chasemykleby Reviews

Ford v Ferrari (2019)

Ford v Ferrari makes for a somewhat entertaining spin on the traditional sports biography.

[7/10 · 30 November 2019]

"Ford V Ferrari" Review (7.5/10)

Between its thrilling racing sequences and underlying commentary, Ford v Ferrari makes for a somewhat entertaining spin on the traditional sports biography. On paper, a movie about the Ford company's efforts to defeat its rival Ferrari at the 1966 24 Hours of Le Mans probably only sounds interesting to either racing enthusiasts and/or anyone who actually knows what a 24 Hours of Le Mans even is. Thankfully, the final film, Ford v Ferrari transcends its biographical trappings to deliver an enjoyable viewing experience for gearheads and race-car novices alike. And with director James Mangold calling the shots, the biopic is mostly successful in getting at the heart of what makes this story interesting - namely, the struggle between commercialism and creative integrity. At its core, the Ford v Ferrari script credited to Jason Keller and Jez and John-Henry Butterworth is part American corporate myth and part real-life story about a ragtag group of artists in their profession who're trying to stay true to their vision while working for a company that's far more concerned about public image and selling their products to the masses. Of the two, the latter element is more compelling than the former and gives the film a beating heart, even when it's all too apparent where the story is going next. Ford v Ferrari knows what matters most are the people who come along for the journey. In this case, Damon and Bale have excellent chemistry as Shelby and Miles, and their dynamic gives the film much of its flavor, whether they're bonding over their shared passion for racing or coming to blows in what's typically a very funny fashion. Their personalities are well-complimented by those of Ford's business suits, with Letts and Bernthal doing excellent work as always and Josh Lucas bringing on the smarm as the Ford executive Leo Beebe (who proves to be the biggest thorn in Shelby and Miles' side). The race-car sequences and recreation of the 1966 24 Hours of Le Mans are the primary attractions as much as anything else here, and Ford v Ferrari very much delivers the goods in this regard. Mangold and his DP Phedon Papamichael shoot these scenes with a steady hand, allowing viewers to actually see everything that's happening while still experiencing the sheer exhilaration that comes with being a body that's "moving through space and time". Trouble is, it's all so very predictable. Miles loses his seat, but you don't think for a second that he won't win it back. Miles is losing the race, but you don't for a second think he won't pull it back. What these men achieved, in such a short space of time, was nothing short of miraculous. But that doesn't necessarily translate into an engaging story, and for much of its punishing run-time, Ford v Ferrari fails to get out of third gear. Like a race car without an engine, Ford v Ferrari looks good on the surface, but fails to motor for its 150-minutes. There's fun to be had watching the Ford executives clash, and the driving scenes are shot with real artistry and skill, but they're interspersed with scenes of true inertia. So while Le Mans might be the most exciting race on the planet, a film about that race is a very different proposition, with Ford v Ferrari lacking urgency and thrills, and instead simply chugging along in underwhelming fashion.

Knives Out (2019)

Knives Out is a wickedly fun masterpiece.

[9/10 · 28 November 2019]

"Knives Out" Review (9/10)

KNIVES OUT LEADS VIEWERS ON A THRILLING AND WICKEDLY FUN RIDE AS THE ENTIRE ENSEMBLE OFFERS BREATHTAKING PERFORMANCES IN THIS WHODUNNIT MYSTERY. Though Rian Johnson is now perhaps best known for having directed Star Wars: The Last Jedi, across all his films, Johnson incorporates story elements that subvert expectations, delivering twists viewers won't see coming. That's all to say, Knives Out fits perfectly within his wheelhouse as a modern murder mystery whodunnit thriller. Written, directed and produced by Johnson, the filmmaker also surrounds himself with an astonishingly talented ensemble cast, who execute his vision with masterful precision. Johnson's particular talent of keeping audiences on their toes is on full display with Knives Out, which follows a fairly standard formula for murder mystery movies - in that the viewers are shown little bits about the night of the murder as the mystery is slowly unraveled on screen. The filmmaker uses a deft hand in both setting up and pulling off the twists in Knives Out, laying the foundation for them long before viewers even see them coming. Astute audiences, especially those that revel in solving a murder mystery plot before the characters on screen, will pick up on the clues, but Johnson uses their expectations against them to keep even those viewers guessing. In a film with plenty of colorful characters, Craig's Blanc is an energetic scene-stealer, even as de Armas' Marta is presented more as the film's protagonist. The actress and her more understated performance work well to make Marta the most grounded character in Knives Out, contrasting well against the more campy, over-the-top members of the Thrombey family. Collette's Joni is another scene-stealer, dropping a surprising number of one-liners, as Curtis's Linda is a more imposing woman - though her performance is just as fun. Every aspect of Knives Out - from Johnson's directing and Craig's southern drawl to the satisfyingly chilling score and intricately detailed set design - comes together to form this lush, captivating murder mystery. Knives Out manages to combine the campy fun of Clue with a new and carefully crafted mystery, plus infuse some commentary about everything from detective stories to modern American politics, all while allowing Johnson's filmmaking voice to shine through. In the end, Knives Out is a wickedly fun masterpiece.

Jojo Rabbit (2019)

I absolutely love Hitler Waititi!

