mbhgkmsgg Reviews

The Midnight Sky (2020)

The Midnight Sky

[7/10 · 20 March 2021]

Having seen the first trailers for this, and having heard what it was about, I was quite excited to finally see The Midnight Sky when it came out. Yet, at the time, I didn't have a chance to see it, and after the barrage of mostly negative reviews, that excitement slowly faded. Tonight, as I was browsing through my watchlist on Netflix, I remembered that I never checked this one out. With my lowered expectations, I started the film and quickly found myself enthralled by its beauty and simplicity. And by the time it finished, I thought to myself, 'that was much better than I could've imagined.' Perhaps it was due to those lowered expectations, or perhaps I was exactly in the right mood for a film like The Midnight Sky, but I truly enjoyed what I saw.

There is no denying, however, that this is a slow film. In fact, even about a year ago, I probably would've confidently claimed how boring it was. Yet, as I've delved deeper into the world of cinema, and broadened my knowledge, I have started to quite enjoy films that take their time. Films like this, do, of course, need to offer something to keep the viewer interested. Be it stunning visuals, a mystery that keeps you on the edge of your seat, or a theme so strong and impactful that it grabs your attention and doesn't let go. Whatever that something is, it needs to be there. And in the case of The Midnight Sky, well, there was a mix of a little bit of everything. Most prominently, there is the mystery surrounding the fate of the earth. It isn't quite clear as to what happened, and I for one was eager to learn more. Then there was also the mystery of the little girl that appeared out of nowhere. Once again, I found myself trying to figure out who she was. And while only one of these mysteries is truly solved by the end of it, I was content with what I got. Then there is the beauty of this film. Every shot, as simple as it might have been, was beautiful in its own way. The scenery, especially in space, was always something to behold, and even the endless monotone ice back on Earth, somehow seemed prettier than it should've been. And while this film wasn't thematically strong, the themes it did raise, certainly caused me to stop for a moment and reflect on them. A lot of it has to do with dealing with loneliness, but a lot of it also has to do with family. While these themes aren't exactly ground-breaking, they ended up supporting the simple, yet beautiful feeling that the filmed evoked.

In many ways, The Midnight Sky was, perhaps, too simple for its own good. As such, I understand why so many people had difficulty enjoying it. I also understand why so many might claim that it's boring. As mentioned, about a year ago, I most likely would've done the same. And it's because of that, that I found myself so taken aback by how much I ended up appreciating this movie. By no means is it ground-breaking, it probably isn't even anywhere as good as it could've been. But tonight, when I watched it, it was exactly what I wanted it to be. And perhaps, had I watched it at any other time, I too would've found it boring and basic. Yet, I can't help but feel that I would appreciate it for what it is, no matter when I saw it. There was something so calming and wonderful about how this film dealt with isolation and longing. Indeed, I thought the few action scenes that there were, didn't serve much of a purpose. I would've happily watched the characters move through space and time, surviving with what they had, trying to find a way back home. And by the end of it all, there is such a strong sense of hope and purpose, that I couldn't help but feel happy.

By no means is this a perfect film. In fact, it isn't even great. But for whatever reason, I found myself longing for more. The beauty that The Midnight Sky found in silence and simplicity resonated with me more than expected and gave me a wonderfully tranquil feeling. There is no doubt that this film could've been much more grandiose and special. Yet, in its inability to be those things, it found just the right chord. Yes, it's basic, and simple. Yes, it can, at times, be boring. And yes, it didn't live up to the expectations that I originally had. But somehow, it managed to ebb and flow through its story and themes in such a way, that it left me feeling happy and content, far beyond my expectations.

Manchester by the Sea (2016)

Manchester by the Sea

[7/10 · 20 March 2021]

One of the reasons I love movies so much is because they allow me to experience worlds that I otherwise couldn't. This is especially true for films that create imaginary worlds filled with things that aren't real. But even if the world feels familiar and is close to the world in which we live in, there is often a fantasy or dream that would otherwise be unobtainable. And then there are movies like Manchester by the Sea. Movies that feel so excruciatingly real that they don't just remind us of the struggles we face every day, but they make us think about them, face them. Now, some might ask, why would you want to watch a film that reminds us of some of the worst moments of our lives when you could instead by on an exhilarating and epic space adventure? It's a fair question, but I think that this film, Manchester by the Sea, answers that question perfectly.

I recently went through something similar with the passing of my grandma. And indeed, anyone who has ever lost a family member, or anyone close to them for that matter, can relate to this movie in a brutally honest way. From the very beginning, this film captures the realness of life. Doing the same menial tasks just get by. Dealing with people you'd rather never see again. It's a film that anyone can relate to. It's a film that doesn't try and sugarcoat anything. Nor does it try to dramatize anything either. It's a film that shows the lives of people that could very well be real. But it isn't until the passing of a family member, that this film turns into one that feels almost too familiar. The remainder of the movie, and in this case the majority of it, explores the process of grieving. It explores the difficulty of it. And by painting a picture that doesn't even feel like a movie, it manages to do so in a way that is impossible not to relate to. The characters are, of course, crucial in this pursuit, and by making them so spectacularly normal, Manchester by the Sea makes it seem like I'm simply watching the lives of ordinary people. There is a constant sense of realness that I have never experienced in a movie before. It is, without a doubt, one of its main strengths, but oddly enough, it also feels like a weakness. Maybe it's just due to the fact that I have been through a similar process so recently, that this film just felt, almost in a way, too normal. It didn't feel like anything new, nor did it evoke any new feelings. It just felt like life. Real life. There is no denying that this film is gut-wrenching, but then again, it should be. In fact, having heard how emotionally difficult this film is, I had dreaded watching it. Yet, by the time it finished, I almost felt at peace. For me, it acted as a reminder that it's all part of life. The ups, and the downs. Had I not had a similar experience so recently, perhaps this would've been a much more difficult film to get through. However, as is, I simply found myself flowing through the experiences and the feelings, in a way that felt eerily familiar.

Now, Manchester by the Sea is, as mentioned, brutally real and honest in its depiction of life. It moves slowly and deliberately, finding joy in the little things, and struggling with everything else. It's a film that leaves a lingering effect, staying on your mind, affecting you. It doesn't leave you with a great big realization at the end, nor does it give you a sense of joy or sadness. It merely leaves you with your thoughts. Reflecting on your own experiences. And that is where its power and impact truly lies. While it is a difficult film to get through, it also reminds us of the good things in life. It reminds us of how life always moves forward, even at times when it feels like it shouldn't. And it's because of this, that I think that Manchester by the Sea answers the question of why movies like it are needed. It doesn't try to manipulate us in any way, it just presents life as it is.

There is something beautifully special about this film. I won't be watching it again any time soon, but I don't think I need to. It's going to be one that will stay with me for a long time. And while it might seem instinctive that it's the feeling of sorrow and pain that lingers on, I find myself clinging to those small bits of joy, that are sprinkled around us. And as I cling on to them, I, oddly enough, find myself at peace with the challenges and struggles that life, evidently, throws at us.

Akira (1988)

Akira

[8/10 · 19 March 2021]

Having only ever heard and read great things about this film, it is safe to say that my expectations were high. However, I had somehow managed to stay away from any spoilers. Indeed, going in, I had no idea what Akira was about. Certainly, I assumed that motorcycles would play some part in it, as the now-iconic red motorcycle has become inseparable from any material associated with this film. But apart from that, I had no idea what to expect. As such, to say that this movie lived up to my fairly high expectations would be both correct, and incorrect. As far as the quality of Akira is concerned, I couldn't have asked for more. But when considering the story and the message of it, the expectations that I had built, couldn't have been more wrong.

There were some moments that seemed to support the picture I had painted in my head about what this film was about. Indeed, Akira began with a tone that, while still often full of surprises, felt somewhat expected. In fact, this first part, which I would consider as the first of three distinctively different acts, proposed an idea and setting that still stays relevant today. While a sense of mystery was introduced early on, for the most part, it remained hidden and veiled, out of the view. This first act not only introduced us to the main characters, it also built the world where the upcoming events would take place. And while the characters it introduced were interesting and fun in their own unique ways, it was the world of Neo Tokyo, that absolutely blew me away. A world literally built from the ashes of a nuclear bombed Tokyo. A world so full of detail, that I would've happily spent the entire film just seeing what it held within it. Neo Tokyo, that, without a doubt, has acted as an inspiration for any and all cyberpunk worlds that have come after it. But, perhaps even more importantly, the first act introduced one of the central themes of Akira. The fight between those in power, and those not. The fight between corruption and justice. The fight between brutality and control, and freedom. Themes that, incredibly enough, thirty years later, are as relevant as ever. Indeed, these themes were so strongly presented, that had it not been for the hints of something else going on in the background, I would've thought that this film was an exploration of these issues, set in a world so dystopian, that everyone watching, would hope to never see it.

Yet, there was that hint of mystery, constantly reminding us of itself. And it was that mystery, and it becoming the main focus, that launched the second act. As the film first began rolling, I never would've dared to expect what this second part brought with it. Long gone was the simplicity of fighting the power through riots and living on the outskirts of law as a part of a motorcycle gang. The focus rapidly shifted into something beyond our understanding. With an introduction to new, peculiar and unexplainable beings, the film took a shift towards something bigger than humanity. Yet, in it, was also closely tied the strengths and shortcomings of the human race. As one of the main characters unwillingly learns that he wields a power much greater than himself, he must cope with the idea of godly strength. What to do with it, and how to use it. While the themes of the fight between the weak and the powerful never disappeared, they were overtaken by the examination of the ability of human nature to deal with extraordinary power. As this is a Japanese film, it isn't much of a stretch to imagine this being a metaphor for the power of the nuclear bomb. And as this theme is explored, it becomes evidently clear just how easily corruptible the human mind is.

And it's ultimately this corruption that brings with it the third and final act. An act of truly biblical proportions. In a lot of ways, it is the most straightforward of the three, as it is a barrage of non-stop action and adrenaline. Yet, the more I kept thinking about it, the more evident it became, that the theme being shouted the loudest and clearest, was that of hope. The second act, as well as the first one, were destructive in their nature. Indeed, they presented a picture and world, where hope was hard to come by. But by the end of it, as the sun shone through the dissipating clouds, there was a sense of hope that was hard to push aside. Replacing the never-ending destruction, was a sense of excitement for what was to come. A chance to start anew. A chance to build something better. Of course, in addition to the hopeful tone, the third act also had a strong sense of comradery. The main characters, despite their differences, ultimately reached for each other, when they most needed it. This too, speaks to the sense of a new beginning. The sense that no matter the past, the future can always be brighter. These themes are especially relevant in a country like Japan, where the memory of the nuclear bombings still remains. But the true power of Akira is in its ability to reflect these themes to anyone, anywhere.

