Red, White & Royal Blue

Red, White & Royal Blue is an Amazon Prime Video romantic comedy based on the New York Times bestselling novel of the same name. It follows Alex (Taylor Zakhar Perez), the son of the US President, and Prince Henry of Britain (Nicholas Galitzine), who initially dislike each other. However, when they clash publicly, they are forced to pretend to be friends for the sake of US-British relations. As they spend time together, their animosity turns into an unexpected spark.

The film expertly navigated a range of emotions with humor, drama, and heartwarming moments, keeping me hooked throughout. It explored coming as age themes like first love and embracing authenticity, offering much-needed LGBTQIA2S+ representation.

I appreciated seeing the diversity of the cast with Perez and Galitzine leading the way with captivating performances. Their undeniable on-screen chemistry made it easy to root for their characters. Perez shined as a leading man, showcasing his talent beyond previous roles, while Galitzine continued to impress with his charisma and range. Notable supporting performances came from Sarah Shahi as the no-nonsense deputy chief of staff, Rachel Hilson as Alex's blunt best friend, and Uma Thurman as the confident and loving first female US President, despite her questionable Texas accent.

The film's costume design was meticulously tailored, which enhanced the visual appeal and depth of the characters.

While not flawless, Red, White & Royal Blue was a breath of fresh air in the romantic comedy genre, offering an engaging, inclusive, and heartwarming tale of love and acceptance.

Purple Hearts

 

Purple Hearts is a Netflix produced, romantic drama starring Sofia Carson and Nicholas Galitzine. The film tackles the unlikely bond between Cassie, a passionate singer-songwriter and Luke, a troubled Marine who agree to marry for the financial and health benefits.

For me, even though the plot was predictable it still managed to be a heart-tugging journey. The film weaved in themes of addiction and the often-broken American healthcare system as well as forgiveness and rebuilding trust. Cassie's health struggles added another layer of complexity, showcasing the harsh realities of managing a chronic illness.

The soundtrack was a true gem. Carson as Cassie had a beautifully unique vocal range and edgy aesthetic that perfectly complemented the genera, making it one of the better soundtracks and performances I've heard and seen in a straight-to-streaming movie in quite a while.

Regarding casting, I found the diversity refreshing, and the development of even the minor characters, helped to add depth to the story. Carson and Galitzine shined as Cassie and Luke. Their undeniable chemistry made it easy to root for them, even in the worst of circumstances. Speaking of Galitzine, this is the latest in a string of impressive roles that I’ve seen of his, solidifying his position as a rising star to watch.

This film surprised me in the best way possible. Despite initial low expectations with it being a straight to video Netflix film, it delivered a charming story with strong performances and a soundtrack that lingered. It was a film that proved you shouldn't judge a book (or movie) by its platform. With its engaging characters, powerful performances, and a memorable soundtrack, Purple Hearts is a must-watch for those seeking a sweet romance wrapped around themes that resonate in today's world.

Civil War

Civil War is an action film set in a dystopian near-future America starring Kirsten Dunst, Wagner Moura and Cailee Spaeny. It follows a group of journalists as they fight their way through war-torn landscapes, in a heart-pounding race against time, to reach the White House.

Suspense hung heavy in the air as the journalists navigated battlefields and faced the potential collapse of democracy. The film served as a chilling cautionary tale, prompting viewers to consider the fragility of societal order.

While the story itself was timely and thought-provoking, it suffered slightly from a lack of backstory. A more detailed explanation of how America descended into this fractured state would have added depth. Likewise, some character development could have further strengthened the emotional impact.

Nevertheless, Civil War shined in its technical aspects. The cinematography was masterful, placing viewers right in the heart of the action. The creative use of camerawork, particularly from the perspective of the press, added another layer of realism.

The cast delivered strong performances, with Dunst particularly captivating as a hardened war photographer battling combat fatigue. Spaeny, who I also enjoyed in her film Pricilla, did a wonderful job as a more naive aspiring photographer. She is really one to watch with her fantastic range.

In the end, Civil War is a gripping journey through a dystopian America. While the film could have benefited from a stronger foundation and more fleshed-out characters, it remained a suspenseful and thought-provoking watch.

Irish Wish

 

Irish Wish is a Netflix romantic comedy starring Lindsay Lohan as Maddie, a book editor whose love life takes a backseat when her best friend gets engaged to the man of her dreams, Paul Kennedy, played by Ed Speleers. When all hope is lost, a magical wish lands Maddie in an alternate reality where she's the bride-to-be, but is this happily ever after or a recipe for disaster?

Unfortunately, the script fell flat. It was typical straight-to-video rom-com cheese with its corny dialogue and a predictable plot. While I did appreciated all of the diversity in the supporting cast, their characters remained largely one-dimensional. In this regard, Ayesha Curry, who played Heather, was still able to hold her own as Maddie's supportive friend. While not a standout performance, she delivered a steady and even-keeled portrayal that avoided distracting from the main characters. This is the first time I've seen Curry in a film, and it will be interesting to see if she pursues larger acting roles in the further.

The film's biggest charm came from Lohan herself who was likable and effortlessly stylish as Maddie, navigating the complexities of love and friendship. Both Speleers and James Thomas, who played a charming photographer, shared good chemistry with Lohan, which helped to make the central love triangle somewhat engaging.

Despite some shortcomings, the film still managed to offer some redeeming qualities. The stunning Irish scenery provided a beautiful backdrop, and the film championed themes of self-expression, following your dreams, and the importance of finding your voice.

With all that being said, Irish Wish was a predictable escape, perfect for anyone with a lighthearted rom-com craving. Just don't expect to be surprised by the plot or wowed by the acting.

The Idea of You

 

The Idea of You is a romantic comedy based on the debut novel of the same name by actress and author Robinne Lee. Starring Anne Hathaway and Nicholas Galitzine in an unlikely romance between a divorced mom, Solène, and Hayes Campbell, the charismatic lead singer of a popular boy band.

 

The film's greatest strength lies in its leads. Both Hathaway and Galitzine delivered captivating performances with palpable chemistry. Solène, played by Hathaway, was a testament to a woman's right to choose. She was beautiful, confident, and brave in her defiance of societal expectations. Hathaway's portrayal was a breath of fresh air, reminding us that love and desire have no age limit. Galitzine, a rising star with impressive range, shined as Hayes Campbell. Kind, firm in his convictions, and unwavering in what he wants, Hayes was a refreshing departure from typical heartthrob stereotypes. This is only the second project I've seen Galitzine in, and I'm eagerly anticipating his next.

The cinematography was beautifully cut as we are taken on a whirlwind of a love story though different sets and counties. The story itself was refreshingly unique, taking viewers on an emotional rollercoaster as Solène grapples with the pressures of an age-gap and the complexities of fame. The film tugs at the heartstrings, exploring themes of second chances and defying expectations.