[9/10 · 9 November 2019]

"Jojo Rabbit" Review (9/10)

Jojo Rabbit aims to tackle the difficult subject matter blind devotion and a coming-of-age film with grace and comedic flair that just works, and I absolutely love Hitler Waititi. The coming-of-age story paired with the imaginary friend trope is as old as it comes but there are always different ways to approach it. In this case, director Taika Waititi decided the best way to address this is to go all the way to 11 and embrace it whole hog. Jojo's Adolf is the kind of happy and supportive imaginary friend we see all the time, the Hobbs to Jojo's Calvin, but the juxtaposition of it being Hitler is part of the shock value. It also gives us insight into what kind of little boy Jojo is. The point, ultimately, comes down to the fact that there isn't anything that remarkable about Jojo. He's exactly the right age and temperament to buy completely into the propaganda that Nazism was putting out at this point in the war. He's just a normal little kid except for the fact that he is convinced that all Jews are evil monsters that are trying to kill him. That changes when he meets Elsa (Thomasin McKenzie) a young Jewish girl that Jojo's protective mother Rosie (Scarlett Johansson) is trying to keep safe. Being so close to the perceived "enemy" is a bit of a wake-up call for Jojo and the reality of the world around him comes like a kick in the teeth. That aforementioned gut punch is one of the reasons that Jojo Rabbit works as well as it does. By the time the third act rolls around the movie isn't being subtle at all because there isn't any need to be. Jojo has had his wake up call and it's like the whole world around him shifts as his perspective of the world changes. The world has been collectively looking for ways to cope with the horrors of World War II since the moment the war ended and there have been a few people calling Waititi out for this approach. He is far from the first filmmaker to make Hitler look silly but what makes Jojo Rabbit so well is the human element. We aren't just seeing Hitler we're seeing Hitler through the eyes of a young boy who has complete faith in the institution he's involved in. Jojo Rabbit is one of those movies that is going to drive a lot of people away because of the concept alone. However, it's a wonderfully funny movie that keeps a good pace and never feels boring. The shift toward the end of the second act is a gut punch and it makes the end of the movie all the more powerful for it.

Parasite (2019)

Stinging topicality and gut-wrenching violence, it's explosive filmmaking on every level.

[10/10 · 6 November 2019]

"Parasite" Review (10/10)

Snowpiercer director Bong Joon-ho has made a South Korean social satire that's also a genre-bending Palme d'Or-winning thriller of class struggle. It's best to go into "Parasite," the Cannes Film Festival grand-prize winner by Korean filmmaker Bong Joon-ho, not knowing too much about what you're about to see; the better to let its sly power sneak up on you. A dark satire of the class divide in contemporary South Korea, it's the story of two families of four. You'll watch knowing you're in the hands of a master filmmaker; only wondering when it's over how certain effects were achieved (a sequence near the end is a wonder), and losing yourself in these characters: particularly the gentle, wide-eyed anxiety of Mrs. Park and the way that Ki-woo's father, a man who cheerfully recites his string of failed businesses, remains determined to somehow find a way to make his family prosperous again. The title metaphor becomes abundantly clear, is filled with vivid conversations that remind us how the Parks can't imagine (or don't care to imagine) how the other half lives. In one scene, they coolly discuss how poor people smell; like an old radish, says Mr. Park, or a rag that's been boiled. Ki-woo's family, however, seems to understand the rich all too well. What keeps you rapt in Parasite is the visual wit, every shot distills the movie's themes, and the richness of the characters and performances: Song's stricken expression as Kim Sr. is driven to murder by class resentment, Lee Jeong-eun's swift transformation from a calmly efficient housekeeper to a keening madwoman, and Choi's eloquent helplessness as his teenage protagonist watches this new world order gorily combust. At the heart of Parasite is the most gnawing evolutionary fear of all, the inability to protect one's family. Parents work to save their children but lose them, as children lose their parents and wives their husbands. The bonds are firm but can withstand only so much pressure before they fracture. Who are the real parasites? The poor who attach themselves to the rich or the rich who suck the marrow of the poor? The movie dissects the universal gap between the haves and the have-nots with shocking wit, stinging topicality and gut-wrenching violence. It's explosive filmmaking on every level.

Terminator: Dark Fate (2019)

In this new direct sequel to T2, Skynet doesn't rise, but instead gets a name change.

[6/10 · 2 November 2019]

"Terminator Dark Fate" Review (6/10)

The Terminator franchise has always had a fundamental problem: past the hit film that kicked off the story, nothing that happened in the series really mattered. The timeline got complicated, screenwriters monkeyed with the story mechanics, directors brought new special effects into the battle to keep the action fresh. And yet every Terminator story basically assumed the same thing: that a sentient, murderous AI called Skynet would rise, design a series of powerful kill-bots called Terminators, largely wipe out the human race, then send Terminators back in time to kill off anyone who might have a prominent part in resisting the genocide. But in this new direct sequel to T2, Skynet doesn't rise, but instead gets a name change. Like Star Wars: The Force Awakens, Terminator Dark Fate revives the beloved old characters while introducing a new generation of characters to (it hopes) a new generation of fans. After a quick prologue set in 1998, the story jumps to Mexico City in 2020, and we meet the franchise's usual unholy trinity: one unwitting civilian who will eventually help humanity overthrow its robotic overlords; one Terminator sent back from the future to kill them; and one resistance agent sent back to protect them. Squeezing in two generations of characters, Terminator Dark Fate is nearly as overcrowded as The Force Awakens was, the upshot being that the plot is convoluted. It's hard to review this movie without giving away spoilers, but if you have seen the trailer or any terminator movie, you kinda know where the movie is going already. Linda Hamilton returns to her legendary character. In the interim, there have been stand-ins and a series of sequels that all in varying degrees disappointed; and the once beloved action franchise has become long in the tooth. This Tim Miller directed movie ignores the franchise's multiple past continuities in the aim of crowning itself as the originals' lone worthy heir... It's still not even in the same sport, much less ballpark, as those movies, but it's the closest we've come. Directed by Miller with more intensity than any of the other non-Cameron sequels, the action is blunt and often brutal, even as it relies too heavily on CGI (though the Rev 9's liquid skin separating from its metal endoskeleton is a neat all-in-one villain effect). Still, it's the cast who salvages the first half of the movie, which leans on the same story beats of the original to a fault. But what truly makes Dark Fate's case is of course Sarah. Hamilton still simmers with a quiet, constant outrage about the life she's been handed, as well as a vivid capacity for dishing out that same sorrow to her metal foes. The script can lean too heavily in places on supplying her with one-liners and four-letter quotables, but as the movie progresses, it adds extra dimension to Sarah's bitterness from T2. Dark Fate certainly sets up for another sequel, but this vein feels pretty tapped out. I'm not sure Dark Fate has really rebooted its franchise, and it definitely doesn't offer an ending better than Cameron's final minutes in T2. Nonetheless, it's a steady actioner that pays appropriate tribute to the past.

