Reviews

"Let the sky fall. When it crumbles, we will stand tall, and face it all together."

Sam Mendes orchestrates a piece of celluloid perfection with the third Daniel Craig installment. From the moment Bond's silhouette sinks into crystal waters and Adele's voice enters the tympanic membrane, valid Bond fans will envisage what waits in the coming two hours.

The set pieces throughout each act propel the film to an epic conclusion that will transcend Bond fanatics and moviegoers alike. Javier Bardem is arguably the most twisted, dastardly, unhinged and cunning amalgamation Bond has ever faced in his fifty years, and 'my-oh-my' is it a pleasure to behold...

From a cinematography aspect, the film is superlative, and quite possibly the best the series has ever seen - no buffoonery.

In closing, allow yourself to become captivated with the 23rd installment of the James Bond franchise, as this will not disappoint; nor deny the craving for Bond magic.

Skyfall will cement itself alongside such EON classics as From Russia With Love, On Her Majesty's Secret Service, Man with the Golden Gun, and Goldeneye.

"Sweeney Todd" is a revenge story draped around sorrow many times over. Once you face the fact that Johnny Depp, Helena Bonham Carter, Alan Rickman, and the entire cast, minus Timothy Spall, have magnanimous voices, which isn't hard - it's spellbinding.

Most film directors open stage productions by adding meaningless busyness to make them more cinematic. Burton constricts the space and concentrates on the melodrama at hand that lies within the soul of the story. The minor-key chamber music reminds me much of a Catholic Chapel organ tune that carries throughout the film. This element adds to the growing suspense and climax of the film. Burton uses gouts of bright ruby blood that geyser out against the monochromatic backdrops.

This is definitely not a film for weak of stomach or young of age. The MPAA rated well as the movie contains explicit throat slashing scenes that would indeed make Jack the Ripper envious. Now Depp has another aurora about him in light of the fact he can sing very well. Burton shoots him close-up in a loving way; and mad Johnny has the right intensity; the right morbidity about his characters that causes the other characters to fall in line.

Ms Lovett, for example, has the frugal idea of grinding up Sweeney's victims for her minced meat pies. Bonham Carter brings both a ghoulish and erotic tone to the film. If there were a Playghoul magazine, you'd want Burton atop the centerfolds, after all, he has spawned "The Nightmare Before Christmas," "Batman," and many others.

Like Ms Lovett's minced meat pies, Sweeney isn't for every viewer's appetite. Sondheim, the original creator and arguably the greatest theatrical composer and lyricist could've never been more proud of the big-screen adaption being so deliciously served! The film is simply one you will love or hate. Hit or miss with everyone I've come into contact with.

Michel Hazanavicius' "The Artist" is truly an endeavor of artistic magnitude; void in most top tier films, let alone low tier.

The story takes on the transcendence of human emotion, empathy and sensitivity, with more brilliance and tact than any film in recent history. The rustling, bustling, spitting representation of the Hollywood glitz and glamour at the beginning of the Golden Age of Film, intermixed with gloom the Great Depression caused, conveyed a sense of humility and mortality to Jean Dujardin's protagonist, George Valentin.

As for his counterpart, Bérénice Bejo's Peppy Miller, she carried out her performance with extreme ease, sprinkled with magnificent delight of a visceral nature.

Looking back over the thousands of films I've seen, only a handful caused me to weep from my very core, due to the sheer proficiency of which the thematic elements were presented.

"The Artist" will forever be one of the great films of all-time; most indubitably- noteworthy to the defiant nature films portray when battling out for the top spot(s) in cinema history.

This masterpiece has earned its way into my favorites list, which is seemingly impenetrable.

Many have said, and many more will remember Abraham Lincoln as the most loved, heralded, and beloved president in the expansive, yet adolescent history of America. His unrelenting fervor that all people were created equal whether differing skin colors set apart or not, cemented itself through a tumultuous few years, which human dignity may now look back upon, smiling.

Spielberg is known for many great and priceless directorial endeavors. From the mounting atmospheric difficulties on the set of Jaws in Martha's Vineyard, to the graphic, however sincere beauty of Schindler's List, to the innovation of computer technology and imagination with the always endearing Jurassic Park, one thing remains true through Steven's lengthy film career - he continues to amaze us all.

Embarking upon the retelling of a man that altered the course of history forever is most certainly a task that carries certain and unmistakable intimidation and honor. Well, in short, Spielberg flourishes and delivers a film that deserves technical, as well as creative praise.

