins), who is mute. She lives a bit of a mundane but content existence, capturing the repeating sense of urbia in her daily commute and scrubdown. All performances in the film are of the highest caliber, but Hawkins is even more notable in how convincing she is. She uses ASL signage with no words , and she moves as one who was a real user would. Even without even hand dialogue, Elisa’s every expression, action, movement is endearing, humorous, or inspiring. This makes sense for the prime premise… there’s a fish-like being in The Asset (Doug Jones), who she becomes attached to helping out. Jones is great (as always when paired with Del Toro’s vision)… the Asset is so realistic and at the same time, chillingly alien. Both practical and CGI, his appearance is cool while having a spark of charm. Together these two scenes are great. One wouldn’t think a romance with these circumstances could be so moving, but it is.
The supporting cast of this shady science saga range are great whether allies or foes. There’s Elisa’s kindly yet nervous father figure Giles (Richard Jenkins) and her co-worker Zelda (Octavia Spencer). There’s a surprising element of what Dr.”Bob” (Michael Stuhlberg) is doing behind the scenes. Minor roles like government aligned Fleming (David Hewlett) and General Hoyt(Nick Searcy) ride more along the line of being merely kooky stereotypes, but maybe that’s Del Toro going for the pulpiness he is often found of.
To mess up this twisting, exciting tale (much more than meets the eye) is Colonel Richard Strickland (Michael Shannon), who is more of a monster than the Asset could ever be perceived as. Shannon often finds himself in the villainous seat in his film career, but it is for great reason. Strickland is remorseless, demanding, occasionally very funny (the quality script aids in all situations). Shannon brings the utmost of fury and emotion to his scenes. Like the best villains, there’s a bit of sympathy for where he’s coming from and the audience surely is as interested in his scenes as the others. This is a role for him for the ages.
The plot is a slow burner at times but it adds to the mysteries of whats going on. The main arc of Elisa and the Asset finds its way to those around her, and is both emotional and exciting in its feels. Surprises aid to this and the less that’s known the better going in. It’s long, but justifies itself by the end, allowing for side-stories and interactions that add to the drama. This makes action that much more intense when it appears.
Beautiful as a word most applies to the amazing soundtrack by Alexandre Desplat. It’s gorgeous in use of strings and choir, and has a fitting aquatic quality that helps with the immersion. There’s also choice uses of retro pop and etc music that add to the distinct Cold War, urban and suburban archetype feel that takes the viewer back.
Del Toro knows how to cast, knows how to excite, knows how to arrange a score but as always he’s best at a sense of magic visually. The directing and cinematography is crisp and quality. Wide shots give a sense of place. This is aided by fantastic set design that feels gritty realistic and at the same time slightly surreal. This feels Del Toro more than ever.
Overall, because of that, this film is incredibly reccomendable. Great performances, immersion, audio/visuals, and emotional drama. There’s very little wrong with this, although one must know its not so much a horror as it is a charming romantic tale …between some bloody dark drama. The Shape Of Water’s shape is of a great film. 9.05 out of 10
Saturday, November 11, 2017
Thor: Ragnarok / JL Review
Thor: Ragnarok . Edit: Nov Superheroes both with JL!
Director: Taika Waititi
Cast Headliners: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Tessa Thompson, Jeff Goldblum, many others
Original Release Date: November 3rd, 2017
Director: Taika Waititi
Cast Headliners: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Tessa Thompson, Jeff Goldblum, many others
Original Release Date: November 3rd, 2017
Thor has been a core staple of Marvels Cinematic Universe. From a surprising and important debut to core parts in the first Avengers film, the Norse god of thunder's given an electrifying awesome , charming, and noble part to the saga along with his slippery brother Loki . However 2013's last Thor-centric film The Dark World was a victim, perhaps the nadir, of MCU sameness ...with awkward extraneous humor and generic tropes of villians / plots . Thor: Ragnarok mostly addresses both problems for this third outing , and injects a wild dose of cosmic weird fun and ..the Hulk.