Zombieland: Double Tap (2019)

Just as great as the first Zombieland.

[8/10 · 19 October 2019]

"Zombieland Double Tap" Review (8/10)

Making a sequel to a hit movie is hard enough. Making a sequel to a movie that went on to be considered something of a cult classic is even harder. Fortunately, for those of you who only want to know whether Zombieland: Double Tap is as good as the first, the answer is, just as great as the first Zombieland. While it has been a long wait to reunite with Columbus, Tallahassee, Wichita, and Little Rock, the time is right, and the results are wildly satisfying, picking up 10 years after the first film. Once again, the original cast works together flawlessly, and the schtick and chemistry are no less engaging or entertaining. Every single one of them nails it, but snarky Stone is a particular delight. That said, Zombieland: Double Tap belongs to newcomer Zoey Deutch. Her performance as Madison is absolute comedy gold and uniquely her. It is worth the price of admission on its own. How she makes a character that should be insanely annoying so utterly irresistible is genius. Recapturing, replicating, and improving on everything the original movie brought to the table was never going to be easy. However, director Ruben Fleischer and the film's writers have succeeded where others have failed with sequels to great original movies. Zombieland: Double Tap is a more than worthy sequel and companion piece to the original movie. It licks along at a brisk pace, which ensures that it is tight, lean, and the laughs and thrills come thick and fast. Zombieland: Double Tap is two hours of occasionally gruesome diversion that didn't force me to think too hard, with a lot of callbacks to a film, and a time, that I kind of miss. (If you decide to go see it, stick around for a mid-credits sequence that evokes one of the original film's most famous moments.)

Joker (I) (2019)

Todd Phillips and Joaquin Phoenix have not just reimagined one of the most iconic villains in cinema history, but reimagined the comic book movie itself.

[9/10 · 5 October 2019]

"Joker" Review (9.5/10)

I was close to giving this movie a ten out of ten, but then I thought to myself is it wrong for me to think that Joker is brilliant and unsettling all in one? Todd Phillips and Joaquin Phoenix have not just reimagined one of the most iconic villains in cinema history, but reimagined the comic book movie itself. "I just don't want to feel so bad anymore," whispers Arthur, who's also on seven different types of medication and has been in the system for most of his life. A system that now has no resources or time for him. A desperate whisper that you know won't be heard by anyone. That simply signifies the beginning of both a descent and his path to becoming the Joker. This is ultimately what Joker is: an origin story. One that touches only ever so lightly on what has come before in the DC Universe. This could, particularly in the current climate, be viewed as a lament for outsiders and the ignored. That's too simple and Joker does anything but deliver you easy answers. It's a sad, chaotic, slow-burn study of someone who isn't visible; who doesn't even exist to the world around them. But your empathy, sympathy even, isn't guaranteed, and it begins to dissolve as Arthur somehow moves even further to the edges. This is, we mustn't forget, the story of how a villain was made. As Arthur/Joker, Joaquin Phoenix is astonishing. Phillips has said he had a picture of the actor above his screen when writing the script and it's a belief that has paid off. Phoenix inhabits Arthur: having lost weight for the role, he looks thin, frail, hungry. Shadows carve out his exposed bones. His physicality is precise, the way he moves, shuffles, runs, sits, smokes, shrinks. His usual intensity is on full display and it's captivating, even overwhelming in moments. While this is Phoenix's film, Frances Conroy is quietly devastating as Arthur's mother Penny, and Zazie Beetz, as neighbour Sophie Dumond, while arguably underused, brings vital humanity to her scenes with Arthur. The most talked-about piece of casting was obviously Robert De Niro as late-night TV host Murray Franklin. Mention must be made of Joker's cello score by Hildur Guðnadóttir: mournful, dark and fractured, and the cinematography by Lawrence Sher. In his hands, Gotham is alive as a flawed, brutal, broken-hearted character in its own right. Joker isn't just an awesome comic book movie, it's an awesome movie, period. It offers no easy answers to the unsettling questions it raises about a cruel society in decline. Joaquin Phoenix's fully committed performance and Todd Phillips' masterful albeit loose reinvention of the DC source material make Joker a film that should leave comic book fans and non-fans alike disturbed and moved in all the right ways.

Brittany Runs a Marathon (2019)

Brittany Runs A Marathon is A fun ride, spiked with touching gravity, is not a shabby way to end the movie summer.