Choosing to cast Academy Award Winner, Daniel Day-Lewis was the wildcard to the entire production, and ultimately what gave the film a sense of humility, honesty, and integrity; all of the qualities that Lincoln embodied. Constantly and consistently throughout the film, I sat in wonder at how strikingly similar he was to the many photos and portraits we have to this day of the real Abraham Lincoln.

To make light of the ongoing war and methodical pace of the film, Lincoln (Day-Lewis) would unearth analytical jokes he heard during his earlier life as a lawyer, thus setting a nice pace for the two hour and twenty-nine minute haul. If these moments did indeed occur in the past, then Lincoln truly "defined the era of which he was born into."

Tommy Lee Jones must also be notably mentioned, due to his knack for making a role his own, despite the inclination of what should or shouldn't be from certain standpoints. Bottom line: Tommy Lee Jones is a great actor and always remains a constant, never disappointing.

The thing about this film that is quite remarkable is the focus on the overall depiction of how much burden Lincoln carried during his role as the 16th President of the United States. From personal grief, to national mourning, Lincoln carried the plethora of emotions within him, utilizing such as a propelling agent to achieve the supreme goal of seeing the 13th Amendment eclipse January of 1865.

In closing, there was a story of lawyer and his pet parrot, told by Lincoln. You see, this parrot rattled on and on about the coming of the "end of the world!" The lawyer, eventually tiring of this ongoing proclamation, killed the bird, thus fulfilling the doomsday message of the "end of the world" for the parrot, at least.

"We choose the love we think we deserve," and until you find that one, sitting there suspended in time, it's a ton of trial and error. A wallflower is said to be a most interesting type of individual, but externally they are shy, and people take no notice of the brilliance within. For a time, this used to be me - Charlie. "Sing me to sleep; I don't want to wake up on my own anymore... Deep in the cell of my heart, I would feel so glad to go."

Life can be cruel and ruled by time. It seems that when we are young time drags along, however when we are old it hastens and never slows. The years we have in front of us, no matter the age, are all that we have. We can't choose where we come from but we can choose where we are going. "And there are people who forget what it's like to be 16 when they turn 17. I know these will all be stories someday. And our pictures will become old photographs. We'll all become somebody's mom or dad."

Stephen Chbosky translated the novel onto celluloid in such a dramatic and artistic way that it was as humble as it was boastful in its execution. Feeling the progression of each character's developmental growth, as an intended audience viewer, is where this film establishes response with the audience; thus the foundation for the overall attraction and gravitational pull, and flux of emotions becomes paramount.

There are specific moments in life that we desperately yearn to eclipse us in such a profound way that once they've occurred it will be better than what our minds dreamt up. Once that moment happens, we will no longer be writing alone but participating with those that we love, and that love us right back. "I can see it... The moment when you're not a sad story...You're alive."

Hopping aboard the Quentin Tarantino train often carries a certain burden and expectation. You see, the burden often appears when dealing with his hysterical, complex and down-right ridiculous and suggestive vernacular that some people become instantly offended by. The expectation enters and creates the coupling with the overall screen time of his endeavors, which causes some to display the supreme disrespect, by walking out of the theater. Both cinematic styles obviously attract a certain type of moviegoer, however over the years Tarantino has been perfecting his craft; thus causing more fans to gravitate to his pictures.

In the case of his past films, he's succeeded quite often, while sometimes the length can pummel the picture directly into the subterranean abyss; amidst the analytical dialogue and witty exchanges. When the combined elements of his pictures come together in harmony, his directorial efforts are hard to match, let alone exceed. The casting choices boost his films with a dynamic nature that is a rarity at best these days. We, as audience members, have played host to his magnificence, with such originals as Pulp Fiction, Reservoir Dogs and Inglourious Basterds, and the characters that propel these film to greatness, such as Lt. Aldo Raine, Colonel Hans, The Bride, Butch Coolidge, Vincent Vega and Jules Winnfield.

As the 2012 year draws to a close, Tarantino and The Weinstein Company have brought us a dazzling gem of a film that reinvents the dried-out Spaghetti Western genre, into something big, bold and boisterous. True, the picture can seem a bit too lengthy and drawn out, however the character development, cinematography, set pieces and a vivid three act paradigm make this an instant classic, unlike anything predating it.

Christoph Waltz had his coming-out party as Colonel Hans (Inglourious Basterds), which notably earned him an Oscar nod, however seeing his individualistic and stylistic monologues implemented into a paragon role, is something we've all been waiting for. Sure, the renegade is loveable in a dark, twisted and carefree way, but now that he has revealed his portrayal of Dr. King Schultz, it's unclear which role he's better at, which speaks to his overall talent bursting at the seams.

