Uncut Gems
Director: The Safdie Brothers
Cast Headliners: Adam Sandler, Idina Menzel, Julia Fox, Lakeith Stanfield, Eric Bogosian, Kevin Garnett
Original Release Date: December 13th, 2019(limited)
One may not necessarily think of Adam Sandler as one who excels in the area of the drama. He is synonymous with silly juvenile comedies for the family that have gotten sillier with each passing iteration. However in the right hands he can be fantastic with a quality dramatic script. The Safdie Brothers, Josh and Benny Safdie, are known on the indie circuit for their distinct gritty style. Uncut Gems marries this two vastly-potential filled ingredients into something wonderful and weird. It's a movie that's like little else out there which will both delight but possibly unnerve the viewer.
After a very trippy opening sequence which sets this distinct surreal atmosphere the film shows its setting of 2012 New York City where Howard Ratner(Adam Sandler) is an extremely mysterious Jewish jewelry shop owner with some debts to be paid and shady deals to be made. He balances arrangements with customers of all types including literal NBA player Kevin Garnett(as himself) aided by associates in street life knowing Demany(Lakeith Stanfield) or his mistress / worker Julia(Julia Fox). He also struggles with a failing marriage with his wife Dinah(Idina Menzel) and a bounty on him by his brother-in-law Arno(Eric Bogosian).
The movie has a script which manages to elevate mostly every actor involved from known to unknown (even surreal bit parts of The Weeknd and Wayne Diamond). Sandler's Howard is fantastic. It's such a different role for him from the lovable goof he's usually been on screen. Here he's more of a hatable goof. A goof in such a way , with dark rimmed glasses and garish gems of his own, it makes him that much more convincingly cunning and threatening. Sandler manages to crack a joke at times but it smartly comes off as more like uncomfortable attempts at breaking tension that it does pure laughs. One will fascinated at the depths this character will both go to and place layer upon layer of bets within.
The other cast has some great chemistry, or stark hatred-filled lack thereof, within the piece. Menzel's Dinah isn't much explored but has her skilled dramatic moments. Stanfield's Demany moreso delivers exposition than anything but has his face-offs. Fox's Julia is a charming adultery partner to Howard with her own arc to play that improves as the film goes on. It's amazing how good KG is as an actor and one would hope for him to be in more. Bogosian's Arno is threatening, and his creepy thugs even moreso, althoug hall come off as too mysterious in their own ways at times or if not that a bit generically menacing in parts.
However this is a film so much more about "style" over "substance" in an impressive way. Dialogue is best when its chaotically layered over itself in narrow jeweler's shops or narrow hallways. Contrastingly, action and chases are are their best when there's not much being said at all. The Safdies direction is fantastic whether as close as can be or with more sweeping shorts of New York (or rarely, elsewhere). The lighting has distinct neon touches in moments that give it a strong vibe helped so incredibly much by the music.
The musical score by Daniel Lopatin is almost worth the price of admission on its own. The weird mix of retro synths and sometimes choir-like vocals gives the experience the true "experiential" aspect. This distinct vibe is so strong and these electronics are what make it in a fitting way for Howard's card shuffle of a life. Some decent pop / rap song usage happens as well.
It's an experience worth having for oneself if they're willing to be uncomfortably on the edge of their seat in this trippy dramatic time where things are one wrong move away from totally collapsing at any given moment. Some things are repeated or don't erupt as much as they could or should but its identity is worth checking if one seems like its dark grit is appealing. Keep it up , both to mr-now-dramatic-sandler as too to the Safdies. 8.75 out of 10
Sunday, December 29, 2019
Monday, December 23, 2019
Star Wars: The Rise Of Skywalker Review
Star Wars: The Rise Of Skywalker
Director : JJ Abrams
Cast Headliners: Daisy Ridley, Adam Driver , John Boyega , Oscar Isaac, Carrie Fisher , Chewie, 3PO, R2 , Palpatine etc nearly everyone Star Wars ever
Original Release Date: December 20, 2019
It's hard to believe that so soon already Disney's sequel trilogy is at its end.. Star Wars: Episode IX The Rise Of Skywalker is not just a close for the past 4 years of adventuring for these new heroes but also in a way ends the Skywalker Saga started decades ago by George Lucas. There was once a time he wanted to get this far and most thought we never would...but we have . It's of course hard to pull off a pleasing ending especially amidst a fandom caught up in division . However truly for a fan, despite some critics or otherwise expected , the movie has bright highs which shine just as one would expect, want, and deserve.
It's a bit too quick to the punchline in that about a year after the events of 2017's Episode 8 : The Last Jedi the galaxy already knows of the return of classic Star Wars evil Sith overlord Emperor Palpatine (Ian Mcdiarmid) sending out a threatening message across the stars. Kylo Ren / Ben Solo( Adam Driver) has a quest of his own as he seems answers about this while maintaining control of his imperial First Order as Supreme Leader along the likes of Generals Hux( Domnhall Gleeson) and Pryde( Richard E Grant ) ever followed by the long awaited return of the dark warriors the Knights of Ren .
Elsewhere Rey(Daisy Ridley) is now on her way to be a master Jedi as she trains under General Princess Leia Organa (Carrie Fisher in her final posthumous role). Fellow Resistance members Poe(Oscar Isaac), Finn( John Boyega), Chewbacca (Joonas Suotamo ), C-3PO(Anthony Daniels ) and small droids BB-8 and R2-D2 have a quest of their own to take down the First Order , and possibly Palpatine if he's really what he says, once and for all.
It's a film of of course bombastic spectacle and high stakes that attempts to close out established lore while adding so much new of it's own . This juggling act is evident in director Abrams visual approach . Some things are presented in a slightly more jumpy style than his peers and of course there's a lense flare or too. However he once again , after his last effort in 2015's The Force Awakens , has great skill in wild battles and exciting sequences. Masterful use of scenery occurs and there's actually more variety in color for the alien worlds and various ships / troopers although it's all from the same by now expected pool. It tends towards a bit of the prequels ridiculousness and that's fine and even helps things feel more fitting for the nine part close.
As it has been in the past the shining stars are Rey and Kylo Ren . Their story , carrying on the force bond of the past , reaches it's excitingly dramatic and surprising conclusion as their fate balances between good and evil. It's great to see Ridley take on her most mature , Jedi trained version of Rey yet as she deals with the temptations of the dark side as many heroes before her have. Driver's Kylo, here with the promise of the noble "Ben Solo" side more than ever, brings his character's arc to an exciting if too swift conclusion. Driver / Ridley chemistry is old news but it works.