Despite writing a fair amount, there is still so much more to unpack. And while I would love to do so, I simply don't have the time, nor the ability, as I'm certain that I didn't understand even half of everything that I saw. Akira is, without a doubt, a film that deserves to be seen multiple times, and one that can hardly be appreciated on a first viewing. That isn't to say that seeing it without any prior knowledge wasn't a powerful experience, I'm merely implying that so much of my capacity was used to follow the story, that I most certainly missed a lot of the less obvious tones and themes. However, that is hardly a problem, as this is a film that I will happily revisit in the future. It is quite astonishing just how relevant this movie still is today, and as much as it saddens me to say it, the themes presented here, won't be going away any time soon. Yet, while Akira is a grim reminder of the injustices of the world in which we live in, it is also a reminder of the good things. And perhaps most importantly, it is a reminder that there is always hope.

Pirates of the Caribbean: Dead Men Tell No Tales (2017)

Pirates of the Caribbean: Dead Men Tell No Tales

[4/10 · 19 March 2021]

It is quite astonishing how a series once so exciting and adventurous has been reduced to what can only be described as a lifeless husk. While there is the rare and occasional moment of entertainment and enjoyment, Pirates of the Caribbean: Dead Men Tell No Tales is mostly filled with absolutely nothing. None of the scenes seem to hold any weight in regard to the rest of the series (apart from maybe the ending), and in its attempt to introduce another slew of new characters, I found myself often wondering, what's the point?

To start with the positives, I was often amazed by how great this film looked. And to make a crucial differentiation, I'm not talking about the CGI, but more on that later. Whatever the reason was, a lot of the scenes which had nothing to do with any computer-generated effects looked simply wonderful. Whether it was the lighting or the often-over-the-top compositions, the end result was a great looking film. However, no matter how good a film might look, if that is about its only strength, it does not bode well for it. I should also elaborate a tad on the ending. While it was nothing but a bit of fanservice, I can't deny that I very much enjoyed seeing Will Turner and Elizabeth Swann back on screen. Indeed, after what was often a brutally boring and shallow film, the end did seem like the light at the end of the tunnel. After all the trials and tribulations that the original main trio went through, there was a certain satisfaction to seeing them all where they belonged.

Now then, onto the bad stuff, which there is, unfortunately, quite a lot of. First of all, as already implied, this film is the opposite of what the first three films were. While the original trilogy maintained a constant sense of excitement and adventure, this latest instalment failed to do so almost entirely. The new bad guy, Salazar, is certainly cool, but in a lot of ways, he and his crew felt like a cheap copy of the Barbossa of the first film. Then there is the story, of course. Again, while the premise sounded intriguing at first, all it seemed to do was set up the next film. In fact, the entire film seemed to be utterly pointless, had it not been for the end credit scene. Even then, one has to wonder, do we really need another Pirates of the Caribbean film? Then there is the CGI. What baffles me the most, is how they have seemingly managed to worsen the quality of it with every new film. I have no idea how they did it back in 2003, but that first film, and indeed the two following it, still look incredible today. Yet somehow, while one would assume that the technology has greatly improved, they have somehow managed to make it look stunningly poor. This, unfortunately, became frustratingly apparent with the way Salazar looked. By being practically a lazy copy of Barbossa, he was already off to a weak start, but when you add to it the fact that the CGI that was used to make him look the way he did was as bad as it was, the end result was quite disappointing.

However, what was most disappointing, was Captain Jack Sparrow. Now I don't if Johnny Depp is to blame, or if it's the writers or directors, but the entire performance, and indeed the character, felt like a caricature done by someone impersonating the Johnny Depp of the first three films. The quick and funny quips were nowhere to be found, and the mannerisms and style of speaking all felt completely out of place. This might've not been as notable if you had seen the film in the cinema after all the years since the last film, but watching the whole series back-to-back, it was quite off-putting. Jack Sparrow could've been the saving grace for this film, had he been the same as he once was, but somehow, even that was reduced to what felt like a cheap copy.

I should be clear; I did not hate this film. I was just awfully frustrated by it. Pirates of the Caribbean: Dead Men Tell No Tales was way too long for what it was, and as a result, often felt uncharacteristically boring for a film that carries the Pirates of the Caribbean name. While none of the films in the series have been masterpieces, at least the first three were wonderfully entertaining. Something that can't be said about this one.

Ghost in the Shell (2017)

Ghost in the Shell

[6/10 · 19 March 2021]

For a movie that has an incredibly exciting and interesting premise, Ghost in the Shell feels surprisingly hollow. If it weren't for the fact that I'm a huge fan of the cyberpunk aesthetic, I probably would've found this film to be even more devoid of meaning. While it is technically speaking great, and while it manages to capture the cyberpunk feel perfectly (at least as far as I'm concerned), the story and the characters feel utterly shallow.

Now, I should note that this was my first touch into the Ghost in the Shell franchise. I have never read the manga or seen any of the animated films, so it is entirely possible that those versions offer the depth that I found myself searching for. In fact, having heard nothing but great things about the original animated film, that probably is the case. Bringing the focus back to this particular film, I want to start with the good things, as I did feel like there were quite a few of them. First of all, as I already mentioned, this film was technically speaking great. Although the dystopian cyber infused world did often feel a bit empty, the way it captured the gloomy neon-filled cityscape, more than made up for it. I have always been a fan of the cyberpunk aesthetic, and everything that comes with it, and I certainly found myself often enamoured by what I was seeing on screen. Another aspect that I quite appreciated, was how good everything looked. There are plenty of moments that are filled with 'futuristic' effects and beings, and everything looked great. For a film like Ghost in the Shell, it is, of course, crucial that that be the case, as the only way it will ever make any impact, is by making the viewer believe in the world that it is building.

With all that being said, the unfortunate reality still remains, that this film just isn't particularly good. Its greatest downfall comes in its inability to leave an impact. The story, while seemingly filled with great ideas and questions that challenge us to think about humanity and its infatuation with technology, never quite manages to bring forth those ideas in an impactful manner. This could, again, be different in the manga or the animated film, but as far as this live-action version is concerned, I found myself yearning for more. What astonishes me is the relatively short run-time. Especially nowadays, when movies with a run-time of over two hours are commonplace, I would've thought that a film that clearly has so much to say, would've reached at least those two hours. In fact, I can't come up with any other reason as to why this is than the fact that the focus was so heavily on worldbuilding, that everything else was forgotten about. Indeed, despite its short run-time, there are plenty of scenes that add nothing else to the film, but something nice to look at. These moments, which could've been used for building up the characters and thus making the final moments that much more impactful, are, instead, used for what can only be described as eye-candy.

More than anything, I'm disappointed by Ghost in the Shell. Going in, knowing nothing about the story or the world, I was intrigued from the very get-go. However, as I quickly realized, this film wasn't what it at first seemed to be. By throwing aside the deeper conversation about the themes that are relevant throughout, it managed to be nothing more than average. In fact, I assume that I liked this film more than I should have, simply because I cherished the world it built around its story.

War of the Worlds (2005)

War of the Worlds

[7/10 · 25 January 2021]

War of the Worlds seems, at first, like any other sci-fi action flick. However, despite the many cliches it employs, it quickly turns into something more than what it at first promises. The shift in tone, going from a predictable and somewhat goofy sci-fi extravaganza into a much darker setting, certainly helps in giving this movie its own flair.

Indeed, it was that tonal shift that really caught me off guard. This film, like many others like it, sets off by introducing us to a group of characters (in this case, a somewhat broken family) who we get to follow as they endure the trials and tribulations that the story has prepared for them. Typically, that group will face difficult choices and even experience loss. However, there is also an ever-present glow of hope that seems to follow them. It's that sense of hope and familiarity that often keeps the big-budget, sci-fi action blockbusters from feeling fresh and tense. Now, as I said, War of the Worlds starts off exactly like that. The only thing that really set it apart from the plethora of other films in its genre, was the interesting and original alien design. But then again, that's the least you would expect from a film like it. As the film started to pick up some pace and move through the oh so familiar early phases, it started to move into a different direction from what I was expecting. It quickly became evident that these otherwordly invaders had one, and only one goal. To get rid of the human population, for rather sinister purposes.

Now, this is where, typically, the brave soldier or some other hero comes forward and is either willing to sacrifice himself for the human race, or at least come up with a solution to overcome the invading forces. What follows, is an epic fight for the survival of the human race, which, predictably, ends in victory. War of the Worlds, however, didn't follow that roadmap. In fact, it took off in the completely opposite direction. Instead of giving glimpses of hope and heroics, it paints a picture of despair and unovercomeable fear. The hero of the story, who is supposed to be unfazed and fearless, can barely keep himself together. The triumphant moment when a path to victory is found never comes. And any sense of hope, however small it might be, is destroyed by an enemy that can't be beaten or even understood. When I began watching this film, I thought I knew exactly what I was getting myself into. However, that belief quickly turned out to be wrong. It is quite astonishing just how difficult this film was at times. Although I was certain, at least in my hopes, that this film, just like others in its genre, would end on a high note, towards the end I started to feel that maybe that might not be the case. So grim is the picture that War of the Worlds paints, that no matter how well I thought I knew the type of film it is, I too, like the characters, started to lose my hope for a happy ending. What's more, usually I'm the first to welcome a film that doesn't follow the usual tropes and is brave enough to propose a story that doesn't end well, but here, I desperately started to wish that there would, indeed, be that warm and familiar conclusion.

One of my absolute favourite things about this film was how intense it was at times. In particular, there is one sequence, which takes place in a basement, that kept me on the edge of my seat barely daring to take a breath. It's a sequence that comes without any warning, and it's one that keeps on going for far longer than you'd expect. It even goes as far as to give you a false sense of security only to throw you back into the silence and fear. It's these moments that really made War of the Worlds stand out for me. I'm usually a fan of these types of films, and I tend to enjoy them no matter how stupid and predictable they are. In fact, the reason I tend to like them so much is that they provide the ever satisfying and triumphant ending that always makes me smile. As such, I'm having a hard time placing this film into that genre of film. War of the Worlds, while seemingly an ordinary sci-fi action spectacle, offers so much more. It's much more grim and dark than I could've ever dared to expect. To some extent, it's even scary. The unrelentless tension and the hopeless picture it paints, make it a film quite unlike anything I have ever seen.

This is one of those films that I would recommend to someone who is tired of the often mindless and predictable alien invasion, sci-fi action genre. War of the Worlds gives an impression of a thriller, even horror, while still providing the ingredients that make these films so enjoyable and entertaining. While it wasn't the triumphant popcorn flick I was expecting it to be, it was fantastic in its own right. And no matter how grim and hopeless it was, I was unable to look away because of the, at times, unbearable tension.

Clue (1985)

Clue

[8/10 · 25 January 2021]

Clue is a fantastic whodunnit that gets as much done with the mystery as it does with the comedy. While there are moments that are tantalizingly tense, it's the ridiculousness and the countless laugh out loud moments that make this film stand apart. As much as it mocks the genre and all its tropes, it also masterfully executes the things that make for a good murder mystery flick.

I'll start with how this film began. Typically these whodunnit type films, or tv shows, start by showing the victim and giving some clues about how they died. They then go on to introducing the potential suspects and ultimately begin the investigation that reaches a satisfying conclusion. Clue, however, took a completely different approach. Indeed, at first, we are introduced to the group of people who seemingly are supposed to be the suspects. But, as quickly becomes evident, no crime or murder has yet taken place. So the mystery, then, isn't one of whodunnit, but one of why are they there. As such, there is a completely different atmosphere as the characters not only get to know each other but also try to piece together the reason they have been brought together. And as the film finally gets around to explaining why this particular group of people are together in that particular place, the first murder finally takes place.