Adding to its charm, the film boasts a welcome dose of diversity in its casting. However, the film missed an opportunity to fully explore these particular characters, leaving them feeling underdeveloped and one dimensional.

In the end, even with its flaws, The Idea of You still managed to deliver a heartwarming and engaging story. If you're looking for a charming romantic comedy, that will strike an emotional cord, this film is worth a watch or two.

Challengers

Challengers is a romantic sports drama starring Zendaya, Mike Faist and Josh O'Connor. The film follows Tashi, played by Zendaya, a former tennis prodigy turned coach, who is laser-focused on one thing: winning. When her husband Art, played by Faist, a champion she molded, falls into a slump, she throws him into a low-level tournament where he faces Patrick, played by O'Connor, Tashi's ex-boyfriend and Art's former best friend. This sets off a steamy love triangle loaded with repressed desires and past baggage.

Zendaya aced her first leading role in a film. She was able to successfully portray a woman who was ruthless in her pursuit of victory, and her frosty demeanor made it clear that anything less was a personal failure. Her performance was the heart of the film, perfectly capturing a woman driven by a singular passion. I also thought that her costumes were beautiful and a perfect paring for her character. Supporting performances by Faist and O'Connor were equally strong, which helped to create a palpable web of sexual tension and unspoken desires that fueled the film's emotional core.

I could see some themes of repressed longing that were similar to what director Luca Guadagnino tackled in his acclaimed film Call Me By Your Name. The muted LGBTQ+ subplot added a layer of intrigue and was a welcome step towards more nuanced representation, even if it didn’t receive full exploration. Representation in mainstream media is crucial, and despite its shortcomings, Challengers offered a glimpse of questioning or potentially bisexual characters navigating complex relationships.

Unfortunately Challengers stumbled with its storytelling. The narrative was a confusing volley of flashbacks that disrupted the flow of the story. Guadagnino's stylistic cinematography choices, like filming from the players' perspectives during matches, was more disorienting than engaging. And the techno-heavy soundtrack also felt like a strange choice with the film's overall mood.

Despite these narrative stumbles, Challengers did not entirely disappoint. The central trio's chemistry was undeniable, and the exploration of ambition, desire, and the price of victory was thought-provoking. If you're a Zendaya fan, this film might be worth a watch. Just be prepared for some uneven editing and a soundtrack that might leave you reaching for the mute button.

Good Grief

 

Good Grief is a Netflix rom-com drama marking Daniel Levy’s film directorial debut. He also wrote, produced and started in this film that follows Marc, played by Levy, who must grapple with overwhelming grief after the sudden death of his husband. Seeking solace and a fresh start, he embarks on a soul-searching trip to Paris with his two best friends. This Parisian adventure becomes a catalyst for growth and self-discovery, as the group confronts hidden truths and redefines their bonds.

The plot was heartfelt and engaging. Though not focused on Christmas, it interestingly folded during the holiday season, offering a unique perspective on loss amidst a time typically filled with cheer. Levy was able to tell a beautiful and creative story that skillfully blended humor and heartbreak, offering a realistic portrayal of grief's messy reality. He was able to masterfully navigated themes of love, loss, healing, trust, and the power of friendship.

The Parisian setting added a touch of elegance, without overshadowing the film's emotional core which was undeniably reinforced by the exceptional performances of its diverse cast. Levy delivered a powerful portrayal of Marc, showcasing a depth we haven't seen before in his comedic roles. His vulnerability and raw grief resonate deeply, allowing viewers to connect with his character's journey. Ruth Negga and Himesh Patel shined as Sophie and Thomas, Marc's best friends. Their portrayals perfectly captured the complexities of their bond. The mix of unwavering loyalty, gentle humor, and a deep understanding of Marc's pain were on full display. The chemistry between Levy, Negga, and Patel was undeniable, creating a profound sense of friendship that felt genuine and supportive. Adding another dimension to the film was Luke Evans as Oliver, Marc's late husband. Evans portrayal of Oliver was larger-than-life, even in flashbacks. We see the love and affection Oliver shared with Marc, leaving a void that made Marc's grief even more profound. The dynamic between Levy and Evans was particularly well-played, showcasing the deep love and respect they shared as a couple.

Overall Good Grief was a powerful debut from Daniel Levy, showcasing his talent not just in front of the camera, but behind it as well. The film delved deep into the emotional depths of grief with relatable characters that were beautifully portrayed by a stellar cast. If you're a fan of Levy's work and appreciate a film that tackles difficult themes with humor and warmth, then Good Grief is definitely one to check out.

After Everything

 

After Everything is the concluding chapter in the After franchise, The film tackles Hardin's struggles with writer's block and self-discovery. With Hero Fiennes Tiffin, Josephine Langford and Stephen Moyer reprising their roles and Mimi Keene as a fresh new addition.

The plot was engaging and easy to follow with the focus on Hardin’s personal journey marking a welcome change, showcasing a more mature side to the character. I felt like, unlike its predicators which I have described as intensely charged, overly dramatic, and a culprit of romanticizing an unhealthy relationship, this one was much more even keeled. The addition of Nathalie, played by Keene, added a fresh and new dynamic to the story as well. She provided Hardin with a source of support and encouragement. However, the script faltered at times, resorting to familiar tropes and occasionally falling into corniness.

I enjoyed seeing this ensemble cast reunited once again and have always appreciated the diversity of this group. Unfortunately, like the quality of previous films, the acting remained uneven, with some of the supporting actors failing to deliver convincing performances.

One undeniable strength of the After franchise has always been its music. After Everything continued this tradition with a strong soundtrack that complemented the emotional beats of the story.

As I’ve said before, these films have never made me want to watch them a second time. After Everything is no different however I will say that it provided a satisfying conclusion for those invested in Hardin and Tessa's journey. It offered a sense of closure, with Hardin finally taking steps towards personal growth.

Rebel Moon – Part Two: The Scargiver

 

Rebel Moon: Part Two - The Scargiver is the follow-up to Zack Snyder's sci-fi epic, picking up where Part One left off. The rebels on the colony of Veldt prepare to face the full might of the tyrannical Regent Balisarius' forces.

While the plot remained somewhat predictable, it delivered a more engaging and suspenseful experience than its predecessor. Even though Rebel Moon: Part Two doesn't quite recapture the brilliance of Snyder's best work, Man of Steel, it improved upon the first film's shortcomings. My only critique is the lack of a fresh villain was a missed opportunity. Reprising the antagonist from the first film felt uninspired.

