samwillpearce Reviews

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

Hear me out: the best movie of the whole series.

[10/10 · 18 April 2022]

I think far too much about how over-hated this movie is.

I honestly could write a 20-page essay on why this film is perfect, spectacular, and an incredible conclusion to an already phenomenal trilogy-and why I would give it an 11/10 if I could. But I will do my best to keep it brief.

This film is the definition of epic. It is long, visually impressive, with a formidable cast of characters, complex themes, and an incredibly satisfying finale to a powerful story.

I understand that that's not what everyone wants from their action movies. But I truly feel that if everyone took the time and the brainpower to sit down and digest the Pirates of the Caribbean original trilogy as a whole, as a cohesive story, they would see how much of a masterpiece "At World's End" is.

For starters, I am in love with the sense of mysticism and magic that inhabits the world of these movies. I think this point is really driven home by "At World's End"-the fact that we see that the world is flat in this movie makes this apparent. It makes it clear that beyond just the magic present in the first two films, we are truly in a fantasy world: a fantasy world that is based on the wildest imaginings, the dreams and nightmares of centuries long-gone. If anything, I feel this really contextualizes the series as a whole: it is not just a depiction of the world in the past with magic integrated, but it is truly a fantasy realm.

Equally brilliant are the two parallel love stories of Calypso and Davy Jones, and Will and Elizabeth. With Jones and Calypso, again, there is truly such a sense of beauty and mysticism: a simple man, a pirate, who fell in love with a sea goddess. Their relationship was beautiful, yet tumultuous and conflicted, and thus it spiraled out of control and threw the whole earth out of balance. Meanwhile, Will and Elizabeth, who after going through so much have their trust and commitment to each other wavering. They are under threat of becoming like Jones and Calypso: jaded, tempestuous, and destructive. And yet, by the end, they choose duty, love, and the noble path.

This speaks to a larger theme in this movie that I absolutely adore as well: the moral ambiguity and confusion. Each character, with their conflicting agendas and motivations, cannot really be said to be heroes all the time. Yet I find that, by the end, each protagonist is ultimately a genuinely good person, and they vindicate themselves. Ultimately, I find myself deeply satisfied by the conclusion of each character arc (particularly Will and Elizabeth.)

And, as I've said in my reviews of the previous films, this movie is honestly so thematically rich and smarter than people give it credit for. The authoritarian, colonialist British are seeking to control and crush the only people that are standing up against them: the pirates. I didn't realize it until rewatching this film recently, but the pirates of the Brethren Court, as well as many pirates we see throughout the series, are extremely diverse. Although they have their differences, and many of them do conflict with each other, they have a code, and band together to stand up against the oppressive, imperialistic monarchical forces of the British empire.

The pirates are democratic. They are comrades in arms. And they are free.

This is truly this centerpiece of why I adore this movie with every fiber of my being and find it to be so liberating. It really is, at its core, about doing the right thing, which is not always within the bounds of the law. Even though the characters are bogged down by so much crazy stuff happening, betrayals, and plots, they ultimately end up being good and noble people, regardless of how "respectable" society may view them.

Beyond the more brain-y, thematic stuff about this movie, there is so much more about it to love.

For one thing, Elizabeth's character arc. She goes from being this pampered Victorian governor's daughter to the KING OF THE PIRATES????? You're joking. That's so cool.

Additionally, the bleaker, more serious tone. While many people have criticized this, it's one of my favorite parts of the film. From the opening scene, it is abundantly clear that this is not going to be a typical fun, brainless action film: there are high stakes, there is darkness, and that makes the resolution all the more satisfying. It may be the darkest film Disney has ever made.

The action in this film is just spectacular. The final battle-pirate ships swirling around a whirlpool while all hell breaks loose-has to be one of my favorite movie final battles ever. It's so appropriately epic, badass, and utterly insane.

And to cap it all off, this movie has got to have some of the most satisfying villain deaths in any movie ever made. Seriously, what's not to love?

I seriously could go on and on, analyzing every scene, every single shot, to show why this is one of my favorite movies maybe ever. And I've watched a hell of a lot of movies. But overall, I think this movie is deeply underrated and deserves some respect.

"At World's End" is phenomenal. It is monumental. It is both high cinema and monstrously entertaining. It is perfection.

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

In my opinion, a rare sequel that equals the original

[9/10 · 18 April 2022]

I struggle to comprehend why this film is so much less loved than the original. I find myself enjoying it even more than "Curse of the Black Pearl" at moments.

I've said this before, but the first three "Pirates of the Caribbean" films are insanely fun and exciting adventure films, but they are also surprisingly subversive and thought-provoking. You can enjoy them equally with your brain turned off, or your brain dialed up to 11.

This film takes everything that is wonderful about the first film, while further deepening and exploring the themes. I feel that Lord Beckett, as a villain, is genuinely such a sly commentary on the human urge to control and dominate nature and the world as a whole. He's smug, powerful, and a wonderfully hateable villain. His presence in this movie, I feel, furthers the ideas presented by the "Pirates" movies: that authority is not always right, and that being a good and noble person sometimes exists outside of the mainstream.

Yet this movie further complicates these themes by giving each of the characters (including the once-idealistic Will and Elizabeth) complicated motives and conflicting agendas. It really makes me think about how the world, and society, breaks down individuals to commit such acts of "piracy" when at the core they're just trying to protect the ones they love.