It should not go without mentioning Leonardo DiCaprio, Samuel L. Jackson and of course, Jamie Foxx. DiCaprio's shining example of a true bias southern slave and plantation owner is remarkable, while 'Sammy Jacks' plays off this role as the loyal and all but sullen family butler/caretaker. Together the two lay the groundwork for red lining of the film, which ultimately Jamie Foxx's Django overcomes and shreds to pieces - a true thing of beauty to behold.

The most interesting and tactful thing about Foxx's starring role is he simply plays off of the amazing performance of Waltz. There are many moments where Waltz dominates the dialogue, however as the story progresses, it is made clear who the plot is about - Django and Broomhilda, while Waltz assists. Waltz is cementing himself as an actor who boosts the success of his co-stars and even the protagonist, and this is as admirable as it is difficult.

Overall the film was spectacular and will cement itself as an instant classic. The combined efforts of each star will be remembered as one of the best collaborations Tarantino has brought together in his directorial history. The most intriguing aspect of the film will be the lasting impact of the minuscule genre moving forward, and if it will flourish, or remain in the shadows.

The emergence of Neill Blomkamp's 'District 9' reinvigorated and seemingly repelled away from the overly mundane and monotonous Science Fiction flick that has plagued audiences for decades, which is why the production was extremely triumphant across all channels. Cinemas throughout the globe were enthralled and fed intravenously by the ingenious burst of creativity and vision, as well as the advent of Sharlto Copley' Wikus van der Merwe'.

Fast-forwarding four years later, Blomkamp has once again bequeathed aspiration from the fathoms of his imagination and given moviegoers another rejuvenation that is immensely extravagant. 'Elysium' couples elements of Blomkamp's first success, with shiny new advances that arouse further expansion of the genre itself. The story, though somewhat linear, suffers from predictability, however, the roles of Damon, Foster, Fichtner and most irrevocably Copley, propel the story through almost seamlessly-intermixed with dazzling visual spectacles.

While some may mourn the departure of the 'Halo' movie, 'Elysium' aggressively "mans the reins" with fervor, passion, and dedication. The plethora of Sci-Fi fans that patiently entertain mediocre, high-budget brickbat movies, are most certainly and undeniably grinning from ear-to-ear after one hour and forty-three minutes of sheer delectation.

The plot can only be described as multifaceted, yet incomparable to any other existing work.

Image

The characters can only be summarized as sublime, sensational, and stellar; with the vigorous and charismatic charm that dispenses an irrevocable and scintillating aura over the timeless portrayals.

The cinematography can only be as expected from the eclectic and distinct ingenuity of Mr. Wes Anderson; though this endeavor boasts the most memorable application yet.

Image

The overall unanimity vociferates the magnificence that the many units of language are eloquently strung together-thus-forging a melodic and classic masterpiece.

Initially, as the raindrops fall from Above, you are captivated at the stellar concoction of sights and sounds woven together in this animated masterpiece.

The story is two-fold: Momo's visceral regret at the cruel, final words conveyed to her father before his untimely passing, while the fallen goblins survey the situation as her wildly endearing and whacky guardians. Both elements mesh together seamlessly, leaving me with ultimate satisfaction for the film.

Traversing this unique, original pathway is ambrosia, undoubtedly, however more than that, this endeavor touches the mind and soul in ways that few works of art can; a rejuvenation within the core of us all.

"There will come a time will only yesterday will get you to tomorrow. Don't let yesterday become too far away." -Zachary Nathan Smith-Son

Intricately woven, Only Yesterday will transport your mind and heart to the days where purity and simplicity took lead. The script is expertly crafted and invokes a personal journey. During this journey, I found my soul recovering memories of the younger self, processing vivid memory clips, and unearthing them to present day for adult life application: A crossroads of yesteryear and present year colliding at breakneck speed. The past offers much clarity to the present and even the future... A repeat of our mistakes, or an alternate decision that conjures new roadway ahead.

Our grade school years are a time of infinite discovery, though we yearn for the freedom and complexity our adult life will bring. In all irony, our adult life can be dull, repetitive and a swirling void of dissatisfaction if we're not doing what we love to do. This is why Only Yesterday is such a beautiful film. In two hours, Isao Takahata revolutionizes the importance of our passion for life, our memories of the past and how we choose to allow them to shape our future.

Never allow your mind to cease travel backward. For when that day comes your path ahead will be one that is dimly lit and void of the very innocence, grace and raw character that your soul has become. Never fully grow up inside your heart and mind, despite what others may say or do. Be true to yourself through and through.