Snyder's signature visual style returned in full force with its sweeping camera angles, slow-motion battles, and dark color palette were all present. While impressive, these elements don't quite reach the same level of quality as its inspiration, Star Wars.

The acting was noticeably better in Part Two. The returning cast seemed more comfortable in their roles, delivering more nuanced performances. The increased character development also helped with a stronger connection to the protagonists. My only issue was the overuse of monologues was tedious at times. A tighter script would have improved the pacing.

Overall, Rebel Moon: Part Two - The Scargiver was a modest improvement over its predecessor. It offered more character development, suspense, and a more satisfying conclusion. However, the predictable plot, overreliance on monologues, and a lack of a truly compelling villain prevented it from reaching its full potential. The film set the stage for a potential third installment, but I really don’t have an interest in seeing it.

Rebel Moon - Part One: A Child of Fire

 

Rebel Moon - Part One: A Child of Fire is a science fiction action adventure that follows a ragtag group of rebels, led by a mysterious young woman, that unite against a tyrannical ruler. Directed by Zack Snyder, starring Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Ray Fisher, Charlie Hunnam and Anthony Hopkins.

Snyder's signature touch was undeniable in its slow-motion fight scenes, dramatic camera angles, and a dark color palette that dominated the film's aesthetic. While the vision was there, some scenes felt more like attempts to shock and awe than organic parts of the narrative.

The plot borrowed heavily from classic sci-fi tropes. Drawing much of its inspiration from Star Wars, which was evident in everything from spaceship designs to costuming. However, the execution felt like a lower-budget homage, with some sets appearing overly reliant on CGI and lacking the lived-in quality of its inspiration. Additionally, there was a decent twist, but for the most part, the story unfolded predictably.

The inclusion of a diverse group of actors was commendable, and the focus on strong female characters was a welcome change from the genre's typical focus on male heroes. Doona Bae who played Nemesis was strong and maternal with impressive fight sequences. Ray Fisher, aided by effective makeup and costuming, delivering a standout performance as Darrian Bloodaxe, which was both surprising and captivating. However, the acting and character development overall was uneven, failing to fully elevate the script's potential.

In the end, Rebel Moon's visuals and an intriguing cast couldn't make up for its lack of character development and predictable and unoriginal plot. Fans of Snyder's style might find themselves entertained, but those seeking a fresh and innovative space adventure might be left wanting more.

Dream Scenario

 

Dream Scenario is a black comedy, fantasy from director Kristoffer Borgli, The story revolves around a professor who mysteriously appears in people's dreams. Starring Nicolas Cage, Julianne Nicholson, Michael Cera, and Tim Meadows.

The plot was intriguing with its themes around social commentary, particularly on the dangers of "cancel culture" and the bendability of reality under the influence of dreams. This blend of the fantastical with social critique was a bold choice, but the film ultimately couldn’t fully capitalize on its possibilities. It stumbled in its execution leaving a number of unanswered questions. The central mystery of why Paul, played by Cage, appears in dreams and the true consequences of these dream experiences are left frustratingly vague. This lack of resolution makes the film feel incomplete and unrealized in its potential. Ultimately, it left me feeling like I wasted my time. Additionally, humor, which should be a key element in black comedy, was a weak point. The film struggled to elicit many genuine laughs, despite its unique premise.

Nicolas Cage delivered a characteristically eccentric performance. While I did find it awkward, it somewhat fit the tone of the film. The supporting cast, including Julianne Nicholson, Michael Cera, and Tim Meadows, were all solid, even if their characters lacked depth. For me the biggest disappointment was Meadows' one-dimensional portrayal of the college dean as he was one of only a handful of minorities with a speaking part.

Overall, Dream Scenario’s unique concept was overshadowed by underdeveloped characters, a lack of comedic bite, and a frustratingly ambiguous ending. For viewers seeking a truly innovative and thought-provoking film, Dream Scenario might fall short.

Casablanca

 

Casablanca, a 1942 war-time romantic drama, set against the backdrop of World War II. The film follows Rick Blaine, played by Humphrey Bogart, a cynical nightclub owner in Casablanca, whose past collides with his present when his former lover, Ilsa, played by Ingrid Bergman, walks back into his life with her new husband Victor Laszlo, played by Paul Henreid, seeking his help to escape the Nazis.

I felt like the film was quite timely in that it was released during World War II, I’m sure Casablanca resonated deeply with audiences at the time who were grappling with the realities of the global conflict. While it didn’t delve into the war's atrocities in detail, it effectively captured the moral complexities and sacrifices demanded by such a struggle. The plot was engaging, with a well-executed twist that kept me guessing until the end which cleverly paved the way for a sequel that unfortunately never materialized, but still added to the film's enduring mystique.

I didn’t realize until now that this film is a treasure trove of quotable lines. From the iconic "Here's looking at you, kid" to the wistful "We'll always have Paris," the film's dialogue has become ingrained in popular culture. These lines added a layer of memorability and emotional weight to the narrative.

The performances were also commendable, with Ingrid Bergman radiating a luminous quality and Humphrey Bogart delivering a nuanced portrayal, despite his somewhat peculiar vocal delivery. They had great chemistry and played well off of one another. The film does take a few missteps with regards to representation. While there was a touch of racial diversity, with the inclusion of Dooley Wilson as Sam, which may have been progressive for the 1940s, it felt inadequate considering the setting in North Africa. Additionally, a missed opportunity existed to explore the war's human cost in more depth.

Despite these shortcomings, Casablanca remains a captivating classic. The film's powerful themes, iconic lines, and strong performances continue to resonate with audiences today. For fans of classic Hollywood storytelling, wartime dramas, and timeless romances this could be a film for you.

Gentlemen Prefer Blondes

 

Gentlemen Prefer Blondes, is a 1953 musical comedy, staring Marilyn Monroe and Jane Russell. It follows Lorelei Lee played by Monroe, a beautiful but seemingly ditzy showgirl, and her best friend Dorothy Shaw played Russell, a more practical singer as they set sail on a cruise to Europe. Lorelei determined to land a wealthy husband and Dorothy seeking true love, embark on a journey filled with mishaps and romantic entanglements, all under the watchful eye of a private investigator hired by Lorelei's fiancé's suspicious father.

The plot was easy to follow and had a good twist at the end. Although unrealistic at times, it kept me engaged throughout. One of the highlights was in the costumes. They were timeless, bursting with color and glamour. The musical numbers also helped to add to the film's playful and lighthearted atmosphere.