You can say I'm reading too much into it-I say otherwise. As I said, the beauty of the original "Pirates" trilogy is that you can enjoy it both mindlessly and mindfully.

Beyond the thematic exploration, I think "Dead Man's Chest" is still just as fun and ridiculous as its predecessor-if not moreso. Everything from the action sequences on the islands to the fight at the ruined windmill is just so much fun, so badass. Aesthetically as well, I think this movie is so pleasing. Davy Jones and his crew are such creepy, skin-crawling characters, and surprisingly, their special effects still hold up to this day. Moreover, this film is perhaps one of Disney's darkest films ever (which, granted, isn't saying much); I find myself surprised each time I rewatch it at just how violent it is; I kind of doubt Disney would have the guts to be so brutally violent with their films in recent years.

Overall, I find myself enjoying this movie just as much as the original, I probably have seen it more times as well. It's just so damn fun, hilarious, emotional, and thoughtful. Another near-perfect film in the series.

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

A flawless (and deceptively smart) adventure flick

[9/10 · 18 April 2022]

It's crazy to think that the original "Pirates of the Caribbean" movie is the reason for why the movie industry is the way it is in a lot of ways. If you think about it, this was Disney's first PG-13 film; thus, if "Pirates" had flopped, Disney likely wouldn't have continued to make PG-13 movies and, for better or worse, likely wouldn't have acquired more mature properties like Star Wars or Marvel Superheroes.

Of course, this film was a smash hit, and the rest, as they say, is history.

It's easy to see why Pirates of the Caribbean was so successful. Beyond the obvious reason (Johnny Depp's now iconic performance as Captain Jack Sparrow), this film is incredibly fun, ridiculous, and full of inimitable action sequences.

I would argue, however, that the appeal of this film (and the subsequent two movies in the series) runs deeper than just the surface joys of the zany action and stellar performances. "Pirates of the Caribbean", at its core, is surprisingly anti-establishment and joyfully liberating. It is ultimately a tale of following your heart, and not letting social norms decide what is right and wrong.

That is what I think is so captivating about this series as a whole. You can look at it from both a surface level and a deeper level, and both interpretations are correct. It is both a relentlessly fun and exciting action movie, a work of escapist fantasy, while also being deeply liberating and life affirming.

Specifically related to this first film in the series, I am blown away every time I rewatch it just how solidly made it is: the way they introduce these lovable characters and develop their relationships is so endearing. Even though the story is (kind of) set in the real world, there is still a sense of rich history and politics with all the set pieces and characters. That, plus the fact that many of the character's backstories (especially Jack's) are not overly explained and left largely mysterious, is something that I've rarely seen done better in many other mainstream movies.

Overall, this film is incredible, and I don't think it deserves this reputation as only being a really good action flick. It truly has something for everyone: action, wit, humor, drama, romance, and surprisingly complex ideas. A true landmark masterpiece.

Black Widow (2021)

Not sure why people didn't like this one.

[8/10 · 26 October 2021]

Finally watched Black Widow after it being out for a while. Honestly, I really enjoyed it. I'm not sure why there was so much hate.

Sure, it didn't feel like a typical Marvel movie. There wasn't nearly the amount of superpowered action that we've gotten used to. It felt much more slow-paced and introspective. I supposed, then, I can see why it wasn't maybe what people were expecting.

I thought that the movie feeling very different actually really aided it. It felt much less like a superhero movie and more like a fun and entertaining spy-thriller. The action was exciting and entertaining, and aesthetically it was very enjoyable as well. And I think the longer periods of introspection and thoughtfulness were a nice change from the usual breakneck pace of Marvel movies.

It dealt with themes of family, both who you were raised with and found family. I loved how, instead of building up this super long, detailed explicit backstory for Black Widow and Yelena, we had to figure a lot of stuff out from just context clues. Sure, there was the intro scene (which I thought was very well written and fittingly confusing) but other than that we were left to fill in the gaps to imagine what exactly happened to Natasha and co. After that opening scene.

Overall, what I really liked about this film was that it trusts its audience. Instead of having a whole lot of exposition and backstory, we are instead forced to consider what we know about the MCU and Natasha to fill in the plot. In reality, this story is the climax of a long story that has been Natasha's whole life.

It was definitely a little slow in places. And of course, the villain was not that interesting. That's true of most MCU movies, though, so it's to be expected. At least they did a good job of making him more loathsome and hateable than some other Marvel villains.

Ultimately, I am excited for where this movie takes the MCU. I hope to see more of these characters in the future.

(this is more like a 7.5 for me but I rounded up)

Guardians of the Galaxy Vol. 2 (2017)

The Worst Infinity Saga movie--history will prove me right

[3/10 · 19 April 2020]

Yes, even worse than Thor: The Dark World.

I know that plenty of people like this movie now, but I cannot see this movie aging well at all. I can't imagine it becoming a superhero classic like several of the other MCU movies are destined to be.