[9/10 · 25 September 2019]

"Brittany Runs A Marathon" Review (9/10)

Brittany Runs A Marathon is A fun ride, spiked with touching gravity, is not a shabby way to end the movie summer. Thanks to Jillian Bell, a comic force of nature with real dramatic chops, that's what you get in Brittany Runs a Marathon. Debut director Paul Downs Colaizzo, an acclaimed playwright who based the film on the experiences of his own best friend, doesn't build his sharply witty script for easy sitcom miracles that tie everything up in a neat Hollywood bow. For Brittany, and anyone who lives in the real world, self-improvement is all baby steps, and the same goes for the movie, which refuses to leave Brittany's demons unexplored. It's the backsliding that gets to the roots of her self-loathing. Bell and Colaizzo do it the hard way, creating a character to root for without glib shortcuts. When you cheer at the end, and you will, the laughs and the tears feel honest and richly earned. Yes, Brittany Runs a Marathon gets a little earnest at times, stopping just short of self-righteousness. But Bell is always there to pull us back. She is pure gold. The movie thrives in its detours. Brittany's self-doubt and full-on destructive self-loathing makes it a pretty harsh experience. For a while Bell and her character find themselves intriguingly at odds with their movie's inevitable running path. As Brittany's stock improves in the prying, judgy eyes of the world around her, she's stuck with a load of defense mechanisms and the rote psychological impulse to push people away, and treat every act of kindness as pity. Brittany Runs a Marathon might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it's about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we're all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.

Good Boys (2019)

Good Boys manages to balance hard-R comedy, with a heartfelt coming of age story.

[9/10 · 16 August 2019]

"Good Boys" Review (9/10)

It's no surprise that Universal's raunchy coming-of-age comedy feels like an aged-down Superbad, considering it counts Seth Rogen and Evan Goldberg among its producers - and the main difference between the two films comes down to the youth and naïveté of its protagonists. Much of the movie's comedy comes from the kids' adorable ignorance about the realities of adult relationships - which isn't particularly original, but ends up landing surprisingly well thanks to the talents of its precocious young stars. And as the boys find themselves in increasingly insane scenarios, writer-director Gene Stupnitsky, keeps a firm grasp on the pacing as the action escalates, managing to tie the whole thing together in a satisfying 90-minute runtime that never outstays its welcome. Good Boys never comes across as preachy or trying to appear too "woke," it just seems like a natural evolution of a comedic genre that hasn't always aged well - one that isn't content to go for the low-hanging fruit when something more subversive is more likely to earn a laugh. Despite some repetitive jokes and an over-reliance on putting its oblivious heroes in icky or dangerous situations, Good Boys more than lives up to its name. Good Boys manages to balance hard-R comedy, with a heartfelt coming of age story, even with all the bad stuff they are doing, the film never loses sight of the fact that these are really nice boys.

The Lion King (2019)

The film pushes celebrity faces rather than good storytelling.

[5/10 · 24 July 2019]

"The Lion King (2019)" Review (5/10)

It seems the Circle of Life nowadays is being a grown man watching a Disney reboot of a beloved animated film from childhood. We've had three of those this summer alone, and the latest - a remake of one of their greatest - The Lion King is aggressively mediocre in every department except for the visuals. Jon Favreau's aggressively mediocre retelling lacks heart and nuance. The story remains the same, but if you're only interested in gawping at the visual boundaries a film could push The Lion King will blow your mind because there is absolutely no way to tell where the 'live action' ends and the CGI animation begins. Everything, from a blade of grass to the eyeballs and fur of the lions is 100 percent photorealistic. Director Jon Favreau employs the same hyper realism technique he did in the terrific The Jungle Book, but the results here are far less effective. Making this film hyper real looking exposes two vital downsides of the original - that it has a simplistic story, and cliché and cringey. The original was such a classic because it hid those downsides with beautiful, colourful animation, sympathetic, emotionally charged faces on the animals, and an extraordinary soundtrack by Hans Zimmer and Elton John to tug at your heartstrings during the emotionally heavy moments. Favreau removes these very elements in the remake, making this a drab looking film bereft of colour, with the animals having no emotional core, and adds atrocious remixes of the classic songs. Things 'happen' in this film - but they don't carry much weight. Simba's journey is supposed to be transformational and heroic, but the transitions are too quick and lack energy. The message is very much there - that a man shielded by privilege needs to step out and live with the commoners to gain a better perspective on life, and this remake had a golden opportunity to dig deeper into these themes, but the script by Jeff Nathanson makes no such effort. The final fight isn't as exciting and emotional as the original, and the same goes for Mufasa's death. Disney has retooled some of its classic stories to make them more progressive and nuanced, but we don't see that in this Lion King. The comic relief comes predictably from Timon (Billy Eichner) and Pumba (Seth Rogen) but here's the thing about this whole cast - there's no shaking away their personalities which are given a bigger focus that the characters in the story. The film pushes celebrity faces rather than good storytelling. If there's any statement this film makes it is that voice actors need to get back into recording booths - films like these are not going to make less money by giving experts jobs that utilise their expertise.