In what seems like tradition for Thor (Chris Hemsworth) at this point , the story opens with an exciting standalone action sequence in a far off realm. Thor confronts the firey demon Surtur ( Clancy Brown , adding what amounts to a stereotypical but fearsome voice ) to stop the supposed prophecy of Ragnarok . From the start the great strengths of this yarn are shown.... Great mystical backgrounds, awesome action against hordes of fire demons, and a soundtrack that jumps between Led Zeppelin's Immigrant Song ( one of several smart influences of using pop music (although sparingly ) taken from Guardians Of the Galaxy along with the junky space aesthetic and dry humor ) and 1980s synth beats. Of course, this is far from the end of stopping Ragnarok or the only world that's visited.
It's a long, mostly epic , twisting tale of realms and planets and surprises. There's the golden city of Asgard with the likes of Loki ( Tom Hiddleston ) posing as the missing Odin ( Anthony Hopkins), replacement doorkeeper Skurge the Executioner ( Karl Urban) , the Warriors Three , an exiled Heimdall ( Idris Elba) . Be on the lookout for some great minor cameos here. Notably missing is Sif , and Jane and crew although Portman at least gets a mention . This is threatened by the sinister villian Hela( Cate Blanchett ), the goddess of death. Earth and Doctor Strange (Benedict Cumberbatch) even show up in a short but hillarious and important way to tie the MCU together.
Primarily the main addition is the world of Sakaar in deep space , where Thor and Loki find themselves stranded. There is a former Asgardian Valkyrie ( Tessa Thompson), the incredibly unique tyrant The Grandmaster ( Jeff Goldblum) who runs an arena filled with gladiators such as Korg (Taika Waititi, also director ) and ... the Hulk / Bruce Banner ( Mark Ruffalo) . Somehow this diverse godly / alien cast works great together as a whole .
Hemsworth's Thor is similiar as usual, fierce , determined, and charismatic. Fitting with the tone of the piece he is even more funny than ever especially with peers. His arc is an expanded and mostly more nuanced version of what he's gone through before , such as with Loki. So too Hiddleston gives a similar take as ever but at this point one doesn't want much different either as he delivers moments of laughs and hate in his obviously ever-shifting allegiances. Elba's Heimdall has more of a role than ever in both importance and action . It's unfortunate that the likes of the Warriors Three are almost literally swept under the rug in their brief moments and Hopkins Odin just has a couple parts but it's a fast moving snappy piece .
It's neat that Hela is the first female primary antagonist in the MCU and one of the few in the genre around. Blanchett is...decent or so if not the highlight by any means . Her spiky headdress and ability to throw daggers is cool in concept but leads to some cheesy CGI between the good action. She is best at being snarky and vile , at times to the level of hamming but her threat is mostly felt . So too is Skurge, as Urban comes off , fitting with the character, as pathetic more than fearsome with a little built endgame twist that redeems his role right out of the comics...underused otherwise .
Sakaarians outshine their Asgardian, as they should. Thompson's Valkyrie too flits between friend and foe, and is great in both. She bring a surprising drunken, sassy take to the role that fits her intriguing arc ...funny and fierce in equal amounts . Korg and other charming aliens like Miek the bug add trademark New Zealand style bizzare humor right out of the directors other work. It's no surprise that Jeff Goldblum is perfect for the material As Grandmaster...get ready as this is Goldblum at his most Goldblum.... Weird, hilarious, dry, narcissistic, awkward etc ... A highlight if one is into his style .
This character showcases what Waititi has done so well... In making not just Thor 3, or Guardians 2.5 , but ... MCU Hulk 2. The humor in the film is great at nearly every turn. Often breaking audience expectations or tropes , aiming for the juxtaposition and the bizarre . It's a movie where Hulk talks, and smashes more than ever . His banter and fights with Thor are great , and with others. This applies whether he's a giant green barbarian or the geeky human Banner . Ruffalo shines in the late appearance , as confused and neurotic as ever . It's not perfect but nearly all jokes and pairings are almost always in the range of stellar .
Waititi is a master of directing character centric dialogue and humor, but he is able to step into the shoes of cosmic superheroics quite well. The action scenes are great , from the arena to space dogfights right out of the best of the inspirations. Some are less effective than others, but the best are so good and literally sparking it's alright . So too with the music and visuals, being colorful and retro and believeable. Some are more jarring / cheesy but they are few . That too may be a point. The synth pieces are seldom but great , with a typical string score between them.
Perhaps the only other drawback is the pacing . A great story of a strange new world is happening with Thor and friends on Sakaar, but while Asgard is eventually brought back into things the plot of Helas shenngins and conquests is less exciting and a roadbump when they appear. The finale makes right for it but any earlier appearances are slightly weaker, as mentioned.