It's a relief to see that, if too late by the end too, Isaac's Poe, Boyega's Finn, and other such droids and furry creatures get to be one cohesive whole. Poe especially has some of his biggest true involvement after he spent the other films of this period on the sidelines. He brings his charm and humor along with backstory and action set-piece involvement. It's a bit of a shame that , while going to some decent places (especially compared to The Last Jedi), Finn's arc doesn't quite end up what it should be. As an ensemble whole its the funnest family yet but examine some corners with a microscope and cracks show.
These cracks are sometimes news things. There's new characters like the bow-wielding Jannah(Naomi Ackie), bounty hunter Zorri Bliss(Keri Russell), or Resistance soldier Beaumont Kin(Dominic Monaghan) given little more than some shots to fire or expansionary dialogue. It's a bit of a shame that alumni too carry this role at times like heroic Rose Tico(Kelly Marie Tran) and Maz Kanata(Lupita Nyong'o) or villainous side from Hux(at least a bit more to him than a punchline) even upstaged by the new Pryde replacement.
This is what defines the Disney era: a tug of war between the plans of JJ Abrams, who did Episode 7 before 9, and Rian Johnson who did Episode 8. Aside from the mentioned instances there's several times that contradictory characterizations or plot elements happen. Even some quips happen at The Last Jedi's expense. As silly as they were at least the prequels had George Lucas' overall combined vision.
This rapid retconning also happens around how Palpatine becomes involved to play\. Without spoiling too much, some extremely rapid revelations and information happen (which really is par for course compared to the other Disney films..compare The Force Awaken's "Han is Kylo's dad" reveal to The Empire Strikes Back's "No, I am your father' moment for an example). With JJ's jumpy editing style some objective discomfort could be found. However, this also adds to its distinct identity as well and especially the action. Luckily, with assuming that he does say at least a word or two somehow, McDiarmid's Sith Lord is as gloriously evil and the right kind of cheesy as ever if a bit more of a "been there" and darker approach than his last time in the prequels.
On returning characters, it's fortunate that everyone else is as fantastic as ever. It's an impressive technical feat that Leia is even involved in the first place after the tragic passing of Fisher. Her scenes are mostly taken from not just a bit of Episode 8 but moreso reworked content from 7. The contrast can be at times unnaturally jarring but they manage to find a way that it works. Yes a certain groovy Lando Calrissian(Billy Dee Williams) may show up and he's surprisingly, and perfectly, as energetic and suave as ever in in his distinguished age for a bit of a short appearance time. The mystery of if Luke Skywalker(Mark Hamill) has one last thing to say must be seen firsthand as well but is done pretty well if not perfectly.
The action is nicely pulse-pounding in a straightforward way. People get to places, a situation happens in a shiny (if mostly typical, darkness worlds and ruins aside) location, some quips and blasts are traded and so on. It was perhaps best that things were classically iconic for the end. JJ Abrams is good at delivering things people want if maybe not in ways they didn't expect it and for things to look as exactly as they'd expect but not much more. Big kudos to the duels and space combat (especially a bit of an insane finale) however it's all over only just a bit after it gets great with a couple of exceptions. Score by John Williams is as iconic as ever if mostly pulling from what's come before. The Knight Of Ren look cool but don't do much...there's a statement summarizing it all .
That's what ultimately what not just this film is but what the Disney era as a whole is / was (main three films aside, check things like The Mandalorian or Rogue One for how smaller can be better and fresher...or Solo for how it couldn';t be).... enough, but maybe could have been more. It was always going to be hard to end this iconic franchise's main story and we're lucky that it's at least expected. If only just a little bit more was done here or there it could have been perfect. However, the fantastic is undeniably good whether it makes one cheer, laugh, cry, or fear. Star Wars has never been perfect but that's what makes it special. Whether we loved it for being great or being a meme it was sure memorable. This film mixes the great, the bad , the wants and the surprises in a way that it should be even if its just a few inches short of the gold finish line....but what a race it was whether it was in first or last...we had fun. Till next time , and please show us what a new car and tourney looks like, may the force be with us always. 9 out of 10
Director : JJ Abrams
Cast Headliners: Daisy Ridley, Adam Driver , John Boyega , Oscar Isaac, Carrie Fisher , Chewie, 3PO, R2 , Palpatine etc nearly everyone Star Wars ever
Original Release Date: December 20, 2019
It's hard to believe that so soon already Disney's sequel trilogy is at its end.. Star Wars: Episode IX The Rise Of Skywalker is not just a close for the past 4 years of adventuring for these new heroes but also in a way ends the Skywalker Saga started decades ago by George Lucas. There was once a time he wanted to get this far and most thought we never would...but we have . It's of course hard to pull off a pleasing ending especially amidst a fandom caught up in division . However truly for a fan, despite some critics or otherwise expected , the movie has bright highs which shine just as one would expect, want, and deserve.
It's a bit too quick to the punchline in that about a year after the events of 2017's Episode 8 : The Last Jedi the galaxy already knows of the return of classic Star Wars evil Sith overlord Emperor Palpatine (Ian Mcdiarmid) sending out a threatening message across the stars. Kylo Ren / Ben Solo( Adam Driver) has a quest of his own as he seems answers about this while maintaining control of his imperial First Order as Supreme Leader along the likes of Generals Hux( Domnhall Gleeson) and Pryde( Richard E Grant ) ever followed by the long awaited return of the dark warriors the Knights of Ren .
Elsewhere Rey(Daisy Ridley) is now on her way to be a master Jedi as she trains under General Princess Leia Organa (Carrie Fisher in her final posthumous role). Fellow Resistance members Poe(Oscar Isaac), Finn( John Boyega), Chewbacca (Joonas Suotamo ), C-3PO(Anthony Daniels ) and small droids BB-8 and R2-D2 have a quest of their own to take down the First Order , and possibly Palpatine if he's really what he says, once and for all.
It's a film of of course bombastic spectacle and high stakes that attempts to close out established lore while adding so much new of it's own . This juggling act is evident in director Abrams visual approach . Some things are presented in a slightly more jumpy style than his peers and of course there's a lense flare or too. However he once again , after his last effort in 2015's The Force Awakens , has great skill in wild battles and exciting sequences. Masterful use of scenery occurs and there's actually more variety in color for the alien worlds and various ships / troopers although it's all from the same by now expected pool. It tends towards a bit of the prequels ridiculousness and that's fine and even helps things feel more fitting for the nine part close.
As it has been in the past the shining stars are Rey and Kylo Ren . Their story , carrying on the force bond of the past , reaches it's excitingly dramatic and surprising conclusion as their fate balances between good and evil. It's great to see Ridley take on her most mature , Jedi trained version of Rey yet as she deals with the temptations of the dark side as many heroes before her have. Driver's Kylo, here with the promise of the noble "Ben Solo" side more than ever, brings his character's arc to an exciting if too swift conclusion. Driver / Ridley chemistry is old news but it works.