Monroe delivered a captivating performance, embodying the iconic "dumb blonde" persona she would become known for. While her breathy, baby voice did start to annoy me after a while, her undeniable charisma and comedic timing still managed to shine through. I also appreciated that the film provided a subtle arc for her character, hinting at a deeper intelligence beneath the surface. For me the real star was Jane Russell. She was a force to be reckoned with as Dorothy. She was confident, funny, and possessed a clear sense of self, offering a refreshing counterpoint to Lorelei's naiveté. Their contrasting personalities helped to create a truly dynamic comedic duo. My only issue with the casting was the lack of racial diversity, which is an even more glaring issue by today's standards. Additionally, the portrayal of women, particularly Monroe's character, reinforced certain stereotypes that have been played out in today's lens.

Despite these shortcomings, Gentlemen Prefer Blondes remains an entertaining film. It's a charming snapshot of a bygone era, filled with humor, wit, and undeniable star power. For fans of classic musicals or of Monroe and Russell, this film is a delightful, though slightly flawed, diamond.

Road House (1989)

 

Road House, is a 1989 action flick starring Patrick Swayze as James Dalton, a bouncer with a mysterious past, hired to clean up the Double Deuce, a notoriously rowdy bar in a small Missouri town. Dalton's skills are put to the test as he clashes with a corrupt businessman and his goons.

The plot is straightforward and predictable. The story unfolds with little in the way of surprises, making the film feel formulaic. For fans of nostalgia, the film offers a trip back to a simpler time in action cinema, complete with overused catchphrases ("I thought you'd be bigger") and oddly placed humor. While some might appreciate its campy charm, those seeking a more suspenseful experience will likely be disappointed.

Swayze's portrayal of Dalton was entertaining. He was definitely a leading man for many years for a reason. He was charismatic and likeable in this role. There was however a missed opportunity in delving deeper into Dalton’s intellectual side. It was mentioned that he had a Ph.D. in Philosophy, but that remained largely unexplored. His interactions lacked the depth one might expect from such a well-educated individual. Sam Elliott delivered a believable and nuanced performance as Wade Garrett, Dalton’s friend, with a complicated past. The casting of a blind character was impressive for the time, helping to add a touch of diversity, but the overall lack of racial representation was noticeable. Additionally, the villains themselves are underwhelming, lacking the physical presence needed to be truly intimidating.

The film's biggest weakness lied in its action sequences. Once considered impressive, they now feel slow and uninspired, more akin to choreographed dance routines than realistic combat. Swayze's fight choreography, despite his character’s black belt in karate, lacked the crispness and power of modern action films.  

Overall, Road House offers a glimpse into a bygone era of cinema. While it holds a special place in the hearts of some, time hasn't been entirely kind to this cult classic. New viewers might find it lacking compared to more modern action fare. However, for those seeking a cheesy good time with a cult following and a charismatic performance by Sam Elliott, Road House might still hold some appeal.

Road House (2024)

 

Road House is the 2024 reimagining of the 1989 film of the same name starring Jake Gyllenhaal who steps into Patrick Swayze's shoes as Dalton, now an ex-UFC fighter who takes a job as a bouncer at a Florida Keys bar. Paradise quickly turns sour as he uncovers a seedy underbelly and clashes with the local thugs.

While predictable, the narrative provided a decent framework for the film's core elements, redemption and the importance of friendships and community. Throwing punches both old and new, this film offered a stylish but uneven experience. The film did manage to weave in some nostalgic elements such as borrowed lines and themes from the original to create a sense of familiarity for fans, but unfortunately they don't quite present a unique or clever narrative. 

The casting boasted a couple of bright spots. The inclusion of a diverse cast is a welcome update to the original film. Gyllenhaal did a decent job in the starring role as a man who was innately good but struggled with darkness in his past. Jessica Williams, who I recognized as Eulalie 'Lally' Hicks from Fantastic Beasts: The Secrets of Dumbledore, was a pleasant sight as Frankie. She was a strong and independent force as the owner of the Road House, giving a lot of confident and range. Arturo Castro shined as Moe, a biker with wit, providing much-needed comedic relief. On the other end of the spectrum, Conor McGregor's acting debut, particularly his "intense face" and exaggerated walk, were a painful miss that bordered on comedic unintentionally.

The fight choreography was undeniably more impressive than the 1989 original. The film delivered crisp, creative battles that were a thrill to watch, even if they occasionally strayed into unrealistic territory with their Fast & Furious-esque stunts. Additionally, the use of a first-person video game style cinematography during some fight scenes was an interesting choice, momentarily placing the viewer right in the middle of the action.

Overall, Road House was a mixed bag. While it captured some of the original film's charm and impressive action sequences, the script and some acting choices left much to be desired.

Origin

Origin, directed by Ava DuVernay, is a biographical film that delves into the profound impact of Isabel Wilkerson's groundbreaking book, Caste: The Origins of Our Discontents. The film isn't just a historical account; it's a deeply personal journey for Wilkerson, played by Aunjanue Ellis-Taylor.

The film's central theory, exploring the global phenomenon of caste systems, is undeniably thought-provoking. Wilkerson's travels to Germany, India, and the United States throughout the narrative provide a fascinating comparative lens, highlighting the insidious nature of societal hierarchies across cultures.

While the subject matter is heavy, the storytelling is far from dry. DuVernay expertly weaves together Wilkerson's research with glimpses into her personal life, creating a heartbreaking yet ultimately hopeful narrative. The film doesn't shy away from confronting the realities of prejudice and discrimination, but it also celebrates resilience and the pursuit of truth.

The performances elevate the film to another level with Ellis-Taylor leading the charge in her captivating portrayal of Wilkerson, capturing both her intellectual curiosity and her deep well of empathy. The supporting cast, including Jon Bernthal as Wilkerson's husband and Niecy Nash as her witty cousin Marion, added depth and warmth to the story. Their chemistry was undeniable, making the film's emotional core resonate all the more strongly.

While awards recognition did not reflect its merit, Origin deserved a place in the spotlight. It was more than just a biopic; it was a call to action, prompting viewers to confront societal inequalities and work towards a more just future.

Origin is a film that lingers long after the credits roll. It is a must-watch for those seeking a powerful and thought-provoking exploration of social structures, historical injustices, and the enduring human spirit.

Anatomy of a Fall

Anatomy of a Fall is a French legal drama directed by Justine Triet and starring Sandra Hüller. The film follows Sandra Voyter, a writer thrust into a chilling situation as she fights to clear her name after her husband's mysterious death.

The script was able to weave a captivating narrative that delved into the complexities of grief, suspicion, and the pursuit of truth. The film's decision to primarily be in French added a layer of authenticity to the story and helped to immerse me in the characters' world. Triet and co-writer Arthur Harari crafted a compelling story that unfolded with a steady pace, keeping me engaged and guessing until the very end. The narrative was easy to follow despite its complex subject matter, making it accessible to a broad audience.