The main problem with Guardians 2 is that it takes everything good about the first film and cranks it up to an intolerable level. While the first Guardians film was probably one of my favorite MCU films, Guardians 2 takes everything that was so excellent about the first movie and somehow makes it bad. A lot of the vintage music choices didn't really seem to fit the film, or at least they were not nearly as iconic and recognizable as the songs in the first film. Really, the only scene I especially liked was the opening with "Mr. Blue Sky". The goofiness and camp was far too strong with this one. Everything from the freakishly bright and lurid colors to Starlord becoming a giant Pac-Man was just ridiculous. There was not a single genuine emotional moment (other than Yondu's death) that wasn't undercut by a poorly written, unfunny joke. Major character traits and arcs (most unfortunately, Drax's) were sacrificed for the purposes of comedy. And to top it all off, it was so painfully predictable that there was hardly any excitement or tension at all. If you didn't see that Ego was going to be evil a mile away, you probably have never seen a superhero movie before.

It had its moments; it wasn't bad through and through, but it was so disappointing compared to the first film that I can't help but loathe it.

Star Wars: The Rise Of Skywalker (2019)

Utterly Flat

[3/10 · 23 January 2020]

I already know that this opinion is controversial, but I did not like "The Rise of Skywalker". Sure, it wasn't a great movie as it is, but the real insult is in the context of the grander scheme of the Star Wars universe. And I'm aware plenty of people liked it, and that's fine. Just wanted to get that out of the way.

For me, "The Rise of Skywalker" as a movie is pretty bland. Not taken in the context of Star Wars, it's just fine. There's some cool visuals. There's stakes that feel real and there's exciting and cathartic action. There's character development and there's good acting. But overall it feels incredibly crammed together and rushed. For the first half of the movie, the action progresses so quickly that it legitimately felt like I was watching the movie with a Chrome video speed editor on 1.2X speed. There are far too many characters who are given too little to do. And the plot is so stuffed with MacGuffins and conveniences that it truly feels like the plot happens for no reason at all. All the nonsense in the first act with the Sith Wayfinder and the dagger (which conveniently lines up perfectly with the destroyed Death Star?) feels entirely unlike Star Wars and more like Indiana Jones in Space--except it's not "Raiders of the Lost Ark", it's "Kingdom of the Crystal Skull". Yuck.

The most painful thing about the film, though, is it's place in the larger Star Wars universe. "The Last Jedi" may have been a pretty flawed film, but at least it tried to direct this new trilogy in a more creative and original route. "Rise of Skywalker" not only lacked creativity, it seemed to actively avoid it. The plot was so full of recent Blockbuster cliches (right down to the giant blue sky beam) that it barely registered as a Star Wars movie. Countless pieces of established canon were retconned. Insteresting plot threads and themes that have been developed since the very beginning of the franchise were scrapped or simplified to a mind-numbingly stupid level. However, resurrecting Palpatine back was the biggest insult of them all. This decision not only demonstrates that the writing team a) had not one ounce of creativity, rendering them incapable of creating original, interesting villains and b) didn't care at all about the established saga-encapsulating plot arc of the Prophecy and Vader killing Palpatine. There is so much evidence in this film that not an ounce of thought was given to the integrity of the Star Wars saga; the script is so blatantly a brainless cash-grab.

Ultimately this is not the worst movie ever. But it's pointless. It's so utterly pointless that I doubt I will ever watch it again. In the future when I'm showing my kids the Star Wars saga for the first time (if I ever have kids), I will simply pretend the sequel trilogy does not exist. And all because of this terribly bland, boring, flat, unsatisfying final chapter.

BlacKkKlansman (2018)

The kind of historical film we need

[9/10 · 22 December 2019]

"BlacKkKlansman" is, I think, one of my favorite 'Based on a True Story' movies I've ever seen, and that's saying something. From fantastic performances to it's hilarious moments of attention-grabbing comedy to it's difficult and horrifying truths, "BlacKkKlansman" stands out because of just how raw and real it feels despite creative liberties taken with historical accuracy--and that's a good thing.

I could talk about the cinematography and the acting and the direction for a long time, but I'd rather discuss what makes this movie truly unique in my eyes: the message is prioritized above all else. Far too many historical movies get lost in the minutia of historical accuracy that they forget to remind us why this story matters. If too much energy is devoted to period accurate set and costumes, to keeping the story strictly within the time period, the message can easily get buried. Now, historical accuracy is by no means a bad thing, but in "BlacKkKlansman"s case, it is less important than telling a story of white supremacy in the modern era, police violence, and solidarity between minority groups. Through John David Washington's Ron, Adam Driver's Flip, and Laura Harrier's Patrice, Spike Lee tells a tale of how each of these characters has a different role in combating white supremacy, and how none of them are less valuable than the others. The characters may disagree on methodology at times, but the film really portrays how much risk each of these people put themselves at to fight for their unified cause.

Three scenes really jump out to me in the way of overall tone and message. The first is the scene in which Kwame Ture is speaking to the Black Student Union. This scene is incredibly powerful because of how the faces of the crowd overlay the speech about black beauty and excellence. Secondly, Adam Driver's monologue about his own Jewish identity is extremely moving because he talks about how he used to never be fearful or uncomfortable about his own identity as a Jewish man, but ever since he entered the fight against white supremacy, he has begun to constantly think about his identity. This scene is particularly poignant because of how it expresses the dichotomy between being comfortable and somewhat complacent versus being uncomfortable and active. Lastly, the heartbreaking ending reminds the audience of just how relevant the issues presented in the film remain, and how little progress it feels like we've made. This scene makes it unequivocally clear the message Spike Lee is attempting to portray: we still have a long way to go, as a nation, and we must continue to fight white supremacy, because it still exists.