It's a relief to see that, if too late by the end too, Isaac's Poe, Boyega's Finn, and other such droids and furry creatures get to be one cohesive whole. Poe especially has some of his biggest true involvement after he spent the other films of this period on the sidelines. He brings his charm and humor along with backstory and action set-piece involvement. It's a bit of a shame that , while going to some decent places (especially compared to The Last Jedi), Finn's arc doesn't quite end up what it should be. As an ensemble whole its the funnest family yet but examine some corners with a microscope and cracks show.
These cracks are sometimes news things. There's new characters like the bow-wielding Jannah(Naomi Ackie), bounty hunter Zorri Bliss(Keri Russell), or Resistance soldier Beaumont Kin(Dominic Monaghan) given little more than some shots to fire or expansionary dialogue. It's a bit of a shame that alumni too carry this role at times like heroic Rose Tico(Kelly Marie Tran) and Maz Kanata(Lupita Nyong'o) or villainous side from Hux(at least a bit more to him than a punchline) even upstaged by the new Pryde replacement.
This is what defines the Disney era: a tug of war between the plans of JJ Abrams, who did Episode 7 before 9, and Rian Johnson who did Episode 8. Aside from the mentioned instances there's several times that contradictory characterizations or plot elements happen. Even some quips happen at The Last Jedi's expense. As silly as they were at least the prequels had George Lucas' overall combined vision.
This rapid retconning also happens around how Palpatine becomes involved to play\. Without spoiling too much, some extremely rapid revelations and information happen (which really is par for course compared to the other Disney films..compare The Force Awaken's "Han is Kylo's dad" reveal to The Empire Strikes Back's "No, I am your father' moment for an example). With JJ's jumpy editing style some objective discomfort could be found. However, this also adds to its distinct identity as well and especially the action. Luckily, with assuming that he does say at least a word or two somehow, McDiarmid's Sith Lord is as gloriously evil and the right kind of cheesy as ever if a bit more of a "been there" and darker approach than his last time in the prequels.
On returning characters, it's fortunate that everyone else is as fantastic as ever. It's an impressive technical feat that Leia is even involved in the first place after the tragic passing of Fisher. Her scenes are mostly taken from not just a bit of Episode 8 but moreso reworked content from 7. The contrast can be at times unnaturally jarring but they manage to find a way that it works. Yes a certain groovy Lando Calrissian(Billy Dee Williams) may show up and he's surprisingly, and perfectly, as energetic and suave as ever in in his distinguished age for a bit of a short appearance time. The mystery of if Luke Skywalker(Mark Hamill) has one last thing to say must be seen firsthand as well but is done pretty well if not perfectly.
The action is nicely pulse-pounding in a straightforward way. People get to places, a situation happens in a shiny (if mostly typical, darkness worlds and ruins aside) location, some quips and blasts are traded and so on. It was perhaps best that things were classically iconic for the end. JJ Abrams is good at delivering things people want if maybe not in ways they didn't expect it and for things to look as exactly as they'd expect but not much more. Big kudos to the duels and space combat (especially a bit of an insane finale) however it's all over only just a bit after it gets great with a couple of exceptions. Score by John Williams is as iconic as ever if mostly pulling from what's come before. The Knight Of Ren look cool but don't do much...there's a statement summarizing it all .
That's what ultimately what not just this film is but what the Disney era as a whole is / was (main three films aside, check things like The Mandalorian or Rogue One for how smaller can be better and fresher...or Solo for how it couldn';t be).... enough, but maybe could have been more. It was always going to be hard to end this iconic franchise's main story and we're lucky that it's at least expected. If only just a little bit more was done here or there it could have been perfect. However, the fantastic is undeniably good whether it makes one cheer, laugh, cry, or fear. Star Wars has never been perfect but that's what makes it special. Whether we loved it for being great or being a meme it was sure memorable. This film mixes the great, the bad , the wants and the surprises in a way that it should be even if its just a few inches short of the gold finish line....but what a race it was whether it was in first or last...we had fun. Till next time , and please show us what a new car and tourney looks like, may the force be with us always. 9 out of 10
Multireview Mania: The Irishman on Netflix/Knives Out/Marriage Story on Netflix/A Beautiful Day In The Neighborhood/Marriage Story on Netflix/ Parasite
Multireview Mania: The Irishman on Netflix/Knives Out/Marriage Story on Netflix/A Beautiful Day In The Neighborhood/Marriage Story on Netflix/ Parasite aka the best of the rest I've been busy !:
- The Irishman (Netflix Exclusive)
Director : Martin Scorsese
Cast Headliners : Robert De Niro, Joe Pesci, Al Pacino, Ray Romano, Harvey Keitel, Bobby Cannavale, others
Original Release Date : November 27th, 2019 ( Netflix Access )
A great return to form for the master mobster flick maker Scorsese. Very much like his other classics but especially Goodfellas and Casino in a generational time jumping tale like The Godfather. It's very , very lonnnng and slow but the directing and acting is powerful. Especially by Pacino as Jimmy Hoffa and De Niro / Pesci in their roles ...with some effective if at times uncanny CGI de-aging.. Some brutal kills in parts and to me new Kennedy history . One must know what they're getting into but the slow burn worth it....8.76 out of 10
- Knives Out
Director : Rian Johnson
Cast Headliners : Daniel Craig , Lakeith Stanfield, Ana De Armas , Jamie Lee Curtis, Don Johnson, Michael Shannon, Chris Evans, Others
Original Release Date : November 27th, 2019
Director Rian Johnson is back in his mystery element ...a twisting turning narrative packed with foreshadowing , call backs, and meta references although less politically bold than some have claimed. The plot and it's unreliable narration is the highlight here with Johnson's close style being a perfect match even more than Star Wars .... the swampy manor as much a character as anyone. Of course on those characters amazing performances abound especially in Evans, Curtis, Johnson, and zsjannon with decent kudos to Armas. Craig gives a bit of a cheesily hammy southern accented role but it works .... at times a slow burn of its own but all comes together in the end . .. 8. 7 out of 10
Marriage Story (Netflix Exclusive)
Director: Noah Bambauch
Cast Headliners : Adam Driver , Scarlet Johansson , Laura Dern, Alan Aida , Ray Liotta
Original Release Date : December 6th, 2019