The Shallows arrives just in time to erase the disappointing and underwhelming memory of Open Water, The Reef, and other shark pretender films. What those attempts lacked, The Shallows wields and flaunts... The missing link, or so to speak. There is a deep sense of isolation Blake Lively's Nancy experiences, which effortlessly transfers to the audience.

The film places Lively, two surfers, and a tequila-affixed slob pitted against a massive, monstrous, bloodthirsty Carcharodon carcharias on a hidden gem island in Mexico. Surfing isn't as safe as some may actually believe. You see, the miscalculation is on the plate (ahem) of the Homo sapiens, for the white pointer is merely being a territorial predator protecting the immediate realm of her kill. "Beneath this glassy surface, a world of gliding monsters" as Dr. Higgins states in Deep Blue Sea.

The ever-expanding and impending dread of the great white's prowling (torment even) of Lively, and the slight sprinkle of exaggeration while maintaining some realistic paradigm shifts, is where the successful breadth of this script and direction lies. The result is a rematch of human tenacity, will, and innovation versus the White's power, speed, and ferociousness.

It's a bloody, grande 'ole 87 minutes, so strap in and enjoy the red waves.

The Stranger Things intro theme is the quintessential example that less is more and a haunting melody can reverberate the very depths of the human soul.

The Netflix original is a love letter expertly written to Spielberg, John Carpenter and others from the 80's. The plot matches the tone and the characters are a perfect accompaniment to drive the script home each of the eight episodes.

Subjectively, I felt as though the revelation of the Demogorgon's appearance did not translate effectively to the tense, creepy tone the Duffer Brothers achieved. The aesthetic recalled more to a licker from Resident Evil 2 than anything original.

The emotion vested within the core of this story is as gut-wrenching as it's foretelling on one's purpose from the creator himself. The subtlety of raw despair is often felt but left unsaid, due to the overwhelmingly troubling external forces surrounding Little. The altruistic actions of Mahershala Ali's Juan towards Little propel the framework to the very conclusion itself.

Along the way-after some years eclipse-Chiron finds himself combating his mother's addiction and the trauma that is high school. Humans will undoubtedly rear the ugliest of forms, but Chiron travels towards an infinite discovery of his own metamorphosis. Sometimes an escape offers clarity, even though the shift in scenery is only but a temporary notion. Teresa.

Black has reinvented himself in an attempt to shed demons from his past. While the bandage method has healed a few wounds, others-deepest of all-still remain. A call from a love thought to be lost shakes Black's very foundations-sending him on a whim back to Miami to unlock the very door inside the subterranean chasm of his soul.

Be who you are-true to your heart. Don't allow the world to define your novella. You're the author-walk forward with your eyes focused ahead.

It's beyond safe to make this statement: Nearly every human being on this planet owns a personal mobile device; a black mirror. We're fixated...ensnared like a fictional cobra's dizzy-eyed hypnotism. Interesting factoid: Earth's atmosphere is comprised of Nitrogen and Oxygen. But, did you know that when organisms pass away, the bodies decompose into the fertile, rich land-creating nitrogen in the soil and even in the vast, cerulean blue that makes up 75% of our globe. Plants are able to utilize this process and power life itself. Humans, animals-we learn to crawl, talk, walk, run, sprint, walk again, slowly strafe, slow our breathing-then rest our eyes after seeing and experiencing a good life; a personal history that could fill countless novels.

As we come and go, the seemingly countless black mirrors scattered across every inch of our planet continue on. Newer, faster versions are created every year-unlocking a limitless amount of information, automation-even redefining what convenience and "one sec... here you go" means. Are we headed towards a Skynet takeover? Well, yes, in part. Only a small part. It's much more than an artificial paradigm shift. It's about the journey towards arriving there-and humanity is the centerpiece; the protagonists.

Charlie Brooker has created and curated a not-too-distant glimpse at where technology could one day, realistically, be. We all hold the all-knowing Doc Brown and young, exuberant, multi-faceted Marty McFly in dear regard, but that vision was even was undersold by a few miles. The future will be brighter, far more advanced, far more spectacular-with a Blade Runner wildcard factor: If we continue to progress towards AI dependency, it'll be our downfall.

Is it laziness? Sure, I like using the remote, too. Is it scientific exploration? Thank you, Mr. Kubrick. Is it a lift hill on a futuristic roller coaster-once reaching the apex-will come rocketing down towards the ground at breakneck speed? Stay tuned you theme park junkies you.

