Reviews

In the same way Florian Zeller illustrates the realities of dementia in The Father, Beau is Afraid takes its audience on a journey where our hero's anxiety and schizophrenia is constantly manifesting itself on screen. This is the most digestible way of processing Ari Aster's third film, and while there are several (that's putting it generously) other ideas at play here, focusing on any one of them individually in the context of everything that happens can easily get you lost in the sauce. All that to say there is A LOT going on.

I appreciate the hell out of a guy like Aster making a film like this that is so absurdly avant-garde and, at times, nonsensical. It's incredibly refreshing to see a mind like this at work, but I will say with each film the man's themes and symbolism have become increasingly more and more vague to the point where one might wonder if he's the only one in on the joke. I don't think we're there yet, but I know without a doubt many people who see this movie will feel like we are. Does he owe us a certain degree of translation? Or is the lack thereof the root of what makes this so compelling? I'm not sure I know the answer.

If Albert Brooks' The Mother was an appetizer of tackling the subconscious psychological conflict surrounding the anxieties and fears passed on from mother to son, Beau is Afraid serves as six main courses dumped on your plate all at once. While the former may stick to a surface level analysis, this film dives in head first and visualizes the struggle to an almost uncomfortable degree.

At times I enjoyed Beau is Afraid quite a bit and at other times I didn't have the slightest idea what I was watching. Still, it was an experience so unique that I can't help but to love it. When I can finally wrap my head around a defined analysis, I have no doubt that this would become increasingly more enjoyable with additional watches. That Ari Aster guy, what will he come up with next?

The premise of Severance caught my attention but after the first few episodes I was afraid the writers didn't know what to do with their incredible hook. Despite that slow start, holy crap does this thing evolve and I can confidently say it's the best show I've watched since Chernobyl. Severance brings a great mix of corporate satire, dark humor, and a tension that slowly builds into a jaw dropping crescendo. Characters find themselves in scenarios that have never truly been explored in entertainment before and it's impossible to stop watching. The build up might take a while but the last 3-4 episodes are absolutely incredible. Probably my favorite thing that Ben Stiller has ever been a part of. I know another streaming subscription might keep Severance from becoming a cultural phenomenon but the Apple TV+ trial is worth the binge, trust me.

Can we cast David Arquette in some more movies? The guy's still got it. For the fifth installment of a horror franchise this was actually pretty good. The movie does a solid job at playing with expectations and keeping you guessing. It moves along at a great pace too. The self-awareness the Scream movies have become known for is just slightly overdone here. Otherwise I had a good time with it.

I loved this movie. It pays immense respect to the play while adding stylistic choices that really elevate the mythic nature of its story. Every single shot can be framed and hung up on a wall. It's all very Citizen Kane and there's gonna be a cinematography Oscar nom. Denzel gives a masterclass in acting but honestly every performance is worthy of praise. Without spoiling anything about it, the three witches are presented in an unsettling way that was creepy and original. You're gonna want to read a wiki summary beforehand if you're not fresh on Macbeth because every line is spoken in straight up Shakespearean dialogue that can occasionally be difficult to follow if you're lost on the context. But the imagery is incredible. Doesn't overstay its welcome and every scene is satisfying, especially towards the end. Loved it.

That was Phillip Seymour Hoffman's son?! A great juxtaposition of the conflicts between youth and adulthood. Performances were excellent and you could write a book analyzing the give and take of Alana & Gary's relationship. Loved the dialogue and the 70s production is spot on. An unmistakable PTA film. The plot felt like it wandered a bit through the third act but the conclusion adds context to those moments and I think I'll appreciate this one a bit more down the road.

I was worried this would be like every other biopic but it's unlike anything I've watched. Spencer's exploration of Princess Diana's declining mental health and claustrophobia amongst the English royalty is intimate, creatively portrayed and completely riveting. The cinematography is phenomenal and Kristen Stewart delivers a career-defining performance. One of the year's best.

The French Dispatch is definitely an original film, visualizing the final issue of a historic New Yorker-like French magazine with each article serving as its own portion of the film. There's plenty of your typical Anderson style and witty dialogue, and I mostly enjoyed the first and third acts of the film. As whole though the story, acting and heart of this one takes a back seat to Anderson's stylistic approach. The production is the entire movie in a sense, and as a result it can be difficult to care about its stories or characters. Every role can be described as "a Wes Anderson character," and that is pretty much all you need to know get the idea. The French Dispatch feels like a gorgeous presentation in making things look and feel like Wes Anderson while forgetting to give us something to relate to or connect with.

Starts off with a bang but eventually meanders into one too many dialogue-soaked scenes. Shaving 30 minutes off of this would make it a much better movie. Great acting, plenty of style and the action is a lot of fun, but the plot drowns in its own drawn-out development.

The scale of this movie is an incredible feat of its own. I'd put money on Oscar noms for production design, cinematography, sound, costume design, original score and best director. The fact that this thing exists is a testament to how far movies can go when you put the right talent (and money) at the helm. Following the rest of his catalogue, there should be no doubt Villeneuve will be remembered as one of the best to do it. Dune is clearly an unfinished story and many of its highlights are resting on what's to come next. That fact can make things feel slow and occasionally overindulgent, but there's a great chance when this story is finished the 2021 film will stand even taller than it does on its own.

A compelling story that builds up to one hell of a battle. Epic in scale but still contained with a small cast that knocks it out of the park. The film's three perspectives really elevates the story and the duel itself might be the best action scene of the entire year. Great movie.