Overall, this takes ingredients of past Thor and MCU typical fare and tosses some spice of Waititi style humor , GoTG colorful 80s weirdness, and alot of Hulk heart. It doesn't redefine the genre , but is a whole lot of silly fun. It redefines what marvel solo films can be if they need it , and they did it here . 8.65 out of 10
AND
(bonus mini-wanted to jot down quick thoughts) (Justice League: Alot of stakes went into this as it was the long-wanted debut of DC's famous team and the culmination of the DCEU to date. Its a noticeable mix / clash of the visions of the darker , typical Snyder epic material and the humor of Joss Whedon.. which on their own both would work wonders, tho at times there's a tonal and narrative dissonance. However what the film gets strongly right is the team dynamic between all the heroes and their characterization in general... Affleck's wisened Batman, his mentor role to the fast talking , youthful comic relief in The Flash, his awkwardness with the (a bit too but understanding) brooding Cyborg in Fisher, the ever great Gadot as Wonder Woman and a late-game Cavill as Superman. Momoa's Aquaman is also a highlight, both funny and fierce just like his days as the Khal. Supporters range from the great in Iron's Alfred to falling more through the cracks in Lane's Martha or Adam's Lane or Crudup's Henry Allen. The villian too has a menacing voice in Hinds but Steppenwolf is ultimately a generic , poorer CGI excuse to unite the team. The plot is simple, skimming DC references but works in the end.. something straightforward works for the cotnext. The action sequences, moreso when the team is together, are exciting and genuinely fun. There's a sense of brightness to it all that was needed. It could have been more, but the good is good..hope they're more like it . 8.05 out of 10 ))
Primarily the main addition is the world of Sakaar in deep space , where Thor and Loki find themselves stranded. There is a former Asgardian Valkyrie ( Tessa Thompson), the incredibly unique tyrant The Grandmaster ( Jeff Goldblum) who runs an arena filled with gladiators such as Korg (Taika Waititi, also director ) and ... the Hulk / Bruce Banner ( Mark Ruffalo) . Somehow this diverse godly / alien cast works great together as a whole .
Hemsworth's Thor is similiar as usual, fierce , determined, and charismatic. Fitting with the tone of the piece he is even more funny than ever especially with peers. His arc is an expanded and mostly more nuanced version of what he's gone through before , such as with Loki. So too Hiddleston gives a similar take as ever but at this point one doesn't want much different either as he delivers moments of laughs and hate in his obviously ever-shifting allegiances. Elba's Heimdall has more of a role than ever in both importance and action . It's unfortunate that the likes of the Warriors Three are almost literally swept under the rug in their brief moments and Hopkins Odin just has a couple parts but it's a fast moving snappy piece .
It's neat that Hela is the first female primary antagonist in the MCU and one of the few in the genre around. Blanchett is...decent or so if not the highlight by any means . Her spiky headdress and ability to throw daggers is cool in concept but leads to some cheesy CGI between the good action. She is best at being snarky and vile , at times to the level of hamming but her threat is mostly felt . So too is Skurge, as Urban comes off , fitting with the character, as pathetic more than fearsome with a little built endgame twist that redeems his role right out of the comics...underused otherwise .
Sakaarians outshine their Asgardian, as they should. Thompson's Valkyrie too flits between friend and foe, and is great in both. She bring a surprising drunken, sassy take to the role that fits her intriguing arc ...funny and fierce in equal amounts . Korg and other charming aliens like Miek the bug add trademark New Zealand style bizzare humor right out of the directors other work. It's no surprise that Jeff Goldblum is perfect for the material As Grandmaster...get ready as this is Goldblum at his most Goldblum.... Weird, hilarious, dry, narcissistic, awkward etc ... A highlight if one is into his style .
This character showcases what Waititi has done so well... In making not just Thor 3, or Guardians 2.5 , but ... MCU Hulk 2. The humor in the film is great at nearly every turn. Often breaking audience expectations or tropes , aiming for the juxtaposition and the bizarre . It's a movie where Hulk talks, and smashes more than ever . His banter and fights with Thor are great , and with others. This applies whether he's a giant green barbarian or the geeky human Banner . Ruffalo shines in the late appearance , as confused and neurotic as ever . It's not perfect but nearly all jokes and pairings are almost always in the range of stellar .