But, unlike the typical murder that needs to be solved, which is carefully executed without leaving any trace behind, this one seems to be accidental. And this is where the comedy ensues. The characters are all very different and somehow manage to form hilarious and wonderfully unique relationships with one another. As they start to solve the murder that took place right before their eyes, they quickly realize that things aren't as they seem. Indeed, it almost seems as if there is someone else in the house as well, when in fact, they were supposed to be alone. However, as they go on the search for the unknown mystery killer, they have to put trust in one another, despite not knowing who the killer might be.

The thing that made Clue so great was its ability to do things differently. The whole whodunnit genre often feels like it's following a very strict predetermined formula. And while that formula can work wonders if done correctly, (e.g. Knives Out), it still feels familiar. It's easy to guess how the movie will progress and how it will ultimately end. While the identity of the killer is a mystery until the very end, or at least it should be, the structure and flow feel predictable. With Clue, however, I couldn't have guessed what was going to happen next. It is untraditional at its core, and it somehow manages to make the genre feel fresh and fun, and stupendously entertaining, while still capturing the tensions and mystery that make these films so good. Since it approaches the topic from a completely different standpoint, there was a lot of freedom in the execution. Instead of introducing an all-knowing detective who has never failed to crack a case, the suspects are the ones trying to solve the mystery. Instead of focusing on one masterfully done murder, bodies drop here and there and none of the murders seem to make any sense. And, instead of revealing it all in one final grandiose show of brilliant thinking from the detective (you know the kind of scene I'm talking about), there are three equally ridiculous and plausible conclusions. And although the film does say that one of them shows what really happened, due to the way they are presented, I can't help but feel that there was some conclusion that we didn't see, which very well might've been the actual chain of events. But ultimately, this film made it irrelevant what actually happened. The whodunnit genre typically relies on a satisfying conclusion that gives an answer to every question. But Clue, in its attempt to ridicule the rigidity and seriousness of the genre, makes the ending feel like the least important part.

Having recently watched Knives Out and absolutely loving it, I was in need of another great whodunnit. Thankfully, Clue, which I had been eyeing for a while, delivered exactly what I needed and more. Despite being truly different in comparison to so many of the more serious entries in the genre, it still captured the essence that makes these films what they are. Usually, I have some sort of idea about who the murderer is, even if I'm ultimately wrong, but with this one, I have to admit, I was absolutely clueless (heh, see what I did there) until the very end. Clue isn't just a wonderful murder mystery flick, it's also a great comedy, and somehow, it makes those two genres mix perfectly.

Pirates of the Caribbean: On Stranger Tides (2011)

Pirates of the Caribbean: On Stranger Tides

[5/10 · 24 January 2021]

Pirates of the Caribbean: On Stranger Tides follows the original trilogy in the story, but in many cases, with new characters. While some familiar faces are involved, mainly Barbossa, Gibbs, and Sparrow, of course, all other meaningful characters are new. While it does offer a certain sense of freshness, the film does lose a lot, when it comes to the relationships and chemistries that were so crucial in the previous films.

And it's due to those losses that On Stranger Tides can, at best, be described as mediocre. Jack Sparrow often ends up feeling like a lone wanderer being tossed around between the wants and desires of various characters. He never has an agenda of his own, and indeed, for the most part, he just drifts along wherever the story takes him. While it is sort of fun to watch him shift allegiances between various groups, he loses a lot of his charm due to not having a clear purpose. I assumed that the disappearance of Elizabeth Swann and Will Turner (the two other main characters from the previous films) would've made the story feel less familiar. Interestingly, however, their lack of presence also had a significant effect on the character of Jack Sparrow. He never feels quite as charming or funny as he used to and often feels like a husk of the man he once was.

Now, the reason this is so problematic is that Jack Sparrow is the reason why any of these Pirates movies were as popular as they were. He is the central character and he is the one that everyone knows, extending to even those who haven't seen these films. Johnny Depp's performance and the charm of the character were such a crucial part of the previous films that it's hard to imagine a sequel without them. And while they are, of course, present to some extent, they never reach the same heights that they used to. So, that raises the question, why is that? Although I don't have a definitive answer to that, I have at least a theory.

In many ways, the last three films were, in fact, one long film split into three. They all share an overarching story and many of the character motivations carry through all three films and ultimately reach a satisfying conclusion at the end. We get to know the characters just like they get to know each other. We follow how those relationships began and how they developed. The characters of Sparrow, Swann, and Turner didn't know one another at the beginning of the first movie, just like we didn't know them either. And because of that, we were allowed to go on a journey that was so much more than just action and adventure. On Stranger Tides, however, introduces a bunch of new characters that are completely unknown to us, but who have a history with Sparrow. Instead of getting to know the characters from the very beginning and seeing the relationships form, we are supposed to go along with whatever the movie tells us. What's more, is that this applies to almost all of the main characters, with the exception of Barbossa and Gibbs. As such, the dynamic is completely different than what it used to be. For the most part, I had no idea who these characters were, and had it not been for the countless references to experiences that these characters had had, they would've been complete strangers. But even though these references did help in forming some sort of frame for who they were, they didn't make me care. In fact, almost all of the new characters felt awfully hollow and one-dimensional. They provided exactly what was needed of them and nothing more. Sparrow's interactions with them were dependent on me buying the little information that was given of them, and that often resulted in seemingly meaningless conversations and moments.

But, it's not all bad. Although On Stranger Tides never reaches the same level of excitement and entertainment as its predecessors did, it's still a good time for the most part. The story is as ridiculous as you'd expect, and Jack Sparrow gets into enough trouble to satisfy any needs on that front. While his interactions and relationships with the new characters often felt off, thankfully Barbossa and Gibbs still offered a sense of familiarity. And indeed, those moments with Gibbs and Barbossa were usually the ones that provided the same sense of adventurous fun, that made the first three films so good. Something that surprised me quite a bit was how toned down this fourth installment felt. Coming off of the third and arguably most ambitious film, this one felt quite similar to the first one in its scale. Long gone were the epic fights on the sea with the creatures and monsters. They were replaced with a more intimate and palatable selection of conversations and set pieces. However, this kind of approach would've needed a much more meaningful set of characters than what was present.

While Pirates of the Caribbean: On Stranger Tides isn't awful, it's nowhere near as good as its predecessors. It loses a lot of the comedy and excitement, as well as depth and meaning, which were everpresent in what I consider the original trilogy. This fourth film does bring with it a new and often enjoyable story, but it's the execution that lets it down. The new characters, unfortunately, fall flat, and with them, the movie. Jack Sparrow, who could've been the saving grace, doesn't get the treatment he deserves, and can't make this entertaining enough to be considered good.

Basic Instinct (1992)

Basic Instinct

[7/10 · 18 January 2021]

Bacis Instinct is as grimy and dirty, thrilling and exciting as they come. It weaves a web that twists and turns when you least expect it to and reaches a conclusion both impactful and satisfying. Unfortunately, however, those twists and turns are often quite obvious in nature and thusly lack the desired impact.

The thing that I liked perhaps the most was the way it began. These types of films often begin with an introduction to the killer. And while Basic Instinct does that as well, it does so in an atypical fashion. Normally, it's made explicitly clear who the killer is, and the focus of the film is on catching him or her. However, the way it was done here not only added a twist of its own but also kept me on the edge of my seat. The way Basic Instinct introduces the killer is one of mystery. While we are given glimpses of what she looks like, there is never a clear shot of her face. As the movie then proceeds to introduce us to the ensemble of characters, it isn't perfectly clear who the mysterious killer is. It's easy to guess who she is, and indeed it's almost obvious at first, but as the twists and turns start to stack up, the identity of the killer becomes shrouded in a web of uncertainty. This decision to keep the identity as a mystery until the very end added an extra layer to the kind of film that Basic Instinct is. As said, I often feel like others in its genre focus only on the process of capturing the perpetrator. This one, however, made me do a guessing game of my own, and in many ways, it made it easier to fall into the story and mystery.

Unfortunately, though, it's not all good. While the film does manage to introduce a level of uncertainty by hiding the killer's identity and creating a twist that could lead some to doubt about said identity, it didn't work for me. I thought it was very obvious from the get-go who the killer was. And it was simply due to the fact that none of the twists, even the most significant ones, felt plausible. Although Basic Instinct relies quite heavily on the plethora of sudden twists and turns, none of them felt particularly impactful. While I didn't perhaps see them coming, once they arrived, they didn't convince me. The film portrays the assumed killer in such a way early on, that I found it impossible to think that it could've been anyone else. Some moments did raise an inkling of doubt, but ultimately, there was no question in my mind about who the person behind the murders was. The result of a lack of impact in many of the most pivotal moments was a film that often felt unnecessarily slow. The story, while seemingly complex, is actually quite straightforward, and I couldn't help but feel that some scenes could've been shorter or even left out. Because of these scenes, Basic Instinct often lost its tempo, which I feel is crucial for these types of films. For me, it's the high pace and thrill of the chase that make them work.

That isn't to say that there isn't a lot of great things here as well. Indeed, one of the things I adored the most was the mood and feel of this film. It often felt almost Michael Mann like, with its dark and grimy cityscapes and beat up cops chasing criminals through a game of cat and mouse. The few action scenes that were present were also great. They consisted mostly of fantastically thrilling car chases that felt completely out of place but somehow added just that little bit of something extra to the final product. And then there is, of course, the interrogation scene, which is nothing short of iconic. In fact, the more I think about it, the more I realize that the individual pieces that this film was built from were all great, but for some reason, once they were put together, the resulting product just wasn't as impactful and exciting as it should've been. It's still a good film, and it has a ton of great moments, but as it relies so heavily on the mystery, I felt that it was never mysterious or unpredictable enough.

All in all, though, I quite enjoyed Basic Instinct. It certainly offers a fun ride throughout and even a fair bit of tension at times. While I didn't fall into its story of deceit as much as I would've liked to, I thought that there were plenty of things that were fantastic. Indeed, mostly I'm just disappointed, as I felt that this could've easily been even better than it was.

Kill Me Three Times (2014)

Kill Me Three Times

[4/10 · 17 January 2021]

Kill Me Three Times is a bizarre hit-man comedy that takes place in Australia, and for some reason has Simon Pegg in it. However, despite portraying itself as a comedy and putting Pegg as the main character, I can't think of a single moment that actually made me laugh.