A bit overly sappy a bit overly melancholic in moments . However this tale of a marriage falling apart and the divorce thereafter slowly but surely gets even better and dramatic .. Incredibly amazing performance by Adam Driver who proves to be as inspiring , or broken, are ever through drama and fatherly moments . Kudos to Johansson as well with her own heartbreaking angle ... Dern , Aida, and Liotta bring contrasting kindness and legal spitfire through some intense court scenes. However one scene between Driver / Johansson makes it all worth it . 8.9 out of 10
A Beautiful Day In The Neighborhood
Director : Marielle Heller
Cast Headliners: Tom Hanks , Matthew Rhys, Chris Cooper, Susan Kelechi Watson, etc
Original Release Date : November 22, 2019
Seen : December 2019
This one is only in part about the Mr.Rogers himself . Tom Hanks is really solid in the role when he does show up. However it's more about Rhys as the reporter's drama in his own life with Watson as his wife and Cooper as his father . However all of the above pale in comparison to Hanks' Fred with some bizarre moments happening in the script. There's some heartwarming bits, toylike visuals and piano music but they're surrounded by a film of mixed results. 7.8 out of 10
Parasite
Director : Boong Joon-Ho
Cast Headliners: Song Kang-ho
Sun-kyun
Cho Yeo-jeong
Choi Woo-shik
Park So-dam
Original Release Date: May 2019 (Korea) , October 2019 (USA)
Seen : December 2019
While not in English the whole cast gives quality performances especially Kang-ho. Where this film excels is its darkly comedic twisting plot ....filled with masterful conning , twisty turns and close calls . There's some suspensions of disbelief needed and perhaps appreciation for nuances of Korean culture but it's dark surprises, and laughs, are worth it to anyone. 8.6 out of 10
- The Irishman (Netflix Exclusive)
Director : Martin Scorsese
Cast Headliners : Robert De Niro, Joe Pesci, Al Pacino, Ray Romano, Harvey Keitel, Bobby Cannavale, others
Original Release Date : November 27th, 2019 ( Netflix Access )
A great return to form for the master mobster flick maker Scorsese. Very much like his other classics but especially Goodfellas and Casino in a generational time jumping tale like The Godfather. It's very , very lonnnng and slow but the directing and acting is powerful. Especially by Pacino as Jimmy Hoffa and De Niro / Pesci in their roles ...with some effective if at times uncanny CGI de-aging.. Some brutal kills in parts and to me new Kennedy history . One must know what they're getting into but the slow burn worth it....8.76 out of 10
- Knives Out
Director : Rian Johnson
Cast Headliners : Daniel Craig , Lakeith Stanfield, Ana De Armas , Jamie Lee Curtis, Don Johnson, Michael Shannon, Chris Evans, Others
Original Release Date : November 27th, 2019
Director Rian Johnson is back in his mystery element ...a twisting turning narrative packed with foreshadowing , call backs, and meta references although less politically bold than some have claimed. The plot and it's unreliable narration is the highlight here with Johnson's close style being a perfect match even more than Star Wars .... the swampy manor as much a character as anyone. Of course on those characters amazing performances abound especially in Evans, Curtis, Johnson, and zsjannon with decent kudos to Armas. Craig gives a bit of a cheesily hammy southern accented role but it works .... at times a slow burn of its own but all comes together in the end . .. 8. 7 out of 10
Marriage Story (Netflix Exclusive)
Director: Noah Bambauch
Cast Headliners : Adam Driver , Scarlet Johansson , Laura Dern, Alan Aida , Ray Liotta
Original Release Date : December 6th, 2019
A bit overly sappy a bit overly melancholic in moments . However this tale of a marriage falling apart and the divorce thereafter slowly but surely gets even better and dramatic .. Incredibly amazing performance by Adam Driver who proves to be as inspiring , or broken, are ever through drama and fatherly moments . Kudos to Johansson as well with her own heartbreaking angle ... Dern , Aida, and Liotta bring contrasting kindness and legal spitfire through some intense court scenes. However one scene between Driver / Johansson makes it all worth it . 8.9 out of 10
A Beautiful Day In The Neighborhood
Director : Marielle Heller
Cast Headliners: Tom Hanks , Matthew Rhys, Chris Cooper, Susan Kelechi Watson, etc
Original Release Date : November 22, 2019
Seen : December 2019
This one is only in part about the Mr.Rogers himself . Tom Hanks is really solid in the role when he does show up. However it's more about Rhys as the reporter's drama in his own life with Watson as his wife and Cooper as his father . However all of the above pale in comparison to Hanks' Fred with some bizarre moments happening in the script. There's some heartwarming bits, toylike visuals and piano music but they're surrounded by a film of mixed results. 7.8 out of 10
Parasite
Director : Boong Joon-Ho
Cast Headliners: Song Kang-ho
Sun-kyun
Cho Yeo-jeong
Choi Woo-shik
Park So-dam
Original Release Date: May 2019 (Korea) , October 2019 (USA)
Seen : December 2019
While not in English the whole cast gives quality performances especially Kang-ho. Where this film excels is its darkly comedic twisting plot ....filled with masterful conning , twisty turns and close calls . There's some suspensions of disbelief needed and perhaps appreciation for nuances of Korean culture but it's dark surprises, and laughs, are worth it to anyone. 8.6 out of 10
Wednesday, November 27, 2019
Frozen 2 Review
Frozen II
Directors: Chris Buck and Jennifer Lee
Cast Headliners: Idina Menzel, Kirsten Bell, Josh Gad, Jonathan Groff, wacky elements
Original Release Date: November 22nd, 2019
If 2013's Frozen was a typical Walt Disney Animation Studios main film with some really nice flourishes then Frozen II is a typical Disney sequel with some flourishes of its own. However it's rare that these get released on something more than direct to video at a theatrical level. The effort of the film is felt giving a colorful, emotional, attempted epic story once again however for everything it does well again it falls short in areas the first did. But maybe one can “let its flaws go”.
Knowledge of the first film is key to the events of this one with it taking place after the changed situation of that. In the lush oranges of a fall autumn the kingdom of Arrendelle has it new ruling generation in the friendly reunion of sisters kind-hearted Anna(Kirsten Bell) and ice-gifted Elsa(Idina Menzel) along with Anna's simple goofy boyfriend Kristoff(Jonathan Groff) along with reindeer Sven and living snowman Olaf(Josh Gad).
Their sing-song-y idyllic lives are interrupted by a legacy from their past as seen in flashbacks from their parents Agnarr(Alfred Molina) and Iduna(Evan Rachel Wood). Legends speak of mysterious river of memories in the Enchanted Forest where things such as the wild out of alighnment elements, rock giants, the Northulda people led by Yelena(Martha Plimpton) and a group of knights led by Lietunanent Matthias(Sterling K Brown).
It's a movie that ends up with some mixed delivery but some things must be praised. The CGI animated visuals are incredible with Disney itself even surpassing the best of Pixar to levels of realism perhaps never seen before especially in the backgrounds. The natural scenery is breathtaking and people / critters are so smooth even if it trends towards the “cute”. Some impressive use of scale makes things feel fresh or darker when needed. Solid kudos again to directors Christopher Buck and Jennifer Lee as they return.