The performances were nothing short of stellar. Sandra Hüller delivered a powerful and nuanced portrayal of Sandra, a woman grappling with the devastating loss of her husband while battling accusations that paint her as a potential murderer. She deserved all of the accolades she received during awards season. The supporting cast, including Swann Arlaud and Milo Machado-Graner, were equally impressive, bringing depth and believability to their respective roles. Even the guide dog Snoop, played by Messi, deserved and received recognition. He helped to show a layer of warmth and complexity to Sandra and Daniel's characters. Snoop wasn’t simply a background element; he became a vital part of the story.

The use of cinematography was noteworthy. At times, the film employed a handheld camera style, creating a sense of immediacy and mirroring the emotional turmoil felt by the characters. This technique added to the film's realism, blurring the lines between fiction and documentary-like objectivity.

In the end, Anatomy of a Fall succeeded as a thought-provoking and suspenseful film. It was a testament to the power of storytelling, gripping viewers with its exploration of how communication difficulties and complex relationships can fuel suspicion and drama.

Beetlejuice

 

Tim Burton's 1988 classic, Beetlejuice, follows a recently deceased couple, played by Alec Baldwin and Geena Davis, who find themselves tethered to their house as ghosts. Desiring privacy from the new, obnoxious inhabitants, played Catherine O'Hara and Jeffrey Jones, they summon the bio-exorcist Beetlejuice, played by Michael Keaton, a mischievous and devious entity with a fondness for chaos.

The plot was straightforward and engaging. Offering a darkly comedic exploration of the afterlife and the troubles of unwanted houseguests. While the film's charm remained undeniable, time has revealed a few wrinkles beneath the surface. While the core plot remained engaging, the humor might not resonate as strongly with modern audiences. The script felt like it could have been sharper, with jokes that might have landed perfectly in 1988 falling a bit flat today.

The film's visuals were quintessential Tim Burton. The stop-motion animation and quirky character designs are a treat for fans of his signature style. However, the 1988 special effects, while groundbreaking for their time, do not hold up for viewers accustomed to modern CGI. I look forward to the upcoming sequel, to see the updated visuals.

The performances were mostly strong. The chemistry between Baldwin and Davis as the deceased couple was endearing, and Catherine O'Hara defiantly stood out as the eccentric new homeowner. However, Michael Keaton's portrayal of Beetlejuice, while undeniably iconic, felt somewhat similar to his later role as Batman. Additionally, the romantic undercurrent between Beetlejuice and the young Lydia Deetz, played by Winona Ryder, was undeniably creepy in today's light.

The soundtrack was another highlight. It perfectly complemented the film's offbeat tone and added to its overall charm.

Overall, Beetlejuice was a nostalgic gem with a touch of decay. The film's visual style, quirky characters, and engaging plot remain entertaining. However, some aspects haven't aged as gracefully, with the humor feeling dated and the portrayal of a particular character relationship raising concerns. Despite these shortcomings, Beetlejuice is a significant entry in Tim Burton's filmography, a must-watch for fans of his unique aesthetic and dark humor.

Poor Things

 

Yorgos Lanthimos's Poor Things is a visually distinct and thematically ambitious film, drawing inspiration from the 1992 novel of the same name by Alasdair Gray. Set in the Victorian era, the story follows Bella Baxter, played by Emma Stone, a young woman brought back to life through unorthodox means. Free from societal constraints, she embarks on a whirlwind adventure, challenging the norms of her time and discovering her voice.

This visual storytelling was creative in the usage of black and white cinematography in the beginning. It created a unique and symbolic atmosphere with the gradual shift to color serving as a metaphor for Bella's increasing independence and exploration of the world. These themes along with the central twist, while intriguing, however were overshadowed by the eccentricity of its presentation.

I appreciated the diversity in the casting as it was a welcome aspect in a period piece. Stone delivered a fascinating performance, embodying the unique physicality and childlike naivety of Bella. Mark Ruffalo portrayed the contrasting worldliness and cynicism as her companion, while Willem Dafoe and Ramy Youssef represented the spectrum of human nature she encountered.

However, Poor Things stumbled in its narrative execution. While categorized as a "genre-defying" blend of sex comedy, gothic elements, and black humor, the film's pacing felt uneven. Despite its relatively short runtime, the unconventional storytelling and abundance of quirky characters left me feeling overwhelmed at times.

While the film's visual style and Stone's performance deserved some praise, Poor Things ultimately felt like a collection of interesting ideas that lacked a cohesive narrative flow. The abundance of awards recognition was a bit perplexing to me, including the Oscar win for Stone, simply because I felt like Lily Gladstone deserved it more for Killers of the Flower Moon. In the end, this movie was too bizarre for my taste and not one I’d watch again.

Some Like It Hot

 

Some Like It Hot is a romantic comedy starring Marilyn Monroe, Tony Curtis and Jack Lemmon, The film follows Joe and Jerry, played by Curtis and Lemmon respectively, two down-on-their-luck jazz musicians who witness a mob hit. Fearing for their lives, they flee Chicago disguised as women and join an all-female band heading for Florida.

Interestingly enough, the choice to do black-and-white cinematography in the late 1950s, was made to ensure the believability of the men's disguises, and to give it a timeless feel to the 1920s set film. I think the choice were able to accomplish both of those aspects.

When this film was realized in 1959 it pushed boundaries which was commendable. It challenged societal norms by showcasing men experiencing the objectification typically faced by women. This theme is one of the reasons the film was embraced by the LGBTQ+ community. While not explicitly stated, some interpreted the film's cross-dressing and homoerotic subtext as a covert nod to a marginalized identity.

I thought that the cast was entertaining and funny. Tony Curtis, Jack Lemmon, and Marilyn Monroe worked well off of one another, delivering iconic performances that have cemented the film's place in comedy history. One area where the film fell short however was its lack of racial diversity. A more inclusive cast would have further enriched the narrative and better reflected the realities of the time period.

Ultimately, Some Like It Hot was a comedic masterpiece with a surprising legacy. It's a film you can appreciate for its slapstick humor and iconic performances. With its progressive themes it was cultural touchstone that continues to spark conversation decades after its release.

Spiderhead

 

Spiderhead, is a Netflix original film, set in a futuristic prison. It follows two inmates, Jeff and Lizzy played by Miles Teller and Jurnee Smollett, who grapple with their pasts while being subjected to mind-altering drugs by the seemingly compassionate warden, Steve Abnesti played by Chris Hemsworth.

The plot was both engaging and it was easy to follow the emotional journeys of the characters along with the moral dilemmas they faced. I also thought that the twists were well-executed and further enhanced the narrative, leaving you satisfied after the credits roll.

The exploration of manipulation, human connections and ethics were central to the film's themes. Spiderhead cleverly portrayed the fine line between therapy and control, raising questions about free will and the principles of using mind-altering substances.