"BlacKkKlansman" doesn't beat around the bush in telling the audience what is means; rather, it slaps the audience in the face with meaning. And that is exactly what we need right now. This movie exists to make its audience uncomfortable with the way our society is now, but it also inspires us to make a change. It is, without a doubt, one of my favorite historical films, and a film that everyone should see.

Marriage Story (2019)

An Ode to Real Life

[8/10 · 20 December 2019]

From the jarring first scene to the hopeful finale, "Marriage Story" is a simple, honest, yet entertaining film about life as it is--it's the kind of film we need more of.

There's a lot that's done wonderfully about this movie, from the performances by the leads and the supporting cast (Laura Dern is an underappreciated star of the film), meaningful commentary on gender and relationships, and unromantic, realistic depictions of marriage and divorce. It is visually appealing and vintage feeling. It remains entertaining throughout despite the infinite mundanities of divorce law. It refuses to force the audience to pick a side in the divorce: both protagonists feel very realistic, complex, and the right mixture of good and bad. There is no winner or loser in the movie, no good and evil, just two people realizing they aren't right for each other.

That, I think, is the most poignant and powerful element of this film. There is no absolute right or wrong in the divorce, no clear antagonist other than human stupidity. Films often depict an unhealthy view of relationships and love; one where two people sort out their issues and then there are never problems again, one where a lasting marriage is the ultimate goal of life, one where every ended relationship is a devastating tragedy. "Marriage Story" says just the opposite. It depicts Nicole and Charlie's divorce not as a failure, but simply as a new chapter in their lives. Though they are incredibly sad and broken up about their marriage ending, it is not the end of their lives. Nicole and Charlie don't just matter when they're a couple; they each have unique and immeasurable merit on their own. They're both beautiful and flawed human beings like anyone else. They have not failed by splitting up, they have simply become more themselves. In an age where many biases and norms of the past are unraveling, "Marriage Story" is the encouragement that we need that the "truths" we've been taught by norms of the past do not have to apply to us. What matters most is that our lives are happy and meaningful.

For a film largely about divorce, "Marriage Story" is surprisingly sweet, funny, and optimistic, and ultimately very meaningful and impactful. One of my favorite films of the year to be sure, and one that I'll certainly return to in the future.

The Irishman (2019)

Truly the Mafia movie to end all Mafia movies

[8/10 · 20 December 2019]

I'll be up front and say that I haven't seen an overabundance of Mafia movies, nor of Martin Scorsese movies, so it's difficult for me to judge "The Irishman" in that context. That being said, the Irishman is undeniably epic in scale, mafia-y to the core, while still feeling relevant and meaningful.

The three-and-a-half hour film examines most of the lifespan of real life union official and mafia hitman Frank Sheeran as he becomes more powerful and influential both within mafia circles and in the public sphere. Everything one would expect from this kind of movie is present and in full force--fantastic performances from de Niro, Pacino, and Pesci, gritty violence, flashbacks and non-linear storytelling galore, powerful direction from Scorsese--so let me skip praising all the given elements of this movie and get to what really makes it special.

Firstly, the aesthetic of the movie is wonderful. Scorsese and the cinematography team masterfully selects a color palette fitting of the film, giving it a vintage, engrossing look. It's fitting that a movie so much about the 20th century looks and feels like it was made in the 80s or 90s. In addition, the CGI de-aging of the three stars for the flashback scenes is incredibly well done; it is truly Oscar-worthy work.

Despite the serious nature of the film, the dialogue remains snappy and funny when necessary. The movie isn't overly dark and serious; it knows exactly when it needs to be comedic and satirical and when to take itself seriously. Thus, it remains entertaining throughout despite the humongous runtime.

Overall, "The Irishman" feels very germane and loaded with meaning and emotion, which is one of the critical factors distinguishing this film from others like it. As it shows Frank Sheeran age and change throughout his life, he gradually becomes more distrustful, and even in old age he continues to be somewhat paranoid, protecting mob compatriots who are no longer alive. Although the film appears initially to glorify violence and life in a crime ring, Scorsese gradually subverts this idea by showing just how exhausting and painful it can be to live a criminal life. Although Sheeran's character never fully appears to grasp how difficult he has made his own life, it becomes apparent to the audience just how much harder his life is now that Sheeran must constantly be watching his back, scheming, and betraying other crime families. For this reason, the epic runtime of the film actually works to the film's advantage in a big way: as the audience becomes more worn out by watching Mafia activity and crime, it parallels how exhausting, inescapable and never-ending a life of crime feels to the characters.

The film also deals with themes of political corruption, which feels especially relevant in the current political climate. Throughout much of the film, the Mafia makes a huge impact on the campaign of whichever candidate they want to win, and it's clear just how much elections, presidential or otherwise, are influenced by those with money and power. In addition, the film discusses how the "top" of society is loaded with backstabbing, crime, and general immorality in the name of winning, no matter which side of the political spectrum. This is one of the most relevant-feeling aspects of this movie; that on top of all the other fantastic themes and smart direction, Scorsese also includes biting modern political commentary as part of the narrative.