Of course the music is a key part of the experience. The orchestral score by returners Robert and Kristan Anderson Lopez is lush with some new usage of things like guitars, drums, and even retro-70s keyboards to give it a nuanced experimental feeling. On the songs well...it's some mixed bag. Great in effort and composition to perhaps new heights but their usage is not the best. They're more of them but they seem to pop up at times odd intervals without the emotional context or fall into the trope of “explain everything”. They have more layers and emotional but lack the right punch at times or aren't as catchily iconic as “Let It Go”. Some exceptions apply however in both epic and even self-aware humor. The Olaf number seems oddly familiar however.
On Olaf, he's a stand-out character again in new if even more ridiculous ways that may trend towards a comedic overload. The script is full of a lot of heart and laugh worthy moments mostly from him but at times the sisters, Kristoff, or Sven. Bell's Anna seems to have slightly regressed as a character but has her depth and charming moments although not as quite where the first one was. This actually leads to Groff's Kristoff having some more stuff with her in his established relationship and proposal goals. Menzel's Elsa has an amazing singing voice of course but so too again has some decent character growth with extra emotion this time although once again it seems she goes away from the main plot for long stretches. Newcomers like Brown's soldier or the Northuldrans offer little more than exposition in the tapestry with one wanting some more of their various new cultures explained.
What it succeeds in audio-visuals it unfortunately finds itself confused in narrative. There's very rare moments of excitement and drama but really the plot is so frustratingly simple in comparison to the past. There's not really a true antagonist or challenges to overcome. There's moments almost like these but they're glossed over quickly like many things. Questions are raised that are never really answered and somehow even with a bigger scope things feel smaller. One wishes some more time was spent on certain revelations or the meaning of the non-ice elements but nothing ever does.
However that's since it is a Disney movie and those at times are not so much about the “plot”. The best of their like however do have some substance and here everything just scratches at the surface. It's another slice of family weather-related fun but try to keep the bar of the first at home. 7.6 out of 10
Directors: Chris Buck and Jennifer Lee
Cast Headliners: Idina Menzel, Kirsten Bell, Josh Gad, Jonathan Groff, wacky elements
Original Release Date: November 22nd, 2019
If 2013's Frozen was a typical Walt Disney Animation Studios main film with some really nice flourishes then Frozen II is a typical Disney sequel with some flourishes of its own. However it's rare that these get released on something more than direct to video at a theatrical level. The effort of the film is felt giving a colorful, emotional, attempted epic story once again however for everything it does well again it falls short in areas the first did. But maybe one can “let its flaws go”.
Knowledge of the first film is key to the events of this one with it taking place after the changed situation of that. In the lush oranges of a fall autumn the kingdom of Arrendelle has it new ruling generation in the friendly reunion of sisters kind-hearted Anna(Kirsten Bell) and ice-gifted Elsa(Idina Menzel) along with Anna's simple goofy boyfriend Kristoff(Jonathan Groff) along with reindeer Sven and living snowman Olaf(Josh Gad).
Their sing-song-y idyllic lives are interrupted by a legacy from their past as seen in flashbacks from their parents Agnarr(Alfred Molina) and Iduna(Evan Rachel Wood). Legends speak of mysterious river of memories in the Enchanted Forest where things such as the wild out of alighnment elements, rock giants, the Northulda people led by Yelena(Martha Plimpton) and a group of knights led by Lietunanent Matthias(Sterling K Brown).
It's a movie that ends up with some mixed delivery but some things must be praised. The CGI animated visuals are incredible with Disney itself even surpassing the best of Pixar to levels of realism perhaps never seen before especially in the backgrounds. The natural scenery is breathtaking and people / critters are so smooth even if it trends towards the “cute”. Some impressive use of scale makes things feel fresh or darker when needed. Solid kudos again to directors Christopher Buck and Jennifer Lee as they return.
Of course the music is a key part of the experience. The orchestral score by returners Robert and Kristan Anderson Lopez is lush with some new usage of things like guitars, drums, and even retro-70s keyboards to give it a nuanced experimental feeling. On the songs well...it's some mixed bag. Great in effort and composition to perhaps new heights but their usage is not the best. They're more of them but they seem to pop up at times odd intervals without the emotional context or fall into the trope of “explain everything”. They have more layers and emotional but lack the right punch at times or aren't as catchily iconic as “Let It Go”. Some exceptions apply however in both epic and even self-aware humor. The Olaf number seems oddly familiar however.
On Olaf, he's a stand-out character again in new if even more ridiculous ways that may trend towards a comedic overload. The script is full of a lot of heart and laugh worthy moments mostly from him but at times the sisters, Kristoff, or Sven. Bell's Anna seems to have slightly regressed as a character but has her depth and charming moments although not as quite where the first one was. This actually leads to Groff's Kristoff having some more stuff with her in his established relationship and proposal goals. Menzel's Elsa has an amazing singing voice of course but so too again has some decent character growth with extra emotion this time although once again it seems she goes away from the main plot for long stretches. Newcomers like Brown's soldier or the Northuldrans offer little more than exposition in the tapestry with one wanting some more of their various new cultures explained.
What it succeeds in audio-visuals it unfortunately finds itself confused in narrative. There's very rare moments of excitement and drama but really the plot is so frustratingly simple in comparison to the past. There's not really a true antagonist or challenges to overcome. There's moments almost like these but they're glossed over quickly like many things. Questions are raised that are never really answered and somehow even with a bigger scope things feel smaller. One wishes some more time was spent on certain revelations or the meaning of the non-ice elements but nothing ever does.
However that's since it is a Disney movie and those at times are not so much about the “plot”. The best of their like however do have some substance and here everything just scratches at the surface. It's another slice of family weather-related fun but try to keep the bar of the first at home. 7.6 out of 10
Saturday, November 23, 2019
Doctor Sleep Review
Doctor Sleep
Director: Mike Flanagan
Cast Headliners: Ewan McGregor, Kyliegh Curran,Rebecca Ferguson, Cliff Curtis, many minds and ghosts
Original Release Date: November 8th, 2019
Stanley Kubrick's adaptation of Stephen King's The Shining is one of the most iconic films of all time. Author's note that it was a firsthand watch in full in the past few weeks but it holds up incredibly, amazingly well. How can anyone possibly follow it up and why. Well Stephen King himself stepped up to the plate with a 2013 novel Doctor Sleep. Now it's become a film but is it really The Shining 2 . It's a mix of very much being one, too much at being one, and it's own frontier.