Waititi is a master of directing character centric dialogue and humor, but he is able to step into the shoes of cosmic superheroics quite well. The action scenes are great , from the arena to space dogfights right out of the best of the inspirations. Some are less effective than others, but the best are so good and literally sparking it's alright . So too with the music and visuals, being colorful and retro and believeable. Some are more jarring / cheesy but they are few . That too may be a point. The synth pieces are seldom but great , with a typical string score between them.
Perhaps the only other drawback is the pacing . A great story of a strange new world is happening with Thor and friends on Sakaar, but while Asgard is eventually brought back into things the plot of Helas shenngins and conquests is less exciting and a roadbump when they appear. The finale makes right for it but any earlier appearances are slightly weaker, as mentioned.
Overall, this takes ingredients of past Thor and MCU typical fare and tosses some spice of Waititi style humor , GoTG colorful 80s weirdness, and alot of Hulk heart. It doesn't redefine the genre , but is a whole lot of silly fun. It redefines what marvel solo films can be if they need it , and they did it here . 8.65 out of 10
AND
(bonus mini-wanted to jot down quick thoughts) (Justice League: Alot of stakes went into this as it was the long-wanted debut of DC's famous team and the culmination of the DCEU to date. Its a noticeable mix / clash of the visions of the darker , typical Snyder epic material and the humor of Joss Whedon.. which on their own both would work wonders, tho at times there's a tonal and narrative dissonance. However what the film gets strongly right is the team dynamic between all the heroes and their characterization in general... Affleck's wisened Batman, his mentor role to the fast talking , youthful comic relief in The Flash, his awkwardness with the (a bit too but understanding) brooding Cyborg in Fisher, the ever great Gadot as Wonder Woman and a late-game Cavill as Superman. Momoa's Aquaman is also a highlight, both funny and fierce just like his days as the Khal. Supporters range from the great in Iron's Alfred to falling more through the cracks in Lane's Martha or Adam's Lane or Crudup's Henry Allen. The villian too has a menacing voice in Hinds but Steppenwolf is ultimately a generic , poorer CGI excuse to unite the team. The plot is simple, skimming DC references but works in the end.. something straightforward works for the cotnext. The action sequences, moreso when the team is together, are exciting and genuinely fun. There's a sense of brightness to it all that was needed. It could have been more, but the good is good..hope they're more like it . 8.05 out of 10 ))
Saturday, October 14, 2017
Blade Runner 2049 Review
Blade Runner 2049
Director: Denis Villenueve
Cast Headliners: Ryan Gosling, Ana De Armas, Sylvia Hoeks, Jared Leto, Harrison Ford, others
Original Release Date: October 6th, 2017
Blade Runner is one of THE sci-fi legends of all time. Atmospheric beyond most before or since, its dark cyberpunk world showcased monumental technical achievements by Ridley Scott, perhaps Harrison Ford's most iconic role after Han Solo and Indiana Jones as Rick Deckard, and a nor-influenced, slow burning and deep story on what it means to be truly human. It stood alone in its story aside being a archetype of its genre, but its world provoked questions of what more stories could be told. Blade Runner 2049 answers that question with a film that faithfully matches the tone and nearly almost the quality of the original.
The year, not surprisingly, is 2049... a far future from our own that is perhaps even more exotic (As the original took place in 2019). The primary setting of Los Angeles and its surrounding areas is either dystopian layers upon layers of cityscapes or the wastelands and junkyards outside of it. As is the original, there's humans, and then there's the bio-android “replicants” who are created for work. The hero of the tale is K (Ryan Gosling), one of the Blade Runners... as with Deckard in the original a member of the LAPD tracking down replicants who need to be taken out. His mission to take down Sapper Morton (Dave Bautista) begins to unravel an intricate spider-web of lost people, miracles, action, and intrigue.
As with the first the movie's primary joy is via visuals and audio. Director Denis Villeneuve once again delivers incredibly on this front. Modern budget and special effects showcase a breathtaking, dark, and beautiful future world. Landscapes astonish and seem so real despite likely being not so. The neon and blackness of Los Angeles, the sterile coldness of the LAPD, the alien-like wastelands and junk piles, the surreal and monolithic interiors of the Wallace Corporation, and later a trip to the Mars-like red dusty abandoned city of Las Vegas are intensely memorable and artistic. This cinematography applies in closer scenes as well. Vehicles, robots, holograms are all so lifelike in their mix of futurism yet with an often appearance of retro looks right from the 80s that match that tone.