Spider-Man: Far from Home (2019)

excited for Spider-Man Home Away From Homecoming. ;)

[8/10 · 2 July 2019]

"Spider-Man Far From Home" Review (8/10)

Serving as both a lighthearted coda to the decidedly serious and momentous Avengers: Endgame and the exciting kickoff to the next phase of the MCU, Spider-Man: Far From Home is an extremely fun, cleverly executed, and frequently hilarious adventure film. After all the mass destruction and cosmic resurrection in Avengers: Endgame, it's about time that the characters in a Marvel blockbuster had a holiday - and that's what they get in Spider-Man: Far From Home. It's a holiday for the viewer, too. For a change, we aren't asked to worry about the fate of the universe; we're invited to tag along with the 16-year-old Peter Parker/Spider-Man (Tom Holland) and his schoolmates as they head off on a tour of Europe. Souvenirs, not supervillains, are his main concern. It's hard to write this review without spoiling a lot of the plot and the "big twist", but I'll do my best to state that I had higher expectations for this movie and it did it's best to live up to the expectations of that Kevin Feige put on it. Like its predecessor, Spider-Man: Homecoming, it works both as a superhero film and as a tale of teenage foibles and fun. But it seems to show some cracks when it comes to the 3rd act. There is a scene featuring Spider-Man and the true villain after he learns the twist, and that action set piece I really enjoyed and was a creative way to show off the powers of the two characters. It's a shame that the final battle couldn't do the same. The movie was great, thanks to its sweet humor, clever commentary, Far From Home continues the journey of Peter Parker from kid hero to Tony Stark's successor, but the final battle really left a sour taste in my mouth. Until the post credit scene started, and left me excited for Spider-Man Home Away From Homecoming. ;)

Booksmart (2019)

Olivia Wilde nails her directorial debut by putting a fun, fresh and female spin on the high school coming of age story with a hilarious script and fantastic performances from

[9/10 · 25 May 2019]

"Booksmart" Review (9.5/10)

Olivia Wilde nails her directorial debut by putting a fun, fresh and female spin on the high school coming of age story with a hilarious script and fantastic performances from the leads. The high school coming-of-age comedy is a subgenre unto itself, with each decade delivering movies that have become classics, like American Graffiti, Fast Times at Ridgemont High, Ferris Bueller's Day Off, Can't Hardly Wait, Superbad, Easy A and more recent films such as The Edge of Seventeen and Lady Bird. Now comes Olivia Wilde's directorial debut, Booksmart, which follows two straight-laced students who decide to get in all the partying they missed throughout high school on the night before their graduation. Booksmart is an authentic story about two young women, starring young women, told by women. That authenticity shines especially in the script for Booksmart, which is sharp and funny, nailing the characters of Molly and Amy while effectively developing their friendship as the emotional core of the movie. Booksmart manages to deftly balance the more over-the-top - and, at times, unbelievable - comedic moments with genuinely touching dramatic beats. Altogether, Wilde and the screenwriters Halpern, Haskins, Fogel and Silberman collaborate to bring something new to the high school dramedy genre. In front of the camera, Feldstein and Dever are easy to love as Molly and Amy, respectively. The success of Booksmart rests on their shoulders and both actresses prove adept at carrying their leading roles well, bringing empathy and humor to their characters. Though Molly comes off as a caricature of a dedicated student at times, Feldstein's performance adds much needed depth to the character, especially in the second half of the film. But throughout the entire movie, Feldstein and Dever have a charming chemistry as friends that shines in Booksmart. In a genre as crowded as the high school coming-of-age comedy, it's tough for new movies to stand out and offer a fresh perspective on this particular time in a young person's life, but Booksmart does just that. Booksmart is worth a watch for anyone interested in coming-of-age high school comedies. Even viewers who are far removed from their own high school days will find something to relate to in the hijinks of Molly, Amy and their classmates (or, at the very least, in the adults who populate their world).

John Wick: Chapter 3 - Parabellum (2019)

Combat-heavy pulp of the highest order, this is the most enjoyably over-the-top entry so far.

[9/10 · 20 May 2019]

"John Wick Chapter 3: Parabellum" Review (9/10)

I have never been the biggest fan of the John Wick franchise. I gave both the previous movies a 7/10, but Parabellum brings the title character back to his roots while also offering new twists to where things could go from here, all with the over-the-top, brutally executed action set-pieces fans have come to expect from the franchise. We learn much more of John's backstory here, which reveals some interesting facets to his character, all while also seeing him take one helluva prolonged beating along the way. John Wick is a human piñata at this point and Chapter 3 gets a lot of traction out of seeing him punched, stabbed, kicked, shot, and tossed around. Keanu Reeves once again owns the screen as this most sympathetic of good bad men, providing another emotionally restrained performance even while clearly giving it his all physically. And does he - and this movie - ever deliver in the action department! Chapter 3 offers a relentless onslaught of action set-pieces, each one as bloody brilliant as the one that came before it. There are a million ways to die in this movie, all of them executed in the most visceral, "did they really just do that?!" fashion that fans have come to expect. Each action set-piece builds upon the ridiculous brutality of the previous one, but there's one particular sequence in Casablanca that some gamers may especially get a kick out of for its elaborate staging and immersiveness. Chapter 3 is also visually stunning just like Chapter 2. Neatly choreographed violence has always been the best part of this franchise and John Wick: Chapter 3 - Parabellum is no different. In fact, it's better. Keanu Reeves dances his way through fights using every object in his vicinity to deal fatal blows. He is equally adept at fighting with a book as he is with a gun. The film is littered with fight scenes and whatever happens in between serves to set up the next one. The sets, cinematography, and lights are as gorgeous as they have been in the other two films. You came to see the action in the first 2, and now with Parabellum you get even better action and a rich story that dives into John Wick's backstory. Combat-heavy pulp of the highest order, this is the most enjoyably over-the-top entry so far.