Some (seldom little!) usage of the old theme song takes audiences back to the 80s where a young Danny Torrance is being raised in Florida by his mother Wendy after the horrific events of the Overlook. They're played by Roger Dale Floyd and Alex Essoe rather than their originals... part of several old characters who show up again who never quite match the original but at least go for an attempt at looking like them such as a dcent Shelly Duvall or a slightly mediocre Jack Nicholson. This includes Danny being haunted by ghostly visions whether the evil old woman (what a 2019 of those) or the helpful Halloran(Carl Lumbly). He learns to master his mental powers a little more which is more what this film is about than horror.
In present day in multiple jumps of time Danny is now a drunken loser of an adult(Ewan McGregor) who is still haunted but by much more realistic demons. He finds himself on the east coast befriending Billy Freeman(Cliff Curtis) in a small town. Elsewhere a young girl named Abra Stone(Kyliegh Curran) makes contact with him with her own telekinetic powers. They attract the attention of a murderous cult of energy-vampires the True Knot led by Rose the Hat(Rebecca Ferguson). Various adventures, deaths, close calls, and magical revelations occur in the saga of shining-mind versus shining-mind.
That's an important thing to know of this film as mentioned. It's definitely spooky with some jump scares and an overall dark ambiance (thank director Mike Flanagan for that as the influence of The Haunting Of Hill House is felt in mood and ghostly reveals). However it truly dives deeper into the lore of these mind powers. There's some fascinating sequences of mental astro projection almost like Doctor Strange or Inception or something as these gifted individuals compete with each other. Some pulse pounding and or creepy music by the Newton Brothers aids this fantastical atmosphere. There's even such contrast features as a gun fight but it ends up working.
The new cast is decent if nothing mind-blowing like the original. McGregor's adult “Dan” is of course hard to compare to the child version but that lets him be something new. He's a bit typical but carries his tortured addicted mental state with his capacity for heroism with some slight humor at times. Curran's Abra makes for a great pair with him and she has some solid young potential. Curtis's Billy has some generic kindness and this appears through most the other family / neighbor characters like other King works.
Ferguson's Rose is the most solid of all with a bit of an ancient Celtic accent hinting at her true origin. Her vampire partners, henchmen, and lovers have this unique Cajun-esque odd sensibiility to them that makes them distinct. Her number two and lover Crow Daddy(Zahn McClarnon) and newcomer Snakebate Andi(Emily Alyn Lind) makes some particular fierce impact.
All of this could be a movie on its own and it really is a loose connection to the original. However of course they try to include some connections to the Overlook Hotel (as there was in the original novel). This time elements of the Doctor Sleep novel , the Shining novel's alternate ending, ad the mini-series remake are all mixed into having an excuse to go back to that snowy mountain. This part of the film is what truly is like “shining 2” and it's interesting to see other characters react to it. Some impressive efforts are made to re-create certain sets and visuals although some of this has shaky CGI. The lore doesn't quite make sense and some truly questionable choices happen in the climax but it manages to be both silly and deliver on what viewers of the first film would want to see for a sense of closure.
It's a long movie, almost too much at times, with some room possibly having been gotten from cutting down on some character development. There's a few mistakes made but the emotion, scares, and atmosphere do a decent job of bringing back the legend. It's an epic mind saga when it does it right. 8 out of 10
Director: Mike Flanagan
Cast Headliners: Ewan McGregor, Kyliegh Curran,Rebecca Ferguson, Cliff Curtis, many minds and ghosts
Original Release Date: November 8th, 2019
Stanley Kubrick's adaptation of Stephen King's The Shining is one of the most iconic films of all time. Author's note that it was a firsthand watch in full in the past few weeks but it holds up incredibly, amazingly well. How can anyone possibly follow it up and why. Well Stephen King himself stepped up to the plate with a 2013 novel Doctor Sleep. Now it's become a film but is it really The Shining 2 . It's a mix of very much being one, too much at being one, and it's own frontier.
Some (seldom little!) usage of the old theme song takes audiences back to the 80s where a young Danny Torrance is being raised in Florida by his mother Wendy after the horrific events of the Overlook. They're played by Roger Dale Floyd and Alex Essoe rather than their originals... part of several old characters who show up again who never quite match the original but at least go for an attempt at looking like them such as a dcent Shelly Duvall or a slightly mediocre Jack Nicholson. This includes Danny being haunted by ghostly visions whether the evil old woman (what a 2019 of those) or the helpful Halloran(Carl Lumbly). He learns to master his mental powers a little more which is more what this film is about than horror.
In present day in multiple jumps of time Danny is now a drunken loser of an adult(Ewan McGregor) who is still haunted but by much more realistic demons. He finds himself on the east coast befriending Billy Freeman(Cliff Curtis) in a small town. Elsewhere a young girl named Abra Stone(Kyliegh Curran) makes contact with him with her own telekinetic powers. They attract the attention of a murderous cult of energy-vampires the True Knot led by Rose the Hat(Rebecca Ferguson). Various adventures, deaths, close calls, and magical revelations occur in the saga of shining-mind versus shining-mind.
That's an important thing to know of this film as mentioned. It's definitely spooky with some jump scares and an overall dark ambiance (thank director Mike Flanagan for that as the influence of The Haunting Of Hill House is felt in mood and ghostly reveals). However it truly dives deeper into the lore of these mind powers. There's some fascinating sequences of mental astro projection almost like Doctor Strange or Inception or something as these gifted individuals compete with each other. Some pulse pounding and or creepy music by the Newton Brothers aids this fantastical atmosphere. There's even such contrast features as a gun fight but it ends up working.
The new cast is decent if nothing mind-blowing like the original. McGregor's adult “Dan” is of course hard to compare to the child version but that lets him be something new. He's a bit typical but carries his tortured addicted mental state with his capacity for heroism with some slight humor at times. Curran's Abra makes for a great pair with him and she has some solid young potential. Curtis's Billy has some generic kindness and this appears through most the other family / neighbor characters like other King works.
Ferguson's Rose is the most solid of all with a bit of an ancient Celtic accent hinting at her true origin. Her vampire partners, henchmen, and lovers have this unique Cajun-esque odd sensibiility to them that makes them distinct. Her number two and lover Crow Daddy(Zahn McClarnon) and newcomer Snakebate Andi(Emily Alyn Lind) makes some particular fierce impact.
All of this could be a movie on its own and it really is a loose connection to the original. However of course they try to include some connections to the Overlook Hotel (as there was in the original novel). This time elements of the Doctor Sleep novel , the Shining novel's alternate ending, ad the mini-series remake are all mixed into having an excuse to go back to that snowy mountain. This part of the film is what truly is like “shining 2” and it's interesting to see other characters react to it. Some impressive efforts are made to re-create certain sets and visuals although some of this has shaky CGI. The lore doesn't quite make sense and some truly questionable choices happen in the climax but it manages to be both silly and deliver on what viewers of the first film would want to see for a sense of closure.