But it's not just the comedy that falls flat. The whole film, even with everything it tried to do, felt extremely uninspired and soulless. I think I was engaged for the first five minutes, and that was mostly due to me not having any idea about what this movie was about. However, as soon as the plot and direction started to crystallize, I lost every last bit of interest. And the way it was structured certainly didn't help. For some odd reason, the film was split into three different acts. The first act, while often the most engaging, was also by far the most confusing. It left everything without explanation and the first third of the movie gave me the impression that stuff just happened for no particular reason. The second act tried its hardest to make me understand the reasons behind everything that had taken place but at that point, I just didn't care anymore. The second act also felt off due to the constant switching between flashbacks that explained the story and the current situation that moved the story forward towards its conclusion. Thankfully the story is as simple as they come, despite trying to create a wow effect towards the end with the seemingly endless twists. Had the plot been any more complicated, I think I would've really struggled with trying to follow along. And as Kill Me Three Times ultimately reached its third and final act, it became clear that any and all form of entertainment was relying on over-the-top kill scenes and the presumably cool plot twists.

However, as dull and simple as the story was, the biggest problem was the lack of comedy. Simon Pegg is, without a doubt, the only saving grace here, as his presence alone was often enough to make the scene better than it had any right to be. Interestingly, though, even he seemed to stay away from any form of comedy. And while this type of film would've been completely fine without any connection to the comedy genre, it's evidently clear that Kill Me Three Times tried to be funny, at least at times. However, as far as my experience with it went, I didn't laugh once. And I do find it quite unfortunate that there was such a clear desire to create a comedy film. Because had that not been the case, I think that a lot of the story would've felt more impactful. But, since it took the direction it took, the resulting product often felt unfocused, and even the more serious scenes felt airy and weirdly impactless. It was almost as if there was an ever-present sense of supposed comedy. No matter the scene, I always assumed that I was supposed to laugh at something, which I rarely did.

Now, I do have a theory as to why that might be. I can't help but feel like this entire film was nothing more than a chance for Simon Pegg to realize one of his many character fantasies. Kill Me Three Times tends to revolve around him and setting up scenes that allow him to do 'cool' stuff, be it throwing a cigarette out of a window nonchalantly, or looking pretentiously badass while shooting someone down. In fact, I'm almost convinced that this whole project was made so that Pegg could play a cool, care-free hit-man that lacks any and all sense of moral. And since it was Pegg that was the star of the show, it seems that it was almost mandatory that there should be comedy elements. Unfortunately, for the sake of this film, the odd mix of a little bit of everything makes for a dull, unimpactful, and lackluster experience.

If someone were to ask me to describe this film to them, I think that the most accurate way for me to do so would be to compare it to the seemingly endless number of Australian drama tv-series. I'm talking about the ones that have at least ten seasons, and are always on a rerun on at least one channel. Kill Me Three Times often feels exactly like those shows feel, and the only thing that makes it feel different is the inclusion of Simon Pegg. While I didn't fully dislike it, the rare scene or sequence that actually felt worthwhile didn't even come close to making up for everything else. Although I'm sure that Simon Pegg had a great time making this and getting to live his fantasies, the final product doesn't deliver what it was supposed to.

Lucy (I) (2014)

Lucy

[6/10 · 13 January 2021]

Lucy is an ambitious sci-fi extravaganza, to say the least. Despite its ambition, for some odd reason, it settled on a mere 90-minute runtime. While I often tend to be a fan of short straight-to-the-point films, here, the short duration is only damaging. As such, the resulting film often feels unfocused and rushed.

That isn't to say that there aren't good things in it as well. Indeed, there are quite a few of them. First of all, the concept in Lucy is great. I was all aboard with the idea of exploring how powerful the human brain might be, assuming we were able to access all of its capabilities. And while that concept and everything it brought with was one of the better parts of this film, the way it's was explored and brought to the silver screen, was one the worst. There are so many ideas and so many concepts that it tries to fit into one concise film, that no matter how long the run time would've been, I doubt it could've ever made much sense. And although I do admire the insanity that it tries to control and manage, I can't help but feel that there never was an intention to make a film that would've captured it all in a reasonable manner. However, despite an apparent struggle to contain and showcase all of these ideas, they do create a rather interesting overall product.

Now, while there is a lot to like conceptually, there are also some fairly odd choices. They are thankfully apparent mostly in the beginning and slowly start to fade away as the film kicks into gear. One example, out of the many, could be the use of weird parallelisms and metaphors to help the viewer along. Early on, as Lucy, the main character, has to enter an ominous building, the film quickly transitions into a shot of a mouse entering a mousetrap. It goes without saying that Lucy is supposed to be the mouse and the building the mousetrap. Since that much is obvious without a metaphorical example from the animal kingdom, it begs the question, why was it there in the first place, and why were there others like it later? One theory, and this one of my own making, is that we humans are nothing more than animals. Not the most creative, I know, but bear with me for a second. A big part of the film and what it most adamantly tries to say is that we, humans, are trapped by our own constructs. That we would indeed be just like animals, had we not created the rules and laws that govern our lives. That idea, then, opens up the seemingly endless possibilities that could be unlocked with using our brains to their fullest capacity. Could we, potentially, control all matter and thought? Could we, even, travel through time, unbound by the laws of nature? The movie clearly thinks so. And in its attempt to make us think so as well, it paints a picture of the two different beings using those aforementioned metaphors. Animals and humans on the one hand and humans that are no longer trapped by the limits of their brains, on the other hand.

As I said, it's a great concept. And although I wasn't a big fan of the heavily used parallelisms, they certainly got the point across. However, the biggest problem wasn't the concept or how it was delivered. What made Lucy difficult to watch, at times, was the clear lack of focus. That concept alone could've easily been made into a movie of its own, and it would've probably been longer than what we have here. But despite its constraining length, Lucy tries to do so much more. At the same time as it's exploring human nature and the deepest questions of our existence, it also tries to create a John Wick-esque action thriller. As a result, both parts suffer. Either this movie should've been twice as long, or it should've focused on being one thing. I think it could've been a great action thriller with the elements of revenge it had built into it. I also think it could've been a great sci-fi film had it only focused on exploring the concept it so heavily relies on. However, trying to combine the two, especially in the way it was done, created a lacklustre result that failed to make me care.

But at the end of the day, despite its problems, which there are many of, there is a good amount to like here. As it explores the concept and all the possibilities that might come with unlocking our brains, it creates a visually stunning experience. And the action is also quite fun. And had it not been for the overabundance of ideas that were attempted to be included, Lucy could've been a great film. As it stands, though, it ultimately failed to make an impact on me, despite dealing with such an interesting idea.

Pirates of the Caribbean: At World's End (2007)

Pirates of the Caribbean: At World's End

[7/10 · 11 January 2021]

Pirates of the Caribbean: At World's End, the conclusion to what can be described as the original trilogy. If the previous one took everything from the first one and turned it up a notch, well, this one took everything from both of them and turned that up a notch. It's bigger and longer, more complicated than it needs to be, but it's also tremendously entertaining.

At World's End is an interesting film in that it feels like a mix between the two previous films. A lot of the lightheartedness and comedy that was ever-present in The Curse of the Black Pearl makes a return, after the second instalment, which was much heavier in tone. But, many of the darker themes of Dead Man's Chest are also present, creating a film that feels exactly how you'd imagine a Pirates of the Caribbean film to feel. When the going gets heavy, there is always a fun punchline or gag at ready, to lighten the mood, often provided by, you guessed it, Jack Sparrow. But thankfully, when the film needs to feel dark, it isn't afraid to do so. There are plenty of tough themes that are touched upon, and they do carry their weight plentifully. The result, then, ends up feeling wonderfully balanced, at least as far as the tone goes.

The story, however, ends up being the weight dragging this film down. It takes off directly from where the second film ended, and while that does provide a clean bridge from one film to the other, the story here lacks impact. It's not that the story isn't fun or entertaining, it's just that it often feels overly long and complicated. Indeed, this one is even longer than it's predecessors which were long, to begin with. And as was the case with them, At World's End suffers from the same faith, trying to cram every good idea into it, even when it isn't called for. All of these Pirates films have been full of wonderful ideas, for the most part, but they have also had plenty of ideas in them, that simply shouldn't be there. While they are often fun and add more flavour to the experience, they, conversely, end up excessively bloating the runtime. And to be completely honest, these films don't need any more flavour than they already have at their core. But, regardless, there is no denying the entertainment these films, this one included, provide. At World's End, despite its problems, provides a satisfying conclusion to the story that began at The Curse of the Black Pearl.

Which brings me to the next point. While it's easy to say now that there was a fourth film and even a fifth film, it was also evidently clear that there would be more after the way this one ended. At World's End, much like the previous one, makes it clear that the story isn't over yet. And while it makes sense for Disney to continue printing money with the series, I would've really liked to have seen it all end here. At World's End ends in a great place. It ties every character arc together and answers all the questions that I might've had. Will and Elizabeth end up where everyone would've wanted them to end up in, and Jack sails off into the sunset, just like he arrived at the beginning of The Curse of the Black Pearl. Story-wise, it's obvious that there was no need for more. It seems to have been quite evident considering that two of the biggest stars left and the director was changed. And while I wish that this had indeed been the end, a part of me is also excited to join Jack Sparrow once more on his adventures. And therein, lies the charm and power of the Pirates of the Caribbean series. They are wonderfully stupid and over-the-top but, at the same time, they come with a promise of adventure and undeniable fun. While it's clear that they are anything but masterpieces, they are some of the most entertaining films I have ever watched.

So here we are, at the end of what I would describe as the Black Pearl trilogy. While I'm perfectly aware that there is more to come, I can't help but consider these three films as their own thing. They encompass a certain childlike charm that I doubt will be present in the newer films. And while I do look forward to watching them, these three original, The Curse of the Black Pearl, Dead Man's Chest and At World's End, will always be what I think of when someone mentions the Pirates of the Caribbean.

The Fog (1980)

The Fog

[8/10 · 10 January 2021]

The Fog is another fantastically atmospheric horror film from John Carpenter, a director that I have come to really enjoy in the last few months. While it isn't particularly scary, it more than makes up for it with the tense and unnerving environment it creates.

I'll start by saying that I was really torn about how I felt about this film while watching it. It's a slow burner, which isn't a bad thing in and of itself, but towards the beginning, I was hoping that there would've been a bit more intrigue. However, the thing that makes or breaks slow-burning films is the payoff at the end. Thankfully, the ending in The Fog really paid off. Once it got going, it never once slowed down. And those moments, after the fog entered the town, were simply fantastic. The combination of the soundtrack, dark and foggy environment, and the small and tight areas that the characters were in, created one of the most unnerving and tense movie experiences I have had. While it is often obvious how things are going to end and who is going to make it, I can confidently say that nothing was clear until the credits started rolling.

One of the most crucial things in horror films is, of course, the horror element. In the case of The Fog it's, well, the fog. And while it does sound quite out there as far as concepts go, even from someone like Carpenter, who made a film about an evil car, it works spectacularly well. It works especially well in a film that relies heavily on an eerie atmosphere. And indeed, it ends up being the fog that ultimately creates most of the tension and nervousness. It hides inside it an unknown and unexplainable evil that, seemingly, can't be stopped. As it engulfed the small town of Antonio Bay, a sense of despair washed over me. Even without the fog, the town often felt small and claustrophobic. However, as soon as the mysterious fog started to swallow even the last bits of road, that sense of claustrophobia was only magnified. The ending which takes place in two locations at the same time further confined the action to small and creepy locations. And the tension and horror rose accordingly.