There are a few issues with the film (few and far between as they are)--mainly its lack of importance for the female characters, the seemingly random usage of "I Heard You Paint Houses" as a title card early on in the movie, and de-aged Robert de Niro's eyes being way, way too blue (which is super distracting)--but ultimately these don't detract from a film that is epic, brilliantly crafted, and exceedingly thoughtful. It really feels like this is what Scorsese's career has been building to in some ways; it's a statement, both thematically and cinematically that will undoubtedly be discussed and praised for years to come.

Little Monsters (2019)

Nearly perfect for what it is-a fun, silly, bombastic zombie comedy

[9/10 · 15 October 2019]

I guess once in a while a streaming service can produce a really exceptional movie. Okay, maybe more often than once in a while, but Little Monsters was truly something special. It wasn't groundbreaking or revolutionary or anything, but it was exceedingly funny, covertly satirical, witty, gory, cute, over-the-top, enjoyable, and surprisingly heartfelt: everything one could want in a Zombie-Comedy and more.

The plot revolves around Lupita Nyong'o's Miss Caroline protecting her innocent kindergarten class from an unstoppable tide of zombies (the slow ones). As one might be able to figure out from the plot, there is very little about this movie that is taken seriously, and that works perfectly in Little Monsters. The movie is hysterical, there are so many genuine laughs throughout that anyone would leave the theater (or rather exit Hulu) with a smile on their face. In addition, Lupita is wonderful (as always) as Miss Caroline; she wonderfully embodies the role of Miss Caroline, who may appear sweet and soft on the outside, but has a hidden seriousness and no-nonsense attitude. In addition, she has some lovely chemistry with her love interest, Dave (played by Alexander England), which leads to both some excellent cringe-comedy and some genuine emotion and sweetness throughout the film. The kids in the movie are also brilliant; they are sometimes annoying, sometimes maddeningly stupid, yet always adorable. (Just like real kids.)

The action is also entertaining in memorable; it provides a fresh take on zombie movies that we may have come to expect. The action scenes wonderfully balance tension and excitement with humor and laughs. And the zombies, somewhat cheap-looking as they may be, are wonderfully funny and brutal simultaneously. Really, this movie has so much wonderful going for it that it feels a shame to point out its flaws.

Yet point them out I must. While the movie has very little wrong with it, there are a number of moments of tonal inconsistency; it feels like it takes quite a while for the film to figure out what it's trying to be. When it gets there of course, it's brilliant, but it feels like there's a lot of waiting around for the movie to pick up at the beginning. Really, the beginning, funny as it may be, most likely could have been trimmed down a bit in favor of including more zombie crises, as the movie does feel like it takes a while to get going. In addition, Josh Gad's character, funny and annoying as he may be, feels much less subtle in its satire than the rest of the film. (In spite of this, Gad manages to ham it up and bring life to his hilarious and villainous character.)

All in all, this movie is a really wonderful one that's for anyone who loves rom-coms, zombie movies, satires, and really anything in between. Honestly, this movie has pretty much universal appeal; I'd watch it with basically anyone, my parents, my friends, co-workers, literally anyone. Except my kids, probably.

The Nutcracker and the Four Realms (2018)

If you desire a fun family Christmas movie - look elsewhere

[4/10 · 7 October 2019]

"The Nutcracker and the Four Realms" is further evidence that Disney doesn't need to make a live action remake of, you know, literally everything. It was a film no one really asked for and few people were super fired up to see. After watching it, I can say that there's nothing awful about the movie... but there's also nothing great. It's not an abomination of filmmaking, but it's not really worth the time or the money either. "The Nutcracker and the Four Realms" has its good parts of course. It features some truly impressive and creative visuals, and despite the overwhelming amounts of CGI, is very pleasing to the eye. I also appreciated the ways in which the film pays tribute the the ballet it came from. The filmmakers put effort into respecting the source material despite taking some heavy creative liberties. Unfortunately, however, there are many parts that detract from its few high points. It's super-clichéd, and many of the dialogue moments felt flat and uninspired. From a predictable plot to a silly, by-the-numbers climax, there's no genuinely tense moments. In addition, the attempts at humor were not very well written and didn't make much sense. I think I yawned more often than I laughed, if I'm being honest. Even the three A-list actors in the film couldn't do much to save "The Nutcracker and the Four Realms." Dame Helen Mirren gave a surprisingly uncompelling performance as Mother Ginger (though this may have been the fault of the script) and Morgan Freeman was barely in the movie. But unfortunately the worst part was Keira Knightley (who I normally love) as the Sugar Plum Fairy-she was just kind of annoying. From her high-pitched voice to her awkward mannerisms to her straight-up unbelievable character, she was sadly one of the lowest points of the movie. I say all this with full knowledge that the film was intended to be more of a kid's movie. But does it deliver even as a kid's movie? Sure, it's bright, colorful, pleasing to the eye and contains some fun (clean) action younger audiences will probably enjoy. But at the same time, very little context is established for the film in a way that even a young kid would notice, it's not really all that Christmasy for a Christmas movie and it's just flat out boring in parts. I'm aware that I may be judging a little too harshly for a children's movie, but I'm not even sure the movie appeals to its target audience. Overall, I didn't think this movie was awful, but it's not good or memorable enough to be worth a watch. If you're looking for a fun fantasy film to watch with your younger siblings, you'd be better sticking with "The Lion, the Witch, and the Wardrobe" or Tim Burton's "Alice In Wonderland" (both Disney properties as well, and both of which this movie was kind of a rip-off). If you're looking for a good Christmas movie, you might be better off rewatching your favorite Christmas classic than this incurably mediocre movie.