It's a long movie, almost too much at times, with some room possibly having been gotten from cutting down on some character development. There's a few mistakes made but the emotion, scares, and atmosphere do a decent job of bringing back the legend. It's an epic mind saga when it does it right. 8 out of 10
Friday, November 8, 2019
Terminator: Dark Fate Review
Terminator: Dark Fate
Director:Tim Miller
Cast Headliners: Mackenzie Davis, Natalia Reyes, Gabriel Luna, Linda Hamilton, Arnold Schwarzenegger
Original Release Date: November 1st, 2019
The Terminator film franchise is much like its apocalyptic future in that things were, are, and will be messy. Sequels to the iconic first two films have been extremely mixed bags with each attempting to start its own era of stories only to be swept away. What sets Terminator: Dark Fate, the sixth film overall, apart is that even more of the DNA of those first two films is present. Not only does Arnold Schwarzenegger as a T-800 return again but so does Sarah Connor, Linda Hamilton, herself. James Cameron also helped produce and craft a story that is set in a time-line canon only to the first two films. One might think this is sure to work but only in a mixed way.
A short prologue actually explains this timeline divergence. With some incredible de-aging CGI used to show the 1990s again a young John Connor is killed by another (apparently many ) T-800 in a move very reminiscent of Cameron's choice in Alien 3. This sets the future up for a new and unknown world ahead.
Jumping to 2019 Mexico is the world to which cyborg human-terminator hybrid soldier Grace(Mackenzie Davis) is sent back. Of course naked and afraid she at first only reacts to this strange time with no context or civility. Soon she realizes that her mission is to protect Dani Ramos(Natalia Reyes) from a Rev-9 terminator robot(Gabriel Luna) on their trails. There's some other new characters but none of them really make an impact aside from a moment. Even the new heroes and villains are pretty generic with Reyes being like a younger new Sarah Connor / John Connor fusion with much less of both the charisma and aptitude. Davis' Grace and Luna's Rev-9 have some fierceness to them but like so many in this franchise are generic while being better at action scenes. It's also questionable if it needed to really be “Legion” and “Rev-9's” instead of Skynet again since its the same plots but with the nouns swapped out.
What gives the movie its most authentic charm is the presence of the legacy characters used better than ever. It's so great to have Hamilton back as the older Sarah Connor. She's maybe even tougher than ever with great combat prowess and some funny quips. It's as if she never left and the character arc feels very much true to her past. Schwarzenegger's older “Carl”, who's connections to the past must be seen firsthand, is also really good. Much like Genisys he's able to bring a humorous angle to things although here more robotic and reserved to fit a more accurate dark tone. It all works so well and it's a bit of a shame that they come in late to the picture (Sarah around 1/3 in and Carl for the last 25% respectively). The absolute best stuff is their rivalry with each other which brings both laughs and emotional feels. However it's understood that, like so many soft-reboots these days, these are precious connections whose minimal usage makes feel that much better.
The gritty 80s tone is mostly successfully brought into the modern day. It's helped by the pounding metallic soundtrack, including the iconic theme, by Junkie XL although the synths are interspersed with generic orchestrations. James Cameron's lore touch and some tone is felt although he actually didn't direct it this time. This was done by Deadpool 1's Tim Miller. Through this a slight lower budget CGI cheese is felt but his frenetic style is felt (as if it was Wade Wilson versus foes but in a more grim way). Things tend towards larger than life movements which work with Rev-9's splitting-into-two-halves angle with liquid effects that remind one of T2(why does everything try to be T2....it was a legend of course). Things become a bit better when realistic gritty car chases and gunfights occur since they're more practical. It can be at times rough with the movement but it entertains.
That's what this film is... it's nothing too new but it entertains. Some of the ingredients help bring it up slightly from the muck of its franchise past but what isn't working still isn't working that well. However it acts as a bit of a nice closed loop for the series(with its box office this may be the end forever) and worth it for either big fans or those looking for some silly robotic time-jumping fun. 7.35 out of 10.
Director:Tim Miller
Cast Headliners: Mackenzie Davis, Natalia Reyes, Gabriel Luna, Linda Hamilton, Arnold Schwarzenegger
Original Release Date: November 1st, 2019
The Terminator film franchise is much like its apocalyptic future in that things were, are, and will be messy. Sequels to the iconic first two films have been extremely mixed bags with each attempting to start its own era of stories only to be swept away. What sets Terminator: Dark Fate, the sixth film overall, apart is that even more of the DNA of those first two films is present. Not only does Arnold Schwarzenegger as a T-800 return again but so does Sarah Connor, Linda Hamilton, herself. James Cameron also helped produce and craft a story that is set in a time-line canon only to the first two films. One might think this is sure to work but only in a mixed way.
A short prologue actually explains this timeline divergence. With some incredible de-aging CGI used to show the 1990s again a young John Connor is killed by another (apparently many ) T-800 in a move very reminiscent of Cameron's choice in Alien 3. This sets the future up for a new and unknown world ahead.
Jumping to 2019 Mexico is the world to which cyborg human-terminator hybrid soldier Grace(Mackenzie Davis) is sent back. Of course naked and afraid she at first only reacts to this strange time with no context or civility. Soon she realizes that her mission is to protect Dani Ramos(Natalia Reyes) from a Rev-9 terminator robot(Gabriel Luna) on their trails. There's some other new characters but none of them really make an impact aside from a moment. Even the new heroes and villains are pretty generic with Reyes being like a younger new Sarah Connor / John Connor fusion with much less of both the charisma and aptitude. Davis' Grace and Luna's Rev-9 have some fierceness to them but like so many in this franchise are generic while being better at action scenes. It's also questionable if it needed to really be “Legion” and “Rev-9's” instead of Skynet again since its the same plots but with the nouns swapped out.
What gives the movie its most authentic charm is the presence of the legacy characters used better than ever. It's so great to have Hamilton back as the older Sarah Connor. She's maybe even tougher than ever with great combat prowess and some funny quips. It's as if she never left and the character arc feels very much true to her past. Schwarzenegger's older “Carl”, who's connections to the past must be seen firsthand, is also really good. Much like Genisys he's able to bring a humorous angle to things although here more robotic and reserved to fit a more accurate dark tone. It all works so well and it's a bit of a shame that they come in late to the picture (Sarah around 1/3 in and Carl for the last 25% respectively). The absolute best stuff is their rivalry with each other which brings both laughs and emotional feels. However it's understood that, like so many soft-reboots these days, these are precious connections whose minimal usage makes feel that much better.