I started by saying that I was unsure how to feel about the film while watching it. That remark was mostly aimed at the fairly slow beginning. However, as the movie started to reach its end, there was another point of uncertainty that I stumbled upon. And that was the ending. As I said, once the fog started to terrorize the town, I was enchanted by what I was watching and completely forgot about how I had felt just moments ago. But as the conclusion started to crystallise, I started to worry about the way The Fog was going to end. As the final piece of crucial evidence was revealed, I was convinced I knew where the film was headed. And as I made that realization, I was prepared to give this film a lower rating due to its anticlimactic, and safe, ending. However, as I was ready to breathe a sigh of relief after all the tension, there was one last scene that I would've never seen coming. It's a short scene, and in the grand scheme of things, it's even relatively inconsequential, but what that scene did for the movie, was priceless. It raised the tension right back up and left an uncertain and unnerving end to the story. And it's those types of endings that I have come to expect and appreciate from Carpenter. Endings that seemingly end in a good place, but below the surface, leave a sense of paranoia and lack of closure.

The Fog is another great horror flick from Carpenter. It's thrilling and tense, with a wonderfully unnerving atmosphere. The one-and-a-half-hour runtime goes by in a flash, and almost every moment of it is fantastic. The fog, as in the actual fog that is in the film, is a fantastic premise and ends up being the best part about the film. And although there are moments that lose some of the pace and intensity, the overall product is tremendously entertaining and exciting.

There Will Be Blood (2007)

There Will Be Blood

[9/10 · 9 January 2021]

The word, 'masterpiece', is thrown around needlessly often, I'm guilty of it myself. However, if anyone was to call There Will Be Blood a masterpiece, I couldn't fault them for it. Despite its simple premise, it manages to reach such a deep and layered story, that for the most part, I was at a loss for words.

At its core, There Will Be Blood in nothing more than a story about a man. A man who has insatiable greed and an endless and unsatisfiable need for more. However, not once did the movie feel simple or easy. There are so many threads that run throughout it that the final result becomes a harrowingly deep exploration of human nature. Indeed, it's thanks to its simplicity story-wise, that it can explore parts of humanity, such as ego, pride, greed and hatred, with such painstaking detail. What I found to be perhaps the most impressive part about There Will Be Blood was the level of intimacy it reached. Since the film focuses almost entirely on one man, he becomes such a close part of the experience that I often felt like I personally knew him. What makes that relationship so difficult, in the case of this movie, is the fact that Daniel, the character of focus, isn't a particularly nice person. While there are moments of joy and triumph that lead you to root for him, those moments are almost always turned into ones where you can't help but despise him. While I can't speak for everyone, for me, it was clear that what made There Will Be Blood so brilliant was the not only relationships that Daniel had with the other characters, but also the relationship he had with me, as a viewer.

Although there is a lot to unpack narrative-wise, there are just as many things filmmaking-wise. One of my favourite parts about this film was the intensity and uncertainty of every scene. I had no idea what I was getting myself into when I started watching. Although I had heard plenty of things about this film, as well as seen the rating it has on Letterboxd, I had no idea what it was going to be about. The poster, with its oil drill, certainly gave something away, but that was about it. While knowing a little more about it might've convinced me to see it earlier, I'm very glad that I went in completely blind. A lot of the film, I feel, relies on not knowing what's coming next. There are plenty of moments that would've potentially fallen flat had I known what was going to happen. Tension was built masterfully with an unnerving soundtrack, slow panning shots, and a constant sense of uncertainty. The characters do, of course, add their own flavour to the tension, which is especially apparent with the most significant side characters, whose motives are often left blurry.

But the thing that was, without a doubt the highlight, was Daniel Day-Lewis' performance as Daniel Plainview. The character he had to portray was one of conflict and hate, ego and pride, and above all else, greed and an endless hunger for more. However, what made Plainview so different from most similar characters, was his motives. Throughout the film, there are hints that he isn't simply after money, or power, or even influence. And although he often says that those pursuits are the reason for his competitive nature, it ultimately becomes clear that he isn't a man fuelled by a desire for material wealth. In the end, what gives him the greatest satisfaction is getting to say the last word. Daniel is a man who will never forget and will hold a grudge until the day he dies. And because his desires transcend those of wealth and power, he will never be satisfied no matter how successful he is. He doesn't see competition as a threat, rather he sees it as a chance for someone else than him to be successful. And it's that ego and pride that fuels him, the desire to be better than everyone else.

It took me longer than it should've to see this masterpiece of a movie. There Will Be Blood more than deserves the praise it has received, and will, undoubtedly, continue to receive. On the surface, it's a surprisingly simple film, but as you dig in deeper, the layers start to appear. Indeed, I could've written a thousand words about the character of Daniel Plainview alone, but alas, I don't have the time for that. What I can say, though, is that there is no question about the brilliance of this film. It blew me away at almost every turn, and while I might not be eager to revisit it any time soon due to how heavy and tough it can be at times, it's a film that will stay with me for a long time.

Pirates of the Caribbean: Dead Man's Chest (2006)

Pirates of the Caribbean: Dead Man's Chest

[7/10 · 7 January 2021]

Talk about a change in tone. Pirates of the Caribbean: Dead Man's Chest takes everything good about the first film and amps it up. Not only are the stakes higher, so are the challenges that our heroes face. Be it from the enemy outside, or the internal struggle between right and wrong.

What becomes apparent from the very start is a sense of direction. The first film, while a tremendous success, felt in many ways like a test. No one knew if people would like a comedic action film about pirates. Curse of the Black Pearl was much smaller in scale, and importantly, had it not been successful, it would've always worked as a standalone. Despite its enormous success, I do applaud Disney and Verbinski (director) for the audacity of creating a sequel that needs a companion movie. While Dead Man's Chest could, weirdly enough, be its own thing, it ultimately leaves the story wide open. Although it was a big risk, it's clear that it paid off. However, had this film not been as wonderful as it was, I doubt how successful this plan would've been. So, what then makes Dead Man's Chest so good? As already briefly mentioned, it's the change in tone. This second instalment is much darker, much bigger, and much, much more ambitious.

A testament to the much darker tone is an example from the very first minutes. A dark and grimy prison, where some of the prisoners who have been left in cages outside have their eyes pecked out by crows. And no, it's not just implied, it's actually shown. It was that scene, despite its insignificance, that set the tone for what was to come. And boy was there a lot to come. As mentioned, Dead Man's Chest took everything that worked in Curse of the Black Pearl and turned it up a notch. The action sequences are much improved, both in the way they look and how they feel. They encompass a whole new sense of grandeur in their scale. That is of course helped by the new and improved villains captained by the infamous Davy Jones. He and his whole crew are simply spectacular. The combination of practical effects and surprisingly good CGI make for an exciting and ghastly feeling bunch. While they aren't immortal, like the villainous crew in the previous film, they feel significantly more frightening. Add to that the Kraken that Davy Jones wields, and you have yourself an opponent that even the mighty Jack Sparrow might not be able to best. Indeed, it's partly thanks to the new and improved sense of dread, and partly to the stakes that are also much higher, that this film succeeds even better at its goal than it's predecessor. That is, providing a tense and entertaining bit of cinema, that makes you want to return for the sequel.

However, despite all that, there are still hints of the problem that The Curse of the Black Pearl faced. What I'm talking about are some of the scenes that feel a tad too long. Although there aren't nearly as many of them in this one, there are quite a few sequences that feel a little redundant and stretched out, and it begs the question, should they have even been there in the first place. Regardless, these problems are far and apart, the biggest problem that Dead Man's Chest has is that it isn't a proper film on its own. The story in it doesn't get any closure, it leaves an endless number of questions unanswered, and ultimately, it requires for its sequel to be seen. While that is not a problem, of course, especially now that they are all on Disney+, I do have to admit that I'm not a huge fan of films that make you watch another film, so that they work. While some other films, most notably Lord of the Rings and the last two parts of Harry Potter, do the same thing, at least they had a source material to go by and justify the decision. In the case of Pirates of the Caribbean, though, there is really no excuse for it, apart from hoping that people will feel the need to return for the next part and create revenue. But alas, I can't stay too mad. This film, like the one before it, is great fun. In fact, as far as the film itself goes, I think I slightly preferred Dead Man's Chest. I just wish that it had wrapped up at least some of the loose ends.

With all that being said, I happily look forward to watching the last part of this original trilogy. There is something special to be cherished in these films. It could just be the nostalgia speaking, but I honestly feel that movies like Pirates of the Caribbean: Dead Man's Chest and others in the series aren't made anymore. They have a wonderful sense of carefreeness and an endless yearning for fun and adventure. Not only do they provide a great time, but they also make me wish that I could be there alongside Jack, Will, Elizabeth and the rest of the crew.

Branded to Kill (1967)

Branded to Kill

[6/10 · 6 January 2021]

Branded to Kill is a wonderfully peculiar Japanese hit-man film. Not only has it worked as an inspiration for many directors, but it's also an experience that, I feel, everyone should get to have. While it didn't work for me as well as I had hoped, it is so unique that it's hard not to like it.

Branded to Kill starts off great. The little information it gives isn't enough to have a good idea of what's going on, and the early intensity and pace shrouded in mystery work wonderfully. While it is clear from the very beginning that this isn't going to be your typical crime flick, the film takes its time to really get going with the peculiarities. At first, it feels like any old hit-man movie, and I found those moments to be the most effective. That's not to say that the movie doesn't have great moments throughout, it's just that it doesn't deliver them as effectively as it did in the beginning, but more on that later. The film starts with a fast-paced action sequence that introduces us to the main character, the No. 3 hit-man in Japan. As we get to know him, we learn that he isn't what you would call a typical hit-man. He is, for example, obsessed with the smell of cooked rice, one of his many quirks. As we get to know him, we also get an idea of what Branded to Kill is really going to be like.

While, at first, it might seem that there is nothing peculiar going on, the movie quickly throws that presumption out the window. As more characters are introduced, and as the story progresses, it becomes evidently clear that there is much more there than first meets the eye. And although these oddities are what make this film what it is, and the thing that lifted it into the cult following it has, I found them to be the downfall of it, as well. While the many curiosities, like No. 3's fetish of cooked rice, or the jazz soundtrack, or even the very open and aggressive portrayal of erotica work well and give the film an edge that others like it don't have, they, unfortunately, make it also feel unfocused. I feel that there is a limit to how much you can play with things that normally wouldn't belong to such a film, and still get away with. In the case of Branded to Kill, that line was crossed, at least as far as my enjoyment went. The resulting product, while certainly interesting and unique, lacked focus and coherency.

However, while most of the film felt lacklustre, thankfully it found its stride towards the end. Indeed, as good as the beginning was, I think that the ending was even better. It's filled with tension and uncertainty, and quite frankly, it feels like the movie finally found the mood it was trying to achieve from the very get-go. As such, I find it very unfortunate that the rest of the film wasn't able to find its tempo and flow. It felt like there were so many ideas that were crammed into Branded to Kill that it would've been nearly impossible to create a film that felt complete, especially when you consider the short runtime. Apart from the beginning and the end, the rest felt like a series of mini-movies each with their own idea. Accordingly, it was difficult to fall into the film and let it take me for a ride. I was constantly thrown out of the idea and scene just as I was getting settled into it. While this approach might've worked had there been a clearer narrative between each scene, the sheer number of ideas and stories being told made it difficult to appreciate them.