Nearly even better is the audio. The score by Hans Zimmer brings to mind the best of Van Gelis' magnum opus of an original via synths, electronics, and strings. Moment to moment sounds pop and rumble no matter what's occuring. A fantastic example of this is during K and Sapper's first brawl, where a simmering pot of food can be heard quietly cooking throughout it all.
This is an extremely long movie that can be slow moving and at times lost in its slightly philosophical side (as was the classic film). Revelations and twists take tons of minutes and scenes to unfold, slow scenes at that. But it is all for good reason because of the skill at play. Action is infrequent but memorable and exciting. The plot serves as a fitting legacy of the old film while being perfectly fine for newcomers, with some surprising turns. Sometimes the placement of certain scenes or choices is questionable, but these are minor mistakes on an epic great journey.
They end up as just side dishes to the scrumptious cyberpunk immersion of the main course but the cast of characters and performances are solid as well. Gosling's K brings to mind his role in Drive....silent yet fierce while also being emotional when the time comes. He's likable and intimidating when he needs to be, and as he is a replicant himself that feeling comes through well. His chemistry with hologram girlfriend Joi (Ana De Armas) is great. Armas is sweet, funny, loving and the two of them's ups and downs bring a bright cheerful core into a dark film.
There's many bit players who bring it greatly with what they are. K's superior Lt.Joshi(Robin Wright) is commandingly fierce with the occasional stereotypical cop laughs when she appears. Bautista's Sapper is different than most roles...quiet and committed while also tough. Sylvia Hoek's plays a fearsome replicant foe called Luv who has an edgy likable sense to her. Various other, smaller and bit less memorable but still alright roles appear: Barkhad Abdi as black market dealer Doc Badger, Carla Juri as memory maker Dr.Stelline, Lennie James as junkyard owner Mr.Cotton, and even familiar faces like Edward James Olmos as Gaff and Sean Young as Rachel(also via old audio clips).
Two other characters who make the most impact are fittingly enough some of the most important. Jared Leto's Niander Wallace is quickly the villain of the film. He's blind, an CEO and inventor mastermind of an intergalactic company, and sees through hovering creepy drones that float around him. To add to this, he has a god-complex.,..talking wonderfully of “restorming Eden to re-take her”. He is chilling yet in just a few scenes. Then, there's Deckard himself.
Audiences expecting a lot of Harrison Ford must be patient, as it takes perhaps too much time for him to actually join the epic events of the film . Once he appears every scene Deckard is in is great. Harrison Ford brings that same level of enthusiasm to his return as he did as Han Solo in Star Wars : The Force Awakens. He is tough, inquisitive, and funny. He and K make a great team, once it finally happens. It's in a way a close and follow-up to the original Blade Runner with important and emotional consequences, yet also hinting at a possible future. It's good that he's in this to tie it all together.
Overall, this serves as a well deserved follow-up to the classic that Ridley Scott would be proud of... smartly done with someone with perhaps even more talent at general filmcraft in Villeneuve. It transports the viewer into a dark, sweeping epic tale of replicants and future cities whether they're a fan of the old or a first timer. It's been done before, but done again with new paintbrushes... it's a new kind of masterpiece. 9.05 out of 10
Director: Denis Villenueve
Cast Headliners: Ryan Gosling, Ana De Armas, Sylvia Hoeks, Jared Leto, Harrison Ford, others
Original Release Date: October 6th, 2017
Blade Runner is one of THE sci-fi legends of all time. Atmospheric beyond most before or since, its dark cyberpunk world showcased monumental technical achievements by Ridley Scott, perhaps Harrison Ford's most iconic role after Han Solo and Indiana Jones as Rick Deckard, and a nor-influenced, slow burning and deep story on what it means to be truly human. It stood alone in its story aside being a archetype of its genre, but its world provoked questions of what more stories could be told. Blade Runner 2049 answers that question with a film that faithfully matches the tone and nearly almost the quality of the original.