Bohemian Rhapsody (2018)

A wonderful tribute to Queen and Freddie Mercury

[7/10 · 7 October 2019]

Going in to see "Bohemian Rhapsody," I had no idea what to expect. On one hand, critics gave it mixed reviews at best. On the other, it earned $51 million during opening weekend (according to Deadline) and received 8.4 stars on IMDb. Whatever I expected, I most certainly did not anticipate turning up to the theater only to find literally every single seat sold out in the entire theater except one. And I saw it four days after it came out! There's no denying "Bohemian Rhapsody" has nearly become a cultural phenomenon, despite barely being out a month. From giving new life to the classic Queen hits to fueling people's fascination with the enigmatic legend that was Freddie Mercury, this film was a long time coming (and rightly so!) But did it live up to the hype? Sort of. The film was incredibly strong in some parts, weak in others. The main issues lie with the beginning of the film, the pacing and the film's focus. At the start of the film, rather than a slow start gradually introducing us to Freddie and the rest of the band in kind, we are immediately launched into Freddie joining the band and producing hits with them; they release their smash-hit "Killer Queen" less than 15 minutes into the film. This issue ties into the focus of the film: is this a movie about Freddie? Or the origins about Queen? Is it about their journey to the top of the charts? Or is it about the band members' personal struggles? This issue could have been fixed one of two ways: either focusing a lot more on the band as a whole at the beginnings of their career, or cutting the opening entirely, merely introducing us to the band after they have already become famous. This would have clarified the themes a lot more and made it feel less convoluted. In addition, the pacing is difficult to keep up with. As I mentioned, the movie starts at lightning speed, taking Queen from a college band to an international hit-maker within a matter of minutes. Around the halfway mark however, the movie slows to a near halt, examining Freddie's personal life in great detail and at great length. Don't get me wrong, I appreciated a deeper, more introspective take on Freddie, but this once again made the film confusing and muddied the director's intentions. There was, however, a great deal the film did right. Most outstanding was Rami Malek's at times charming, at times perplexingly weird, yet altogether captivating performance as the incomparable lead singer of Queen. He gives the character his all, bringing charisma, quirks, and above all a real humanity that every actor aspires to bring to his or her character. In addition, the look of the film was exquisite: the color, the costumes, the sets, the unique camera techniques all perfectly complimented the mood. Not only did the look excellently capture the 70s/80s nostalgia the film was so clearly aiming for, it also highlighted the confusion, the glory, the frustration and the triumphs so common in the lives of these rockstars. It really put the audience in the minds of Queen; it brought dimension, depth and genuine empathy from the audience. One of the most notably good aspects of the movie: it's funny. It's so funny. This film has no pretense of being some jaw-dropping, epic, greatest-movie-of-all-time drama; it perfectly balances its more poignant moments with jokes that had the entire theater roaring with laughter. All in all, "Bohemian Rhapsody's" comedy, its music and its endearing portrayals keep the film an entertaining audience pleaser through and through despite its flaws. The overall best thing about the movie, however: the hair. Absolutely brilliant.

After (I) (2019)

Not even fun bad-just bad bad.

[3/10 · 19 September 2019]

To be fair, my friends and I went to see this movie as a joke, with the goal in mind of verbally tearing it to shreds. So yeah, my expectations were pretty low going into it. But, unfortunately, it wasn't even one of those movies that's fun to hate on; it's just awful. What else could you expect from a movie that originated as Harry Styles fanfic?

I'm not gonna go into too much detail about this dreadful snoozefest, since it's probably all been said already, and honestly I've spent too much time thinking about this movie already. That being said, the acting is subpar, the romance is terrible, the plot is plain stupid almost the whole way through, the dialogue is utterly cringeworthy, and despite the fact that it was marketed as being steamy and sexy, there ends up being exactly one (1) sex scene-and it was quite possibly the most vanilla sex scene ever put to film. The list of grievances goes on and on.

The only things that save this movie from a one-star rating are the aesthetics and the ending. Yeah, not much effort was put into this movie, but at least there was some clear effort in the visuals department, as it's actually a decently shot movie with some nice visual moments. And the (slight) twist ending may be stupid, but at least it's kind of emotionally engaging. Plus, the movie at least ends on a somewhat melancholy note, instead of forcing in a cheesy happy ending, which would have just been adding insult to injury.

Ultimately though, if you're looking for a terrible movie to watch with friends and make fun of, "After" is not it. You'd be better off watching literally any B-grade sci-fi flick; at least then you'd have fun while watching it.

Really, the only good thing that came from this movie is that it won several Teen Choice awards, confirming what we already knew: the Teen Choice awards are meaningless.