The more I think about, the more I feel like Branded to Kill just wasn't for me. While I appreciate the efforts it took to experiment, I found myself wishing for a clearer narrative. However, there is no denying the uniqueness it has. Although I won't be watching it again any time soon, I'm glad that I have seen it. It's clear why it has inspired so many directors, and why it has garnered such a large cult following around the world.

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Pirates of the Caribbean: The Curse of the Black Pearl

[7/10 · 6 January 2021]

Pirates of the Caribbean: The Curse of the Black Pearl, what started one of the highest-grossing movies series of all time, and a series that became a huge part of my childhood. In addition, to being wildly enjoyable and a great bit of fun, it also gave us one of the best-known characters to ever bless the silver screen, that is, Jack Sparrow.

Despite considering this as one of the biggest movie influences of my childhood, I believe I've seen each film only once or twice. And if you were to ask me when was the last time I saw any of them, I couldn't tell you. So, fuelled by a desire to see the latest and hopefully last film in this series, and not remembering what has happened previously, I decided to embark on a journey through the seven seas and watch this whole series through.

And what a great start to the series The Curse of the Black Pearl was. It's filled with everything you'd want from a fun, fantasy ridden pirate adventure. It's action-packed, guaranteed to make you laugh, and most importantly, it's tremendously entertaining. What surprised me the most, seeing it now with practically fresh eyes, was how tense and even scary it was, at times. People are killed left and right, and surprisingly little is left to the imagination. While I welcomed these traits as an adult, I'm a little surprised by their existence, especially when you consider how young most of the people watching it were, back in the day. However, it is mostly due to these thrilling elements that this film is as enjoyable as it is, even for the older audiences. Instead of having to only rely on action and comedy, the tension and horror elements create an environment that suits the film spectacularly well. It's an environment of moody and dark caves, loud and turmoiled cities, and dank and cursed ships. Combine all that with the contrasting splendour of Port Royale, and the royal fleet, and you'll have a film that beautifully divides pirates and the rest, giving each a surrounding that compliments them.

But, as we all know, this series wouldn't have been anything without the one factor that doesn't suit either of the aforementioned camps. That is, of course, Jack Sparrow. He essentially becomes the bridge between the two worlds. Using traits from both sides and mercilessly taking advantage of them. He is a man that seemingly looks out only for his own interest, but when push comes to show, he'll forget about his beliefs and do the right thing. Indeed, it is painfully clear that Sparrow was meant as the odd man out. Even his clothing, while very pirate-like, doesn't fit in with any of the other pirates. Nor does it fit in with the law-abiding citizens. But, Sparrow's purpose isn't just being a bridge between two worlds. He is also the much needed comedic relief, the light-hearted drunk who always seems manage to stumble his way through. The performance that Depp gave is one that has become iconic. The way he talks and acts, the mannerisms that he has throughout and the countless quotable lines, created a character that became a staple in most households. If you were to ask me or any of my friends who the most memorable and iconic movie characters from our childhoods were, Jack Sparrow would, without a doubt, be towards the top of that list.

While I have spent my time praising The Curse of the Black Pearl thus far, there was one rather significant problem that I noticed. Although it is a fun and entertaining film, for the most part, it was, surprisingly, the action scenes that felt the most redundant. Indeed, the first hour or so flew by. I had to take a quick break at one point, and I could hardly believe that an hour had already passed. Unfortunately, though, that didn't continue forever. Especially towards the end, it seemed to start dragging quite a bit. A lof the scenes started to feel repetitive and stretched out, something that the first half of the film didn't struggle with. Having said that, The Curse of the Black Pearl never feels too long, despite its lengthy run time. And for that, we have to thank, for the most part, the performances and the pure entertainment that this film offers.

While I didn't enjoy Pirates of the Caribbean: The Curse of the Black Pearl as much as I perhaps once did, there is no point in denying how fun it is. It's the perfect example of how to make a film where you can happily turn your brain off for a moment and enjoy some popcorn. Despite being shamelessly stupid at times, it never crosses the line of actually feeling stupid. Instead, it remains funny and fun throughout and provides a tremendous piece of entertainment.

Donnie Darko (2001)

Donnie Darko

[9/10 · 5 January 2021]

Where do I even begin. Donnie Darko is easily the most confusing and mind-bending movie I have ever seen. Despite being quite easy to follow, by the time it finished, I was scratching my head. As such, I rushed to write 'donnie darko explained' to google in hopes of figuring out what it all meant, as I'm sure many others have done as well.

Despite having read many articles about the ending and the bunny, and everything else, I still feel unsatisfied by the explanations I read. While I do understand the movie now, at least, for the most part, I feel like there is some much more to unpack. Indeed, the articles I read all seemed to agree on one explanation, whereas I feel like there are many more. However, having only seen it once, I feel tremendously underqualified to propose any other explanations. As such, for the time being, I accept that idea of two alternate universes and time-travel. According to this theory, Donnie (Jake Gyllenhaal) is the only person who can save the world from a collapsing tangent universe. Donnie is the only one who can travel between these universes and between time. Accordingly, the task and burden of saving the real universe, the one that Donnie and everyone else actually lives in, falls upon him. Every action he takes, everything he sees and hears, is all predetermined. Guided by clues and events that he experiences while in the tangent universe. And it's through these experiences that Donnie ultimately learns what his faith must be and what he must do when he returns home, to the real universe.

There is a lot to take in even in that explanation, which I'm sure is one most used and understandable ones. However, the reason I feel unsatisfied by it is that it feels too straightforward. Donnie Darko is a film filled with metaphors and moments of duality. And it's those moments that I think contain the message that it wants to send. But going through all those moments and trying to understand the message they have, assuming they have one in the first place, is a journey that will take countless rewatches. Indeed, I'm unsure if it can ever be completed. This was the first time I saw Donnie Darko, and as such, I opted for the theatrical cut. It only felt appropriate as it was the one originally published. However, as far as I've understood, the longer director's cut contains additional footage that supposedly makes the film easier to grasp. Knowing that makes me glad I started with the theatrical cut. While I'm sure that having a more thorough explanation in the other cut will make me appreciate this film possibly, even more, I like the fact that there is so much left open in the theatrical version. Having to ponder what it all means is an experience that many movies are unable to provide. I, for one, cherish those kinds of movies. With that being said, I do also appreciate the fact that there is a plethora of explanations online. If it weren't for them, I doubt I would've ever had even an inkling of an idea about the whole time travel theory. But, I would've of course come up with my own theories and explanations, and perhaps that would've been for the better.

Regardless of the way you want to interpret Donnie Darko, there is no denying its brilliance. Despite still being woefully confused, I can't help but think that it's genius. Often, I feel, movies like it (meaning ones that leave you looking for an answer) tend to leave enough breadcrumbs to follow to make it reasonably easy to come to a satisfying conclusion that makes sense. However, what really stands out to me about this particular movie is how little it actually tells. Everything about it could be interpreted in more than one way, and everyone will do so based on their own life experiences. The number of potential explanations has to be mind-boggling, and what's even more unfathomable, is that all of them would be correct.

Writing this review felt futile for the most part. Having only seen Donnie Darko once, I feel like I can't even begin to understand how I feel about it. Regardless, it left such an impact on me, that I felt like I had to write what came to my mind. And hopefully, after many more viewings of both the theatrical and director's cuts, I can come back to this review and appreciate what this film meant to me now. Because while nothing about the movie might be certain, one thing that I know to be so is that no matter how many times I see this film, I will always find something new in it.

Parasite (2019)

Parasite

[10/10 · 5 January 2021]

Parasite is, without a doubt, the most talked-about movie of 2020. It's also the highest-rated film on Letterboxd. Indeed, no matter the source, I had only heard great things about it and to say that my expectations were high, would be an understatement.

Thankfully though, despite the popularity of Parasite, I had no idea what it was about. I knew, of course, that it was about the divide between the rich and the poor. However, as far as the plot or any significant moments went, I was clueless. As such, I want to start by talking about how unpredictable this film is and how drastically it changes tone when it needs to. While there seems to be significance in every moment and every shot, there were four moments that particularly stood out to me, or should I say four periods. The first, and most obvious one, is the beginning. Those moments where we get to know Kim Ki-taek and his family. Those early moments of happiness despite struggle and despair. A family that, if nothing else, had each other. Those early moments were filled with a sense of longingness and intimacy, simplicity and even to a certain extent, hope. The first tonal shift, and the beginning and what I would consider the second period, comes as Ki-woo, the son of the family, gets a job tutoring the daughter of rich parents. What follows is a period of deceit and urgency. Those previous tones are forgotten as they lay a path for a fast-paced, comedic period that promises a better life, despite the dangers associated. As the family starts to settle into their new roles, and as their lives start to change, the sense of despair turns into one of greed and ruthlessness. While the first and second period were often humorous and light-hearted, the two last ones are the opposite. The second shift in tone and the start of the third period comes as the family learns of a hidden truth inside the house they now inhabit without permission. This is perhaps the most significant shift in tone, as it not only introduces a certain level of violence, but it also blurs the line between good and evil even further. It's also the first time where, despite how Kim Ki-taek and his family hope to see themselves, they have become what they once despised. They have turned from those looked down upon, to those who look others down. With this change in roles and tone, the film increases in tension and leaves a sense of uncertainty in the air. A sense that won't go away until the fourth, and final, period. Indeed, the third, and arguably final shift in tone, comes as the family find their own home destroyed by a downpour of rain. It is after these events that Kim Ki-taek and Ki-woo, especially, turn into different people. They find themselves looking back at who they once were before they got a taste of 'the better' life. Attitudes change back to what they once were, and the actions fuelled by these attitudes are ones of despair and hate, hopelessness and spite.

Now, as I mentioned, it could be argued that there is one final shift in tone at the very end. And indeed, it might be the most interesting one. Every action prior to this point was fuelled by self-interest and a sense of right to something, that others possess. However, as Ki-woo tries to find stability in his and his family's life, the actions, while still driven by self-interest, do not attempt to benefit from others. It is perhaps the most significant change in the entire film, which mind you is full of changes in the first place. It's a change that pits all the preconceived ideas against one another. No longer do the poor feel unjustly abandoned and the sense of hope that was apparent in the beginning returns. Despite everything that has happened, it's that hope that shines the brightest and leads to a promise of a better life. The reason why I feel that those final moments are so significant is that the whole movie, prior, has spent its time creating a chasm between those well-off and those not. However, as it progresses, and ultimately reaches its conclusion, that chasm has diminished and blurred into one that can barely be seen. And indeed, by the final shot, it seems to have disappeared completely.