In the fourth season of Black Mirror, a few, albeit, "disparate episodes" exist that delve further into the soul and mind than other entries. I like to think of Charlie's Brooker's structure as a flawless symphony. You have bridge compositions that ease the mind into a trance, before the big numbers etch their way into our hearts-slightly altering how we process the world around us; our life. A spiritual cleanse. The beauty and power of art.

The National Anthem plays with the sickness social media has plagued across each one of our devices. Twitter, Instagram, Facebook all hold the power-with the strength in numbers-to move mountains, figuratively-or perhaps, literally? What seems like an internal country crisis (dear Princess Savannah being captured and ransomed), morphs into a global, social phenomenon. This notoriety causes one of the highest, most prominent figures in the world-and the UK-to (yes, let's say it together) "give it to a swine from behind." Brilliant, humorous, but such depth in the message.

The Entire History of You is a dangerous, raw exploration into each moment of our lives being digitally preserved and available 24/7 for near-instantaneous playback. A super-powered DirecTV Genie with an infinite SSD. Would 911 have been prevented if security and world police agencies could see every single moment in our lives before boarding any plane? Would crime as a whole be lowered? Or-even deeper down the rabbit hole we go: The truth is twisted behind your back, until one day you subtly take notice to nuances that seem off with a significant other, close family member-whomever. You obsess-like playing a dark-caped detective. Replaying through things with "this person" until your suspicions drive you mad. Every time you approach this person, they make you feel like you're unjustifiably accusing them, so you briefly give up. But you can't let it go. Something is there, scratching the inside of your mind. Then one day you unearth the evidence and reveal the lie. You weren't going crazy. This person made you feel awful for accusing them, but, in fact-you were right the entire time. I don't know about you guys but this makes me shake with fear.

Be Right Back toys with the stretched, dry tear-ducted-emotion of losing someone insanely close to you. IF...technology allowed for a recreation of this loved one-based on their "social posting personality" and interactions via email, would this appease us-or hold our natural grieving process in a wretched circle of hell. We'll never truly forget our parents or god-forbid a spouse passing too early, but we do have to move on to an extent. If not, we'll ironically trap ourselves in a hell matrix.

USS Callister reminds us that bullying is bad, and creates a path towards suicide-or possibly worse, a stealthy, grotesque psychopath. Technology as a whole is utilized best here, in my humble opinion. Not only is this a standout episode to get all your nerdy fanboy friends into, but this disparate installment plays with Star Trek themes without ripping out Star Trek itself. It's far too smart for that move. The notion of transforming a life of fandom to that of a toxic villain is powerful and all too true example in a world of comic book film adaptions. Don't forget: Evil, maniacal men can wear the "good guy's uniform" in a gold statue worthy performance.

Hang the DJ is all about the advancement of technical algorithms and how this now contributes toward two people meeting, falling in love, and defying traditional norms and expectations. We've all had flings that we knew from the beginning would someday fall apart. For Frank and Amy, they knew from the get-go that it was each other or nothing; no living. A pure romantic entanglement, that for one hour defies the Black Mirror DNA. It's a stroke of genius. A flair for the dramatic; a love story that "hits home" to each one of our lives. For me, Hang the DJ rounded the bases multiple times. A dating app isn't just an app. It's a simulation within itself where 99.8% of our digital replications choose one another nearly every time. Thus, when the real world us meet, the app's digitized versions of ourselves have done their job; have made the sacrifice so the real could be together. This episode is designed around one arching theme: To cheer for true love. No cheesy popcorn here. I mean it. We may have ever-changing, ever-expanding technology, but that doesn't change the chemistry and power of the deepest human connection: love. Or does it?

If you find yourself not agreeing with my assessments and positioning, then you've missed the point entirely. This is a love letter to a beautiful schematic that holds its own against all other comers. We're stuck within a sack of non-original creativity-for the most part-so when unique, original creative ideas come to fruition, it's truly art, and why we write, play music, paint, dance-or do what we do.

Wow, what an experience this limited docu-series this was. My wife and I finally got around to watching on NYE. After the first fifteen minutes, we became transfixed. So much so, that we stuck with it for all three hours in a single sitting. It's not as disturbing as many say. The cat killing clips aren't played in their full duration, so don't worry about that. Having said that, I definitely would NOT recommend this limited series to the faint of heart, overly sensitive hearts, or those that obsess over divisive content. Oh, and most certainly not recommending for children or teenagers under 16. There's some really deep-rooted, psychosocial trauma the "killer" goes through that may be a bit too real for the younger crowd. All-in-all, a great watch!