A Star Is Born (2018)

A solid retelling of the classic tale

[7/10 · 3 September 2019]

"A Star is Born" may be the definition of Oscar bait, yet the film does enough to differentiate itself from previous versions and is legitimately enjoyable on its own. Well-crafted and emotional, "A Star is Born" is well worth the watch for cinephiles and average movie-goers alike.

The movie is beautiful in so many ways. The most outstanding is the cinematography; the visuals in the movie are captivating and gorgeous. This makes sense, as a movie about musicians is free to play around with bright colorful lighting and energetic camera work during the musical performances. Even outside of the music scenes though, every frame in the movie is a work of art. An absolute pleasure to the eye.

The acting is also a major highlight, specifically the chemistry between the leads. I remember being surprised at the casting of Lady Gaga in a big dramatic role (I'd guess I'd never thought of her as an actress), and even more surprised that she got an acting nomination, but after finally watching this movie long after awards season came to a close, it became clear to me that there was no better choice for the role. Her chemistry with Bradley Cooper is incredible; both leads do their absolute best to make this relationship real, emotionally charged, and heartbreaking in the end. Sam Elliott is also a standout, of course, as he is in any role.

And of course, one can't talk about "A Star is Born" without mentioning the phenomenal music. The soundtrack is also incredible, and the way that the individual songs mirror the action taking place on screen is even better. The soundtrack album is one of those where, if you listen to it before even watching the film, you're likely to go into it liking the movie before you've even seen it.

Regrettably, the only thing standing between this movie and near perfection is issues with the script. The time frame for the movie is not made clear at all, it could have taken place over a month or a few years and we wouldn't know the difference. This muddles Jack and Ally's relationship a bit, although clearly they are somewhat instantly attracted to one another, it's not made clear how long their tour together is, or how long it takes Ally to record and release her debut album, or how long after they met they get married, and as such their relationship lacks some depth as the audience has no idea how long it took to develop. In addition, there's too much reliance on plot conveniences (for example, why was Jackson's driver waiting for Ally outside of her job when she gave him no indication that she would be going to Jack's show?) and these can distract from the narrative.

In the end though, "A Star is Born" is heart wrenching, beautifully made, and a musical gift, making it a worthwhile watch for anyone.

Hush (I) (2016)

A Masterclass in Tension that Defies Horror Expectations

[8/10 · 14 August 2019]

"Hush" is a refreshing take on the Horror/Thriller genre because of its simplicity and ability to remain scary and engaging despite its lack of reliance on classic horror tropes.

Appearing on basically every list of "Hidden Netflix Gems You HAVE to See", it's easy to understand why this film was such a sleeper hit: it's an indie horror film with a lower budget, a small cast, and a small scale. Yet all of these elements work to "Hush"'s advantage; it's one of the most realistic-feeling horror movies in years because of it's confined setting and straight-forward plot. A deaf woman who lives alone in the woods is stalked by a masked killer. Simple and sweet. Taking a leaf from the books of both survival movies and slasher films, the tension in the film is incredibly tangible, as the viewer feels like he or she is in the midst of the movie alongside the protagonist, Maddie, scrambling to find a solution to the terrifying predicament.

Like "A Quiet Place", one of the triumphs of the movie is the controlled use of both silence and sound. Since the protagonist is deaf, some of the most compelling and terrifying moments come when the viewer is put in Maddie's perspective, as she struggles her way through the fight with her attacker in dead silence. Despite a score that continues through much of the movie, there are many moments where the events play out without any sound at all; perhaps most notably the scene in the bathroom, where the killer breaks through Maddie's window just behind her without a noise to be heard. More so than many other survival-genre films, the viewer is really put in the protagonist's shoes, because of how well the usage of sound and lighting captures her experience.

Possibly the highlight of the movie, however, is its constant aversion to the horror movie tropes that a moviegoer might expect from this film. Although there are a few jump scares, they are not overused in the slightest; in fact there are a number of moments where the director could have opted for a cheap jump scare and very intentionally didn't, which only adds to the fright. Another pleasant surprise was the unmasking of the killer very early on into the movie: as it turns out, it's not somebody she knows, it's not her ex-husband coming for revenge or whatever, it's just a random psychotic killer intent on tormenting her, with motives unknown. This not only contrasts the classic slasher formula of unmasking the killer near the end of the film, but it makes it that much scarier too, as the villain's true identity and motives are never revealed. And, possibly most importantly, the protagonist is not a COMPLETE IDIOT; although she makes a few (excusable) mistakes throughout the movie, Maddie is actually a pretty formidable opponent for her attacker, and doesn't fall for every trick in the horror movie book.

Though not revolutionary by any means, "Hush" is still a super solid slasher flick, that is unpredictable, tense, and all-around enjoyable. A 100% worthwhile watch for anyone in the mood for a short and nail-biting thriller.

Brightburn (2019)

Exactly what you'd expect from evil superman

[5/10 · 14 June 2019]

"What if Superman chose to use his powers for evil instead of good?" It's a concept so simple it's surprising it hasn't been picked up by filmmakers before now-and it's an extremely fascinating concept at that. But, sadly, instead of being anything meaningful, Brightburn opts to be a surprisingly unoriginal horror flick that barely explores its potentially engrossing concept.