The soundtrack added a unique touch. The blend of classic funk added a layer of unexpected energy and intrigue to the film's atmosphere.

I appreciated the films diverse cast. Teller and Smollett had great chemistry and delivered compelling performances, showcasing the emotional struggles of their characters. Mark Paguio who played Steve Abnesti’s assistant, Mark Verlaine, also did a great job showcasing his internal crisis of conscience. For me Hemsworth stole the show as the mysterious Abnesti, a character whose charm masked a manipulative core. He masterfully navigated the duality of the character, blurring the lines between villain and visionary. I was also impressed that he was able to maintain an American accent throughout most of the film, which added to his characters authenticity.

While the film might not break new ground conceptually, its execution was commendable. The intriguing premise, strong performances, and thought-provoking themes made Spiderhead a worthwhile watch, especially for fans of psychological thrillers.

Dune: Part Two

 

Denis Villeneuve's Dune: Part Two is the long awaited sequel to 2021s Dune. Fueled by grief and a burning desire for justice, Paul Atreides seeks refuge with Chani and the Fremen, hoping to rebuild his life while plotting revenge against those who orchestrated his family's downfall.

The plot was epic, while spanning nearly three hours, it remained engaging and easy to follow, which was definitely a testament to the skilled filmmaking. The film delved deeper into the Harkonnen world, exploring themes of religious extremism, revenge, faith, love, and propaganda. It offered stunning visuals, thrilling action, and a deeper exploration of its complex world. Additionally, the filmmakers delivered satisfying callbacks to the first film, ensuring continuity for the returning audience. The only issues I had with the film was that it relied heavily on the "white savior" trope, which might leave some viewers uncomfortable, even if it adheres to the source material. Additionally, I felt that it failed to deliver a complete narrative arc, leaving the story open-ended for a potential third film. I would have preferred that they wrapped this up versus stretching it out for additional films.

The production design was undeniably top-notch. From the striking costumes and makeup to the breathtaking cinematography, the film immerses viewers in the unique world of Arrakis.

Zendaya's Chani emerged as the emotional core of the film. Her captivating performance, conveyed volumes through subtle expressions, solidified her place as one of the best actors of her generation. Austin Butler's portrayal of the villainous Feyd-Rautha Harkonnen was both surprising, terrifying and believable. Timothée Chalamet's Paul Atreides displayed significant growth, grappling with the burdens of leadership and the manipulative nature of power. While the diverse cast was appreciated, the development of the supporting Fremen characters, who were primarily minorities, could have been further explored.

Overall, Dune: Part Two was a visually stunning and action-packed sequel that expanded upon the world-building and character development established in its predecessor. Even with the reliance on a tired trope and limited character development for some of the Fremen, this film was still an enjoyable, well made sequel.

Priscilla

 

Sofia Coppola's Priscilla delves into the tumultuous relationship between Elvis Presley and Priscilla Presley, offering a unique perspective that challenges traditional narratives. Based on Priscilla's memoir, the film explores the complexities of their love story, highlighting the darker aspects often overshadowed in popular culture. Starring Cailee Spaeny as Priscilla and Jacob Elordi as Elvis.

The film tackled sensitive themes of grooming, isolation, and manipulation. It portrayed a young and impressionable Priscilla drawn into the world of a much older and powerful Elvis.

The film's production designers definitely hit the nail on the head with the hair, makeup, and costumes. They accurately depicted the era, immersing viewers in the world of 1960s and 70s America.

One of the film's most striking elements was its portrayal of Elvis as a more complex and flawed figure. The film shed light on how his substance abuse and controlling behavior impacted his relationship with Priscilla. While this perspective is undoubtedly controversial, it added depth and nuance to the often-romanticized image of Elvis.

However, the film's execution stumbled in certain areas. Elordi's portrayal of Elvis was hindered by an unconvincing Southern accent, detracting from the character's authenticity. On the other hand, Spaeny delivered a remarkable performance. She seamlessly portrayed Priscilla's evolution from a wide-eyed teenager to a woman finding her voice and strength.

Overall, Priscilla is a thought-provoking film that dared to challenge conventional narratives. While the film's execution was not flawless, it sparked important conversations and showcased a powerful performance from Cailee Spaeny.

The Sound of Music

 

The Sound of Music is the 1965 film adaptation of the Rodgers and Hammerstein musical telling the fictionalized story of Maria, a young woman sent by her convent to be a governess for seven children of strict and widowed Captain von Trapp in pre-WWII Austria.

The film's true strength was in its soundtrack. The songs were timeless classics that have resonated with audiences for generations. The quality of the singing was equally impressive, with Julie Andrews's voice soaring effortlessly as Maria. It's no wonder that many iconic musicians have sampled this film's music throughout the years.

The acting was pretty good throughout. Julie Andrews’ Maria and Christopher Plummer’s Captain Georg von Trapp had great chemistry. For me Andrews really stood out in her performance. She was incredibly likeable and full of life and spirit. Watching her youthful talent was a treat, especially for those who primarily associate her with later roles like Queen Clarisse in The Princess Diaries.

However, the film was not without its shortcomings. While the story is undeniably charming, it lacked diversity in its cast. Additionally, the film glossed over the complex realities of the political climate and societal issues of pre-war Austria, presenting a somewhat romanticized picture of the period.

In the end, The Sound of Music will always be a beloved classic. It offered a nostalgic escape with its beautiful music, vast landscapes and endearing story but, it's important to acknowledge the lack of diversity and the romanticized portrayal of a sensitive historical period.

American Fiction

American Fiction marks the directorial debut of Cord Jefferson, who also co-writes the screenplay with novelist Percival Everett. Leading the charge is Jeffrey Wright as Monk, a disillusioned scholar and novelist. Frustrated with the lack of authentic and nuanced Black stories, he hatches a daring plan. Under a pen name, he writes a stereotypical and exploitative Black crime novel, hoping to expose the industry's hypocrisy. The film then follows the novel's unexpected success and the chaos it unleashes in Monk's life.

Jefferson's script was sharp, witty, and cleverly used satire to take aim at the entertainment industry's problematic portrayal of Black narratives through a satirical lens. The film's humor was well-placed, balancing the heavier themes of representation and cultural appropriation with moments of genuine laughter.

I enjoyed the diversity of the cast and thought that the acting across the board is superb. Wright delivered a nuanced and captivating performance, capturing Monk's evolution from a more judgmental and ambitions character to a more understanding and empathic person. Tracee Ellis Ross, John Ortiz and Sterling K. Brown also offered strong supporting performances, adding depth and humor to the narrative. While these characters were pretty well-developed and engaging, it would have been nice to have also done the same for, Coraline played by Erika Alexander, who felt underutilized. Despite a captivating presence and undeniable talent, her character lacked the screen time and depth to fully flesh out her potential.