Pokémon: Detective Pikachu (2019)

What almost saves it all is Reynolds's characteristically above-it-all cadence - that playfully sneering quality

[5/10 · 16 May 2019]

"Pokémon Detective Pikachu" Review 5/10

There are certain aspects of Pokémon Detective Pikachu that don't require a crash course in pocket monsterdom, naturally. You don't need to know the difference between a squirtle and a sandslash to follow, because the movie takes the time to explain every single Pokémon that comes onto the screen! Detective Pikachu works as a fun pass time only because it is such a weird film for its mainstream sensibilities, but does not completely break the mould of blockbuster movie narrative. It is not bizarre enough to be a classic. It's a hodgepodge of elements we've seen in countless other places - take the rough outline of the Detective Pikachu video game, add a few elements from various Spider-Man flicks, and give it a couple of whirls - but the movie is more interested in mood and banter than it is in anything resembling a compelling narrative shape. What almost saves it all is Reynolds's characteristically above-it-all cadence - that playfully sneering quality to his diction that makes him ideal for playing inept con men, entitled frat boys, and self-satirizing comic-book mercenaries. It's not so much that there's any particular art to his delivery, but his voice does sound funny coming out of a cuddly little magic creature beloved by young children. The visual milieu has been designed to play up a similar contrast: The nocturnal world of Detective Pikachu feels more like something out of Blade Runner. The Pokémon look like rubber except for the main Pokémon Pikachu, it seems as though all the budget went to making Pikachu look realistic, and all the other Pokémon just seem to be there. People say that this is the best video game movie, and I can somewhat agree. For me I never considered Pokémon a video game, I consider it a tv show, because that's what I grew up with. I was one that never got into Pokémon and I just liked Picachu growing up. So for this movie to focus on Picachu was a check for me, but it just falls short of being a solid narrative story.

Avengers: Endgame (2019)

When faced with 14,000,605 possible outcomes, it manages to be a surprising and satisfying one.

[10/10 · 26 April 2019]

"Avengers: Endgame" Review (11/10)

I didn't think Marvel would ever be able to top Infinity War, but I was wrong. Marvel delivers a fitting and surprisingly poetic payoff to the Infinity Saga. The less you know going into Avengers: Endgame, the more you're likely to enjoy it. Obviously, you wouldn't have clicked on a review of this movie if you didn't want to know something about the culmination of a decade's worth of Marvel's superhero storytelling, but trust me: more than Avengers: Infinity War, Endgame is truly a story that needs to be experienced. Forget all the external noise from the deliberately vague teaser trailers, perfectly-calibrated celebrity soundbites, and footage leaks, and just strap in for the ride. There's little that can be said about the film without at least alluding to its twists, but what I can say, with certainty, is that Avengers: Endgame is a marvel, both in terms of narrative scale and sheer logistical ambition. The film walks a tightrope between high drama and cathartic comedy, offering some of the darkest and most emotionally honest scenes in the history of the MCU, alongside some of the most ridiculous and sublime. There are fewer laugh-out-loud moments here than in Infinity War, but it's certainly lighter and oftentimes more joyous than you might expect from a story that begins with the fallout from Thanos' snap. Endgame is a film that feels like it was made by fans, for fans - to the point where some scenes will undoubtedly be labeled as outright fanservice. But it's hard to view those moments as cynical pandering so much as earned and effective homages to the moments, characters, and relationships we've grown so invested in over the past 11 years. While Infinity War did its best to juggle an enormous roster of heroes spanning the entirety of the MCU's history, it's no spoiler to say Endgame rightly narrows its focus to the original six Avengers, giving them each a well-deserved moment, or several in the spotlight. The cost of sidelining so many characters is high, but it pays off brilliantly. I know it's not the end of the MCU, but it certainly feels like it. Endgame's greatest accomplishment is how it deepens our understanding and appreciation of the movies that preceded it. This is truly a climax to an entire franchise, not just a resolution to the cliffhanger of Infinity War. This may not have been the only way for Marvel to end the first chapter of its sprawling superhero saga, but when faced with 14,000,605 possible outcomes, it manages to be a surprising and satisfying one.

Shazam! (2019)

Shazam! is DC's most joyful and sweet movie yet!

[9/10 · 7 April 2019]

"Shazam" Review (9/10)

Shazam! is DC's most joyful and sweet movie yet! A funny yet earnest coming-of-age story about a boy who learns that, well, with great power comes great responsibility. And also rethinks what having a family is really meant for. Shazam's carefree mood as a child, is to just have fun despite having to inevitably grow up and confront some very adult concerns along the way. Namely, how streetwise orphan Billy Batson must accept responsibility for his behavior if he's going to prove truly worthy of the magical gifts bestowed upon him. Billy is a flawed character who screws up, but it's in watching him learn from his mistakes that we grow to legitimately care about him. The film largely avoids the maudlin and manipulative when it comes to this story of a 14-year-old boy seeking answers, his way in the world, and finding the true meaning of home among a misfit foster family. The movie nicely provides a rarely seen positive depiction of foster care, as the most recent family to take Billy in are legitimately good people who truly want the best for him. But none of it would matter if the center of the movie, its key performer, was weak; thankfully, that isn't the case here. Zachary Levi is perfect as Shazam. He's hilarious, heartwarming and completely believable as a 14-year-old boy trapped in a muscle-bound superhero's body, excelling in both the action scenes as well as in the more vulnerable moments. This isn't an action movie per se but a coming-of-age comedy with some action in it. There are some very funny, very knowing superhero moments to be had. These are the scenes where the movie shines brightest, poking fun at all the superhero movie tropes even if nothing much of consequence happens. But once Billy/Shazam realizes he can use his powers for more than just cheap tricks, his true hero's journey begins.

Black Panther (2018)

The difference with "Black Panther" is that, while observing the outlines of the traditional comic book arc, Coogler and his creative team have enlarged and revitalized it.