I was honestly super excited to see this movie. I figured it would be very centered on the internal good vs. evil conflict within Brandon (aka Brightburn aka evil Superman), and focus on some really interesting nature vs. nurture themes. Sadly, audiences were treated to neither; Brandon begins the film as a good (albeit weird) kid, and then overnight becomes evil. That's it. No internal conflict. No interesting character development. One minute he's good, and the next he's bad. The movie also establishes several other plot points that could have improved the movie, but infuriatingly have no payoff by the end; for example the implication that there may be an impending invasion by Brandon's people upon Earth, or his disturbing relationship with his classmate Caitlyn, or Brandon's apparent supergenius status. The filmmakers could have taken dozens of routes to make this movie something unique, but it ends up being strangely paint-by-numbers-and utterly devoid of meaning on top of that.

However, sometimes an unoriginal feeling movie can be saved by solid acting, characters, and dialogue-yet Brightburn has none of the above. The acting is far from terrible, but it's not overly compelling either, though this may have more to do with the flat and archetypal characters than the actors' abilities. Most disappointing is Brandon's character; as I mentioned before, he really seems to have no concrete motivation for anything, and he's not even a very hateable villain, as it feels like most of his actions aren't really his fault. The mother and father have potential to be interesting characters, but they ultimately feel like exactly what you expect from parents in "creepy kid" horror movies: the father is mean, overly-emotional, and suspicious of his evil child from the beginning, while the mother blindly believes in the goodness of her child (until it's too late). The audience really wants to feel for these characters, but we simply can't bring ourselves to.

I know, however, that you don't really go to a horror movie for characters and compelling conflict, you usually go for the scares-yet Brightburn isn't even all that scary. Many of the scare tactics are nothing new-flickering lights, creepy whistling, kids drawing creepy stuff, the killer moving inhumanly fast, etc.- and anyone who has watched basically any horror movie before will probably be left thinking, "I feel like I've seen this before." And, honestly, you probably have.

The movie isn't all bad, though. It's memorably atmospheric and gory; there are a few pretty creative kills due to the superpowered killer. There are some genuinely bone chilling moments, notably the opening scene involving home footage of baby Brandon, which is so effective and scary because you know he will be murdering people by the time the movie's over. And, most hauntingly, Brandon's killer mask coupled with his red eyes are freaking TERRIFYING; the production team was reportedly going for a potentially iconic slasher mask that will be in your nightmares for weeks, and in my opinion they definitely succeeded.

Ultimately, however, it feels like this movie is pretty standard horror fare, and chock-full of wasted potential. If they make a Brightburn sequel which examines some more interesting themes and ideas (and is a lot scarier), this movie would be much more enjoyable and it would feel justified. But for now, as a standalone movie and a horror movie, it falls pretty darn flat.

Godzilla: King of the Monsters (2019)

Not all I'd hoped for, but still a whole lot of fun

[6/10 · 2 June 2019]

As a longtime fan of Godzilla and someone who immensely enjoyed Godzilla (2014), I definitely enjoyed this film, but it was far from "all I'd hoped and more."

All the way back in 2014, I was very excited to learn that Godzilla would be turned into a modern cinematic universe, with a scale and quality similar to that of the MCU (or so I'd hoped.) However, this film unfortunately fell into the same trap as the DCEU's Batman v. Superman: too much too quickly. Batman v. Superman was an attempt at a three-hour epic that dove into all sorts of aspects of DC mythology, introducing dozens of new characters along the way; however, that film was only preceded by Man of Steel, and as such it felt like the "epic throwdown" vibe the film pursued was entirely unearned. Similarly, Godzilla: King of the Monsters, attempted to accomplish far too much with too little background to support it-the introduction of three new major monsters (Ghidorah, Mothra, Rodan), around thirteen other minor monsters that will undoubtedly return in future films, the eco-terrorist organization led by Charles Dance's Jonah Alan, and the ORCA machine, to name a few plot devices the packed movie attempts to juggle.

On top of this Batman-v.-Superman-esque blunder, there were a few other elements that detracted from my enjoyment. On a surface level, the entirely yellow-and-blue aesthetic of the movie had an unearthly feel that was a lot to get used to. The human characters were largely unconvincing and confusing, and did little to add emotional depth to the human side of the story. And most disappointingly, King of the Monsters lacked the same realistic and grittier nature of Godzilla (2014). The first chapter in the Monsterverse, no matter how ludicrous its plot, managed to retain a much more realistic and genuinely engaging aesthetic and tone, while King of the Monsters scrapped any facade of realism and dialed the crazy action-packed monster fighting up to an 11. In addition, the whole "hollow earth theory", while consistent with the previous two chapters in the franchise, felt silly and distracted from the plot more than it enhanced it.

All that being said, however, I really did enjoy plenty about this movie. The monster design was a big part of it; each monster had a lot of character that, in many ways, made the monsters much more interesting than the human characters. The monster fight scenes were a lot of fun, and I don't believe they took up too much screen time, contrary to what some critics may say. There were plenty of easter eggs and throwbacks to keep Godzilla fans pleased. Ultimately, flaws set aside, it felt like the plot was packed, yet still enjoyable, complicated but not over-complicated, and sets up what will certainly be an interesting cinematic universe.

And, on a final note, it was really nice to see the final battle take place in Boston, rather than NYC or San Francisco (for the zillionth time.)