While the divide between income classes is central to Parasite, there is an endless number of other such divides. Another central theme, and one that plays throughout, is the goodness of people. At no point is there any clear indication about who is good and who is bad. And interestingly, despite their claim to be bad and unkind people, it's Kim Ki-taek's family who is, at first, the group that you root for. However, as the story moves forward, and the lure of money turns into greed, it becomes clear that it might indeed be the rich family that we should be rooting for. And by the time the film ends, it's impossible to define what is good and bad, anymore. No one, despite their background and wealth, is just good or just bad. But alas, as much as I would like to delve deeper and deeper into all the various examinations of human nature, there are so many to dissect that it would take me hours upon hours and days upon days to do so. Even on a first watch, there seemed to be so many layers to explore and unpack that, quite frankly, I'm a little overwhelmed. As such, it's no wonder Parasite is so incredibly highly regarded. It's not the type of film that many will consider their favourite, but there is no doubt about its excellence and perfection.

Parasite is, without a doubt, one of the most special movie experiences I have ever had. It's a masterclass in filmmaking, but it's also so much more. Rarely can any film so honestly examine and depict human nature, let alone make it into a film that, while often heavy, is enjoyable. While it will never be something that I will consider a favourite, it more than deserves the praise it has garnered, and quite frankly, I can't wait to watch it again to see just how much I missed the first time.

Valerian and the City of a Thousand Planets (2017)

Valerian and the City of a Thousand Planets

[4/10 · 2 January 2021]

Valerian and the City of a Thousand Planets is a grandiose sci-fi extravaganza that unfortunately relies too heavily on the world-building at the cost of everything else. While the world is nothing short of stunning, everything else feels uninspired and familiar, resulting in a product that is, at times, tremendously entertaining but boring otherwise.

I was actually quite excited to watch this. Valerian is one of those movies that I remember coming to the cinema and being excited to watch it, but I just never did. Also, it's one that I had wanted to see for a couple of years now, but for some reason, I never did. It seemed like it would've been right up my alley. Indeed, with its stunning world filled with interesting creatures and imaginative environments, it should've been a home run for someone like me who often values visuals above all else. However, despite Valerian being visually brilliant, I was unable to enjoy the final product because it felt awfully familiar and uninspired. But focusing on the good parts, for the time being, I do have to give credit where credit is due. The world in Valerian blew me away. The first and most obvious thing is the way it looks. And let me tell you, it looks fantastic. While there is, of course, quite a lot of CGI, it looks great throughout. But the most satisfying thing about the world was getting to explore it. There seems to have been an endless stream of ideas, both creature and environment wise, in this film, and it's clear that no idea was too crazy to include. That gives the world a wonderful sense of adventure and discovery. Behind every corner, there is something new and exciting. And amazingly, despite its lengthy run-time, there is always something there to be discovered. I wish that this film had spent more time just exploring the world, as it gave me the sense that there was so much more to see. Perhaps there were plans for a sequel at some point and, thus, there was a limit on how much of the world was shown, but now that it's seemingly obvious that there will never be a part 2, I'm left hoping for another glance into the world of Valerian.

Having said that, I don't want to give the impression that this was a good movie. And the story is where things start to unravel. It follows two space agents as they try to complete their mission but are thrown into something much bigger than themselves. Valerian (Dane DeHaan) and Laureline (Cara Delevingne) end up on a journey of both discovery and self-discovery as they must face the consequences of past human behaviour. As they slowly uncover a web of lies and do their best to bring justice to a people brought to the brink of extinction, they come across a plethora of challenges and obstacles only possible in a world, like the one in Valerian. It's a typical space opera story, and it mostly checks all the boxes. However, it's not the so much the story itself that is the problem, as it is the way it's told. Indeed, the film starts great. The first 30 or so minutes are fun and entertaining and action-packed to the brim, and they promise a film that is both stunning to look at and fun to watch. Unfortunately, however, that's where most of the fun stops. What follows is a spectacularly unimpactful rest of a movie. Valerian never reaches that same excitement again and the longer it goes, the longer the list of questionable choices becomes. I, for one, didn't need an overly long sequence of Rihanna performing a strip show in an ensemble of various outfits, only to be revealed to be a crucial character for the story. And while that is perhaps the most extreme example, there are plenty of other choices that undermine the impact and enjoyment that the story provides.

While I wasn't a huge fan of the story, I don't think that it is the biggest problem Valerian faces. For a film that is supposed to be a space opera at its core, Valerian is surprisingly dull. As mentioned, the first half an hour or so is tremendously entertaining and fast-paced, and while I appreciated a bit of a breather after all the action, I felt like the breather never ended. The action becomes much less intense and exciting and most of the time is filled with writing, that is as good as you would expect. The focus takes a dramatic shift towards the story, and as was already established, the story isn't that great either. While the surroundings kept impressing me, everything else was a huge let-down. And as a result, Valerian felt way longer than it should've. As far as I can tell, the reason for all this is that the film never made me care. There is a ton of stuff going on, one thing being an awkward love story between the two main characters, but none of it made me care about the story or the characters. And as is often the case, if I don't care about what is going on, it's hard to fall into the world that the movie is trying to sell me.

The overall feeling that Valerian and the City of a Thousand Planets gave me was one of disappointment. There is so much going right at first that I honestly had a hard time believing where the film was by the time it ended. It has one of the best sci-fi worlds I have ever seen, but unfortunately, that is about the only good thing it has going for it. Everything else is a dull, uninspired mess, that lacked any impact, and ultimately left me hoping for more.

Fast & Furious Presents: Hobbs & Shaw (2019)

Fast & Furious Presents: Hobbs & Shaw

[6/10 · 1 January 2021]

Fast & Furious Presents: Hobbs & Shaw is the first of, what I'm sure to be many, Fast & Furious spin-offs. It pairs Luke Hobbs and Deckard Shaw, the comedic duo of the past films, on a mission to save the world from an apocalyptic virus. While it is surprisingly dull considering the pairing of the two main characters, the action is spectacularly over-the-top and entertaining, which ultimately, is enough to save the film.

While most of the comments I had heard about Hobbs & Shaw were mediocre at best, I was still excited to see it as a fan of the Fast & Furious franchise, and as a fan of the Hobbs and Shaw pairing. However, the biggest problem, which I would've never predicted, becomes evident quite quickly. While I assumed that the story would be ridiculous, the acting non-existent, and the writing cheesy, I would've never assumed that one of the worst parts about this film would be Hobbs and Shaw together. The pairing of Johnson and Statham, the actors portraying Hobbs & Shaw, respectively, often felt like a breath of fresh air, in the Fast & Furious saga. And I can't help but wonder if it was, indeed, the novelty of it, that kept it so entertaining. The comedy that the duo provides, as well as the constant back-and-forth bickering, was, without a doubt, the selling point here. Unfortunately, for its sake, the dialogue and interaction between Hobbs & Shaw start to feel quite old, quite quickly.

The story then, which is spectacularly over-the-top, feels overly complicated for the film that Hobbs & Shaw is. As mentioned, it follows Hobbs & Shaw as they attempt to stop an evil technology worshipping cabal from getting their hands on a world-ending virus. On their journey, they face, what is, as described by the villain himself, a 'Black Superman', and his henchmen. Ultimately, as is often the case with these films, the good guys come out on top, at least for the time being. Now, while this story doesn't sound particularly complicated being described as I did, it does, however, feel unnecessarily complicated for what Hobbs & Shaw set out to achieve. The main focus, and pretty much the only focus, is on the good guys kicking the bad guys' asses. That part is done very well and provides most of the entertainment. As such, I'm a little baffled by the need for such a convoluted story. I'm not saying that there is anything wrong with the story itself, not that I'm saying that it's exactly a masterpiece either, but it just didn't feel right in this particular film. This franchise, as became evident particularly with the eighth film, is headed for a surprisingly futuristic direction, which is further supported by the direction of Hobbs & Shaw. This is, by far, the most sci-fi-esque of the series and feels, at times, a little too over-the-top.

The saving grace, however, is the always entertaining action. While it is quite monotonous and stops offering anything new after the first hour or so, it's hard not to have a blast watching Johnson and Statham do their worst. And although their pairing turned out to be rather disappointing comedically, action-wise, it works marvellously. While I might've not enjoyed the superhero-like villain, thanks to his otherworldly strengths, he ends up being quite the challenge for Hobbs & Shaw, and certainly provides interesting and quite imaginative fight scenes. There are, of course, plenty of impossibilities here. For example, should normal humans survive a 100-meter drop inside a car onto rocks? Definitely not, but that's the kind of thing that makes these films fun. While the later additions into the franchise have been quite daring with the situations that the characters end up in, and ultimately survive, Hobbs & Shaw is, by far, the most daring. The non-spin-off Fast & Furious films have tried to keep some sense of truthfulness in them, but this one throws it all out the window. This story in and of itself is so far out there that the expectations for things to come are set out early, and Hobbs & Shaw doesn't disappoint with what it throws at you.

Ultimately, this film, like others in the franchise, is mindless fun. Its sole purpose is to entertain while moving the overarching story ever-so-slowly forward. While Hobbs & Shaw is a spin-off from the main story, it often still relies on the things that we have learned from the story it spun-off of. The pairing, which is meant to be a funny one, often fails at that. However, with epic turn-your-brain-off action, it manages to be the entertaining and enjoyable action-flick it set out to be.

Fargo (1996)

Fargo

[9/10 · 30 December 2020]

Fargo is one of those films that I have always known about and heard nothing but great things of. Yet, for some inexplicable reason, I had never seen it, until now, of course. What's more, the two other Coen films that I have seen, No Country for Old Men and The Big Lebowski, were both fantastic. So, while I'm a little mad that it took me this long to get around to Fargo, I'm glad that I've finally seen it.

Interestingly, despite its critical acclaim and popularity, I had no idea what this film was about. And I'm glad that that was the case. I believe that Fargo benefits greatly, from being experienced without any prior knowledge. It gives the film a chance to create the narrative and expectations, which turns out to be quite important considering how simple it ultimately is. And while the story and the characters are relatively simple, it's that simplicity, I believe, that makes this film as fantastic as it is. It gives the chance to really focus on the characters and their personalities and what drives them. Because at the end of the day, this film is all about the characters. They make Fargo enjoyable and entertaining and easy to fall in to. The main characters, which there aren't many of, are all distinctly different, but together, they end up creating such a complete and perfect end product, that it's hard not to enjoy it.

The story is certainly another highpoint, not that there are really any low points. It follows Jerry, a car salesman, who is under a debt burden. To get out of the pinch, he devises a plan to have his wife kidnapped, and for his father-in-law to pay the ransom. However, as the plan starts going sideways and bodies start dropping, Marge, the head of police, is called in. As Jerry and the bad guys start feeling the heat, it's clear that the plan will never work, and they must all hope to getaway. The story ends up sounding far more complicated than it is when written out. Indeed, when watching the final product, it's especially the story that amazed me with its simplicity. But there is also a certain simplicity associated with the characters. All of them tend to follow a clear personality type, be it jumpy and uncertain, short-tempered and assertive, or calm and trusting. And apart from Marge, none of the characters goes through a phase of self-discovery or change. From the very first scene of each character, it's easy to understand who they are. And as the movie progresses, it's easy to predict how they are going to act. While that may, at first, sound like a bad thing, in the case of Fargo, it becomes the opposite. To keep the story concise and enjoyable, there needs to be a certain degree of predictability, and Fargo captures that balance perfectly.