Overall, American Fiction is a bold and thought-provoking film. It uses humor and satire to spark important conversations about representation and the responsibility of creative storytellers. While some characters could have used more development, the film's strong performances, creative script, and sharp wit made it a worthwhile watch.

The Color Purple

 

The Color Purple is a musical drama adaptation of the beloved Broadway stage play based on Alice Walker's Pulitzer Prize-winning novel of the same name. The film follows Celie, a Black woman who endures hardships throughout her life, from forced separation from her sister to an abusive marriage.

This adaptation offered an alternative perspective compared to the 1985 film. While still acknowledging the harsh realities of Celie's experiences, the musical made it so that you didn’t have to see it to know it was happening, and instead emphasized the enduring spirit of resilience and sisterhood. The film also stood more firmly in its convictions concerning the representation of a same-sex relationship between Celie and Nettie. This portrayal allowed for a more authentic depiction of their deep bond and love for one another.

Themes of trauma, redemption, forgiveness, sisterhood, love, and friendship are woven throughout the story. The film tackled sensitive subjects head-on, sparking important conversations about societal challenges and the power of connection.

I particularly liked this films balanced use of music. Unlike some musicals where songs overwhelm the narrative, The Color Purple seamlessly integrated them into the story's flow. The musical numbers felt organic and helped to amplify the characters' journeys rather than interrupting them.

The cast delivered exceptional performances in both their acting and their singing. Fantasia Barrino brought depth and anguish to Celie's struggles, Danielle Brooks shined as the strong-willed Nettie and Taraji P. Henson’s captivating portrayal of the vibrant and confident Shug Avery added a burst of energy to the film.

Overall, The Color Purple is a powerful and uplifting film. It delivered a moving story enhanced by exceptional performances, captivating music, and important themes. While it may not be as heavy as its predecessor, it offers a beautiful and necessary portrayal of resilience, sisterhood, and the enduring strength of the human spirit.

I.S.S.

 

I.S.S. is a sci-fi thriller, taking us aboard the International Space Station as global conflict erupts on Earth. With tensions rising, the U.S. and Russian astronauts receive chilling orders: seize control of the station at all costs. Starring Ariana DeBose, Chris Messina, John Gallagher Jr., Masha Mashkova, Costa Ronin and Pilou Asbæk.

The plot was unique and engaging throughout. The film exceled in building suspense. The claustrophobic setting and the ever-present threat of external conflict created a constant edge-of-your-seat atmosphere. The script by Nick Shafir delivered some well-executed twists and turns, keeping you guessing until the very end.

The cast delivered strong performances. DeBose shined as the determined and brilliant American astronaut, Dr. Kira Foster. I also thought that Gallagher Jr. who played Christian Campbell and Asbæk who play Alexey Pulov offered really great nuanced portrayals of conflicted crewmates. The use of Russian throughout the film added authenticity and further immersed me in the international drama.

However, the film stumbled in a few areas. The cliffhanger ending, while potentially setting up an intriguing sequel, left me unsatisfied. Additionally, while the inclusion of a Afro-Latino female lead added a positive step, the overall casting could have benefited from more diversity to better reflect the international nature of the space station.

Overall, I.S.S. was a thrilling and suspenseful ride with strong performances and good use of the unique setting. However, the ending and lack of diverse representation held it back from reaching its full potential.

Anyone But You

Anyone But You is a romantic comedy that takes a classic Shakespearean tale, Much Ado About Nothing, and gives it a modern makeover. The film stars Sydney Sweeney and Glen Powell who play Bea and Ben, two quick-witted and competitive individuals who can't stand each other. But when a destination wedding throws them together, they pretend to be the perfect couple, leading to a whirlwind of hilarious situations and unexpected emotions.

The film shined thanks to its charismatic leads, Sweeney and Powell. Their undeniable chemistry sizzled on screen, making their characters' journey believable and entertaining. The supporting cast, including Alexandra Shipp, GaTa, and Michelle Hurd, added to the fun with their quirky personalities and comedic timing.

The script delivered plenty of laughs, peppered with witty dialogue and playful banter. While the plot may not break new ground, it's executed with enough charm and humor to keep you engaged and invested in the characters' journey. The film follows the typical rom-com beats which will be sure to please many, however those seeking a more innovative narrative might find it a tad stale.

I appreciated the diversity in the casting. They represented a refreshing range of ethnicities and backgrounds, reflecting the modern world we live in. This inclusivity added a welcome layer of authenticity and relatability to the story.

Overall, Anyone But You is a lighthearted and enjoyable rom-com that delivered on laughs, charm, and a diverse cast. It's a perfect pick-me-up for those looking for a predictable yet entertaining escape. Just be prepared for a familiar recipe with a fresh coat of paint.

Breaking

 

Breaking is a dramatic thriller that takes an intense dive into the depths of human struggle, telling the heartbreaking true story of Marine veteran Brian Brown-Easley. John Boyega delivers a transformative performance as Brian, a man pushed to the brink by poverty, homelessness, and a broken healthcare system. When denied disability benefits by the Veterans Affairs, Brian makes a desperate bid for attention by taking a bank hostage.

This film is not for the faint of heart. It's a raw and unflinching look at the consequences of governmental neglect and the invisible scars of war. However, beneath the bleakness lies a powerful story of human resilience and the complexities of empathy. I could see similarities to films like American Skin and John Q. Breaking tackled similar themes of systemic injustice and the desperation it breeds. However, what separated this film from its counterparts was its ability to dig deeper into the psychological toll of war and the invisible suffering of mental illness. It refused to simplify Brian into a villain or a hero, instead painting a nuanced portrait of a man driven to a desperate act because of a broken system.

The ensemble casting was superb. Everyone brought their best to this film. With Boyega leading the charge in his portrayal of Brian, it was nothing short of masterful. He captured the anguish, desperation, and vulnerability of a man caught in a seemingly inescapable trap. Boyega conveys Brian's complexities seamlessly, showing him not just as a desperate hostage-taker, but as a father and war hero failed by the system he served, and a man clinging to the last thread of hope. The supporting performances were equally compelling. Nicole Beharie and Selenis Leyva shine as bank employees caught in the crossfire, their fear etched on their faces but their humanity never compromised. Connie Britton delivered a poignant cameo as a tip line reporter, while the late Michael Kenneth Williams, in one of his final roles, provided a powerful counterpoint as a hostage negotiator who could see glimpses of himself in Brian's plight.