[10/10 · 9 March 2019]

Black Panther My Review (10/10) This is by far the best Marvel movie ever. Impressively well-acted film. The difference with "Black Panther" is that, while observing the outlines of the traditional comic book arc, Coogler and his creative team have enlarged and revitalized it. Drawing on elements from African history and tribal culture, as well as contemporary and forward-looking flourishes, "Black Panther" pulses with color, vibrancy and layered textural beauty, from the beadwork and textiles of spectacular costumes and warm, dazzlingly eye-catching production design to hairstyles, tattoos and scarifications that feel both ancient and novel. The MCU not only needed this movie, but all of the United States needed this movie. For a superhero movie, "Black Panther" exceeds exceptions and is sure to leave its impact of being one of the best in its genre. Socially aware, aesthetically captivating and emotionally pulling, this movie is one that is sure to leave its mark as one of the best superhero movies of recent memory.

Tag (I) (2018)

"Tag" is a very fun movie and it captures what it feels like to be a kid again.

[7/10 · 9 March 2019]

Review for "Tag" (7/10)

"Tag" is a very fun movie and it captures what it feels like to be a kid again, playing a fun "little" game of tag. You probably know by now that Tag is based on a true story. When they were nine-years-old, a group of tight-knit friends created a game of tag that they played for the duration of the month of May. Every year, for thirty years, it continued, regardless of where they were or what they were doing. That didn't change until one of the group, who had never been tagged, is believed to be about to quit. Now, the game is on more than ever. The ensemble cast boasts Jeremy Renner, Jon Hamm, Ed Helms, Jake Johnson and Hannibal Buress as the taggers alongside Isla Fisher, Leslie Bibb, and Rashida Jones. For his first movie directing job, Jeff Tomsic, effortlessly and stylishly choreographs. The cast is great, and Renner really gets to show off his comedy and action acting abilities. A major reason for Tag succeeding is that the script is on point. It doesn't feel forced and it doesn't feel like it is merely a series of tropes or clichés even though it plays with many of them. What you end up with is a movie that nestles nicely between familiar and fresh. If anything, I'd have liked to have seen Tag really earn its R-rating and go a bit harder. While there are a few moments that are close to the bone, I think it could have taken the whole thing a bit further. Regardless, it's worth checking out. Tag isn't a comedy classic but it's certainly entertaining and delivers what it promises along with a few welcome surprises. As a whole, it's never anything less than entertaining with some nicely twisted touches.

Game Night (I) (2018)

Game Night" is a blast!

[8/10 · 9 March 2019]

"Game Night" Review (8.5/10) "Game Night" is a blast, a sharp adult comedy that earns genuine laughs without going lowbrow or diving into raunchy humor. Directors John Francis Daley and Jonathan Goldstein maintain a positive tone throughout and keep the laughs flowing at a steady pace. Bateman and McAdams are a lot of fun together, and it's exciting to see McAdams enjoying herself on screen for the first time since "Doctor Strange." The rest of the cast is great and seem to really play off each other. "Game Night" is a crowd-pleaser and a refresher to the R rated comedy genre that has been in the dumps for a while.

A Quiet Place (2018)

WOW WOW WOW!

[9/10 · 9 March 2019]

"A Quiet Place" Review (9/10) WOW WOW WOW! This movie is intense and extremely stressful. The horror genre is one filled with cheap jump scares and crappy plots, but "A Quiet Place" actor, co-writer and director John Krasinski seems to understand this thoroughly, and the result is an unnerving film. Horror, in particular, only works if you're invested in the characters, and this cast absorbs you into their terrifying world. As the conversations are primarily restricted to sign language, sound design plays a significant role in creating a heightened sense of dread and tension throughout. Although slow paced initially, this is a deliberate screenplay decision which then leads up to a suspenseful second half. Granted, some of the events require a brief suspension of reality, but it's a small price to pay for a film that is most enjoyable because of its understanding of the genre and innovative use of the elements it sets up. A word of advice - choose your viewing partner carefully as "A Quiet Place" can only be appreciated in silence with the least amount of conversation during its runtime. I am not one for horror films, but "A Quiet Place" is something different entirely and is already one the best films of the year. You must see this movie, even if you are not one for horror films, you will enjoy this one.

Blockers (2018)

"Blockers" is a mature, thoughtful exploration of parental responsibility and the capacity of burgeoning adults to navigate life's difficult choices.

[8/10 · 9 March 2019]

"Blockers" Review (8/10) "Blockers" is a mature, thoughtful exploration of parental responsibility and the capacity of burgeoning adults to navigate life's difficult choices. "Blockers" is the directorial debut of Kay Cannon, who wrote "Pitch Perfect" I'd burn my boats and say she's the best thing to happen to comedy in years. She's a sensational director, though. Mann hasn't been this delightful since Knocked Up. She can simultaneously jabber and look bereft. Cena - the ex-wrestler with the sweet face and humongous upper body - indicates more than acts, but he's so dopey and vulnerable that you can't help loving him. Barinholtz should be "Blockers" breakout star. At any given moment his face is doing five different things, all of which are funny. For me it seemed that the beginning was a little slow and a few jokes missed, but once the parents figure out what the kids are up to, it is almost non stop laughing and a few heart touching moments. "Blockers" is another win in the R rated comedy genre, which seems to be on the rebound in 2018.

Solo: A Star Wars Story (2018)

"Solo" is a movie that has an aggressively slow pace and does not solve much except a few minor things about Han.