A great finale to Craig's Bond movies. May have even enjoyed it more than Skyfall. Action and story both hit and Bond sees more character development than any of the previous films. Ana De Armas completely steals her brief moments on screen. Rami Malek plays a great villain, although his motivations towards the end of the film don't feel completely earned. Still it's a fitting end and one of the best Bond films I've watched.

This movie will be lost on you if you haven't watched all of The Sopranos, and even if you haven't finished it in a few years you may miss a few steps. Much of what keeps the film going is subtle fan service, and if you don't pick up on it I can easily see how things would be boring. Otherwise, the movie is acted brilliantly and if there was an Oscar for casting this deserves it. Almost every actor plays their character to a tee in comparison to the show. There is a lot of interesting context going on between these characters that only exists given the backstory of what happens to them or their children, so the show is essential here. I enjoyed it overall but there were definitely some pacing issues towards the last act. Even then, it's a worthy contribution to the series and adds some serious context that allows it to stand on its own significance.

La Strada is one of the few times that I feel as if an acclaimed "masterpiece" has flown right over my head. While the premise of a poor girl traveling with a performer and navigating through their complex relationship is certainly an interesting one, the conclusion to the story is everything but satisfying. I don't need a cookie cutter love story or a happy ending to appreciate a film, but the two main characters in La Strada experience no conclusion to their character arcs, with Zampano's arc being nonexistent until the very end. The film has been praised as an unfiltered illustration of the human condition, but I struggled to find anything substantial to take away from that illustration. It feels like I'm truly missing something here. La Strada is hailed as a classic so maybe you'll find a different appreciation for the film but I just don't see justification for the praise it receives. All that said, the first two acts are thoroughly enjoyable and interesting. The acting is great and it's a very unique film, but I the conclusion leaves much to be desired.

It's kinda difficult to review this movie. I found myself a bit let down by its final moments but I've been thinking about it nonstop since the credits rolled. The imagery and symbolism here will keep your eyes glued to the screen. It is a gorgeous film that keeps your attention despite the story's slow pace. The production design is easily deserving of an Oscar nod, as is the acting from Dev Patel. Every single frame is absolutely gorgeous. Saying the story is unconventional would be an understatement, and it is definitely going to be lost on a mainstream audience (see the Rotten Tomatoes audience score for proof of this). There are many beats that hold symbolism over coherent storytelling, although it never does this to a fault. Every confusing moment has a meaning, you just might not get that meaning during your first watch. I had a hard time feeling the usual satisfaction you'd normally expect from a great film, but man is this thing interesting. If you're a casual movie goer looking for an action-packed fantasy epic, The Green Knight is everything but. If you have an interest in artistically inspired films that leave you thinking about them for days afterwards, you should absolutely check this one out.

Eurovision has some quality highlights and memorable scenes. The scenes that poke fun at the real life event are genuinely entertaining, and both Ferrell and McAdams put forth great comedic performances. The large ensemble performance featuring artists from the real event, which also served as a trailer for the movie, is easily the best part. Eurovision is 30 minutes too long however, and one too many jokes fall flat. A less forgiving cut of this movie could be great. Has it's highlights, but definitely not in the top list of either of these great actors. There is certainly potential though, and a few good laughs are definitely there.

Promare has some of the best animation I've ever seen. The colors, spacial definition and overall production design of everything on screen is top notch. Studio Trigger's work here is not only above many of its contemporaries, but also some of best animation of this era. The premise is great, and the personification of fire and water is very exciting. My eyes were glued to the screen for a majority of the first 60 minutes. Unfortunately, the narrative becomes a bit too drawn out during the 3rd act. Although the various twists and turns are well done, it just takes too long to get there. I truly believe that a 90 min cut could be a masterpiece. Overall, really enjoyed the film as a whole, and I think that anyone could find something to appreciate here.

Hightown offers a familiar drug-related murder mystery story but brings excellent dialogue, representation, and character development to the table. I didn't expect much from this series, but the pilot has me genuinely intrigued. Each performance is compelling, especially Monica Raymund's. The Cape Cod setting is a nice change of pace, and the show does an excellent job of setting itself apart from your usual big-city cop show. I think this show will do great if given the right exposure, I just hope it doesn't get lost amongst the Starz audience who seems to mostly be interested in period pieces. Would hate for it to see the same fate as Counterpart, another excellent show that NOBODY watched. If you enjoy mystery thrillers, this show is fresh and well produced. You won't be disappointed.

I, Frankenstein is a January monster movie starring Aaron Eckhart in the classic role of Frankenstein's monster. Did you really expect a masterpiece?

I, Frankenstein is not a total mess. The film does contain some impressive special effects, as well as cast of reasonably well-known actors that help the audience to trudge through the incredibly predictable and uninteresting story. The events of the classic Frankenstein novel are hashed out in less than a minute, as Frankenstein's monster encounters a group of demons, followed by a group of gargoyles, neither of which seem to have any motivation for what they're doing. He's given the name, "Adam", wanders the world for 200 years (which passes in 2 minutes of movie time) and finds himself in the middle of the gargoyle-demon war in modern times.

The story that follows is one fueled by terrible pacing, unclear character motivations, and dry dialogue. The fast paced introduction to the film leaves little time to invest in any of the characters, and even Adam's motivation throughout the film is incredibly unclear. It is difficult to invest in a character who doesn't have a soul.

If you're a fan of the Underworld series, and can appreciate good special effects, you may find some enjoyment with this one. Otherwise, I would pass.