While the film was undeniably bleak, it's not without glimmers of hope. The strength of the human spirit shined through in moments of unexpected kindness and empathy. Breaking may leave you heartbroken, but it will also provoke important conversations about mental health, veteran care, and the responsibility we bear to each other.

Overall, Breaking was a powerful and essential film. It's a stark reminder of the human cost of bureaucratic indifference and a tribute to the enduring strength of the human spirit in the face of unimaginable adversity.

Mission: Impossible Dead Reckoning Part One

 

Mission: Impossible Dead Reckoning Part One is the latest chapter in the almost 30-year-old action franchise. The first of the two-part finale throws Ethan Hunt and the IMF team into a race against time to stop a terrifying new weapon from falling into the wrong hands. Starring Tom Cruise, Hayley Atwell, Pom Klementieff and Ving Rhames.

The plot was an action-packed ride from very first frame. Tightly choreographed fight sequences in claustrophobic spaces, death-defying stunts, and nonstop action will keep the audience glued to the screen and on the edge of their seats. The twists and turns are also well-placed, keeping you guessing until the end.

The villain, while a bit unconventional, reflects the growing anxieties around artificial intelligence in our evolving world. It's a thought-provoking choice that adds depth to the typically straightforward Mission: Impossible plot.

One of the things I like about Mission: Impossible casting is that they do try to reprise a many characters as they can from previous films. So it was nice seeing Ving Rhames, Simon Pegg, Rebecca Ferguson and Vanessa Kirby all reprising their roles. I liked the callback to the original 1996 film with the return of Henry Czerny's Eugene Kittridge, adding a layer of nostalgia and tying the franchise's history into the present. However, the film stumbled when it came to a couple of its female characters. Hayley Atwell's Grace fell into the damsel-in-distress trope, reminiscent of Thandiwe Newton's Nyah in Mission: Impossible 2. Hopefully, Part Two will offer her more autonomy and agency for Grace. Pom Klementieff's Paris, despite being a skilled actress, remained largely voiceless throughout the film. While her mysterious presence and combat skills were intriguing, leaving a talented actress with minimal lines and character development was a missed opportunity, especially considering the lack of female minority representation in the film.

Despite these flaws, Dead Reckoning Part One is a thrilling and entertaining blockbuster. The action sequences are some of the best in the franchise, the twists are satisfying, and the villain raises interesting questions about our future. While the film could do better with its female characters and minority representation, it remains a fun and adrenaline-fueled ride that leaves you eager for the next chapter.

The Holdovers

 

Alexander Payne's The Holdovers is a Christmas comedic drama set in a 1970s prep school. Starring Paul Giamatti, Da'Vine Joy Randolph, and Dominic Sessa.

While the plot definitely doesn't break new ground, the execution was well done. The script was full of laugh-out-loud moments alongside quieter moments of reflection. It was a nostalgic indulgence; that tackled timeless themes of loneliness, connection, and second chances. Payne's love for classic '70s cinema shone through in every frame. The film felt like a genuine period piece, drawing inspiration from gems like The Graduate. The soundtrack and score also helped to amplify this effect.

Golden Globe winners Giamatti and Randolph had great chemistry showing how deservedly they were of their awards. Giamatti embodied the crabby history teacher, Paul, as he reluctantly became babysitter to a handful of students stuck on campus during the holidays. Randolph shined as Mary, the school's wise and witty cook who was also struggling with the pain of a loss, and Sessa brought a youthful charm to his role of Angus, a troubled yet bright student. The characters, despite their initial one-dimensionality, blossomed with humor and vulnerability as the film progressed.

Overall, The Holdovers was a charming and beautifully crafted Christmas film. It was a delightful blend of humor, heart, and nostalgia, proving that some holiday stories are timeless. Fans of classic cinema and poignant coming-of-age tales will enjoy this gem.

Napoleon

 

Napoleon, is Ridley Scott’s historical drama that depicts the rise and fall of the French emperor, Napoleon Bonaparte. Starring Joaquin Phoenix and Vanessa Kirby.

The plot and overall score left me wanting more. The pacing suffered from sluggish stretches that drug the narrative down. The length of the film was also an issue. At over two hours, the film felt stretched thin with multiple moments that could have benefited from tighter editing.  The script additionally fell short of Scott's usual high standards. It lacked the depth and complexity of epics like Gladiator, leaving you unfulfilled and questioning the film's central purpose.

Ridley Scott's signature filmmaking style was evident, particularly in the battle sequences. They were chaotic and visceral, however, this intensity wasn't sustained throughout the film.

The acting was mediocre at best. Phoenix and Kirby's decent chemistry offered glimpses of what could have been, but it was ultimately buried under the weight of uneven writing and pacing. Phoenix's portrayal of Napoleon lacked the usual intensity he brings to roles. Vanessa Kirby fared a bit better with her delivery of a nuanced performance as Josephine, though the script unfortunately limited her potential. Additionally the absence of French accents or language threw a wrench into the authenticity, leaving an odd disconnect between performance and subject matter.

While the costumes deserve praise for their historical accuracy, everything else struggled to impress.

In the end, Napoleon felt like a missed opportunity. An all-star cast, a well-respected director and an intriguing subject matter that unfortunately stumbled on its desire to be epic.

The Creator

 

Gareth Edwards' sci-fi action film, The Creator, dives into a post-apocalyptic world disfigured by an AI rebellion. In 2070, fifteen years after a devastating nuclear attack, ex-special forces agent Joshua (John David Washington) finds himself on a crucial mission: hunt down and eliminate the "Creator," a mysterious AI rumored to possess a weapon capable of ending the war.

While the plot gave me vibes of Will Smith's I, Robot, The Creator did still manage to shine on its own execution. With its stunning visuals, Edwards masterfully crafted a gritty atmosphere, showcasing the remnants of a city ravaged by technology, all brought to life by impressive CGI and captivating cinematography. Thematically, The Creator explored the ever-present debate surrounding artificial intelligence. Themes around the potential dangers of advanced technology and questioning the power dynamics between humans and their creations. It also touched on the potential benefits of AI, showcasing its potential to aid humanity in times of crisis.

Diversity, both in casting and language, was refreshing to see. The film featured a multilingual cast, reflecting the world it portrays, and avoided the common Hollywood trope of a mono-cultural future. This added depth and realism to the narrative, reminding us of the complexity of human interaction in a technologically advanced world. The performances of John David Washington and Gemma Chan were a highlight. Washington delivered a brave and determined portrayal of Joshua, while Chan brought nuance and intelligence to the role of a scientist caught in the crossfire. Their on-screen chemistry was a welcome addition, adding a layer of humanity to the story.

Overall, The Creator was a visually stunning and thought-provoking sci-fi thriller. While the plot held some familiar echoes, the film's execution, strong performances, and diverse representation made it a worthwhile watch.