[6/10 · 9 March 2019]

Solo A Star Wars Story Review (6/10)

"Solo" is a movie that has an aggressively slow pace and does not solve much except a few minor things about Han. The movie has very low stakes compared to all the other Star Wars' and that is understandable, but coming off the success of the first spinoff "Rouge One" it's just not that enjoyable. The Han Solo "origin" feature, is smoothly directed by Ron Howard and smoothly written by Lawrence Kasdan. The supporting cast is great, but Ehrenreich just can't capture Harrison Ford's Han Solo, and that was a little bit of a turn off for me. Ehrenreich he obviously studied Harrison Ford's wise-ass cadences and arrogant, gunslinger stride. Still he can't capture the charm. The movie is not great, because the title character isn't the best part of the film. That honor belongs to Donald Glover's Lando and Woody Harrelson's Beckett. These two really keep the movie going and keep it from being a boring space adventure. I don't care to see any more of Han's origin, and this story strongly hints at sequels. The movie fell flat on its face due to the firing of directors and the reports of poor acting by Ehrenreich, I personal did not see a problem, but it is hard to play a character that already has such a legacy. I just want to see more Lando and not Solo.

Deadpool 2 (2018)

"Deadpool 2" comes up a little short to it's expectations.

[8/10 · 9 March 2019]

Review for Deadpool 2 (8/10)

Deadpool 2 had huge expectations to live up to after it's origin story was a R rated thrill ride, but "Deadpool 2" comes up a little short to it's expectations. The script, by Rhett Reese, Paul Wernick and Ryan Reynolds, is loaded with winky, fourth-wall-piercing eruptions of meta, the kind of humor that can make even the slow-witted and literal-minded feel devilishly clever. Works for me, I guess. But this sequel to the R-rated, X-Men-adjacent surprise blockbuster of 2016 works maybe a little too hard in the service of a dubious cause. "Deadpool 2," cracking wise at the expense of nearly every intellectual property in the DC and Marvel universes - and occasionally drawing metaphorical blood to go along with the abundant onscreen gore - uses its self-aware irreverence to perform the kind of brand extension and franchise building it pretends to lampoon. Grief and despair drive Wade first to seek revenge and then to try to prevent two other acts of vengeance from taking place. The first 30-40 minuets of the movie weren't that entertaining to me, there were a few jokes that made me laugh, but for me the movie got going once Josh Brolin's Cable showed up and kick some ass. And Zazie Beetz is great as Domino. And there are some fantastic cameos, that definitely draw a laugh and a "wait I know who that is". For me "Deadpool 2" is a good-enough sequel to the original, but it is definitely not better than the first one. I just wish we could of actually seen X-Force.

Ocean's Eight (2018)

The movie isn't great, but not terrible. It's just another "cool" heist.

[6/10 · 9 March 2019]

Review for Ocean's 8 (6/10)

Bullock, Blanchett, and their co-stars don't reinvent George Clooney's formula here, but the ensemble's camaraderie and notable talents make for a fun heist flick that combines fashion and humor. The movie isn't great, but not terrible. It's just another "cool" heist. At times the film feels like a tourist ad for New York City, as Debbie cases the Metropolitan Museum of Art and wanders through its galleries, Modigliani and Van Gogh paintings in the background. Many brand names are on display, with a couple of forays into Cartier's and a quick visit to the Vogue magazine offices. Throughout, the movie teases the idea that Danny Ocean is dead. Or is that another of his long cons? The unstated tease, of course, is the possibility that Clooney will show up. As with all things in Ocean's 8, it's best to approach this with lowered expectations. The movie itself is trying to capture Clooney's "heist crew", but falls short and it all seems to easy for the crew. Their plan seems like it is going to be extremely difficult to pull off, but it is very easy. Easy enough that they don't steal just one necklace, they steal over 20 necklaces. If you're going to make a "Ocean's" heist movie, bring something difficult and make it more interesting. With a promising cast like that, not to mention the glittery party setting, "Ocean's 8" should be great fun. Instead, it's a kind of noncommittal semi-fun. The very existence of a film like "Ocean's 8" makes an odd double assertion: remakes or reboots putting women into roles originated in movies centered on men prove (as if anyone doubted it) that women can be as good as men in any role-but also that their movies can be as bad as any in which men star. "Ocean's 8" isn't bad-it's simply not up to the talents of its cast.

Incredibles 2 (2018)

After 14 years the Incredible's are back and in a sequel that, in many ways, surpasses the outstanding original.

[9/10 · 9 March 2019]

Review for "Incredible's 2" (9/10)

After 14 years the Incredible's are back and in a sequel that, in many ways, surpasses the outstanding original. Pixar's Incredibles 2 excels in its ability to balance the important and emotional familial aspects of the story with the exciting superhero antics moviegoers have come to expect in the era of the Marvel Cinematic Universe. The interesting gender role themes that exist for the Parr family also resonate with the Deavors. Evelyn appears to be content with playing second-fiddle to her brother; however, when Helen starts working for Winston by moonlighting as a superhero, she encourages Evelyn to embrace her brilliance and be more outspoken. If Helen's story seems similar to Bob's adventures in the previous movie, don't worry; this time around, the Parrs are acting as a team from the very beginning. Without going into spoilers, let's just say that Elastigirl's missions are fun to watch and when Dash, Violet, Bob, and Frozone (Samuel L. Jackson) get involved in the action, it feels like you're looking at an animated version of Avengers. Jack Jack steals every scene he's in, and he even gets a scene all to himself to let the audience know how many powers he has. Incredibles 2 also does a tremendous job of expanding its universe, but not at the expense of the Parr family story, which is always front and center. Brad Bird's strong script and direction elevate this animated adventure to new heights. Instead of trying to copy or parody the superhero films of the past 14 years, Incredibles 2 embraces what made its first outing so memorable: The Parr family and their willingness to work together in the face of seemingly insurmountable odds.