Although I have already discussed the characters, there is one that I have yet to touch upon. That character, who is omnipresent throughout, is, of course, the dialogue and the accents it is delivered with. A lot of the novelty, as well as the fun, comes from the way conversations flow, as well as the mannerisms and sayings that the characters have. There is this certain friendliness, even in the most uncomfortable and frustrating conversations which gives the film an almost surreal feel. And although Fargo deals with some familiar themes and topics, thanks to its dialogue and environment it feels oddly otherworldly. It's something that I can't really explain, and I'm not even sure that those who have seen it would all agree, but the whole film felt close, yet simultaneously distant, which certainly added a lot to the overall feel.

Having now finally seen Fargo, I'm tremendously happy that I did so. It most certainly lives up to all the praise it has received, and is, without a doubt, one of the most perfect films ever created. While it might not be a personal favourite, nor one that I look forward to revisiting as soon as I get the chance, what it is, is a tremendously enjoyable and entertaining experience.

Nocturnal Animals (2016)

Nocturnal Animals

[7/10 · 27 December 2020]

Nocturnal Animals is a stylistic thriller that tries to woo its audience with a story deeper than first meets the eye. While the styling, at times, feels a little overdone, the result is a film that, if nothing else, looks stunning. Thankfully, there is a lot to like in addition to the visuals.

Now, while there is a lot to like in Nocturnal Animals, it is also filled with questionable choices. As such, it has been hard to decide how I feel about it. One of its strengths, certainly, is the way it looks. With plenty of long and meandering shots that all look great, the film manages to pull off an almost calming feel, despite its story. Indeed, a lot of the film tends to veer towards style over substance, and at times, it leads to an unfulfilling and anticlimactic feel. However, even with its flaws, the story is quite engaging. And it's not the story itself that is the problem, it's primarily the way it's told. The big thing in Nocturnal Animals, and what it does to set itself apart, is creating two separate stories that intertwine. However, while it is a great concept, the problem here is that the two stories don't really add anything to one another. They are two different tales, happening at seemingly two different times, to two different groups of people. While it is clear that each story is supposed to add weight to the other, the resulting product caused me to lose interest in both.

The story, which after given some thought, is certainly deeper than first meets the eye, never quite has the impact it clearly attempts to reach. It follows Susan, an artist who is in an unhappy marriage, as she receives a book draft from an ex-husband. As she delves into the book, we get to witness the characters and story of it through what is essentially a movie in a movie. The book follows Tony, who loses his wife and daughter to an atrocious act of violence. As he goes on a quest for revenge, it becomes clearer and clearer that both stories parallel each other in more than one way. And as Susan falls in love with Edward, his ex-husband, again, he ends up getting the revenge that he was looking for after their relationship ended. The summary I wrote, doesn't even begin to accurately portray the story, with all its subtleties, and parallelisms. While the story in the book is a fairly simple revenge thriller, and the story taking place outside the book an even simpler story of lost love, the way the combine as one in creating the overarching story that is Nocturnal Animals, is quite interesting. If you were to watch this movie without giving it your full attention, I'd guess that it would be very unimpactful. However, once you get into it, and really pay attention to everything that is happening, the subtle hints and nods from the book's story into the history between Susan and Edward, make for a surprisingly good experience.

However, while the two stories create an intricate and exciting web that the viewer has to navigate through to find any depth in the film, I ended up feeling dissatisfied. I found myself constantly looking for a deeper connection between the two stories, and unfortunately, I never found it. On the surface, Nocturnal Animals feels rudimentary, and unless you are willing to spend time thinking about it, it will say that way. And unless I knew that I was going to write a review about it, I doubt that I would've spent any time thinking about what I saw. Although I have recently learned to love movies that force me to think about them to find a deeper and more meaningful message, the film has to be intriguing enough, even at its most surface level, to make me spend the time. Nocturnal Animals, unfortunately, never quite reaches the level of excitement and interest that would've made me eager to spend more time with it.

All in all, though, Nocturnal Animals is an intense thriller that offers new ideas and gorgeous visuals, despite feeling overly stylized at times. I was pleasantly surprised by the chances it took, and if nothing else, this film can never be described as safe. While it doesn't quite hit the nail on the head with its execution, the final product is intriguing and exciting enough to make for a good and thought-provoking film that kept me engaged from start to finish.

Aquaman (2018)

Aquaman

[7/10 · 26 December 2020]

Aquaman is another character introduction film in the DCEU. Like the other films in the series, it's long, action-packed, and often a little too cheesy. However, it's also tremendously entertaining.

Indeed, I've had a surprisingly hard time deciding how much I like this film. While on the one hand, it has great visuals, fun action, and it's wonderfully entertaining. On the other hand, it has fairly poor CGI, cheesy and stupid lines, and pacing that, for the most part, feels odd. However, at the end of the day, movies like Aquaman are meant to be entertaining. And being completely honest, I had a great time with it. By the time it ended, I was cheering for Aquaman, just like I'm sure many others did. And it's that sensation that these films strive for. And if they achieve it, they tend to be quite good. The best example of this, and one that will most likely never be topped, is the Avengers Assemble moment in Endgame. It's a moment of triumph and joy, and no matter how much one might dislike superhero movies, it's hard to dislike a moment like that. And so when I see a new superhero movie for the first time, I always look for that moment of triumph where I can cheer for the hero. If that moment exists, and everything else isn't complete garbage, I really have no reason to dislike the film.

The story is what bothered me the most about Aquaman. It follows Aquaman as he starts coming to terms with who he is. He learns that his half brother is planning an invasion from Atlantis to the surface, intending to teach us 'surface-dwelling' humans our place. However, Aquaman, who has lived his whole life on land, has grown quite fond of his home and wants to protect it from the impending invasion. To do so, however, he must claim his rightful place as the king of Atlantis, even though he never wanted to do so. It's as much of an origin story as an origin story can be. Along the journey, we learn about his past, his powers, and his true destiny. Since it is an origin story, there isn't much to say about it. However, there is a lot to say about the way it was done. You see, stories like this should be simple. They should focus on the character being introduced, and that's it. However, Aquaman doesn't do just that. Not only does it introduce the character of Aquaman, but it also attempts to introduce others, like Black Manta. While I'm sure that it seemed like a good choice, as my understanding is that he is a bit of a fan favourite, the resulting product was needlessly complicated. It added extra to an already long runtime, and it added a plotline that had nothing to do with the actual story being told.

Indeed, Black Manta is one of the most useless characters in the whole film. And one of the reasons why it was so difficult to decide how I felt about it. While I'm sure that the character is interesting and even powerful in the comics, the way he is treated in Aquaman, makes him seem weak and pointless. You'd think that a war between worlds would be enough of a threat and plot for a film like this, but alas, it wasn't. However, it's not just the character of Black Manta that bothered me. One of the most striking things was the surprisingly poor CGI. Especially in scenes with close-up action, or just close-up shots of people underwater, it felt cheap and looked weird. I understand that a big part of the movie taking place underwater adds its own challenges, but in a movie like Aquaman, that relies on looking good, I was expecting to see top-notch CGI. And, certainly, some moments look absolutely stunning. Shots that pan around the city of Atlantis, especially, look great. In fact, every time the CGI isn't up close to the camera, it looks fantastic.

But, despite all my complaints, I had a great time with Aquaman, and it's certainly of the better films in the DCEU. While the ending, which really is the highlight of the film, comes quickly and out of the blue, it still delivers a satisfying and triumphant conclusion. And while there are elements that shouldn't be there, the focus always remains of Aquaman and his story, amounting to what is fun and entertaining superhero film. Just what it was meant to be.

Soul (2020)

Soul

[10/10 · 26 December 2020]

Soul is stunningly beautiful and heartwarming animation from Pixar. It captured me from the very first moment and didn't let go until the credits started rolling. And above all else, it made me appreciate life just a little bit more, especially in the middle of this crazy year that we have all been living in.

If anyone ever asks what my favourite film studio is, I'd have to answer Pixar. I don't think that they have ever made a bad film, and I absolutely adore most of them. Be it the more entertaining and adventurous ones, like Toy Story and Onward, or the slower and more touching ones, like Inside Out and Soul. No matter what the films are like, the thing that always makes me like them is how easy it is to relate to the characters. While it may seem outlandish to relate to a toy in the case of Toy Story, or a car in the case of Cars, the characters, whatever they may be, always feel close to home. However, I don't think that any Pixar film has ever felt quite as close to home as Soul did. The way it deals with a sense of never being enough or amounting to anything meaningful was not only touching but easy to connect with. And, while it might be easy to portray these emotions, it's not easy to portray them in a way that is both meaningful and engaging. Yet, Soul seems to have done it perfectly.

The story centres around Joe, a middle-school music teacher who has dreamed of playing the piano at jazz clubs ever since his dad introduced him to the genre. However, as soon as he lands his dream gig, he gets into an accident and finds himself in a world between life and death. As he tries to get his soul back to his body on Earth, he meets 22, a soul that has been drifting around for centuries looking for purpose. As Joe and 22 embark on the journey to return Joe's soul to his body, they both learn a lot about purpose and meaning, and ultimately, end up with a very different view of their lives and the world, than what they started with. While it might sound like a fairly simple story on paper, the final product is surprisingly complicated. I'd even say a little needlessly complicated for the message and emotion that it tries to convey. While I could've gone without some of the fantasy elements, they certainly add a lot of excitement for kids. And although it might seem and feel similar to Inside Out, it's unique in its own way, while still capturing all the heartwrenching emotion, as well as moments of beauty.

However, no matter how great the story might've been, or how relatable the characters, the reason I loved Soul as much as I did, was because of its beauty. I can't remember the last time I have seen a film as beautiful as Soul. And I'm not just talking about the way it looks. Every moment and every scene, every interaction and every bit of conversation, is filled with beauty and meaning. Certainly, the visuals and atmosphere are gorgeous as well. Indeed, the one thing that I noticed, throughout, was this pleasantly warm hue that had a wonderfully calming effect on me. It made it stupendously easy to let myself fall into the meaningful and music-filled world of Soul. And quite frankly, by the time it ended, I wasn't ready to come back to the real world. Another thing that keeps on astonishing me is the depth that Pixar's films have. As a kid, I never realized how deep and meaningful the themes and idea are. Soul doesn't just make you ponder about what brings you meaning and happiness, it also makes you realize that it might not be what you have always thought it is. It certainly made me pause and reflect on the things that I give value, and I'm sure it will keep me doing it for the coming days.

When 2020 began, I would've never guessed that my favourite film of the year would be about a middle-school music teacher trying to find his way back to his body from the soul world. But then again, this year has been filled with things that I never could've seen coming. And in a year like this, it's the little things that matter. And for me, Soul was a tiny moment of beauty that allowed me to escape everything else, and come out appreciating my life just a little bit more. It gave me peace and a chance to let go, and that's exactly what I needed it to do.