The gritty 80s tone is mostly successfully brought into the modern day. It's helped by the pounding metallic soundtrack, including the iconic theme, by Junkie XL although the synths are interspersed with generic orchestrations. James Cameron's lore touch and some tone is felt although he actually didn't direct it this time. This was done by Deadpool 1's Tim Miller. Through this a slight lower budget CGI cheese is felt but his frenetic style is felt (as if it was Wade Wilson versus foes but in a more grim way). Things tend towards larger than life movements which work with Rev-9's splitting-into-two-halves angle with liquid effects that remind one of T2(why does everything try to be T2....it was a legend of course). Things become a bit better when realistic gritty car chases and gunfights occur since they're more practical. It can be at times rough with the movement but it entertains.
That's what this film is... it's nothing too new but it entertains. Some of the ingredients help bring it up slightly from the muck of its franchise past but what isn't working still isn't working that well. However it acts as a bit of a nice closed loop for the series(with its box office this may be the end forever) and worth it for either big fans or those looking for some silly robotic time-jumping fun. 7.35 out of 10.
Wednesday, October 30, 2019
The Lighthouse Review
The Lighthouse
Director: Robert Eggers
Cast Headliners: Willem Dafoe, Robert Pattinson, you'll have to see
Original Release Date: October 18th, 2019(limited)
With 2015's The Witch (or technically to some, The VVItch with to v's) Robert Eggers proved he's an incredibly unique director for both the horror genre and films as a whole. His style is already so distinct in ambiance and darkness with delicate use of period-centric dialogue and audio. The Lighthouse ramps up that atmosphere tenfold to offer a chilling but more dramatic psychological look into the despair of two men in the void of the sea.
Sometime in the 1800s (and after one of the few glimpses into the outside world of other people) a rookie lighthouse keeping “wickie” Ephraim Winslow(Robert Pattinson) settles in the far ocean under the employ of salty seadog veteran Thomas Wake(Willem Dafoe). The two men must contend with an unforgiving environment, arduous tasks, illusions and tales of monsters, but most of all the biggest trial: each other.
This is as mentioned a film with such little quantity in terms of location or characters but it makes up for it in complexity and quality. There's some seagulls and an indeterminately illusory mermaid (Valeriia Karaman) but otherwise its these two sea-men and their watery, rocky surroundings.
This isolated context makes the script and acting so key to the experience upon which the film delivers quite well. Each is a masterful highlight in their own way. Dafoe's Wake takes most of the spoken screentime and he's packed with all kinds of quotable intense moments. Acting far beyond his age he's as saltily grumpy as they can be with a mad look and a gloriously dirty large bird. He manages to be so absurd that its at times comical (on purpose) between his stern fearsomeness. Conversely, Pattinson proves his acting talent as Winslow. He seldom speaks but carries so much power in his take whether it is through stressed outbursts or the cold lack of any emotion forged in his locale. It's unrecognizable from anything he's ever done and makes a strong, total immersion case for anything he does like the greats. Together these two have such an intricate relationship that will cause questions and introspection for years to come even if it at times becomes repetitive.
Aiding this dramatic stress is the aesthetic chosen by director Robert Eggers. The movie is entirely in black and white which brings to mind both the bygone era but also such visceral works such as Eraserhead and the Elephan Man by David Lynch. This greyscale gives mind an old-timey photograph in motion (aided by the set design and dialogue) while also adding to the cosmic horror nihilism at play. Mark Korven's eerie scratchy score also adds to this wonderfully. Some surreal, weird, disturbing images pop up at times which makes it seem more like a work of art than “joyful entertainment” but the combination of all these dark factors makes for something incredibly memorable.
It's a very long and slow burn to the pulse pounding thrills but it's one worth the wait for one willing to embrace what it's going for. The performances here, like the context of the film, mark actors with a career nearer to its end and one just beginning. So too is this yarn just another accomplishment by Eggers and one can't wait to see what he does next if it builds even further upon this atmosphere. 8.6 out of 10
Director: Robert Eggers
Cast Headliners: Willem Dafoe, Robert Pattinson, you'll have to see
Original Release Date: October 18th, 2019(limited)
With 2015's The Witch (or technically to some, The VVItch with to v's) Robert Eggers proved he's an incredibly unique director for both the horror genre and films as a whole. His style is already so distinct in ambiance and darkness with delicate use of period-centric dialogue and audio. The Lighthouse ramps up that atmosphere tenfold to offer a chilling but more dramatic psychological look into the despair of two men in the void of the sea.
Sometime in the 1800s (and after one of the few glimpses into the outside world of other people) a rookie lighthouse keeping “wickie” Ephraim Winslow(Robert Pattinson) settles in the far ocean under the employ of salty seadog veteran Thomas Wake(Willem Dafoe). The two men must contend with an unforgiving environment, arduous tasks, illusions and tales of monsters, but most of all the biggest trial: each other.
This is as mentioned a film with such little quantity in terms of location or characters but it makes up for it in complexity and quality. There's some seagulls and an indeterminately illusory mermaid (Valeriia Karaman) but otherwise its these two sea-men and their watery, rocky surroundings.
This isolated context makes the script and acting so key to the experience upon which the film delivers quite well. Each is a masterful highlight in their own way. Dafoe's Wake takes most of the spoken screentime and he's packed with all kinds of quotable intense moments. Acting far beyond his age he's as saltily grumpy as they can be with a mad look and a gloriously dirty large bird. He manages to be so absurd that its at times comical (on purpose) between his stern fearsomeness. Conversely, Pattinson proves his acting talent as Winslow. He seldom speaks but carries so much power in his take whether it is through stressed outbursts or the cold lack of any emotion forged in his locale. It's unrecognizable from anything he's ever done and makes a strong, total immersion case for anything he does like the greats. Together these two have such an intricate relationship that will cause questions and introspection for years to come even if it at times becomes repetitive.
Aiding this dramatic stress is the aesthetic chosen by director Robert Eggers. The movie is entirely in black and white which brings to mind both the bygone era but also such visceral works such as Eraserhead and the Elephan Man by David Lynch. This greyscale gives mind an old-timey photograph in motion (aided by the set design and dialogue) while also adding to the cosmic horror nihilism at play. Mark Korven's eerie scratchy score also adds to this wonderfully. Some surreal, weird, disturbing images pop up at times which makes it seem more like a work of art than “joyful entertainment” but the combination of all these dark factors makes for something incredibly memorable.
It's a very long and slow burn to the pulse pounding thrills but it's one worth the wait for one willing to embrace what it's going for. The performances here, like the context of the film, mark actors with a career nearer to its end and one just beginning. So too is this yarn just another accomplishment by Eggers and one can't wait to see what he does next if it builds even further upon this atmosphere. 8.6 out of 10
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