The year, not surprisingly, is 2049... a far future from our own that is perhaps even more exotic (As the original took place in 2019). The primary setting of Los Angeles and its surrounding areas is either dystopian layers upon layers of cityscapes or the wastelands and junkyards outside of it. As is the original, there's humans, and then there's the bio-android “replicants” who are created for work. The hero of the tale is K (Ryan Gosling), one of the Blade Runners... as with Deckard in the original a member of the LAPD tracking down replicants who need to be taken out. His mission to take down Sapper Morton (Dave Bautista) begins to unravel an intricate spider-web of lost people, miracles, action, and intrigue.
As with the first the movie's primary joy is via visuals and audio. Director Denis Villeneuve once again delivers incredibly on this front. Modern budget and special effects showcase a breathtaking, dark, and beautiful future world. Landscapes astonish and seem so real despite likely being not so. The neon and blackness of Los Angeles, the sterile coldness of the LAPD, the alien-like wastelands and junk piles, the surreal and monolithic interiors of the Wallace Corporation, and later a trip to the Mars-like red dusty abandoned city of Las Vegas are intensely memorable and artistic. This cinematography applies in closer scenes as well. Vehicles, robots, holograms are all so lifelike in their mix of futurism yet with an often appearance of retro looks right from the 80s that match that tone.
Nearly even better is the audio. The score by Hans Zimmer brings to mind the best of Van Gelis' magnum opus of an original via synths, electronics, and strings. Moment to moment sounds pop and rumble no matter what's occuring. A fantastic example of this is during K and Sapper's first brawl, where a simmering pot of food can be heard quietly cooking throughout it all.
This is an extremely long movie that can be slow moving and at times lost in its slightly philosophical side (as was the classic film). Revelations and twists take tons of minutes and scenes to unfold, slow scenes at that. But it is all for good reason because of the skill at play. Action is infrequent but memorable and exciting. The plot serves as a fitting legacy of the old film while being perfectly fine for newcomers, with some surprising turns. Sometimes the placement of certain scenes or choices is questionable, but these are minor mistakes on an epic great journey.
They end up as just side dishes to the scrumptious cyberpunk immersion of the main course but the cast of characters and performances are solid as well. Gosling's K brings to mind his role in Drive....silent yet fierce while also being emotional when the time comes. He's likable and intimidating when he needs to be, and as he is a replicant himself that feeling comes through well. His chemistry with hologram girlfriend Joi (Ana De Armas) is great. Armas is sweet, funny, loving and the two of them's ups and downs bring a bright cheerful core into a dark film.
There's many bit players who bring it greatly with what they are. K's superior Lt.Joshi(Robin Wright) is commandingly fierce with the occasional stereotypical cop laughs when she appears. Bautista's Sapper is different than most roles...quiet and committed while also tough. Sylvia Hoek's plays a fearsome replicant foe called Luv who has an edgy likable sense to her. Various other, smaller and bit less memorable but still alright roles appear: Barkhad Abdi as black market dealer Doc Badger, Carla Juri as memory maker Dr.Stelline, Lennie James as junkyard owner Mr.Cotton, and even familiar faces like Edward James Olmos as Gaff and Sean Young as Rachel(also via old audio clips).
Two other characters who make the most impact are fittingly enough some of the most important. Jared Leto's Niander Wallace is quickly the villain of the film. He's blind, an CEO and inventor mastermind of an intergalactic company, and sees through hovering creepy drones that float around him. To add to this, he has a god-complex.,..talking wonderfully of “restorming Eden to re-take her”. He is chilling yet in just a few scenes. Then, there's Deckard himself.
Audiences expecting a lot of Harrison Ford must be patient, as it takes perhaps too much time for him to actually join the epic events of the film . Once he appears every scene Deckard is in is great. Harrison Ford brings that same level of enthusiasm to his return as he did as Han Solo in Star Wars : The Force Awakens. He is tough, inquisitive, and funny. He and K make a great team, once it finally happens. It's in a way a close and follow-up to the original Blade Runner with important and emotional consequences, yet also hinting at a possible future. It's good that he's in this to tie it all together.
Overall, this serves as a well deserved follow-up to the classic that Ridley Scott would be proud of... smartly done with someone with perhaps even more talent at general filmcraft in Villeneuve. It transports the viewer into a dark, sweeping epic tale of replicants and future cities whether they're a fan of the old or a first timer. It's been done before, but done again with new paintbrushes... it's a new kind of masterpiece. 9.05 out of 10
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